hathyoga pradipika

7/30/2019 Hathyoga Pradipika

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The Hathayogapradipika (An Exposition on Forceful Union)Robert L. Peck 2007

(updated 1-1-07)

The following translations are samples taken from the fairly voluminous

Hathapradipika of which the first chapter is used as a Bible for the

majority of yoga students around the world. Later chapters contain

some very false translations which can only be attributed to a deliberate

attempt to suppress the methods for increasing inner creative powers.Nevertheless, even when accurately translated, the truth contained

within these verses is quite safe in the modern world, since the required

preliminary mental and physical abilities are virtually non-existentwithin the majority of modern individuals. The distorted writings shift

the original teaching to advocate such things as the obviously

impossible task of cutting the base of the tongue in the mouth so that itcan stretch up into the sinus cavity. Similarly, the original verses that

describe the development of powers within individuals were generally

shifted to promote obeisance to external powers. This shift is quiteobvious in the modern definition of the word hathayoga as meaninggentle yoga rather than the original and literal meaning of being

forceful yoga.

TheHathapradipika provides an excellent explanation of the earlyDionysiac mysteries depicted in their references to lingams and

winnowing baskets (Liknon) similar to those in theRig Veda. We

therefore start with 35th verse in Book I, the supreme pose, called thesiddhasana, or the door to inner powers. The preceding positions or

asanas described in Book I can be considered as preparation for this

position of stimulating the source of inner power. This verse is truly a

door opener when the inner responses to the interaction of upwardpressure of the foot and downward pressure of churning are found and

controlled.

Before reading theHathapradipika, the reader is advised to rememberthe experiences of childhood when ecstasy, evolution and creative

energy were so prevalent. The highly developmental games of children

are quite forceful rather than quiet and gentle; inner feelings and bodymotions are amplified rather than suppressed as children learn to

manifest their inner dreams. Children learn to overcome their

frustrations and feelings though violent activities with the most violentbeing the total body involvement in deep sobbing. The area of the

perineum that children delight in stimulating through pratfalls andsliding etc. is called theyoni in the following text. The resulting rising

power is an inner god calledIndra. The godAgni is used as an allegoryfor the sensation of inner fire or heat.

The following selected verses list the literal translation and the original

Sanskrit words and roots with the common interpretation placed inbetween. The Commentary is added to assist in further definition of the


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terms and concepts. The chosen verses provide the central teachings oftheHathapradipika. The first chapters prepare the student for the third

chapter and the practices listed below. The physical nature of the

practices essentially end with the squeezing of the kanda as described inthe included verse 110 & 111 which can be done anywhere. Chapter

Four (not included) of theHathapradipika is a summary as well as a

description of the inner sound ornadam that arises after the upper flow

of the fire ofAgni and the down flowing rain ofIndra are obtained.

1:35, Book I, Verse 35

Take the perfected posture of steadily pounding and churning theyoni(center of the perineum) vigorously with the foot placed in different

places. Fixed and bound with the power ofIndra using the liberating

exhalation and the appearance of shaking, the conquering enjoyable

physical feeling is observed and maintained which opens the door tobreaking through and producing enlightenment//

Press one heel below the sex organs and place the other heel above the

penis. Sit up straight and press the chin against the chest. Fasten theeyes between the eyebrows. This is thesiddhasana which opens the

doors to perfection.

yoni: center of perienum.sthAna: position. kam: to strive after.aNghrim: aNgh: set about. mUla: firmly fixed root.ghaTitaM:

attempting, produced. kqtvA: causing. dRDham: firm. vinyaset: to place

in different places. meDhre: medhya: vigorous. pAda: foot. math: tochurn. aika: related to one. mev: to serve. hqdaye: seat of feelings.

kqtvA: causing. hanuM: han: to strike, pound.susthiram: firm, steady/

sthANuH: fixed.saMyamita: bound. indriyo: power ofIndra. cala:

moving, shaking, dqfA: to become visible. pafyed:paSya: beholding.

