घेरण्ड संहिता (महर्षि घेरण्ड - सप्ताङ्ग हठयोग सटीक)

INTRODUCTION xv based on two earlier Bengali editions which appear to have relied on a very small number of manuscripts. The Adyar Library edition is much more thorough and omits several spurious verses found in Vasu's edition. I consulted three manuscripts (two in the library in Jodhpur's Mehrangarh Fort and one in the Bodleian Library, Oxford) that were not collated for the Lonavala edition, but they were very similar to manuscripts that had been used so I decided that there was no point in editing the text myself. I have made emen- dations or adopted alternative readings in a few places, but in general the text is the same as the Lonavala edition.³ The Sanskrit is of the variety that medieval commentators on Tantric and Yogic works generously called "aisha," which literally means "coming from Shiva." In other words, it is often ungrammatical. Some verses have been borrowed from other works, in particular the Hatha Yoga Pradipika and the Goraksha Samhita. The section on the five dharanas (elemental visualizations) in verses 3.59-63 sheds light on the text's composition and development. It has clearly been taken directly from the Goraksha Samhita, verses 155-59, but is incoherent and ungrammatical in all the Gheranda Samhita manuscripts. In the Goraksha Samhita each element has a ³These critical editions are mentioned in the introduction and footnotes. The first work has been referred to as the Goraksha Samhita. Nowotny, Fausta. Das Gorakṣaśataka. Dokumente der Geistesgeschichte 3. Köln: K. A. Nowotny, 1976. Digambarji, Swami, and Dr. M. L. Gharote, eds. Gheraṇḍasaṃhitā. Lonāvalā: Kaival- yadhāma Śrīman Mādhav Yoga Mandir Samiti, 1978. Mallik, Kalyani. The Siddhasiddhāntapaddhati and Other Works of Nātha Yogīs. Poona: Oriental Book House, 1954.

xvi INTRODUCTION color, a shape, a location in the body, and a mantra, but these are confused and omitted in the Gheranda Samhita. In verse 3.62, for example, the wind element is said to be black, smoky, and white, while in the Goraksha Samhita it is just black. I have somewhat boldly decided to adopt the readings of the Goraksha Samhita for the entire passage. That all the Gheranda Samhita manuscripts present a similarly incoherent description of the dharanas is surpris- ing and points to two possible scenarios. Either they are descended from a single flawed manuscript or the compiler of the Gheranda Samhita was using a flawed manuscript of the Goraksha Samhita to write the text. The first hypothe- sis requires a lengthy and improbably irregular manuscript tradition predating the earliest extant manuscript, which, in the absence of external evidence for the text's existence prior to 1802 C.E., is unlikely. I am thus inclined to believe the second hypothesis. In translating, I have tried to be as literal as possible without sacrificing readability. I have sought not to add anything to what is found in the Sanskrit text—commen- tary and elucidation are for the practitioner's guru. Thus where the instructions for a practice are ambiguous, they have been left that way. The photographs of the asanas and mudras draw from the descriptions in the text. In a few instances those descriptions do not provide all the informa- tion necessary to be sure of the correct posture. For those cases I have relied on current practice and common sense to fill in the gaps.

तृतीयोपदेशः Chapter Three Mudras महामुद्रा नभोमुद्रा उड्डीयानं जलन्धरम् । मूलबन्धो महाबन्धो महावेधश्च खेचरी ॥ 1 विपरीतकरी योनिर्वज्रोली शक्तिचालनी । ताडागी माण्डुकीमुद्रा शाम्भवी पञ्चधारणा ॥ 2 अश्विनी पाशिनी काकी मातङ्गी च भुजंगिनी । पञ्चविंशतिमुद्राश्च सिद्धिदा इह योगिनाम् ॥ 3 Mahamudra, Nabhomudra, Uddiyana, Jalandhara, Mulabandha, Mahabandha, Mahavedha, and Khechari; Viparitakarani, Yoni, Vajroli, Shaktichalani, Tadagi, Mandukimudra, Shambhavi, the five dharanas, Ashvini, Pashini, Kaki, Matangi, and Bhujangini: these twenty-five mudras grant success in this world to yogis. पायुमूलं वामगुल्फे संपीड्य दृढयत्नतः । याम्यपादं प्रसार्याथ करोपात्तपदाङ्गुलिः ॥ 4 कण्ठसंकोचनं कृत्वा भ्रुवोर्मध्ये निरीक्षयेत् । पूरकैर्वायुं संपूर्य महामुद्रा निगद्यते ॥ 5 60

