PART II: DEFINITION OF THE KRIYA YOGA TECHNIQUES

CHAPTER 6
THE BASIC TECHNIQUES OF KRIYA YOGA
Disclaimer of Responsibility
The techniques described herein are exposed for study purposes only and should serve
as a comparison with the wors of other researchers! The author hopes this wor will
inspire intelli"ent feedbac! Any remars# criticism# corrections# and$or additions are
welcome! %efore you be"in posin" all inds of questions to yourself# read throu"h Part
&& and Part &&& of this boo so you have a thorou"h understandin" of the matter! 'ou(ll
find that as you "o throu"h it many questions will be answered!
& wish to mae clear that this boo is not a )riya 'o"a manual* & may write one
and face the problem of dividin" it into different lessons and "ivin" all the necessary
instructions for each level! However# certain delicate techniques e!"! +aha +udra#
)riya Pranayama# Thoar# and 'oni +udra cannot be learned from a manual and
require the help of an expert to chec their execution! Each person is different so it is
not possible to predict what effects an intensive practice mi"ht have on a particular
individual!
The author disclaims any responsibility in case of ne"ative results# especially if
the techniques are practiced without first havin" their execution checed by an expert!
Those who intend to carry on this practice should do so with a due sense of sacredness
and awareness of the wealth it can brin" to their life! Althou"h you should have the
ri"ht and the duty to control your own destiny# securin" expert counsel or "uidance is
indispensable!
,hen you "o to an expert# please advise them of physical problems# such as hi"h blood
pressure# lun" problems# or si"ns of hyperventilation -! &f you have a particular
physical problem or handicap# an expert can lead you throu"h a very mild form of
)riya Pranayama and the correspondin" +udras . and if necessary# may recommend
that you practice them only mentally!
/6
Localization of the Chakras
The Chakras are subtle astral 0ethereal1 or"ans inside the spinal cord2 ideal steps
on a mystic ladder "uidin" one safely to the deepest ecstatic experience! +any
falsely believe they can apply what they find in Yoga boos to Kriya.
3nfortunately# such boos are usually filled with useless# mis"uided
representations! ,hile wastin" time in visuali4in" it all# a kriyaban runs the ris
of losin" the real meanin" of the Kriya techniques or part of their richness!
Kriya is a natural process leadin" to beneficial results and it should not be
distorted by the power of 5creative5 visuali4ation# especially if it "oes a"ainst our
body physiolo"y! ,hen certain particular conditions are established . mental
silence# relaxation# an intense desire of the soul . the 6piritual Reality manifests
in a captivatin" way and absorbs all one(s attention! Then# subtle movements of
ener"y in the body . or a particular centerin" of the ener"y in some parts of the
body . reveal the essence of the Chakras!
Those who practice Kriya Yoga 0kriyabans1 be"in with the basic technique
of Kriya Pranayama and visuali4e the spine as a hollow tube extendin" from the
base of the spine to the brain! ,ith further practice# they try to locate$feel the
seven Chakras!
7i"ure 8! The perception of the Charas
First Five Chakras

The first Chakra# Muladhara# is at the base of the spinal column 9ust above the
coccy"eal 0tailbone1 re"ion! The second Chakra# Swadhisthana# is in the sacral
re"ion# above and behind the "enitals or :;<cm below the navel $bellybutton i!e!
halfway between Mla!hara and Manipra! The third Chakra# Manipura# is in
the lumbar re"ion# at the same level as the navel$ bellybutton! The fourth Chakra#
Anahata# is in the dorsal re"ion2 its location can be felt by brin"in" the shoulder
blades closer and concentratin" on the tense muscles in the area between them or
//
9ust below them! The fifth Chakra# Vishuddha# is at the cervical $collarbone
$thyroid level where the nec 9oins the shoulders! &ts location can be detected by
swayin" the head from side to side# eepin" the upper chest immobile# and
concentratin" on the point where you perceive a 5cracin"5 sound!
The physical locali4ation of the Chakras is improved throu"h
visuali4ation! The simplest visuali4ation that fosters the dynamics of Kriya
Pranayama is havin" the awareness travel up the spine and perceivin" the
Chakras as tiny 5twinlin" li"hts5 illuminatin" a 5hollow tube#5 which is
visuali4ed in place of the spinal cord! ,hen the awareness is brou"ht down# the
Chakras are internally perceived as or"ans distributin" ener"y 0comin" from
infinity above1 into the body! =uminous rays depart from their locations#
enlivenin"$ener"i4in" that part of the body which is in front of them! To tae the
trouble to abide by such elementary visuali4ation# avoidin" those su""ested by
"e# $ge or tantric boos is the best "uarantee of havin" a beneficial practice!
Chakras are not a physical reality2 their true location is in the astral dimension#
which is only visible to clairvoyants or when Kriya Pranayama taes# so to say#
the 5inward route5 to the inner sounds emanatin" from each Chakra. &f the mind
is sufficiently calm e!"! durin" a lon"# deep session of Kriya Pranayama# you
will be able to listen to those astral sounds and locate each Chakra astrally!
There are different levels of development of this ability> Kechari M!ra
brin"s about a "reat internali4ation process which fosters the experience
especially when the 5wind5 of the breath subsides!
Astrally locatin" Chakras is connected to the ability of travelin" within
the spinal tunnel# which in turn is the basis for reali4in" that the five Chakras are
five different states of consciousness!
&n Kriya tradition# the Chakras are related to the five %att#as> earth# water#
fire# air# and ether! ?fferin" each %att#a individually to the li"ht of the 5spiritual
eye5 "atherin" and intensifyin" in the re"ion between the eyebrows is the hi"hest
action ever conceived to dispel the last shell of illusion! However# & would
discoura"e kriyabans from bein" maniacally precise about the location of the
Chakras> the practice of the different levels of Kriya Yoga will refine their
perception!
$&na 'Me!lla (blongata) *hrma!hya) Ktastha+
The sixth Chakra) Ajna, accordin" to tradition# is in the central part of the head!
6ome identify it with the hypophysis (pituitay! "land# others with the pi"#a$
"land# and others with the thi% &#"ti'$# o( th# )ai"! &t is preferable to abide
by the followin" two;step procedure!
8! 7irst detect the seat of the Medulla oblongata 0on top of the spinal
cord1! Raise your chin tensin" the muscles of the nec at the base of the occipital
bone2 concentrate on the small hollow under the bac of the head and then
ideally move inside a couple of centimeters2 while contractin" the nec muscles#
swin" your head sideways 0a few centimeters left and ri"ht12 relax the muscles of
the nec and concentrate on the Me!lla oblongata for one minute> you will
/@
notice that any restlessness disappears! Tradition recommends visuali4in" the
Me!lla oblongata as shaped lie the bac of a small turtle!
:! Remainin" centered in the Me!lla oblongata# conver"e your inner
"a4e on Bhrumadhya# the point between the eyebrows# and observe the internal
li"ht in that re"ion! 'our perception may be va"ue but if you continue looin"
internally and remain satisfied with whatever luminous perception comes# the
li"ht will intensify! 6trai"ht bac and about @ centimeters from where the li"ht
appears is the sixth Chakra# A*"a! +editatin" with your awareness focused on it
will prepare you for the experience of Kutastha 0aa thi% #y# or spiitua$ #y#1>
a luminous point in the middle of an infinite spherical radiance! &n this re"ion#
one day# you will experience the radiance of a million suns havin" the coolness
of a million moons!
$&na Chakra is the royal entrance to the Aivine Consciousness# which is
immanent in our physical universe! 'ou will experience the entire universe as
your own body! This experience is also called Ktastha Chaitanya# Christ
consciosness# or Krishna consciosness!
,ahasrara '*in!) Fontanelle+
Accordin" to tradition# the seventh Chakra) Sahasrara) is at the top of the head!
&t is visuali4ed as a hori4ontal dis about 8: centimeters in diameter# lyin"
immediately beneath the upper part of the cranium! &n phase B of Kriya
Pranayama) when we raise our awareness from the sixth to the seventh Chakra#
this visuali4ation is enou"h to "et ecstatic absorption!
Bindu is located in the occipital re"ion# where the hairline twists in a ind
of vortex 0where Hindus with shaved heads wear a loc of hair1! Aurin" the first
part of Kriya Pranayama) the consciousness touches *in! briefly at the end of
each inhalation! &n the hi"her phases of Kriya Pranayama# when our awareness
finds tranquility in *in!# we become aware of the bregma 0anterior fontanelle
durin" infancy+ located on the top of the sull at the 9unction of the coronal and
sa"ittal sutures# where the frontal bone and parietal bones meet! &t is
recommended not to override the previous sta"e of locali4ation of the sixth
Chakra 0$&na1! Ao not practice concentration on the bregma on your own
initiative except when explicitly required to by your teacher!
There is always room for improvement in Kriya Yoga! The most reliable
Kriya schools are careful about usin" methods whose effects are difficult to
sustain and therefore teach a "radual approach to concentration on ,ahasrara.
They counsel placin" the awareness in *in! and from there becomin" aware of
bregma!
/C
Position for Me!itation
?ne should sit facin" east! Accordin" to Patan9ali# the yogi(s posture 0Asana1
must be steady and pleasant!
Half-lotus: +ost kriyabans are relaxed in this sittin" position# which has been
used since time immemorial for meditation# because itDs comfortable and easily
mana"ed! The ey is to maintain an erect spine by sittin" on the ed"e of a thic
cushion so the buttocs are sli"htly raised! 6it cross;le""ed with the nees
restin" on the floor! %rin" the left foot toward the body so its sole is restin"
a"ainst the inside of the ri"ht thi"h! Araw the heel of the left foot in toward the
"roin as much as possible! The ri"ht le" is bent at the nee and the ri"ht foot is
comfortably placed over the left thi"h or calf or both! =et the ri"ht nee drop as
far as possible toward the floor! The shoulders are in a natural position! The head#
nec# chest# and spine are in a strai"ht line as if they were lined! ,hen the le"s
"et tired# reverse them to prolon" the position!
The best hand position is with fin"ers interloced as in the well;nown
photo of =ahiri +ahasaya! This balances the ener"y from the ri"ht hand to the
left and vice versa! The hand position for meditation and spinal breathin" is the
same because you move from spinal breathin" to meditation without
interruption! 3sually you don(t even reali4e it!
7or certain health or physical conditions# it may be beneficial to practice
the half lotus on an armless chair provided it is lar"e enou"h! &n this way# one le"
at a time can be lowered and the nee 9oint relaxed*
Siddhasana: 0Perfect Pose1 is of medium difficulty> the sole of the left foot is
placed a"ainst the ri"ht thi"h while the heel presses on the perineum! The ri"ht
heel is a"ainst the pubic bone! This le" position combined with Kechari M!ra
closes the pranic circuit and maes Kriya Pranayama easy and beneficial! &t is
said the position helps one to become aware of the movement of Prana!
Padmasana: 0lotus position1 a difficult# uncomfortable position2 the ri"ht foot is
placed on the left thi"h and the left foot on the ri"ht thi"h with the soles of the
feet turned up! &t is explained that when this $sana is combined with Kechari and
,hambhavi M!ra# it results in an ener"etic condition that produces the
experience of the internal li"ht comin" from each Chakra! &t helps eep the body
from bendin" or fallin" over as it tends to do when deep Pratyahara is practiced!
Pa!masana is uncomfortable for a be"inner because the nees and the anles
become extremely painful! & would not advise anyone to perform this difficult
posture2 some yogis have had to have nee cartila"e removed after years of
forcin" themselves into the Pa!masana!
@E
-ight *asic %echni.es of Kriya Yoga
The followin" techniques are usually "iven durin" the first initiation into Kriya
Yoga> %alabya Kriya) (m /apa 'in the Chakras+) Kriya Pranayama 0often
denoted simply by Pranayama+ in three parts) "avi Kriya) Maha M!ra) Kriya
Pranayama #ith short breath) mental Pranayama and Yoni M!ra!
8

,e will draw up a theoretical outline of the fours phases of Kriya Yoga for
students who appreciate havin" a complete picture! 07or a more in;depth
discussion# see chapter /!1
Phase 8> /ihah '/i#ha+ 0ranthi *he!a . unfastenin" the not of the ton"ue
Phase :> 1ri!aya 0ranthi *he!a . Piercin" the heart not
Phase B> Mla!hara 0ranthi *he!a . Piercin" the not at the base of the spine
Phase F> Raisin" awareness and ener"y up the ,shmna to Ktastha and
stabili4e it there!
%alabya Kriya) Kriya Pranayama and Kechari M!ra embody the (ist phas# of
Kriya! 7ocusin" upon the internal sounds 0especially the sound of a bell1 without
cease# durin" and after Kriya Pranayama# heralds the startin" of the s#'o"%
phas# of Kriya. The thi% phas# of Kriya is extremely delicate> Kriya
Pranayama slowly and safely wears out the Mla!hara not while "avi Kriya
and Maha M!ra complete this action! The event that embodies the (outh
phas# of Kriya is the upward risin" of Kn!alini findin" stability in Ktastha.
Kriya Pranayama #ith short breath) mental Pranayama) and Yoni M!ra are the
tools to awaen Kn!alini ener"y and patiently "uide it throu"h the Chakras up
to Ktastha!
0The second# third and fourth phases are helped by the practice of the so called
1igher Kriyas which will be described in the next chapter!1
+, Ta$a)ya Kiya
6tart with the ton"ue in a relaxed position with the tip li"htly touchin" the bac
of the upper teeth! Press the body of the ton"ue a"ainst the upper palate to create
a suction cup effect! +any practice %alabya Kriya incorrectly by instinctively
turnin" their ton"ue bacwards 0or eepin" it vertical1 but this cancels the whole
effect! &t is important to have the ton"ue tip touchin" the bac of the upper teeth
before pressin" its body a"ainst the upper palate!
,hile pressin" the ton"ue a"ainst the upper palate 0roof of the mouth1#
drop$lower the bottom 9aw until you clearly feel the stretch in the lingal
frenlm 0the small fold of tissue under the ton"ue that attaches it to the base of
8
To chec if refinements have been added to the description of the techniques# visit
www!riyayo"ainfo!net at least once a year!
@8
the mouth1 07i"ure :1! Release the ton"ue with a clicin" sound then stic it out
of the mouth and point it toward the chin! At the be"innin"# do not exceed 8E
repetitions a day to avoid strainin" the frenlm! Eventually# you want to do <E
repetitions in about : minutes 088E;8:E seconds1!
After some months of practicin" %alabya Kriya re"ularly# it should be
possible to insert the ton"ue into the nasal pharynx cavity 0Kechari M!ra+.
Kechari M!ra 07i"ure B1 is described in detail in the next chapter!
Even after masterin" Kechari M!ra) %alabya Kriya should continue to be
practiced because it creates a perceivable relaxin" effect on the thinin" process!
&t is not nown why stretchin" the frenulum reduces thou"ht production#
however# anyone practicin" the technique can readily verify this!
7i"ure :! Talabya )riya> pressin" the body of the ton"ue a"ainst the upper palate to
create a suction cup effect

Remark
&n 1atha Yoga boos there are different su""estions for len"thenin" the
Fraenlm. ?ne which is well nown one is wrappin" a piece of cloth around
the ton"ue and# with the help of the hands# "ently pullin" 0relaxin" and repeatin"
different times1 the cloth both hori4ontally and also up# toward the tip of the
nose! =ahiri +ahasaya was absolutely a"ainst cuttin" the Fraenlm to obtain
faster and easier results!
-, O. /apa i" th# Cha0as
6tartin" with the first Chakra Mla!hara# chant the Mantra 5?m5 while
concentratin" on it2 then do the same with the second Chakra and so on up to the
fifth Chakra 02ish!!ha1 and then with *in!! Aurin" the ascent# do your best to
intuitively touch the inner core of each Chakra! The descent be"ins by chantin"
5?m5 in the Me!lla# then in the cervical Chakra and so on# all the way down to
the first Chakra! Aurin" this descent of awareness# try to perceive the subtle
radiation of each Chakra!
?ne ascent 0Chakras 8# :# B# F# <# *in!1 and one descent 0Me!lla# <# F#
B# :# 81 represent one cycle that lasts about BE seconds! Ao 6 to 8: cycles! The
@:
(m Mantra may be chanted aloud durin" the first three cycles!
The correct pronunciation for (((m(( is lie the ((on"(( in ((son"(( but drawn out! &t must
not be pronounced lie the ((om(( in Tom e!"! ((ahm!(( &n this technique# 5(m5 is a pure
prolon"ed vowel sound pronounced lie the alphabet letter ((o!(( The ((m(( is silent and the
((o(( sound is len"thened! At the end# the mouth is not completely closed . thus creatin"
the nasal sound 5n"5! ,hen pronouncin" &ndian Mantras# lie (m namo bhagavate -
or (m namah ,hivaya -# the consonant 5m5 in 5?m5 is heard! ?+ should be chanted
as low as possible! 6ome say the correct note is % 06i1 before +iddle C 0Ao1!
&n the remainin" cycles breathe throu"h the nose and chant (m mentally! Ao not
pay any attention to the breath other than to breathe naturally! This exercise#
performed with concentration# "enerates the best form of breathin" durin" the
next fundamental technique of Kriya Pranayama!
A cycle of BE seconds allows about :!< seconds for each ?+ but this is to
mae the action dynamic and avoid boredom for kriyabans who tend to sip
chantin" ?+ in each Chakra! Gaturally# a lon"er cycle e!"! 6E seconds and a
lon"er ?+ e!"! < seconds is better providin" oneDs concentration is deep $focused
enou"h!
1, Kiya Pa"aya.a (Spi"a$ B#athi"2!
Kriya Pranayama is the most important technique! &t acts directly on the ener"y
0Prana1 present in the body! Kriya $charyas use different didactic strate"ies to
introduce it! Althou"h & explain its ey details# it is not easy to show how they
are inte"rated into a harmonious whole!
Fist Pat o( Kiya Pa"aya.a: 3i4i"2 Pa"a a"% Apa"a
Kechari M!ra is applied! 7or those who canDt do it# turn the ton"ue tip bac to
touch the middle of the upper palate at the point where the hard palate becomes
soft! )eep mouth and eyes closed! The eyes are relaxed and focused on the
re"ion between the eyebrows %3T the awareness is in the Me!lla oblongata.
?ne Kriya breath entails>
8! A deep inhalation throu"h the nose that produces an unvoiced sound 0lie
3&&ayi Pranayama1 in the throat# which acts lie a hydraulic pump to raise the
ener"y 0Prana1 from the base of the spinal column up to the Me!lla oblongata
and then up to *in! 0occipital re"ion1!
:! A short pause of :;B seconds where the movement of the air is suspended! This
helps suspend the activity of the mind as well> a state of stability appears!
