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Gheranda Samhita and the origin of the Rawat techniques | ![]() | ||
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The Gheranda Samhita. Trns James Mallinson. Pub. YogaVidya.com ISBN 0-9717466-3-5 A new(ish) translation of the Gheranda Samhita, one of the major Sanskrit source works on Hatha Yoga offers some further assistance in narrowing down how Rawat Snr settled upon just four meditation techniques as way to reveal the "Knowledge of all Knowledge's" In his introductory notes Mallinson settles upon a date of not earlier than 1700 CE for the writing of the Gheranda Samhita, this compares with a commonly accepted date of around 200 CE for the Yoga Sutras of Pantanjali. It seems that whatever might be claimed about 'ancient' teachings, the Gheranda Samhita represents a fairly late construction. Mallinson also echoes earlier authors in saying that the Gheranda Samhita is significant because of the degree to which Brahministic Vedaism has a major influence alongside (or perhaps even over) the assumed Tantric origins of Hatha Yoga texts. A page on EPO http://ex-premie.org/papers/medtech.htm deals with the origin issues, there are though some points which I think may be inaccurate there and the new translation perhaps offers some resolution to those problems. David Lane has argued convincingly that Hans Ji derived his teaching from the Rhadoasomi school - although unsurprisingly Geaves says that Lane is wrong about this. Knowing that Rawat Snr shared a history with the Rhadoasomi does not necessarily help identify where he selected his patent meditation from. Both the Rhadoasomi and Rawat systems have been cut out of a much larger cannon from older traditions and there is not necessarily any direct equivalents to either system to be found in established works on Yoga. The point about all the major Yoga treatise is that they comprise complete instruction for a total process where the techniques of Yoga are not an end in themselves. And in most cases, neither is there an objective or an experience, which is tied to the performance of specific technique in the way the Rawat system ties T1 to Light, T2 to Sound, T3 to 'the Word' and T4 to Taste. In the face of this mismatch between the generality of Yoga and the degraded Rawat system, the way forward in tracing the origin of Hans Ji's choice of meditational practice is perhaps to, instead of starting looking for comparable techniques, the place to begin is with claims for objectives and experiences which are common to Hatha Yoga and to the Rawat system. The Mallinson Gheranda Samhita makes a break with previous translations of a key passage - verse 5 of the final Chapter - Samahdi: "By means of Shambhavi, Bhramari, Kechari and Yoni Mudra, four types of samadhi arise: dhyana, nada, rasananda, and lay siddhi Starting with the four forms of 'physical' samadhi given in the Gheranda Samhita, something very close to the conception of the Rawat 'experience arises- dyhana translates as concentration/visualisation, nada translates as sound, rasananda translates as (bliss in) taste, and lay siddhi translates as (success in) absorption. From these experiences it is possible to work back to see what selection of techniques would be used by a Guru wanting cheap shot samahdi. By going straight to techniques which deliver 'samahdi' all the preparatory exercise of Hatha Yoga, all the strengthening, purification, mental development simply gets discarded. The Guru goes for four big hitting techniques to take his devotees straight to enlightenment. Having alighted on the idea of one technique per 'experience' some of the Hatha Yoga techniques require simplification and the Rawat techniques have their comparable forms in more than one part of the Gheranda Samhita. Chapter 6 of the Gheranda Samhita is devoted to "dyhana", detailing three types, gross, luminous and subtle. Gross dhyana involves various visualisation exercises, Luminous dyhana is described at verse 17 as " Between the eyebrows and above the mind is a light consisting of om, meditate on it as joined with a ring of fire". At verses 18 and 19 subtle dyhana is linked directly to the awakening of kundalini, but verse 20 specifies - " The yogi attains success through Shambhavimudra and dyhana Yoga". Here we see a posture (mudra) combined with a complementary concentration exercise (dhyana). Shambhavimudra involves simultaneously the closing of the eyes, ears and nose using the hands; in Hatha Yoga suspension of the breath is an important objective hence the closing of the nostrils. For a Guru who has no concern to unify yogic practices, merely to reproduce sensory experience relative to a given technique, the complexity of Shambhavimudra can be broken down. In the Rawat system Technique No.1, the closing of the nostrils is done away with, and the dyhana concentration practice is matched with closing of the eyes with the fingers of one hand rather than with two. The remaining part of Shambhavimudra - closing the ears becomes the posture part of Technique No.2. The concentration aspect of T2 is unequivocally derived from the same source as the concentration element of a practice called Bhramari