MUDRAS 61 Firmly press the anus onto the left ankle, extend the right foot, hold the toes with the hands, contract the throat, and look between the eyebrows. Inhaling repeatedly, fill yourself completely with air. This is called Mahamudra. वलितं पलितं चैव जरामृत्युं निवारयेत् । क्षयकासगुदावर्तप्लीहाजीर्णज्वरं तथा । नाशयेत्सर्वरोगांश्च महामुद्राप्रसाधनात् ॥ 6 It can cure wrinkles and gray hair, old age and death, consumptive cough, constipation, disorders of the spleen, decrepitude, and fever. By mastering Mahamudra, the yogi can get rid of all diseases. यत्र यत्र स्थितो योगी सर्वकार्येषु सर्वदा । ऊर्ध्वजिह्वः स्थिरो भूत्वा धारयेत्पवनं सदा । नभोमुद्रा भवेदेषा योगिनां रोगनाशिनी ॥ 7 Wherever the yogi may be, he should always, in every- thing he does, be sure to keep the tongue turned upwards and constantly hold the breath. This is Nabhomudra, the destroyer of diseases for yogis. उदरे पश्चिमं तानं नाभेरूर्ध्वं तु कारयेत् । उड्डीनं कुरुते यस्मादविश्रान्तं महाखगः । उड्डीयानं त्वसौ बन्धो मृत्युमातंगकेसरी ॥ 8

62 मुद्रा Draw the abdomen backwards above the navel so that the great bird flies unceasingly upwards. This is Uddiyana- bandha, a lion against the elephant of death. समग्राद्बन्धनाद्ध्येतदुड्डीयानं विशिष्यते । उड्डीयाने समभ्यस्ते मुक्तिः स्वाभाविकी भवेत् ॥ ९ This Uddiyana sets itself apart from all bandhas: when Uddiyana is practiced, liberation arises spontaneously. कण्ठसंकोचनं कृत्वा चिबुकं हृदये न्यसेत् । जालन्धरे कृते बन्धे षोडशाधारबन्धनम् । जालन्धरमहामुद्रा मृत्योश्च क्षयकारिणी ॥ १० Contract the throat and put the chin on the chest. When Jalandharabandha is performed, the sixteen adharas are restrained.¹ The great Jalandhara mudra brings about death's downfall. सिद्धो जालन्धरो बन्धो योगिनां सिद्धिदायकः । षण्मासमभ्यसेद्यो हि स सिद्धो नात्र संशयः ॥ ११ A perfected Jalandharabandha bestows success upon yogis. He who practices it for six months is an adept. In this there is no doubt. ¹A bandha (lock) is a type of mudra. The sixteen adharas (literally “supports” or “substrates”) are at various locations within the body. They are listed in the Siddha Siddhanta Paddhati, verses 2.10–25.

MUDRAS 63 महामुद्रा – Mahamudra

64 मुद्रा उड्डीयानबन्ध - Uddiyanabandha

MUDRAS 65 जालन्धरबन्ध & मूलबन्ध – Jalandharabandha & Mulabandha

66 मुद्रा पार्ष्णिना वामपादस्य योनिमाकुञ्चयेत्ततः । नाभिग्रन्थिं मेरुदण्डे सुधीः संपीड्य यत्नतः ॥ 12 The wise yogi should apply pressure to the perineum with the heel of the left foot and carefully push the navel plexus against the spine. मेढ्रं दक्षिणगुल्फेन दृढबन्धं समाचरेत् । जराविनाशिनी मुद्रा मूलबन्धो निगद्यते ॥ 13 He should tightly press the penis with the right heel. This mudra destroys decrepitude and is called Mulabandha. वामपादस्य गुल्फेन पायुमूलं निरोधयेत् । दक्षपादेन तद्गुल्फं संपीड्य यत्नतः सुधीः ॥ 14 With the ankle of his left foot the wise yogi should block the anus, and with the right foot he should carefully press down on the left ankle. शनैश्चालयेत्पार्ष्णिं योनिमाकुञ्चयेच्छनैः । जालन्धरे धारयेत्प्राणं महाबन्धो निगद्यते ॥ 15 He should slowly move his heel about, gently contract the perineum, and hold the breath in Jalandharabandha. This is called Mahabandha. महाबन्धः परो बन्धो जरामरणनाशनः ।

MUDRAS 67 प्रसादादस्य बन्धस्य साधयेत्सर्ववाञ्छितम् ॥ 16 Mahabandha is a great bandha: it destroys decrepitude and death, and by its grace the yogi can achieve whatever he wants. रूपयौवनलावण्यं नारीणां पुरुषं विना । मूलबन्धमहाबन्धौ महावेधं विना तथा ॥ 17 Mulabandha and Mahabandha without Mahavedha are like the beauty, youth, and charm of a woman without a man. महाबन्धं समासाद्य चरेदुड्डानकुम्भकं । महावेधः समाख्यातो योगिनां सिद्धिदायकः ॥ 18 Assume Mahabandha and hold the breath while applying Uddiyanabandha. This is called Mahavedha. It bestows success upon yogis. महाबन्धमूलबन्धौ महावेधसमन्वितौ । प्रत्यहं कुरुते यस्तु स योगी योगवित्तमः ॥ 19 The yogi who every day practices Mahabandha and Mulabandha combined with Mahavedha is the best of Yoga experts. न मृत्यतो भयं तस्य न जरा तस्य विद्यते । गोपनीयः प्रयत्नेन वेधोऽयं योगिपुंगवैः ॥ 20

