CHAPTER II/1… BASIC FORM OF FIRST KRIYA

DISCLAIMER OF RESPONSIBILITY The techniques described herein are exposed for study purposes only and serve as acomparison with the works of other researchers. The author hopes this work willinspire intelligent feedback; any remarks, criticism, corrections and additions arewelcome. I wish to make clear that this book is not a manual of Kriya! I may write one in thefuture and face the problem of how to divide the whole matter into different lessons,and try, for each level of learning, to give all the necessary indications. However,certain techniques cannot be learned by means of a manual. An expert has to checktheir execution. There are delicate techniques such as Maha Mudra, Pranayama,Thokar and Yoni Mudra, which cannot reasonably be learned only with the help ofsome written material.It is also necessary that an expert check the impact of the techniques on thepractitioner. Each person is an individual for whom no one can predict the effectsof a particular technique, especially if practiced intensively.The author is disclaimed from all responsibilities in case of negative results,especially in the case that one decides to practice the techniques without havingtheir execution checked by an expert first. Those who mean to go through with thispractice, should do it with a due sense of sacredness, being aware of the wealth thatit can bring to their life. They should reserve the right and the duty to control theirown destiny, securing for themselves expert counsel or guidance.

N.B. When you go to an expert, please advise him if you have any kind ofphysical problems, such as high blood pressure, lung problems or signs ofhyperventilation …. In that case, surely he will guide you through a very mildform of Pranayama, with correlated Mudras – if need be only a mental practice ofthem and further counselling if required.

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Introduction to the localization of the Chakras

The Chakras are subtle astral organs inside the spinal cord, the ideal stepsof a mystic ladder guiding one safely to the highest experience of the Spirit. Itis important to feel intuitively where they are located; a lot of people believein the possibility of applying to Kriya what they find in the books on Yoga,but this is not the way it works. With this misguided notion, a kriyaban canrun the risk of losing the real meaning of the Kriya techniques, or part of theirriches.We should keep in mind that Kriya is a natural process, not an artificialcondition achieved by unnatural means. It manifests and develops only aftersome particular conditions are established: mental silence, relaxation of thebody, the soul’s aspiration for a higher state. When the Kriya process manifests entirely, it is characterized by subtlemovements of energy in the body which occurs independently of our will (theKundalini awakening is one of such spontaneous processes) as soon as ahigher level of consciousness is established.

Some students of Kriya bring into their practice the same eager, impatientand occasionally insensitive attitude they have in life — especially if they arefull of esoteric and "magical" ways of thinking. They trust this or that text butare not attentive enough to comprehend that some events happen only in duetime.Sometimes it happens that they are totally mistaken, with fantasies ofenergetic pathways that are impossible and unreal. Nature will not indulgetheir corrupted schemes; their expectations will only result in impending anygenuine progress.Initially, the energy cannot reach the ideal locations described in thespecialized literature: the reason is that the correct level of calmness has notyet been established and the channels leading to those centers are obstructed. In the beginning, the right thing to do is trying to become aware of thevarious parts of the spine (refer to the Figure 1). We start with the coccygealregion, where the first Chakra, Muladhar, is located; the second Chakra,Swadhisthana, finds its place at sacrum’s height; the third Chakra, Manipura,is in the lumbar region, at navel’s height; the fourth Chakra, Anahata, is inthe dorsal region, at heart’s height; the fifth Chakra, Vishuddha, is placed atthe base of the cervical vertebrae. It is not necessary to use excessive imagination to become aware of theChakras. It is sufficient to visualize the Chakras like small balls, an inch orless in diameter, which radiate their sweet vibrations through ourconcentration.

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Independent traditions situate the location of the sixth Chakra, Ajna, indifferent places. According to Kriya tradition its location is in the center ofthe brain; the Kutastha, between the eyebrows, also known as the "third eye"or "spiritual eye", is a mirror image of it. The Medulla Oblongata (on top ofthe spinal cord, below the Pons Varolii, and anterior to the Cerebellum) isvery close its location.The Bindu has its seat in the occipital region, where the hairline twists in akind of vortex and it is where some Hindus, with their shaven head, wear alock of hair. It can be located by fixing the attention on Kutastha and comingto the back of the head, but an inch higher up. This center is connected withboth the sixth Chakra and with the seventh, Sahasrara, acting as a door to it.The seventh Chakra, Sahasrara, is not to be considered like the otherChakras; it is in fact a superior reality, and we can experience it only in thestate of breathlessness. It is not possible, then, to concentrate on it in the waywe are used to with the other Chakras. It is only possible to "tune" into thestate that is embodied by it - for this reason, it is necessary to utilize theBindu as a doorway to Sahasrara.All the procedures of Kriya "work" in the space between Muladhar andBindu; as a result of such action, in the final phase of Kriya (Paravastha), theenergy and awareness settle in the seventh Chakra.

Figure 1. The Chakras and other associated energy centers located in the brain.

Now, it is important to get through to the reader that each Chakra has atwofold nature. Its inner nucleus is like a tiny "light" which is in affinity withthe Spiritual dimension: it illuminates the Sushumna passage towards thesupreme Vastness. The "external" shell instead, is a radiation of light directed

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toward the physical body. This dichotomy arises from the double function ofthe Chakras: they are like the steps of a stair leading towards the realm of theSpirit, but at the same time they function as subtle organs distributing theenergy, coming down from the Medulla, to the body. The "externalcomponent" of each Chakra can be visualized as a beam of energy comingout of the spine, radiating towards the internal part of the body. 1

Basic techniques

The ideal times for practice are morning before breakfast, noon beforelunch, late afternoon before dinner, and at night at least 2-3 hours after eating.The first two techniques (Talabya Kriya and Om Japa) can be practicedseveral hours before the subsequent Kriya techniques.

Talabya Kriya

Starting from a relaxed position of the tongue, the kriyaban sticks it to thepalate, creating a suction cup effect, while always maintaining the position ofthe tip of the tongue pointing towards the teeth. Having thus pressed thetongue to the roof of the mouth, the bottom jaw is lowered to stretch thefrenulum (the tissue that joins the tongue to the base of the mouth). Thestretching effect should be clearly felt. The tongue, which for some momentshas been pressed to the palate, releases itself by moving into its naturalposition with a clicking sound (refer to Figure 2).The tongue is then pushed out of the mouth toward the chin. This procedure isrepeated 50 times (No more than 10 times in the beginning! It takes 110-120seconds to complete the 50 movements). A lot of people practice the TalabyaKriya incorrectly because they instinctively turn their tongue backwards (orkeep it vertical), cancelling the whole effect. It is very important that thetongue is kept pointing forward touching the teeth before sticking it to thepalate. 2

1Some students do not like that, during the practice of Pranayama, the energy should bethought flowing around the Chakras instead of through the innermost channel of thespine - as they would expect. They don’t accept (or are unfamiliar with) the idea of theChakras’ dual nature. Similarly, they would prefer to bring the ascending energy intothe Kutastha or into the Fontanelle (center at the top of the skull) rather than into theBindu. It is useless, however, to attempt to guide the flow of energy where it cannotphysically flow. To superimpose our desires on our delicate Chakra structure is a formof violence that leads to nothing. In the basic Kriya techniques, we follow a path whichis a loop starting and returning in Muladhar; while going up we ignore Medulla, whichcomes into play just after Bindu on the descending section of the loop.

