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ISSN. 2277-5854
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UPNUL/2013/51445 Peer Reviewed ISSN 2277-5854

ŚRĪVIDYĀ MANTRAMAHĀYOGA
Āgamic-Tāntric Research Journal
(Bi-annual)

Founder-Editor
Sri Dattātreyānandanāth
(Sitaram Kaviraj)

Editorial Board
Prof. Kamaleshdatta Tripathi
Emeritus Professor, Faculty of S.V.D.V.
BHU, Varanasi-5

Prof. Shree Kishore Mishra

Department of Sanskrit, Faculty of Arts,
BHU, Varanasi-5

Dr. Rajendra Prasad Sharma

Ex-Head, Department of Philosophy,
University of Rajasthan, Jaipur.

ŚRĪVIDYĀ SĀDHANĀ PĪTHA

Varanasi (U.P.)

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, 2020 • ISSN 2277-5854

Printed and Published by Prakashanand Nath on behalf of Shree Vidya Sadhna

Peeth, Shivsadan Ganesh Bagh, Nagwa, Varanasi.
Printed at Starline, H. No.-B-13/90, Sonarpura, Varanasi and Published at Shree
Vidya Sadhna Peeth, Shivsadan, Ganesh Bagh, Nagwa, Varanasi.

February, 2020

Editor :
Dr. Rajendra Prasad Sharma

Publications are available at :

Publications Department
ŚRĪVIDYĀ SĀDHANĀ PĪTHA
Shiv Sadan, Nagawa, Varanasi-221005
Ph. 0542-2366622

UPNUL/2013/51445
ISSN. 2277-5854
UGC Approved Journal (No. 40949)
UGC CARE-listed in Religious Studies

Type Setting :
Vishal Computers, Jaipur.

Printer :
Starline, Sonarpura, Varanasi

Price : 125/-

Note : Any dispute arising on articles published in this issue shall be decided
under the jurisdiction of Varanasi Court only.

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 , 2020 • ISSN 2277-5854

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Practical Life of Common Man

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Raina

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rajendrasharmauniraj@gmail.com

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r4[$ # 1& U0 '! >, !+ ,G , Q , X< 3! N /0 X< 3! N
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,, Q 5 , ; , 1 , ;+ R ; K 1 8 •Z, :1 1 /0 '! >,
Mq # 1 —
* ( := % *N5 I* % W*N5 I* L /)
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M ; Mq Q * HM ; K Mq G, Mq9 !+ ; ; 5+ Y , Mq % /0 ' #
* ‘ ; K Mq—
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( 3))
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$; , Q M 1& h 9 , M 35; # G , +0

9 2
 , 2020 • ISSN 2277-5854 8

'$ A5 0 I X X :X0 A( )3
0% / J% $ <D $ ( I* ))
'! >, —
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3
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A / [ 0 ( ' /))
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!31 5 3! $; Y ;3<G-,i@h *R9 # 8 GP M } $;,G
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5; 2 > * b 8 ( # , ‘ 5; /, 5; , G /0 '! >,
3 + 5; , VW , 5; , ) d* , !35; , So , So , !& h , ' , S*& @ ,
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$; Y „" , $; M },G „" ,+ ! 8 5 YA , Mq ‹ :* ! X< 3! N /0
'! ! 2 X< 3! N , ! ) d *@ , d *@ 8 Mqd *@ ; K , ; ,+ ! 8
! 2 28 * /0
A $ ^( '$ = 3)
<( =-' 0 0 $ * 0 )3 )

9 2
 , 2020 • ISSN 2277-5854 9

H S5 ‘ , ’ , Y ‘ ’ , ,+ ! 8 ! B B , ‘ b’ j , > * 5 ‘ "!6’
‘! • b’ ,+ d* # 28 8 3 2 U , ,G d*Y 5,G !" , 2 3! N Q
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a( 7 %O ( 0W ( $ $ bc)
I -
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e ZJ K $ <= M$ $ *5 3)
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e :$ 0 ( = 0%60 0GI ))
Z = D XA $ : $ I 34
7& _ * &( G : ` . S `)
A ( < 0e &=/ 4
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,I ! W d* !+ ‘, ’ !+ > !y , M/ d* !& S G /0

9 2
 , 2020 • ISSN 2277-5854 10

'! >, , , *5 * 2* )GW 3 2 (t) , ,G S 5 ;p59 !+ D ‰ ! 2

@ Q ;p5 8 !h W # D C /0 '! , @ !1 ) /0
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, d* S, ; !+ >, ; , , d* r !+ :*!"‰ , :1 ;d* t, !+ !" 3<
% 5 3 ( 32 ) !+ *7 *&@ /0 ‰^G+4 G R * lm /0
>2 3 , - 5 5 5 ! 2
(‘! ’ ;+ !+ ! 1 )

9 2
 , 2020 • ISSN 2277-5854 11

V * $ R
bc 7.

:*M "! # 2 3 : N >, ,+ }D 9 !+ 8 !+ 'W5+ ,+ > y + 5

, + * M /0 :*M "! ,+ ‘:*M 4[$’ # !y *R * M / Q M , + !
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Q # !*&( # :!+ *7 @ , 0 '! !*&( !+ 1 :Œ 2 /—! N0

9 2
 , 2020 • ISSN 2277-5854 12

:*M ;p5 , ! 8 / ;W D , S5 , !( J0 ((/!+ 1L ( 9 * =G , H

!( + U0 +, >, ,I +;-1& !+, G 9 !+ 'W5+ ,I & , !( + U0 )
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9 2
 , 2020 • ISSN 2277-5854 13

, + /0 $*M3 # .ˆ }D ! W d* S ( / Q A%&G ,+ B * /0
$; *M # 2 3 6 ' . :*M 9 , ! +J + kf ,. 3 :*M 1 + U, ( , 8 28
n8 # @ , /0 *‘ 1& , *‘ , *‘\ + } Q — + G, ! G :*M
f0 5!& 1 8 / , M } ,I ! G ,G fH /0 " ,G V) /Q
:!, h /0 +59 # *3? , 1 ‘ $;,G’ , /— $;,G • " *3? 6 ! G
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, + ,+ Gf *3? !&K # 1 ! G U: 9, N *3i* œ G # /—
m M M 0 = ' 7& )3
$ / * G _ / 0 /))
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8 / , ! 2 N N ,+ + SN kf0 '!, Y* / , ! 1 !+ ! ,I S N
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!+ * , , 3A + Gf > Q 2 3 1 ‘ + +* ’ ( , ) !+ (3– ( +0

9 2
 , 2020 • ISSN 2277-5854 14

'! >, \ ,+ 3” # 3i Q 5+ ,+ % M ( !A% N 28 * /, %• Q

S¡ !h W , ! 8, 5+ /0 • 9-• 9 \ , 2 k S, Y 9-Y 9 \ , + G+ ,+
!"! , 2 k S Q *& !" Y! (, GMq) \ k S, *& !h W \ kt, *& ! (, D 28
\ kt Q f, X!+ *3? – +N ,I N @ , ! k t, (! # Jb -*3? ,+ d* # !h W
\ , :*, @ % 0 5+ ( % + Q \d* * lm 5+ % 0 '! >, \ ,I 1 ,
8 lm 1 0 f, >, !+ \ !"28 5 & ! ( !"28 ,I SN ;G /0 S( ,+
+ !1 3” , + 5 9 , 28 *Y , + c 9 , 28 *Y , *& ( ,! ,!
d* #, \ ,+ ,! ,! d*, S, 8 !+ (3– kS /0
:* ! , 8 U1, * ! %/ˆ , ! * , SY 0 5+ ,+ ! 8 3i , !A% N 5&
( -5; # * 2* ! , !A% N /0 3i ! 1 K , ¡ ! , +-, + X! ˜M H t
* * kHM ( / , 5+ :!,+ S + 5 % ( + / Q 5+ 3i ,I 5%G3 # :!,+
S§ * :!,+ ! , % ( + U0 5 & N # 5+ „" ,I *+R !3 ; K; G + U, *
5+ „" , '! , @ %– Q S O / , : # -. 2 !+ *,– + , +,
/, !3 !3 9 ,I *+R N, > @ b U, N, +N U, ; K; G U, + : 1 U, * 3
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1 !3C 5+ , S§ 1 /0 3i ,+ >Y +, ‹ # 5+ , ! /0 % • 3 ” S ) ,
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, 2 @ 5G / , , t R@ Z ( * , , t 28 Z( * ,
, t 2 3 + Z, < 9 , 2 3 # , Z , Z 5+ Y /0 ! 8 (! R@ ( 2 3 * /, :!
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! 1 ,I „ n! U, , 3 31 - M d* # !%,I N Q !%,I B 1
;W &^ 4 /0 % Y f,Y 5 9 ,I ! = # Z S !, , '! Gf + 5 & ,

1. :*+ ! = ! * ( , %/ˆ 0 : :* ! , 8 ,/ ! o > C , > Y 0 :* 5 b , 1 8 /0 ,!

