Soham

Wikipedia I". Soham (so 'ham [1]) is the Sanskrit for "I myself" or "It is I" or "He is

When it applies to a person's name, according to Vedic philosophy it means identifying oneself with the universe or ultimate reality. Some say that when a child is born it cries Koham-Koham which means Who am I?. That is when the universe replies back Soham.You are the same as I am.. It also stems from the Sanskrit word which means, "self pride." When used for meditation, "Soham" acts as a natural mantra to control one's breathing pattern, to help achieve deep breath, and to gain concentration. Sooooo... is the sound of inhalation, and is remembered in the mind along with that inhalation. Hummmm... is the sound of exhalation, and is remembered in the mind along with that exhalation. Soham is also considered a mantra in Tantrism and Kriya Yoga, known also as Ajapa mantra, Ajapa Gayatri, Hamsa Gayatri, Hamsa mantra, prana mantra, Shri Paraprasada mantra, paramatma-mantra, and as such used notably on its own, in the meditation practice ajapa japa[2] and in the kriya practice shabda sanchalana.[3] The mantra is also inverted from so 'ham (the sandhi of sa + aham) to ham + sa. The combination of so 'ha hasa has also been interpreted as "I myself am the Swan", where the swan symbolizes the Atman.[4] An etymology of hasa "swan, goose" (in fact cognate with English goose) as from aha sa "I am that" is found in the 14th century commentary on the Vedas by Sayana (14th century).[5] so 'ham is an emphatic form of aham, the first-person pronoun ("I"), translating to "I myself".[6] Interpreted as a nominal sentence, it can also be read as "It/He is I". Its use as a mantra emerges in mystical Sanskrit literature of the medieval period. The mantra is sometimes claimed to originate with the Isha Upanishad (verse 16), which ends: yat te rpa kalyatama tat te paymi yo 'sv [asau purua] so 'ham asmi "The light which is thy fairest form, I see it. I am [that] what He is (viz. the person in the sun)" (trans. Max Mller)[7] In several Advaita Vedanta Upanishads Dhyana-Bindu Upanishad[8][9][10][11][12] Hamsa Upanishad[13][14][15][16] Maha Vakya Upanishad[17] Suka Rahasya Upanishad[18] Surya Upanishad[19] Tripuratapini Upanishad[20]

Yoga Chudamani Upanishad[21] Yoga Sikha Upanishad[22][23] Tantras Gandharva Tantra[24][25] Kali Tantra[26][27] Kularnava Tantra[28][29][30][31] Mahanirvana Tantra[32][33][34][35] Niruttara Tantra[36][37] Shri Nathanavaratnamalika[38] Stotras Bhaja Gaureesam[39] Gowresa Ashtakam[40] Shakthi Mahimnah Stotram[41] Tripurasundari Vijaya Sthava[42] Adi Shankara's[43] Vakya Vritti[44] subsequent works in the Nath tradition foundational for Hatha yoga Matsyendranath's Yogavishaya[45] Gorakshanath's Siddha Siddhanta Paddhati[46][47] Gorakshanath's Yoga Bija[48] Gorakshanath's Goraksha Shataka[49][50][51] Jndev's Lakhota[52][53] Jndev's Yogapar Abhangamala[54][55] and foundational for Swara yoga the original script Shiva Svarodaya[56][57] [58] as well as the classical yoga treatises Gheranda Samhita[59][60][61][62] and Shiva Samhita[63] all make mention of soham and hamsa describing its significance and when teaching uniformly teaches So on inhalation and ham on exhalation. This traditional practice in its several forms and its background is described in numerous other books.[64][65][66][67][68][69][70][71] [edit]Hamsa Swami Muktananda - although teaching the traditional So on inhalation and ham on exhalation as a letter from 1968 to Franklin Jones reveals[72] - later published a book[73] teaching Ham on inhalation and sa on exhalation. This practice is described in several later books all referring to Muktananda.[74][75] [76][77][78] The teaching of Ham on inhalation and sa on exhalation is allegedly alluded to in a text of Kamir aivism, the Vijnana Bhairava: Air is exhaled with the sound SA and inhaled with the sound HAM. Then reciting of the mantra HAMSA is continuous[79]

Vijnana Bhairava, 155a However, this verse 155a is not found in the Vijnana Bhairava first published in 1918 in the Kashmir Series of Text and Studies[80] but is quoted from a commentary by the Abhinavagupta disciple Kemarja[81] in his Shiva Sutra Vimarshini (commentary on the Shiva Sutras)[82] in later editions of Vijnana Bhairava.[83] Natural mantra: The Soham mantra is a natural mantra because it is already part of your nature. Sooooo... is the sound of inhalation, and is remembered in the mind along with that inhalation. Hummmm... is the sound of exhalation, and is remembered in the mind along with that exhalation. Universal mantra: The Soham mantra has been called the universal mantra because of the fact that its vibration is already a part of the breath, and everybody breathes.Sooooo... is the sound of inhalation, and Hummmm... is the sound of exhalation. Other names or designations: The mantra is also designated as Hamsa, Hansa, Sohum, So Ham, or So Hum. Hamsa mantra: The Soham mantra is also called the Hamsa mantra. Hamsa (or hansa) poses the question, Who am I? Soham provides the answer, I am that. I am that: While the English translation may not be as important as the quality of the sound vibration, Soham translates as I am that. When remembered repeatedly, it declares I am that I am that I am that I am. Remembering the Soham mantra often during the day can be a very useful practice. Oh mind, sing the sound So Ham Soham Japalehe Manawa Soham, soham, soham. I am that I am, that I am, that I am The finest bridge between body and mind: Breath is a bridge between the body and the mind. When trying to meditate it is extremely common to have tension in the muscles and noisy thoughts in the mind. The nervous system is the arbiter between the tense body and the noisy mind. One of the best ways to regulate that nervous system, and in turn the body and mind, is through the breath. This has been known by the Yogis for thousands of years, and has also come to be widely known in recent years by the modern medical and psychological community. Value of Soham and breath: One of the finest, easiest, and most direct ways to train the breath, and in turn, regulate the nervous system, relax the body, and quiet the mind is through Soham mantra practiced at a steady, slow speed, with exhalation somewhat longer in duration than the inhalation. Click here for an online practice of Soham Meditation, or here for a CD of the same practice.

Soham and diaphragm breathing: The Soham mantra is extremely useful when practiced along with diaphragmatic breathing. Allow your attention to rest in a space about the size of the palm of your hand, just below the breast bone, at the upper abdomen. As you exhale with Hummmmmm, be aware of how that space gently pushes in, so as to exhale completely. As you inhale with Sooooooo, be aware of how that space move moves back outward, and how the lower ribs flare slightly outwards, to the sides. Allow the breath to be smooth, with no jerkiness. Allow it to be comfortably slow, and have no pauses between the breaths. Exhalation gently rounds back into inhalation, and inhalation gently rounds back into exhalation. This may be done either in a seated meditation posture or lying on your back in the corpse posture. Soham in breath along the spine: One of the deeper ways to use the Soham mantra is through spinal breath, by coordinating body, breath, and mind (Such practice has been popularized as a part of kriya yoga or kundalini yoga, though it is universal practice). As you inhale, allow the mind to be aware of the vibrationSooooooo as your attention moves upward along the subtle cord of the spine (sushumna), through the chakras towards the crown of the head. As you exhale, allow the mind to be aware of the vibration Hummmmmm as your attention moves downward along the subtle spine towards the perineum at the base of the spine, at the flat place between the genital area and the anus. Be aware of a thin, steady stream of energy and consciousness flowing up and down between this area near the base of the spine and the crown of the head. You may or may not be literally aware of the stream, and you may or may not experience it as a milky white stream of light. However you experience this flow is okay, and you will find it is a very beneficial meditation practice. Soham at the nostrils: Meditation with Soham at the bridge of the nostrils is a very effective practice that stabilizes and purifies the mind, training the mind in one-pointedness. Meditation on the gross breath leads to awareness of the subtler energy of prana, and then to deeper meditation beyond. Focus attention on the feel of the breath, the cognitive sense of touch, as it flows in and out, remembering the vibrations Sooooooo and Hummmmmm. Gradually allow the exhalation to elongate, becoming twice as long as the inhalation. Systematic practices: The three methods described above can be used in order, going from outer to inner, from gross to subtle. First, work with the diaphragmatic breathing and awareness of Soham mantra at the space just below the breast bone, at the upper abdomen. Second, allow attention to flow up and down along the spine with the Soham manta, exhaling down from the top of the head to the base of the spine, and then inhaling upwards. Third, come to rest at the bridge of the nostrils for meditation on the Soham mantra, feeling the touch of the air in the nostrils. By doing the practices in this order, your attention moves systematically inward, through the dimensions, to one-pointedness. After these three, you may want to move your attention to the space between the breasts or between the eyebrows, depending on your predisposition, using whatever mantra or focal point you normally use for meditation. Steps of practice: While the Soham mantra can be used alone, it is most effective when practiced in conjunction with the other steps of meditation,