B! An unhurried exhalation of the same len"th as the inhalation that accompanies
the movement of the ener"y bac to the base of the spinal column! Aurin" the
last part of the exhalation# there is a clear perception of the navel movin" in
toward the spine! %y refinin" this experience and the awareness of the navel
movin" inward# one feels the action of the diaphra"m muscles and becomes
@B
conscious of increasin" heat in the navel! This heat seems to rise from the lower
part of the abdomen!
F! Another :;B;second pause! This pause is intimately lived as a moment of
comfortable peace! The dynamic mind becomes static and is appeased!
Reference literature says perfect Kriya Pranayama is @E breaths per hour . about
F< seconds per breath! Kriyabans can only reach this rhythm durin" lon"
sessions! ,hereas an advanced kriyaban would complete 8: breaths in around C
minutes# be"inners should set a rhythm of 8@;:E seconds per Kriya breath
0includin" the pauses1 and complete 8: breaths in a natural and unhurried way in
about F ;< minutes!
Remarks
The path taen by the ener"y "radually reveals itself durin" practice! Go difficult
visuali4ation is required! 'ou are centered in the Me!lla oblongata and your
inner "a4e is toward *hrma!hya) between the eyebrows! The awareness rises
from the Mla!hara alon" the spinal column toward the second Chakra# the
third# the fourth# the fifth Chakra) the Me!lla oblongata and# if possible# up to
*in!! Aurin" the pause# the radiance of Ktastha appears as a blurred li"ht or
"low permeatin" the frontal part of the brain and that of ,ahasrara as a sli"ht
sensation of crepuscular li"ht permeatin" the upper part of the head! &n this initial
phase of Kriya Pranayama) the ener"y cannot reach either the re"ion between
the eyebrows nor ,ahasrara4 this will happen in hi"her sta"es!
%reathin" durin" Kriya Pranayama is not free breathin" but restricted breathin"
that creates a clearly heard sound in the throat! This sound while inhalin" is lie
a quiet schhhh $H$! The sound is similar to the amplified bac"round noise of a
loudspeaer2 there is only a sli"ht hiss durin" exhalation!
There are many poor &nternet video clips of 3&&ayi Pranayama with yogis who
mae a horrible sound because they are usin" $vibratin" their vocal chords> this
is not correct in Kriya Pranayama! 7ortunately# there are also "ood explanations
of 3&&ayi Pranayama that & si"nal in my web site 0Kriya Yoga video downloads
pa"e1!
To mae certain the sound is correct# concentrate only on increasin" the friction
of the air flowin" throu"h your throat! A muffled sound will ori"inate! &ncrease
its frequency! &f the surroundin"s are perfectly still# a person could hear it within
a F;< meter radius . by no means outside it! However# do not expect sound
perfection yet. ,hen Kechari M!ra is eventually done correctly# the exhalin"
sound will be flute;lie> ,heee ,heee $HiI$! The meanin" and the implications of
this sound are discussed in the next chapter!
The inhalin" air is felt cool whereas the exhalin" air is felt moderately warm2 as
a consequence the ener"y is felt cool when risin" and sli"htly warm when
@F
descendin"!
Aurin" inhalation# the abdomen expands and durin" exhalation the abdomen is
drawn in! The breathin" is mainly abdominal2 durin" inhalation# the upper part of
the lun"s is filled two thirds full! Ao G?T raise the rib ca"e or the shoulders!
As for the value of the pauses# the more you became aware of these states of
stability# the deeper your practice becomes!
Aurin" the first breaths of Kriya Pranayama) do not chant (m or another
Mantra in any Chakra. Ao not disturb the employment of a "reat mental
intensity durin" the inhalation to obtain the raisin" of the ener"y!
S#'o"% Pat o( Kiya Pa"aya.a: O. /apa i" #a'h Cha0a
Aurin" the first part# the awareness was in Me!lla oblongata! &n the second
part# the awareness expands into the entire occipital re"ion up to *in!! The
fixed purpose is to succeed in listenin" to the internal sounds 0variations of
(mkar sound1 without plu""in" our ears!
Aurin" inhalation# (m is mentally chanted 0or more accurately 5mentally
placed51 in each of the first five Chakras and at the point between the eyebrows!
Aurin" exhalation# (m is mentally chanted in the Me!lla) in each Chakra as
you return to Mla!hara!
,hile comin" down# each Chakra is "ently 5touched5 mentally from the
bac! The ener"y is thus visuali4ed flowin" down alon" the bac of the spinal
column! ,hat is essential is a continuous will to listen internally! 7ocus all your
attention on subtle sounds that come from within rather than the audible ones
from outside! Awareness of inner sounds must happen# sooner or later! 'our
listenin" sills will improve and you will become more sensitive! Each chantin"
of the syllable (m should be accompanied by an unswervin" will to trac down
the echo of that vibration you are internally producin"! Repeat the procedure at
least :F times!
The internal sounds reveal the activity of the Chakras. They capture a kriyaban(s
awareness and lead it to "reater depths without any dan"er of it "ettin" lost! They
are not physical sounds2 they have nothin" to do with the typical Kriya
Pranayama sound produced by the air that passes down the bac of the throat
into the trachea and vice versa! These sounds appear in different forms>
bumblebee# flute# harp# drum# hum lie an electrical transformer# bell!!!!
The event of perceivin" them is not produced by the intensity of a unique
moment of deep concentration but by the accumulation of effort manifested
durin" daily sessions of Kriya 0effort is the meticulous attention to any internal
sound# no matter how faint1! Those who are not able to hear any internal sounds
should not conclude somethin" is wron"! +aybe they have made an enormous
effort whose fruits will be en9oyed durin" the next practice! A si"n one is headin"
in the ri"ht direction is a sense of mild pressure# lie a sensation of liquid peace
above or around the head often accompanied by a certain hummin"! &t serves no
@<
purpose wonderin" if this is the real (m because it is probably 9ust a si"nal that
the real experience is approachin"! Patience and constancy are of prime
importance! ?ne day# one will awaen to the reali4ation that one is actually
hearin" a sound of 5runnin" water5!
(m is similar to the sound of runnin" water or to waves breain" over
cliffs! The only tas of a kriyaban is to be absorbed in the comfortin" sound of
(mkar! =ahiri +ahasaya described it as a sound 5produced by a lot of people
continually striin" the dis of a bell and as continuous as oil flowin" out of a
container5!
Thi% Pat o( Kiya Pa"aya.a: .o&# th# a5a#"#ss i"to th# upp# pat o(
th# h#a%
Phase 5 can be approached only when you have reached a daily number of F@
Kriya breaths or possibly when Kechari M!ra is achieved! Always be"in your
practice with the first part of Kriya Pranayama for at least 8: breaths# and then
sip to the second part of Kriya Pranayama until you have completed F@ Kriya
breaths! 0The second part of Kriya Pranayama is the exercise described after the
first part of Kriya Pranayama in which (m is chanted mentally in each Chakra
while movin" the current up and down in the spine!1
,hambhavi M!ra is usually defined as the act of concentratin" on *hrma!hya)
the space between the eyebrows# brin"in" the two eyebrows toward the center
with a sli"ht wrinlin" of the forehead!
A hi"her form of ,hambhavi M!ra involves closed or half;closed eyelids# the
eyes looin" upward as much as possible as if looin" at the ceilin" but without
any head movement! The li"ht tension perceived in the muscles of the eyeballs
"radually disappears and the position can be maintained rather easily! A
bystander would observe the white of the sclera under the iris because very often
the inferior eyelids relax! 0=ahiri +ahasaya in his well;nown portrait is showin"
this M!ra!1 Throu"hout this form of ,hambhavi M!ra# all one(s bein" is at the
top of the head! Continue practicin" the instructions for the second part of Kriya
Pranayama 0chantin" of (m in the prescribed places1 save the center of
awareness which is now in the upper part of the head! Continue until you have
completed the prearran"ed number of repetitions 06E# /:# and so on1!
This practice is a real 9ewel and represents the quintessence of beauty2 while
experiencin" it# time "oes by without much notice and what could seem to be an
exhaustin" tas e!"! 8E@ or 8FF repetitions . turns out to be as easy as a moment
of rest! 'ou will notice the breath is rather slow! 'ou will en9oy the beautiful
feelin" of fresh air that seems to come up throu"h the spine and pierce each
Chakra) and of the warm exhaled air permeatin" each 4one of the body from top
to bottom! 'ou will actually perceive this and it is not a fi"ment of your
ima"ination* 'our attitude is apparently passive# in actual fact sensitive# and
therefore active in an intelli"ent way!
@6
The sound of the breath is smooth and unbroen lie the continuous pourin" of
oil from a bottle! The practice reaches its maximum power and seems to have a
life of its own! 'ou will eventually have the impression of crossin" a mental
state# which is lie fallin" asleep# then suddenly returnin" to full awareness and
reali4in" you are basin" in a spiritual li"ht! &t(s lie a plane emer"in" from
clouds into a clear transparent sy!
6, Na&i Kiya
3sin" the same method described in (m /apa and without attemptin" to control
the breath# one(s awareness slowly moves up alon" the spinal column! The
Mantra (m is placed in the first five Chakras# in the *in!) and in the point
between the eyebrows! The chin is then tilted down toward the throat cavity! The
hands are 9oined with the fin"ers interloced# palms face downward# and the pads
of both thumbs are touchin"! (m is chanted /< times 0a rou"h estimate is fine1 in
the navel 0umbilicus1 either aloud or mentally! The thumbs li"htly press the navel
for each (m!
,hile doin" this technique# a calm ener"y is perceived "atherin" in the
lower;middle part of the abdomen 0the Prana current there is called ,amana1!
The chin is then raised without strainin" but the muscles at the bac of the nec
are contracted! The concentration shifts first to the *in! and then to the third
Chakra 0movin" downward in a strai"ht line# outside the body1! The hands are
ept behind the bac and 9oined by interlocin" the fin"ers and the palms face
upward with the pads of both thumbs touchin"! (m is chanted ;; aloud or
mentally ;; approximately :< times in the third Chakra! 7or every (m# the
thumbs apply a li"ht pressure to the lumbar vertebrae! %y no means should the
breath be synchroni4ed with the chantin" of (m. The chin(s normal position is
then resumed and (m is mentally chanted in reverse order from the point
between the eyebrows to Mla!hara! This is one "avi Kriya 0it lasts between
8FE;86E seconds1! A kriyaban does F repetitions of "avi Kriya.
7, 3aha 3u%a
?ne starts by bendin" the left le" under the body so the left heel is as near as
possible to the perineum 0between the scrotum and anus for males and between
the anus and cervical openin" for females1 with the ri"ht le" fully extended in
front! &deally# but not necessarily# you want the left heel exertin" pressure on the
perineum! This pressure is the best means of stimulatin" one(s awareness of the
Mla!hara Chakra in the coccy"eal re"ion at the root of the spine! Throu"h a
deep inhalation# the ener"y is brou"ht up the cerebrospinal tube to the center of
the head 0$&na Chakra1! This is a very simple and easily acquired sensation so
there is no need to complicate it!
Holdin" the breath# stretch forward 0in a relaxed way1 and interloc hands
so you can "rasp your bi" toe! &n this outstretched position# the chin is pressed
naturally a"ainst the chest! Continue holdin" the breath and mentally chant (m
in the re"ion between the eyebrows 6;8: times! ,hile holdin" the breath# return
to the startin" position and with a lon" exhalation# visuali4e sendin" the warm
ener"y down to the base of the spinal column! Repeat the entire procedure with
@/
the le" positions reversed2 ri"ht heel near the perineum and the left le"
outstretched! Repeat the procedure a Brd time with both le"s outstretched to
complete one cycle of Maha M!ra! Repeat this three;movement cycle
0requirin" about 6E;@E seconds1 two more times for a total of C movements!
6ome schools su""est drawin" the nee 0or both nees# before the third
movement1 a"ainst the body so the thi"h is as close to the chest as possible
durin" inhalation! The interloced fin"ers are placed around the nee to exert
pressure on it! This helps to eep the bac strai"ht and mae the inner sound of
the $nahata Chakra audible!
Maha M!ra must be comfortable and it must not hurt* &nitially# most
kriyabans will not be able to do the forward stretch without risin" bac or nee
in9ury! To avoid pain or in9ury# eep the outstretched le" bent at the nee until the
position feels comfortable! ,hile holdin" the breath in the outstretched position#
contract the anal and the abdominal muscles and draw the abdominal muscles in
sli"htly so the navel moves inward toward the lumbar center!
As we have seen# the bi" toe is "rasped while one is in the outstretched position!
6ome schools insist on this detail and explain that by repeatin" this action on
each le"# the balance between the two channels 6!a and Pingala is improved!
A variation is to squee4e the toenail of the bi" toe with the thumb of the
ri"ht hand2 the index and middle fin"ers are behind it and the left hand cups the
sole of the foot! ,hen the procedure is repeated with both le"s outstretched# both
toes are "rasped with the interloced hands! 0A variation is that the thumbs of
each hand press the respective toenails and the index and middle fin"ers hold the
toe from behind1!
Maha M!ra incorporates all the three *an!has!
:
,hen applied simultaneously
with the body bent forward and without excessive contraction# it helps one to be
aware of both ends of ,shmna and produces the feelin" of an ener"etic current
movin" up the spine! &n due course# one will be able to perceive the whole
,shmna "a!i as a radiant channel!
8, Kiya Pa"aya.a 5ith Shot B#ath
Pranayama #ith short breath is based upon lettin" the breath move freely#
observin" it# bein" conscious of each movement . pauses included . and
coordinatin" it with the movement of ener"y from the Mla!hara 0first Chakra1
to every Chakra and vice versa! This fact invites the ener"y to move freely
upwards throu"h ,shmna and downwards into each part of the body! This
action completes that of Maha M!ra and prepares you for Yoni M!ra!
After havin" drawn three deep breaths# each of them endin" with a fast and
complete an exhalation lie a si"h# your breath will be very calm! &f you place
your fin"er under both nostrils# the in"oin" or out"oin" breath will barely touch
your fin"er! This is the indication that the breath is internali4ed as it should be in
:
The definition of *an!has is "iven in Chapter 8
@@
Kriya Yoga. Practice the followin" exercise and repeat the test at the end! 'ou
will feel a striin" difference!
7ocus your attention on the Mla!hara Chakra! ,hen it feels natural to
inhale# inhale only what is necessary# as quicly as per instinct 0about one
second1# then pause an instant in the second Chakra. ,hen it feels natural to
exhale# exhale# and pause in Mla!hara. ,hen it feels natural to inhale# inhale#
and pause in the third Chakra. ,hen it feels natural to exhale# exhale# and pause
in Mla!hara.
Continue lie that# repeatin" the procedure between Mla!hara and the
fourth Chakra# Mla!hara and the fifth Chakra 0then Mla!hara *in!#
Mla!hara Me!lla# Mla!hara fifth# Mla!hara fourth# Mla!hara third and
Mla!hara second Chakra.1 ?ne cycle comprises 8E short breaths! Repeat the
cycle until you perceive your breath is very calm . almost imperceptible!
9, 3#"ta$ Pa"aya.a
7or"et about your breath! +ove your awareness up and down the spine pausin"
in each spinal center! 6tart with the first# move to the second# third# and so on!
After ascendin" to the *in!# be"in the descent# pausin" in Me!lla# fifth
Chakra# fourth Chakra) and so on! (m may be mentally chanted in each Chakra!
6ometimes# it is more convenient to simply center your attention for 8E;:E
seconds on each Chakra!
The Chakras are lie nots that can be untied if 5touched5 by one(s
concentration2 the secret lies in maintainin" the awareness in each of them until a
sensation of sweetness is felt . as if the Chakra were 5meltin"5! %esides a
meltin" sensation# one may also perceive the subtle radiation of each Chakra in
the body! This is a matter of pure awareness2 a natural feelin" leadin" to the
reali4ation that the Chakras are sustainin" each part of the body(s vitality!
6ometimes# a li"ht is perceived in the upper part of the head and a kriyaban is
able to eep the awareness there a lon" time without feelin" any fati"ue!
The process of risin" and descendin" throu"h the Chakras is carried on as
lon" as it is comfortable! 0?ne complete round lasts about :;F minutes!1 This is
the most pleasin" part of the routine! Kriyabans do not feel they are practicin" a
technique but en9oyin" a few moments of soothin" relaxation! This is the
moment when a deep mental silence settles in the consciousness and in the body!
Tranquility) 5,thir %att#a5 0calm# static Prana1 is experienced in the seventh
Chakra! =ahiri +ahasaya called this state Paravastha or Kriyar Paravastha 7
5the state that comes after the action of Kriya5. &f# throu"h sheer willpower# such
a state were brou"ht to awareness as often as possible amid one(s daily activities#
the results would be extraordinary!
(m /apa vs mental Pranayama
There is a subtle difference between (m /apa and mental Pranayama! (m /apa
before Kriya Pranayama is desi"ned to stimulate each Chakra! ?ne pauses only
a short time in each one to vibrate the (m Mantra!
Aurin" mental Pranayama# one is more passive# more willin" to perceive than to
@C
stimulate and the pauses are much lon"er! ,hen the awareness stays for at least
half minute upon each Chakra# and the riyaban is relaxed there comes the
perception of a pleasurable sweet sensation and the breath slows down
noticeably! 6ome inner sounds as well as hues of li"ht pourin" forth from their
locations deepen the contact with the (mkar dimension! ?ne should
intentionally wait until some pleasin" effect is produced and then move to the
next Chakra!
6ome Yoga schools advise visuali4in" the Chakra(s specific color 0red# oran"e#
yellow- lie the sequence of the rainbow colors1! They may be also visuali4ed
as lotuses# each one of which has a particular number of petals with a letter of the
6ansrit alphabet on each petal! A kriyaban does not need any of this in order to
perceive the reality of the Chakras! &n time# a kriyaban "ains the ability to sin"le
out the different rates of vibration of each Chakra# which is crucial in reachin"
the final "oal of Kriya!
:, Yo"i 3u%a
At ni"ht# before "oin" to bed# be"in your practice by calmin" the whole
psychophysical system with a short Kriya routine 0how to or"ani4e a short Kriya
routine is explained in the next para"raph1!
To practice Yoni M!ra# raise the ener"y with a deep inhalation into the
central part of the head! &f you are able to do Kechari M!ra# press the ton"ue
firmly on the hi"hest point inside the nasal pharynx . otherwise leave the ton"ue
in its normal relaxed position! Close every 5openin"5 in the head . the ears with
the thumbs# the eyelids with the index fin"ers# the nostrils with the middle
fin"ers# the lips with the rin" and the little fin"ers . so all the ener"y 5li"hts up5
the re"ion between the eyebrows!
Throu"hout the practice# both elbows are parallel to the floor and pointin"
out to the side! Ao not let them drop# prop them up somehow# if necessary!