!+ :!, 3n :!,+ SY kf % Z * ( !, 0 ! o > C '! Gf 4 3 , !A1 /0
9 2
 , 2020 • ISSN 2277-5854 15

% k 5+ 5 ! = + U0 + G % 1&G ( + / , 5 & * + 5+ , * R- > / 2,

(! 1 d* # 5+ , ! + 4 /, :! d* ,I „J # 5+ /, (!,I & ,+ S +
, /, 5+ :! & # , :!,+ B O + + 8 # /0 '! Gf 5& 5+ 5
(– 5 Z /, 28&G 2 3 5 Z /, >Y +, (– # M/ 2& 5 ; K ,I ! q 5+4 +
G f, ( -V W /0 '! Gf 5+ ,I S N , , t )M f, >, /, , t
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,+ Gf , (* * C /, ,! ,+ Gf ,I , ,! ,+ Gf SY 1 hY , ,! ,+ Gf
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S5 5+ * ! , / '!!+ 5+ * ! ! Z /0 3i , !h W # &N
;W % + ,+ 1> !+ Z, b ! Q % + ,+ 1 !+ ,I ( /, , 3i
* + , *7 +; , 2 ! =+, * + , *7 +; , f, ‹ ! =+0 * + ˜* ( > C
, + * %G 5+, * + , , + * %G 5+, *7 +; ,+ @ ,I % ! M+, *7 +; ,+
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# 2 Q '5" 5+ ,, , ‘ % + Z’ , 1 , , ,+ Y , 1
1 , ( /0 1& \ , % G /) 5/ 1 /0 L-1 ( ,+ *& L , ,. 3 1
! 2 5+ „" Q ! 2 > @ 9 , * , ( /, (!!+ * + 2 " ,I L ,I h C ! 2
> @G , ,I h C % +0 5+4 + # _9 G +, * ( D K ! = ( / , '! L # ,+ G+ +
2. ,. * R > / 5+ 6 >Y R B 6 ( h 5 [ , :* 5,4-2-2) 4.* R, 5+ (; *8 l m@, 6-1-1-2)
. * R > ' W5+ 6 (X + l m@, 3-33)
9 2
 , 2020 • ISSN 2277-5854 16

2! Z /, ,! 1 > @ , 1&4 5+4, 2 " L Z n @ , !, /0 h \ 3i -

\ , 5!& 8– \ 1 /0 ( 1 3i 5 (+ * S ( +, /) /, i@3 /
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3” , + k f , t 1 h 28 c # L Z n @ , 0 1& - \ # 5+;-, G 5 9 , !A*&@
2 @ /0 5! 5; „" Q , G9 , f, ! 8 5+4 + * '! # %G 5 ( /, S¡
Q % • 5 9 !s „" ,+ 5 YA ,I 1 ,I ( /, % • *7 +; !+ ! œ2 ,I ! N ,I
( /0 ' \9 ,+ B 3i ¦ , ,M " Q * 8 , ¡ !, /Q * +1
f, S*& @- ) ! 5 -> 5 1 /0 ' ! 2 \9 , 1 !"2, /, < 9 ,
' ,I 1 !+ ( /0 1 b ,i@h + # :*5+; 5 ,—
bc '= $ bc b=c g` bc' B )3
bc5 < . $ bc = )) ( 1/24)
8 b lm , D K *@ , /, ( *@ , / 1 lm /, (! r # *@
, / 1 lm /, (!+ *@ , / 1 lm / Q *@ , D * 1 lm /, %! f,
; /, *@ , + ! f, n1 !+ ! M + , *@ lm + ,I > q /0 '!
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:! ! ( \ # 5 R G+ /0 5 R ,I ; / 4 G , 1 + ,I S, "R , 0”
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* ! * HM 0 (% H! /, (% 1 , SY ! b , /, (% * + !"! , W
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3. . 5 g :* 5b, 3. 17
9 2
 , 2020 • ISSN 2277-5854 17

,+ % 5 2 , '! ( , 1h82 /0 *& ( G \ *& k S, *3 : !"! #

> +; , + !+ *& 1h8 2 /, hY 3 /0 [ f, \ , 5+ d* *7 N : , + *7 N
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9 2
 , 2020 • ISSN 2277-5854 18

# * + , 28 * , /0 \ '! >, !( Y , D * / Q '! Gf ;

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9 2
 , 2020 • ISSN 2277-5854 19

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 , 2020 • ISSN 2277-5854 20

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9 2
 , 2020 • ISSN 2277-5854 21

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9 2
 , 2020 • ISSN 2277-5854 22

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9 2
 , 2020 • ISSN 2277-5854 23

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 , 2020 • ISSN 2277-5854 26

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9 2
 , 2020 • ISSN 2277-5854 27

*3? /0 ! lm /0 SY > ” D *, / 8 1 > ” D K /0 SY > ”

!+ :Y*L /0 '! 1 !s , > ” , /0
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9 2
 , 2020 • ISSN 2277-5854 28

D *3? ,I * "M9 ,G f" * - * -.+5, !+ 3K U0 * "M9 !+

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9 2
 , 2020 • ISSN 2277-5854 29

Sf kf L , % #, + G+ > @ , ' } , + U0 i@3 ! d* L G + /0 ' } r ,

% # , + U0 '! R !+ D * L 5 , M3 /0 D ,+ !h W ! R > @
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9 2
 , 2020 • ISSN 2277-5854 30

1& ( +0 S 5+ ( ( 0 S 5" > Y 1 !" ; 0’ S 5 !+ !h W :Y*L /

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>@ , * /0

9 2
 , 2020 • ISSN 2277-5854 31

'! >, ,b 2 3 , , + U0 S 5 31& /0 + !1 , ' 5 ,I > C ,+ Gf

+ U0 S 5 1 f, 2 3 /0 2 3 !+ S 5 S /0 ,+ *+– * \ Q > @ ,+ *3i*
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9 2
 , 2020 • ISSN 2277-5854 32

,+ , @ ! , G /0 1 %h" b N 3 lm , , /0 :<8, > ” , ! GR@9 G , @

lm !h W ,I :Y* s !+ *& 80
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9 2
 , 2020 • ISSN 2277-5854 33

SN # + U0 *hv ,+ !1 *[$ *5 8, !& , M } S 5 !1 *h8,b -*h8,b lm U0 ' # >Y +,

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9 2
 , 2020 • ISSN 2277-5854 34

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9 2
 , 2020 • ISSN 2277-5854 35

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! — 5G , G # 28 M } * ˆ # %/ˆ+ kf ( • ^ !& ,+ ! >, ; 1 ,
N @ , + kf ,*& , ,3 5 ,+ 3! >1 ) + & G9 ,I G ) + ] Q M 5 G + %(G ,+
! , G N ‹ ,+ ! 8 3? ,I S5 *& , 5 , ¤H•1•
_ D $ f $ *-$ * 3)
I*N 9 * ' 0 M + € + 5/4
. ‡$ < 0$ – 7A 0 3 )
$ 0 % O '$ <(9$ &= = ;70 3 4 24
d* N, !+ n!+ kf 3i 9 ,+ + 9 , 4 G, , * 5 !+ \ ,+ !3 # !+ 5 , ,+
(! + ? M % 5 8 (!, +( 9 ( b # D C / j , \ >,J , + G+ !% ! y
5+ + G+ ; 2 d* * + 3? ,I 5 , ¤H00200
@ ( I * A< 5 )
|, % < I (0 4
0 ($ 7 —| a $ 7 0$ )
$ 0 % O '$ <(9$ &= = ;70 3 434
‹ , 13 +) , % G, N& , 1/ , , . 2 , 1 , G , GT , *3 !3 5
!% (! 3? ,+ % >! kf " . ! y Z 5+ !, Z X!+ ; 2 d* !% ! y 5+ + G+ * +
3? ,I 5 , ¤H • 3 •
% -K -7 < &( _ < :)
-( K ) E( L < %5 _ 0 / 4
5 ($ (% / 7 0$ )
$ 0 % O '$ <(9$ &= = ; 70 3444
9 2
 , 2020 • ISSN 2277-5854 47

