Stages of Yoga

Fifteen-fold Stages of Yoga
The seeker practise fifteen-fold yoga, until there will be the manifestation in his own Self of the inmost Brahman.
1.     Yama – Self-control of senses of perception & action
2.     Niyama – Right observance. Continuous application of consciousness to intrinsic categories and rejection by it of extrinsic categories.
3.     Tyga – Renunciation of the phenomenal world as a result of the introspection
4.     Mauna – Quiescence (calmness). Whence speech returns foiled along with the mind.
5.     Desha – Right place. Secluded
6.     Kala – Proper duration. Peerless immeasurable plenum of Bliss
7.     Asana – Correct posture for final attainment of Brahman i.e. Siddhasana.
8.     Mul-bandha – Fundamental check, root of all the world i.e. restraining of mind
9.     Dehashamya – Equilibrium of the gross, subtle and causal bodies; as would enable their dissolution in the well-poised Brahman.
10. Drk-sthiti – Stability of introspection, filling the vision with wisdom, the yogi should look upon the world as filled with Brahman.
11. Pranayama – Control of breath, suppression of all vital function
12. Pratyahara – Withholding of breath, pleasant experience of mind when it finds the Atman in the objects of desire.
13. Dharana – Suspension of breath, state of abstraction attained by the mind when it sees Brahman.
14. Dhyana – Meditation on the Atman, real devotion to the attitude – “I am only the Brahman”.
15. Samadhi – Complete forbearance, never alterable condition of mind which is of the form of the Brahman. The state of non-existence which results from the recurrence of vacant mindedness.

Fourfold stages of Yoga -
The fourfold stages of Yoga are – Arambha, Ghata, Paricaya and Nispatti.

1. Giving up all external functioning brought about by the three Karanas (mind, speech and body), wherein the novice begins to function internally, that is known as Arambha.
2. That is known by wise as the Ghata stage, wherein the vital air, after filing the body, through the nether (sushumna path) and piercing through the three Granthis, firmly takes its stand.
3. That is known as the Paricaya stage, wherein the vital air, which (being endowed with vitality) is not dead and (owing to the absence of functioning) is not alive, stands motionless and firm in the ether of the Sahasrara of the body.
4. That is known as the stage of Nispatti wherein the Yogi, after performing the functions of creation and dissolution (of the phenomena of waking, dreaming and sleeping), through the (Ishvara) Atman, reaches the stage of Jivamukti in the natural course and performs the Asamprajnata-yoga appropriate to such state, i.e., reaches the state of ecstasy of the unconscious variety.

