(arthabhavana), so that the seeker’s speech can become sanctified and thus the seed of imperfection (dosa bija) or defect be eradicated (dosa nivrtti) once and for all.
From here on, his sadhana continues uninterruptedly with devotion (anusthana). This practice, (sadhana-ana) will go on generating knowledge until he touches the towering wisdom (see Sutra II.28 in the sadhana pada).
Through the capsule of kriya yoga, Patañjali explains the cosmogony of nature and how to ultimately co-ordinate nature, in body, mind and speech. Through discipline tapas, study – svadhyaya, and devotion – Isvara pranidhana, the student can become free from nature’s erratic play, remaining in the abode of the Self.
In Sutra II.19 in the sadhana pada, Patañjali identifies the distinguishable, or physically manifest (visesa) marks and the non-distinguishable, or subtle, (avisesa) elements which comprise existence and which are transformed to take the individual to the noumenal (linga) state. Then through astanga yoga, coupled with sadhana-traya, all nature, or prakrti (alinga) becomes one, merged.
He defines the distinguishable marks of nature as the five elements: earth, water, fire, air and ether; (pañca-bhuta); the five organs of action (karmendriya); the five senses of perception (jñanendriya), and the mind (manas). The non-distinguishable marks are defined as the tanmatra (sound, touch, shape, taste and smell) and pride (ahamkara). These twenty-two principles have to merge in mahat (linga), and then dissolve in nature (prakrti). The first sixteen distinguishable marks are brought under control by tapas – practice and discipline, the six undistinguishable ones by svadhyaya – study and abhyasa – repetition. Nature, prakrti, and mahat,the Universal Consciousness, become one through and in Isvara pranidhana.
At this point all oscillations of the gunas that shape existence terminate and prakrtijaya, a mastery over nature, takes place. From this quiet silence of prakrti, Self (purusa) shines forth like the never fading sun.
In the Hathayoga Pradipika Svatmarama explains something very similar. He says that the body, being inert, tamasic, is uplifted to the level of the active, rajasic, mind through Asana and pranayama with yama and niyama. When the body is made as vibrant as the mind, through study, svadhyaya and through practice and repetitions, abhyasa, both mind and body are lifted towards the noumenal state of sattva guna. From sattva guna the sadhaka follows Isvara pranidhana to become a gunatitan (free from gunas).
Patañjali also addresses Svatmarama’s explanation of the different capabilities and therefore expectations for weak (mrdu), average (madhyama) and outstanding (adhimatra) students (see I.22). He guides the most basic beginner (the tamasic sadhaka) to follow yama, niyama, Asana, and pranayama as tapas, to become madhyadhikarins (vibrant and rajasic), and to intensify this practice into pratyahara (withdrawal of the senses) and dharana (intense focus and concentration) as their path of study, svadhyaya, and then to proceed towards sattva guna through dhyana (devotion), and to gunatitan (the state uninfluenced by the gunas) into samadhi, the most profound state of meditiation – through Isvara pranidhana.
By this graded practice, according to the level of the sadhaka, all sadhakas have to touch the purusa (hrdayasparsi), sooner or later through tivra samvega sadhana (I.21).
Hence, kriya yoga sadhana-traya envelopes all the aspects of astanga yoga, each complimenting (puraka) and supplementing (posaka) the others. When sadhana becomes subtle and fine, then tapas, svadhyaya and Isvara pranidhana, work in unison with the eight-petals of astanga yoga, and the sadhanaka’s mind (manas), intelligence (buddhi) and ‘I’ ness or ‘mineness’ (ahamkara) are sublimated. Only then does he become a yogi. In him friendliness, compassion, gladness and oneness (samanata) flows benevolently in body, consciousness and speech to live in beatitude (divya ananda).
This is the way of the practice (sadhana), as explained by Patañjali that lifts even a raw sadhaka to reach ripeness in his sadhana and experience emancipation.
I am indebted to Thorsons for this special edition of Light on the Yoga Sutras of Patañjali, enabling readers to take a dip in sadhana and savour the nectar of immortality.
B.K.S. IYENGAR
14 December 2001
First I would like to tell you something about Patañjali, who he was and what was his lineage. Historically, Patañjali may have lived some time between 500 and 200 B.C., but much of what we know of the master of yoga is drawn from legends. He is referred to as a svayambhu, an evolved soul incarnated of his own will to help humanity. He assumed human form, experienced our sorrows and joys, and learned to transcend them. In the Yoga Sutras he described the ways of overcoming the afflictions of the body and the fluctuations of the mind: the obstacles to spiritual development.
Patañjali’s words are direct, original and traditionally held to be of divine provenance. After more than twenty centuries they remain fresh, fascinating and all-absorbing, and will remain so for centuries to come.
Patañjali’s 196 aphorisms or sutras cover all aspects of life, beginning with a prescribed code of conduct and ending with man’s vision of his true Self. Each word of the sutras is concise and precise. As individual drops of rain contribute towards the formation of a lake, so each word contained in the sutras conveys a wealth of thought and experience, and is indispensable to the whole.
Patañjali chose to write on three subjects, grammar, medicine and yoga. The Yoga Sutras, his culminating work, is his distillation of human knowledge. Like pearls on a thread, the Yoga Sutras form a precious necklace, a diadem of illuminative wisdom. To comprehend their message and put it into practice is to transform oneself into a highly cultured and civilized person, a rare and worthy human being.
Though I have practised and worked in the field of yoga for more than fifty years, I may have to practice for several more lifetimes to reach perfection in the subject. Therefore, the explanation of the most abstruse sutras lies yet beyond my power.
It is said that once Lord Visnu was seated on Adisesa, Lord of serpents, His couch, watching the enchanting dance of Lord siva. Lord Visnu was so totally absorbed in the dance movements of Lord siva that His body began to vibrate to their rhythm. This vibration made Him heavier and heavier, causing Adisesa to feel so uncomfortable that he was gasping for breath and was on the point of collapse. The moment the dance came to an end, Lord Visnu’s body became light again. Adisesa was amazed and asked his master the cause of these stupendous changes. The Lord explained that the grace, beauty, majesty and grandeur of Lord siva’s dance had created corresponding vibrations in His own body, making it heavy. Marvelling at this, Adisesa professed a desire to learn to dance so as to exalt his Lord. Visnu became thoughtful, and predicted that soon Lord siva would grace Adisesa to write a commentary on grammar, and that he would then also be able to devote himself to perfection in the art of dance. Adisesa was over-joyed by these words and looked forward to the descent of Lord siva’s grace.
Adisesa then began to meditate to ascertain who would be his mother on earth. In meditation, he had the vision of a yogini by the name of Gonika who was praying for a worthy son to whom she could impart her knowledge and wisdom. He at once realized that she would be a worthy mother for him, and awaited an auspicious moment to become her son.
Gonika, thinking that her earthly life was approaching its end, had not found a worthy son for whom she had been searching. Now, as a last resort, she looked to the Sun God, the living witness of God on earth and prayed to Him to fulfil her desire. She took a handful of water as a final oblation to Him, closed her eyes and meditated on the Sun. As she was about to offer the water, she opened her