Vol 1, No. 3 D AR!

ANAM December, 2018

A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram

N*DH*NUSANDH*NA
AN OVERVIEW OF THE HA/HAYOGIC PRACTICE
DR. JAYARAMAN MAHADEVAN

INTRODUCTION N*D*NUSANDH*NA IN THE YOGAS4TRA-S?

Keeping in line with the theme of this issue of Though the term N!da is not directly found in the
Dar"anam, this article endeavours to present a Yogas,tra, there is a very important discussion on
general overview of a Yogic practice called Pra+ava. Pra+ava is regarded as the primordial
N!d!nusandh!na based on the text sound cutting across disciplines of ancient
Ha.hayogaprad$pik! of Sv!tm!r!ma with inputs origins in India which is evidenced by the
from Jyotsn! commentary on the text by following Pur!+ic reference: "
Brahm!nanda. In the process, a brief relevant Jayaraman Mahadevan is
t h e D i re c t o r, R e s e a rc h
reference on the theme from Yogas,tra-s is also o$k"ra#c"tha #abda#ca dv"vetau brahma(a1
presented." D e p a r t m e n t ,
pur" ।
K r i s h n a m a c h a r y a Yo g a
ka(-ha2 bhittv" viniry"tau Mandiram, Chennai, India.
WHAT IS N*DA? tasm"nm"$galyak"vimau|| He holds a PhD for his
B&han-n"rad%ya-pur"(a (1.51.10) research dissertation on
N!da is deÞned as (V!caspatya* pg.4030)"
ÒThe Doctrine of
Pra+ava and the word Atha are the two Þrst T a n t r a y u k t i Ó
n"bher3rdhva2 h&di sth"n"t m"ruta1
sounds that emerged from the throat of the from# University# of Madras.
pr"(asa2j–aka1। creator and hence both are considered very His area of work at KYM
nadati brahmarandhrante tena n"da1 auspicious. includes critical edition and
prak%rttita1।। translation of hitherto
In Yogas,tra 1.27 Sage Pata–jali states that -"vara unpublished works of Yoga
is indicated by the term Pra+ava. The following that are inscribed in palm
Above the navel, from the place of the heart, till
commentary to this S,tra by Sv!mi Vivekananda leaf and other such
Brahma-randhra (Suture or aperture in the crown
brings out the signiÞcance of Pra+ava N!da:" traditional material. He has
of the head) Pr!+a resonates. This resonation of
to his credit ten books and
Pr!+a is called as N!da. "
ÒIn making a sound we use the larynx and the an equal number of papers
palate as a sounding board. Is there any material in peer reviewed journals.
"k"#"gnimarujj"to n"bher3rddhva2
sound of which all other sounds must be He has participated and
samuccaran ।
manifestations, one which is the most natural presented papers in national
mukhe'tivyaktam"y"ti ya1 sa n"da it%rita1 ।। sound? Om (Aum) is such a sound, the basis of all and international academic
sounds. The Þrst letter, A, is the root sound, the conferences and workshops
That which takes birth by the combination of key, pronounced without touching any part of the in India and in countries like
*k!"a (ether), Fire (Agni) and Marut (Air) and tongue or palate; M represents the last sound in USA, Canada, Thailand and
moves above the navel and is intensely manifest the series, being produced by the closed lips, and China.# He is on the review
in the mouth is called as N!da." the U rolls from the very root to the end of the board of the International
sounding board of the mouth. Thus, Om Journal of Yoga: Philosophy,
Going by the above deÞnition it can be seen that represents the whole phenomena of sound- Psychology and
N!da is Pr!+a and its reverberation that Þnds producing. As such, it must be the natural Parapsychology. Apart from
special manifestation through the organ of symbol, the matrix of all the various sounds. It this, he gives classes and
speech. " denotes the whole range and possibility of all the lectures in Yoga philosophy
words that can be made.Ó (R!ja Yoga pg.127-128) and healing chants
programmes of KYM.##
*V!caspatyam is a Sanskrit Lexicon, of 5442 pages, by Pandit Taranatha Tarkavacaspati (1812-1885), Calcutta that that takes into
account the entire spectrum of Sanskrit literature in explaining any given Sanskrit term.

