meditation 3 : verse 26

न व्रजेन्न विशेच्छक्तिर्मरुद्रूपा विकासिते ।

निर्विकल्पतया मध्ये तया भैरवरूपता ॥ २६ ॥

na vrajenna viśecchaktirmarudrūpā vikāsite ।

nirvikalpatayā madhye tayā bhairavarūpatā ॥ 26 ॥

When mind

is silent . . .

and breath

ceases

flowing . . .

in

and out . . .

it stays

of its own accord

in the center . . .

Watch the moment.

Divinity dawns . . .

▼▼⛛▼⛛▼▼

Swami Lakshmanjoo and Pandit Dina Nath Muju's original reads as follows:

Verse 26

When the mind is silent and breath ceases to flow in and out, it stays of its own accord in the centre. Watch the moment. Divinity dawns.

Ψ

Importantly, Jaideva Singh notes that when awareness remains in the "pause" [void] between breaths, spontaneously an upsurge in the Central Channel (the suṣumnā) occurs.

In this manner, the Central Channel presents itself in its own time and of its own accord.

According to Lakshmanjoo, this verse does not describe a technique.

Rather, it portrays awareness reposing in its blessed self-referral state, with breath in the Central Channel and mind transcended.

Again, in this state, the vital breath (prana) coursing through the interlaced Moon (ida) and Sun (pingala) channels has entered the Central Channel (suṣumnā).

What if someone were to blend this description of the union of inhalation and exhalation with Verse 69 of the scripture, which, according to Swami Lakshmanjoo and Pandit Dina Nath Muja, describes union between couples as subjective rather than objective?

Their 1974– 1075 teaching on Verse 69 reads as follows:

Perceive the pleasure arising

by giving expression to sexual behavior

as subjective

rather than objective . . .

Bliss overflows.

As in Verse 26 (describing the union of breath in the Central Channel), Verse 69 (describing the union of an enlightened couple) does not protray a means or technique (dhāraṇā) but an image of the enlightened state of the awareness within its shoreless, self-referral state.

A unifying perspective touching on the blended subjectvities of both verses is found a translation of Tibetan writer-translator, Zhangzhunpa Chöwang Dragpa, who in the 15th century rewrote (in verse form) a prose biography of the Great Translator Rinchen Zangpo (958 – 1055 CE), who translated Indian Buddhist texts into Tibetan.

The original prose biography, an account of a journey, appeared in the same period as the Vijñāna Bbhairava.

At one point, Rinchen Zangpo was in Kashmir. In Zhangzhanpa Chöwang Dragpa's translation, the lines subtly describe the union of breath and subjectivity as experienced by local couples.

The boys of bliss

are skilled in embracing

their girlfriends of emptiness.

. . .

Sun and moon, robbed of their wind-steeds,

what have they to ride on

but the Central Channel?

And what they enter is the palace of union,

a combination path traversed in an instant.

Even contemporary couples who have lived lives devoted to transcendence often describe their union as subjective rather than objective, as Lakshmanjoo teaches. Lakshmanjoo has also said that the fullness of such a state of union is possible only for the enlightened.

Dan Martin, who translated Zhangzhunpa into English, informs us that "the context here, being yogic, surely refers to the Central Channel of the subtle body. Successful yoga practitioners, whether Buddhist or Nath, dissolve the solar and lunar currents into the Central Channel."

Mr. Martin:

First and foremost, ‘Who was Rinchen Zangpo, and what might have led Zhangzhungpa to write a kāvya version of his life?’ There are two areas in which we may say with much confidence that the Great Translator Rinchen Zangpo had a great and lasting impact on Tibet. Firstly and above all, he was a prolific translator of Indian Buddhist scriptures and commentarial works, well over 150 titles, and a very active reviser or editor of translations done by others. His translations effectively set the standard. The Great Commentary on the Kālacakra, left incomplete by Mkhas-grub-rje when he died in 1438 CE, was completed by Zhangzhungpa. Woodblock prints of these lengthy Kālacakra works are preserved in the Oriental Institute, St. Petersburg (nos. B7639/4, B7641/1, B9032/1, B8526/1, B5678/1, B5681/1). Composed at Nag-shod Chos-gling, it is dated in the final colophon to a year 2327 years after the Buddha’s Enlightenment, which ought to mean the year 1447 CE. In about this time in his life he also became abbot of a monastery called Gu-ru Dpal-’khor, although he died at Spus-mda’ Rnam-rgyal-dpal-’bar Monastery (Donrdor 1993: 509). Sde-srid (1960: 26). The source is Bod kyi bstan bcos (1985:183). Tibetan Studies in honour of Samten Karmay dard for the New Translation schools, the Kadam, Kagyü and Sakya, and starting in the 15th century the Gelug. His translation work, for traditional Tibetan historians, marks the beginning of the ‘New Translations’ (gsar ’gyur), even though the translation work of Smṛti, which took place at the same time, is classified as the last of the ‘Old Translations’ (snga ’gyur). Secondly, he was a founder of numerous important monasteries in the western Himalayan region, and a great promoter of other religious arts, not only architecture, including especially the reproduction of Buddha-images and volumes of Buddhist scriptures inscribed with devotion and fine calligraphy. All these literary and artistic activities were carried out under the patronage of the king of Western Tibet who, according to Butön’s Yoga Tantra history, donated one third of the fields he possessed to Rinchen Zangpo, and an equal amount to his ministers. Just how extensive this translation project was may be indicated in sources that say 75 Indian paṇḍitas were at work on it at the royal temple of Toling. It is more difficult to read the sources for what they do not specifically say, for their silences about other potential areas of greatness. For example, we might wonder about Rinchen Zangpo’s greatness as an author. As far as we know, only a very few small texts are said to have been composed by him, and next to nothing of this small corpus of writing is available today. Thus we can say with some confidence that his greatness was not due to texts he personally composed. Furthermore, he did not demonstrate greatness as a communicator to Tibetans at large. We have no record of his teaching before enthusiastic audiences, or of ordinary people gathering from all around to see him and hear his words. Some may prefer to find in this silence of the sources just another sign of his greatness as a scholar, as one who sat for endless weeks and months in his temples working on the Indian texts together with Indian paṇḍitas, and training junior translators. That is probably exactly how it was. His translations bear in themselves testimony that he was not a ‘popularizer.’ The Tibetan translations he made are often admired for their close adherence to the Indian texts, but they reproduce the original grammar and syntax to a degree that makes their comprehension very difficult — difficult that is without resorting to oral explanations and/or written commentaries — for Tibetans who might be unable to read through the Tibetan words to the words of the Indian original. This style of translation was in fact criticized by some followers of the Old Translations (snga ’gyur) school, starting with the famous Nyingmapa intellectual Rongzompa Chökyi Zangpo (Rong-zom-pa Chos-) In Bu-ston (1968: 157-158) is an independent passage, not found in other sources, which might be translated: “It is said that of all the fields that belonged to the Mnga’-ris King, one third went to the ministers, and an equal part went to the Great Translator. Later on the fields of the Great Translator would be requisitioned as dry goods tax.” For historical details about Toling, see Vitali (1999). Veil of Kashmir 17 kyi-bzang-po) whose lifespan overlapped with that of the Great Translator. For his words we have to rely on later Nyingmapa writers, since the original historical work by Rongzompa that they cite has not come down to us. In this work he argued for the ‘Six Superiorities of the Old Translations School,’ one of these being the superiority of their translation work. Zhe-chen Rgyal-tshab says, Since the translators of the past were Emanation Bodies, they set down [their translations] according to the meaning. Hence [their translations] are easy to understand and achieve great power in their use of the etymological roots. Later translators were incapable of translating according to the meaning, so they translated word for word in [the original] order of the Indian text, making them literal and difficult to understand. In their use of the etymological roots there is little power. This sort of criticism would suggest that not everyone would have ‘read’ Rinchen Zangpo’s accomplishments as a translator in the same light.

See: VEIL OF KASHMIR: Poetry of Travel and Travail in Zhangzhungpa’s 15th-Century Kāvya Reworking of the Biography of the Great Translator Rinchen Zangpo (958 – 1055 CE), by Dan Martin

You may have noticed there is no mention of the location of the central channel.

The wholeness of the life within Being transcends time-space and signification, abiding before language and symbols.

There is only shoreless awareness.

When breath and thought pause, the Center blooms of itself.

Because in this state there is no mantra, no breath—only throught-free awareness in the central channel—Swamiji assigns this dhāraṇā to the Śāmbhavopāya way or realization. It is the most efforless way, and is third in the list below.

This system postulates three ways of realizing the Shiva State—the Ultimate Reality. Swamiji assigns some practices of the scripture to those in the Āṇavopāya (Anav-upaya; for-beginners) stage of spiritual development.

•     Anav-upaya is the method suitable for a limited being. It is meant for those who cannot yet rise above the interests of their limited selves and for whom the concrete and tangible is still more important than the abstract and intangible. So, in this method are included proper postures (asana), breathing exercises (pranayama), and repetition of sacred words (mantra). An aspirant on this path is usually required to concentrate on some symbol, such as triangle, Swastika, cross, or so on, or on some image, maybe of one's preceptor (guru), or of some deity, while repeating the sacred word given to one by one's preceptor. At a later stage, the preceptor may teach one to concentrate on the psychic centers in one’s body. If properly done, this can lead to the awakening of psychic faculties and even more, depending on one’s earnestness, purity of conduct, and the extent one can go beyond one’s limited self. This method is also called the method of action (Kriya-upaya).