including stretches or hatha postures, survey of the body or relaxation, and a variety of breathing practices. Listening and remembering versus speaking: The vibrations of the Soham mantra are allowed to arise in the mind field and to repeat themselves. While you might initially be using your will power to remember the mantra, it gradually will be noticed more automatically, somewhat like a song or an advertising slogan might start to repeat in your mind. Though you may not be literally hearing an audible sound of the mantra, the stance of attention is more like listening or remembering than it is one of speaking the mantra. Japa and ajapa japa: Recitation of a mantra is called japa. When that remembering comes automatically, it is called ajapa japa, meaning that the repetition called japa is coming without effort. A still subtler meaning of ajapa japa is having a constant awareness of the felt or experiential meaning of the mantra. In the case of Soham mantra, it means a constant, pervasive awareness of the flow of subtle energy related to the mantra and the exhalation and inhalation. At that point, the gross level of the syllables of the mantra may or may not still be there. Counting the mantras: While it is not at all necessary to count the repetitions of the mantra, it can sometimes be comforting to do so. It also can give some definition to your practice, particularly if the mind has a habit of wandering and wondering about length of time of the practice. The typical set of mala beads has108 beads. By counting one bead per breath, it takes about 1520 minutes or so to complete one round of the mala. A single round with the mala can be a useful preparation for meditation without the counting. To develop stability in your mantra practice, it can be useful to do an intentional practice of one mala (or other number) per day for a period of 40 days, or perhaps one year, starting and ending on some significant date. Songs within: There are many songs being played within, but they are seldom noticed. The heart sings a song that resonates throughout the body. The brain plays steady notes that can be heard when we are still. The breath sings a song, so-hum, so-hum; over and over, it sings the song of the Soham mantra. We are so busy, so entangled in the external world that we never take the time to listen within, to hear the natural melodies that will guide us still further inward to the finer music of consciousness. This is not mere poetic reflection; it is the truth. The inner vibrations of Soham mantra can be felt, heard, and experienced at ever subtler levels. The vibrations themselves are the guides. Swarodaya: The science of breath is called swarodaya in Sanskrit. The meaning of swara is a ripple of sound, and the meaning of swarodaya is the ocean. Thus, the science of breath is the science of the waves of sound in the ocean of consciousness. That sound, so-hum, so-hum, ever repeats itself, declaring, I am that, I am that, I am that, like the waves ever flowing in the ocean of bliss. The word leads back to the sound: Sound creates a wave form, the wave form creates a word, and the word has an external meaning. By starting with the external meaning of the Soham mantra, the breath, we follow the word, so-hum, back through the wave form from which it came, and to the sound from which that wave sprung forth. Use the sound, not the word: For meditation, one might begin by using the word and reflecting on it's grosser meaning. One might think of so-hum as the

literal sound that can be heard by listening to the passage of air at the nostrils. However, the deeper, truer practice for the student of meditation is to seek the subtler level of the Soham mantra, and go into the sound itself, allowing it to become the guide, leading attention further inward. Words surely have their place in relation to the external world, but the sound vibration itself is a finer, more powerful guide within. Finding the silent sound: All of these sounds, one after the other, lead us inward to the still, silent sound out of which they all emerge. The process comes in stages. At first, the mantra has a gross vibration and meaning. Next, there is the feeling associated with the mantra, which is itself a subtler version of the mantra. Then, there is a constant presence or awareness of the mantra. Finally, there is the soundless sound, the essence of the mantra. If anyone wants to know the meaning of silent sound of the Soham mantra, there is only one way to do so, and that is to follow the sounds inward to that place. Inside, the meaning is revealed in direct experience. Attention is required: There is one skill that is of utmost importance to meditation, and that is training the attention. It means developing a steady, unbroken relationship with the so-hum of the breath, regardless of the other activities of the mind. It is not about repressing thoughts, but is more like listening intently to the whisper of a beloved friend in a crowded room. It is your conviction to attention that makes the voice clear, not the elimination of the other people. So too, the thoughts of the mind are allowed their life, as you listen passionately to the so-hum, so-hum of the breath ebbing and flowing through the gross and subtle bodies, and the mind. Balancing chakras: By training the breath with Soham mantra, moving the attention up and down the central channel of sushumna, the chakras through which sushumna travels come into alignment or balance. This brings the mind into a pleasant, peaceful state that is preparation for advancing into the depths of meditation. The Soham mantra is a simple, straightforward method that can be done by virtually all people. Blow on the fire to make it burn: The latent spiritual energy of kundalini is to be awakened by stirring that fire of kundalini-shakti. The breath, though actually a result or manifestation of the kundalini, is a means of awakening the fire. By blowing the vibration so-hum, so-hum, the Soham mantra is like gently blowing on a glowing ember. Gradually and surely, the glow turns into a fire, growing ever bigger, ever brighter. Ham Sah Kriya: Ham/Sah or Sah/Ham? Getting to the Bottom (or Top) of It. by Wendy Newton (reprinted with permission from www.wendynewton.com) Ham/Sah Kriya is practiced as part of the ISHTA Diksha (the practices leading to meditation). Its primary intention is to help magnetize our consciousness to sushumna and then to brahma nadi, to move energy up and down the spine, and ultimately, to move us toward re-connecting our individual energies (Jiva Atman) with their universal source (Brahman). It is a foundational practice of ISHTA yoga. I am often asked about this practice by students, and I find that there is usually some confusion about the mantras themselves and how to apply them, whether there is any room for variation, and how to practice them