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After months of regular practice of Talabya Kriya, it is possible to insertthe tongue into the nasal pharynx cavity: this is called Kechari Mudra (referto Figure 3). When the time is ripe, the insertion of the tongue is reached firstwith the help of one or two fingers pushing the tongue near its root. Akriyaban is thus able to touch the uvula, and then push the root of his tonguefurther until its tip glides behind the soft palate; later the tongue can slip intothe nasal pharynx. After some weeks the same position is achieved withoutthe aid of the fingers.

Then a kriyaban can practice his techniques with his tongue firm in thatposition.3

2 The effect of Talabya Kriya is enhanced by the following exercises: a) By pulling thetongue past the tip of the nose with the help of a piece of cloth around it. b) By pushingthe tongue back with an index or middle finger, and keeping it there.

3 In the picture we notice the difference between Talabya Kriya and Kechari Mudra.While doing the first, by opening the mouth in front of a mirror, we notice that thefrenulum comes forward; in the second we notice just the root of the tongue: it is theuvula which comes forward. While waiting to achieve the Kechari Mudra, one canpractice the Kriya techniques with his tongue turned backwards. Lahiri Mahasaya was

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Talabya Kriya creates a perceivable relaxing effect on the thinking process;that is why it will never be left aside once the Kechari Mudra is achieved. Itis unknown why this action on the frenulum is capable of reducing thoughtproduction. However, anyone practising this technique can readily verify thiseffect.Of course Kechari Mudra will enormously amplify this introverting effect. Kechari is literally translated to "the state of those who fly in the sky, in theether"; it drags the practitioner into the meditation state, by teaching him howto fly in the "inner space". Kechari is compared to an electrical bypass of themind’s energetic system. It changes the path of Prana flow, causing the lifeforce to be withdrawn from the thinking process. It is an unfailing aid inclarifying any desire and in cleansing many subconscious impurities. Afterachieving and practicing the Kechari Mudra, during daily life, moments ofpure calmness and mental silence fill the practitioner’s whole being!Sometimes an unusual happiness is felt without doing any additional yogicpractice. It is thanks to its efficaciousness that Kechari Mudra is consideredthe king of all yogic Mudras.

Maha Mudra

One starts the Maha Mudra by placing the left heel at the perineum, withthe right leg fully extended in front. By doing this, the left heel exerts somepressure on the perineum. 4 This pressure is the best means of stimulating one’s awareness of theMuladhar Chakra at the coccygeal region at the root of the spine. Through adeep inhalation the energy is raised into the Bindu.5

Then, holding the breath, one stretches forward (in a relaxed way) so that theinterlocked hands can grab the big toe and lock in. 6

absolutely against cutting the frenulum to obtain faster and easier results.

4 The perineum is located between the scrotum and anus for males and between theanus and cervical opening for females.

5 This is a very simple and easily gained sensation, there is no need to make it toocomplicated. Many schools teach, during inhalation, to draw the knee of the about-to-be-outstretched leg (or both the knees, before the third movement) against the body, sothat the upper part of the leg is as close to the chest as possible. The hands, with fingersinterlocked, are placed around the knee and exert pressure upon the knee. Some claimthat it serves to straighten the back, others say that the Anahat Chakra’s inner soundbecomes audible.

6 This is an important detail as it opens some inner channels where the Prana can flow.The big toe should be held tightly (firm but not uncomfortable) in this Mudra. Avariation is the following: the toenail of the big toe is squeezed using the thumb of the

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In the outstretched position (the chin is pressed against the chest firmly)7,while holding the breath, a muscle contraction at the base of the spine ismaintained while the abdominal muscles draw back slightly. Om (Onnng) ismentally chanted in the Kutastha, from six to twelve times. Since the heel is on the perineum while the attention is in the Kutastha, one isaware of the places where the Sushumna begins and ends: in due course oftime one can have the perception of the whole Sushumna Nadi as a radiantchannel.Returning to the starting position, with a long exhalation, the energy descendsto the base of the spinal column.The entire procedure is repeated with the right heel on Muladhar and left legoutstretched in front – the aforementioned instructions are reversed. The procedure is then repeated once more with both legs outstretched tocomplete one cycle of Maha Mudra. Both toes are grabbed with theinterlocked hands. (A variation is that the thumbs of each hand grab therespective toenails and the index and middle fingers hold the toe frombehind). This three-movement cycle is repeated two more times for a total ofnine extensions (it lasts about 60-80 seconds). 8

This Mudra makes the body and mind more stable in meditation and developsgreater concentration. It redirects energy back into the body which wouldotherwise be dispersed. It helps to balance the activities of the left and righthemispheres of the brain. Maha Mudra is one of the basic techniques of Kriya Yoga and its importancebecomes clear since it incorporates all the three Bandhas. Applied

right hand while the index and middle fingers are behind the big toe and the left handcups the sole of the foot.

7 As for the stretch forward, initially the vast majority of the kriyabans are not able toachieve such a pose without certain back or knee injury. They should by no means tryto keep the leg straight, but should bend the knee a bit in the most suitable manner toachieve a comfortable position! This Mudra must be comfortable, it must not hurt!

8 There should be a ratio between the number of Maha Mudra repetitions and thenumber of breaths — it is recommended that for each 12 Pranayama, one shouldperform one Maha Mudra. However, after talking with many kriyabans, I dare say thatit is a miracle to find a person who regularly practices its three canonical repetitions.There are people who believe they are practicing their Kriya correctly without everpracticing one single Maha Mudra! It is clear that, forsaking this exercise and living asedentary life, the spinal column loses its elasticity. The physical conditions get worseas the years go by and it becomes almost impossible to maintain the correct meditationposition for more than a few minutes —that is why Maha Mudra is so important for thekriyaban.

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simultaneously, when the body is bent forward, they produce the feeling of anenergetic current moving up the spine.