Aurin" this special li"ht;witnessin" act# the index fin"ers must not put any
pressure on the eyes . this would be harmful and serve no purpose* &f a kriyaban
is distracted by the pressure of the index fin"ers on the eyelids# he draws the
eyelids down with the index fin"ers and applies pressure on the corners of the
eyes . on the upper cheebones!
%y holdin" the breath and mentally repeatin" (m several times# observe
the li"ht of the 5spiritual eye5 that is "atherin" and intensifyin"! The li"ht
condenses into a "olden rin"! Hold the breath as lon" as is comfortable and until
the necessity to breathe out distracts your attention! Exhale and brin" the
awareness down alon" the spine! Yoni M!ra is usually performed only once!
&nhalin" deeply and holdin" the breath usually causes discomfort after a few
seconds! To reduce the discomfort and mae it possible to deepen the practice#
practice the followin">
At the end of a moderate inhalation 0not a typical Kriya Pranayama one
but a shorter one1# a kriyaban fully plu"s all the head openin"s except the
nostrils# exhales a very small quantity of air# then immediately closes the nostrils!
CE
The thoracic muscles are to be relaxed as if one intended to be"in a new
inhalation> this will "ive the sensation that the breath has become quiet in the
area between the throat and the point between the eyebrows! &n this situation#
concentration on the point between the eyebrows and the repetition of (m
several times can be en9oyed to its fullest!
Traditional instruction advises increasin" (m repetitions by one per day up to a
maximum of :EE! ?f course# forcin" is always to be avoided!
First sggestions abot the rotine
Th# i%#a$ ti.# (o pa'ti'i"2 th# .ai" Kiya outi"#
En9oy the main routine either before breafast or before lunch at noon or late
afternoon before dinner# or at ni"ht at least :;B hours after eatin"!
The complete routine# which we have already implicitly "iven by
numberin" the techniques from 8 to @# does not wor for everyone! +any utili4e
Maha M!ra and "avi Kriya as preliminary techniques and avoid techniques
requirin" movement after Kriya Pranayama! &n this way# they find that Kriya
Pranayama #ith short breath is not necessary! Their routine is very simple and
extremely en9oyable> Talabya )riya +aha +udra Gavi )riya )riya   
Pranayama +ental Pranayama! A "ood choice is to len"then the practice of 
mental Pranayama to occupy 8$B of the whole time!
A)out a shot outi"# at "i2ht #"%i"2 5ith Yo"i 3u%a
&f the main routine is practiced at ni"ht# you can simply add Yoni M!ra at the
end! ?therwise# durin" the main routine avoid Yoni M!ra) while at ni"ht create
special conditions for en9oyin" its full power! At ni"ht# you can start your
practice with Maha M!ra) then Pranayama #ith short breath# then Yoni M!ra!
Then remain concentrated as lon" as possible at the point between the eyebrows
tryin" to perceive the li"ht in Ktastha! Yoni M!ra "enerates such a
concentration of ener"y at the point between the eyebrows that the quality of the
ensuin" sleep chan"es for the better! &n other words# after crossin" the
subconscious layers# your awareness may succeed in reachin" the so;called
5super conscious5 state!
Remark
There are some schools that state that Yoni M!ra can be practiced anytime!
They concede however that Yoni M!ra is best done in the deep calmness of the
ni"ht# when a deep silence is all around and one is totally and perfectly relaxed!
A)out Kiya Pa"aya.a i" th## pats
&n the be"innin"# only the first and the second part of Kriya Pranayama are
practiced> usually 8:;:F times each! ?ccasionally e!"! durin" a lon"er meditation
once in a wee# you can add more repetitions2 in that case# it is fine to experience
the third part of Kriya Pranayama also!
C8
,arnin"
Ao not practice only the third part of Kriya Pranayama> a routine totally based
on a stron" concentration on the ,ahasrara is not appropriate for be"innin" or
medium level students! Aevelopin" a stron" ma"net in ,ahasrara throu"h the
third part of Kriya Pranayama is the most powerful way of stimulatin" the
Kn!alini awaenin"! This implies brin"in" up a lot of information from the
subconscious mind to the surface! 06ee also the discussion in Chapter C!1 'ou can
experience an entire ran"e of ne"ative moods# from mared alienation from
reality to panic attacks.
Final remark abot mental Pranayama
'ou must never for"et to "ive the hi"hest importance to the soothin" phase of
mental Pranayama! A Kriya routine that does not end with mental Pranayama is
lie an orchestra tunin" their instruments and then leavin" the sta"e* &t is this
phase that brin"s everythin" to"ether2 the ripples in the mind(s lae are stilled#
the awareness becomes transparent# and the Last Reality is revealed! &t is a
diffuse calmness2 the mind is at rest and silent and "ains the ener"y necessary to
be more acutely alert! &t is lie a spiral which "radually and systematically taes
care of all the levels of one(s bein"> it is a healin" process!
The value of Mental Pranayama becomes apparent when important decisions
have to be taen! ?ne has the impression that nothin" can "et in the way and that
even the "reatest difficulties will dissipate! &nside the perfect transparency of an
inner order# all problems are solved! ?ne is born to Kriya throu"h the en"a"in"
practice of mental Pranayama> it pro9ects us into sheer heaven and its beauty
overflows our lives!
5!!!! it(s hard to stay an"ry when there(s so much beauty in the world!
6ometimes & feel &(m seein" it all at once and &(m overwhelmed! +y heart
feels it(s about to burst!!!until & remember to relax and stop tryin" to hold
on to it! And then the beauty flows throu"h me lie rain! And & can(t feel
anythin" but "ratitude for every sin"le moment of my stupid little life!
0sli"htly modified from the movie $merican *eaty2 8CCC1 5
C:
CHAPTER /
TECHNIQUES OF THE HIGHER KRIYAS
This Chapter is devoted to those students who have shown a passionate
commitment to the practice of Kriya! The ri"ht moment to study this Chapter is
6;8: months after practicin" Kriya Yoga daily# when there is a "enuine lon"in" to
deepen the meditation experience!
,e warn the reader that the followin" techniques are not tau"ht in the
same order by other schools! The order of exposition adopted here reflects the
order of their utili4ation in a complete routine!
%heoretical vision
=et(s mae some preliminary remars concernin" =ahiri +ahasaya(s theoretical
vision of any authentic spiritual path! He essentially explains that a spiritual path
foresees four footsteps in which four internal nots are to be unfastened . the
nots bein"> ton"ue# heart# coccyx# coccyx;utastha!
The not of the ton"ue is connected with the me!lla and with the fifth
Chakra2 the not of the heart is connected to the fourth Chakra2 the not of the
coccyx is connected with Chakra Mla!hara and# finally# the last not is lined
both with the first Chakra and with the openin" of the so;called thir! eye
between the eyebrows!
=et us attempt to put ourselves in the place of those who are about to familiari4e
themselves with the procedures called 1igher Kriyas! 6tudents should not be
obsessed with "ainin" tan"ible results at once# but at least understand if they are
proceedin" in the ri"ht direction! %ecomin" familiar with this simple and
effective theoretical vision is therefore necessary# for without this they ris
perceivin" Kriya Yoga as too chaotic a set of techniques amon" which they are
not able to differentiate those upon which they should concentrate# practicin"
them re"ularly for months at the exclusion of all others! ,ithout this attitude#
students relinquish Kriya practice after some unhappy attempts to devise a
satisfyin" routine! 7urthermore# a "ood theory helps a student to avoid wron"
attitudes and unfortunate choices that could hinder the process of conquerin" the
doubts and fears# settlin" in the solid territory of meditation;born intuition!
For knots
The ton"ue not is related to the physiolo"ical fact that our ton"ue is normally
unable to touch the uvula and# consequently# enter the nasal pharynx! %ecause of
this# we are not ept connected with the "reat reservoir of ener"y existin" in the
,ahasrara re"ion! 3nfastenin" such not 0/ihah 8 or /ihva 8 0ranthi 2e!1
means the freedom to access this inexhaustible internal source throu"h Kechari
CB
M!ra!
The obtainment of such M!ra and its use in the techniques of Kriya
implies that a subtle process of transformation is "oin" to happen in our psycho;
physical system! ,e are about to notice a quietin" of all useless# unwanted
thou"hts and intrusive mental processes# and a reindlin" of the vital force in the
body! A subtle substance 0$mrit1 be"ins to tricle down throu"h the ton"ue into
the spine and then in the whole body!
The afore;quoted "ood results are partially accomplished by turnin" bac the
ton"ue tip so it touches the middle of the upper palate at the point where the hard
palate becomes soft! This position is easy and can be accomplished ri"ht away!
As for the practice of %alabya Kriya# actually it should not be considered a
simple lin"ual frenulum stretchin" process! %alabya Kriya also closes an
important circuit! ,hen the ton"ue stics to the palate and the mouth is opened#
in that instant the ener"etic split between our body and the reserve of static
Prana located in the upper part of our head is momentarily healed!
,hen Kechari M!ra proper is attained# all becomes easier on our
spiritual path. &t becomes easier to perceive the exact location of Me!lla
oblongata# to listen to astral sounds# and to mer"e with the (mkar aspect of the
Aivine!
This not should not be confused with the obstacle that is located in the
center between the eyebrows . this obstacle is lined with the fourth not!
The heart not obstructs the downward 9ourney of static Prana from ,ahasrara
toward Mla!hara. 3nfastenin" this not 01ri!aya 0ranti 2e!1 means brin"in"
spiritual reali4ation into the daily life! The mind is restored to health and the
superficial emotions calm down! &f# after havin" carried out your duties
conscientiously# you avoid distractions and useless chatters# a conscious
absorption in the spiritual reality spontaneously manifests# without any effort on
your part! The mind rests in stillness and the heart is full of inexpressible 9oy!
&t has been explained that the consciousness tunes with the element 5air5
0the fourth of five %att#as.1 7or a kriyaban# the theory of the %att#as Jthe five
subtle elements> earth# water# fire# air and ether 0space1K is not a theme of useless
speculation! Everythin" that exists in the universe is a combination of these five
forms of ener"y! %att#as are a concrete series of states of consciousness# whose
intimate essence is experienced in the last part of the devotee(s 9ourney toward
the $bsolte Consciosness!
Tunin" with the air %att#a allows a person enter a sublime state! This
%att#a checs the cardiac plexus which controls the automatic phenomenon of
breath! A kriyaban worin" upon unfastenin" the heart not soon notices how the
breathin" process tends to calm down!
The not of the coccyx prevents a kriyaban from enterin" ,shmna and movin"
toward Ktastha! This fact eeps the veil of illusion real! 3nfastenin" such not
0Mla!hara 0ranti 2e!1 means openin" the door to inexhaustible spiritual
reali4ation! The consciousness of the division between sexual ener"y# love
CF
ener"y and spiritual ener"y is overcome forever! That division is the cause of
countless conflicts! %irth to the spiritual life means their end!
This not be"ins to be loosened by the practice of "avi Kriya! Prana and
$pana unite in the re"ion of the navel by the action of the ,amana current! They
are "uided in the channel of ,shmna throu"h the action of Maha M!ra!
The last phase of Kriya path happens when the awareness starts to climb the
,shmna channel and moves toward Ktastha! Prana is now perfectly tranquil
in all the body2 the more resistant forces that prevent the vision of the 6piritual
=i"ht of Ktastha are "oin" to be dissolved! A perpetual stay of Kn!alini in the
$&na Chakra is "radually achieved!
%efore reachin" this hi"hly advanced state# two important reali4ations
should happen at the level of the third and of the fourth Chakra.
=et us first consider the reality that in &nternal Alchemy 0Taoism1 is
nown as Dantian! This center is not 9ust a theoretical hypothesis but a tan"ible
reality! &t is located about two and one;half inches below the belly button and
about one and one;half inches inside> it can be visuali4ed as a ball about one and
one;half inches in diameter! This is the place where a kriyaban reco"ni4es the
5note5 which embodies our will to live in the physical body! 0&n Kriya Yoga
boos you don(t find expressions lie> 5Comin" bac to the center5# 5Cultivation
of the spiritual embryo5 or 5The birth of the "olden flower!5 'ou find
expressions lie> 5The process of 6elf reali4ation be"ins in the navel center5 but
this describes the same event!1
The reali4ation created in the Dantian ascends then into the heart re"ion!
A kriyaban attains a devotion that nows no human limitation! Aurin" the
ecstatic rapture the body may appear as a corpse while the soul burns in a perfect
9oy! ,hen these two initial steps become solid throu"h further effort# a
kriyaban(s awareness mer"es with the 6piritual =i"ht 0in Ktastha1 and reaches
the thresholds of Cosmic Consciousness!
C<
List of Kriya Yoga techniques and their relationship to the work
upon the four knots
0The underlined techniques are described in the previous Chapter1
[I] Tongue Knot
Talabya )riya
?m Lapa in the Charas
)riya Pranayama
J&!8K Kechari M!ra as a techni.e complete in itself
J&!:K Kechari M!ra cople! #ith Kriya Pranayama
[II] Heart Knot
J&&!8K *asic form of %hokar
J&&!:K $!vance! form of %hokar
[III] Muladhara Knot
J&&&!8K Complete form of %hokar
Gavi )riya
+aha +udra
[IV] MuladharaKustastha Knot
)riya Pranayama with short breath
+ental Pranayama
J&M!8K (mkar Kriya 8 (mkar Pranayama
J&M!:K (mkar Kriya 8 6nternalization of the practice of %hokar
J&M!BK (mkar Kriya 8 0ayatri Kriya
'oni +udra
[V] !lternati"e procedures cooperating with the second and
third part
JM!8K Macro movement %ribhangamrari '$mantrak+
JM!:K Macro movement %ribhangamrari ',amantrak+
JM!BK Macro movement %ribhangamrari '%hokar+
[VI] !lternati"e procedures cooperating with the fourth part
JM&!8K Micro movement %ribhangamrari '$mantrak+
JM&!:K Micro movement %ribhangamrari ',amantrak+
NNNNNNNNNNNNNNNNNNN
C6
[I] Tongue Knot
Those who want to succeed in this practice must have their %alabya Kriya
checed. +any do not do it correctly# not havin" understood how to mae their
ton"ue adhere to the upper palate before openin" the mouth and stretchin" the
frenulum! 6ometimes# even when they are shown in person# they are still not able
to do it correctly! Here & can only emphasi4e that the main mistae is
concentratin" too much on where to place the tip of the ton"ue! &n a correct
%alabya Kriya) the tip of the ton"ue has no role* The suction effect is obtained
with the whole body of the ton"ue*
After several months of re"ular practice of %alabya Kriya# a kriyaban may try to
attempt Kechari M!ra! The test is whether the tip of the ton"ue can touch the
uvula! &f so# then for a few minutes a day use the fin"ers to push the base of the
ton"ue inward until the tip "oes beyond the uvula and touches the pharynx
behind it! ?ne day# the tip of the ton"ue will enter a centimeter or so into the
nasal pharynx but slip out when the fin"ers are removed! After some more days#
on removin" the fin"ers# the tip of the ton"ue will remain 5trapped5 in that
position! This happens because the soft palate 0the part from which the uvula
han"s1 is soft# movable and acts lie an elastic band and creates a hoo! This
prevents the ton"ue from slippin" out and returnin" to its usual flat position! This
is the turnin" point!
7i"ure B! )echari +udra
Gotice how %alabya Kriya and Kechari M!ra are completely different*
0Compare 7i"ure B with 7i"ure : in Chapter 61! ?pen your mouth in front of a
mirror durin" the first part of %alabya Kriya to see the hollow parts on each side
of the fraenum which appear isolated from the body of the ton"ue2 durin"
Kechari M!ra) it is the uvula that comes forward and only the root of the
ton"ue is visible!
C/
Hence# by strivin" each day to practice at least 6;8: Kriya Pranayama with the
ton"ue in this position . despite some discomfort such as an increase in
salivation# swallowin"# and occasional interruptions to reestablish the position .
its practice becomes easy and comfortable! The sense of irritation and the
increase in salivation are soon left behind! After about three wees of practicin"
in this way# you should be able to reach the same position without usin" the
fin"ers! The ton"ue will be able to insert itself into the nasal;pharynx cavity!
There will still be enou"h space left in the cavity to inhale and exhale throu"h
the nose!
The only problem mi"ht be that durin" the first three wees of Kechari
M!ra# you experience 5di44iness5 and fo""ed up mental faculties! %e prepared
for this eventuality and consider abstainin" from drivin" and any wor involvin"
a si"nificant proportion of ris durin" this time!
J&!8K Kechari M!ra as a techni.e complete in itself
There are two main sta"es of Kechari M!ra! After several months of tireless
practice of the afore;described sta"e 8# one achieves sta"e :# where the ton"ue
reaches the 9unction of the nasal passa"e inside the hole in the palate! The soft
tissue above the holes in the internal part of the nostrils is alluded to in Kriya
literature as the 5uvula above the uvula5! The tip of the ton"ue reaches this small
area and remains 5stuc5 there comfortably!
Accordin" to Kriya literature# the ton"ue can be pushed even farther up!
Any "ood anatomy boo will reveal that the ton"ue cannot extend any farther
when it fills up the nasal pharynx! That assertion should therefore be understood
as a hint to what a normal person thins is happenin"! Actually# by extendin" the
ton"ue to its limit# it is possible to experience a "reat attraction toward the re"ion
between the eyebrows alon" with the sensation of havin" reached# with the tip of
the ton"ue# a hi"her position!
The same literature also affirms that throu"h Kechari one is able to perceive
5Amrita5# 5Gectar5# the elixir of life . a sweet tastin" fluid triclin" down from
the brain onto the ton"ue and then into the body! To have this experience# the tip
of the ton"ue should touch three points in sequence> the uvula# a small asperity
on the roof of the nasal pharynx under the pituitary "land# and the soft tissue
above the nasal septum! The tip of the ton"ue should rotate on each of these
spots for at least :E;BE seconds2 then# in the manner of sippin" a liquid or testin"
a food# an essence will be savored on the ton"ue(s surface! The exercise should
be repeated several times durin" the day!
B
Kechari M!ra causes the life force to be withdrawn from thou"ht processes!
%ypassin" the mind(s ener"y system and chan"in" both the path and the direction
B
&Dm unable to comment on the importance of sippin" the nectar since & haven(t had the experience nor#
& admit# have & even tried to have it! &Dm sharin" this information for the sae of accuracy and
completeness! &t may fascinate a kriyaban but after an initial period of intense excitement# it is
for"otten!
C@
of Prana flow# Kechari connects our awareness with the 6piritual dimension
whose seat is in the upper part of the brain! The internal chatter ceases2 silence
and transparency be"in to characteri4e one(s consciousness! The mind wors in a
more restrained way and en9oys an essential rest2 each thou"ht becomes more
concrete and precise! ,hen# durin" the daily activities Kechari M!ra is
practiced# moments of pure calmness and mental silence fill oneDs entire bein"*
6ometimes# mental silence turns into an explosion of inner 9oy!