Dar#anam | December 2018 ! 23

 Vol 1, No. 3 D AR!ANAM
A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram
Further, S,tra 1.28 presents the
utilisation of this Pra+ava-n!da. It
states that Pra+ava has to be repeated
along with the reflection on the
meaning it indicates i.e -"vara. This can
be considered as the discussion on
N!da and its utilisation in meditative
purposes (Anusandh!na) in the
Yogas,tra-s, the principal text of Yoga."
"
N *D*NUSANDH*NA I N H A/HAYOGA
T RADITION
Originally, the term N!d!nusandh!na is
found in the Ha.hayoga texts that
come after the Yogas,tra-s of Pata–jali.
Though there are many texts in the
Ha.hayoga tradition,
Ha.hayogaprad$pik!, a 15th CE text by
Sv!tm!r!ma is considered one of the
finest works in this field. It is studied
widely to understand the fundamentals
of Ha.hayoga. "
Sv!tm!r!ma, the author of
Ha.hayogaprad$pik! states that there
are four limbs of Ha.hayoga (1.56):"
"sana2 kumbhaka2 citra2
mudr"khya2 kara(a2 tath"।
atha
n"d"nusandh"namabhy"s"nukramo
ha-he
*sana-s, various kinds of Kumbhaka-s
(Pr!+!y!ma), the finest tool called
Mudr! and N!d!nusandh!na. It is in
this sequence, the practice of Ha.ha
should be done. "
As can be seen in the verse above,
N!d!nusandh!na has been listed as
the final limb of Ha.ha that comes after
a good level of mastery in *sana,
Pr!+!y!ma and Mudr!. It is to be
noted that the chapterisation of the
Ha.hayogaprad$pik! is also based on
this sequence of the tools of Ha.ha.
Hence, N!d!nusandh!na is discussed
in the fourth Upade"a (chapter) of the
text."
Dar#anam | December 2018
N*D*NUSANDH*NA - ITS
D EFINITION AND I TS P RACTICE
The fourth Upade"a (chapter) of
Ha.hayogaprad$pik! begins (4.1) with a
salutation to Lord #iva who is also
called as *din!tha or the first teacher
in the tradition of the N!thayogins,
This verse of salutation incorporates
the term N!da:"
nama1 #iv"ya gurave
n"dabindukal"tmane
Salutations to lord #iva who embodies
N!da, Bindu and Kala.
It is worth noting that N!da in this
context is defined in the Jyotsan!
commentary to Ha.hayogaprad$pik! as "
k"2sya-gha$%&-nirhr&davad
anura(ana2 n"da1
N!da refers to the reverberation (inside
the body) that is similar to that of the
reverberating bronze bell."
I MPORTANCE O F N *DA I N Y OGA
At the very outset, the importance of
N!da in achieving the Yogi goal of
focus of the mind is established by the
following verse (4.29):"
indriy"("2 mano n"tho mano
n"thasyatu m"ruta1
m"rutasya layo n"tha1 sa layo
n"dam"#rita1
The senses are controlled by the mind.
The mind is controlled by the breath.
Absolute control over the breath
happens when the mind gets
dissolved. The dissolution or
absorption of the mind is based on
N!da. "
December, 2018
WHO IS ELIGIBLE FOR
N*D*NUSANDH*NA?
"
Before proceeding further, Sv!tm!r!ma
clariÞes as to whom the practice is meant
for? He states (4.65):"
a#akyatattvabodh"n"2 m35h"n"mapi
sammatam।
prokta2 gorak'an"thena
n"dop"sanamucyate
N!d!nusandh!na, a practice that has
been prescribed by Gorak)an!tha, is
agreeable and accessible even to those
who are not intellectually capable of
grasping subtle principles. "
Thus, it becomes evident that a
meditation that is based on N!da is
equally applicable to the entire range of
S!dhaka-s Ð Manda (the beginner),
Madhyama (intermediate) and Uttama
(the advanced). "
TWO METHODS OF PRACTICE OF
N*D*NUSANDH*NA
Method - 1: The Þrst method of
N!d!nusandh!na is found from verse 67
to 81 of the fourth chapter of
Ha.hayogaprad$pik!. The general
summary of the Þrst method of
N!danusandh!na is presented below.
Being seated in Mukt!sana a Yogi should
practice either the #a+mukh$-mudr! or the
#!mbhava$-mudr! and should attain one
pointed focus of the mind. With this focus
he should now turn his attention on the
N!da in the Su)umn! that has been
cleansed of its impurities by various
Pr!+!y!ma practices. (4.67,68). There are
four stages in this practice (4.69-77). They
are: "
¥ *ra%bha
¥ Gha.a
¥ Paricaya
¥ Ni)patti
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 Vol 1, No. 3 D AR!ANAM
A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram
*ra2bha
Gha-a
Paricaya
Ni'patti
In the *ra%bha stage Ð when the Pr!+a
after entering the Su)umn! reaches the
An!hata-cakra Ð which is variously
indicated as the space of the heart Ð solar
plexus, a N!da that generates bliss is
heard. It resembles the tinkling of various
jewels. When the practitioner focuses on
this sound, he becomes blissful, becomes
free from disease, his/her heart is full of
Pr!+a, divine fragrance emanates from
him/her and he/she shines with lustre. "
In the Gha.a Stage Ð the Pr!+a rises from
the heart to the throat region Ð the region
of Vi"uddhi-cakra. The N!da that emerges
Dar#anam | December 2018
resembles the sound of the rumbling
sound of the kettle drum - Bheri."
In the Paricaya stage Ð the Pr!+a now
rises further and reaches the place in
between the eyebrows which is *j–!-
cakra. Then, the sound of the drum called
Mardala is heard here. This is the place of
all Siddhi-s Ð divine powers. This also
delivers a Yogi from pain, old age,
disease, hunger and somnolence. "
" concentration on N!da, there is a
In the fourth and Þnal stage of Ni)patti Ð
the Pr!+a rises and reaches the aperture
in the skull which is called the
Brahmarandhra and here the sounds of
December, 2018
V%(a and Ve(u
Sound of Mardala Drum
Rumbling sound of Bheri Drum
Tinkling of Jewels
V$+! - the lute and Ve+u Ð the ßute are
heard. "
Thus, the movement of Pr!+a in these
four stages in the Su)umn! N$/" leads to
total absorption Ð Laya Ð this bestows
bliss that is unsurpassable. Sv!tm!r!ma
even states, ÒLet there be liberation or
not, here is perfect blissÓ (4.78). Further,
he states, ÒIn the hearts of great Yogin-s
who remain in a state of Sam!dhi through
plentitude of bliss, unequalled, surpassing
all description and which the blessed
teacher alone knows (4.81).Ó "
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Vol 1, No. 3 D AR!ANAM December, 2018