Om Japa in the Chakras

Rising along the spine, the Mantra "Om" is chanted in each Chakra in sucha manner so as to generate a sensation of vibration. The mind is employed intrying to subtly touch the inner component of each Chakra (starting withMuladhar, climbing up to the cervical Chakra, Vishuddha, and thenterminating on the Bindu) from the posterior side of the spine.Then, while coming down (first Medulla and then the other Chakras, until theMuladhar is reached), each time Om is chanted, the subtle radiation of eachChakra is perceived on the anterior side of the spine. In the beginning thishappens by visualizing a beam of luminous rays shining from the nucleus ofeach Chakra, piercing the internal part of the body as to liven up the vitalorgans. One ascent (Chakras 1, 2, 3, 4, 5 and Bindu) and one descent(Medulla, 5, 4, 3, 2, 1) represent one complete cycle - it lasts about 30seconds. A total of six to twelve cycles are performed; the first three shouldbe performed while chanting the Mantra aloud, while the rest can be chantedeither aloud or mentally. 9

Pranayama

The body is relaxed, the spinal column is kept straight and free of alltensions. The back of the body should not touch (lean upon) anything.Utilizing the half-lotus position is very good. It is very comfortable sitting onthe edge of a thick cushion. The best position of the hands is with fingers intertwined as one can observein Lahiri Mahasaya’s well known photo - this creates a good balance ofenergies from the right hand to the left and vice versa. The tongue can be kepthorizontal or with the tip slightly turned backward. (A kriyaban who canperform the Kechari Mudra assumes this Mudra at this stage.) 9 During this practice the breath is completely forgotten; one is not doing anyPranayama, not thinking of the breath. The correct pronunciation for the Mantrashould not be "ommm" like in "Tom" but "ooooong" like in "song", with a long-drawn"o" like "tone". In this technique, "Om" is a pure vowel sound. When pronouncingIndian Mantras, like Om namo bhagavate … or Om namah Shivaya …, the consonant"m" in "Om" is heard. Here it is not heard because the "o" is very long and, at the end,the mouth is not completely closed - thus creating the nasal sound "ng". Chanting"aum" is by no means correct. Chanting Om in the Chakras, before beginningPranayama properly is very wise action: this exercise acts like a flywheel and makes the Pranayama happen very easily .

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The eyes are closed and relaxed, as if looking into the distance throughKutastha. A deep inhalation through the nose, producing an unvoiced sound in thethroat 10 acts like a hydraulic pump to raise the energy from the foot of thespinal column to the Bindu. A deep exhalation through the nose brings the energy back to the base of thespinal column.11

During the inhalation, the abdomen expands and the chest moves slightly as anatural consequence of the abdominal expansion. During the exhalation, theabdomen retreats and, at the end of the exhalation, there is a clear perceptionof the navel drifting toward the spine.It is incorrect practice to fill the chest with air by bringing the breath up high,as if it had to literally touch the higher Chakras. The beginner has a rhythm of about 18-20 seconds per breath. The associatedliterature points out that the perfect Pranayama is made of 80 breaths perhour —about 45 seconds per breath. Only during long sessions can akriyaban try to reach this rhythm. A beginner should ignore the abovementioned rhythm; instead one should attempt (in a natural, untroubled way)to complete 12 or 24 breaths, regardless of timing.

Let us discuss in detail the path taken by the energy:a) The awareness rises from the Muladhar along the posterior of the spinalcolumn, approaching the second Chakra, then the third, the fourth and thefifth Chakra; then, following the curve of the occipital region, reaches theBindu.12

b) A two-second pause follows, during which the radiance of the Kutasthataps at the awareness —as a blurred presence of light, a glow permeating thebrain.c) A deep, unhurried exhalation, of the same length as the inhalation, willbring the energy back to the base of the spinal column. The awareness

10 A dull sound schhhh… like the background noise coming from a disturbed TV orradio station

11 Only a slight hiss is produced in the throat during exhalation. After a long practiceand thanks to Kechari Mudra, that slight hiss will turn into a fine flute-like sound.

12Some teach to visualize the energy moving from Muladhar to Kutastha and viceversa. The part of the path bending to reach Kutastha is felt like a numb region; there isnot the least amount of sensibility in it; instead of going on in this way, it is mostprofitable to bring the awareness in the Bindu and from there perceive or simply"guess" the reality of Kutastha.

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touches the Medulla first; then meets the "external component" of eachChakra until the energy is perceived in the Muladhar at the base of the spine. d) When the energy pauses for two seconds in the region around theMuladhar, a growing feeling of immobility is felt; later it will be ecstatic, likea shiver of bliss.

Navi Kriya By the same method described in the technique of Om Japa, withoutattempting to control the breath, one’s awareness slowly moves up along thespinal column, placing the syllable Om (ooong) in the first five Chakras andin the Bindu. Immediately Om is chanted in the Kutastha. The chin is thentilted towards the throat cavity.The hands, with the palms facing downward, are joined together cross-fingered; the pads of both thumbs conjoined. Om is chanted — either aloud ormentally — in the navel (umbilicus) approximately 75 times (a roughestimate is fine). The thumbs touch the navel with a very light pressure for every single Om. As we go along with the technique, a calm energy is perceived gathering inthe middle-lower part of the abdomen (the Prana current which resides thereis called Samana). This will help dissolve the process of breathing. The chinis then raised (to a moderate extent, but as much as possible, feeling thecontraction of the muscles at the base of the neck), and the concentrationdrifts first to Bindu and then down (moving downward in a straight line,outside the body) to the third Chakra. The hands, with the palms facingupward and the fingers crossed, are kept behind the back and, for every Om,the thumbs conjoined apply a light pressure on the lumbar vertebrae. Om ischanted—either aloud or mentally—approximately 25 times in the thirdChakra. The breath should by no means be coordinated with the Om chanting.The chin’s normal position is then resumed and Om is thought in an inverseorder from Kutastha to Muladhar. This is one Navi Kriya (it lasts about140-160 seconds). One must not neglect to perform at least 4 Navi Kriya.13

13 The following variation of Navi Kriya is very enjoyable. While all the other details(chanting of Om in the first five Chakras and in Kutastha, bending the head forward,chanting Om for a definite number of times, rising of the chin… ) remain unchanged,the Om Mantra is chanted in alternation between Kutastha and the navel. (Om inKutastha, Om in the navel, Om in Kutastha, Om in the navel…) Then, correspondingly,Om is chanted in alternation between the Bindu and the third Chakra. As per usual, 4cycles of Navi Kriya are excellent.

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Mental Pranayama

In order to enter perfect physical and mental stillness as easily as possible,the practitioner first draws three deep breaths, each of them ending with a fastand complete an exhalation, like a sigh. The spine is visualised as a tubewhere the mind is allowed to move up and down, pausing in each spinalcenter. One may chant Om (ooong) mentally in the Chakras; however,sometimes it is more convenient to simply pay attention to each one of them.Starting with the first Chakra, then after 10-20 seconds passing to the second,third … and so on. The Chakras are like knots that can be untied if "touched"with our concentration; the secret lies in maintaining the awareness in each ofthem until a particular sensation of sweetness is felt, as if that Chakra were"melting". After ascending to the Bindu, one begins descending down alongthe anterior side of the spine; besides the melting sensations, one can alsoperceive the subtle radiation of the "external component" of each Chakra.This is only a matter of pure awareness, a natural feeling leading to therealization that the Chakras are sustaining each part of the body’s vitality.The process of rising and descending through the Chakras is carried on aslong as it is comfortable. (One complete round lasts about 2-4 minutes.) Thisis the most pleasing part of the routine. A kriyaban does not feel he ispracticing a technique, but enjoys moments of soothing relaxation.After some minutes, a light is perceived in the head’s upper part and thekriyaban is able to keep concentrating on it for a long time without feelingany fatigue. Lahiri Mahasaya called this state simply Paravastha — "stateafter Kriya". This word is linked with the concept of Tranquillity, "SthirTattwa": calm, static Prana, which is experienced in the seventh Chakra. It iswise to remain in this dimension as long as possible.14

14 Some do not understand the subtle difference between Om Japa and this mentalPranayama. Om Japa, before Pranayama, is designed to give a strong stimulus to eachChakra. This is evident if Om Japa is done with the voice. One pauses in each Chakraonly a short time to vibrate the Mantra. During mental Pranayama one is more passive,more willing to perceive than to stimulate and, above all, pauses much longer.