, ; , B , *3 , > , 83 , O , , , ( :•/ ) ( 7 B ) *3i, ,

, ‘ ( i@3 , ‘ , ; , ‘ ) :Y,G (:– ! ) ;/G, O MG !% 1 ; ! 3? ,I
% ,*h ,+ + , ! 8 Z X!+ ! ! y 5+ + G+ ( 3? ,I 5 , ¤H•4•
( &< = `% R)
<@ < @ ^ - % ' 0 /4
$ 7 Wa 70 7 0$ )
$ 0 % O '$ <(9$ &= = ;70 3 4 54
5 , ! N3, ! 2 , " , 3 , ,e ;,I, " ! , !" S } , G Y (lm*3 ),
; @1} 5 !% 5 H 1 (!,+ % ! y 5 , + ,+ #! 8 Z X!+ ; 2 d* !%
! y 5+ +! G+ ( 3? , 5 , ¤H • 5 00
R = = %/ ( ZJ • )
0 S 8( ( * ( < = - 4
7 <r $ 7 ( <(' (' 7 02 3)
$ 0 % O '$ <(9$ &= = ;70 3 4 6 4
!3 5 ,I , G ;, -. , , *" $ t, S g , ; ] 8 # ,b *J3 , ,G 3 #
M 3 , A1 , ! ; K, > ^1 , > 34 3@ # *3@ !% 3@ (!,+ >! 5 !+ > C + U
( !% ! y ,+ 5+ + G+ U X!+ ; 2 d* ( 3? ,I 5 , ¤H0 00600
% A € < :)
q* /= ( ;
D & -( / 4
5 ( $b 9Z /)
$ 0 % O '$ <(9$ &= = ;70 3 4 74
' } 5,, G ,* G, i@3 , 5+ , 5+ , , * , ¡ , SM , ,G
3 3 ?, * + ”,
hy, * hy, 1R3, !% (! ,?@ ,+ ! 3} ,I 3G , + * (!,I f, ,G ,+ % %
1 Z !, + X!+ !% >, ,I ! y 5+ + G+ ( 3? ,I 5 , ¤H•7•
_ $ 05 $ <(9 0 g 0 /)
F $ D k u€ < * = A 3 4
e . &=a $ 7 0$ )
$ 0 % O '$ <(9$ &= = ;70 3 4 84
9 2
 , 2020 • ISSN 2277-5854 48

O , 5+ *&( , x *, 5 , r , * ˆ, 5,, y, ¡ 9 , N *&( ,

% G5 !% 1 (!,+ % i G X!+ ; 2 d* !% ! y 5+ + G+ ( 3? ,I 5
, ¤H • 8•
%
= (k D + (8/ I X $ / F )3
` I* = $ ;$ 43
˜ :5 7 0 $7l a )3
0 $ 0$ % < $ 0 ( = 3 4 9))
*& % ,I „ 34 , ,+ 8 ( – k S ' Sˆ9 )G ,9 , ( *{ / % *3 )M @
, + kf ,I ! y , > C / 8 ,t ² + kf *&( ,+ G , > C , /Q
# 9 , 1 5G1 3 / ( * *5 :!, > C / 00 9 00
I = I $ 0 <(9 : '=/ 4
,+ ) #, * ; ,+ !" 5 # 3?2 !"*&@ kS•
3?2 ( 2 ;i ,I !1 ! 2 „" , ! N >2 3 , /0 3? ,I ,+ @
!+ 3? >! + U0 :!,+ !1 ² d* !",J9 !+ 3? 3 R , 5+ + U0 ;i ,I ! N # ( 1
, / '! 3? 5 !+ *7 *&@ ( /0 ;i , !A*&@ G ,I > C /0 '! G +
! N # 3? , YA ! š*7 !y , /0 ;i ,I *7 28 H ,J , 1 b
1 ( 1 3? ,I >! !+ : , ! N ( / < 9 , S c @ , + U— +
?iˆ+ 3?2 0 : 3? 5 , * *5 ,I > C , ! ( /0
*& - O R, 5; ; 2 1
(28 ) G , ( *3
55 5 , /; G ,
( *3 -302021

9 2
 , 2020 • ISSN 2277-5854 49

%60bc e $ V R%W š 0 %= %=
R = ›* =

D , @5; 1 * ! b ;p5lm f, B / :!!+ *h8,b ,.

3 1 Z / * 3 !8
1
1 , / , * j ) d* # s /0 :! f, 1 ,+ +, *7 @
2
5+4+ ( + U0 % >) :ˆ / , ,! >, !A1 / , ;p5lm f, ! # f, 1
, / +, 1 0 '!, :s 1 h 7 5; 28 * , 5+ / , * j ! q
!;< !s /, * f, / Q ,1 * + f,Y , *7 Y Z, 8 * +, ; K 9
!+ 3< + ,+ , @ +, % ( /0 * j ,I ; K 9 ,I N ,+ SN * ) ,+
/ MÃ ,I D z , N, ! G /0 *+R ,h * j 9 ,I +, ,+ SN * (/! , 5!& +
3
,.3 !A>5 , + U0
SM 1 h 7 + ; K ;p5 , > D *, 8 # , /0 % 5 # S 1& +Q D <
% + ,+ Gf ( D < d* # 28 /, ; K /0 (% S 1& / Q >,J %
/, D K % ( /0 '! 8 # ) ,+ !1 *5 8, /;+ , S 5 5; ,+ !A>5 9 B
2 ,h !1 j , 31 ,+ ,, )G+ @ ,+ SN * , ;p5 j # ; K H + ( !, + U
< 9 , SM 1 h 7 ,+ 3! M&H , + D < % + U, : + !1 ' # D < d* # /0 :
}D , 3@, , , ! , ;+ , ! , 5,b , , G, q , ! N 'Y 5 ;p5lm ,I ; K H / (
:!,I f, , q @ Z , Z04
D , @5; # lm ,I !1 ; K 9 # ‘, G ; K’ , ! š*7 4 + kf ! N, j *&@
/0 ;p5lm ,I > 34 ; K / (!!+ 2 ,s , ( /0
, G ,I 2 , f " 2 d* S 5 !+ !A% N (\ ! „" ,+ ! N > M , G !+
/ 5, 5 ; , † 4 ( + Sf U0 > M † 9 + !"! ,I *7 ; G , 5+4 + kf '!
*7 ,I 28 ;+ ,+ % N ,+ Gf Q 28 „" ,+ *& * !A% N \ ,+ Gf (! :*
, S G :* / ‘, G’0

9 2
 , 2020 • ISSN 2277-5854 50

, G ;p5 , >8 > ‘†g +5’ # G /05 *3? !&< # , G , *3? , , ,

/0 !% 1& 1 i }&* (, G) 1 *3? /06 8 +5 19.53 Q 19.54 # , G ,
* +) ,+ ! ! ; K; G /0 13 9 , * @ , + G /, !1 13 9 # D *,
/0 :!!+ %{, , t +(! Z /0 —iJ 1s /0
D , @ ,+ 3! , G ,+ D 3Y* sG¡ 8 +, /0 , G ;p5 # > 3< ‘,G’ N 3
+, 8, /0 * @ N 3* ˆ # ,G 3 ;p5!"z : (¡ 5 @), ,G 3 R+*+ (M3 5 @) ,G e
!"z + M (M3 5 @) '! d* # * ˆ /07 SM c3 8 ; A% , P, ,+ 3! , G ;p5
,I D 3Y* s ‘,G R+*+’ '! 2 8, ‘ @Mb’ >Y N 3 !+ ‘ Mb’ >Y , + * /08 SM
2, + , G ;p5 ,I D 3Y* s Y 8, ‘, G+’ N 3 !+ (, G+cžb=, G) /; (!, 8 /
‘ ’-‘, G:’ ‘, G + + , @:’09 ‘,G Y 3: , G:’ '! >, R 2 + 8 ,I „
!",+ , /010
SM 1 h 7 + , G * M , f, 5 ; , ,I 1 H , /0 : ,+ ;p5 U—
‘;<Y Y 5+ *R+ 1 " , G2 5; b0’11 ' ,+ , G !A% N *+ 2 M /0 , G
!A% N !A*&@ + @ , ,+ } / , , G ;p5lm ,I > 34 ; K /, :!, 2 Ã
, h; K /, ( *5 8“ ,I :Y* s :*!" # , @ /0 , G , 2 Ã ; K !+ ! 2 *
( G+ + G+ *5 8 (;< :) D o + /, 8 , G ,I h s 8 b !s , *7 @ , h y S 5
12
, 3 , + U0
;p5lm ,+ , + 3 /—5!& + , 8 % N , 0 :!,+ 4[$ 2 d* # , G ,
, t 1 >1 V W M Z 0 : ;p5 j 2 3 : , G /0 * 3 5 ;p5 j (% ( b ,I
> q ,+ Gf 8-1 !+ , ! / :! 5; # :!, s1& d* , G %y /0
!h W!h( +G # (! >, lm 5 9 ,+ H ‘ ’ , lm ,I ; K ,+ d* # , ^* ,
/ :! >, H * 1 ‘, G’ , %–+ ,, d* !+ ;p5 j ,I > 34 ; K /—
_ $%W ( :)
13
0 J3 0 :))
8 b (! ;p5lm ,I S * ,G „" 1+59 (G , + 5 Q , S 5)
G , G; K (2 Ã ; K 8 ; K) , S G+, ( , !s , *7 @ , h y,
*R Q ; + $b 1 , 8 & Q q -1+5 ,+ , @ % + U0