bhruv: bh(: to maintain. rantaraM: ranta: to enjoy physically. ram:enjoy carnally. tara: surpassing, conquering. hy: hi: to assist. etan:

breathing out. mokSa: liberation. kapATa: door. bheda: openingbreaking through.janaka: producing.siddha: perfected, enlightened.

asana: posture.procyate:pracyu: to move proceed//Commentary: This asana is the chief and fundamental pose of theentire book. This pose is elaborated upon in Book III when the methods

of churning, the motions within theyoni as well as the methods of

exhalation are further developed. It should be noted that the Sanskrit

uses two combined words each meaning carnal type enjoyment, unionor knowledge. To explain the concept of carnal feelings which open the

doors to enlightenment it is perhaps easier to refer back to the Greekwordgignosko or later asginosko which meant knowledge from otherthan the conscious thinking brain. The phrase carnal knowledge came to

have the severely limited meaning of sexual union. The original concept

was that with intimacy and contact, a metaphysical and higher level ofunderstanding could be attained. The above position is assumed to

awaken an individual to the metaphysical source of knowledge through


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the ecstasy of a physical contact.The wordyoni also has a more general meaning of being the female

pudendum even though it has a masculine ending i instead of I

which is the feminine. The reason for this is its role in the evolution ofan individual instead of procreation. The following text will also give

further support for this distinction.

2:78

A powerful lean and purified body, a radiant face with a perfectly clear

eye and speaking clearly, all harmonize together. Such attained health is

a favorable sign of the radiant power associated with agni or the innerfire forcibly cleansing the passageways forsoma or the hormones.

Hatha Yoga produces a lithe body, clear eyes, beautiful voice, control

over ejaculation, increased gastric fire and purity of the nadis.

vapuH: a body. kqSa: lean. kq: purify. SatvaM: powerful. vadane: theface.pra: great,.sann: sam-nata: harmonizing with each other. nAda:

sound.sphutatvaM: to speak clearly. nayan: related to the eye;.su-

nirmal: perfectly clear./ arogatA: health. bindu: spot, initiating power,source.ja: associated with. gni: agni: god of inner fire. dIpana: setting

on fire. nADI: tube, duct. viSuddh: completely cleansed. haTha: force.

siddhi: attainment. lakSaNam: favorable signCommentary: This verse is similar to the modern worlds descriptions

of people being alive with an inner fire. The ancient model described

the passage ofsoma by nadis which correspond to passage ofcontrolling forces such as hormones through the blood vessels rather

than by the normal neural system. The inner fire symbolized by the god

Agni is the first stage of the purification and stimulation system of the

ancients, and much of the next chapter discusses increasing the inner

fires orAgni. The word bindu is normally translated as a spot, mark ordrop but it is also used as the dramatic and allegorical symbol of the

instant and uniform spreading of a drop of oil on the surface of water oras an initiating force or catalyst that suddenly causes reactions to take

place. This bindu is compared in the following text with the flames of

Agni.

3:9

Persevere and endeavor to obtain the valuable secret concealed in thewicker basket. It is taken out of the winnowing basket truly like a

proper pleasurable and uniting feminine presence, as will be explained.

It needs to be kept secret like a casket of gems and should not be

discussed with anyone as a proper woman does not discuss her sexualpleasures.

gopanIyaM: secret. prayatnena: persevering effort.yathA: in such amanner as follows. ratna: anything valuable. karaND : a basket of

bamboo wicker-work. akam: to endeavour to obtain./ kasya: Liknon

from: ka: kad: to remove the chaff or husk of grain. sya: winnowing

basket. chinna: taken away or out of. iva: truly. vaktavyaM: to name


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something. kulastrI: a good woman.surata: playful, amorous, coition.yathA: in such a manner as follows.

Commentary: This verse introduces the inner purification process.

The winnowing basket is the open meshed woven basket that allows thepassage of wind through the grain as well as the dropping of sand and

dirt. Perhaps the best example of the winnowing basket used in inner

purification can be found in surviving art work of the Dionysians of

Greece and Rome who also used it as a symbol called theLiknon.