68 मुद्रा He has no fear of death and does not become decrepit. This Mahavedha is to be kept secret by the masters of Yoga. जिह्वाधोनाडीं संछित्य रसनां चालयेत्सदा । दोहयेन्नवनीतेन लौहयन्त्रेण कर्षयेत् ॥ 21 The yogi should regularly cut the tendon below the tongue and move the tongue about. He should milk it with fresh butter and pull it with iron tongs. एवं नित्यं समभ्यासाल्लम्बिका दीर्घतां व्रजेत् । यावद्गच्छेद्भ्रुवोर्मध्ये तदा सिध्यति खेचरी ॥ 22 By regular practice in this way, the tongue becomes long. When it reaches between the eyebrows, Khechari is perfected. रसनां तालुमूले तु शनैः शनैः प्रवेशयेत् । कपालकुहरे जिह्वा प्रविष्टा विपरीतगा । भ्रुवोर्मध्ये गता दृष्टिर्मुद्रा भवति खेचरी ॥ 23 Gently insert the tongue into the base of the palate. When the tongue is turned back into the cavity of the skull and the gaze is directed between the eyebrows, that is Khecharimudra. न च मूर्च्छा क्षुधा तृष्णा नैवालस्यं प्रजायते । न च रोगो जरा मृत्युर्देवदेहः स जायते ॥ 24

MUDRAS 69 Loss of consciousness, hunger, thirst, sloth, sickness, decrepitude, and death do not arise, and the yogi obtains the body of a god. न चाग्निर्दहते गात्रं न शोषयति मारुतः। न देहं क्लेदयन्त्यापो दशेन्न च भुजङ्गमः॥ 25 Fire does not burn the body, the winds do not dry it out, water does not wet it, and a snake cannot bite it. लावण्यं च भवेद्गात्रे समाधिर्जायते ध्रुवम्। कपालवक्त्रसंयोगे रसना रसमाप्नुयात्॥ 26 The body becomes beautiful and samadhi is sure to arise. When it comes into contact with the aperture of the skull, the tongue reaches a liquid. नानारससमुद्भूतमानन्दं च दिने दिने। आदौ च लवणं क्षारं ततस्तिक्तकषायकम्॥ 27 नवनीतं घृतं क्षीरं दधितक्रमधूनि च। द्राक्षारसं च पीयूषं जायते रसनोदकम्॥ 28 Each day a blissful sensation arises from the various flavors. At first the fluid on the tongue is salty and brackish, then bitter and sharp, then like fresh butter, ghee, milk, curd, buttermilk, honey, grape juice, and nectar. नाभिमूले वसेत्सूर्यस्तालुमूले च चन्द्रमाः।

70 मुद्रा अमृतं ग्रसते सूर्यस्ततो मृत्युवशो नरः ॥ 29 The sun dwells at the root of the navel, and the moon at the root of the palate. The sun consumes the nectar of immortality and thus man is held in the sway of death. ऊर्ध्वं च योजयेत्सूर्यं चन्द्रं चाप्यध आनयेत् । विपरीतकरी मुद्रा सर्वतन्त्रेषु गोपिता ॥ 30 Put the sun up and bring the moon down. This Viparita- karani mudra is concealed in all the tantras. भूमौ शिरश्च संस्थाप्य करयुग्मं समाहितः । ऊर्ध्वपादः स्थिरो भूत्वा विपरीतकरी मता ॥ 31 Carefully place the head and both hands on the ground, raise the feet, and remain steady. This is considered to be Viparitakarani. You have just read 10% of the Gheranda Samhita. Go to YogaVidya.com to learn more. Feel free to share this with your friends and colleagues.

MUDRAS 71 विपरीतकरणी – Viparitakarani

Contributors JAMES MALLINSON is a graduate of Eton and Oxford, holds a master’s from the School of Oriental and African Studies, University of London, and returned to Oxford University for his doctorate. He has also spent years in India, living amongst the yogis. ॐ SANTOSHA VANESSA BOUCHARD, the woman in the photographs, is a lifelong practitioner of Yoga. She inspires her students through her love of Yoga. Michael L. Rixson has been a professional photographer since 1983 and a practitioner of Yoga since 1997. ॐ YOGAVIDYA.COM is dedicated to publishing excellent and affordable books about Yoga. It is completely indepen- dent of any commercial, governmental, educational, or religious institutions. 127

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