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B.K.S. IYENGAR
Light on the Yoga
Sutras of Patañjali
Copyright
Thorsons
An imprint of HarperCollinsPublishers Ltd. 1 London Bridge Street London SE1 9GF
Thorsons is a trademark HarperCollinsPublishers Ltd.
Published by Thorsons 1996
Published by The Aquarian Press 1993
First published in Great Britain by George Allen & Unwin, 1966
Copyright © B.K.S. Iyengar 1993
B.K.S. Iyengar asserts the moral right to be identified as the author of this work
A catalogue record for this book is available from the British Library
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Source ISBN: 9780007145164
Ebook Edition © JUNE 2012 ISBN: 9780007381623
Version: 2017-02-21
Dedication
This work is my offering to
my Invisible, First and Foremost Guru
Lord Patañjali
Contents
Cover
Title Page
Copyright
Dedication
Foreword by Godfrey Devereux
Introduction to the New Edition by B.K.S. Iyengar
Patañjali
The Yoga Sutras
Themes in the Four Padas
Samadhi Pada
Sadhana Pada
Vibhuti Pada
Kaivalya Pada
Yoga Sutras Text, translation and commentary
Part I Samadhi Pada
Part II Sadhana Pada
Part III Vibhuti Pada
Part IV Kaivalya Pada
Epilogue
Appendix I A Thematic Key to the Yoga Sutras
Appendix II Interconnection of Sutras
Appendix III Alphabetical Index of Sutras
Appendix IV Yoga in a Nutshell
List of Tables and Diagrams
Glossary
Index
Invocatory Prayers
A note from Sir Yehudi Menuhin
Hints on Transliteration and Pronunciation
List of important terms in the text
On Yoga
Acknowledgements
By the same author
About the Publisher
Foreword by Godfrey Devereux, author of Dynamic Yoga
Patañjali’s Yoga Sutras are the bible of yoga. However, their inaccessibility in the hands of scholars and academics has left yoga practitioners adrift with neither chart nor compass. B.K.S. Iyengar’s translation, based on over fifty years of dedicated and accomplished practice and teaching, is unique in its relevance and utility to contemporary yoga practitioners. The depth of his practice and understanding shines through his elucidation of the often terse and obscure sutras. Iyengar’s ability to elucidate Patañjali in pragmatic terms is an extension of his clarification of the subtlety and integrity of yoga practice. This is most evident in the rigorous precision with which he understands and articulates the body in yoga postures. However, it goes further and much deeper than that. In his unique investigation of alignment, Iyengar not only reveals the therapeutic necessity of stuctural integrity in the body, but also its subtle and equally necessary impact on the flow of energy and consciousness in the mind.
What Iyengar has proved, for those willing to apply themselves to test it, is that the apparent divide between matter and spirit, body and soul, and physical and spiritual is only that: apparent. Through his insistence on structural integrity he has opened the spiritual doorway to millions of people for whom the mind would otherwise never give up its subtleties. Here, in his presentation of Patañjali, that door is flung wide open. This is especially clear, to even the least academically minded student, in his profound and practical interpretations of the sutras relating to Asana and pranayama. Here, especially, Iyengar’s genius comes as a great gift of clarity and insight that can only deepen the understanding and support the practice of any keen student.
Iyengar’s incomparable experience as an Indian teacher of Westerners, combined with his experience as a Brahmin and participant in a genuine lineage of the yoga tradition, gives his perspective an authority and authenticity that is all too often lacking. It offers a lucid and pragmatic interpretation of the insights and subtleties of yoga’s root guru. To practice yoga without the profound and panoramic inner cartography of the Yoga Sutras is to be adrift in a difficult and potentially dangerous ocean. To use that map without the compass of Iyengar’s deep and authoritative experience, is to handicap oneself unnecessarily. No yoga practitioner should be without this classic and invaluable work.
Introduction to the New Edition by B. K. S. Iyengar
I express my sense of gratitude to Thorsons, who are bringing out my Light on the Yoga Sutras of Patañjali in this new attractive design, as a feast not only for the physical eyes but also for the intellectual and spiritual eye.
As a mortal soul, it is a bit of an embarrassment for me with my limited intelligence to write on the immortal work of Patañjali on the subject of yoga.
If God is considered the seed of all knowledge (sarvajña bijan), Patañjali is all knower, all wise (sarvajñan), of all knowledge. The third part of his Yoga Sutras (the vibuti pada) makes it clear to us that we should respect him as a knower of all knowledge and a versatile personality.