3:10

Thesoma is pressed out of theyoni with the foot while striving forpleasure. The foot is placed within the swollen creative center of the

self and held firm.

Pressing the perineum with the left heel and stretching out the right leg

and grabbing the toes.pAdamula:pAda: the foot. mula: root. vAma: striving after.yoniM:

center of procreative energy.saM: together.pIDya:pID : to be

squeezed or pressed out. dakSiNam: that which is right,pleasure./prasAritaM: expanded, swollen.padamkqtvA: to set foot in

or on. kara: doer, creator. abhya: within the self. dhAraya: holding.

dRDha: firm, strong.Commentary: Sitting on the foot forces the separation of the thighs

and opening of the perineum. This explains the popularity of sitting

cross-legged by martial artists as well as the yogis. To this stretching isadded the direct pressure of the foot against the center of the perineum

which corresponds to the pudendum in women. This center becomes

more and more sensitive and pleasurable as it is routinely stimulated as

well as efficient in increasing the inner creative fluids.

3:11Placing and uniting (the foot) on the narrowest part (of the perineum)

maintaining the released upward flowing (power). In such a manner (as

to) force the churning rod to move like a snake, without the churning

stick stimulating sexual arousal.Then contract the throat and keep raising the inner wind. As a result

of this mudra the kundalini is made to straighten just a snake does

when it is beaten.kaNThe: narrowest part. bandham: uniting.samAropya: placing upon.

dhArayed: maintaining, vAyu: inner vitality flow. mu: released. Urdhva:

rising, upward./yathA: in such a manner. daNDa: pole, churning stick,

hataH: struck, forced,sarpo:sarpa: to glide, snake, daNDA: a rod,churning stick, akAraH: without causing.prajAyate: procreative

power://Commentary: Theyoni, is the depression which forms in the center of

the perineum of men normally tightly closed with the hardened and

undeveloped bulbospongiosus muscle. The churning rod is an allegory

for the moving swollen bulbospongiosus. Later verses describe the


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more developed muscle response as an inner tongue of fire rather than asimple rod. Theyoni is not to be confused with the spot (clitoris or

penis) that stimulates the sexual response.

3:12

In that manner ones potential power,shakti, or innerkundalini is

forcibly excited, aroused and acquired. / The conquering union of being

folded double (bent over) then gives numbness to the lower belly.The kundalini shakti becomes straightened and the two nadis become

lifeless.

qj: to obtain, acquire. vi: to set in motion, excite. bhUtA: become, beingalive. tathA: in that manner.faktiH: creative power. kuNDalI: serpent.

sahasA: forcibly. bhavet: being./ tadA: then.sA: giving. maraNA: dying,

ceasing. vasti: the lower belly.jAyate:jaya: conquering. dvipuTA:

folded double.AfrayA: uniting.Commentary: One of the interesting phenomena associated with

ecstasy is the deadening of certain areas of the body similar to the

reduction to pain found as one nears a sexual orgasm. This phenomenonas well as the strong sense of rising sensations during the meeting of a

challenge was described as the awakening on an inner coiled serpent,

kundalini releasingshakti. Shakti is limited by ones own ability and notof an external god. Howevershakti is not commonly experienced

because of individual fears of pain and consequences if all of ones

powers were to be utilized. Certainly those who do perform amazingfeats of strength or endurance report little if any pain as described

above.

3:13

Slowly, gently, exhale and strengthen the diffused stream (kundalini) to

certainly reach the great joy and superpowers obtained from the granaryfloor as has been taught.

Then exhale slowly and not quickly. This is indeed the Mahamudra of

the great teachers.

tataH: diffused.fanaiH:fana: slowly.fanaireva:fanais: quietly.recayenna: reca: exhalation.yen: by means of. tu: to make strong.

vegetaH: vega: a stream. / iyaM: this. khalu: khala: granary floor.

mahA: great. mudra: joyous, glad. mahA: great.siddha: perfected,endowed with supernormal faculties.pradarfitA: taught.

