The Serpent Power — Arthur Avalon (Sir John Woodroffe) (1924)
the Brahman”.¹ Mahāmudrā² and Mahāvedha are done in conjunction with Mahābandha, already described. In the first the Yogī presses the Yoni (Mūlādhāra) with the left heel, and, stretching out the right leg, takes hold of the two feet with both hands. (See Plate XVI). Jālandhara Bandha is then done. When Kundalinī is awakened, the Prāna enters the Sushumnā, and Idā and Pinggalā, now that Prāna has left them, become lifeless. Expiration should be done slowly, and the Mudrā should be practised an equal number of times on the left and right side of the body. This Mudrā, like other Hathayoga Mudrās, is said to ward off death and disease. In Mahāvedha³ the Yogī assumes the Mahābandha posture, and, concentrating his mind, stops by methods already described the upward and downward course of the Prāna. Then, placing the palms of his hands on the ground, he taps the ground with his buttocks (Sphich),⁴ and the “Moon,” “Sun,” and “Fire”—that is, Idā, Pinggalā, and Sushumnā—become united upon the entry of the Prāna into the latter Nādī. Then the body assumes a death-like aspect, which disappears with the slow expiration which follows. According to another mode of rousing Kundalinī, the Yogī seated in Vajrāsana takes firm hold of his feet a little above the ankles, and slowly taps the Kanda (v. post) with them. Bhastra Kumbhaka is done and the abdomen is contracted.⁵
1 The Mantra Hangsah is the breath held in Kumbhaka.
2 Gheranda Sanghitā, III. 37—42. The Yoni Mudrā “which detaches the Manas from the objective world,” is described in the Com. to v. 36 of work here first translated, post.
3 Ib., v. 25 et seq.
4 See as to this tapping Plate IX which shows the position off the ground before or after it has been tapped.
5 Gheranda Sanghitā, Ch. III, v. 114 et seq.
The Khecharī Mudrā,¹ which, as well as the Yoni Mudrā, is referred to in the text translated, is the lengthening of the tongue until it reaches the space between the eyebrows. It is then turned back in the throat, and closes the exit of the breath previously inspired. The mind is fixed in the Ājnā² until with Siddhi this “path of the upward Kundalī” (Ūrddhvakundalinī) conquers the whole universe, which is realised in the Yogī’s body as not different from Ātmā.³ It is said that sometimes the frænum is cut but others can do the Mudrā without doing a physical injury which interferes with the putting out and withdrawing the tongue without manual help. In Shāmbhavī Mudrā is the mind kept free from Vritti or functioning in Siddhāsana.
The term Mudrā also includes⁴ what are called Bandha (bindings), certain physical methods of controlling Prāna. Three important ones which are referred to in the texts here translated are Uddīyāna, Mūla and Jālandhara.⁴ (See Plates XI, XII, XIV.) In the first the lungs are emptied by a strong expiration, and drawn against the upper part of the thorax, carrying the diaphragm along with them, and Prāna is made to rise and enter the Sushumnā. Through Mūlabandha (see Plate XIV) the Prāna and Apāna unite¹ and go into the Sushumnā. Then the inner “sounds” are heard—that is, a vibration is felt —and Prāna and Apāna, uniting with Nāda of the cardiac Anāhata Chakra, go to the heart, and are thereafter united with Bindu in the Ājnā. In Mūlabandha the perinæl region (Yonī) is pressed with the foot, the rectal muscle contracted (by Ashvinī Mudrā), and the Apāna drawn up.² The natural course of the Apāna is downwards, but by contraction at the Mūlādhāra it is made to go upwards through the Sushumnā when it meets Prāna. When the latter Vāyu reaches the region of fire below the navel,³ the fire becomes bright and strong, being fanned by Apāna. The heat in the body then becomes very powerful, and Kundalinī, feeling it, awakes from Her sleep “just as a serpent struck by a stick hisses and straightens itself”. Then it enters the Sushumnā. Jālandhara Bandha is done by deep inspiration and then contraction of the thoracic region (wherein is situated the Vishuddha Chakra), the chin being held firmly pressed against the root of the neck at a distance of about four fingers (Anguli) from the heart. This is said to bind the sixteen Ādhāras,⁴ or vital centres, and the nectar (Pīyūsha) which flows from
1 So called, according to the Dhyānabindu Up., because Chitta moves in Kha (Ākāsha), and the tongue through this Mudrā enters Kha.