Twenty-five stages of Yoga -

1. The Siddhasana is fist posture and the second is the Kamalasana.
2. The six chakras (centres of energy), sixteen Adharas or supports, the three Laksyas or views aimed at the five Pancakes (group of five), of Akasa or ethers.
3. The first chakra is the Mula Adhara; the second is the Svadhisthana. Between the two is the seat of the genitals, known as Kamarupa. Shining like molten gold and throbbing like a streak of lightning, is the Trikona (Triangle), which is placed in front of fire and below the genitals. Sva is indicated Prana (vital force); Svadhisthana is the abode of the vital force.
4. Above the genitals and below the naval, there is the Kanda-yoni (the place of origin of the Kanda) resembling the egg of a bird. There take their origin seventy-two thousand Nadis. Of the thousands of Nadis, seventy-two are specifically mentioned as important and as carrying vital air. of these again, ten are noteworthy – the Ida, the Pingala, the Susumna as the third, the Gamdhari, the Hastijihva, the Pusa, the Yashawini, the Alambusa, the Kuhu and the Sankhani as the tenth.
5. The Ida stands on the left side; the Pingala stands on the right; the Susumna stands in the middle place; the Gamdhari in the left eye; the Hastijihva in the right eye; the Pusa in the right ear; the Yashasvini in the left ear; the Alambusa in the mouth; the Kuhu in the region of the genitals; and the Sankhani in the anus.
6. The Ida, Pingala and Sushumna are placed in the pathway of the Prana (vital air); they always convey the Prana (vital air) and have as their presiding deities Soma, Surya and Agni.
7. The vital airs are the Prana, the Apana, the Samana, the Vyana, the Udana, the Naga, the Kurma, the Krkara, the Devadatta and the Dhananjaya. The vital airs stand in the different regions say, Prana – in heart region; Apana – in anus region; Samana – in Naval region; Udana – in throat region; Vyana – in entire body. In belching the concerned vital air is called the Naga; the Kurma is in the opening of the eyelids; the Krkara causes sneezing; Devadatta is concerned in yawning; the Dhananjaya pervading the entire frame, does not leave it even when it is dead. These vital principles circulate through all the Nadis.
8. The Jiva is at the control of the Prana and Apana and runs downwards and upwards and is not seen to prevail in the right and left paths, on account of frequent motion. Jiva bound to a state by the three Gunas, is dragged by the Prana and Apana. The Jiva subject to the control of the Prana and Apana, moves down and up.
9. The Jiva utters as Japa always this Mantra as “Hamsa, Hamsa”. In course of a day and night twenty-one thousand six hundred times. By the mere resolve to utter this one stand released from all sin.
10. The Kundalini Shakti is in the upper part of the knot of the naval and in the form of eight coils; and remains always covering with its face the Susumna Nadi.
11. Encasing the palms of both hands together (in a line with the heart, in the attitude of prayer),then assuming more firmly (than hitherto force) the Padmasana posture, pressing the chin right against the chest as a preliminary to meditation, (including the Jalandhara bandha, by constricting the throat and also with the aid of the Mulabandha, constricting the anus), filling up the Apana vital air, the Yogin should force it up stage by stage, (till at last it becomes one with the Prana, vital air); thereafter by means of Kumbhaka) and in virtue of the power inherent in the Kundalini, giving up the functioning of Prana (in the Kundalini), and applying himself to the meditation (of the Brahman, by assuming the attitude, “I am the Brahman, unaffected by contact with the gross, subtle and causal bodies”) and thereby fully awakened to an unequalled extent (simultaneously with such awakening), the Yogi attains the Prana (the Paramatman). Yogi should take to diet, wherein milk predominates, giving up astringent, acid and salted dishes, and should be a celibate, temperate in food and intent on the achievement of Yoga as his final resort.
12. Mulabandha is the receptacle of Liberation. In Mulbandha the genitals are pressed with the heel and firmly contracted the same, the yogi should draw the Apana vital air upwards.
13. In the Khechari Mudra, the tongue moves backwards in a manner which is the reverse of the natural one, and the sight has penetrated between the eyebrows.  As long as the semen is conserved within the body, so long where is the fear of death? As long as the Khechari Mudra is assumed, so long the seminal fluid does not flow out.
14. The Bindu is the moon and the Rajas is the Sun. it is only by the union of the two that the highest state is attained.
15. The purification of the network of Nadis causing the Sun and the moon to move and the drying up of the malignant humours of the body – this is known as the Maha Mudra. Resting the chin on the chest, pressing the genitals for a fairly long period with left foot, holding with both hands the right leg stretched out, filling both the bellies with breath, holding it there, the yogi should gradually expel it – this destroyer of the ailments of human beings is known as the Maha Mudra. Practicing it well first with the lunar Nadi, one should practise it again with the solar Nadi. When the number of practices becomes equal, then should he give up the mudra. This Mahamudra is said to bring about great accomplishments to human beings.
16. Pranava Japa.
17. The transcendent Brahman is implied by the Pranava. From that was born (as it were) the Parashakti of the essence of the character of Pure radiant light. From the Atman (the cause of the Avakata-and the Mahat-Tattvas) was begotten Akasa or Ether. From Ether, Fire, Vayu or air. from Air, Agni or Fire. From Fire, Apah or the waters. From the Waters, Prithvi or the Earth. Of these five elements, Sadashiva, Ishvara, Rudra, Vishnu and Brahma are five lords.
18. Brahma, Vishnu, and Rudra have as their functions, creation, sustenance and dissolution. Brahma is characterized by Rajas or Mobility, Vishnu by Satva or Rhythm and Rudra by Tamas or Inertia. Of these, from Brahma, the fourteen worlds, the gods, the brute-kind and men (their denizens) and inanimate objects (their food and objects of enjoyment) take their origin. Of these, the body of men and the lower orders is a combination of the five elements. Gross elements (evolved from Pancikarana) consisting of the organs of perception and motor action, including their cognitional functions, the five vital airs, Prana and others, Manas (the seat of cognition), Buddhi (the seat of Intellect), Chitta (the seat of thoughts) and the Ahamkara (the seat of self-consciousness), is said to be the Sthula Prakriti (of a gross nature) delighting in the waking state Vishva. The Taijasa existing in the subtle body during the dreaming state, with the organs of perception and motor action, including their cognitional functions, the five vital airs Prana and others, Manas and Buddhi, that is known as Linga (the indestructible subtle original of the gross body made up of elements in a subtle state). There are four states of existence – waking, dreaming, sleeping and Turiya. These states are four in number thus – Vishva, Taijasa, Prajna and Atman. The Vishva enjoys the gross body; the Taijasa enjoys complete detachment; similarly, the prajna delights the bliss; as for the one beyond that, he is the All-Witness.
19. The limbs of the Pranava are AUM i.e. Akara, Ukara and Makara – the three Varnas, the three Vedas, the three worlds, the three Gunas, the three letters. The Akara is in the waking state and in the eyes of all beings. The Ukara is in the throat in the dreaming state and the Makara is in the heart, in the state of the sleep. The A is said to be Rajasic (mobile), red in colour Brahma and sentient. The U is said to be Satvic (of Rhythm), white in colour, and Vishnu. The M is likewise said to be Tamasic (of Inertia), black in colour and Rudra.
20. The Jiva is subjugated and held under bondage of the organs of sense, while the Atman is not so bound, as in the case of the former, there is scope for the springing up of the false conceptions of ‘I’ and ‘mine’ with reference to the body, while in the case of the latter it is no so.
21. Bhur, Bhavar, Svar, these worlds have as their presiding deities, Soma, Surya and Agni. Aum is the transcendent radiance. Wherein the three Shakti – desire, action and knowledge, inhere, whose syllables take their stand in a threefold manner, as pertaining to Brahma, Vishnu and Rudra state, ‘AUM’ is the transcendent radiance.
22. In Padmasana, he should fill the vital air through lunar Nadi, should hold it as long as he could and again expel it through the solar Nadi. Then through the Pingala drawing in the vital air and holding it, he should expel it through left Nadi.
23. The Rechaka, Puraka and the Kumbhaka are the character of Pranava. According to this computation, the Pranayama is made up of twelve Matras. Yogi should alter the durations of Rechaka, Puraka and the Kumbhaka to thirty-Eight (12+16+10).
24.  The Yogi kills disease by means of posture, sin by Pranayama, and gives up mental transformations by withdrawing the mind (Pratyahara). By Dharna (firmly fixing the mind), he attains mental fortitude and in Samadhi (absorption) acquires marvellous consciousness and renunciation of observances, auspiciousness and inauspiciousness, attains liberation. In Samadhi there is exquisite radiance, enless and pervading on all sides.
25. When the vital air has reached the Avyakrta Gagan or Akasa of the heart, a great sound is produced, as of bells and other musical instruments. That is known as the accomplishment of the Nada.