in relationship with the breath. My intention here is not to describe or teach the practices (which should be learned directly from an ISHTA Yoga teacher at the ISHTA center or in a private lesson), but to discuss some of the finer points as a learning tool. In learning any practice, it is important to try to first learn it the way it is given, without any variations. It is almost as if one needs to first go through a process of submitting to the effects of the practice without questioning in order to begin to have a visceral experience of it. At the same time, it is also important to try to understand the underlying purpose of the practice. At the beginning, questions are numerous, natural, and sometimes distracting, so there is a balance to be struck between the discipline of practice and the asking of questions (or one could say the indulgence of creativity). For me, questions are always good if they come out of your own first-hand experimentation. If they become over-intellectualized, they begin to take us away from the learning rather than moving us toward it. An attitude of accepting not knowing, even if only for a period, is essential to opening us up to learning new things. A closer look at the mantras, Ham and Sah may help. You can think of mantras not so much as ordinary sounds, but as vibrations that carry resonance having specific effects on our energy systems. Ham is a mantra that resonates the energy of transformation, and Sah is a mantra that resonates the energy of inspiration, or connection with universal source consciousness. At ISHTA, we teach Ham/Sah Kriya as part of a practice leading into meditation, but we also sometimes teach its reverse, Sah/Ham, as part of the asana practice. And therein, perhaps, lies some of the confusion. This is pretty heady stuff, and full understanding of the practices may come slowly over time. If you become confused about why the mantras are used on inhale or on exhale, or in connection with a visualization up or down the spine, orienting yourself to the basic principles of the mantras will help to take you out of right/wrong brain and into a deeper understanding of the practice. Practicing on your own mat and noticing the effects helps to root and deepen your learning. Patience and persistence are essential! The Sah/Ham Breath in Asana When practicing asana, you could say that we are engaged in life. We are moving. Our body and mind are active (even if calm), and we need to draw energy into our system for use in that activity. Just as we can breathe consciously or unconsciously, we can move consciously or unconsciously, and practicing yoga is about participating consciously in life, on or off the mat. To foster that sense of conscious participation in the process of life we use the mantra Sah/Ham, connecting it with the breath as we move through our asana. In this instance, Sah helps us to connect with our source in order to draw energy into our system (inspiration). Ham then is used to make us aware of the transformation of this energy throughout our physical bodies. This technique is done as part of the asana practice, not as part of meditation, and I often think of it as stoking an energetic fire with appropriate fuel. The Ham/Sah Kriya in Meditation When we sit for meditation, we are participating in what you might call a reverse process. As we withdraw our energies from activity, move our consciousness into sushumna and then into brahma nadi, and surrender to internal stillness, our energy naturally and gradually reconnects with source

(spirit, universal consciousness, Brahman). Ham/Sah Kriya is a technique that is helpful in encouraging individual consciousness to reconnect with and transform back to its source. In this practice, because we are moving from activity into stillness, the mantras reverse, and Ham now serves to help move our energy back in the direction of reconnecting with source (Brahman), while Sah transforms our individual consciousness to merge with that source. It is very important to remember that in the ISHTA Diksha, Ham Sah Kriya is practiced only once we have moved into a state of pratyahara (or sense withdrawal). This is because it can be felt as a stress if you are practicing the kriya with an active (or over-active) system. Some people need longer than others to come to this state. If you feel stress or frustration, take a little longer with the preparatory practices, give yourself time, and be gentle. As with all kriyas, Ham/Sah is a purification technique. Simply moving into pratyahara (sense withdrawal) and bringing focus and awareness to the spine and the subtle channels that lie within that structure helps to purify the energy system that underlies our physical self. As with all meditative techniques, its also important to remember that Ham/Sah Kriya is a practice that helps us to move into a meditative state. Meditation itself is something that you can only prepare for, not something you can actively do. It is similar to the process of falling asleep. We prepare by turning off the light, laying down, and perhaps counting sheep. When we surrender to the process, sleep then comes on its own. Allowing the meditative experience to be what it is rather than searching for an imagined outcome takes a lot of the pressure off, and actually allows the process to happen more easily. Hamsa Mantra - a simple breath practice On average, twenty-one thousand, six hundred times a day we chant the mantra Hamsa. "Ha" is the sound of the breath on our exhalations and "sa" is the sound of the inhalations. Some traditions reverse this, and the mantra is called "So'ham" - we hear "hmmm" on the inhalation and a sighing "sa" on the exhalation. Iyengar says they are actually combined; every creature creates so'ham on the inhalation (which means "He am I") and hamsa on the exhalation (which means "I am He"). This is called the "ajapa mantra." [1] While we chant this barely audible mantra with each breath, we can feel energy moving within us. Close your eyes and notice the way your energy state is altered while you inhale and exhale. Experiment with hearing "ham" on the inhalation and "sa" on the exhalation. Does this feel energizing or calming for you? Next reverse it: hear "sa" on the inhalation and "ham" on the exhalation. Does this change the energetic feelings? Many teachers will claim that hamsa is energizing and so'ham is relaxing. They teach that when we hear so'ham, prana is descending. On hearing hamsa, shakti (energy) rises. Other teachers claim the exact opposite. Of course, we are all different; half of us are natural belly breathers, half are chest breathers. It is not surprising that everyone doesn't respond the same way. You will need to experiment and find out which form of hamsa breathing energizes you, and which form calms you. Once you know, then you are ready to employ this tool in

your practice. Preparing for a Yin Yoga class, you may want to use the calming breath. Preparing for a yang practice, you may want to use an energizing breath. Of course, hamsa breathing can be used outside of your yoga practice too. We all have times in life when we are too stoked up and need to relax. The hamsa breath can be useful then. At other times, we need a quick boost of energy, and the opposite breath may be ideal. Instead of reaching, automatically, for that cigarette to calm you down, or that third cup of coffee or a cola to give you a pick-me-up, try working with the breath for a minute or two. You may be surprised at how effective it is, and it is a lot healthier. [2] Now that we know how to stimulate or calm our inner energies, let's investigate how we can direct these energies. The Unchanted Mantra The non-dualistic traditions of both Vedanta and Tantra tell us that without even knowing or realizing it, we are silently chanting a mantra 21,600 times daily! Not only is this mantra being silently recited by every living being, but it affirms the most fundamental of truths propounded by the monistic tradition that you are one with the Ultimate Reality. Multitude of Vedantic and Tantric texts explain this mantra, known as the Ajapa (unchanted) Mantra, Ajapa Gayatri, Hamsa Gayatri, Hamsa Mantra, Soham Mantra, etc. The essential teaching of the Ajapa Mantra, an extension of the teaching on prana (vital life-force), is that the very process of breathing is a mantra. The sound of inhalation plus the sound of exhalation together form this mantra known as So'ha or Hasa. Before we proceed further, however, we must understand that there is a fundamental difference between how Vedantic tradition treats the Ajapa Mantra and how the Agamic/Tantric tradition treats it. Texts of Vedanta uniformly accept and teach that the sound of inhalation is so(or the syllable sa) and the sound of exhalation is ha (or the syllable ha). Put together, the two syllables become So'ha. This teaching is elaborated in multiple Upanishads, particularly those classified as Yoga Upanishads. In the Vedantic context, So'ha indicates sa (He) + aha (I), and means He I am. Essentially, it is a silent reaffirmation of the Vedantic great statements (mahavakyas ): tat tva asi (That Thou Art) and aha brahmsmi (I am Brahman). In other words, with every breathing cycle (So'ha) we affirm the fundamental non-dualistic Vedantic teaching of the oneness of the Atman (aha) and Brahman (sa) Texts of Tantra, in contrast, accept and teach that the sound of inhalation isha (or the syllable ha) and the sound of exhalation is sa (the syllable sa). Together, the two syllables become Hasa. This is dealt with in multiple Shakta Tantras like the Todala Tantra, in Shaiva Tantras like the Vijnanabhairava Tantra, and Vaishnava Tantras like the Lakshmi Tantra. In the Tantric context, Hasa indicates a dual affirmation. On the one hand, Hasa indicates aha (I) + sa (he) meaning I am He; or aha (I) + s (she) meaning I am She. This affirmation is no different than the Vedantic affirmation of the oneness of the individual Atman and the Paramatman (Brahman).