9 2
 , 2020 • ISSN 2277-5854 51

SM 1 h 7 ,+ 3! , G; K G , , !& N /014 , G ) Y /15 Q ) Y

f, * lm , !Y 1 /016 :! # ; K ! iJ U0 :! ; K B 1 9 ,I ,G
17
, %4+ / (, G ) '! G + :!+ , G , + U0 +G ( + 1 h 7 ,+ , G M ,
i, 5 % 2 Ã ; K ,+ d* # D < , /—
‘! 13: 2 :0 f ‘2 Ã ; K: , G:’ ' < *5 + !y b0’18
8—
19
1 œ % Wb=c' Š 2 D= 7 :)
:^G+4 *)M B P SM “ + 8 28 , /020 ;p5lm ,I 2 Ã ; K :!,I
, h; K /0 ' # , t 1+5 Z /0 lm ,I , h; K q d* * , , G ; K ,+ d* # D < /0
7 h s ,+ 3! —
N 2: O :5 %
D= W: 7 > < $ 0O $
21
_ )
SM h 15+ +1 2 Ã , , h; K ,+ d* # n @ , /—
22
œ %
D= W:) 0 &= E 0 $ • %
D= W:)
R%W •
, G f, + k f 1 G ,D ,I D 28 ,+ Gf , G ,I ; K H 1 *+ R U0 ;+ !1
; K H , G ,+ N /0 ! 2 , @ ; K H , G ,I S\ 3! , , U0 f >Y +,
2 3 , ! , , @ ‘, G’ /0 ! 2 , -, *5 8, ( * :Y* s # +, , @9 ,I
*+R 4 + U Q ( , ( -2 d* *GA1 1 ?y /, : ,+ ( ,I 3\ 5+, , G
23
! , , @% /0 SM 1 h 7 + , G; K ,I ! , 7 @ ,t ; K H 2 , ,I
U —> % N ¡ 3\ , ( , q Q ! ; K0
7 A ž € M( % W
D ,@ # ‹ ,h , G ,I > 34 ; K 9 # ‘> % N Q ¡ 3\ ’ A BN ; K H
1>+ /0 8 —
I* 7 $ I5 O 7 A € M( € $ %S t|0 N -
24
< )
9 2
 , 2020 • ISSN 2277-5854 52

!A*&@ 1 9-*5 8“ , : G Q G , ( Q ; ' 5 ; K 9 !+ *7 M G /0

*e * 8 q ' Z ; K 9 ,I q /0 5 > % N Q ¡ 3\ * + D * , # 1 9
,I 3 * b :Y* s + G +, % ( k , G, , [$ S 5 # *e * q -. ( Q !
25
! ", . ( f0
,! q 8 1 ,+ ! N ; K 9 ,+ D * , c , ; : ,+ ( , G 28
# 4 ‘> % N’ / Q '!,+ * ' ! N ; K 9 ,+ ( :Y* s # 3 ‘ ¡ 3\ ’
26
/0 2 3 : > % N , , R+ / 8 ¡ 3\ , 0 !h W ,I > q ,+
Gf ,! 2 3 , :Y* * o Z /0 * + :®+) , *& , + ,+ Gf :!, 28
1 S ) , / : , G ,+ ‘ ¡ 3\ ’ D * !+ ,+ G 2 3„" ,I :Y* s / * 3 : ,I
1 % /0 (% 2 3fH * :®+) *&@ , G+ / : # ,! >, , ! v ;+
Z % ,: , G ; , G ,I ‘> % N’ , N, ; K ,+ , @ /0
'! ; K ,+ 5 *R / ! ,+ *& 2 3„" , :Y* + !+ , / Q ! *& ( + ,+
28
%5 : # ( + !+ , /0
%W
> % N , f, 2 d* 8 *R / ‘( ; K’0 SM 1 h 7 + G , !+ hy 28 ,+
2 d* !+ '! ; K , M R+ # G /0 2 3„" ,I ; K 9 , R @ , + , , , /0
29
'! !+ 1 9 , • ! (( @Y ) /0 M - M !% ,+ e , ,3 [ˆ , + G ‘( ’; K-
c , ( / Q ; K N 5!& + ( -( 5 , , @ /030
N %W
,G * ;) h s (> % N ¡ 3\ ) !+ ) - 9 # 1< /Q
31
1 q , /0 : 9 , q !+ 1 ! ‘q z ; K’ , , /0 q
!+ :5 Q q !+ >Y 2 5 9 :!,I q /0 q ‘ q ’ !"\ , > o , + U032
q 8 1 ! *7 @ f " *7 ; G / Q '! *7 , SN ‘q ’ /0
%W
! ;K ; K / ( , , @ 1+5 ,I % N, / , @ Q , ,+ 1+5 ,
, /0 '! ; K ,+ >1 !+ , @ ,+ ! 8 , ,I f,Y ,I-! > /, , -, @
32
1 !+ G + G + U0 , @ , , šY*j 3,& G !;< , , @ !+ , , ( , ,
, @ #G !1 D * ‘! ; K’ !+ !A1 + U0
9 2
 , 2020 • ISSN 2277-5854 53

O — kZJ, & (
:* 3< +M !+ \ / , ,G N , “ (:Y* s, 28 ;) ,
34
/ 8 ,G # 1 Y (1& , , 1 i ) d* # D / * 3 , G # ( 1+5 >
35
/, Q* N, /, 2 3 : 1+5 /0
D , @; 2 # , G , 4[$, ,h ,, 1 • , Y , 13 &s /036 1+5
Q Q* N, 2 ,h /0 1+5 , > ( G , D /0 1+5 %3 y ,I ,^* fH U0
, G ,I !%!+ j *&@ :* N H U ‘ q fH’0 + , G B q # >,J ,I ( /0 : Z ,+
, @ 1& , 1 i 8 ,+ 1+5 '! * S * + U0 , G ,+ 1 9 ,+ * + :* 1
37
U ( ,G
3 G, g /0 1& ,+ * HM 1+5, 1 i ,+ M 1+5 Q ,+ 5 1+5038 q ,
S A1-, G, q -, G 8 ! C-, G— + 1 1 28 „" # D * 9 ,+ 1+5 ,+
, @ + U0 (% , f, /0 (! , 5& ! * MG + G+ ,I * 1
/ ,2 1 : 1+5 / :! 5 c, G ^*, G q -! ,I 5 c ^* *
1 /Q *5 ,+ ?, ( + !+ ! C /0 : 2 1 : , G ,I 1 ,
39
f, Y /0
>,h ,I > h s ,+ 1+5 ,+ , @, , G , ! , n i S 5 † 3„" # 1 ( , ( /0
:! >, / (/!+ f, *3? , :!,+ B , + ( + G+ , ,+ 1+5 !+ %{t, Ge S 5
, 040
: , G ,+ ! + 1 ! b /, 1& , 1 i , S 5 1 , ,+ G D 7 , &^
/, , G- 1 : q „" * S U ( '!,+ B i* 5 ,I ( /041 !A*&@ > q
%3 y S /42 ( , /0 : '! ) >*‘ ,I N ,+ s , @-!s „"
,I % k G 8 f, !s ,+ 2 , 1 + ,I , t S ) , Z /0 , G ,+
1 9, 2 , + ,I *+R , G ,I ; K H N, : M /043 '! >, ! n
1 8 V) >*‘ , G ,+ 1 # / ( q ; G / f" ( : ,I !h W 8 !" 8!
, / Q '! ! "! 7 , D 28 , !A* 5 , /0
:* 3< 1 !s fH ;p5 8 2 d* / „ ;p5 Q 8 ; K d* !+ %3 y # !5/ f,Y
, >o + U0 (/! , , /— q h%3 y28 ;p5 @“, *59 f " < 9 ,+ d* # 1<
, 8 , M, % /0 H %3 y # 8 , Y , ;p5 1+5 , > o , /0 %ey ;p5
Q 8 , 5 YA /0 %ey ;p5 !+ 8 ,I > /0 - - M, D 28