J&!:K Kechari M!ra cople! #ith Kriya Pranayama
Kechari M!ra enables a kriyaban to tae a "iant step toward perfectin" Kriya
Pranayama! Aurin" Kriya Pranayama with Kechari M!ra# the exhalation
arisin" in the nasal pharynx has a fine flute;lie sound lie a faint whistle! 6ome
schools call it the ,hakti Mantra! &t has been liened to the 5flute of )rishna5!
%lowin" "ently on the ed"e of a sheet of paper approximates the sound! =ahiri
+ahasaya described it as 5similar to blowin" air throu"h a eyhole5! He
described it as 5a ra4or which cuts off everythin" related to the mind5! &t has the
power to cut out any external distractin" factors includin" thou"hts# and comes at
the maximal point of relaxation! ,hen distraction and anxiety arise# the sound
vanishes!
Practicin" Kriya Pranayama in this way and en9oyin" its aftereffects is an
enchantin" and astonishin" experience and one of the best moments in a
kriyabanDs life! Cultivatin" the perfection of this sound and concentratin" firmly
on it# means creatin" the best basis to arouse the (m sound in a way stron"er
than can be achieved throu"h the practice of the second part of Kriya
Pranayama! =iterature on Kriya Yoga explains that when this event happens# the
(mkar experience acquires the dynamism of Kn!alini4 the soul travels throu"h
the spinal cord and burns in the 9oy of ,ama!hi!
+odesty is always welcome but when this result is achieved# the positive
euphoria is so overwhelmin" that it cannot be contained 0lie findin" AladdinDs
ma"ic lamp!1 &n Kriya literature# it is said that those who reali4e a perfect
Pranayama) can achieve everythin" throu"h it! ,ell# if we dream of a faultless
Kriya Pranayama# then what we have described matches the ideal of perfection!
Personal reflection>
However "reat the effect of Kechari M!ra) & firmly believe it is important but not
indispensable! P!'!(s decision to allow initiation into the 1igher Kriyas to those unable
to practice Kechari M!ra has my total approval! ,hen the ton"ue tip is turned bac
and up toward the roof of the mouth# you perceive 9ust the same striin" effect of
internali4ation that "ives you the chance of fully en9oyin" the 1igher Kriyas!
& believe =ahiri +ahasaya also "ranted 1igher 6nitiation to those who could not
achieve Kechari M!ra. +y belief is based on his attitude and his partain" in human
sufferin"! & cannot conceive that the achievement of Kechari was intended to create a
sharp division amon" people! ?n one hand# we have the very proud kriyabans# deceived
into believin" they are more evolved than others and on the other hand# there are those
CC
who are hopelessly depressed for failin" in somethin" that depends not on effort but
only on physical constitution!
[II] Heart Knot
J&&!8K *asic form of %hokar
0Thoar with one rotation . this procedure is called 6econd )riya by many
schools# Third )riya by P!'!(s disciples1
Throu"h %hokar) the ener"y and the intense awareness that has settled in $&na
Chakra# is directed into the $nahata Chakra! This event causes the ((death(( of the
mind> a particular state of ecstatic 5absorption5 be"ins to manifest! A kriyaban
perceives a feelin" of devotion 0*hakti1 emanatin" from the heart Chakra!
%hokar is practiced after Kriya Pranayama and after "avi Kriya# if possible with
the ton"ue in Kechari M!ra!

7i"ure F! Rotation of the head in the basic form of Thoar
Practical instructions
The syllables of the 2as!eva +antra 05(m "amo *hagavate 2as!evaya51 are
mentally placed in each Chakra location!
,ith the chin restin" on your chest# inhale while simultaneously raisin"
the awareness alon" the spinal column# touchin" each Chakra with the syllable
of the Mantra 0(m is placed in the first Chakra# "a in the second# Mo in the
third# *ha in the fourth# 0a in the fifth and *a in *in!.1
F
Raise the chin as if
followin" the inner movement! The hands 0with interloced fin"ers1 are placed
on the navel area to create a mental pressure on the first three Chakras! The
breath produces only a sli"ht# wea sound in the throat or it comes out soundless!
,hen the chin is up and hori4ontal# the inhalation ends# and the awareness is in
the *in!.
F
& am sure the reader nows the correct pronunciation of the Mantra2 phonetic symbols are not
included! Gotice that in the *in!) we don(t mentally verbali4e 2a but *a> this convention has
established itself over the years!
8EE
Hold your breath! The head be"ins its rotation by movin" to the left shoulder
0left ear moves sli"htly toward the left shoulder# the face does not turn left or
ri"ht and the movement is free of all bouncin"12 %e is thou"ht in the Me!lla!
The head tilts bac a little and in a sweepin" arc reaches the ri"ht shoulder# 0the
ri"ht ear comin" near the ri"ht shoulder1# the syllable 2a is thou"ht in the
cervical Chakra! The rotation proceeds# the head bends forward 9ust a little and
moves left until the left ear is near the left shoulder 0the face is not turned to the
left1!
7rom this position# the chin is tilted down dia"onally as if to strie the center of
the chest# while simultaneously , is intensely vibrated in the heart Chakra!
Throu"h this last movement# a ind of hittin" is felt in the heart Chakra. A short
pause follows> 9ust what is needed to be enraptured in the radiation of ener"y
emanatin" from that Chakra! The contraction at the base of the spinal column is
eased off2 via a very subtle exhalation the remainin" syllables of the Mantra are
5placed5 in the first three Chakras 77 De into the third one# 2a into the second
one# and Ya into the first one! ,hile doin" this# the head is usually ept down!
The duration of this process is about :F seconds! Repeat the procedure 8: times!
At the end of this practice# retrieve psycholo"ical and physical immobility
by practicin" at least 8: Kriya Pranayama! Then practice Pranayama #ith short
breath followed by mental Pranayama!
7or several wees# a kriyaban is "uided to perform this technique 8:
times a day# then to "radually increase the number of repetitions of one a day up
to :EE repetitions! After reachin" :EE repetitions# or after six months of B6
repetitions per day# a kriyaban can start the practice of the hi"her level of %hokar!
Remark
Ao not allow the wei"ht of the head to be the sole force pushin" the chin toward
the chest> lettin" your head simply drop would definitely be harmful! A mindful
physical effort is needed to lower the chin!
,hen you practice over <E repetitions# the movements of the head should
be only hinted at> the chin does not come close to the chest and the striin" of the
fourth Chakra is mainly achieved by the sheer power of mental concentration! &f
you have any difficultly whatsoever# stop before reachin" :EE repetitions!
The presence of physical problems 0the cervical vertebrae are indeed
vulnerable1 may require practicin" on alternate days! &t is better to add more
cycles over time rather than face the prospect of experiencin" continuous head
and nec pain throu"hout the entire day*
8E8
%hokar an! the breathless state
Completin" the required numbers for the base form of %hokar is a deed of "reat
importance! As for the possibility of obtainin" the breathless state throu"h it# that
can be compared only to the intensive practice of /apa!
=et us clarify that the breathless state does not simply mean that the
breath becomes "radually quieter or that after a lon" hyperventilation# the breath
is held lie free $ breath;hold divers do!
*reathless state means that the breath is entirely non;existent! This
wonderful event happens in the life of a kriyaban as a very common fact! &t can
happen durin" the practice of any Kriya technique 0in particular durin" the
practice of mental Pranayama. &t can also happen durin" the day# far from the
moment of meditation# for example when contemplatin" somethin" so beautiful
that oneDs own aesthetic sense vibrates!
&t must be emphasi4ed that in order to reach the breathless state# one needs
on the avera"e two to three years of re"ular Kriya practice! ?ne needs not only
the overall effect of the First Kriya techniques but also the action of the (mkar
Kriya and of %hokar# important for its direct effect on the heart "an"lia in the
spine which directly control the breathin" automatic reflex!
%efore considerin" the advanced form of %hokar we counsel you to read
the third part of the boo and start the practice of /apa and see in any way to
achieve the breathless state!
J&&!:K $!vance! form of %hokar
0Thoar with many rotations holdin" one(s breath . this procedure is commonly
called Third )riya or 3ccha )riya# meanin" hi"her )riya! P!'!(s disciples call it
7ourth )riya!1
This technique is a remarable acceleration of the basic form of %hokar. The
action of %hokar is repeated over and over while extendin" the len"th of the state
in which the breath is held 0Kmbhaka!1 &n Kriya literature# the explanation is
that the heart not is stu'0 by the %hokar basic proce!re and then 'ut by the
a!vance! form of %hokar!
Practical instructions
The advanced form of %hokar is practiced after Kriya Pranayama and after "avi
Kriya# if possible with the ton"ue in Kechari M!ra!
After inhalin" 0with (m) "a) Mo!!!1 and raisin" the Prana to the upper
part of the lun"s# partially relax the muscles of the thoracic ca"e as if you were
"oin" to be"in a new inhalation! 0The act of sealin" the lun"s 0trachea1 as when
divin"# should be avoided!1 &n this relaxed mood# repeat numerous cycles of the
head movements unhurriedly! Consequently the mental chantin" of %e in
Me!lla# 2a in the cervical and , in the heart Chakra is done several times 0%e)
2a) ,) %e) 2a) ,) %e) 2a) , ...1 while holdin" the breath! 6top the procedure
and exhale when feelin" discomfort*
8E:
Then slowly exhale and place the syllables De) 2a) Ya in Chakras three#
two# one respectively! ,hile doin" this# eep your head down! This practice is
done ri"orously once a day! To "ive an idea of the speed of the movements# the
entire process from inhalation to exhalation with 8: repetitions of the rotation of
the head 0each rotation concludin" with the movement of the chin toward the
chest1 lasts around /E;@E seconds!
At the end of the procedure restore the physical and mental immobility by
practicin" at least 8: Kriya Pranayama! Then practice Kriya Pranayama with
short breath followed by mental Pranayama! Then pause with the awareness
centered in the li"ht of Ktastha!
Accordin" to tradition# a kriyaban is "uided to perform this technique
with 8: rotations# then to "radually increase the number of repetitions by one a
day up to :EE repetitions! This Kriya is considered mastered when one reaches
:EE rotations without interruptin" the Kmbhaka state!
Remarks
Avoid at all costs any attempts to thwart physiolo"ical processes> tryin" to
accomplish a hi"h number of rotations# doin" them quicly# and bein" obsessed
with holdin" the breath amounts to violence a"ainst one(s body! 6tart with 8:
rotations and increase by one a day! 7ill the upper part of the thorax to its utmost
possible extent with Prana 8 lie a container filled to the brim with water!
6implify the dynamic and the physical intensity of the movements! +ove the
chin toward the chest before completin" the head rotation! Gamely# after rotatin"
your head from left to ri"ht# let your chin 5fall5 toward the chest from the ri"ht
side# then lift it to left side and continue with the rotations! %y increasin" the
rotations# the movements of the head should be only hinted at and the chin
should not come close to the chest!
The +antra (m "amo *hagavate 2as!evaya contains another +antra> %e 2a ,
0Tat tvam asi O Thou are That!1 The outer is a dualistic +antra 0GamoO& bow to
Pod which is different from me12 the inner +antra is non dualistic! Aurin" the
practice of the advanced form of %hokar you "o on repeatin"> ((Thou are That#
thou are That!!!!((
Reflect on this*
1o# to perfect the a!vance! form of %hokar
=et us first "ain proficiency with a particular way of practicin" the advanced
form of %hokar! ,hen you feel you have neared your limit holdin" your breath#
while eepin" the chest expanded and the abdominal muscles and diaphra"m
perfectly immobile# release a minimal 0almost imperceptible1 sip of air whenever
the chin is lowered toward the chest and let an imperceptible sip of air enter
whenever the chin is brou"ht up! Ao not do any specific act of inhalin" or
exhalin"> relax and allow the phenomenon we have described happen of its own
accord! The sensation will always be that of not breathin" at all! Thans to the
effect of this practice upon the "an"lion that re"ulate the cardiac frequency# this
8EB
frequency diminishes and the practice happens in the best conditions# bestowin"
"reat satisfactions!
At this point we are still far from the ideal practice of this form of Thoar! ,hat
we have described is only a preliminary exercise! 'ou may thin it(s invalid
0because you cheat1 but if you repeat it a sufficient number of times 0usually it(s a
matter of a couple of months1# you will discover that it has the power of main"
you taste the state of $ntar Kevala Kmbhaka 0absence of breath# when the
diaphra"m is tensed and the air is inside the lun"s1 durin" the dynamic procedure
of %hokar!
<
&nhale deeply# fillin" the lun"s completely! Expand your rib ca"e and eep it
expanded after completin" the inhalation! Try to remain in the same psycho;
physical condition you instinctively adopt when you are "oin" to tae another
((sip(( of air! 7ocus your attention on the air and Prana fillin" the upper part of
your rib ca"e> lun"s# breath# and Prana are immobile as if fro4en in the upper
part of the lun"s! Gow# the decisive procedure is to move your awareness lie an
ant# climbin" the innermost channel of the spine millimeter by millimeter from
Mla!hara upwards! Practice this holdin" your breath and mentally chantin"
(m) (m) (m!!! rapidly 0about two chants of (m per second1! This action should
be very intense> put in it the distilled experience of years of Kriya! Persist with
it !!!! (m7(m7(m7(m7(m7(m !!!
6tartin" from the base of the spine# after no more than 8<;:E seconds
you(ll have reached the heart Chakra! ,hat you will perceive is a "reater
freedom from the breath! ,hile remainin" in this state# practice the advanced
form of %hokar. 'ou will discover how beautiful and comfortin" is the
experience of rotatin" your head while the breath has actually vanished* The
breath seems fro4en# dissolved in some inexplicable way in the body! Retrieve
this experience in the days to come!
?ne day# the spiritual =i"ht in the form of a 5*in!5 0a dot1 appears both
in the heart Chakra and in Ktastha! The mind is flooded with devotion! The
feelin" of intoxication experienced in the heart center is fantastic! 6uch profusion
of internal 9oy often seems to overcome kriyabans# challen"in" their endurance
limit!
5+y worship is of a very stran"e ind! Holy water is not required! Go special
utensils are necessary! Even flowers are redundant! &n this worship# all "ods
have disappeared# and emptiness has mer"ed with euphoria!5
0=ahiri +ahasaya1
<
The breathless state with empty lun"s and a relaxed rib ca"e durin" mental Pranayama is called
*ahir Kevala Kmbhaka 8 as we have explained# this state is to be achieved throu"h the basic form of
%hokar.
8EF
Remark
The state of $ntar Kevala Kmbhaka is also essential to brin" the practice of
Yoni M!ra to perfection! &t is also useful to perfect Kriya Pranayama) settin" it
upon the ideal timin" of ::Q:: 0we are "oin" to discuss this in Chapter 8:!1
7urthermore# we have explained that the procedure of $ntar Kevala
Kmbhaka is utili4ed durin" Mahasama!hi! ,hat happens at that moment was
described to us with these words>
((1ave a !eep inhalation) then a pase) an! then come p along the spine #hile
in#ar!ly chanting (M) gi!ing yor sol to#ar! the Divine -ternal *rahma
#ith the intention of never reentering the bo!y! ((
[III] Muladhara Knot
J&&&!8K Complete form of %hokar
0Thoar with many rotations holdin" the breath# whose action is directed not
only to the fourth Chara but also to the third# second and first! This procedure is
commonly called 7ourth )riya or ((Purna )riya(( which means ((Complete )riya!((
+any )riya schools do not teach this technique preferrin" either to erase it
completely or substitute it with the sweeter# more docile and mana"eable practice
of Thoar Tribhan"amurari which we are "oin" to introduce later!1
&n the $!vance! form of %hokar# we have applied a very stron" psychophysical
pressure on the heart Chakra2 we now extend this pressure on each Chakra
below usin" the same procedure!
Aescription of the procedure
%e"in by practicin" the $!vance! form of %hokar) thus actin" upon the heart
Chakra but only 8: times! After this is completed# exhale 0with De 2a Ya1 and
concentrate upon the third Chakra and repeat the previous procedure! This means
that each time you lower your chin to vibrate the syllable ,) you mentally direct
the stroe toward the third Chakra! The muscles near that Chakra can be sli"htly
contracted# 9ust to help the process! At the end of 8: repetitions of %e 2a ,#
exhale 0with De 2a Ya1 and focus on the irradiation that departs from the third
Chakra! Pause# perceivin" a particular state which is characteristic of that
Chakra! &n time# you will perceive a particular color in the point between the
eyebrows and also listen to a particular sound!
Repeat the procedure in the second and in the first Chakra! Aon( sip the
pauses to perceive the irradiation that emanates from the second and from the
first Chakra!
Remain lon"er in Mla!hara! 7eel how the ener"y rises lie waves of a
tide "rowin" hi"her and hi"her# reachin" a Chakra# then a"ain fallin" down and
movin" from the base of the spine to a hi"her center!
8E<
This procedure must be completed by "avi Kriya and Maha M!ra. 'ou will
receive a "reat benefit by repeatin" the procedure 0$!vance! form of %hokar1 for
the second# then the third and finally for the heart Chakra 0and only then practice
"avi Kriya and Maha M!ra.1
Remark
This procedure requires "reat care because it affects the person(s behavior durin"
daily life! 'ou could excessively react to trivial impediments and irrational
behavior! &n short# some sharp personality traits of yours mi"ht surface with a
force that in some cases could be ((destructive!(( ?bviously# they do not appear
out of nothin"# they are not caused by the technique . they express what you had
held within you for a lon" time! 0,e will reconsider this delicate point at the end
of the followin" Chapter!1
[IV] MuladharaKustastha Knot
(mkar Kriya techniques have one feature in common> a Mantra made of one or
more syllables is mentally placed inside a Chakra and repeated there many times
until a threefold effect emer"es>
J8K The perception of a micro internal movement 0whose characteristic is
oscillatory or circular1 inside the Chakra.
J:K The experience of listenin" to internal sounds!
JBK The perception of spiritual li"ht!
The (mkar Kriya techniques are an evolution of the procedures of Kriya
Pranayama and %hokar. ((Evolution(( means that while you are practicin" them
you have all the effects of Pranayama and of %hokar but you are barely
breathin"# and you maintain immobility!
&t is reasonable that these practices have to be done after the practice of
%hokar! However there are schools that put the practice of (mkar Kriyas before
that of %hokar!
9hat !oes Kriya me!itation mean:
5,hat do you meditate aboutR(( ?ften we hear this question! People find it
difficult to understand what the ob9ective of Kriya meditation is!
6ome thin that 5meditation5 consists of the elaboration of lofty thou"hts
supported by fervid ima"ination! Go# all the thou"hts are destined to calm down!