It is impossible, even for sophisticated minds, to comprehend fully what knowledge he had. We find him speaking on an enormous range of subjects – art, dance, mathematics, astronomy, astrology, physics, chemistry, psychology, biology, neurology, telepathy, education, time and gravitational theory – with a divine spiritual knowledge.
He was a perfect master of cosmic energy; he knew the pranic energy centres in the body; his intelligence (buddhi) was as clean and clear as crystal and his words express him as a pure perfect being.
Patañjali’s sutras make use of his great versatility of language and mind. He clothes the righteous and virtuous aspects of religious matters with a secular fabric and in so doing is able to skilfully present the wisdom of both the material and the spiritual world, blending them as a universal culture.
Patañjali fills each sutra with his experiential intelligence, stretching it like a thread (sutra), and weaving it into a garland of pearls of wisdom to flavour and savour by those who love and live in yoga, as wise-men in their lives.
Each sutra conveys the practice as well as the philosophy behind the practice, as a practical philosophy for aspirants and seekers (sadhakas) to follow in life.
What is sadhana?
Sadhana is a methodical, sequential means to accomplish the sadhana’s aims in life. The sadhana’s aims are right duty (dharma), a rightful purpose and means (artha), right inclinations (kama) and ultimate release or emancipation (moksa).
If dharma is the atonement of duty (dharma sastra), artha is the means to purification of action (karma sastra). Our inclinations (kama) are made good through study of sacred texts and growth towards wisdom (svadhyaya and jñana sastra), and emancipation (moksa) is reached through devotion (bhakti sastra) and meditation (dhyana sastra).
It is dharma that uplifts man who has fallen physically, mentally, morally, intellectually and spiritually, or who is about to fall. Therefore, dharma is that which upholds, sustains and supports man.
These aims are all stages on the road to perfect knowledge (vedanta). The term vedanta comes from Veda, meaning knowledge, and anta meaning the end of knowledge. The true end of knowledge is emancipation and liberation from all imperfections. Hence the journey, or vedanta, is an act of pursuit of the vision of wisdom to transform one’s conduct and actions in order to experience the ultimate reality of life.
Due to lack of knowledge or misunderstanding, fear, love of the self, attachment and aversion with respect to the material world, one’s actions and conduct become disturbed. This disturbance shows as lust (kama), wrath (krodha), greed (lobha), infatuation (moha), intoxication (mada) and malice (matsarya). All of these emotional turbulences affect the psyche by veiling the intelligence.
The yoga sadhana of Patañjali comes to us as a penance in order to minimise or eradicate these disturbed and destructive emotive thoughts and the actions that accrue from them.
The yoga sadhana of Patañjali
The Sadhana is a rhythmic, three-tiered practice (sadhana-traya), covering the eight aspects or petals of yoga in a capsule as kriya yoga, the yoga of action, whereby all actions are surrendered to the Divinity (see Sutra II.1 in the sadhana pada). These three tiers (sadhana-traya) represent the body (kaya), the mind (manasa) and the speech (vak).
Hence:
At the level of the body, tapas, or the drive towards purity, develops the student through practice on the path of right action (karma marga).
At the level of the mind, through careful study of the self and the mind in it’s consciousness, the student develops self-knowledge, svadhyaya, leading to the path of wisdom (jñanamarga).
Later, profound meditation using the voice to pronounce the universal aum (see Sutras I.27 and 28) directs the self to abandon ego (ahamkara), and to feel virtuousness (silata), and so it becomes the path of devotion (bhakti marga).
Tapas is a burning desire for ascetic, devoted sadhana, through yama, niyama, Asana and pranayama. This cleanses the body and senses (karmendriya and jñanendriya), and frees one from afflictions (klesa nivrtti).
Svadhyaya means the study of the Vedas, spiritual scriptures that define the real and the unreal, or the study of one’s own self (from the body to the self). This study of spiritual science (atma sastra) ignites and inspires the student for self-progression. Thus svadhyaya is for restraining the fluctuations (mano vrtti nirodha) and in its wake comes tranquillity (samadhana citta) in the consciousness. Here the petals of yoga are pratyahara and dharana, besides the former aspects of tapas.