A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram

METHOD - 2 OF N*D*NUSANDH*NA During the initial stages various Certain guidelines in this practice are
prominent sounds are heard but when to be followed (4.87 - 89) : "
The second method o f progress is made, more and more
N!d!nusandh!na is described from subtle sounds are heard. " In case of coexistence of greater and
verses 4.82 to 89 of subtler inner sounds one should allow
Ha.hayogaprad$pik!. The summary of In the beginning various sounds the mind to focus only on the subtler
the practice is given below. " resembling those of the ocean, the sounds. "
cloud, the kettle drum and the
With the thumbs one should close Jarjhara (tabor) drum is heard. In the Even though attention may shift from
oneÕs ears and focus the mind on the middle, sounds that resemble the the gross to the subtle sounds or vice
N!da Ð the inner sound. Through this drum, the conch, the bell and the horn versa, the mind should stay with the
process of sustained hearing, the are heard. Finally, the sounds that N!da and should not be allowed to
inner sound drowns the external resemble those of tinkling bells, the drift away elsewhere."
sound. By this Yogi overcomes all flute, the V$+! and the bees are heard.
distractions and becomes happy (4.85,86) " In whatever inner N!da the mind gets
(4.82)" focused, gets steadiness, that is the
pathway for the mind to get dissolved. "

Dar#anam | December 2018 ! 26

 Vol 1, No. 3 D AR!ANAM
A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram
December, 2018

HOW N*D*NUSANDH*NA CAPTIVATES THE MIND

A series of beautiful examples are provided to illustrate how N!da captivates the mind and makes it focused (4.90-97): "

As the bee drinking honey, cares not N!da is like the sharp goad that N!da makes the mind totally
for the fragrance, so the mind curbs the volatile action of the immobile, like the bird that has lost
absorbed in N!da does not crave for elephant in rut called the mind." its wings."
objects outside."

N!da is like the net that
captures the restless deer
called the mind. "
N!da is also like the hunter
who kills the deer called the
mind Ð this refers to the
state of transcending the
mind. "
N!da is also like the bolt that
locks down the horse called
the mind and channelises its
movement. "
N!d a m a k e s t h e m in d
motionless like the serpent
that is hearing music, and
does not move away
anywhere."

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 Vol 1, No. 3 D AR!ANAM
A Quarterly Journal on Yoga and Yoga-cikits! from Krishnamacharya Yoga Mandiram
N*DANUSANDHA Ð THE FINAL STEPS
The dissolution of the mind that was absorbed into N!da is
detailed in the Þnal set of verses on N!d!nusandh!na
(4.98-102). "
"
It states that the Þre burning in a piece of wood, subsides along
with the burnt wood. So also, the mind directed to N!da is
absorbed along with it. In essence, it means, Rajas and Tamas
are absorbed by N!da which is S!ttvika. And with intensiÞcation
of the practice of N!d!nusandh!na and Vair!gya, in due course,
even this S!ttvika activity also dies down and the mind also
dissolves into its cause. (4.98)"
Further, the text observes, the inner N!da stems from the self-
luminous consciousness. The mind that focuses on the N!da
gradually gets absorbed into the light and that is the eternal
abode of Lord Vi)+u. (4.100) This is indeed an unique idea Ð
Sound merging into light."
"
Dar#anam | December 2018
December, 2018
Finally the texts states that N!da is the #akti of the Param!tman
and when once the mind takes recourse to this #akti and gets
absorbed, all that remains is Silence and that is the
establishment of the Consciousness in its true nature
(4.101-102). "
SELECT REFERENCES
1. Tarkavachaspati, #r$ Taranatha (1962), Vacaspatya,
Chowkhamba Sanskrit Series, Varanasi, "
2. Ha.hayogaprad$pik! of Sv!tm!r!ma with the commentary
Jyotsn! of Brahm!nanda, (1972)The Adyar Library and
Research Center, Madras "
3. Vivekananda, Swami, (1920), R!jayoga, Weed-parsons
Printing company, New York (pdf of the book accessed from
the web: https://archive.org/details/
RajaYogaSwamiVivekananda1920)"
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