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Yoni Mudra

The potential of this technique includes, in all effects, the realization of thelast step of Kriya. Kutastha - between the eyebrows - is the place where theindividual soul had its origin and it is there that the Ego needs to be dissolved. At night, before lying down to sleep, one begins his practice by calmingthe whole psychophysical system with some deep breaths; after that, oneraises the energy into the central part of the head through a deep inhalation.The mind is placed at the point between the eyebrows.One closes the head’s "openings" —the ears with the thumbs, the eyelids withthe index fingers (this aids in holding the eyeballs steady), the nostrils withthe middle fingers, the lips with the ring and the little fingers— so that all theenergy may light up the Kutastha. The index fingers should under nocircumstances apply pressure on the eyes — this would be harmful and of nouse! Holding the breath until one needs to breathe again and repeating Om(Ooong) mentally several times, one observes the light of the "spiritual eye"that gathers and increases in intensity. The light condenses into a golden ringcontaining a blue sphere at the center of which a silver star emerges. Akriyaban is advised to pierce this star and have a glimpse of the spiritualreality. The breath is held as long as comfortable, until the necessity tobreathe out draws the attention. After bringing down the awareness along theanterior side of the spine, the practice is complete. Yoni Mudra is usuallyperformed only once.

Remarks

RoutineA complete routine is: Talabya Kriya; Om Japa; Maha Mudra; Pranayama[12-24]; Navi Kriya; mental Pranayama; then, at night, Yoni Mudra.A variation is: Talabya Kriya; Om Japa; Pranayama [12-24]; Maha Mudra;Navi Kriya; Yoni Mudra and mental Pranayama. Repeat Yoni Mudra at night.

Maha Mudra and Navi Kriya are a great help, wherever you place them inthe routine - before or after Pranayama. Some teachers think that one shouldnot practice Yoni Mudra during the day. Actually, one can do it, by all means!However, after the practice of Yoni Mudra, in the deep calmness of the night,in a total and perfect relaxation, this technique is practised at its best andcreates such a concentration of energy in Kutastha that it changes the qualityof the ensuing sleep. After crossing the subconscious layers, the awarenessmay succeed in touching the so-called "super conscious" state.

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How to beginIn the field of Kriya, a particular sort of frenzy exists - envisaging that itspractical knowledge should be given hastily all at one time. I think that thereis no need and no wisdom in conveying all the details of the First Kriya to aperson in one single lesson. The kriyaban is requested to swear he willpractice all the received techniques for his entire life. All swear, althoughmany have understood nothing.15 After a charming ceremony, in a short timeall is forgotten and the crisis explodes.It is more natural to learn a bit at a time and experience it little by little -progressively. Through a gradual progress, one is able to comprehend moreand more the meanings of the various techniques.When a person voices his desire to learn Kriya, his teacher should envisage agradual, smooth approach for him. A wise idea is that of testing and, at thesame time, preparing him for Kriya by initially teaching a Pranayama routineborrowed from classic Yoga. Nadi Sodhana and Ujjayi Pranayama are thebest preparation. The latter is often taught with Aswini Mudra - contractingrepeatedly the muscles at the base of the spine with the rhythm of about twocontractions per second.It was explained that the discoveries of the so called Swara Yoga should beapplied in the Kriya praxis. The essential instruction lies in starting one’sKriya Pranayama by testing the balance between the flux of the breaththrough both nostrils. This is done by exhaling through the nostrils upon afinger placed flat under them. Nadi Sodhana is practiced until that flow isequilibrated. Only in this situation should Kriya Pranayama be started! In anyother condition, Kriya Pranayama would increase either nervousness (ifPingala is prevailing) or lethargy (when Ida prevails). Other teachers point out that Maha Mudra was especially conceived forbalancing the two fluxes: in their opinion, Nadi Sodhana is superfluous. In my opinion Nadi Sodhana creates a wonderful energetic balance, which isperceived as a great ease in performing Pranayama. As for Ujjayi Pranayama, there is very little to be said. Those who are notable to practice it at least for one or two months, amid varying conditions ofliving, will hardly do Kriya. Instead, those who are able to perform Ujjayi Pranayama, when in theirfuture practice of Kriya encounter difficulties, can always resort back to theirfirst simple Ujjayi concentration on the throat sound; forget all the rest anddiscover, oddly enough, that the Kriya practice still works.15 Undoubtedly a few disciples are able to understand the whole matter at once. The fewwords uttered by their teacher, go on ringing for years - often in the same way, with thesame inflection of the voice that the teacher once received from his own teacher.Sometimes their full meaning will be realized after years of toilsome work.

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Kriya Pranayama is a mystery of joy to be discovered as by chance, neverby increasing one’s autosuggestion. Many kriyabans ask with too muchinsistence, at times obsessively, that all the possible and imaginable details ofthe Kriya Pranayama technique be explained to them. To face the disciplineof Kriya Pranayama doesn't mean to put one’s own body throughunreasonable and unnatural processes. The art of controlling the energy isbased on universal principles; those who presume to clarify all its technicaldetails will get tired very soon. After having filled their notebooks with notesand drawings, they will abandon everything. It is as if their pencil and sheetsof paper were a shield preventing the genuine beauty of Kriya from enteringtheir life. They do not understand how important it is for the mind to be calm,and that it does not obstruct the flow of energy in the spine with its tension. In my opinion Om Japa in the Chakras is the best preparation : it makes theenergy movement of Pranayama happen very easily. While one relies on thesheer "naturalness" of the procedure, the time is forgotten and othertechniques, like the Mudras and the Navi Kriya are practiced with a highdegree of patience (like a housewife "peeling potatoes"!). This affirmation ofmine may sound strange, but the whole thing works in this way. No oneshould face his practice as doing acrobatics; patience and trust are needed tomake something unpredictable happen!