•     The next method, higher than the first, is called Śāktopāya (Shakta-upaya), or the method of Energy. Here, the external symbols and aids are dispensed with. No special posture or breathing exercise is considered necessary. Mantra is retained, but its verbal repetition is replaced by deep contemplation at a non-verbal level. The aspirant is required to contemplate so earnestly and with such awareness that the aspirant becomes one with the spirit of the Mantra and is permeated by its energy—for a Mantra is not merely a rhythmical arrangement of words, but a form of energy. Thus consciousness expands beyond the limited self. The greatest mantra is Hamsa (I am That). By contemplating the different facets of this mantra, the aspirant is led to negate the individual “I” and merge it into the universal “I.” This method is also called the method of wisdom (Jnyan-upaya) and is practiced long, even by the most advanced aspirants. It is considered quite capable of leading one to the next, which ushers in the highest Reality.

•     The third and highest stage is called Śāmbhavopāya (Shambhav-upaya), or the method of Shiva.

At the first stage, bodily organs are involved in the various practices prescribed therein.

At the second stage, bodily organs have no important role to play, as such, but the function of the mind at deep contemplative levels remains and has a very important role to play.

Now, however, in the last state, even the mind has to be dispensed with. No rules can be laid down here, and no practices prescribed. Here the aspirant’s only concern is to be in that state of awareness where the movement of thought comes to a stop.

The only qualification is earnestness combined with deep, penetrative insight. Hence, this method is also called the method of will (Ichhopaya).

With the cessation of thought processes, the state beyond mind dawns. To let it happen, suppression or sublimation of thinking is not the way, but rather an intense awareness of each thought and feeling, at all times (including during sleep) is needed. In this intensity of choiceless attention, the ending [or fading away] of any thought, feeling, or perception can result in the dawning of Enlightenment. When the cup is empty, something new can fill it.

Any method, however subtle, can be only a result of a thought process—a product of mind. Hence it cannot touch that which is beyond thought, beyond mind. The mind can penetrate, at best, up to its own frontiers. Do what it will, it cannot go beyond its limits of time and space. Methods, one and all, are not only useless at this stage but rather obstacles. A method implies duality—a seeker and an object of search, a devotee and an object of devotion. The ever-present, all-pervading, all-knowing Totality needs not to be beseeched or coaxed. It arrives unsought, like a fresh breeze from the mountaintop, when the mind is free from thought and seeking.

When an aspirant comes to the clear realization of this fact, the Shambhav-upaya becomes An-upaya (No-Method) or what may be translated as Beyond-Method. In this state of non-dependence and effortless awareness, there is neither acceptance nor rejection, neither justification for nor identification with any feeling or thought. In this void, the worshipper is the worshipped. This state is not beyond action and wisdom only, but beyond will, too. It simply is.

II

Such is the path, yet there are hints available here and there, given out of compassion by those who have scaled the great heights, to help and encourage an earnest disciple to set his or her foot on the path. Shaiva Tantras are replete with such hints, though their esoteric meaning often remains obscure to those uninitiated in their mysteries. One of these, the Vijnyan Bhairava Tantra, is more explicit and expounds 112 unique ways of transcending the limitations of individuality. These ways are really meant for advanced seekers, who have reached that state of self-discipline where the need for laying down any formal discipline ceases. For such earnest aspirants, some situations likely to be met with in the ordinary course of life, and some practices—for performing which one need not withdraw from ordinary activities of life necessary for physical and social well-being—are delineated.

Shaivism does not advocate external renunciation and running away from the world—for the cosmos is in Shiva and Shiva is in the cosmos. There is no situation where Shiva is not.

We cognize the external world by five senses—hearing, touch, sight, taste, and smell—which help us to gather knowledge, but which also, often, lead our minds astray. It is for this reason that usually all spiritual disciplines prescribe ways and means to curb and withdraw the senses from the world of manifestation. Shaivism here takes a radically different stand. It attempts to make these very senses and their pleasures stepping stones for the upward path: tasting, smelling, seeing, touching, and hearing. It elevates the pleasures of the senses from the plane of sensuality to that of increasingly refined sensitivity.

This approach appears, no doubt, alluring, but the neophyte must be forewarned. It is perilous too. An undisciplined, unwary, or over-zealous beginner may easily stumble on the very first step and break his limbs. A very cautious approach is needed. A seriousness of purpose to realize the Truth and a whole-hearted devotion to it alone, form the prelude to this search. Plainly speaking, it is not meant for those who are still held by the desire for gross pleasures.

For Swamiji's further comments on this verse, please refer to the Manual for Self Realization.