A sweet comfort# internal 9oy# inexplicable elation ensues from this! This is the
startin" point of meditation!
6ooner or later# a kriyaban listens to a distant sound of a lon";sustainin"
bell! At its very first manifestation# it "ives total contentment and ease# as if the
spiritual path had come to its fulfillment! &t is of paramount importance to deepen
that experience* A kriyaban must become totally absorbed in it! There is nothin"
in the universe as concrete and real as this vibration . expression of (m cosmic
8E6
vibration! &ts beauty is inexplicable! Even in those who have never experienced
devotion# it di"s a stream of "enuine devotion at which they themselves marvel!
=i"ht# soft as fallin" petals# nocs "ently on the doors of your intuition and
proves itself to be the Reality underlyin" all the %eauty experienced in life! Gow
there is no doubt that all the experiences of love lived in life are but splendid
crystals bloomin" around its "ilded thread!
Throu"h the awaenin" of wisdom# real understandin" is attained and a
process of healin" old wounds be"ins! The deepest layers of the psyche will be
harmoniously affected! ?ld memories# conflicts and impossibilities are revived#
appeased# and reali4ed in the a4ure limitless immobility spreadin" from the
center of your heart! A first;ever *hakti 0devotion1 will arise spontaneously from
your heart# cross the wall of the psycholo"ical dimension and mae life and
spiritual experience indistin"uishable! The daily experiences of life will appear
as transfi"ured# similar to a li"ht dustin" of snow that reduces all asperities!
This divine sound will surround us in misfortune# "uidin" our steps when events
seem to conspire to mae us for"et the spiritual path!
=et us introduce now three procedures that surely and safely lead to the
meditation state> (mkar Pranayama) 6nternalization of the practice of %hokar)
and the so called 0ayatri Kriya. 0&t "oes without sayin" that the ideal practice of
these procedures is with Kechari M!ra! 1
J&M!8K (mkar Pranayama
7irst part> with fra"mented breath
The hands# with fin"ers intertwined# rest on the abdomen! &nhalation and
exhalation are fra"mented into 6 Q 6 parts! 6tartin" with your chin on the chest#
inhale movin" your awareness upwards alon" the spinal column while
simultaneously raisin" the chin slowly as if to accompany and push the ener"y
up! The syllables of the 2as!eva +antra 05(m "amo *hagavate 2as!evaya51
are mentally placed in each Chakra location# while main" a short pause in each!
Aurin" the first 5sip5 of inhalation# the concentration is on the Mla!hara# where
the syllable (m is ideally ((put((2 durin" the second 5sip5# the concentration is on
the second Chakra# where the syllable "a is ideally put - and so on# until *a is
put in the *in!# the inhalation is completed and the chin is hori4ontal.
The exhalin" breath too is divided into six punctuated parts or pulses!
,hile lowerin" the chin at a slow pace# the awareness comes down alon" the
spinal column! The syllable %e is placed in the Me!lla# 2a in the fifth Chakra-
and so on - ,- De- 2a# until Ya is mentally chanted in the Mla!hara!
As soon as it is comfortable# add a pause of :;B seconds both at the end of
inhalation and of exhalation! Aurin" the pause after inhalation# the awareness
maes a complete# counter;clocwise turn alon" the crown of the head!
J5Counterclocwise5 in this boo is always intended as if viewin" from topK!
Aurin" the pause after exhalation# the awareness maes a complete# counter;
8E/
clocwise turn around the Mla!hara Chakra! The rotation above happens inside
the brain# under the cranial bone# startin" from the occipital re"ion# over *in!#
and comin" bac to it2 the head accompanies this inner movement with an almost
imperceptible rotatin" movement 0tiltin" bac sli"htly# then to the ri"ht# the
front# the left# and finally to the bac1! The rotation of the awareness around
Mla!hara does not require physical movement!
Aurin" inhalation# the muscles at the base of the spinal column can be
sli"htly contracted! This contraction is maintained not only to the end of the
inhalation but also throu"hout the ensuin" pause2 then it is released and the
exhalation be"ins! 0This detail should be introduced "radually so it does not
disturb the "eneral harmony!1
The timin" of one First (mkar Kriya breath depends on the individual>
usually it is approximately :E;BE seconds!
Remark
'ou have probably read that in a deep Pranayama# the ener"y crosses the
Chakras 9ust lie the thread of a neclace passes throu"h the pearls! Ao not force
the visuali4ation of a similar hypothetical event because this does not happen!
Actually# the ((thread(( of ener"y envelops each ((pearl((! The counter clocwise
rotation of awareness around the crown shrins while comin" down# 9ust lie a
vortex# windin" around the Me!lla! ,hen exhalation be"ins and you mentally
chant %eeee# you can use the startin" instants of exhalation to intensify the
psychic pressure around the Me!lla! This internal action is extended in a natural
way to the other Chakras. The path of descent is a ((helix(( that surrounds and
creates pressure around each Chakra! Po slowly and do not be in a hurry and let
the process proceed at its own pace!
6econd part> beyond breath
The breath flows soundless and# from a certain moment onwards# taes the
5inward route!5 The practice produces a wonderful state of calmness and at a
certain point# the breath is 5suced in5 and dissolved! 7rom that moment
onwards# all the physical details are only hinted at and may even disappear! The
speed of each repetition of (mkar Pranayama slows down! +ovin" from one
Chakra to the next# a kriyaban be"ins to notice the chan"e of the li"ht vibration
in the re"ion between the eyebrows! Each Chakra is felt clearly as a
concentration of calm ener"y# while your awareness is effortlessly stable in the
point between the eyebrows> this is the moment when the (mkar reality is
revealed! ,ithout this revelation# the practice of (mkar Kriya is deprived of its
own essence! %ein" absorbed in listenin" to astral sound creates inner bliss#
contact with our true nature# puttin" aside . at least momentarily . our E"oic
consciousness!
8E@
(ptional tilization of the syllables of the Mantra
!ring the secon! phase
&n the final part of (mkar Pranayama# when the breathin" process "oes alon"
normally at its own rhythm# it is possible to deepen the concentration in each
Chakra by utili4in" the related syllable# repeated many times!
&n Mla!hara repeat (m) (m) (m) (m) (m!!! a minimum of B6 times!
0Ao not use Mala to count . remain immobile!1 The speed at which you chant the
syllables is about two per second! Misuali4e that Chakra as a hori4ontal dis#
havin" a diameter of approximately one inch! Misuali4e these syllables movin"
on the surface of the dis in counterclocwise direction# near the circumference!
After the first round# another comes# inside the previous and so on !!! until you
ideally reach the center of the dis!
Then focus on the second Chakra where you will do exactly the same
action# utili4in" the second syllable of the Mantra# namely> "a) "a) "a) "a) "a...
about B6 times!
Then focus on the third# repeatin" Mo) Mo) Mo) Mo) Mo!!!! about B6 times!
Then focus on the fourth# repeatin" *ha) *ha) *ha) *ha) *ha !!! then on the fifth
00a) 0a) 0a) 0a) 0a !!!!1# then on *in! 0*a) *a) *a) *a) *a !!!!1! ,hen you
rotate the awareness many times on the crown you will repeat %ee) %ee) %ee) %ee)
%ee - The ((absorption state(( is very stron" indeed!
Then you will focus on the fifth Chakra utili4in" 2a) 2a) 2a -!
Poin" up this way from Mla!hara to *in! and comin" down repeatin" the
same procedure is one round> the time required is approximately F;6 minutes!
Repeat B;F times and then be lost in the meditative state!
J&M!:K (mkar Kriya 8 6nternalization of the practice of %hokar
After havin" completed a con"ruous number of rotations of %hokar 0it can be the
basic form of %hokar or the advanced form of it1 do not interrupt this procedure
but mae it subtle! 7irst of all breathe freely! Then visuali4e the fourth Chakra
$nahata as a hori4ontal dis! ?n its surface try to perceive an inner movement
sensation as if the head movements 0that you are performin" with more li"htness
and softness1 were pro9ected on its surface! 0see 7i"ure <1
,hile the head is movin" left# perceive in the heart Chakra an inner li"ht
movement to the left> thin the syllable %eee! ,hen the head moves ri"ht#
perceive a movement ri"htward> thin the syllable 2a! ,hen the head reaches the
chest# perceive that this inner movement reaches the center of the ideal coin> the
center of the $nahata Chakra! Thin the syllable ,! Repeat some more times!
8EC
7i"ure <! Perception in the heart Chara
&n comparison with the movements of %hokar# the dynamic of the head
movements is "reatly diminished! Then stop any movement 0the breath is always
free!1 'our attention is captured by a warm radiation of ener"y that emanates
from the fourth Chakra! &n time# it is destined to become more and more mared!
Repeat the practice in the third Chakra> this is not difficult# especially if
you are familiar with the complete form of %hokar! ,hile part of your awareness
remains in the head# transfer the repetitions of %e) 2a) , in the third Chakra!
Thin 5%e5 when you move to the left of its center# 52a5 when you move to the
ri"ht# 5,5 when there is a soft tap in its center! Repeat three times!
Repeat the practice in the second# then in the first# in the second# third and
fourth Chakra!
'ou reali4e how easy it is to have this perception in the fifth Chakra too#
althou"h we have never practiced %hokar specifically directed toward that
Chakra! The movements of the head are extremely subtle now# practically
imperceptible to an observer placed a couple of meters away!
'ou can have this perception in the head also# not inside $&na but around
it! &n a very relaxed mood# start rotatin" the head main" a short radius
movement* Considerin" the fontanelle as a point# the rotation of the head now
draws a circle of no more than one inch of diameter! The movement of the head
may be accompanied by a li"ht oscillatory movement of the torso! Thin %e in
the left lobe of the brain# 2a in the ri"ht lobe and , in the frontal part of the
head! ,hile you thin 6u# you can have a small 0almost invisible from the
physical point of view1 9olt . you are li"htly tappin" on the door of Ktastha!
Repeat some more times!
&t is clear how you complete the first round of the technique> the perception is
recreated in the fifth# the fourth# the third# the second# the first Chakra. 'ou can
of course repeat the whole round a couple of times!
+ae more subtle movements until you reach perfect immobility! Airect
mental pressure toward the nucleus of each Chakra! At the end# the center of
your awareness naturally establishes itself in the comfortin" li"ht of the sixth
Chakra! &n this immobility there is one treasure to en9oy!
$lternative
The mental repetition of %e) 2a) , coupled with a sensation of internal
movement can end in the heart Chakra. 'ou can stay there a lon"er period of
time! A burnin" aspiration towards the Aivine will be born from this! Amon" the
88E
debris of past illusions# such experience will open the doors of your spiritual
reali4ation!
After the ?mar sound ceases to exist# the Efful"ent 7orm appears! Gothin"
exists except the 6un of the 6oul! &# 6hama Churn# am that 6un!
0=ahiri +ahasaya1
J&M!BK 0ayatri Kriya
06ome )riya teachers call this technique 7ourth )riya# others consider it a
variation of 'oni +udra1
This technique has the same effect as Yoni M!ra but you can practice it for
lon"er times# thus its effects are stron"er! 6ince it raises the awareness into
Ktastha# it has a power of internali4ation which is perceived easily# without a
shadow of a doubt! The structure of this technique is well nown in &ndia and is
considered the subtlest way of usin" the 0ayatri Mantra! 6ome boolets contain
minor variations and additional rituals! The 0ayatri Mantra is considered to be a
supreme vehicle for "ainin" spiritual enli"htenment! &ts purest form is %at
,avitr 2arenyam *hargho Devasya Dhimahi Dhiyo Yonaha Pracho!ayat. 0?h#
"reat 6piritual =i"ht who has created the 3niverse# we meditate upon 'our "lory!
'ou are the embodiment of )nowled"e! 'ou are the remover of all &"norance!
+ay 'ou enli"hten our &ntellect and awaen our &ntuition!1
This Mantra is prefaced with either a short or a lon" invocation! The short
invocation is> (m *hr) (m *hvah) (m ,#aha. The terms *hr) *hvah)
,#aha are invocations to honor the three planes of existence 0physical# astral#
and causal respectively1 and to address their presidin" deities! The lon"
invocation is> (m *hr) (m *hvah) (m ,#aha) (m Mahah) (m /anah) (m
%apah) (m ,atyam. This invocation is more complete since it reco"ni4es that
there are more planes of existence> the seven Lokas! Mahah is the mental world#
the plane of spiritual balance2 /anah is the world of pure nowled"e2 %apah is the
world of intuition2 ,atyam is the world of Absolute# 3ltimate Truth! ,e can be
satisfied with the explanation that these sounds are used to activate the Chakras
and connect them to the seven spiritual realms of existence! &n our procedure# we
use only the openin" lon" invocation in its complete form and not all the parts of
the 0ayatri Mantra! The Kriya tradition we are followin" here lins Manipra
with (m Mahah and $nahata with (m ,#aha! The reason is that the world of
thinin"# evoed by (m Mahah) is more appropriate to the nature of the third
Chakra# while the causal world of pure ideas# evoed by (m ,#aha) is related to
$nahata Chakra.
888
Practical instruction
Practice this technique at the end of your Kriya routine!
Practice the followin" actions for each Chakra 0in the order> 8# :# B# F# <#
Me!lla1>
8! Contract the muscles near the physical location of the Chakra. The contraction
can be repeated two;three times!1
:! Throu"h a deep inhalation 0not necessarily as lon" as in Kriya Pranayama1
visuali4e the Chakra comin" up into the point between the eyebrows# where you
perceive it as a full moon! 'ou don(t come up ((touchin"(( the other Chakras!
Gow they don(t exist! 'our awareness is fully inside a Chakra and nothin" exists
but the Chakra itself and Ktastha!
B! Hold the breath and focus on the 5inner space5 between the eyebrows! This
comes out easily with Kechari M!ra!
6
?n the screen between the eyebrows# a
particular color experience happens . this color is different for each Chakra.
F! +entally chant at least three times the specific Mantra for the Chakra!
<! 7inally# throu"h a lon" exhalation# ideally lower the Chakra from the point
between the eyebrows to its proper location in the spine!
The Mantras to be used are>
(m *hr for Mla!hara
(m *hvah for ,#a!histhana
(m Mahah for Manipra
(m ,#aha for $nahata
(m /anah for 2ish!!ha
(m %apah for Me!lla
(m ,atyam will be chanted in Ktastha
=et us see how to contract the muscles near the physical location of the Chakra.
7irst Chakra Mla!hara> practice Mla *an!ha until the abdomen and spine
vibrate! Relax!
+any find the followin" technical detail very useful> before liftin" a
Chakra# let the inhalation ideally start from its 5frontal5 component 0perineum1#
come towards its location in the spine and then come up to the point between the
eyebrows! 0This can be usefully applied to the next Chakras> the pubic area is the
((frontal(( part of ,#a!histhana Chakra2 Manipra is lined with the navel2 the
central re"ion of the sternum is the ((frontal(( part of $nahata2 2ish!!ha is lined
with the upper front part of the throat!1
6
5)e;chari5 is literally translated as 5the state of those who fly in the sy# in the ether5! A particular
5space5 is created in the re"ion between the tip of the ton"ue and the point between the eyebrows and
is perceived as a 5vacuum5# althou"h it is not a physical void! %y mer"in" into this empty space# it is
easier for a kriyaban to perceive the rhythms of each Chakra and distin"uish them one from another!
88:
6econd Chakra ,#a!histhana> practice 2airoli M!ra 0contract and relax both
the urethral sphincter and the muscles of the bac near the sacral center!1
Third Chakra Manipra> quicly contract and relax the navel# the abdominal
muscles and the lumbar area of the spine!

7ourth Chakra $nahata> brin" the shoulder blades to"ether and concentrate on
the spine near the heart! Relax!
7ifth Chakra 2ish!!ha> move your head quicly from side to side 0without
turnin" your face1 a couple of times# perceivin" a "rindin" sound in the cervical
vertebrae! This is only to locali4e the cervical center! Gow contract the muscles
of the bac of the nec near the cervical vertebrae and relax!
Me!lla (blongata> raise the chin# tense the muscles near the Me!lla 0under the
occipital re"ion1# clench the teeth# and see the li"ht at the point between the
eyebrows! Relax!
Add a particularly intense concentration at the point between the eyebrows! Hold
your breath2 raise your eyebrows# become aware of the li"ht! Repeat (m ,atyam.
Gow complete the 5round5 by liftin" Chakras <# F# B# :# 8# always usin" the
contraction# the chantin" of the Mantra) bein" aware of any particular li"ht
experience in )utastha! &f possible repeat the procedure 6 to 8: rounds!
Remark
Those who persevere 0refusin" the scruple that this procedure doesn(t come out
with any effects1 and "ive this technique a fair trial will experience a definite
transformation of their state of consciousness! &n whatever way you loo at it#
the contribution of this technique in removin" the last internal obstacles blocin"
our efforts to enter ,shmna is exceptional!
&f the practice seems difficult# you must improve your preparation! Every
day deepen your mental Pranayama! +ove your concentration up and down the
spine# intensifyin" the mental pressure around each Chakra! After listenin" to the
internal sounds# you will come to perceive more and more =i"ht in the Ktastha
and in the hi"her part of the brain and remain mer"ed in it for a lon" time!
Aurin" the practice of the above described procedure# Prana always
remains in the re"ion of the middle part of your head where the sixth Chakra
$&na has its seat! Gow# if you notice that the barycenter 0center of mass1 of your
awareness 0therefore of your Prana1 is comin" down and is "ravitatin" toward
the areas controlled by the fifth or the fourth Chakra# use the previously
described exercise to achieve the $ntar Kevala Kmbhaka state! +ae use of it
as much as necessary,
88B
Deepening of the practice
The li"ht that you perceive in the heart Chakra has its proper ori"in and seat in
Ktastha and contains the particular vibration and li"ht frequency of each
Chakra! The procedure we have described "ives the power to familiari4e with
these frequencies up to the reali4ation that all the universe exists in Ktastha!
&n time it will be possible for you to mentally repeat (((m *hr5 B6 times
holdin" your breath! This "ives you the power to tune with earth;%att#a
experiencin" the peculiar ((vibration(( of the Mla!hara Chakra!
At the same time# by repeatin" the Mantra (((m *hvah(( B6 times it will
be possible to tune with water;%att#a havin" its seat in the second Chakra!!!!
then comes the turn of the fire;%att#a!!!