If a kriyaban knows and likes the technique of Kriya Pranayama with thesemi-closed mouth, he can begin with mouth open and, after a certainnumber, proceed to nose breathing; there are many reasons for regarding theopen-mouth breath as unnatural when protracted indefinitely. I have heardabout a kriyaban who received counsel from an eminent Kriya teacher to limithimself to a maximum of 36 breaths with the mouth open.

As for Aswini Mudra, I think that anybody can practice it in the first12-24 Pranayama breaths – continuously: during inhalation, exhalation andpauses. After 10-15 minutes, the physical movement decreases in intensity,the procedure turns to be an inner event. It is then that the awareness isstrongly brought into the spine, in a more intense way than with any othertechnical trick. This could be useful to those who are not able to practiceKechari Mudra.

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Kechari MudraBesides the regular practice of Talabya Kriya, let us suppose that for someminutes a day a kriyaban pushes (with the fingers) the base of the tongueinward, thus reaching the uvula with its tip. Well, one day, removing the fingers, he has the surprise that the tip of thetongue remains "trapped" in that position. The soft palate now acts like anelastic tape, as it maintains the tongue’s position preventing it from slippingout and getting back to the normal position. This is a turning point since, while holding the tongue in this position, anumber of Kriya breaths may be performed. By repeating this process daily,Kechari Mudra is improved. After an approximately ten days of practice, it ispossible to place the tip of the tongue into the nasal-pharynx cavity, keeping itthere for a couple of minutes. The sense of irritation and the increase ofsalivation are soon left behind; from then on, the practice of Pranayama withKechari Mudra will be easy and comfortable. The tongue will touch the topof the palate in the nasal pharynx and will stay vertical.

A large body of Kriya literature describes how important it is to perceivethe so-called "nectar" - the elixir of life, Amrita - a fluid with a sweet tastecoming down from the brain in the body through the tongue. In order to foster this experience (and at the same time to stimulate Kundaliniawakening) it is recommended to touch, with the tip of the tongue, threespecific points: the uvula, the bone protrusion, like a small asperity in the roofof the palate (inside the nasal pharynx) under the pituitary gland and the softtissue above the nasal septum (inside the nasal pharynx, hinted in the Kriyaliterature, as an "uvula above the uvula").The tip of the tongue should rotate on these spots at least for 20-30 seconds;then, in the manner of sipping a liquid, some flavour will be tasted on thesurface of the tongue. This exercise can be repeated several times during the day.When the real nectar sensation manifests, one focuses on it while keeping thetongue in contact with one of the centers describe above.

Through Kechari Mudra, something extraordinary can be accomplished:the enthralling experience of a flutelike sound during Pranayama. For a long time a kriyaban "invites" it by attuning one’s consciousness duringthe inhalation to Awww… (as in "awe") or Vaaa… and during the exhalationto Eeee… (as in "bee") or Shee. The mental intonation of these two sounds(which can at all effects be considered two bija Mantras: Shee + Vaaa =Shiva) lead inexplicably to the transformation of his pranic body.

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However precious and beautiful this practice is, it should not be forgotten thatit is only a temporary step: one day the flute-like sound will appear.Those sounds should not become a "crutch" to lean on forever (that mightlead to a coarse, tamasic way of practicing Pranayama, preventing the rightsound from appearing) they must be forgotten and only the intention to refinethe exhaling sound should remain. When a kriyaban’s good judgment decidesit is the moment to put his heart over the obstacle and make his Pranayama aspowerful as a laser beam, he must guide his natural exhaling sound from thethroat to the root of the nose - inside the nasal pharynx.Without losing his imperturbable high degree of relaxation, he mustconcentrate solely upon refining this sound and then … wait, wait for alleternity if necessary.One day a sound similar to that of a "flute" will appear. It is like a faintwhistle arising in the nasal pharynx. Lahiri Mahasaya described it assomething «similar to when one blows air through a keyhole». He says it islike «a razor by which everything - that is: the mind - is cut off». It has thepower to cut any external disturbing factor off, thoughts included.It comes at the maximum point of relaxation: the smallest amount of anxietyor unrest has the result of losing it. It represents an enchanting, anextraordinary meditation experience: it marks one of the best moments of akriyaban’s life.A kriyaban realizes that he has in his hands not a common spiritual tool butsomething extraordinary. Modesty is always welcome, but when this result isachieved, a positive euphoria (as if one had found Aladdin’s magic lamp)cannot be kept at bay.In the Kriya literature there is a sentence which describes that if one hasrealized a perfect Pranayama he can obtain everything through it. Well, if wewant to think of an ideal, faultless Pranayama, it should not be too far awayfrom this one.

Yoni MudraIts nuclear component is bringing all the energy into the Kutastha center andhinder its scattering by closing the head’s openings. If one has achievedKechari Mudra, one should firmly press the tongue upon the highest pointinside the nasal pharynx – otherwise the tongue should be in the normalposition, perfectly relaxed.Usually Yoni Mudra happens by raising the energy into the central part of thehead through a deep inhalation. Inhaling deeply and then holding the breathcauses discomfort after a few seconds.

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With time, a small detail is introduced which reduces the discomfort andmakes it possible to deepen the practice.16

At the end of a moderate inhalation (not the typical one of the Pranayama,but a very short one), a kriyaban closes the head’s openings but not thenostrils fully, then starts a slight exhalation and only then closes his nostrils.He relaxes the thoracic muscles and creates the intention of beginning a newinhalation: this opens the epiglottis and gives the sensation that the breath hasbecome quiet in the region between the throat and the Kutastha. In thissituation, the concentration on the Kutastha and the repeating of Om severaltimes can be carried on and enjoyed at its fullest.

Mental Pranayama and ParavasthaPeople are surprised in observing how Talabya Kriya can calm one’s mindinstantly; this is strange because one does not exert any concentration effort.The other techniques bring one to a state of well-being which is a real"benediction", until the deeper peace of mental Pranayama permeates theentire being.A practice without mental Pranayama is like a band tuning their instrumentsand then saying goodnight to the audience! It is the phase of one’s practicewhere it all comes together, where the ripples in the mind’s lake quiet downand the awareness becomes transparent to reveal the Last Reality. During and after this practice, we know the Paravastha state - the tranquilstate after Kriya. All the Kriya techniques cooperate to create it. Reminiscentof Sri Aurobindo, it might be called "Mental Silence". It is a diffuse calmness:the mind, appeased, stops quivering, rests and gains the energy necessary tobe more acutely alert in life.Sometimes it manifests as a pressure over Sahasrara, which seems to betrying to open a route to come down into the body. This is a recovering process which expands during the day. It is like a spiral,which gradually and systematically takes care of all the levels of our being. We can recall the Paravastha state during the difficult moments of life, whenan important decision has to be taken. That state is not a rejection or denial ofreal life, it is a true understanding of life and its laws. Life assumes its trueperspective.When one’s actions match the deep truth of one’s being, one will have theimpression that nothing can get in the way, and that even the greatestdifficulties dissolve.