Isvara pranidhana is the surrender of oneself to God, and is the finest aspect of yoga sadhana. Patañjali explains God as a Supreme Soul, who is eternally free from afflictions, unaffected by actions and their reactions or by their residue. He advises one to think of God through repeating His name (japa), with profound thoughtfulness (arthabhavana), so that the seeker’s speech can become sanctified and thus the seed of imperfection (dosa bija) or defect be eradicated (dosa nivrtti) once and for all.
From here on, his sadhana continues uninterruptedly with devotion (anusthana). This practice, (sadhana-ana) will go on generating knowledge until he touches the towering wisdom (see Sutra II.28 in the sadhana pada).
Through the capsule of kriya yoga, Patañjali explains the cosmogony of nature and how to ultimately co-ordinate nature, in body, mind and speech. Through discipline tapas, study – svadhyaya, and devotion – Isvara pranidhana, the student can become free from nature’s erratic play, remaining in the abode of the Self.
In Sutra II.19 in the sadhana pada, Patañjali identifies the distinguishable, or physically manifest (visesa) marks and the non-distinguishable, or subtle, (avisesa) elements which comprise existence and which are transformed to take the individual to the noumenal (linga) state. Then through astanga yoga, coupled with sadhana-traya, all nature, or prakrti (alinga) becomes one, merged.
He defines the distinguishable marks of nature as the five elements: earth, water, fire, air and ether; (pañca-bhuta); the five organs of action (karmendriya); the five senses of perception (jñanendriya), and the mind (manas). The non-distinguishable marks are defined as the tanmatra (sound, touch, shape, taste and smell) and pride (ahamkara). These twenty-two principles have to merge in mahat (linga), and then dissolve in nature (prakrti). The first sixteen distinguishable marks are brought under control by tapas – practice and discipline, the six undistinguishable ones by svadhyaya – study and abhyasa – repetition. Nature, prakrti, and mahat,the Universal Consciousness, become one through and in Isvara pranidhana.
At this point all oscillations of the gunas that shape existence terminate and prakrtijaya, a mastery over nature, takes place. From this quiet silence of prakrti, Self (purusa) shines forth like the never fading sun.
In the Hathayoga Pradipika Svatmarama explains something very similar. He says that the body, being inert, tamasic, is uplifted to the level of the active, rajasic, mind through Asana and pranayama with yama and niyama. When the body is made as vibrant as the mind, through study, svadhyaya and through practice and repetitions, abhyasa, both mind and body are lifted towards the noumenal state of sattva guna. From sattva guna the sadhaka follows Isvara pranidhana to become a gunatitan (free from gunas).
Patañjali also addresses Svatmarama’s explanation of the different capabilities and therefore expectations for weak (mrdu), average (madhyama) and outstanding (adhimatra) students (see I.22). He guides the most basic beginner (the tamasic sadhaka) to follow yama, niyama, Asana, and pranayama as tapas, to become madhyadhikarins (vibrant and rajasic), and to intensify this practice into pratyahara (withdrawal of the senses) and dharana (intense focus and concentration) as their path of study, svadhyaya, and then to proceed towards sattva guna through dhyana (devotion), and to gunatitan (the state uninfluenced by the gunas) into samadhi, the most profound state of meditiation – through Isvara pranidhana.
By this graded practice, according to the level of the sadhaka, all sadhakas have to touch the purusa (hrdayasparsi), sooner or later through tivra samvega sadhana (I.21).
Hence, kriya yoga sadhana-traya envelopes all the aspects of astanga yoga, each complimenting (puraka) and supplementing (posaka) the others. When sadhana becomes subtle and fine, then tapas, svadhyaya and Isvara pranidhana, work in unison with the eight-petals of astanga yoga, and the sadhanaka’s mind (manas), intelligence (buddhi) and ‘I’ ness or ‘mineness’ (ahamkara) are sublimated. Only then does he become a yogi. In him friendliness, compassion, gladness and oneness (samanata) flows benevolently in body, consciousness and speech to live in beatitude (divya ananda).
This is the way of the practice (sadhana), as explained by Patañjali that lifts even a raw sadhaka to reach ripeness in his sadhana and experience emancipation.
I am indebted to Thorsons for this special edition of Light on the Yoga Sutras of Patañjali, enabling readers to take a dip in sadhana and savour the nectar of immortality.