7amiliarity with the breathless state "ives you the ability to stop at each
Chakra 0lie a bee on a flower1# bathin" for a precise time in the %att#a lined
with that Chakra! The ideal time is what is required to do B6 repetitions of the
related Mantra! 6tay with the number B6 to resist the tendency to lose yourself in
a state of bliss arisin" from each Chakra! The %att#a related to a Chakra tends to
entrap oneDs attention# resultin" in an indefinite pause on a Chakra with nothin"
bein" accomplished! The B6 repetitions of the Mantra will help you to have full
experience of each %att#a but# at the same time# "o beyond it! The meanin" of
the 0ayatri Kriya is exactly this> tunin" in with each %att#a) one after the other#
up and down alon" the spine until# as Kriya literature affirms# 5The last shell of
illusion is broen*5
88F
[V] !lternati"e procedures cooperating with the second and
third part
JM!8K Macro movement %ribhangamrari '$mantrak+
JM!:K Macro movement %ribhangamrari ',amantrak+
JM!BK Macro movement %ribhangamrari '%hokar+
0&t is a set of three techniques# commonly called 6econd# Third and 7ourth )riya
by those schools that do not teach the basic form of Thoar1
Kriya tradition requires that this technique be tau"ht in three separate sessions>
between the first and the second and between the second and the third usually
one year should elapse! &t is therefore unthinable to practice the last sta"e
0%hokar %ribhangamrari proper1 as an experiment and immediately expect to
appreciate its potentiality! ?n the contrary# persistin" stubbornly with such an
attitude is an almost certain "uarantee of permanently failin" to understand and
taste the richness and beauty of the %ribhangamrari;based procedures! JThis
discussion is resumed at the end of Chapter C!K
&n the three techniques of the %ribhangamrari Macro there is no formal
instruction about the use of the breath! Each technique is supposed to be
practiced with a very calm breath which may disappear in certain moments of
internali4ation toward which the technique naturally leads!
JM!8K Macro movement %ribhangamrari '$mantrak+
Practice the followin" technique with your ton"ue in Kechari M!ra# after the
practice of Kriya Pranayama and of "avi Kriya! At the end of this practice#
remain with the awareness centered in the li"ht of Ktastha!
7i"ure 6! &nternal movement Tribhan"amurari
88<
7or"et completely your breath# let it follow its natural rhythm! Mery slowly raise
Prana and awareness throu"h the spinal channel# from Mla!hara to *in! .
half a minute is required! Ao not pause in any of the Chakras! Gow let Prana and
awareness come slowly downwards alon" the %ribhangamrari path and reach
Mla!hara! Another half minute is required!
The %ribhangamrari path be"ins in *in!# bends to the left# descends
into the seat of Me!lla# crosses it# and continues toward the ri"ht side of the
body! ?nce a particular point in the bac 0<;6 centimeters above the ri"ht nipple1
is reached# it reverses direction cuttin" the heart not! After reachin" a point in
the bac that is <;6 centimeters under the left nipple# it chan"es its direction
a"ain and points toward the seat of the last not in the coccyx re"ion! 06ee fi"ure
61
?ne round of $mantrak 0$mantrak means ((without the use of a Mantra((1 lasts
one minute! &f you reali4e it is shorter# let us say F<$<E seconds# it does not mean
the procedure was executed too quicly! However# resolve to reach the exact
timin"!
7or two wees# repeat this technique :< times# once a day! Then for another two
wees repeat it <E times once a day2 then for another two wees /< times !!!! and
so on up to :EE times each day for two wees! ?nly then can you be"in the
re"ular practice of the second technique> ,amantrak!
Remark
%ribhangamrari is the best symbol of Kriya Yoga because apart from showin"
the cuttin" of the three nots# it is also one symbol of ,ri Krishna! The shape of
Krishna# as depicted in the icono"raphy# is a form in which you can easily
individuate three curves 0head# spine# bent le"!1 A sentence attributed to =ahiri
+ahasaya> 5To mae this body %ribhangamrari 0)rishna;lie1# three nots have
to be crossed!5
Throu"h this procedure# Kn!alini is invited to rise throu"h ,shmna! &n
the be"innin"# only a minimum of Prana is able to enter the ,shmna and move
upward . this is due to mental restlessness! %ut sooner or later# the Kn!alini
ener"y will reach the head! The technique fosters this moment because durin"
each round you cross three main nots 00rantis1> ton"ue$+edulla oblon"ata#
heart# and coccyx! This happens by comin" down from head to Mla!hara
followin" the three;curved path %ribhangamrari 0Tri;bhan"a;murari O three;
bend;form!1
886
JM!:K Macro movement %ribhangamrari ',amantrak+
Practice the followin" technique with your ton"ue in Kechari M!ra# after the
practice of Kriya Pranayama and of "avi Kriya! At the end of this practice#
remain with the awareness centered in the li"ht of Ktastha!
7i"ure /! Placin" the 8: syllables alon" the Tribhan"amurari path

Completely for"et about your breath and allow it to follow its natural rhythm!
Mery slowly# raise Prana and awareness throu"h the spinal channel# from
Mla!hara to *in! . this requires half a minute! The perception of the current
is intensified by mentally chantin" the syllables of the 2as!eva Mantra. (m#
"a# Mo# *ha) 0a) are vibrated into the first five Chakras and *a in *in!.
Gow let Prana and awareness come slowly downwards alon" the
%ribhangamrari path and reach Mla!hara! Half a minute is required! The
perception of the %ribhangamrari current is intensified by mentally chantin" the
remainin" syllables of the 2as!eva Mantra. %eeee is chanted in Me!lla but you
are able to perceive how the reverberation of this vibration touches the point
between the eyebrows . thus you also will feel %eeee in Ktastha!
The syllables 2a) ,) De) 2a are put in the four new centers outside the
spine2 Ya is vibrated in Mla!hara! These four new centers are four 5vortexes5
inside the main flow of the current . they are not a new set of Chakras! Each
syllable when vibrated is lie a mental %hokar 0hit1> since the technique is
performed slowly# there is plenty of time to mae these tappin"s very effective!
,e have now described one round of ,amantrak# which lasts one minute! &f you
reali4e it is shorter# let us say F<$<E seconds# a"ain# it does not mean the
procedure has been done too quicly! However# mae a resolution to reach the
exact timin"!
7or two wees repeat this technique :< times# once a day! Then for
another two wees repeat it <E times# once a day2 then for another two wees /<
88/
times !!!! and so on up to :EE times each day for two wees! ?nly then can you
be"in the re"ular practice of the third technique> %hokar7%ribhangamrari!
JM!BK Macro movement %ribhangamrari '%hokar+
Practice the followin" technique with your ton"ue in Kechari M!ra after the
practice of Kriya Pranayama and of "avi Kriya! At the end of this practice#
resume for some rounds 06;8:1 the practice of (mkar Pranayama and then
remain with the awareness centered in the li"ht of Ktastha!
7or"et the breath! The hands 0with interloced fin"ers1 are placed on the navel
area so as to push the abdominal re"ion upward# thus creatin" a physical pressure
on the first three Chakras! 6tartin" with the chin on the chest# move the ener"y
and awareness very slowly alon" the spinal column from Mla!hara to *in!!
'our chin comes slowly up followin" the inner movement! ((Touch(( internally
each Chakra with the syllables of the Mantra 0(m is placed in the first Chakra#
"a in the second !!!1! ,hen ener"y and awareness are at *in!) the chin is
parallel to the "round.
7i"ure @! Thoar;Tribhan"amurari
Gow the descent of the ener"y be"ins! The movement of the head follows
millimeter by millimeter its downward ener"etic flow alon" the
%ribhangamrari path# from *in! to Mla!hara) crossin" the three nots and
touchin" the four new centers outside the spine! All this happens in a fluid way
and within BE seconds or less! The followin" description of the movements of the
head may seem complicated at first but with a minimum of patience# the ri"ht
movement of the head will be learned> you need only to understand that it is
conceived as a lo"ical and effective way of intensifyin" a particular snaelie
88@
downward flow of the ener"y! =et us now be"in to describe the movements of
the head!
,ithout turnin" the face# bend your head sideways a couple of centimeters to the
left! Raise the chin as much as possible 0contract the nec(s bac muscles1 and
return to the middle! Reali4e how this simple movement accompanies perfectly
the descent of ener"y from *in! to the Me!lla alon" the first curve of the
%ribhangamrari path! Remain only an instant in this position# with the chin
raised and vibrate the syllable %eeee in the Me!lla. 7urthermore# as you learned
in ,amantrak# perceive also the reverberation of this vibration at the point
between the eyebrows!
Then# from this position# slowly turn the face to the ri"ht and as far as
possible! ?nly the face moves# not the torso! Aurin" this 6=?, movement 0do
not be influenced by the dynamics of the technique of %hokar1# the inner flow of
ener"y moves from the Me!lla to the ei"hth center!
Here the first of five psycho;physical blows happens> the chin touches the
ri"ht shoulder for an instant and the syllable 2a is vibrated in the ei"hth center!
The shoulder also maes a small upward motion to mae contact with the chin
easier! %ut be careful> if you feel you(re forcin" it# 6T?P* Those who are not able
to have this contact with the ri"ht shoulder# should content themselves with
comin" as close to the shoulder as possible and stimulate the ei"hth center with
sheer mental stren"th!
Then the face turns very slowly to the left# accompanyin"# millimeter by
millimeter# the internal flow of ener"y from the ei"hth to the ninth center# and
crossin" the fourth Chakra. &f possible# place the chin over the left shoulder! The
second blow taes place when the syllable , is vibrated in the ninth center and
the chin for an instant touches the left shoulder# which maes a small motion
upward to mae contact with the chin easier!
Two more blows happen when the syllables De and 2a are put in the tenth
and eleventh centers. The procedure is the followin"> The chin slowly moves
toward the middle of the chest while "ra4in" the left collarbone! Aurin" this
movement# two li"ht blows are "iven to the left collarbone in intermediate
positions! 0& thin 7i"ure @ can help you understand what & mean for
((intermediate positions((!1 The blows are "iven of course in the moment in which
the syllables of the Mantra are vibrated! 7inally# a last blow is "iven on the chest
0central position1 when the syllable Ya is vibrated in Mla!hara!
The essence of this particular form of ((%hokar(( consists not only in the five
stroes but mainly in a constant intensification of the mental pressure alon" the
whole circuit! Considerin" the action of squee4in" an almost empty tube of
toothpaste to "et the last bit out "ives you a "ood idea of what happens durin"
this procedure! ,hen the movements of the head are slow and enriched by a
"reat stren"th of concentration and will# there is no limit to the increase of the
internal ener"etic flow alon" the %ribhangamrari path!
88C
As in the previous technique# if you tae F<$<E seconds to do one round# it(s ?)!
However# your "oal is to reach the ideal speed of 6E seconds!
Repeat the procedure B6 times! After completin" the pro"rammed number
of rounds# calm the system with a minimal practice of ,amantrak# then relax by
practicin" a simple mental Pranayama!
The supervision of an expert helps to avoid any problems . & am referrin"
to stress and pain in the cervical vertebrae and in the muscles of the nec! Abrupt
movements should be avoided2 instead use a deep intensity of mental
concentration! 7or the first couple of wees do not practice every day but every
two or three days!
As soon as possible# be"in the incremental routine of this procedure by
practicin"> B6x:# B6xB#-!! B6xB<# B6xB6! %e careful to allow always one wee
to elapse between one sta"e and the next!
To those who have the time and "ood will to complete it# & recommend
this routine as a very important feat! A minimum of @;8E months is required to
complete it! Then you can start the practice of the %ribhangamrari Micro.
[VI] !lternati"e procedures cooperating with the fourth part
JM&!8K Micro movement %ribhangamrari '$mantrak+
JM&!:K Micro movement %ribhangamrari ',amantrak+
0Commonly called 7ifth# 6ixth )riya by those school that teach Tribhan"amurari
Thoar1
JM&!8K Micro movement %ribhangamrari '$mantrak+
Practice the followin" technique with your ton"ue in Kechari M!ra# after the
practice of Kriya Pranayama and "avi Kriya and after a minimum of 8: rounds
of %hokar7%ribhangamrari!
The definitive stability of Kn!alini in $&na Chakra is achieved throu"h
the %ribhangamrari Micro! This technique implies the experience of the
movement %ribhangamrari in small dimensions inside each Chakra) *in!)
Me!lla) in the four centers outside the spine located alon" the %ribhangamrari
flow and a"ain in Mla!hara!
Throu"h a short inhalation# raise the Prana in the Mla!hara Chakra into
the point between the eyebrows! ,hen the presence of the ener"y is clearly felt
in the point between your eyebrows# stop the breath and loo 5down5 at the
Mla!hara Chakra. Misuali4e it as a hori4ontal dis# havin" a diameter of
approximately one inch! Gow# perceive on that dis the %ribhangamrari
movement in reduced dimensions!
8:E
7i"ure C! Tribhan"amurari micro;movement inside a Chara
Refer to 7i"ure C2 start from point % 0bac part of the Chakra1 and "o strai"ht to
7 0frontal part of the Chakra12 then return from 7 to % alon" the snaelie path!
&t does not matter whether the time it taes is short or lon"! Exert a moderate but
continuous pressure on the dis as if you had a pen and were drawin" a clear
continuous mar! 6ooner or later you will perceive somethin"! A tendency may
come to mae a very faint movement of the spinal column 0forward# left# ri"ht#
left# bac to startin" position1! This movement should be almost invisible to an
observer! Repeat two more times! 'our breath is held effortlessly2 the Prana
remains totally in $&na Chakra! After three perceptions of the complete
movement 0a complete movement is a strai"ht movement from % to 7# followed
by the snaelie movement from 7 to %1 you can relax and let Prana come
down! A subtle exhalation happens but you may not be aware of it! +ove to the
second Chakra and repeat the same procedure!
Repeat the same procedure for Chakras B# F# <# then for *in!# then for
Me!lla# then for the four centers outside the spine# and finally for Mla!hara!
This is round 8> practice 8: rounds! At the end of 8: rounds# remain with the
awareness centered in the li"ht of Ktastha! %e faithful to this practice for at
least six months before startin" to familiari4e yourself with the followin"
procedure!
JM&!:K Micro movement %ribhangamrari ',amantrak+
The technique is the same but the mental pressure is increased throu"h the
repetitions of the syllables of the 2as!eva Mantra! There won(t be any further
sta"e with movements of the head as we have done with %hokar
%ribhangamrari. &n this last sta"e remain immobile with no movement at all of
the spinal column or of the head! Here all the power of pressure has to be
obtained with the sheer repetition of the syllables of the Mantra!
Practice Kechari M!ra! Throu"h a short inhalation# raise the Prana contained in
the Mla!hara Chakra into the point between the eyebrows! ,hen the presence
of the ener"y is clearly felt in the point between the eyebrows# for"et the breath
and loo 5down5 at the Mla!hara Chakra and mentally utter the syllables 5(m7
"a7Mo7*ha70a7*a7%e72a7,7De72a7Ya5! Ao this /apa without hurry!
8:8
The micro;movement %ribhangamrari will be perceived as in the
previous first part but now the mental repetition of the syllables will add a
"reater 5pressure5 to it! The syllables are lie mini 5thrusts5 or 5pulsations5! The
duration of a round is determined by the speed of the chantin" of the Mantra. 7or
many people# the chantin" of the Mantra and consequently# the micro;movement
lasts about 8E;8: seconds! Gevertheless# remember that =ahiri +ahasaya(s
recommendation was 5Aon(t be in a hurry*5 ?bserve the difference between
"oin" slowly and with speed! &f you "o slowly# you will perceive a tremendous
power!
Repeat the 2as!eva Mantra three times! Prana remains totally in the
head! After three perceptions of the micro;movement# repeat the same procedure
in Chakras :# B# F# <# then in *in!# then in Me!lla# then in the four centers
outside the spine# and finally in Mla!hara! This is one round> practice 8:
rounds! At the end of this practice# remain with the awareness centered in the
li"ht of Ktastha!
Remark
This procedure implies the experience of a peculiar sensation of movement
within the perfect stillness of each Chakra! This experience is the surest way
toward the annihilation of the E"o!
This internal movement embodies the deeper aspect of the (mkar reality!
Perceivin" it means to annihilate any form of duality present in the Chakras and
therefore# in your awareness! This technique leads you out of time and space!
?nly few Kriya schools have disclosed the nature of this micro;movement and
revealed its importance! 3nfortunately# many people see frantically impossible
surro"ates for it*
8::
CHAPTER @
INTRODUCTION TO SO3E INTERESTING ;ARIATIONS OF THE TECHNIQUES
DESCRIBED UP TO NO<
Here we shall discuss the most interestin" and powerful variations of Kriya
Yoga. The followin" exposition is essentially devote to the autodidact who wants
to empower a certain technique beyond the usual limits to whom "enerally those
who practice Kriya are used! This is possible by experimentin" with different
variations until you intuitively understand the core# the "ist of a procedure!
The variations that & am "oin" to discuss have different ori"in! 6ome have a "ood
connection to =ahiri +ahasaya(s ori"inal le"acy! ?thers have the perfume of the
Ra!hasoami ,ant Mat# others the power of Kn!alini Yoga2 some betray the
influx of the 6nternal $lchemy 8 "ei !an) the central practice of Taoism!
0lobal otline
7our phases of the )riya process 7irst )riya Hi"her )riyas
PHASE + U"(ast#"i"2 th# 0"ot o(
th# to"2u#
S Talabya )riya considered not
only a preparation to )echari but a
process important in itself $$
)echari +udra practiced apart from
other procedures or combined with
the practice of )riya Pranayama
S ?mar )riya
PHASE - U"(ast#"i"2 th# 0"ot o(
th# h#at
S )riya Pranayama
S =istenin" of internal sounds both
durin" and after the practice of
)riya Pranayama
S %asic and advanced form of
Thoar
PHASE 1 U"(ast#"i"2 th# 0"ot o(
3u$a%haa

S )riya Pranayama
S Gavi )riya# +aha +udra
S Particular procedures# typical of
)undalini 'o"a
S Complete form of Thoar
S Tribhan"amurari macro
PHASE 6 Gui%i"2 'o"s'ious"#ss
to is# (o. 3u$a%haa to
Kutastha
S )riya Pranayama with short
breath# mental Pranayama
S 'oni +udra
= ?mar )riya
S Tribhan"amurari micro
8:B
FIRST PART: ;ARIATION OF THE FIRST KRIYA TECHNIQUES
+, Ta$a)ya Kiya
The technique of %alabya Kriya can be enriched by massa"in" both the muscles
of the ton"ue and the frenulum with one(s own fin"ers!
-, O. /apa i" th# Cha0as
J:!8K 6ome schools teach to chant 0loudly or mentally1 2am or *am or 1rom at
the place of (m! Especially 1rom 0a sustained Hrooooooom1 turns out very
effective in floodin" with euphoria those who practice!
J:!:K 'ou can accompany the chant 0only if it is done mentally1with one or more
breaths! 7ocus your awareness on the Mla!hara Chakra and breath deeply
visuali4in" the air comin" in and out from that point! Repeat for each Chakra4
after reachin" *in!# "o bac to Mla!hara! Repeat the circuit 6;8: times!