Kumbhak which is described in Chapter 5 of the Gheranda Samhita. The Mallinson translation is very similar to the text given on EPO. The EPO page does however state that Rawat's T2 is Bhramari Kumbhak, this I think is is an over simplification. Kumbhakas are breath suspension techniques and the Rawat techniques do not involve conscious breath suspension/confinement,. Rawat's Technique No.3 is meditation on the breath but it's objective is an experience of peacefulness, or perhaps more accurately an absorption in peacefulness. Before Prem renamed the Techniques 1- 4 this techniques was called The Word and the experience derived from it's practices was said to involve a sense of vibration. The EPO page equates Rawat's T3 with Kewali (kevali/a) Kumbhak(a), (although this is based on a commentary rather than the main text of the Gheranda Samhita). The Rawat T3 can not be a kumbhak because it does not involve the conscious 'confining' of breathing (although unconcious progressively shallow breathing may induce anoxia in Rawat meditation). The relationship between Rawat's T3 and kevali is perhaps illustrated in verse 91 (Chapter 5) of the Gheranda Samhita which reads (Mallinson trans) "The knower of Yoga then calls pranayama Kevala" which could be read as meaning that Kevala is the perfected practice of pranayama. The Rawat T3 is perhaps merely that part of Chapter 5 of the Gheranda Samhita which deals with samahdi, and which had not otherwise been used to underwrite the Rawat T2, and from which the kumbhak practice has been excised. Rawat's Technique No. 4 is unequivocally the kechari mudra of the Gheranda Samhita and the text is very similar to that given on EPO. Rawat has never promoted cutting the tendons on the tongue or the other stretching practices and there seems little likelihood that any Rawat follower has been able to insert the tongue into the Eustachian tube to give the sensation that it is "behind the eyes". The Gheranda Samhita says of kechari mudra: " The body becomes beautiful and samhadi is sure to arise. When it comes into contact with the aperture of the skull, the tongue reaches a liquid. The relationship between the 'tongue technique' and the tasting of 'nectar is undeniable but kechari mudra has significance within the Gheranda Samhita beyond 'blissful tastes'. Kechari is key to kumbhaki - the sealing off the breath within the body - as well as assisting in "directing the gaze between the eybrows". In the Rawat system kechari - or rather partial kechari, is merely an end in itself. The EPO page refers to yoni mudra, and it is one of the four practices that the Gheranda Samhita says leads to samahdi. Yoni Mudra is something of a problem. The EPO page says that it is when all techniques are practised simultaneously, however there is no distinct description given in the Gheranda Samhita and some commentators simply equate Yoni Mudra with Shambhavi Mudra. In any case Yoni Mudra either was not known to Rawat Snr, or it simply was not of use to him. � Whether Hans Ji really did get his techniques from the Gheranda Samhita we are unlikely to know either way, but taking one simple source book, settling on four 'samadhi techniques' with which to excite the masses and giving those techniques an 'ancient knowledge' gloss, seems a rather more likely process than the myths about the Guru's Guru and lineage's and all the other hyperbole. There are other aspects to the Gheranda Samhita which make it a likely source book for the Rawat system. For all the hype about Hans challenging Brahmanism, the set up he bequeathed in 1966 was in many ways traditional Vedantic Hinduism - the primary Hindu Gods were revered, the Hindu Saints and Scriptures provided the 'moral' background, although the Sikh saints were prominent and Jesus, Buddha and Mohammed were invoked on occasion. Philosophically Hans was far closer to the Brahmans than to any tantric and the Gheranda Samhita perhaps more than any other yoga text puts trantra into the back ground. Chapter 4 of the Gheranda Samhita is concerned with pratyahara, although consisting of just 8 verses the whole concerns control of the senses/mind. Control of mind was the grande obsession of the Rawat cult and bahktism - one of the six routes to samadhi was at the heart of the Rawat system. Only 'trance' seems to be missing from the Gheranda Samhita's list of samahdi - perhaps though 'trance' translates as the mythical state of 'realising Knowledge'. Nik Each day a blissful sensation arises from the various flavours. At first the fluid on the tongue is salty and brackish, then bitter and sharp, then like butter, ghee, milk,curd, buttermilk, honey, grape juice , and nectar." ." Earlier translations have structured this text so that each one of the four practices refered to, seems suggested as being a separate and individual route to a respective and separate form of samahdi. Mallison's presentation allows a alternate reading, one that suggests in contrast the comprehensive practice of four techniques which when combined lead to four types of samahdi. The Gheranda Samhita gives separately two other forms of samahdi - devotion and trance. |
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