B.K.S. IYENGAR
14 December 2001
Patañjali
First I would like to tell you something about Patañjali, who he was and what was his lineage. Historically, Patañjali may have lived some time between 500 and 200 B.C., but much of what we know of the master of yoga is drawn from legends. He is referred to as a svayambhu, an evolved soul incarnated of his own will to help humanity. He assumed human form, experienced our sorrows and joys, and learned to transcend them. In the Yoga Sutras he described the ways of overcoming the afflictions of the body and the fluctuations of the mind: the obstacles to spiritual development.
Patañjali’s words are direct, original and traditionally held to be of divine provenance. After more than twenty centuries they remain fresh, fascinating and all-absorbing, and will remain so for centuries to come.
Patañjali’s 196 aphorisms or sutras cover all aspects of life, beginning with a prescribed code of conduct and ending with man’s vision of his true Self. Each word of the sutras is concise and precise. As individual drops of rain contribute towards the formation of a lake, so each word contained in the sutras conveys a wealth of thought and experience, and is indispensable to the whole.
Patañjali chose to write on three subjects, grammar, medicine and yoga. The Yoga Sutras, his culminating work, is his distillation of human knowledge. Like pearls on a thread, the Yoga Sutras form a precious necklace, a diadem of illuminative wisdom. To comprehend their message and put it into practice is to transform oneself into a highly cultured and civilized person, a rare and worthy human being.
Though I have practised and worked in the field of yoga for more than fifty years, I may have to practice for several more lifetimes to reach perfection in the subject. Therefore, the explanation of the most abstruse sutras lies yet beyond my power.
It is said that once Lord Visnu was seated on Adisesa, Lord of serpents, His couch, watching the enchanting dance of Lord siva. Lord Visnu was so totally absorbed in the dance movements of Lord siva that His body began to vibrate to their rhythm. This vibration made Him heavier and heavier, causing Adisesa to feel so uncomfortable that he was gasping for breath and was on the point of collapse. The moment the dance came to an end, Lord Visnu’s body became light again. Adisesa was amazed and asked his master the cause of these stupendous changes. The Lord explained that the grace, beauty, majesty and grandeur of Lord siva’s dance had created corresponding vibrations in His own body, making it heavy. Marvelling at this, Adisesa professed a desire to learn to dance so as to exalt his Lord. Visnu became thoughtful, and predicted that soon Lord siva would grace Adisesa to write a commentary on grammar, and that he would then also be able to devote himself to perfection in the art of dance. Adisesa was over-joyed by these words and looked forward to the descent of Lord siva’s grace.
Adisesa then began to meditate to ascertain who would be his mother on earth. In meditation, he had the vision of a yogini by the name of Gonika who was praying for a worthy son to whom she could impart her knowledge and wisdom. He at once realized that she would be a worthy mother for him, and awaited an auspicious moment to become her son.
Gonika, thinking that her earthly life was approaching its end, had not found a worthy son for whom she had been searching. Now, as a last resort, she looked to the Sun God, the living witness of God on earth and prayed to Him to fulfil her desire. She took a handful of water as a final oblation to Him, closed her eyes and meditated on the Sun. As she was about to offer the water, she opened her eyes and looked at her palms. To her surprise, she saw a tiny snake moving in her palms who soon took on a human form. This tiny male human being prostrated to Gonika and asked her to accept him as her son. This she did and named him Patañjali.
Pata means falling or fallen and añjali is an oblation. Añjali also means ‘hands folded in prayer’. Gonika’s prayer with folded hands thus bears the name Patañjali. Patañjali, the incarnation of Adisesa, Lord Visnu’s bearer, became not only the celebrated author of the Yoga Sutras but also of treatises on Ayurveda and grammar.
He undertook the work at Lord siva’s command. The Mahabhasya, his great grammar, a classical work for the cultivation of correct language, was followed by his book on Ayurveda, the science of life and health. His final work on yoga was directed towards man’s mental and spiritual evolution. All classical dancers in India pay their homage to Patañjali as a great dancer.
Together, Patañjali’s three works deal with man’s development as a whole, in thought, speech and action. His treatise on yoga is called yoga darsana. Darsana means ‘vision of the soul’ and also ‘mirror’. The effect of yoga is to reflect the thoughts and actions of the aspirant as in a mirror. The practitioner observes the reflections of his thoughts, mind, consciousness and actions, and corrects himself. This process guides him towards the observation of his inner self.
Patañjali’s works are followed by yogis to this day in their effort to develop a refined language, a cultured body and a civilized mind.