2 Gheranda Sanghitā, Ch. III, vv. 25—27. Suspension of breath and insensibility result, so that the Yogī may be buried in the ground without air, food, or drink, as in the case of the Yogī spoken of in the accounts of Dr. McGregor and Lieut. A. H. Boileau, cited in N. C. Paul’s “Treatise on the Yoga Philosophy,” p. 49. In Ch. IV, v. 80, of the Hathayogapradīpikā, it is said that concentration between the eyebrows is the easiest and quickest way of attainment of Unmanī Avasthā. See Shāndilya Up., Ch. I; Dhyānabindu Up.
3 Yogakundalī Up., Ch. II.
4 Ib., Ch. III, vv. 55—76. There is also the Mahābandha. (See Plate XIII.) Ch. II, v. 45, says that Jālandhara should be done at the end of Pūraka; and Uddiyāna Bandha at the end of Kumbhaka and beginning of Rechaka. See also Yogakundalī Up., Ch I. Ib., Ch. III, v. 57; Yogatattva Up., Dhyānabindu Up. The Varāha Up., Ch. V, says that as Prāna is always flying up (Uddīyāna), so this Bandha, by which its flight is arrested, is called Uddīyānabandha. Yogakundalī Up., Ch. I, says, because Prānah uddīyate (goes up the Sushumnā) in this Bandha, it is called Uddīyāna.
1 The Shāndilya Up., Ch. I, defines Prānāyāma to be the union of Prāna and Apāna. Nāda and Bindu are thus united.
2 See Āgamakalpadruma, cited in notes to S.N., v. 50, post, comm., and Dhyānabindu Up. The Yogakundalī Up., Ch. I, says that the downward tendency of Apāna is forced up by bending down.
the Brahman”.¹ Mahāmudrā² and Mahāvedha are done in conjunction with Mahābandha, already described. In the first the Yogī presses the Yoni (Mūlādhāra) with the left heel, and, stretching out the right leg, takes hold of the two feet with both hands. (See Plate XVI). Jālandhara Bandha is then done. When Kundalinī is awakened, the Prāna enters the Sushumnā, and Idā and Pinggalā, now that Prāna has left them, become lifeless. Expiration should be done slowly, and the Mudrā should be practised an equal number of times on the left and right side of the body. This Mudrā, like other Hathayoga Mudrās, is said to ward off death and disease. In Mahāvedha³ the Yogī assumes the Mahābandha posture, and, concentrating his mind, stops by methods already described the upward and downward course of the Prāna. Then, placing the palms of his hands on the ground, he taps the ground with his buttocks (Sphich),⁴ and the “Moon,” “Sun,” and “Fire”—that is, Idā, Pinggalā, and Sushumnā—become united upon the entry of the Prāna into the latter Nādī. Then the body assumes a death-like aspect, which disappears with the slow expiration which follows. According to another mode of rousing Kundalinī, the Yogī seated in Vajrāsana takes firm hold of his feet a little above the ankles, and slowly taps the Kanda (v. post) with them. Bhastra Kumbhaka is done and the abdomen is contracted.⁵
1 The Mantra Hangsah is the breath held in Kumbhaka.
2 Gheranda Sanghitā, III. 37—42. The Yoni Mudrā “which detaches the Manas from the objective world,” is described in the Com. to v. 36 of work here first translated, post.