At first it will not be a sin"le point of which you become aware# but more
lie an area! &n time# the sensations will become more locali4ed!
1, Kiya Pa"aya.a
JB!8K Long e;halation an! Kmbhaka
+any kriyabans find the followin" instruction very comfortin" 0this detail can be
applied to any Kriya Pranayama variation1! The ratio :>B for inhalation and
exhalation is considered as more natural than 8>8! 07or instance> inhalation lasts
8: seconds# exhalation lasts 8@ seconds!1 &n time you can add Kmbhaka after
inhalation! 6tartin" with F seconds you can hold your breath for a time equal to
inhalation! 07or instance> 8: seconds inhale# 8: seconds hold# 8@ seconds
exhale!1
JB!:K Kriya Pranayama #ith $s#ini M!ra
&t is a wise choice to practice $s#ini M!ra durin" Kriya Pranayama!
$s#ini M!ra means contractin" repeatedly the muscles at the base of the
spine with the rhythm of about two contractions per second! ,hile learnin" the
technique# a yogi contracts the buttoc muscles# perineum or even the entire
pelvic re"ion also2 with time# the contraction involves only the sphincter
muscles!
Aurin" inhalation and exhalation of the first 8: Kriya breaths# $s#ini
M!ra should be stron"2 subsequently# it should decrease in intensity and
become lie a sli"ht internal contraction of the inferior part of the spine 0it is
clear that the spine cannot be contracted> this is 9ust a sensation!1
The continuous practice of $s#ini M!ra durin" Kriya Pranayama creates
the condition for Kn!alini awaenin"! &t "ently pushes the $pana current
upward to the navel re"ion where it meets Prana! Kn!alini awaens when
Prana and $pana unite and there is perfect immobility of the body!
&f this procedure appears annoyin" and disturbin"# it is essential to be
unshaeable and "o ahead with it! At a certain point# by "oin" on impassively#
8:F
one has the certainty that somethin" positive is happenin"! ?ne perceives a
pleasurable shiver in the spine! The day after this practice# a diffuse 9oy durin" all
the day is perceived! Even the most simple Kriya routine fills one with 9oy!
JB!BK Kriya Pranayama #ith Mla *an!ha
This practice is not beautiful as the previous one# the only purpose for which &
describe it here is completeness! Mla *an!ha means contractin" the perineum
muscles# while a mental pressure is exerted on the lower part of the spine 0we
have only one lon" contraction and not a series of contraction and release as we
have in in $s#ini M!ra!1 ,e practice this Mla *an!ha durin" the pause after
inhalation! The "oal is to create the perception of Ktastha!
Aurin" the last instants of inhalation of a Kriya breath# visuali4e the current
reachin" *in!# then 5rotatin"5 left# comin" down a little bit and enterin" the
Me!lla. &t is in this moment that Mla *an!ha is practiced intensely# the breath
is held and the eyebrows are raised! The sensation is that the ener"y is pushed
from Me!lla into Ktastha! A sensation of internal li"ht spreads from Ktastha
to the upper part of the brain!
Then exhalation be"ins# the tension of Mla *an!ha is released and the
ener"y "oes down to Mla!hara! Kechari M!ra cooperates with the process>
durin" Mla *an!ha# the ton"ue 0inside the nasal pharynx1 is pushed upward and
forward!
JB!FK Kriya Pranayama #ith tight heli;
,hat & am "oin" to describe# comes out very easily to those who have practiced
Kriya Pranayama with $s#ini M!ra!
&n this variation we for"et the existence of the Chakras and concentrate
upon the spine chord only! The spinal path of the ener"y is perceived as an helix!
&n a nutshell# startin" from the base of the spine# the ener"y comes up rotatin"
counterclocwise alon" the spinal channel! Then the ener"y comes down alon"
the same path# hence rotatin" clocwise! Kriyabans experience a stron" sensation
of physical immobility and perceive their spine as a steel bar!
JB!<K $ sbtle form of %hokar insi!e Kriya Pranayama
,hat we are "oin" to describe concerns only the exhalation of Kriya
Pranayama!
Aurin" exhalation# reali4e it is not difficult to "ive a particular ((9er(( at
each Chakra location! Each kriyaban has such power and you can increase it
obtainin" a more striin" effect than what is obtained by the procedure of (mkar
Pranayama!
&t is impossible to tell if# when you "ive the 9er# there is a short pause of
the breath or# quite the reverse# there is a short emission of breath! ,hat you feel
is an intensity of awareness and ener"y stimulatin" one Chakra at a time! The
final 9er in Mla!hara at the end of exhalation creates an intense outburst of
9oy!
8:<
,hile pro"ressin" in this practice# one can experience a really
internalize! exhalation! This happens when you "ive a 9er to me!lla and the
physical breath disappears entirely! 6nternalize! exhalation is not accompanied
by the exit of the air throu"h the nose! This is one of the mysterious facts of
Kriya# difficult to understand with the sheer lo"ic!
JB!6K Kriya Pranayama #ith a particlar circit insi!e an! otsi!e the spine
&nhale! Misuali4e the breath lie a threadlie current comin" up inside the spine#
piercin" each Chakra from Mla!hara to Me!lla) reachin"# at the end of the
inhalation# the point between the eyebrows! Pause there for a couple of seconds!
The path lined with exhalation is lon"er than the one lined with
inhalation! &n detail> durin" exhalation the current moves up vertically inside the
space between the frontal part of the brain and the frontal bone2 then bends
bacwards movin" over the brain 0and under the cranial bones1# then bends
downwards# pierces *in! and reaches Me!lla. Then the current comes down
alon" the bac of the spinal column> while descendin" externally to the spine# it
touches each Chakra li"htly from the bac! ,hen it reaches Mla!hara)
exhalation is completed!
&n time you will add to the practice the mental chant of (m in each one of
the centers involved 0 Chakra 8# :# B# F# <# me!lla while comin" up and then
*in!) me!lla) Chakra <# F# B# :# 8 while comin" down!1
6, Na&i Kiya
JF!8K "avi Kriya sing breath an! Kmbhaka also
7irst part! &nhale throu"h the nose! Hold the breath and intensify the
concentration on the navel throu"h the three %andhas 0Mla *an!ha# 3!!iyana
*an!ha and /alan!hara *an!ha1! &n this position# with the chin tilted down#
mentally chant (m 8: times in the navel exertin" a continuous mental pressure
upon it! Then exhale unleashin" the *an!has and raise the chin with a sli"ht
tension!
6econd part! ,ith the chin raised# inhale throu"h the nose! ,hile holdin" the
breath# focus the concentration on the third Chakra Manipra. +entally chant
(m 8@ times in Manipra exertin" a form of mental pressure upon that center!
Then exhale eepin" the chin in the normal hori4ontal position! Part one T part
two are one "avi Kriya! As usual# a kriyaban repeats "avi Kriya four times.
JF!:K "avi Kriya coming !o#n throgh for !irections
The followin" variation of "avi Kriya is the one many kriyabans lie the best!
As it happens in the basic form of "avi Kriya# a kriyaban(s awareness "oes
slowly up alon" the spinal column placin" the syllable (m in the six Chakras.
Then the chin is brou"ht down toward the throat cavity!
Gow# a short inhalation 0two seconds maximum# without concentratin" on
the Chakras1 is followed by a very lon" exhalation# durin" which# the ener"y is
8:6
felt descendin" from the frontal part of the brain# alon" a path outside the body
to the navel# reachin" throu"h it the Dantian re"ion!

J=et us remind that the
Dantian can be visuali4ed as a ball about one and one;half inches in diameter! &ts
center is located about two and one;half inches below the belly button and about
one and one;half inches inside! K
Aurin" this lon" exhalation# (m is chanted mentally# rapidly# 8E;8< times#
accompanyin" the descent of ener"y throu"hout the path! After a short pause in
the Dantian# the head resumes its normal position!
Gow each detail is repeated but the descent of the ener"y happens throu"h
a different path! A short inhalation draws the ener"y into the head a"ain. The
head bends but not in the front> it bends toward the left shoulder# without turnin"
the face! A lon" exhalation 0with the same chantin" of (m) (m) (m<1
accompanies the downward movement of ener"y which starts from the brain(s
left side and moves alon" a path outside the body at its left side 0as if shoulder or
arm would not exist1! The ener"y comes down to the waist# cross it and moves
toward the Dantian!
The head moves bac into its normal position! After a short inhalation) the
head bends bacwards! A lon" expiration 0with the same chantin" of (m) (m)
(m<1 accompanies the downward movement of ener"y which starts from the
occipital re"ion and moves 0outside the body1 down to the waist where it bends#
pierces the third Chakra Manipra and moves toward the inside of the
abdominal re"ion 0Dantian1! The procedure is repeated liewise on the right
side!
This last exhalation concludes a mini cycle of four exhalations accompanied by
four descents of ener"y towards the waist and# crossin" it# towards the re"ion of
low abdomen! This mini cycle is repeated C times! &n conclusion we have had
FxC O B6 descents of ener"y! After these exhalations# the procedure ends with a
mental chantin" of (m in each Chakra from $&na Chakra to Mla!hara!
,hat we have described lasts @;8E minutes and is equivalent to F
repetitions of the basic form of "avi Kriya!
Remark
As the practitioner proceeds with the rotations and the effects of the technique
become more and more perceptible# the movements of the head become less
mared . the process internali4es! ?ne phenomenon is remarable> at the very
moment the order to exhale has been imparted by the mind# it feels as if the lun"s
cannot move! 6ome instants later comes the awareness of somethin" subtle
descendin" into the body! A new ind of exhalation is en9oyed# lie an internal
all;pervadin" pressure! &t brin"s about a peculiar feelin" of well;bein"# harmony#
and freedom! ?ne has the impression one could remain lie that forever! =o"ic
implies that breath is comin" out of the nose# yet you would swear it doesn(t!
This may be considered the first experience of Pranayama #ith internal breath
0also called Kriya of the cells1 that we are "oin" to introduce in Chapter 8:!
8:/
JF!BK Chanting (m alternatively bet#een Ktastha an! navel
All details of the basic explanation of "avi Kriya "iven in Chapter 6 up to the
forward bendin" of the head remain unchan"ed!
&n this variation 0really very sweet and comfortable1 the (m Mantra is
mentally chanted in alternation between the point between the eyebrows and the
navel 0(m in the point between the eyebrows# (m in the navel# (m in the point
between the eyebrows# (m in the navel- and so on1!
The most useful way of doin" it is to synchroni4e the breath with the (m
chantin"! Misuali4e a tiny silver cord that comes out from the point between the
eyebrows bends sli"htly and "oes down to the navel! ,hen it comes natural to
have a very short inhalation# inhale 0only what is necessary1# visuali4e the
movement of air risin"# throu"h the visuali4ed duct# from the navel to the point
between the eyebrows# pause an instant there 9ust chant (m mentally! ,hen it
comes natural to exhale# exhale# visuali4in" the movement of air "oin" down
into the navel# pause and chant (m mentally in the navel! %y repeatin" this# you
will maredly feel that your breath be"ins to subside and disappear! ,hen this
happens# "o on mentally chantin" the (m Mantra in alternation between the
point between the eyebrows and the navel and movin" the focus of your
awareness between these two points# without ceasin" bein" aware of the 5silver
cord5! Carry on!
,hen (m is chanted about /< times# bend your head bacwards and
repeat a similar procedure by chantin" (m in alternation between the *in! and
the third Chakra. Misuali4e another tiny silver cord that connects 0outside your
body1 the *in! to the third Chakra! =et your breath . if there is still a trace of
breath . flow freely throu"h that cord. ,hen (m is chanted about :< times#
resume the chin(s normal position and chant mentally (m in the point between
the eyebrows) Me!lla) Chakras <# F# B# : and 8! This is one "avi Kriya! The
optimum is to have F cycles of "avi Kriya!
7, 3aha 3u%a
J<!8K For#ar! ben!ings
%efore the practice of Maha M!ra proper# sit in the half;lotus position or on the
heels! Throu"h a deep inhalation 0not necessarily as lon" as in Kriya
Pranayama1 visuali4e the first Chakra risin" into the point between the
eyebrows2 hold the breath# bend the body forward! The head is placed in the
re"ion between the nees 0see fi"ure 8E1! 3se your hands freely!
The head comes near the ri"ht nee# the face is turned toward the left nee
so that it is possible to perceive a pressure on the ri"ht side of the head2 a
sensation of space is perceived inside the left side of the brain! Then repeat the
same exercise with the other side of the body# reversin" the perceptions! Then the
head is placed in the re"ion between the nees a"ain# the face turned downward!
A pressure is felt on the forehead! A sensation of space is perceived inside the
occipital re"ion!
8:@
The breath is retained durin" the entire sequence! After these movements#
resume the startin" position with the spine erect! Throu"h a lon" exhalation the
ener"y comes down from $&na Chakra to Mla!hara!
Then concentrate on the second Chakra and repeat the procedure 0ideally
raise that Chakra# bend the body forward# and so on1! 'ou can have five bows#
one for each Chakra# but since you can also ideally raise $&na Chakra into
Fontanelle# you can have six bows!
&n some schools# this technique is called 0r Pranayama because durin"
the first bend you can mentally bow to your 0r4 durin" the second bend you
can mentally bow to your Param;0r ... and so on Chakra after Chakra with
all your linea"e of 0rs.
7i"ure 8E! 7orward bendin" startin" from sittin" on the heels or startin" from the half;
lotus pose
%y repeatin" this 5Chakra a#akening proce!re5 on various days# when you
focus on a Chakra# you will perceive a feelin" of movement# a swin"in"
sensation# in it . this is a very important experience!
J<!:K Maha M!ra after the ben!ings
Gow practice Maha M!ra! ,hen the ri"ht le" is extended# the ri"ht hand "rabs
the toes of the ri"ht foot while the left hand "rabs the inner side of the ri"ht foot
0the arch of the foot12 the face is turned left while the breath is retained! A
sensation lie an inner pressure is felt on the ri"ht side of the head! &t contrasts
with the free space sensation in the left side of the brain! Practicin" the opposite
position# the sensations are reversed! ,hen both le"s are extended# the pressure
must be felt on the front part of the head! A sensation of space is perceived inside
the occipital re"ion! As usual# this exercise is repeated three times! ,hile
stretchin" forward holdin" your breath in the position envisa"ed for Maha
M!ra) chant (m as you come up in each Chakra) and try to perceive the afore
hinted oscillation in each one!
J<!BK Maha M!ra #ith a movement of a#areness !ring Kmbhaka
Practice the first part of basic Maha M!ra# inhalin"# holdin" breath and bendin"
forward "rabbin" the bi" toe with the index fin"ers! As you reach for the foot#
raise the eyes to "a4e at the eyebrow center! Place (m in the point between the
eyebrows# (m where the ton"ue touches the palate and (m in Mla!hara!
8:C
Repeat three times in sequence! Return to the upri"ht position! Exhale down the
spinal channel# pushin" the navel towards the lumbar center Manipra! Repeat
a"ain this particular way of mentally chantin" (m in the symmetrical position
and with both le"s outstretched!
Gow practice Maha M!ra in the followin" way> before stretchin" forward#
practice one full Kriya Pranayama 0inhalation and exhalation1 and hold the
breath out! %end forward reachin" for the foot! ,ith breath out# apply the three
*an!has 0Mla *an!ha) 3!!iyana *an!ha and /alan!hara *an!ha1 and raise
the eyes to "a4e at the eyebrow center! Place (m there# (m in the navel and (m
in Mla!hara! Repeat three times! Return to the upri"ht position# releasin" the
*an!has and inhale raisin" the ener"y from Mla!hara! Exhale down the spinal
channel# squee4in" the navel towards the lumbar center Manipra! Repeat a"ain
in the symmetrical position and with both le"s outstretched!
8, Kiya Pa"aya.a 5ith shot )#ath
J6!8K Pranayama #ith short breath centere! in $&na
=et us reconsider the technique of Kriya Pranayama #ith short breath. This
wonderful technique is important for two reasons> it fosters listenin" to the
internal sounds and (m sound and helps achieve the breathless state! Gow# we
are "oin" to learn how this procedure can be practiced by main" $&na Chakra
the pivot of the situation!
7ocus your attention on $&na Chakra in the center of your head! ,hen it
becomes natural to inhale# inhale quicly 0about one second1 from Mla!hara to
$&na Chakra. &nhale only what is necessary. ,hen it feels natural to exhale#
exhale from $&na Chakra to the second Chakra. Then inhale from the second
Chakra to $&na Chakra. Exhale to the third Chakra! Continue in this way !!!
0Third . A9na . fourth2 7ourth . A9na . fifth2 7ifth . A9na . fourth2 7ourth . A9na
. third2 Third . A9na . second2 6econd . A9na . first! Continue repeatin" this
cycle of C short breaths!
After a few cycles of this beautiful procedure# it will become natural to
practice it experiencin" a short pause in $&na and in each Chakra! 0&nhalation
from Mla!hara to $&na Chakra# pause in $&na Chakra2 exhalation from $&na
Chakra to the second Chakra) pause in the second Chakra and so on!1 Aurin"
these pauses# you can mentally chant (m one# two or three times# visuali4in" that
you are touchin" that Chakra! 6trive to perceive the astral sounds in the internal
part of the ri"ht ear!
To close the practice# increase your concentration in $&na!
Perceive a virtual line connectin" the temples! +ove your head sideways
sli"htly and slowly 0of some millimeters1 havin" a pleasant sensation of the
(mkar vibration movin" from one half of the brain to the other! Aiminish the
movement until it is no more perceptible! Perceive another virtual line from the
Ktastha bac to the occipital re"ion! Perceive the (mkar vibration in the
occipital re"ion and "uide it slowly towards Ktastha! Pause there! Ao the
8BE
reverse process! 0To "ive you an idea of the speed of this internal movement let
us say that the movement from occipital re"ion to Ktastha# short pause and bac
taes about 8:;:E seconds1!
Repeat different times! A"ain swin" your head sideways and then bac
and forth# in this way it is possible to discern the two linesD intersectin" point!
This intersection is the best place to concentrate in order to have the full
experience of (mkarDs internal movement and to perfect your focus on $&na!
9, 3#"ta$ Pa"aya.a
'ou have already learned those variations of mental Pranayama who have a real
value> they are the well nown (mkar Kriya procedures! 6omethin" will be
added soon 0(mkar Kriya in the crown and in the sensible points inside the
head!1
:, Yo"i 3u%a
J@!8 K Yoni M!ra raising each Chakra into fontanelle
Cover the openin"s of your head as tau"ht in Yoni M!ra! &nhale deeply with
total awareness in fontanelle! Exhale from fontanelle to Mla!hara2 inhale
raisin" ideally this Chakra to fontanelle with the purpose of mer"in" it in the
li"ht and purify it! Hold the breath for about 8E sec! Exhale and lower the
Mla!hara Chakra into its seat!