The other affirmation inherent in the Ajapa Mantra, which is characteristically and uniquely Tantric, is that of the oneness of the masculine and feminine principles. The two syllables of the Hasa (ha + sa) are taught in the Tantric tradition to represent Shiva (ha) and Shakti (sa). The terms Shiva and Shakti may be replaced in Shaiva-Shakta sources with Sun (ha) and Moon (sa) or Bindu (ha) and Nada (sa). Similarly, in Vaishnava Tantras, ha represents Narayana, and sa represents Sri. In the Tantric tradition, therefore, the very process of breathing (Hasa) also affirms the absolute oneness of the Divine, seen as a dual principle of Shiva-Shakti, Bindu-Nada, Sun-Moon, Narayana-Sri, or ha-sa. Since the Vedantic and Tantric traditions of Hinduism are not mutually exclusive, what we find is that the doctrines of one system intermingle with the other. As a result of this, the terms So'ha and Hasa are used interchangeably in both traditions to refer to the Ajapa Mantra. Regardless of the term used to refer to the Ajapa Mantra, the phase of breath for which the syllables stand remains unchanged within the given tradition. Nevertheless, both traditions accept the Ajapa Mantra as the base mantra upon which all mantras ride, whether they are chanted out loud, pronounced without vocalizing, or recited mentally. In fact, the Hasa (which means swan) is depicted as a vehicle ofGayatri Devi, the personification of supreme mantra of the Rigveda. Regardless of the tradition, the great yogis of Hinduism have used sound and breath to understand both evolution from the Divine and involution back to the Divine. With regards to the Ajapa mantra, the in-breath reflects involution, a refolding of Shakti back into Shiva, and the out-breath reflects evolution, an unfolding of Shakti from Shiva. One who has understood the meaning of the Hasa mantra, mastered the esoteric teachings of Prana therein, and through this vehicle come to full and direct realization, therefore, is given the honorary title Paramahasa (supreme swan) because s/he is now a liberated being. Aum Namah Shivaya. Agnideva 2008. All rights reserved.

Ramana Maharshi on Mantra Japa Question : For controlling the mind, which of the two is better, performing japa of the ajapa [unspoken] mantra or of omkar [the sound of `om']? Ramana Maharshi : What is your idea of unspoken and involuntary japa [ajapa]? Will it be ajapa if you go on repeating with the mouth `soham, soham' [`I am he, I am he']? Ajapa really means to know that japa which goes on involuntarily without being uttered through the mouth. Without knowing this real meaning people think that it means repeating with the mouth the words `soham, soham' hundreds of thousands of times, counting them on the fingers or on a string of beads. Before beginning a japa breath control is prescribed. That means, first do pranayama [regulating of breath] and then begin repeating the mantra. Pranayama means first closing the mouth, doesn't it? If, by stopping the breath, the five elements in the body are bound down and controlled, what remains is

the real Self. That Self will by itself be repeating always `aham, aham' [`I, I']. That is ajapa. Knowing this, how could that which is repeated by mouth be ajapa? The vision of the real Self which performs japa of its own accord involuntarily and in a never-ending stream, like the flowing down continuously of oil, is ajapa, gayatri and everything. If you know who it is that is doing japa you will know what japa is. If you search and try to find out who it is that is doing japa, that japa itself becomes the Self. Question : Is there no benefit at all in doing japa with the mouth? Ramana Maharshi : Who said there is no benefit? Such japa will be the means for chitta suddhi [purifying the mind]. As the japa is done repeatedly the effort ripens and sooner or later leads to the right path. Good or bad, whatever is done never goes to waste. Only the differences and the merits and demerits of each will have to be told, looking to the stage of development of the person concerned. Question : Is not mental japa better than oral japa? Ramana Maharshi : Oral japa consists of sounds. The sounds arise from thoughts, for one must think before one expresses the thoughts in words. The thoughts are form the mind. Therefore mental japa is better than oral japa. Question : Should we not contemplate the japa and repeat it orally also? Ramana Maharshi : When the japa becomes mental, where is the need for the sounds? Japa, becoming mental, becomes contemplation. Dhyana, contemplation and mental japa are the same. When thoughts cease to be promiscuous and one thought persists to the exclusion of all others, it is said to be contemplation. The object of japa or dhyana is the exclusion of several thoughts and confining oneself to one single thought. Then that thought too vanishes into its source - absolute consciousness. The mind engages in japa and then sinks into its own source. Question : The mind is said to be from the brain. Ramana Maharshi : Where is the brain? It is in the body. I say that the body itself is a projection of the mind. You speak of the brain when you think of the body. It is the mind which creates the body, the brain in it and also ascertains that the brain is its seat. Question : Sri Bhagavan has said that the japa must be traced to its source. Is it not the mind that is meant? Ramana Maharshi : All these are only the workings of the mind. Japa helps to fix the mind on a single thought. All other thoughts are first subordinated until they disappear. When it becomes mental it is called dhyana. Dhyana is your true nature. It is however called dhyana because it is made with effort. Effort is necessary so long as thoughts are promiscuous. Because you are with other

thoughts, you call the continuity of a single thought meditation or dhyana. If that dhyana becomes effortless it will be found to be your real nature. Question : People give some names to God and say that the name is sacred and that repetitions of the name bestow merit on the individual. Can it be true? Ramana Maharshi : Why not? You bear a name to which you answer. But your body was not born with that name written on it, nor did it say to anyone that it bore such and such a name. And yet a name is given to you and you answer to that name, because you have identified yourself with the name. Therefore the name signified something and it is not a mere fiction. Similarly, God's name is effective. Repetition of the name is remembrance of what it signifies. Hence its merit. Question : While making japa for an hour or more I fall into a state like sleep. On waking up I recollect that my japa has been interrupted. So I try again. Ramana Maharshi : `Like sleep', that is right. It is the natural state. Because you are now associated with the ego, you consider that the natural state is something which interrupts your work. So you must have the experience repeated until you realize that it is your natural state. You will then find that japa is extraneous but still it will go on automatically. Your present doubt is due to that false identity, namely of identifying yourself with the mind that does the japa. Japa means clinging to one thought to the exclusion of all other thoughts. That is its purpose. It leads to dhyana which ends in Self-realization or jnana. Question : How should I carry on japa? Ramana Maharshi : One should not use the name of God mechanically and superficially without the feeling of devotion. Question : So mechanical repetition is unproductive? Ramana Maharshi : Acute diseases will not be cured merely by repeating the name of the medicine but only by drinking the medicine. Similarly, the bonds of birth and death will not cease merely by doing many repetitions of mahavakyas such as `I am Siva'. Instead of wandering about repeating `I am the supreme', abide as the supreme yourself. The misery of birth and death will not cease by vocally repeating countless times `I am that', but only by abiding as that. Source: from David Godman Excellent Book "Be As You are" Meditation ajapa japa Ajapa Japa Dhyana(So-Ham meditation) Ajapa japa Dhyana, is a meditation on spontaneous repetition of a mantra. Like we already know, concentration is a very important if not the most important practice to help us reach meditation. Ajapa Japa is, in this sense, a very simple and effective practice to reach this goal. To be able to concentrate