16 It is normal to precede this technique at least by Pranayama followed by the practiceof the mental Pranayama which establishes the necessary calmness and control ofenergy which makes the implementation of this detail possible and easy.

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Through Kriya one is going to discover an inner order in whose transparency,all the problems (especially psychological problems) are dissolved. One day the state of Tranquillity is no longer to be searched for; it is a kind of"spiritual dividend". Lahiri Mahasaya called this state Par-Paravastha thatmeans "the state that comes after the after effects of Kriya". The worn-outclichés of poets cannot compete with his simple eloquence.

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CHAPTER II/2… DEVELOPMENT OF THE FIRST KRIYA

Those who just like to familiarize themselves with the elementary concepts of Kriyawill do the right thing if they ignore this chapter. We are going to discuss thereasons why currently there are so many existing variations in the Kriya techniques.After a first glance at the explanation of Pranayama given in the previous chapter,many readers are perplexed because the instructions are different from those theyhave received in the past. Actually most of the apparent striking dissimilarities are not so influential.Almost all the schools teach that a smooth sound should be produce in the throatwhile breathing. Some schools teach to listen to it with the subtle intention ofproducing a "Vaaa" sound during inhalation; while during the exhalation one shouldhave the subtle intention to produce a "Shee" sound. Other variations regardingthese sounds ("Awww" and "Eeee", or a pure hissing sound) depend upon thedecision to teach Kechari Mudra or omit it. The most part of the schools teach to visualize the energy flowing in the internalchannel of the spine: while drawing in the breath, the current is drawn up throughthe Sushumna up to the Kutastha. During exhalation, breath and current flow downthe Sushumna.Other schools advise to move the awareness around the Chakras, outside theSushumna; some teach to go up behind the Chakras and down in front of them,while others teach vice versa. (Let's not even take into consideration the New Ageinsanity affirming that men should follow one path while women should follow adifferent one.)There is also a variation prescribing to go up inside the Sushumna (and the Chakraswhen they are visualized) and go down behind the spine (and the Chakras). An interesting variation is that while exhaling, the breath and current should flow upthe frontal part of the brain, back over the cerebrum and down the back of the spinalcolumn towards the Muladhar. Another technique is also taught (this is explained in detail in the third part of thisbook) in which the path taken by the movement of awareness to the Chakras growsand diminishes in size. As the breaths go on, the energy moves up and down fromthe first to second Chakra, then from first to third and so on; then the elliptical loopsshorten in the inverse way. Strangely enough, yet interesting, is other teachers’ affirmation that the best methodis to visualize no path at all. Their belief is that our imagination has nothing to dowith the working of Pranayama. In other words, a very slow (say about once every45 seconds) Ujjayi breathing (long breath with hissing sound produced by thepartial closing of the glottis) will definitely take the Prana into Sushumna, evenwith no mental focus on the spine. Certain visualizations may be used to boost the effect of the basic technique; justto make an example, there are those who prescribe that the energy should be

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visualized as a blue sphere piercing the Kutastha while holding the breath afterinhalation. There are other ones which are far more complicated.Some schools teach to chant Om or another Mantra in each Chakra. Others deemthat this would divert the attention from producing the correct sounds in the throatand therefore prescribe the use of Mantra only within the so-called OmkarPranayama.Usually the duration for inhalation is the same as exhalation: this is expressed as a[1:1] ratio. There also exists a Kriya school who prescribes the ratio of [1:2], inwhich exhalation has the double duration as inhalation.With the symbol [1:1:1:1] we indicate the so called "Square Pranayama" whereinhalation, exhalation and pauses each have the same length. While performing the"Square Pranayama", a kriyaban settles on the rhythm of 10-10-10-10 mentalcounts. The overall time for the Pranayama remains 35/40 seconds. It has beendisseminated that by going on with this rhythm a kriyaban reaches a particular formof Samadhi, discovering it inside the Pranayama itself, without proceeding to themental Pranayama - which is normally prescribed for reaching that state.The open (semi-closed) mouth breath gives a wonderful sense of presence in thespine but there are obvious reasons for holding it as unnatural when protractedindefinitely; therefore many begin with it and then switch to nose breathing. Someclaim that mouth-Pranayama is superior to nose-Pranayama because it brings thecurrent into Sushumna. Others affirm the contrary: only when the tongue risesabove the uvula and reaches the inner nostrils is Sushumna breathing activated. Inmy opinion, only the breathless state can succeed in bringing and leading the energyinto the Sushumna.As for the sensation to be experienced inside the spine, affirming that a flow ofenergy should be perceived may be a little bit of a vague instruction. Some schoolsclarify that it has to be perceived as a cool sensation while coming up and as amoderately warm sensation while coming down the spine, others hint to anindistinct swinging sensation, which moves from Chakra to Chakra.Unfortunately certain sensations are really difficult to be perceived. Somekriyabans assume a dejected, resigned expression when they talk about their"predicament": they feel nothing during their Pranayama. For them "to feelnothing" means that they do not feel the cold-warm currents in the spine, as theywere taught to feel. In this manner, they have mistaken a minor detail to be theessence of Pranayama. They go on practicing the specific teachings just for the sakeof adhering to the notion of "loyalty" for their school or teacher. They are unable toimprove due to a lack of knowledge and mental flexibility! How is it possible thento make them understand that Pranayama is not just about perceiving cold-warmcurrents?

In my description of Pranayama, I could not and should not depend - onceand for all - on what any renowned Kriya teacher or school (opposing othertraditions) was and is upholding as the unique correct technique ofPranayama. The process of Pranayama has to be practiced and discovered

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through one’s own experience, and should not exclusively rely on setguidelines or instructions.Instead of considering Pranayama a single-step technique, it should beconceived of rather a multi-stage process. It starts with a slow and deepbreathing pattern which, after some time settles down and then becomes veryshort, almost non existent. This is vital to reach deeper introverted states. Apparent differences among the Kriya schools can be correlated to theattempts of describing different degrees and nuances of a difficult, unique andsubtle art.I shall try to divide the variations in three groups which represent the threemost common ways of tuning with the Omkar dimension. (We have given thedefinition of Omkar in chapter I/2.)In brief, Omkar (Om) is the vibration of the primordial energy sustaining theuniverse: those who follow any spiritual path, whatever their religioustraining and beliefs may be, will infallibly meet this manifestation of theDivine essence.Lahiri Mahasaya described the inner sweet sound Anahat (literally notproduced by any physical cause) like the sound «produced by a number ofpeople beating against a bell, as continuous as the oil that is spilt out of abottle».This sound grabs a kriyaban’s awareness and guides it into the depths of themystic experience, without any danger he is led astray.This experience has different levels of development: one usuallyprogressively hears the sound of a bumblebee, then a bell, a hum like anelectrical transformer, the sound of flowing waters. The Omkar reality is not all there. By continuing to listen to this sound, oneperceives to be surrounded by spiritual light which increases in the Kutasthaand above the head, then he has the perception of a sweet swinging movementsensation. Since this movement is perceived as perfect stillness, it isimpossible to grasp it intellectually.During daily life, he who has a devotional attitude will experience a dramaticincrease of his heart’s love, as if he was basking in an ocean of tenderness andbliss; he will perceive all as a heavenly dimension of existence.Those who practice with great intensity shall experience strong spontaneousmovements of energy in the spine.Sometimes a burst of bliss in their heart will make them cry of divinetransport; they will have the impression of being divided into a thousand partsand each of them will be on the verge of exploding from an abundance of joyand love.The memory of those experiences may save one when life’s events seem toconspire to make one forget his spiritual involvement.