9 2
 , 2020 • ISSN 2277-5854 54

/044 ;p5 Q 8 ,+ * 8 : 1 +* 1 D # : ,I *h8,b q 5+4 ( /0

45
2 3 : ;p5 Q 8 , j f, /( )M Q Y /0
:\ %3 y28 ;p5 8 % • 8 d* # +,N > 1 ! /,46 >Y R 28 -
(‹ , ( b ‘;p5’ , *7 @ /047 ( j : f, / :!+ +,N +M , + ,I ; K %3 y #
/0 ;p5 /!+ 8 !& M , + U (/!+ + + \ # S + U048 8“ ,+ !A% N # + \
,^* Y , + U0 \ , >Y M+ , ,+ S, # S, 7 f, >, ,
49
, G3i /0 '! >, %3 y !"! ,+ *5 8“ , +M ( , }D , 3@, q S 5 d*9 # ,
/ f " ' ,+ Gf ( M,, }D M,, 3@ M, q M, ;p59 , > , /0
i, : > * 5 / , !1 ;p5 >Y R : ( , }D , 3@, q S 5 *5 8“ ,
% N , + U f " * R : ! š-M !s , 0 !1 ;p59 , - !s /0 ! š-M !s !+ Y* * lm
!+ / (!+ D , @5; # ;p5lm , /0 ;p5lm ! ,+ d* # ! f,Y
28 * , /0 * }D :* N 1+5 !+ 1 - 1 D K d* # >,J / ! 3@ d* #
!1 *5 8“ ,+ 1 N 28 * , / * 1 / ( * q ; K 8 , G; K ,+
>, !+ !A*&@ , 9 f " *7 @ 9 , f, , @ /0 \ %3 y , ! šY,h iJ * \ /0
0 =
1. +•81 + > q ( :0 — < *5 , 2/2
2. ;p52 *7 @ • Y A 5 53:0
. 5 ¡ f >8 + 5b ) " D +00 — < *5 , 2/222
3. ! ;<Y Y 1& Y +,2 / + @ :0
1 Y 1+52 ,^* 2 5 8, 00 — < *5 , 3/2/22
4. 1 h 7 , < *5 , ,+ . f. f!. Ä , 3 5, $Å. M } B 5+ , (28 5 , 5 , ( *3 , *h. 227
5. ,h " -.b O M , G+0 — †g +5, 20/42/1
6. *3? f +5" ! … 5b 1& " -M 1 D b0 — †g +5, 20/20/2
7. * @ , iJ O , N 3* ˆ, 02/0570, 20/0013, 20/0404
8. ‘,G R+*+’ ' Me 5, b 2 8, @ ( b *M cMb0 — < *5 , 3/9/24 * A% , P D z , *h. 505
9. ?< , 2/25, *h. 56
10. , ;, 2/2/51
11. < *5 , 3/1/62

9 2
 , 2020 • ISSN 2277-5854 55

12. , G z + 2 Ã +@ ! : * : ( Y : ;<Y : ! iJ : , G; K: h s 3* 0 —
< *5 , 2/3 ,I 2 *\ h s0
13. < *5 , 2/3
14. " 2 G , 2 !& N " >MR +0 — < *5 , 3/1/4
15. , G f ) Y D * ' ,v +0 — < *5 , 3/1/22
16. ) Y /, f * lm 1N : !Y 1 :0 — < *5 , 3/2/24 * +G ( ,I h s0
17. (G € +;!V; 1: > h s 1:0
! ,G : ,G ! : , G z " G1 + 13:0— < *5 , 3/1/24
18. < *5 , 3/1/24 * +G ( ,I h s0
19. < *5 , 3/1/62 * +G ( ,I h s0
20. (,) 2 ... lm@: ... 2 2 Ã ; K: , G:0 — < *5 2/3 * 1 >5 * h s0
(4) He (Bhartrhari) Considers kala as an independent power of Brahaman. (The
Kalasamuddesh of Bhartrhari's Vakya Padiya : Together wirh Helaraja's commentary,
Sharma Peri Sareswara, p. 26
21. < *5 , 2/3 * 2 *\ h s0
22. < *5 , 2/3 * *y J , 0
23. ! " , @ " , @ +i *+R " > %y( ¡ 3\ ! , 7 , @" , G:0 — < *5 , 2/3
* 2 *\ h s0
24. < *5 , 2/3 * 2 *\ h s0
25. 5 > % O Y> % N" M Y!h(+ b0
28 D ,I *e * ,h :00 — < *5 , 3/1/5
26. ( + , G+ > % N ¡ 3\ ¡ ") ( : > % N G = ;:, ¡ 3\ =:Y*s 3 :, ¡ b0
< *5 , 3/1/4 * A% , P D z , *h. 497
27. 28 : !"! 11 /: 2 q 2 3 h• +0
/ " !s " 35b h• h s( " 2 h 00— < *5 , 3/1/23
28. > (, 2 3 + 1 : 28 1 2 + :0
1 +! SY > +00 — < *5 , 3/1/25
29. ( + 1 +• + ( , G2 ; K:0 — < *5 , 3/1/24 * +G ( ,I h s0
30. ( z , G; K ;<Y N 0
! ; K > %O ( + M N :00 — < *5 , 3/1/24

9 2
 , 2020 • ISSN 2277-5854 56

31. > % N ¡ 3\ ¡ " h s 2 ; ) 0

1• •!e 1( + q d* b00 — < *5 , 3/1/30
32. q z ; K b0 2 +• : q +@ 1 ! 3* -. 0 + " : q +@ 5 >Y 2 >Y 1 !:
!/ 2 q 0 — < *5 , 2/52 * *y J , 0
33. 2 3 ! z ; K152 % N, 0
f,Y D < * 5 , @/:00 — < *5 , 3/1/27
34. f, • * , G Y + D • +0 — < *5 , 3/1/6 * +G ( ,I h s0
35. Q* N, •2 1+5 3z 2Y 1+5 :0 — < *5 , 3/1/6 * +G ( ,I h s0
36. ( ) Y + , G R +0 — 1 i 4/2/3
(%) Y : q 1: , G 1+5" ' 0
D " @ " 1 + ,IV;: q :0 — < *5 , 2/24
(!) It is invisible and eternal. (The Philosophy of Sanskrit Grammer, P.C.
Chakravarti), p. 54
(5) Time is immaterial and conceived as a symbol of eternity. (The Philosophy of
Sanskrit Grammer, P.C. Chakravarti), p. 54
37. q * N)M ! b 1& 1 i :0
f, 5; 1 , / 1< : > * +0 — < *5 , 3/1/37
38. 1& : *‘ N2 1 i )M M 3 N:0
BN z 'Y +, 5; ,^* 00 — < *5 , 3/1/37
39. D q +• * 1 " 2 2 D q :0
h 1+5+ 1+5 • 2 ,)M 00 — < *5 , 3/1/74
40. q 1+5 5b 8/, 2 b R z > +0
q 1+5 s8/, 2 b †Y z *( +00 — < *5 , 3/1/32
41. 2 1 2 , G2 D + q :0
1+5 ' : !y "^G , +00 — < *5 , 3/1/47
42. %3¹O n 1+5 -M D Y 28 +:0
+ R@: , G 3 @ 00 — < *5 , 3/1/61
43. f,2 ;<Y : 2 : , G2 ! 28 :0
Y!A% N+ 1 " 5; 5; + ! b00 — < *5 , 3/1/41
44. 1< 1< +¡ ( +•82 M,:0
;p52 8d* Y !A1+5 3* -. 00 — < *5 , 2/43 ,I 2 *\ h s # :y h , 7 , 0

9 2
 , 2020 • ISSN 2277-5854 57

45. ;p5 8 !A1+5+ D + *h8,b q 0

: ;p5 8 2 j +," Y! 28 b00
!A% N2 , 2 ;p5 " G , +5 :0
;p5/ + ;p5 " !A% N: 2 Y,h : 2 b00 — < *5 , 2/26 ,I 2 *\ h s # :y h , 7 , 0
46. < *5 , 2/2
47. < *5 , 2/222
48. ;p52 M d * 8 ... >Y )M ,^*:0 —— < *5 , 3/3/54 ,I 2 *\ h s0
49. < *5 , 3/3/57

; N. (!"2,h )
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. J+ ( ( 3„" , "! !+ %M + U Q , + G t) 8 5+ , 4; 3 , + ,+ Gf ( 9
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9 2
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 , 2020 • ISSN 2277-5854 61

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 , 2020 • ISSN 2277-5854 64

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9 2
 , 2020 • ISSN 2277-5854 67

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 , 2020 • ISSN 2277-5854 73

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 , 2020 • ISSN 2277-5854 74

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 , 2020 • ISSN 2277-5854 75

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 , 2020 • ISSN 2277-5854 78

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Yoga: Ancient Indian Philosophy to Practical

Life of Common Man1
Dr. Sushim Dubey2

ABSTRACT
Present article is divided into four sections.In the first section, “Yoga”,
its meaning and definitions, aim and objectives, Misconceptions about Yoga,
True Nature of Yoga have been discussed. In the second section brief history
and different schools of Yoga have been touched upon. In the third section,
Yoga in Modern Days have been discussed and in last section, Yoga has
been interpreted as ‘integrated value & way of life’ refining the human
experience and existence, thereby, evolving civilization.
Key words: Yoga, holistic health
I
Yoga is an ancient art based on an extremely subtle science, that of body
psyche and soul.
1.1 Meaning of the word:
The word Yoga originates from the Sanskrit word "Yuj" ("to yoke")
which means "union" or "integration”,
Another meaning is “samādhi”- A higher state of consciousness beyond
mind reflecting the ultimate reality.