the mind we need an object on which we bring our attention on. Ajapa japa use many different objects for this purpose. Japa mean repetition of a mantra. When the suffix a is added to japa it mean that the repetition of the mantra become spontaneous. The Yogis have discover that our breath was having a particular sound, while breathing in the sound created was like the sound SO and while breathing out the sound created was like HAM. So they realise that we are unconsciously repeating the mantra SO-HAM all day long. With Ajapa japa practice well be consciously repeating the mantra So-Ham using the breath and the sound to focus our mind. A third factor will be use to increase our focus and this will be according to the movement of the breath and energy in the body. There is an important psychic pathway in the body its name is shushumna. It is where we want our energy to flow freely and harmoniously . This pathway begin at mooladhara chakra (perineum for man and cervix for women) and end up at ajna chakra (pineal gland). With this practice will be visualizing the energy moving up from mooladhara to ajna and down from ajna to mooladhara. The breath, the sound, and the movement will be the anchor for the focus of our mind. Unnecessary to say that it is enough to keep our mind out of the usual daydreaming mode! Another important aspect of the practice is the purging of the mind. During the practice well be doing SO-HAM for a while then well stop this practice and allow our mind to evacuate or to express it unconscious content by focusing on the dark space at the for head area call chiddhakasha. Like looking at a movie screen we'll let our mind play its deepest and far rooted memories film. Taking a witness attitude, well learn about our unconscious self and its surprising content. Those deep rooted memories have significant influences on our behaviour andour way of thinking and deeling with our environment. By allowing them to surface and acknowledging there presence we take a step to understand our self and subsequently to modify our own attitude, pattern and behaviour. The Practice. Stage one: Sit comfortably, take off your watch and glasses, turn off your cell phone. Make sure that nothing can disturb you practice. Your hands are on your knees with Chin, Gyan or Bhairava mudra. Your spine is straight the shoulder slightly back and relax the head is straight and chin slightly in. Adopt ujjayi breathing (restriction of glottis) and if you feel comfortable adopt ketchari mudra (tongue fold tip on soft palate). Stage two: Before starting Ajapa Japa Dhyana do a short kaya sthairyam (body stillness) practice, Be aware of your body posture, make sure your body is still, relax and grounded. Then move your awareness to the body sensation from toes to head. Make sure that you are now still, steady and comfortable. Then move your awareness to the outside sounds, move from one sound to the other without trying to identify the sounds but just by observing the different sounds. Move from the furthest to the closest sound.

Stage three: Then bring your attention to the breath. Feel your breath in and out of the nostrils, feel the cool air in and the warm air out. Stay focus on your breath for a while, you can even feel the hair of you nostrils moving with the breath. Then slowly increase the depth of you breath, make it become deep and slow. Stage four Beginner stage Imagine the breath in moving from the navel to the throat and the breath out moving from the throat to the navel. Advance stage Feel the energy moving from mooladhara chakra to vishuddhi ksetram(passing all other ksetram on the way) to bindu with the breath in and down from bindu to ajna chakra down to mooladhara chakra (passing all the other chakra on the way) with the breath out. Stage five Add the sound SO to your awareness while the breath is in, and HAM when the breath is going out. Continue this practices of SO-HAM keeping ujjayi, ketchari and awareness on the movement, breath and sound. Be completely focus on those object. Become the breath, the sound and the movement. Stage six After about 5 to 10 minutes stop the practice, breath normally and focus on chiddhakasha, the screen in the dark space at the forehead area. Keep focus, let the mind shows its content, dont censure any thought or feeling. Allow anything to surface be attentive take a witness attitude. Dont get emotionally involve into what you are seeing or feeling let it be. If you feel to cry you cry, but you cry with a witness attitude. It is a time of purging, your mind has deep rooted memories and it is a perfect time to allow them to surface and show themselves to you. They are part of you and you need to acknowledge them. Now you see them with different eyes and it is time to redigest them with awareness and compassion to you and other. Stage seven Then go back to SO-HAM practice for another 5 to 10 minutes, then again take time for chiddhakasha dharana. And continue this sequence as long as you feel comfortable Stage eight Then you stop SO-HAM practice, focus again on the breath, again become aware of the breath in and out of the nostrils.Then become aware of the outside sounds, then bbring your awareness on your body sitting in the studio or your room. Fell comfort and at be at peace with yourself and surrounding. Keep the feeling of Joy, Harmony, Happiness, Love and Peace with you and spread it to everyone youll meet. End up the practice by chanting Om three times, do palming one time and open your eyes slowly when you feel ready.

Ajapa Japa Meditation By Caoimhe Whelan Submitted by Ambarish Keenan on Sun, 26/04/2009 - 3:02pm. This is a yoga meditation technique which involves constant mental repetition of a mantra with breath awareness. Japa, which literally means "muttering" in Sanskrit, is the continuous repetition of a mantra. It only becomes ajapa japawhen the repetition of the mantra becomes spontaneous, or happens automatically without conscious effort. So in a sense ajapa japa is not something you do, but something which may or may not happen when you practice japa regularly over a long period of time. It is said that japa comes from the mouth but that ajapa japa comes from the heart. As is the case with most yoga practices (in particular pranayama and meditation), the 3 P's' are required if you hope to gain some benefits and insights from ajapa japa - Practice, Patience and Perseverance! Ajapa japa was not a practice that I felt particularly drawn to when I was first introduced to it. But as is often the case (in my experience at least!) the practices that I put up the most resistance to initially are the ones that I eventually feel strongly drawn to. What I get from ajapa japa is a feeling of thoughts, emotions, and all the stuff of the mind just gradually falling away until all that is left is the breath and the mantra. And as thoughts fade, life starts to feel less complicated, less of a challenge and the constant repetition of the mantra gives me a sense of tapping into something deep, strong and unchanging within myself. According to the Bhagavad Gita, "Those who aspire to the state of yoga should seek the Self in inner solitude through meditation". It's this Self' referred to here which ajapa japa can help you to glimpse or experience in some way. Mantra The Sanskrit word mantra comes from man (mind) and tra (to liberate), indicative that mantras can help us to free the mind of blockages Any mantra can be used in ajapa japa, but traditionally the mantra Soham is used as it corresponds with the natural sound of the inhalation and exhalation. In some of the Yoga Upanishads such as Yogashiksha, certain passages and stanzas declare that the breath goes in with the sound of So and comes out with the sound of Ham. Soham means "I am That", where That is pure consciousness, or the divine quality which is within all of us. However, it is not important to reflect on the meaning of the mantra, just the sound and the vibration. Other mantras can be used in ajapa japa, such as a personal mantra given to you by a teacher or guru, the Gayatri Mantra, or a Buddhist or Christian mantra. Whatever mantra you choose, stick with it. Breath Another important aspect to ajapa japa meditation is the breath. As you do the practice you must be aware of the breath, and its movement as it flows through the body. Ujjayi breathing is usually done during ajapa japa - long, deep and soft with a very quiet hissing sound which is audible only to you. It is practiced by bringing about a slight contraction in the throat (please note: ujjayi is contraindicated if you suffer from low blood pressure so if this is the case just do the practice while breathing normally).

During ajapa japa you must maintain total and unceasing awareness of what you are doing. Not a single breath should go unnoticed. You must consciously notice every ingoing and outgoing breath. In the initial stages of the practice breath awareness is watched in the frontal psychic passage between the energy centres located at the naval and throat; on the inbreath moving awareness and breath from naval to throat and on the outbreath from throat to naval. In more advanced stages the breath is observed through shushumna nadi (along the length of the spinal column). The use of a mala during the practice of ajapa japa can help you to stay focused and aware. A mala is a string of 108 beads used to count repetitions of the mantra, so it can give an indication of how far you have progressed in the practice. In the absence of a mala you could count repetitions by touching the thumb on the pads of the fingers. Doing Ajapa japa Meditation: There are several stages to this practice but just the most basic form of ajapa japa is outlined here. 1. Sit in any meditation pose and take some time to settle the body. Rest the hands on the knees in chin or jnana mudra. Be aware of the body and of stillness. 2. Switch your awareness from the body to the breath. Start to do ujjayi pranayama (making a soft hissing sound as you breath, like a cat purring). 3. Feel the breath and awareness move in the frontal psychic passage from naval to throat on the inhalation and from throat to naval on the exhalation. Continue for a few minutes. You might find that it helps to visualize the breath and prana move like liquid in a glass tube. As you inhale the level rises and as you exhale it falls. Be aware of every single breath you take. 4. Start to mentally synchronise the breath with the mantra Soham. Mentally repeat the mantra So as you breath in and Ham as you breathe out. The breath and the mantra should become one - the inbreath becomes So and the outbreath becomes Ham. Continue in this way with total awareness of the breath, the mantra and the movement of prana between the throat and naval. Allow the inner space of the mind to be filled with the sound of Soham. 5. Ending the practice - Leave awareness of the frontal psychic passage, the mantra and the breath. Allow the breathing to return to normal. Be aware of effects, or of thoughts. Take some time to externalize your awareness, again become aware of the physical body and become fully grounded. Chant Om three times. According to Swami Satyananda Saraswati, "Japa purifies the heart and steadies the mind. It scorches samskaras and induces vairagya, or nonattachment. Japa roots out desires and makes one fearless. It removes delusion and gives supreme peace. Japa gives health, wealth, strength and long life. It gives an exhilarating, refreshing bath and washes wonderfully the subtle body or astral body." For more information on Ajapa japa please refer to Dharana Darshan by Swami Niranjananda Saraswati.