3 Ib., v. 25 et seq.
4 See as to this tapping Plate IX which shows the position off the ground before or after it has been tapped.
5 Gheranda Sanghitā, Ch. III, v. 114 et seq.
The Khecharī Mudrā,¹ which, as well as the Yoni Mudrā, is referred to in the text translated, is the lengthening of the tongue until it reaches the space between the eyebrows. It is then turned back in the throat, and closes the exit of the breath previously inspired. The mind is fixed in the Ājnā² until with Siddhi this “path of the upward Kundalī” (Ūrddhvakundalinī) conquers the whole universe, which is realised in the Yogī’s body as not different from Ātmā.³ It is said that sometimes the frænum is cut but others can do the Mudrā without doing a physical injury which interferes with the putting out and withdrawing the tongue without manual help. In Shāmbhavī Mudrā is the mind kept free from Vritti or functioning in Siddhāsana.
The term Mudrā also includes⁴ what are called Bandha (bindings), certain physical methods of controlling Prāna. Three important ones which are referred to in the texts here translated are Uddīyāna, Mūla and Jālandhara.⁴ (See Plates XI, XII, XIV.) In the first the lungs are emptied by a strong expiration, and drawn against the upper part of the thorax, carrying the diaphragm along with them, and Prāna is made to rise and enter the Sushumnā. Through Mūlabandha (see Plate XIV) the Prāna and Apāna unite¹ and go into the Sushumnā. Then the inner “sounds” are heard—that is, a vibration is felt —and Prāna and Apāna, uniting with Nāda of the cardiac Anāhata Chakra, go to the heart, and are thereafter united with Bindu in the Ājnā. In Mūlabandha the perinæl region (Yonī) is pressed with the foot, the rectal muscle contracted (by Ashvinī Mudrā), and the Apāna drawn up.² The natural course of the Apāna is downwards, but by contraction at the Mūlādhāra it is made to go upwards through the Sushumnā when it meets Prāna. When the latter Vāyu reaches the region of fire below the navel,³ the fire becomes bright and strong, being fanned by Apāna. The heat in the body then becomes very powerful, and Kundalinī, feeling it, awakes from Her sleep “just as a serpent struck by a stick hisses and straightens itself”. Then it enters the Sushumnā. Jālandhara Bandha is done by deep inspiration and then contraction of the thoracic region (wherein is situated the Vishuddha Chakra), the chin being held firmly pressed against the root of the neck at a distance of about four fingers (Anguli) from the heart. This is said to bind the sixteen Ādhāras,⁴ or vital centres, and the nectar (Pīyūsha) which flows from
1 So called, according to the Dhyānabindu Up., because Chitta moves in Kha (Ākāsha), and the tongue through this Mudrā enters Kha.
2 Gheranda Sanghitā, Ch. III, vv. 25—27. Suspension of breath and insensibility result, so that the Yogī may be buried in the ground without air, food, or drink, as in the case of the Yogī spoken of in the accounts of Dr. McGregor and Lieut. A. H. Boileau, cited in N. C. Paul’s “Treatise on the Yoga Philosophy,” p. 49. In Ch. IV, v. 80, of the Hathayogapradīpikā, it is said that concentration between the eyebrows is the easiest and quickest way of attainment of Unmanī Avasthā. See Shāndilya Up., Ch. I; Dhyānabindu Up.
3 Yogakundalī Up., Ch. II.
4 Ib., Ch. III, vv. 55—76. There is also the Mahābandha. (See Plate XIII.) Ch. II, v. 45, says that Jālandhara should be done at the end of Pūraka; and Uddiyāna Bandha at the end of Kumbhaka and beginning of Rechaka. See also Yogakundalī Up., Ch I. Ib., Ch. III, v. 57; Yogatattva Up., Dhyānabindu Up. The Varāha Up., Ch. V, says that as Prāna is always flying up (Uddīyāna), so this Bandha, by which its flight is arrested, is called Uddīyānabandha. Yogakundalī Up., Ch. I, says, because Prānah uddīyate (goes up the Sushumnā) in this Bandha, it is called Uddīyāna.
1 The Shāndilya Up., Ch. I, defines Prānāyāma to be the union of Prāna and Apāna. Nāda and Bindu are thus united.
2 See Āgamakalpadruma, cited in notes to S.N., v. 50, post, comm., and Dhyānabindu Up. The Yogakundalī Up., Ch. I, says that the downward tendency of Apāna is forced up by bending down.
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