1 Views and thoughts presented in the article are of the author personal and author expresses
his thanks and gratitude to all sources to prepare the research material.
2 Programme Officer, Indian Council of Philosophical Research (Under MHRD, Govt of
India), New Delhi, www.icpr.in; sushimdubey@gmail.com
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1.2 Some Definitions of Yoga:

In the thoughts of modern Indian thinkers we find yoga as a system of
conscious evolution and self-perfection. Swami Vivekananda has defined the
Yoga as, "It's a means of compressing one's evolution into a single life or a
few months or even a few hours of one's bodily existence". Sri Aurobindo
defines Yoga as Integral Yoga. He says “By Yoga,… meant a
methodological effort towards self-perfection by the development of
potentialities latent in the individual.” In the authoritative ancient text of
Yoga i.e. Yogasūtra of Patañjali and Śrīmad-Bhagavadgītā, yoga has been
defined as transcending the mind for self-realization or equanimity of mind3.
Also, according to ṚṣiPatañjali, “yoga is the cessation of modifications of
citta (mind)”4.Yoga is skill in action5. In another important text Yoga-
Vaśiṣṭha yoga comes as “skilful method to calm down the mind”
1.3 Aim & Objectives of Yoga:
To remove ignorance (avidyā or lack of awareness of reality ) from
life,
Cessation of metal modification or disposition of mind,
Awakening to real Self; state of Kaivalya,
Elimination of kleśa (sufferings) - Ignorance (avidyā) – egoism –
attachment- detachment – yearning desire to life – elimination of 5-
afflictions from life6,
To enter into a state of highest consciousness that manifests in life as
(satya) Truth, (bodh) pure consciousness, (jñāna) absolute
knowledge, ānanda (bliss).

3 "Samatvam yoga ucyate"

4 “Yogaścittavr̥ttinirodhaḥ।“ - Yogasūtra –I.2
5 "Yogaḥ karmasukauśalam" - Śrīmadbhagavadgītā
6 “Avidyāsmitārāgadveṣābhiniveśāḥpañcakleśāḥ” - Yogasūtra –II.3
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1.4 Misconception about Yoga:

There are varieties of misconception associated with Yoga, they are as,
Yoga is:
Religion – dogma, belief , cult or –ism,
Magic, trick , mysticism,
Physical culture –aerobics and anaerobic,
Mental concentration,
Self-mortification, Self-torture.
But as we have seen earlier in various definitions describing the true
nature of yoga is not so. It is a complete system or better a Science or a way
of life. Yoga being a way of life can be applied irrespective of age, gender,
profession, state, conditions, problems and sufferings. Yoga can be applied
in any/every human endeavor –personal, professional, social, family and
spiritual.
1.5 The True nature of Yoga:
We may sum up the true nature with these, as yoga is:
Science and art of realizing The Absolute i.e. The Ultimate Reality or
Supreme Consciousness,
Holistic Living i.e. Physical, mental, emotional, intellectual, social
and spiritual well-being,
Science of Health, Harmony and Happiness i.e. ( “HHH”) and here,
Health, Harmony and Happiness denotes:
Health (holistic health)- physical, emotional, mental, intellectual,
social and spiritual wellbeing,
Harmony- Inner Harmony (body, mind and emotion) and outer
harmony (social, professional),

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Bliss – beyond happiness or permanent state of happiness, which is

the stage of supreme realization,
In the modern times, yoga has been slogan for peace (inner):
NO YOGA, NO PEACE
KNOW YOGA, KNOW PEACE
NOW YOGA, NOW PEACE7.
II
2.1 History of Yoga:
The tradition of yoga can be traced back as old as civilization is. In the
ancient texts of Haṭhyoga like HaṭhyogaPradīpikā the tradition of yoga has
been said to originating from the Ādinātha8 i.e. Lord Śiva. Tantra school of
yoga also affirms this as an eternal tradition. Some of the basic points
regarding the history of the yoga are as follows:
Origin of Yoga – India,
The tradition is known as eternal tradition in India,
Reference of Yoga in the oldest written scripture in Sanskrit- Ṛgveda,
and Yajurveda9
Originators of Yoga- Lord Śiva and Lord Kṛṣṇa10,
Codifier of Yoga system or Yoga-Sūtra is- Patañjali ( 500 BCE or
more),
Traditional Yoga systems as old as 2000 years old or more and still
continuing in Modern India.

7 http://knowyogaknowpeace.org/
8 “Śrī ādināthāyanamo'stutasmaiyenopadiṣṭāhaṭhayogavidyā”, Haṭhyoga Pradīpikā, I.1
9 "YuñjatemanaSutayuñjatedhiyoviprāviprasyabr̥hatovipaścitaḥ" – Yajurveda,XI.1-5
10 “Imaṁvivasvateyogaṁproktavānahamavyayam। Vivasvānmanavepr āhamanurakṣvākave
'bravīt। ।“ - Śrīmadbhagavadgītā, IV.1
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Teachings of Yoga were the part of the curriculum and practice in the
Gurukula in ancient Indian Teaching System. Prāṇāyāma and other specific
postures were included in performance of Yajña, Swādhāyaya and other
purificatory practices in traditional Hindu culture. Oldest traces of Yoga
related practice may be traced back to Indus valley civilization, where
posture related seals are found. Yogic terminologies are also found in Vedas.
It is now established that full-fledged system of Yoga is found in the
Yogasūtra of sage Patañjali. However, prior to this various other traces are
found in other scriptures about Hiraṇyagarbha Yoga Śāstra etc. which may
be of interest to the history and development of Yoga in India. Yoga, for the
first time in systematic spiritual path was advocated by Swami Vivekānanda
to the West, though, it has been made household practice at mass scale by
Swami Ramdev and International UNESCO recognition only by hon’ble
Prime Minister of India Shri NarendraModiji’s leadership.
Yogic practices, meditation and Samādhi are esoteric practices and for
the ages attracted the attention of foreign travelers, who vividly wrote in
their biographies and traveler diary about various mendicants and tapasvi in
India. Various other rulers, dynasty who came and conquer Indian
subcontinent, some returned to their mainland and some got assimilated with
indigenous culture with establishing their identities here, but under stream of
spirituality and Yogic practice in mainland got unaffected by these
upheavals and changes.
2.2 Schools of Yoga:
There are varieties of yoga traditions found in ancient to modern times.
Some of the major schools of Yoga are Haṭha Yoga, Bhakti Yoga, Raja
Yoga, Jñāna Yoga, Karma Yoga, Kuṇḍalinī Yoga, Tantra Yoga, Integral
Yoga etc.:
Physical – Haṭha Yoga,
Emotional – Bhakti Yoga,
Contemplative – Raja Yoga,

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Reasoning – Jñāna Yoga,

Action /passion for works- Karma Yoga,
Awakening inner potential – Kuṇḍalinī Yoga,
Other schools- Laya, Dhyāna, Mantra yoga etc.
2.3 Why different Schools of Yoga:
Vivekānanda has said at one place as why there are so many path for
realization? Because there are different kinds of people in the world, because
there are different kinds of attitudes, there are different kinds of psycho-
physical constituents, these enable them to pursue the path with matching
their ability and potential. The above argument can be rephrased with
following points –
Yoga is search for the highest within, i.e. self-discovery, which is
awakening human potential,
Not all can follow the similar practices,
Different schools of Yoga for different temperament of people,
Every school of Yoga uses one or more than one layers of existence
predominantly to reach the Ultimate.
2.4 Patañjali Aṣṭāṅga yoga:

ṚṣiPatañjali has defined yoga as Aṣṭāṅga or eight limbs Yoga. They are,
Yama, Niyama, Āsana, Prāṇāyāma, Pratyāhāra, Dhāraṇā, Dhyāna and
Samādhi11:
Yama: motivating, social behavior,
Niyama: Restraining, Checking, Self-discipline,
Āsana: Psycho-physical practices,
Prāṇāyāma: Control of vital Air/energy,

11 “Yamaniyamāsanaprāṇāyāmapratyāhāradhāraṇādhyānasamādhayo'ṣṭāvaṅgāni” –
Patañjali Yoga-Sūtra, II.29
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Pratyāhāra: bringing together (withdrawal of senses),

Dhāraṇā: perseverance, steady continuance, Concentration,
Dhyāna: Meditation,
Samādhi: Self-realization.
III
3.1 Yoga in Modern Days:
Modern age is of science and technology. Here, yoga refers to the
science of health, happiness and harmony. Yogic previews are widened up to
the normal restorations of health, and using Yoga technique as therapeutic
system up to the spiritual realizations. But Yoga has been much popular in
modern days as the science and art of Holistic Living, which includes all.
Shri NarendraModiji, Honourable Prime Minister of India in his address
during the opening of the 69th session of the General Assembly of United
Nations presented the proposal for International acceptance of Yoga spoke as
“Yoga is an invaluable gift from our ancient tradition. Yoga embodies unity
of mind and body, thought and action ... a holistic approach [that] is valuable
to our health and our well-being. Yoga is not just about exercise; it is a way to
discover the sense of oneness with yourself, the world and the nature.”12
People are attracting towards Yoga as a holistic health care system.
Before analyzing this let first see the definition of “health”. According to
WHO, ‘Health is a state of complete physical, mental and social well-being
and not merely the absence of disease or infirmity’13. State of well-being can
be at physical, mental, social and spiritual levels. The health of all peoples is
fundamental to the attainment of peace. The extension to all peoples of the
benefits of medical, psychological and related knowledge is essential to the
fullest attainment of health14. It is obvious that a life style can be consider
healthy when it gives maximum satisfaction and establishing all around
harmony with forces that the govern life which in turn provides good
physical and mental Health, Growth potential and Joy of living.