The Original Ajapa Japa Swami Satyananda Saraswati Talk and practices given at Cama Hall, Bombay, February 1963, originally printed in YOGA, No. 1, Vol. 2, 1964. The sadhana of ajapa japa is as old as the Upanishads. In some of the Yoga Upanishads such as Yogashiksha, you will find certain passages and stanzas which declare that the breath goes in with the sound of So and comes out with the sound of Ham. This is the ajapa gayatri which the jiva continuously repeats. Valmiki was initiated by Narada into Ulta Nama, which is this very ajapa. Even now those who follow nirguna pantha sampradaya like Radaswami Pantha, Kabir Pantha etc. practise ajapa japa. Many of the ancient sages practised ajapa japa. Gandhiji has also written that the name should come from within the heart, and not only from the mouth. When the name is uttered from the mouth, it is called japa; when it is uttered from the heart, it is called ajapa. Gandhiji explained it in his own way. Importance of the breath Ajapa japa is a complete sadhana and through it one can have direct experience of samadhi. In order to attain samadhi, in all the other yogic practices one has to have complete control over the breath, the reason being that in samadhi the breath is suspended and kumbhaka takes place spontaneously. However, in the practice of ajapa japa, due to the continuity of breath and mantra, the breathing remains normal throughout, and even in samadhi there is no change. Apart from samadhi, there are certain practices in yoga where one becomes introvert and at that time there is automatic suspension of the breath. The difficulty is that the aspirant becomes extrovert after a short meditation if the lung capacity is not adequate. Many sadhakas have this difficulty. In the practice of ajapa japa, however, this problem is solved. In the shastras it is said that one should practise anahata japa which never ends; it must extend into infinity. However, we do not know any mantra as such. Therefore, we need a method of repeating the mantra so that it does not end. This is achieved through the practice of ajapa japa when the mantra is adjusted with the breathing process. Thus awareness of the mantra continues throughout the practice without any break. In ajapa japa there is a very efficient process of locating the awareness. Let me ask you at this moment, where is your awareness? Think for a second about where you are; you do not know where you are. Your awareness or consciousness is extroverted and dissipated, so you cannot locate it. However, through a meditative practice it can be located at any particular centre of your body. In the practice of ajapa japa, the consciousness is located with the breath and mantra. Ajapa japa is a complete practice in itself. Those who have read the Yoga Sutras of Patanjali know that first of all one has to concentrate on a concrete object. When the concentration on a concrete object is complete with open eyes, one must meditate on the same object with closed eyes. This is concentration on a subtle object. One must concentrate on the simple awareness of its presence. By practising ajapa japa both stages of concentration can be achieved.

Therefore, it is a complete practice in itself and through it one can enter the spiritual realms, even without the help of a guru. Balancing ida and pingala In the practice of ajapa japa, the component of the breath is utilized to harmonize the body and mind and awaken the spirit. In the shastras this is experienced in the following way. There were two birds, one black and the other white. Both the birds were tied to a peg with separate strings. They flew away for a short distance, but they had to return again because they were tied. Thus they flew and returned many times. Finally they got tired and slept peacefully near the peg. The above illustration refers to ida and pingala. They are the two birds, as it were. The breath flow in the right nostril corresponds to pingala or surya nadi, representing the vital force, and the left nostril corresponds to ida or chandra nadi, representing the mental force. The alternate functioning of ida and pingala takes one away from the inner consciousness. So long as ida and pingala function alternately, samadhi cannot be attained. It is only when the two birds, ida and pingala, are tied and retire to the centre, i.e. the heart or the self, that sushumna awakens and the process of meditation takes place spontaneously. According to swara yoga, when both the nostrils flow equally, it indicates that sushumna is flowing. At this time one should give up all worldly work and meditate. It is a common experience that when sushumna is flowing, meditation is wonderful because there is harmony in the entire system. When sushumna is not flowing, one does not achieve concentration even with great effort. So it is important that ida and pingala should be balanced in the process of meditation, thus making it possible for sushumna to function. Conscious breathing In ajapa japa the three important points are: deep breathing, relaxation and total awareness. During the practice you must maintain complete and unceasing awareness of what you are doing. Not a single breath should go unnoticed. There should be no automatic breathing. You must have unceasing awareness of every ingoing and outgoing breath. Automatic breathing goes on at night when you are asleep also; it is not ajapa japa. You must consciously notice every ingoing and outgoing breath, like a watchman, observe the continuous rhythm of the two breaths. Lie down and feel as if you are going to sleep. Breathe deeply like a person in deep sleep. After a few days practice, your breathing will be completely relaxed, rhythmic and proportionate. The normal rate of inhalation is 15 times in a minute, 900 times in an hour, and 21,600 times in 24 hours. Thus a person who has perfected ajapa japa will do 21,600 rounds of japa per day, effortlessly. As and when the concentration becomes deep, the breathing will become slower. Instead of 15 breaths per minute, you will breathe 10. In the practice of ajapa japa you make the breath as long and as deep as when you are snoring, but there is no audible sound. By conscious breathing and prolonging the breath, longevity is increased. Meditation posture Now we come to the asana. You must sit in one steady posture throughout the practice of ajapa japa. The body should not shake and the mind should not

run here and there. It is not physical mortification; it is sustained endurance. You take a pledge that you will sit in one posture for 45 minutes every day and practise ajapa japa. One day you do it, but the next day you lose patience, the third day you lose interest and the fourth day you forget about the practice altogether. In order to have success, you must keep your resolve and continue the practice with patience for a month or so at least. SIX STAGES OF AJAPA JAPA Before beginning the practice, sit in the meditation posture and relax yourself physically and mentally for a few minutes. Make yourself as light and relaxed as possible. Put aside all worries and problems. Feel calmness and serenity, peace and bliss. If you are very tense, there is a method of relaxation through counting the breath. Count one with the ingoing breath; count one with the outgoing breath; count two with the ingoing breath; count two with the outgoing breath. Go on counting like this until you reach five. On the count of five, be alert. Foster collective consciousness and undistracted awareness. Feel that you are definitely counting five. Say to yourself mentally, I am aware of five with the ingoing breath and I am aware of five with the outgoing breath. Then go on counting until you come to ten. Again be alert, maintain the fullest awareness that you are counting ten. Repeat this whole process two or three times. Stage 1: Synchronizing Soham with the breath Now start deep, rhythmic breathing. Intensify your awareness of the ingoing and outgoing breath. The ingoing breath moves downward from the throat to the navel and the outgoing breath moves upward from the navel to the throat. The breathing is not automatic it is conscious, deep and relaxed. Do not produce any sound while breathing. Feel the breath flowing in and out. Become aware of the movement of prana with the breath. Next synchronize the mantra Soham with the breath. The sound So joins with the ingoing breath and the sound Ham joins with the outgoing breath. Maintain unceasing awareness of the breath and mantra. Feel that you are introspecting upon Soham. There should be no mental pause between So and Ham; there should be continuity. After Ham pause a little. Breathe in with So and breathe out with Ham; this makes one round. There should be continuous awareness of the ingoing and outgoing breath and Soham. If you prefer, you can also adjust your personal mantra with the breathing process. If you practise with Soham, you need not think of the literal meaning of this word at all. It is not ahamgraha upasana. So is the introspective sound of the ingoing breath, while the vibrations that are created by the outgoing breath sound like Ham. Soham merely indicates the complete circuit of introspection upon the ingoing and outgoing breath. After integrating the mantra with the breath for a few minutes, centralize your awareness either at trikuti (the eyebrow centre) or at anahata chakra. Stop all thoughts; create a mental vacuum. Whatever thoughts come to you, go on removing them. Think only of shoonya. At the same time, continue conscious breathing in and out. After two or three minutes resume the practice of ajapa japa. Practise this stage for one month. After perfecting it, go on to the next stage. Stage 2: Synchronizing Hamso with the breath