Commentary: People who commonly must prepare to face trying

situations are generally aware of the taking of a deep breath and some

inner adjustment in the guts. What was taught is no doubt referring tothe granary floor of theRig Veda (1:28: 1, 5, 6) but will also be referred

to later in verse 3:49.

3:32

In the covered cavity the reversal of the initiated tongue of fire is

obtained, described as going between the opening and the interior andperceived as a sign of the existence of motion in the inner space or


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vitalization (of the body).To accomplish the khechari mudra, reverse the tongue and thrust it up

the back of the throat and turn the eyes toward the eyebrows.

kapAla: cover. kuhara: cavity. jihvA: tongue (of fire).praviSTA:initiated. viparItA: reversed, contrary to rule.gA: obtained./ bhru:

described as. antargat: going between the entrance and interior.

dqSTir: perceived as: mudrA. a sign. bhavati: state of being. khecarI:

khe: space. cari: motion.Commentary: The stimulation of the granary floor (or the perineal

area), sensed as a cavity, initiates a sensation that feels like an inner

tongue of fire or scintillation as it is felt to move within the lowerabdominal and perineal cavity. Instead of remaining as a fire in the guts,

the lower tongue becomes the source of an upper flow of what is

perceived as a flow of energy or vitality which flows freely upwardthrough the body similar to the perception of rising emotions. This

verse calls the flow khecari but later uses the allegory of the upward

writhing of an inner snake or serpent called kundalini orbhunamga. Asthe text continues further it is described as a form ofvayu which is thatwhich is breathed in to produce vitality. It is not just air but rather an

ingredient of air which we know as oxygen that when taken in larger

amounts is known to increase the metabolism rate of the body as well aschanging mental acuity.

3:33

Separating the result of the motion yields a portion that increases the

progression by conveying the powers of perfection as far as the

eyebrows.

This requires lengthening the tongue, by cutting the frenum of the

tongue, moving and pulling it until it can reach the eyebrows.chedana: separating. cAlana: moving. doha: yielding, resulting. kalA: a

part. kram: progress. vardhayitq: one who causes to increase/.sa:giving, causing.yAvad: as far as. bhrUmadhya: between eye brows.

spqf: to convey to. tadA: then. khecarI: khe: air. carI: moving.siddhi:

powers of perfection.Commentary: A portion of the motion and energy being generated

within the lower abdomen is directed upward until it can be felt behind

the eyebrows. This results in the feeling of pressure and heat behind the

eyes and a vibration or ringing in the ears.

3:34

This emitted fluid (of vitality) is like a tool that stimulates and pressesout an emitted pungent, glutinous and pure fluid. An increased quantity

of the diffused, concentrated wetness is gathered and collected together.

Use a sharp, lubricated knife in the shape of a cactus plant, cut the

frenum a hairs breadth.

snu: emit fluid. hI: to stimulate.patra:pAtra: channel of flow. nibha:


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resembling.fastraM: tool, an instrument.su: to press out. tIkSNaM:hot, pungent.snigdha: viscous, glutinous. nirmala: pure/samAdaya:

samAdA: to gather. tata: diffused.stena: tema: becoming wet. roma:

ruh: to increase. mAtra: quantity.samucchinet:samucchi. to collecttogether, concentrate.//

Commentary: This is the verse that is generally falsely translated as

giving directions for starting the cutting of the frenum of the tongue a

hairs breadth everyday until the tongue can extend up into the sinuses.The verse describes the outer secretion of a fluid from the head that is

not commonly discussed but noted in times of stress, excitement or

sexual stimulation. Childrens noses for instance drain quite profuselywith excitement. Adults can find drainage during tension as their eyes

tear up or they choke up and have to clear their throats. The

classification of the fluid as being pungent is that many times sneezingis associated with the drainage or its initiation as in exposure to black

pepper. Drainage is recognized to wash the eyes, lining of the nose and

sinuses as well as being directly connected to catecholamine oradrenaline production which either is a cause or a result of it. Theremay also be a similar connection with serotonin and the view of the self

and world and other inner neurotransmitters and hormones that respond

to external threats to the individual.Everyone is familiar with how the head wells up with danger or

emotion, but the text describes this process and part of a total

physiological and psychological response to releasing higher powerswithin the body. The usage of the word wells may be a residue of

allegorizing the reaction to the falling nurturing rain orrasana of the

godIndra.

