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Yogatattva Upanishad (translation and study)

by Sujata Jena | 2024 | 72,363 words

This study explores the philosophical and yogic concepts within the Yogatattva Upanishad—an ancient Sanskrit text wihchi s part of the Vedic literature that delves into the essence of yoga and meditation, linking mental control to spiritual enlightenment. The thesis also emphasizes the importance of eightfold path (or Ashtanga Yoga) and the integra...

Part 1.5 - Treatment of various other Dharana

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Laya Dharana: There are two ways to achieve self-awareness. One path leads to the expansion of consciousness and the other path leads to total dispersion, 232

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laya or sunya. The first path involves many spiritual practices and is taught by many teachers. The second way is known as laya or is taught by a few people. This is what Saint John of the Cross was talking about when he said: "I swear by God that I die every night." What are this death and this night? When the mind withdraws towards the source, when the pranas and the body remain inert, as if dead, it is laya. The only difference between the final stage of laya and the experience of death is that after you die, you will not return to the same body, but after attaining the stage of laya, you will return to the same body and mind and return life as one. Vyoma Pancaka Dharana: Vyoma, the firmament, space or firmament, is described in the Vedic sastras as the seat of the gods. From a psychic perspective, vyoma represents the highest spiritual state, which is defined as anibaaha, ourooloka and brihat. Anibandha means "without any hindrance to the expansion of consciousness", which is the goal of life. Through the expansion of consciousness, the universal consciousness shows the spiritual seeker, that is why it is called ourooloka. Vyoma is also described as the brihat from which it conveys the boundary and characteristic of sound. The limitless and bright sky, shining with the sun's rays during the day and the soft light of the moon and stars at night, is a symbol of infinity, so the sky was chosen but it is space as a high reflection object. Clouds can be bad, storms can blow, and the sun can disappear, but the sky is still there. After cidakasa, hrdayakasa and dahakasa, three great spaces, we arrive at vyoma pancakam, five subtle spaces of the intermediate stage of dharana. At this time, the mind is still working in a state of alertness, but the observational field is gradually becoming more subtle. The experience of these subtle spaces comes from the unconscious and is 233

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experienced in the guna rahita akasa, paramakasa, mahakasa, tattvakasa and suryakasa. Nadanusandhana Dharana: The Sanskrit word nada means 'sound' or, etymologically, "stream of consciousness". Nada is the primordial vibration, the divine sound, present in nature. This is very spiritual practice. The word anusandhana means 'discovery' or 'search'. The discovery of sound vibrations, from great to subtle, from external to internal, from psychic to causal and beyond, is an important part of dharana and known as nadanusandhana, the art of tracing the air of music. Where there is energy, there is motion and vibration, and vibration creates sound. There are sounds that are beyond and below the normal range of hearing. Rotating the arm creates tension in the air and creates sound. You don't hear sounds like this, but sounds like a kind of vibration, a kind of movement, a sound of energy. These vibrations are not limited to the physical or pranic body; they are also part of the mind, emotions and intelligence. Even when we think, waves occur in the mind that creates specific noises and sounds. When we go inside, directing the ability of the mind and understanding inside, then the sound is experienced and known as sound, the sound of the character, the sound of being, the sound of the self. This sound is the simplest sound we can find in this section. It's not a breaking sound, it's a continuous sound. In yogic terms, these sounds are called aksaras, which literally means "immortal sounds." Since the birth of man until today, we use sunds to express ourselves. We use the sound outside. We've got the quality, the power, the feel of the sound and the exterior. In this practice, we see in the character, the feeling and the power of the sound. 234

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