During the first stage of ajapa japa, you introspect upon So with the ingoing breath and ham with the outgoing breath. Now in the second stage, reverse the process. Introspect upon Ham while exhaling and upon So while inhaling. There should be no pause between Ham and So. After Hamso there will be a short pause. Be conscious of Hamso throughout. Ham is the introspective sound vibration of the outgoing prana and So of the ingoing prana. The process of deep breathing, relaxation and total awareness will be the same in this practice of Hamso as in the practice of Soham. After ajapa of Hamso for a few minutes, take your consciousness either to trikuti or anahata chakra. There should be total awareness of the centre of meditation. Do not put any pressure on the centre. Simply concentrate your mind there. Practise this stage for one month and after mastering it, go on to the next stage. Stage 3: The individual sounds of So and Ham In the first stage you formulated your consciousness of the pattern of Soham. In the second stage you reversed it to Hamso. Now introspection is neither upon Soham nor Hamso, but upon the individual sound of So with the ingoing breath and ham with the outgoing breath. After So there is a pause and again after Ham. Be aware of the two individual sounds and do not unite them. After practising this for a few minutes, create a mental vacuum. Centralize your consciousness at the centre of meditation. After two or three minutes again resume the practice of individual So and individual Ham. Practise this stage for one month and after mastering it, go on to the next stage. Stage 4: Merging of Soham and Hamso Start rhythmic breathing. Breathe in and out with full awareness. As you breathe in, be aware of the breath passing down to the navel. As you breathe out, be aware of the breath passing up from the navel. Be aware of soundless, peaceful and relaxed breathing. Now integrate the Soham mantra with the breath. In this stage the form of consciousness is a continuity, So merging with Ham and Ham merging with So, making an endless circle of Sohamsohamsohamso . . . Prolong the vibrations of So and join them with those of Ham. There is no pause in the breath; inhalation follows exhalation and exhalation follows inhalation. Thus alternately introspect on Soham or Hamso without any break. Now stop this practice and empty your mind. Experience emptiness. Focus your consciousness at the centre of meditation. Remove all thoughts. Again after some time start the endless circle of Sohamsohamsohamso . . . At the end of the practice heighten your awareness of peace and rest. Mentally feel anandam, paramam, sukhum, shantam and mangalam. Stage 5: Spinal passage rotation with kundalini visualization and Soham Now we come to the practice of rotating the consciousness in the spinal cord, which is more difficult and demands greater imagination. In this process there are two important factors: annihilation of the external consciousness and expression of the calm and quiet atman within.

First relax yourself mentally and psychically. Practise deep, rhythmic breathing. Now become aware of the spinal passage and take the ingoing breath from ajna chakra at the top of the spinal passage down to mooladhara chakra at the base. As the breath moves down the spinal passage, try to feel it piercing each chakra in turn, but do not try to name them or stop at any one. Now retain your consciousness at mooladhara chakra for a few seconds while holding the breath. Visualize the red inverted triangle and within it kundalini, the dormant potentiality, which sleeps at the base of the spinal cord coiled up like a serpent with its tail upward and its mouth downward. Meditate on kundalini for a few seconds, then exhale from mooladhara back up to ajna, passing through each chakra junction. After simple rotation of the breath and consciousness through the spinal passage and the chakras, add the Soham mantra. While inhaling take the vibrations of So from ajna chakra down to mooladhara, passing through each chakra in turn. At mooladhara retain the breath and consciousness for a few seconds and meditate on the kundalini. Then exhale with the mental vibrations of Ham back up through the spinal passage from mooladhara to ajna. After exhaling with Ham, pause for a second or two at ajna. Just be aware of yourself; do not create emptiness. To sum up, with the ingoing breath and the vibrations of So, you descend the spinal passage. At mooladhara you retain the breath consciousness and focus on kundalini for a few seconds. Then while exhaling with the vibrations of Ham, you ascend the spinal passage. After exhalation, pause at ajna and practise simple self-awareness. Thus the fifth stage consists of rotating the breath and consciousness in the descending and ascending passage of the spinal column with the vibrations of So and Ham. In this practice the important things to be considered are rhythmic breathing, heightened imagination, perfect and conscious mindfulness or awareness of what you are doing, and complete relaxation. Rotation of the consciousness seems a little difficult in the beginning because it requires great imagination, but with a little practice later on it becomes quite real and easy. This practice is very important, because if one can do it successfully, one will get peace, serenity, good dreams and a change in mental outlook. It is said that the person whose kundalini awakens gets peace first and knowledge next. This meditation should be considered as successful if the practitioner gets peace and wisdom. Stage 6: Soham with shanmukhi mudra This practice is more difficult and requires greater imagination, patience and control over the breathing process. First of all, practise shanmukhi mudra. Close your ears with the thumbs. Close your eyes with the index fingers and lips with the ring and little fingers. Take a deep breath in and then close your nostrils with the middle fingers. While holding the breath inside, rotate your consciousness in the spinal column. With the vibrations of So descend from ajna to mooladhara, and with the vibrations of Ham ascend from mooladhara to ajna. Then release the breath. During this brief period of rest, practise self-awareness and mindfulness. In the second part of the sixth stage, you need not practise shanmukhi mudra. Simply inhale and retain the breath. During the period of retention, rotate

your consciousness in the spinal column. Descend from ajna to mooladhara; stay at mooladhara for a few moments, then ascend to ajna and exhale. Rest and practise self-awareness in between rounds.

The necessity of mindfulness Throughout these practices of ajapa japa, the method of mindful concentration upon the breath was propounded. The most important things in the practice of ajapa japa are rhythmic breathing and mindfulness or total awareness. Throughout the process of meditation, you must be mindful of every activity. While practising meditation, if you forget that you are meditating, you will never have success. While meditating there comes a state of tandra, drowsiness, and this is the trouble with almost every aspirant who meditates. You go on thinking of a certain problem for fifteen minutes or so. During this period when you are brooding over the problem, you are not mindful that you are brooding. It is only when you finish the process of brooding that you realize you were thinking about such and such a thing. This is not meditation. In meditation, concentration is not as important as mindfulness. Therefore, I always emphasize one point: be aware of what you are doing. Be conscious that you are counting, be mindful that you are visualizing, breathing, etc. In short, be absolutely awake and vigilant. You have to be conscious of every process of breathing. Mindfulness should be unceasing and unobstructed. This is called unceasing continuity. In meditation, if you count one, two three, four, your mind should not wander even for a single second. Even if it wanders, let it do so, but be aware that it is wandering. If you can concentrate, be aware that you are concentrating. It is the very nature of the mind to wander and slip. You need not worry about this, but be aware of every tendency of the mind. Whenever your mind, your consciousness, your awareness dissipates, be alert. No mental activity should go unnoticed. You should never be unmindful of the process of concentration. This is the fundamental and the only point in meditation to be remembered. If you fail to remember or understand this most important point, you will never get success in meditation, even if you meditate for a century. It is a psychological fact that when you want to control the mind, it will wander ruthlessly and you will fail to control it. But if you quietly watch the mental activities, they will immediately stop. Therefore, in all the practices of ajapa japa I have tried to impress upon you this truth that instead of commanding the mind to stop forcibly, you should become mindful of its every activity. Complete system of mental training This exposition of the method of ajapa japa being practical, not much has been said here about the psychological significance of this kriya. However, it is not to be forgotten that ajapa japa offers a permanent cure for all mental disorders and its therapeutic importance can hardly be overemphasized. It also has a sacred significance which has been hinted at in several cryptic and