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There are many pitfalls where a kriyaban may got stuck. What will have the power to take us back to our Kriya practice but thememory of Omkar’s embrace of love and beauty?

We shall divide our detailed discussion into three parts. In the first part [A] we shall summarize what it can be practiced tobeneficially enhance the tuning with Omkar in the aspect of inner soundvibrations until it reveals the spiritual light in the upper part of the head,which leads into the Samadhi state. In the second part [B] we shall describe what can be of help in entering, assooner as possible, the Kutastha and get the vision of the spiritual eye.Finally, in the third part [C] we shall describe a way of practicing whichneglects the two afore quoted objectives (the experience of inner sound andlight, assumes a secondary aspect) and considers of paramount importancethe Trivangamurari experience. This division into three parts will be also useful to discuss the current existingvariations in the Higher Kriya techniques(In Kriya there isn’t, and cannot be any contradiction: the Higher Kriyas are ameans to deepen the First Kriya, therefore the afore mentioned threeobjectives cannot but reflect in the practice of the Higher Kriyas.)

SECTION [A]

Let us take into consideration the basic routine: Talabya Kriya; Maha Mudra[*]; Om Japa; Pranayama [*]; Navi Kriya [*]; Mental Pranayama [*]. Let usdescribe a different way of practicing the techniques marked with [*].

Maha Mudra [Variation K1A]After inhaling like in Pranayama, the half-lotus position is maintained –sitting on the heels is also ok – the body is bent forward; the head is placed inthe region between the knees (refer to Figure 4). The hands may be used atwill; however, the breath is retained. The face is turned towards the left knee,so that it is possible to perceive a pressure on the right side of the head; thenthe face is turned toward the right knee: now a pressure on the left side of thehead should be perceived. Then the face is turned downward and a pressure on the forehead should befelt. After completing the three movements, the starting position with thehead and spine erect is resumed. The energy is brought down from Kutasthato Muladhar with one long exhalation. This exercise should be repeated atleast three times.

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Figure 4. Forward bending starting from sitting on the heels or starting from the half-lotus

As for Maha Mudra proper, let us consider the instructions given in theprevious chapter. When the right leg is extended, the right hand grabs theright foot’s toes while the left hand grabs the inner side of the right foot; nowthe face is turned left while the breath is retained. An ''inner pressure" on theright side of the head is felt. One should feel the same perception on the leftside of the head, when practicing the opposite position. When both legs areextended, the pressure must be felt on the front part of the head. .17

Pranayama – Omkar Pranayama [Variation K1A]The primary aim of Pranayama is that of raising the energy from the base ofthe spinal column to the Bindu and then bringing it back down to the startingpoint. If one wants to listen to the inner sounds then, after 12 basicPranayama, one needs to mentally recite the Mantra Om in each Chakra and,at the same time, listen to any inner sounds (without closing the ears!). If the tongue is not in Kechari Mudra, it may rest relaxed or may be keptturned back. Instead of the Mantra Om, it may be preferable to chant thesyllables of the Sanskrit Mantra "Om Namo Bhagavate Vasudevaya" 18 Om is mentally chanted in the Muladhar, placing the concentration on thesecond Chakra the syllable Na is chanted here…. and so on, until Ba ismentally placed in the Bindu and the inhalation is completed. Then, whenexhaling, the concentration descends to the Medulla and the syllable Te is17 It may seem odd, but I’m convinced that it is more profitable to limit one’s dailyKriya practice just to the forward bows and to Maha Mudra and then sitting peacefullyattuned to the Omkar dimension; rather than having an isolated Pranayama practice. Idon’t know if the forward bows came from Lahiri Mahasaya, but it is sure that some ofHis major disciples taught them. It is very useful to turn the head left and right and restthere for some seconds, while the object of concentration is the vibration and thefeeling of pressure in the lower side of the head. By a number of repetitions of thisposture, the two parts of the brain become equilibrated from the energetic point ofview: this balances the Ida and the Pingala currents, whose imbalance is the mainreason for the obstruction at the base of the spine.

18 I am sure the reader knows the correct pronunciation of the Mantra; that is why I willnot add any phonetic symbols. Notice that in the Bindu we don’t mentally verbalize Vabut Ba: this convention has been established over the years.

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chanted here; the concentration then descends to the fifth Chakra and thesyllable Va is placed there… Su… De… Va… and so on, until Ya is mentallyverbalized in the Muladhar. During inhalation the muscles at the base of the spinal column are slightlycontracted. At the end of inhalation, the breath is held for 2-3 seconds, as wellas the muscle contraction. The awareness makes a complete, anticlockwiseturn along the crown of the head, inside the brain, starting from the occipitalregion and returning there. The head accompanies this inner movement with avery slight rotating movement tilting back slightly, then to the right, the front,the left, and finally to the back. Then the contraction is eased off and theexhalation begins. During a 2-3 second pause at the end of the exhalation, theawareness makes a complete, anticlockwise turn around inside the Muladhar.This is just the beginning. As the technique progresses, it becomes more andmore interiorised. The breath (which is smooth) produces only a slight, weaksound in the throat; or it comes out soundless. With great accuracy, akriyaban places the syllables in the Chakras; the muscles at the base of thespinal column are only slightly contracted or gradually replaced by a "mentalpressure". The pauses after inhalation and after exhalation remain intact andthe movement of inner energy also. As for the slight rotating movement of thehead, this is initially only hinted and gradually disappears.The flow of energy touches each Chakra deeply. A certain pressure is feltaround each Chakra. During the anticlockwise turn of awareness around thecrown of the head, the entire brain is distinctively felt. The movement ofenergy seems to be deeply internalised, winding around the Medulla. Upondescending along the spine, the flow of awareness winds gently around eachChakra.

One may proceed in this manner for a long time and what could seem tobe an exhausting task (reaching 108 or 144 repetitions for example) turns outto be as easy as a moment of rest. Very soon the kriyaban is engrossed in thepowerful internal sound of Om. The sweetness coming from the concentrationon the Chakras and the particular concentration at the two extremes of thespinal axis complete the work and transform the technique into a real jewel.The only drawback of this procedure is that, at the beginning, it seems a bitcomplicated; in the process of implementing the new details of this technique,wisdom and common sense are required. If a kriyaban experiences difficultiespracticing this technique, he should by all means adhere to the basicinstructions.