12 ref: http://www.un.org/en/events/yogaday/background.shtml
13 https://www.who.int/about/who-we-are/constitution
14 Ibid.
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Holistic approach of health care includes the following points –

Preventive health,
Promotive health,
Curative health,
Yoga as a health care system:
Yoga, the basic aim is not therapy but incorporating yoga into lifestyle
brings ‘Health, Harmony and Happiness’,
But act as a potent preventive, pomotive and curative health care
system in many of the psychosomatic and life-style oriented diseases,
Yoga strives to provide better health in all aspects.
3.2 Five Principles of Healthy Life
There are Five Principles of Healthy life described in Ayurveda (Vedic
science of Life) as:
Āhāra,
Vihāra,
Ācāra,
Vicāra,
Vyavahāra.
Five things to maintain healthy functioning of body, viz.
Inception,
Digestion,
Absorption,
Circulation,
Elimination,
Yogic Practices for holistic healthy living may be sum up as:
Yogāsana: relax & tone the muscles; massages internal organs,
Prāṇāyāma: Slows breathing & regulates flow of prāṇa,

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Meditation: Act to calm the mind & helps in emotional culture,

Kriyās: eliminates the toxic materials from body,
Bandhas&Mudrās: Re-circulates the energy, removes the block in the
energy path,
Mitāhāra: regulates both body & mind functions at gross and subtle
level respectively.
IV
The Yoga is the best at once for Holistic modes of experiencing and
expressing the way of life. Yoga perhaps can best be interpreted as Holistic
modes of experiencing and expressions viz, aesthetical, spiritual, linguistic
and historical etc.
Firstly, aesthetical, Yoga through its posture and poses presented in
various architectural sculptures, monuments, idols etc. of which chief role
model is Natarāja (one of the postures or Āsana, the pose and artwork is
described in many ancient Sanskrit texts such as the AnshumadbhedAgama
and UttarakamikaAgama, the dance or idol featured in all major Hindu
temples of Śaivism). Secondly, Yoga, spiritually culminating in Kaivalya /
Samādhi and richly represented in major religions of Asia, like Hinduism,
Buddhism, Jainism, Sikhism etc. Thirdly, Yoga, linguistically spread across
in scriptures and Sanskrit texts forming a glorious tradition of Bhāṣya, Vṛttis,
(interpretations/commentaries). Fourth and finally, historically, Yoga may
be ascribed to ‘integrated value & way of life’ refining the human
experience and existence, thereby, evolving civilization.

Programme Officer,
Indian Council of Philosophical Research
Dharshan Bhavan, 36 Tughlakabad Institutional Area
M.B.Road, New-Delhi-110062
Mob. : 9818420102
7982689813

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Lalita abides in the Heart

Dr. Chaman Lal Raina

‘Hridaye Tu Lalita Devi’—'Lalita abides in the heart', says Brahma to

Markandeya in the Devikavacham! Lalita is the Divine Mother, whose heart
throbs for the life process. Lalita is the 'Mother of Synthesis' as defined in
the sacred Grantha‘Lalitopakhyāna an appendage to the Brahmanda Purana.
Lalita is Durga, who is worshipped by the Shakti Upasakas as being the All
universal source. She is all Mahabhava—the great and grand emotion,
whose sweet face represents the 'Vagbhava' group of fifteen Mantrik
syllables. She captures the secret heart-beat of delight, with her Eternal
smile. She is the golden sight, who comes down into the heart of the devotee
sitting the life-secret with Supreme eternity. The secret name lies in her
Eternal attributes which reside in six lotuses in the form of 'Kundalini'. She
is not different from the knowledge that brings 'Moksha' -liberation to the
bonded soul or 'Jivātman'.
Higher emotion is the primal cause of existence, known as 'Bhavajna' or
the creativity in evolution. Being the Supreme energy, She is meditated upon
with the loving adoration. Her abode is the Shri Yantra, when adored as Shri
Rajarajeshvari at the Shri Ragini - Devi Kundam. Her feet are the musical
metere and the Vedic-Nirukhta is her Lovely face. The Rigveda is her seat.
The Yajurveda and the Samaveda are her thighs. ‘Nyaya’ and ‘Darshana’ are
the two breasts. The ‘Shruti and Smriti’ are the lips. The poetics is Her
charming tongue. The Vedanta and other allied subjects are Her eternal eyes,
which guides the 'Bhakta' - devotees through intuition and awareness; also
with understanding of logic and insight. Her ecstasy is found in 'Gāyana,
Vadana and Nritya'—song, music and dance, creating an atmosphere for
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understanding the Shakti Tattva, for establishing the Mother-child

relationship.
Lalita is always adored by the Ishvara, Sadashiva and a host of Devatas,
within an orb of the Shaivistic thirty six Tattvas. Her very being is the
Shaktopaya of the Trika Darshana. She is the Mother-Creatrix and the very
self of 'Sat-Chit-Ananda' -truth-consciousness-bliss.
Lalita is the primal source of 'Para, Pashyanti and Madhyama’, as
defined in the scripture
s. She is the infinite 'Vaikhari', born from the silence of Eternity. This
state of existence is Prakasha and Vimarsha. Her Divine flow is
spontaneous. Ichha, Kriya and Jnana Shakti are Her Manifestations in the
living heart. According to the Shakta school, there is only one Reality, where
Transcendental, Absolute, Immutable, Ineffable Lalita is known as
the Prakasha-Mayi Vimarshini Shakti - Supreme Effulgence, which contains
in itself the seed of consciousness. When it vibrates to manifest of itself, a
movement or Iccha takes place. This deliberation is known as 'Vimarsha' -
reflection. The Kamakala-Vilasa says that Vimarasha is the reflection of the
mirror of Prakasha. The Prakasha and Vimarsha are the Shiva and Shakti
aspects of Shri Lalita.
She manifests through the 'MuIa-Trikona' known as 'Sarvasiddhi-prada
Chakra' of Lalitambika. The primary triangle is the eternal flame with the
'Tejas' of Surya -the solar energy, the coolness of 'Soma tattva' being the
lunar effects and 'Agni' - physical fire for oblation, which is a living example
of the Yantrik Puja. The triadic of 'tejas' are Her three eyes representing the
Universal manifestation,which is present and visible in the various
incarnation. She is verily, the Vidyavati - the physical, Meta-physical and
transcendental knowledge of the Trika-triadic mysticism of the Shakti cult.
Her charm, glory and silence is seen in the Primal 'Bindu', which is being
meditated upon as the 'Trikhandā Mudrā' by the Shodashi worshippers of Sri
Lalita. It is related to the Ka-Adi Vidya of the Ashta Matrikas at Shri
Chakreshvara. Perception and emotion make Lalita to abide in Shri Chakra
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where the 'Mula-Bindu' is Her heart region. A compassion leans to embrace

the physical constituents of 'Jivatman' to make the life cycle a complete one.
Ever gracious Lalita is visualized in the multiple faces of Universal
consciousness. Her ways are mysterious, diverse and ever blooming. She is
super brilliance, who upholds the mystery of the emotional play. She is
fertile and her emotion is the cosmic union of Kameshvara and Kameshvari.
She is Shiva and Shakti, possessed with the singular supreme love. She is
the embodiment of whole, where every part and particle finds its abode in
Her lovely looks. She is self and beyond that, who is meditated upon as the
'Svatantrya Shakti', as vizualized by Shiva the Supreme teacher of 'Ananda
and Lasya -nritya' - the cosmic dance of eternity.No doubt,there is Tandava
also for annihilating the Asuras. His dance makes the rhythm of Time in its
movement, but Lalita transcends the cosmic whirl of Time and is hid in it,
like a pearl in the sea. She is the Supreme Sovereign, with the authority of
'Chaitanya - consciousness of Being as the Supreme and Absolute authority.
With her emotional appearance, she is the fountain head of the nectar of
consciousness. Emotion is her primal vibration known as 'Spanda' - which is
the source of all creation. She creates and sustains the world with her Love
and then makes the world merge in the Higher ego. Filled with compassion,
she is fashioned within the heart by Her intellect. Her presence is felt in the
heart-cavern. Yogis meditate upon her to realize the infinite digit of
immortality. Her song is auspicious with the inner tune of universal
vibration.
The immutable phonemes begin with 'A and end with H' of the Vedic
Varnamala. The great Divine Mother, Lalita is immutable in the form of
'Varnamala'—the garland of letters, woven by sound frequencies of ‘Hrisva,
Dhirga and Pluta’. In this world of name and form, she continues the process
of creation through 'Matrikas - the supernal 'Shabda-Brahman'. In the form
of languages, she is known as Akshara, which never goes for any mutation.
Each syllable is potent with her Divine attribute. As Lalita bears and sustains
Primal seed in her womb, so all the 'Devas' and ‘Devis’ within 'Matrikas' are