mystical formulas in our ancient literature. These and other important aspects of ajapa japa can better be discussed and understood after one has gained the experience of doing the japa practice. Ajapa japa meditation helps one to withdraw the senses and awaken selfawareness. It removes the impurities of the mind. A burning lamp cannot give full illumination if its glass is covered in smoke. Only when the glass is cleaned will the lamp shine fully. Similarly, the light or the power of the atman is within us, but it does not manifest itself in our daily life because of the hindrances of the thought process, the vagaries, dissipations and distractions of the mind. There are different systems of meditation. The first group relates to the body, the second to the mind (i.e. thinking of an idea), the third to the intellect and the fourth to the higher consciousness. The light manifests itself when the physical consciousness, the mental consciousness, the intellectual consciousness and, lastly, the personality itself are eradicated totally. So long as you do not transcend the body, the mind and the intellect, you will not attain perfect serenity and peace. The practices of ajapa japa aim at achieving this end. In an academic career one has to go through the primary, higher secondary, college and university education, in order to obtain the highest degree. Even so, in meditation there are four stages: relaxation, awareness, unification and transcendence. This has been explained in the practices of ajapa japa. Ajapa japa is a complete method of mental training. In order to attain success, you must begin right from the first stage of meditation and gradually go to the last. Out of these six practices, you can conveniently practise the first four stages at home every day without difficulty. The fifth stage is a bit difficult in the sense that it requires greater power of imagination and concentration. It will take you some time to master it, but once you do, the sixth stage will also become much easier to practice. Vijnanabhairava Satyananda 145. Japa dhaiana on the supreme consciousness Bhooyo bhooyah pare bhaave bhaavanaa bhaavyate hi yaa; Japak so'tra svayam naado mantraatmaa japya eedrishah. (145) Anvay Bhooyah-bhooyah: being, again and again; Pare bhaave. in the supreme consciousness; Bhaavanaa: thought; Bhaavyate: contemplate; Hi yaa: is also; Japah: recitation; Sah-atra: that have; Svayam: self; Nadak: sound;

Mantraatmaa: atma of mantra; Japya: recitation; Eedrishah: like this. Translation Contemplate on the thought of being in the supreme consciousness again and again; this is also japa. That self- sound (which is spontaneously produced) is verily the soul of mantra. Japa is done like this. Commentary Japa literally means 'repetition'. Due to constant association with mantra, japa now implies the idea uf mantra repetition. However, one can practise japa of anything. One can practise repetition of the remembrance of an idea or thought. For example, it can be said that by remembering your beloved the whole day, you are practising japa on her/him. In the same way one can continuously remember the Lord or contemplate on die idea that one is in the supreme conscious state, experiencing the anahad nada, which is the sound of the soul, or the atma of all mantras. This is the real japa because all mantras have emanated from that anahad, or unstruck cosmic sound, that is reverberating throughout the universe. Svayam nado refers to the ajapa japa mantra Soham or Hamso that emanates from the heart centre, or anahata chakra T with each inhalation and exhalation of the breath, and is regarded as the soul or source of all mantras. Hence this dharana equates the act of breathing and the subsequent sound that is emitted as the real japa which has been infused in each and every being, Soham is the self-bom mantra. The divine consciousness initiates us into this mantra at the very beginning of our existence in the mother's womb. After birth it is the guru who reminds us of this inborn treasure we have received as our natural heritage, for it. is these two mantras which once again bring us in touch with our creator. 155b. Hamsa dharana Sakuarenu bahir yaali Itakaarena vishel pimah; Hamsahamsetyantunt mantrarti jeevo japah nityashah. (155b) Anvay Sakaarena: making the sound 'Sa'; Bahir-yaati; goes outside; Hakaarena: with the sound 'Ha*; Visket: enters or comes inside; Punah: again; Flawsa fuintseti: mantra Hamsa; Allium: this particular; Maniram: mantra; Jeevo: individual; Japaii: recites; NHyaahah: always. Translation The breath is exhaled with the sound 'Ha' and inhaled again with the sound 'Sa'. Thus the individual always repeats this particular mantra Hamsa, Commentary

'Ha' and 'Sa' together form the mantra of ajapa japa, which means 'spontaneous repetition'. Even without your knowl- edge you have been repeating this mantra from the moment you were horn because this sound is created by the outgoing and ingoing breath. Exhalation produces the sound 'Ha' and inlialation 'Sa'. This sound of the breath is an intimate aspect of your being, and is thus a natural and spontaneous way to turn the awareness towards the inner self, Ilamsa is the self-born mantra which you receive from the Divine, and is the utterance of that supreme consciousness. If you could perceive this with total understanding, you would realize the truth this very moment. Through understanding the mystery ol Soham or Hamsa, you come to know the self. This dharana is also related to the first dharana in sloka 24, because the prana and apana vayus mentioned there further manifest as the breath. You can join the inhalation to the exhalation by repeating the mantra Sobam, or die exhalation to the inhalation by repeating Hamso. Eventually, however, an awareness of the gap between them should be developed by focusing at the point where the inhalation aims into exhalation or exhalation turns into inhalation. There the mind dissolves spontaneously. This generates the experience of the pancha vayus as they flow in the body, which subsequently leads to awareness of the cosmic prana or supreme source of the breath. Vijnana bhairava Odier 155 a - 156. Air is exhaled with the sound SA and inhaled with the sound HAM. Thenreciting of the mantra HAMSA is continuous. Breath is the mantra, repeated twenty-onethousand times, day and night. It is the mantra of the supreme Goddess. Dhyanabindu upanishad 61(b)-63. The Jiva comes out with the letter Ha and gets in again with the letter Sa. Thus Jiva always utters the Mantra Hamsa, Hamsa. The Jiva always utters the Mantra twenty-one thousand and six hundred times in one day and night. This is called Ajapa Gayatri and is ever the bestower of Nirvana to the Yogins. Yoga chudamani upanishad The Jeevatma (the soul of the physical individual) is under the control of prana which goes up and down as well as apana. Apana pulls Prana. Prana pulls Apana. He who knows and realizes this mutual pull which is pulling to the top and bottom, understands yoga. 30 It goes outside with the sound ha and goes again inside with the sound sa. The beings keeping on chanting this mantra as Hamsa, Hamsa. 31 The beings always keep on chanting this mantra day and night twenty one thousand and one hundred times. 32 This mantra which is called Ajapa Gayatri would give salvation to all yogis. Just a thought of this mantra, would help one get rid of all sins. 33

There are no practices as holy as this, no chanting which is equivalent to this, and no wisdom equivalent to this and in future also this is not likely to be there. 34 This Ajapa Gayatri which rises from the Kundalani supports the soul. This is the greatest among the sciences of the soul. He who knows this will know the Vedas. 35 Yoga sikha upanishad 1.5 The prana goes out with sound ham and goes in with the word sa, and all beings naturally chant the mantra Hamsa, Hamsa (while exhaling and inhaling). This is chanted in the Sushumna after being taught by the Guru in an inverted manner (Hamsa inverted is soham). This chanting of the mantra Soham, Soham (I am it) is called Mantra Yoga.