3:35After procuring and obtaining the powers ofIndra, the auspicious path

can be approached and followed with repeated pounding, caressing andstroking to obtain increased collected quantity.

Then rub rock salt over the tongue, after seven days, cut again.

tataH: after.sa: procuring. indha: powers ofIndra. va: strong.pathya:the auspicious path , abhyAM: to approach. cUrNitA: pound . abhyAM:

to approach.pragha: to go forwards, proceed. Sayetto go./punaH

:repeated.sap: caress (also sexually). tadin: taDit: stroke, lightning:

prApte attained to, reached. roma: ruh: to increase. mAtra: quantity.samucchinet:samucchi. to collect together

Commentary: The inner heat and fire has been allegorized asproduced by the inner godAgni and now the wetness is ascribed asresulting from procuring the powers of the allegorical inner godIndra

who was the god of descending moisture or rain. The early model

requires that these two gods be fed with a special fluid that was calledamrita (not dead or vital fluid) similar to the Greekambrosia (not

dead or vitalizing fluid) also called food for the gods. Lateramrita


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became known assoma.

3:36

Thus one is able to make progress in six months time with constant

directed effort. In six months time a stream ofrasana or the rain ofIndra is generated and produced.

Continue this way for six months until the frenum of the tongue is

severedevaM; thus. kram: make progress. SaNmAsA: six months. nityayuktaH:

always busy.samAcaret: to accomplish. /SaNmAsA: six months. ad:

consume. rasanA: a quintessential fluid of the human body. mula:rooted or based.firA: a stream. bandhaH: produce. praNaf: to attain.

yati: disposer, striver.Commentary:Rasana is the rain ofIndra, or the power of the inner

godIndra, which is not to be considered as a normal sinus or nasaldrainage since its cause is based upon the upward flowing fire ofAgni

rather than the head.

3:37

A small part (ofrasana) crosses over into the junction where threepaths meet (sky, air, and earth) in the head bringing forth the sign of the

inner flow and active center.

Reversing the tongue insert it into the nasal cavity which is khecari or

Vyomacakra.kalAM: a small part.parAJ: crossing over. mukhIM: aperture of the

head. kqtvA: encompass. tripathe: where 3 roads meet:pari: around

yojayet: joined/sA: giving. bhav: coming into existence. khecarI.mudrA: sign. vyomacakraM: sky cakra: center. tad: that. cya: cyu: come

forth from.

Commentary: The paths are an early description of what are nowcalled pathways for neurotransmitters, nerve impulses or hormones. The

junction in the head is that mystical personal sense of the union of

heaven (sky) and the vitality of life (air or vayu) with the functioning

of the physical body. The experienced sign is a ringing or whistlingsound called the nada or tinnitus today which can be interpreted as the

sound of the movement of air, later called vayu, or energy in the body.

The nada, now called tinnitus, becomes an important subject later in thetext because it not only is a sound related to the inner energies of the

body but it can also be altered in turn to change the inner energies. The

metaphysical nature of the nada is supported by attempting to measure

the pitch of it with the startling result that the inner pitch cannot bemeasured nor reproduced as it is being measured.

3:38

Even in half an instant of producing rasana in the head, releases the

yogIfrom poison caused by sorrow, illness, death and growing old.