Then place your awareness on the second Chakra2 inhale raisin" it ideally
up to fontanelle to mer"e it in li"ht! Hold the breath lon"er! Ao the same thin"
with all the other Chakras up to $&na!
Place the heels of your palms over your eyes and calmly observe the
darness in the re"ion between the eyebrows! &t is not difficult to perceive a
white li"ht! Po ahead for :;B min! Then lower your hands and sit quietly for
some minutes before comin" up!
8B8
;ARIATIONS OF THE HIGHER KRIYAS
>ist o( th# t#'h"i?u#s 5# a# 2oi"2 to %is'uss
8! Mariation of the basic form of Thoar
:! Mariation of the advanced form of Thoar
B! Addin" Tadan )riya to the complete form of Thoar
F! ?mar )riya in the crown
<! ?mar )riya in the sensible points inside the head
6! Alternative to the repetition of Te Ma 6u in ?mar )riya
8! 2ariation of the basic form of %hokar 'see proce!re 66.=+
07ive movements of the head substitute the rotation! There is no final stroe!1
This procedure can be useful to those who have problems with the traditional
form of %hokar and prefer a more delicate approach!
&nhalation happens as in the basic form of %hokar! The chin moves up!!!
(m) "a) Mo!!!! Then the breath is held! The chin bends forward# toward the
throat cavity> a certain internal pressure is felt on frontal part of the heart
Chakra! The head resumes its normal position and then bends sli"htly toward the
left shoulder# without turnin" the face! The same experience happens> a certain
internal pressure is felt on the left part of the heart Chakra! The head resumes its
normal position and tilts bacwards> the same experience happens and pressure
is felt on the bac of the heart Chakra! The head resumes its normal position and
bends sli"htly toward the ri"ht shoulder# without turnin" the face> the pressure is
felt on the ri"ht part of the heart Chakra! The head resumes its normal position#
then the chin bends forward# toward the throat cavity!!! pressure is felt on the
frontal part of the heart Chakra! The head resumes its normal position! Aurin"
these five bends# holdin" the breath# no Mantra is needed! Then the exhalation
leads the awareness throu"h the Chakras to Mla!hara! %e is placed in the
Me!lla) 2a in the fifth Chakra- and so on - ,- De- 2a# until Ya is
mentally chanted in the Mla!hara!
The time involved depends on the individual2 usually it is approximately
:E;:< seconds# but it can be lon"er! The procedure is repeated at least 8: times! &t
should be noted that the different pressures on the heart Chakra are more similar
to a supply of ener"y flowin" down in a tranquil way from a re"ion above the
head than the typical tappin" of the %hokar!
&t is obvious how this form can evolve! After inhalation# the whole set of
the head movements can be repeated different times before exhalin" . always
holdin" your breath! The movements become more fluid> after bendin" forward#
the head does not resume its normal position and# immediately afterward# it
bends to the left# then bacwards!!!
8B:
:! 2ariation of the a!vance! form of %hokar 'see proce!re 66.>+
0Aifferent rotations followed by 9ust one stroe1
&n the previous Chapter we have seen that the practice of %hokar can happen
with a lot of rotations of the head# repeatin" therefore various times the stroe on
the heart# holdin" the breath durin" these rotations! ,e have seen how this
technique is delicate# asin" for the ability to hold the breath for a lon" time! ,e
now introduce a variation of %hokar in which there are different rotations of the
head# deprived of whatever stroe! Aurin" these rotations# "reat ener"y is stored
in the head! ?nly after the last rotation# the final %hokar happens!
This procedure be"ins lie the advanced form of %hokar! Tae the
awareness in the upper Chakras throu"h a deep inhalation! There is the
inhalation with (m) "a) Mo) *ha) 0a) *a then the breath is held and the head is
moved continuously counterclocwise in circular movement! The syllable %e is
put in Me!lla and 2a in the cervical Chakra! 'ou don(t "o down in the heart!
The rotations of the head are deprived of any stroe!
The procedure "oes ahead for many do4ens of rotations> %e) 2a) %e) 2a) %e)
2a!!!! while the perception of these two centers "rows in intensity! Preat ener"y is
accumulated in the head! Then only after many rotations the final %hokar is
"iven> the head lowers on the breast and the syllable , is made to intensely
vibrate in the heart Chakra! This is a powerful blow on heart 0((powerful(( from
the psychic and pranic point of view!1
A kriyaban remains in this position for some minutes havin" the
perception of a "reat devotion and beatitude!
Remark
&f the final stroe is "iven with "reat physical stren"th# the delicate structure of
the cervical vertebrae# the muscles around them# the li"aments !!! will receive a
sure dama"e!
B! $!!ing %a!an Kriya to the complete form of %hokar
0see procedure &&!B1
Practice a short sequence of %a!an Kriya immediately after the practice of the
complete form of %hokar.
Tadan )riya>
&nhale deeply# feelin" that the breath fills from top down the lun"s while the
Prana 0contrarily to what happens in Kriya Pranayama1 "oes down toward
Mla!hara! At the end of inhalation# your awareness is focused on Mla!hara!
Hold your breath! =ift the body 9ust a few millimeters with the help of the hands
and then let the buttocs touch the floor with a mild 9olt! Exhale freely#
perceivin" an ecstatic feelin" . this happens especially when the 9olt is
8BB
experienced not as a physical movement but as an intense mental stimulus upon
Mla!hara!
The action of liftin" the body and then droppin" it producin" a mild 9olt is
called Maha 2e!a M!ra# 5Position of the "reat perforation5 . obviously it is the
not of the Mla!hara to be pierced!
F! (mkar Kriya in the cro#n
0Expandin" procedure of ?mar )riya J&M!:K1
&n the previous Chapter we have seen how after havin" completed the practice of
%hokar# the same procedure can be ((internali4ed!(( ,e have called (mkar Kriya
the perception of an internal movement in each Chakra 8 up and down! 6uch
feelin" is accompanied by the mental repetition of %e) 2a) ,! ,e will now
discover how the internal movement sensation can be induced in the crown!
The ellipse of the crown# seen from above# may be ideally divided into 8: parts!
7i"ure 88! Crown seen from above
Thans to a short inhalation# the Mla!hara Chakra is ideally raised into the
crown of the head# over the occipital re"ion# on the ri"ht 0into part 585 of fi"ure
881! Gow hold the breath and eep the Prana in that point! Repeat mentally %e)
2a) , three times in that re"ion perceivin" for three times the internal movement
we have described in (mkar Kriya! Exhale calmly!
&n the same way raise the second Chakra into the ad9acent part 5:5 of the
crown! Repeat there %e) 2a) ,... three times and deepen the experience! Repeat
the same procedure for the other Chakras 0B# F# <) *in!) Me!lla) <# F# B# : and
81 activatin" thus all the parts of the crown! After two or three complete rounds a
sudden bliss manifests and one is no lon"er able to mentally chant anythin"! The
procedure ends in ecstatic absorption!
8BF
<! (mkar Kriya in the sensible points insi!e the hea!
0Expandin" procedure of ?mar )riya J&M!:K1
=et us a"ain mae use of this ((internali4ed %hokar(( process in order to stimulate
important centers in the brain# helpin" thus the ((pil"rima"e(( of our awareness
towards ,ahasrara!
7i"ure 8:! =ocatin" some particular centers inside the head
&nhale raisin" the Mla!hara Chakra into Medulla! The breath is held in order to
obtain a better focus of Prana in that spot! The internal movement sensation is
perceived now inside Me!lla! ?scillate slowly your head left . ri"ht . return to
center# eepin" the focus of concentration in Me!lla oblongata! Thin
0mentally chant1 %e when you move to the left# 2a when you move to the ri"ht#
, when you return to the center! Repeat three times# always holdin" your breath!
A calm exhalation follows!
Gow raise the second Chakra into the posterior part of the '##)#$$u.!
Hold your breath! Repeat three times the afore described procedure with %e) 2a)
,# focusin" all your attention into the posterior part of the cerebellum! Exhale
and come down to the third Chakra location!
&nhale raisin" the third Chakra to the Po"s ;ao$ii 0to perceive it# come
from the cerebellum toward the center of the head# over Me!lla 8 a few
centimeters forward1! Hold your breath! Repeat the procedure with %e) 2a) ,
three times# focusin" all your attention on the Pons Marolii! Exhale and come
down in the fourth Chakra.
&nhale# raisin" the fourth Chakra over the pons Marolii in the point mared
with @6@ in 7i"ure 8:. To perceive it# sli"htly swin" your head bac and forth!
7eel a hori4ontal line that comes from the point between the eyebrows
bacwards! At the same time feel the vertical line that comes down from the
fontanelle! This center is the point of intersection of the two lines! ,hen you
8B<
have it# repeat three times at that point the procedure with %e) 2a) ,! Exhale and
come down in the fifth Chakra!
&nhale# raise it into the point mared with @7@ in fi"ure 8: ! To perceive it#
swin" sli"htly your head bac and forth! 7eel a hori4ontal line that comes from
*in! forwards! At the same time feel the vertical line that comes down from the
fontanelle! This center is the point of intersection of the two lines! Repeat three
times in that point the procedure with %e) 2a) , ! Exhale and come down in
Me!lla!
&nhale# raise it into Bindu! Repeat three times in *in! the procedure with
%e) 2a) ,! Exhale and come down to the point between the eyebrows! &nhale#
ideally raise the re"ion between the eyebrows into fontanelle) which is the
seventh Chakra tri""er point! Repeat there the procedure with %e) 2a) , three
times!
Exhale from Fontanelle to the point between your eyebrows! &nhale! Exhale from
*in! to Me!lla! &nhale! Exhale from point 5<5 to cervical Chakra! &nhale!
Exhale from point 5F5 to $nahata Chakra! &nhale! Exhale from pons 2arolii to
third Chakra! &nhale! Exhale from Cerebellm to second Chakra! &nhale! Exhale
from Me!lla to Mla!hara!
Remark 8
Got only the points (( F (( and (( < (( but also the other centers of the head can be
perceived better by the help of some li"ht oscillatory movements! ,hen you
chant %e) 2a) , you can oscillate the head to the left# ri"ht and to return to the
center with a small bump when you thin ,! This is of "reat help!
Remark :
The procedure creates a very stron" effect! &t can be described as the ability to
see in a merciless way the e"o(s subtle trics that drive human actions! The
reason for many wron" decisions appears with a definitive clarity# free of all
coverin" veils! The e"o is a very complicated mental structure> it is not possible
to destroy it# but it can be made transparent! There is a price to pay> there mi"ht
appear 0hours after the practice1 inexplicable waves of fear# the sensation of not
nowin" where you are and where you are directed to! This is a natural reaction
comin" from some subtle layers of the brain one has touched!
6! Making se of the Mantra *ha 0a *a %e 2a , in (mkar Kriya
0&nstead of the +antra %e 2a ,1
The (mkar Kriya technique described in the previous Chapter 0see J&M!:K1 has a
remarable power of stimulatin" the Chakras leadin" you to the state of
meditation! 6ome love the evocative meanin" of the central part of the +antra
(m "amo *hagabate 2as!evaya. They read it as> *hagaba %evas which
means> ((%ha"avan Tat Tvam Asi*(( 0'ou are that %ha"avan*1(( =et us see how to
utili4e this six;syllable Mantra!
8B6
=et us consider any Chakra 0except $&na1 visuali4in" it as usual . a hori4ontal
dis!
%end slowly the head forward> feel a certain internal pressure on the
frontal part of the Chakra! +entally chant *ha in that place!
Raise your head and# without turnin" the face# bend it sli"htly toward the
left shoulder! 7eel an internal pressure on the left part of the Chakra! +entally
chant 0a in that place!
Raise your head and tilt it bacwards! 7eel an internal pressure on the
bac of the Chakra! +entally chant *a in that place!
Raise your head and# without turnin" the face# bend it sli"htly toward the
ri"ht shoulder! 7eel an internal pressure on the ri"ht part of the Chakra! +entally
chant %e in that place!
Raise your head and bend it slowly forward> feel an internal pressure on
the frontal part of the Chakra! +entally chant 2a in that place!
Raise your head and brin" your attention in the central part of the Chakra.
+entally vibrate , there!
+ovin" this way from Mla!hara up# when you reach the $&na Chakra# the
movement of the ener"y involves the whole median 4one of the head! The
movements of the head remain identical 0bendin" in the front . to the left .
behind . to the ri"ht . in the front . comin" up12 the syllables of the Mantra are
placed> *ha in the frontal part of the head 0Ktastha12 0a in the left lobe of the
brain2 *a in the occipital re"ion 0feelin" *in!12 %e in the ri"ht lobe of the brain2
2a in the frontal part of the head 0Ktastha1! Then when you raise your head#
visuali4e the current reachin" the center of the head and put , in the seat of
$&na Chakra!
Poin" up and comin" down# always repeatin" the same procedure 0three
repetitions of the Mantra each Chakra1 constitutes one round> the required time
is approximately 6 minutes! %y masterin" this procedure you will create a
counterclocwise movement of ener"y inside each Chakra startin" from the
periphery and endin" in its center! The effect is pure "old*
After a couple of rounds you mer"e deeply in the (mkar dimension2
immobility settles and you won(t be able to move your head anymore!
App#"%i4: ho5 to ha"%$# th# appa#"t$y "#2ati&# #((#'ts #.#2i"2 (o. th#
pa'ti'# o( th# 'o.p$#t# (o. o( Tho0a
&n the previous Chapter we have introduced the ((Complete form of %hokar(( . a
%hokar whose action is extended to the lower Chakras! ,e have emphasi4ed
how problematic may be its action upon our psyche! &t is not surprise that some
kriyabans reach the conclusion that this procedure "enerates effects which are
essentially ne"ative! This procedure must be completed by the procedures of
"avi Kriya) Maha M!ra! They raise awareness and Prana alon" the spine!
8B/
,hat is su""ested here "oes in the same direction# increases tremendously
the odds of success! &t has been taen from Kn!alini Yoga! ,e now that
Kn!alini Yoga is not Kriya Yoga but its the effects are heaven;sent!
J8K Make se of Kapalabhati Pranayama in a targete! #ay
Perform inhalation and exhalation rapidly2 exhalation should be done by
contractin" the abdominal muscles forcibly and quicly# resultin" in a bacward
push! Exhalation and inhalation alternate with equal len"ths and occur about two
times per second! The navel acts as a pump and it(s almost lie usin" the
abdomen as bellows! Exhalation is active# inhalation passive! A sudden
contraction of the abdominal muscles raises the diaphra"m and a volume of air is
expelled from the lun"s! The sound sli"htly resembles blowin" one(s empty nose!
As soon as the air is forced out# the abdominal muscles relax# this allows the
same volume of air to rush in2 inhalation comes automatically! Aurin" each
expulsion# Prana is sent to the navel and (m is mentally chanted in the navel!
After 8<;:E of these short exhalations# there is a pause and the breath resumes its
normal rhythm! Then another 8<;:E of these short breaths are repeated for about
8EE mental chants of (m!
J:K 6nverte! breath
0A particular Pranayama where the breath follows a 5reversed5 path . reversed in
respect to what happens in )riya Pranayama1
&nhale slowly and deeply! Prana present in the inhaled air is drawn down at the
level of Manipra! As you finish your inhalation# swallow and push down "ently
with your diaphra"m in order to firmly compress the ener"y brou"ht down from
above! 6imultaneously# practice Mla *an!ha raisin" ener"y into the third
Chakra! Practice also 3!!iyana *an!ha and /alan!hara *an!ha! Po ahead
holdin" your breath and repeatin" (m) (m) (m!!! at least 8: times! Aurin" this
Kmbhaka the air ener"y is completely loced in# compressed from above and
below! Hold your breath for as lon" as it is comfortable! 7eel ener"y and warmth
brimmin" over into the surroundin" abdominal re"ion! Then relax the *an!has
and exhale "ently feelin" breath and Prana rollin" upward throu"h the spine!
?nce your first exhalation is complete# a"ain ti"hten the lower abdomen
muscles# inhale a second time# swallow and push down with the diaphra"m# thus
a"ain compressin" the air ener"y at the area below the navel! Hold your breath
and concentrate on this area# feelin" the ener"y buildin" there! Then# a"ain# when
it becomes uncomfortable to hold the breath any lon"er 0"o ahead repeatin" (m)
(m) (m!!!1# exhale# releasin" the air up the spinal channel once a"ain!
This practice blends to"ether Prana and $pana drawin" them into ,shmna.
The ey point is to hold the breath for lon"er periods!
8B@
&n order to increase further the power of the procedure# we can fra"ment each
exhalation in short bursts! The lips touch in the central part and the air comes out
throu"h the corners of your mouth! %y usin" 0with less force1 the Kapalabhati
principle# the sound of exhalation becomes> s;s;s;s;s;s;s;s;s;s !!! 0The different
5s5 are perfectly audible1! There is a warm sensation in the lips> transfer it to the
base of the spine! A warm sensation comes up 0slowly but in a perceptible
de"ree1 throu"h the spine! Repeat all the procedure many times and you will see
how this warm sensation comes up with more stren"th to the heart Chakra and
upwards!
JBK *hastrika Pranayama
0To create a "iant concentration of ener"y on the heart Chara1
*hastrika Pranayama is one of the most important Pranayamas of the classic
Yoga 0%antric 1atha Yoga to be more precise!1 &t consists in forced rapid deep
breathin"# done with the diaphra"m only! &t is used here in a tar"eted way to
increase the ener"y activated with the previous practice in the heart re"ion!
%reath throu"h the nose# about one complete breath per second# bein" aware of
what is happenin" in the spine! 'ou can be"in with six repetitions! %y focusin"
behind the heart Chakra) feel the ener"y oscillatin" approximately B centimeters
below and above it! &t is lie cleanin" vi"orously the area behind this Chakra!
'ou will feel warm in the re"ion of the fourth Chakra! Then inhale deeply# hold
your breath and feel the warm sensation increasin"! Exhale intensifyin" that
sensation! 'ou can now repeat %hokar upon the heart Chakra followed by
*hastrika Pranayama in order to increase this warm sensation until you reach a
paroxysm of 9oy!
0Consider also an incremental routine of this process. what this means is
explained in Chapter C!1
After all these practices enter a total immobility and en9oy a sweet mental
Pranayama! Peace# internal 9oy# calmness of breath# listenin" of internal sounds#
perceivin" spiritual li"ht!!! this is what you will experience! 'our practice of
Kriya will become a love story with %eauty itself! %e sure# be confident> after a
certain period of time# a remarable experience of Kn!alini awaenin" will
happen! &t will overcome you when you rest in the supine position! ,ithout
experiencin" any start of surprise# you will find yourself ferried from a sweet
dream to an authentic heaven2 you will return to daily life with tears in your eyes!
8BC

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