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the seed and syllable sounds.These abide in the Varnamala, forming the
basis of all the 'Mantras' - seed syllables. The seed syllables are occult in
nature. The 'Jnanarnava Tantra' states that the sixteen vowels found in the
'Deva Vani' - Sanskrit are a form of Shakti, while the letters beginning with
A--Adi and ending with-Ka +sha=ksha, being the forms of 'Shiva'. The
consonants can not be articulated by themselves unless they are in
consonance with the vowels. The emotion of Lalita is impregnated with the
force of the 'Trayi-Vidya', made up of the letters of the three 'Kutas', which
are adored with the three 'Hrims' or 'Lajja bija'. Hrim means that the'
Vaikhari' has not come out fully in the open, there is some 'Sankocha' known
as a shrinking. 'Hrim bija' is the evolutionary aspect of the Divine.
There are three Hrims in the Mantra, one at the end of each 'Kuta'. The
three kutas are triadic in nature and represent the existence of triune -
'Paramatman, Jagat and Jivatman' - God, world and soul. The three kutas are
'Srimad-Vagbhava Kuta, Madhya Kuta and Shakti-Kuta', where Lalita is the
presiding deity of the microcosm and macrocosm. ‘Hrim Bija’ enjoys the
identical status of 'Pranava'. Hrim is ethereal existence, illumination and
will. It stands for 'Nada-Bindu', 'Shabda-Brahman' or 'Akshara-Brahma'. It is
the primal digit to evolve into Absolute, and to involve in the number. The
adoration of the ‘Hrim’ leads to the ultimate destiny, where Tripurasundari-
Lalita administers the bliss of realization. Hrim is a process of
transformation of 'Jiva' into 'Deva' and 'Jiva' into 'jivanmukta'. All the
attributes of Lalita are inherent in Hrim. A Yogi experiences bliss in terms
of 'Ichha, Jnana and Kriya', working under the influence of Lalita, who
abides in the 'Ashta-Siddhis' of the ' Vasu Kona' where all the perfections
lead to one supreme goal of Lalita's love.
Lalita is all excitement, which lives in the' Samaya' school of Shakti
Upasana, devoted to the conduct of the 'Samaya Achara', who presides over
the 'Hum' seed syllable. She embodies the universe in Her golden womb.
Her tune is the 'Vina' of Sarasvati, which brings harmony of rhythm and
rhyme, power of speech and thought, idea and performance. Conception,

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Right faith, Right intelligence and Perfection are Her names. She has one
thousand attributes, which grants the perfect knowledge of immanence and
transcendence. Lalita is beyond 'Varna and Ashrama', yet maintains the law
of piety. Her 'Varna' is Supreme love and is easily approached by those, who
have the unconditional faith in her Divine play. She is free from name and
form, yet endowed with names and forms. She abides in the 'Dasha-Ara'- ten
spokes of the cosmic wheel of 'Sri-Chakra.'
The Eternal knowledge, allied knowledge are her epithets, attributes
and names. She is whole-compassion. She is ever charming, grand and
utters the eternal sound 'AUM', which grants power to Brahma for creation,
Vishnu for preservation and Rudra for annihilation to make the cosmic show
a complete one. She is Eternal time, and consumes the serial time in her
Lap.
She abides in every nerve and cell of Shiva, where she illumines the
spirit of Shiva by accepting Him as Her Shakini nature,which is
Devi's very Self. She is the embodiment of ‘Yakini, Hakini, Dakini,
Rakini, Lakini, Kakini’ and ‘Sakini’ and Devis. love, emotion, excitement
are her psychic energies.
She transcends action and inaction. She shines among the 'Kula' system
and is worshiped through the 'Kadi' mantra, the first letter of this seed-
syllable of the Pancadashi Mantra. Her expansion is vast, which maintains
the harmony of the Triadic mysticism of 'Shiva-Shakti-Anu' and 'Mahakali,
Mahalakshmi, Mahasarasvati'. Being the compassionate Mother, she
bestows, grace to the 'Matrikas' -little mothers. Being Gayatri, as Mother of
Vedas, she holds all scriptures in her Lap. Great substance is found in Her
looks. She is the Cosmic breath of Yoga and Her manifestation is seen in the
fourteen triangles of Sri-Yantra.
Her Eternal love is filled with her Eternal grace, which is without
beginning or end. She is all beauty found in the Primal figure. Her seat is the
primal triangle of Sri Yantra, and is revered with ' Yoni Mudra'. She
manifests for the work of 'Devas', born from the altar of the fire of
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consciousness. Her supramental consciousness is to save the world from

'Avidya' - ignorance. As saviour of the 'Devas' - divine forces, she assumes
the characteristics of Para Shakti, where She makes the cosmic energies to
concentrate in one unified energy. She assumes the form of 'Mahalakshmi' -
Adya-shakti, and the 'Devas' adore her Feet with 'Laksha-Rasa', a red dye,
known as ‘Butea frodosa’ and thus make the triple world - 'Bhu, Bhuva,
Svaha' dance to her Tune. She takes 'Hari and Hara' in her lap to help in
maintaining the balance between emotion and intellect. She is the Supreme
intuition, which abides in the sixteen petaled lotus of Shri-chakra. Of
course ,this is the triune of Jiva , Jagat and Janardana
She is the embodiment of 'Panchadasha-Akshri and Shodashi' Mantra
and of 'Hadi -Vidya and Kadi Vidya'. She is occult, yet seen with devotion
and from the original Throb which in its subtle form is Light. Her each
mystic syllable evolves, with the rise of the moon in the' Shukla paksha' -
lunar fortnight and is meditated upon on the 'Purnima' as the Moon is just a
cosmic beauty of her Appearance. She is Universal seer, who imparts the
sacred knowledge of 'Tripura Sundari' Mantra to reconstitute the perfect
word or 'Akshara'. She therefore, resides in the Shodashi Mantra. Her grace
is a flow and her face is deeply aglow with ambrosia. To bestow prosperity
is one of her Functions and as Vaishnavi, Lalita abides in Vaibhava - wealth
and final beatitude, closely related to Akshara-Brahma.
Lalita is the Supreme authority and discharges her Eternal function
through Brahmi, Vaishnavi and Raudri Shakti. She abides in the form of
'Sahsra-Ara' - the thousand spokes of the mystic lotus. She is material
existence of 'Nava-Dvipas' - nine continents and Sapta-Sindhus - seven
oceans. She is the source light of the sun and her radiance is far exalted. The
brilliance of thousands of solar galaxies can not excel her Triadic beauty.
Being 'Vagdevi', she is adored as 'Vamamayi Ambika'. She is the
'Mantra' and not different from it. This 'Rahasya' - secret knowledge is
known as 'Tripura Sundari Karuna'- being the compassion of the Mother.
Peace, Force, Light and Delight are constantly experienced in Her 'Mantra'.

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The secret of great achievement is revealed only through the Grace of Lalita.
Lalita is a source of inspiration and transformation, when aspired for such
longings.
Auspiciousness, Beauty and Emotion are her Female characteristics,
which are being appreciated in the 'Agamas'. She is also triple-footed with
Triple knowledge and Triple image, who resides in the 'Tripura'- the city of
triple image, according to the Panchastavi. She envelops the whole creation
in the 'Muladhara' triangle, which is the affirmation of the essential spirit.
'Tripura-Sundari' is the spirit of 'Purna Yoga'. The three circles of Shri
Chakra are the forms of mind, over-mind and supermind. Being ' Anadi'
without - beginning in 'Svarupa' - primal form, there is no end to Her
attributes, yet She abides in the Shri Yantra.
A nine-fold classification is adopted to comprehend the symbology of
the Shri Yantra, where 'Tripura, Tripureshi, Tripura-Sundari, Tripura-Vasini,
Tripura-Shri, Tripura-Malini, Tripura-Siddha, Tripura-Ambika and Maha-
Ttripura-Sundari' are adored as the nine Presiding Devis. Lalita is one in all
and All is one.
To bow to Shri Lalita, which abides in the heart region, is the keen
desire of the devotees, who feel Her presence in every pulsation of life. She
is splendidly graceful and incites primordial nature. She stands for the
evolution of transmigrating jivas at the beginning of every new cycle of
creation.
Fellow, Center of Spiritual Studies
& formerly Adjunct Professor
Florida International University
2 Kha 19 Shastri Nagar
Ajmer-305001
Tel. 0145-2621432

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