Even in half an instant of keeping the tongue in the sinus cavity,releases theyogin from poison caused by sorrow, illness, death and


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growing old.rasanA: fluid. mUrdhva: head.gA: going. kSaNA: instant . ardham:

half: api: even in. tiSThati: producing./ viS: poison. air: relating to

refreshment or food. vimuc: to be released from.yat: going, moving.

yogI: femine form of yogi. vyAdhi: sorrow. mRty: death: disease.jara:

becoming old.Adi: first. bhiH: caused by.Commentary: The best example of this verses teaching is the

transformational sobbing of a child where the rains of Indra are inabundance with tears, drooling and mucus generated by the lower

churning or tensioning in the belly and bowels. This inner churning is

often noted in attempting to control crying during some emotionalscene. Another common example is the recognition of uncontrolled

crying or laughing as being the near perfect catharsis for emotional

problems as well as the opening of new powers within the individual.The usage of the word YogIhas a special meaning since the longIis a

feminine ending foryogin oryogi which is a male student of yoga. A

yogIis also obviously different from ayoginI, indicating a femalestudent of yoga. This feminine addition to the masculine is essential tounderstanding the following text. Recent research demonstrating that

the ratio of male to female hormones can be altered by simple life style

changes is in partial support for the feminizing of ayogi to ayogI.It should also be noted that in the modern Western world, most women

require the same development of the feminine since their bodies have

lost many of the following described characteristics as they conform toa macho masculine centered world and procreative powers.

3:42

The evidence ofkhecari (vayu or rising energy) is because of the

expansion or opening of the hanging twin buds, certainly not theexcreted drops (sexual) coming from inaccessible lust.

When the tongue is pushed into the sinus cavity, no semen can be lost,no matter how beautiful a woman may be.

khecaryA: inner power. mudritaM: sign, evidence. yena:because of.

vivaraM: opening, swelling. lambi: lamb: to stretch out. kor: bud. dva:two. / na: not. tas: throwing (excreted). kSarate: water. binduh: drop.

kAmin: kAma: lust. yA going. fleSita: united with. sya: belonging to. ca:

certainlyCommentary: The reference to the hanging twin buds is of coursepointing to the swelling and growth of the two budding nipples. This

verse also attempts to differentiate the secretion ofsoma from thestimulation and secretion of sexual lubricant related to sexual arousal.This verse also implies the time it takes to start to activate the nipples

with the ten maidens of fingers suggested in theRig Veda.

3:43

A new motion is acquired when the expanding power unites with the

movingyoni or perineum area, the rising (motion) proceeds bereft of


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clinging to theyoni posture.Even if the fluid moves down to the genital region in the yoni mudra,

it moves upward.

calita: unusual or new motion. pi: api: acquired.yadA: when. binduh:initiator.saM: unites.prApt: reached.yoni:yoni. maNDalam:

surrounding ring/. vrajaty: proceed. Urdhva: rising. hqtaH: bereft of.

faktyA: clinging to. nibaddho: related to.yonimudrA:yoni position.Commentary: When the downward stimulation from the nipplestimulation and the rasana equals that of the stimulation from the foot

under theyoni, the foot can be withdrawn. This time is made quite

obvious when a light stroke of a nipple causes a simultaneous responsein the perineum oryoni which rapidly becomes greater than any

mechanical stimulation with the foot.

3:111

The swollen bulb orkanda exists in that spot where pressure was

applied by the feet to produce the power ofIndra.

sati: existing, real. vajrA: source of Indras power, lightning.sane:lasting. pAdau: to the feet. kara: doer, hand. abhyaMto advance.

dhArayed: holding. dqDham: steady./gulpha: ankle. defa: point spot.

sami: to come together. ca: and. kandaM: swollen bulb . tatra: in thatplace.prapIDayet: squeezing

3:110

The kanda is indicated by its rising to four fingers width and its

extension to the palm width. It is described as being soft and covered

with skin.UrdhvaM: rising. vitasti: palm width. mAtraM: the full measure. tu: to

make strong. vistara: extensive. caturaNgulam: four fingers broad.

mRdulaM: soft. dhavalaM: white.proktaM: called. veSTita: covered.ambara: clothes. lakSNam: sign, symbol.

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