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Navi Kriya [Variation K1A]By the same method described in the technique of Om Japa, withoutattempting to control the breath, one’s awareness goes slowly up along thespinal column placing the syllable Om (ooong) in the first five Chakras and inthe Bindu. Immediately Om is chanted in the Kutastha. The chin is broughtdown towards the throat cavity.A long expiration is started: the energy is felt descending from the frontal partof the brain to the navel. The navel is a door that lets the energy flow towardthe inside of the abdominal region. 19

During the exhalation, Om is chanted mentally 10 to 15 times, accompanyingthe energy’s descent throughout its path, as if applying some "soft pushes".The head resumes its normal position and is followed by a short inhalation(two seconds maximum, without the concentration on any Chakra) whichraises the energy into the head.The head bends toward the left shoulder, without turning the face. A longexhalation (together with the chanting of Om, Om, Om…) accompanies thedownward movement of energy which starts from the brain's left side andmoves along the body's left side down to the waist where bends and movestoward the inside of the abdominal region. The head moves back into its normal position; again a short inhalationfollows (two seconds maximum, without the concentration on any Chakra) toraise the energy into the head.The head now bends backward. A long expiration (together with the chantingof Om, Om, Om…) accompanies the downward movement of energy whichstarts from the occipital region and moves along the body's back side down tothe waist where bends, passes through the third Manipura Chakra and movestoward the inside of the abdominal region. The procedure is repeated likewise on the right side.Then it is repeated forward, to the left, backward.... and so on. The basic session of this advanced form of Navi Kriya consists of 36 descents(this is 36/4 = 9 rotations of the head). It ends with Om Japa done from theKutastha to Muladhar. (One session typically lasts 8-10 minutes and replacesthe 4 repetitions of the basic form of Navi Kriya.)

19 It is the part of the body where the Inner Alchemy locates the Dan Tien. In order tolocalize its position, one has to concentrate on the belly button, then move about oneand a half inches behind and below to the same extent: it can be visualized as a ballabout two and one-half inches in diameter.

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Mental Pranayama [Variation K1A] The breath calms down its rhythm and refines its consistency to the pointthat it seems to almost disappear. One forgets it entirely. The placing of theawareness in each Chakra, up and down, increases the perception of the innersounds which mingle and create the magnificent symphony of Om.The immersion in the Omkar reality becomes deeper and deeper and one hasno other desire than to remain longer in this unlimited sweetness.20

SECTION [B]

Let us take into consideration the basic routine: Talabya Kriya; Maha Mudra;Om Japa; Pranayama [*]; Navi Kriya; Mental Pranayama [*]. Let us describea different way of practicing those marked with [*].

Pranayama [Variation K1B]A kriyaban practices some rounds of the basic form of Pranayama - it can beeither with or without the chanting of Mantra in the Chakras. Then starts with the following procedure.The inhalation guides the breath and awareness from Muladhar to theoccipital region (Bindu). At the end of inhalation, while holding back thebreath, the awareness "turns" left, curves, comes down and enters theMedulla. (A small movement of the head may accompany this perception: thehead moves a few millimetres to the left, then it returns to the startingposition while at the same time minimally raising the chin - the movementhappens in no more than one-two seconds..)A short pause (about one second) in the Medulla makes the kriyaban aware ofthe illumined portion of his head over the Medulla. The eyebrows areupraised. The key action happens now. While the breath is held, the kriyabanpractices intensively Mula Bandha, thus providing a thrust to all the energypresent in the lower abdomen bringing it to the upper Chakras and, from

20 There is a resistance in recognizing that the continuous tuning with Om, since its firstemergence during Pranayama up to the circumstances in which we are with otherpeople, is the surest way to reach in short time the Samadhi state. Many frantically seekimpossible surrogates for it. When the Omkar tuning is gained inside the Kriya routine,the best thing to do is to find it again during the day: in other words, the effort of tuningwith Om has to be recalled during every aspect of life. During the day the effects uponone’s mood are striking: any difficulty seems to be resolved easily and a heavenlyharmony reigns undisputedly. In the hope of enjoying more freely some coarsepleasure, some chop off unconsciously this tuning. This may bring one out of thatreality for a very, very long time, as if one has been transported into another continent.

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there, injecting it into the Kutastha. This requires an intense use of the powerof concentration. The power of Mula Bandha creates the peculiar sensation totouch the centre of the Kutastha. An inner joy like an ecstatic shivermanifests.The tension is then relaxed and the exhalation begins… the energy goes downthrough all of the body and to the Muladhar. No effort is required, the energywill come down naturally, by the effect of gravity.Kechari Mudra - when one can use this Mudra - helps the process: the tongueis also pushed upward and forward as a thrust to enter the Kutastha. Breathafter breath, the power created in Kutastha will explode in the great golden-white light of the spiritual eye. Obviously such depth of experience resultingfrom this practice is unimaginable for a beginner.

Mental Pranayama [Variation K1B]Any form of mental Pranayama can be practiced with all the strength ofconcentration in the Kutastha. The following procedure is specificallyfavourable to increase the perception of inner light. The frontal component ofeach Chakra is stimulated. "Frontal" means on the anterior part of the body.21 The practice starts in the Kutastha, pausing some time to chant the MantraOm for at least twelve times. (One may remain longer, chanting any Mantramore times. The length of this pause is estimated in order to have a completeround and a good final concentration in Kutastha.) By lifting the eyebrows (at any moment during the practice) one isparticularly sensitive to any kind of light which can manifest.The awareness then comes down into the Adam’s apple, which is linked tothe fifth Chakra. The Mantra is chanted there for the same number of timesas in the Kutastha. Inner light is perceived. The awareness comes down in thecentral region of the sternum ... same perception... then in the navel ... then inthe pubic region and finally in the perineum. It is not necessary to chant theMantra in both the perineum and in Muladhar: while chanting in the first, theconcentration naturally slips into the second. Once the concentration on theperineum-Muladhar has been done, the concentration moves up inside thespinal column to reach the second Chakra where the Mantra is chanted; thenthe same is repeated in the third Chakra and so on up to the Medulla, endingin Kutastha again, where one remains as much as possible. (Only one round ispracticed.)

21 This concentration has a stronger effect than that obtained by concentrating directlyupon the Chakra’s location: all the energy in the regions of the body situated in front ofeach Chakra is revived.

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SECTION [C] Let us take into consideration the basic routine: Talabya Kriya; Maha Mudra;Om Japa; Pranayama; Navi Kriya; Mental Pranayama. We change its order inthis way: Talabya Kriya; Maha Mudra [*]; Navi Kriya; Om Japa [*];Pranayama [*]. Let us describe a different way of practicing those markedwith [*].

Maha Mudra [Variation K1C]Let us consider the evolved technique of Maha Mudra that we have discussedbefore in section [A], it can be practiced more slowly and without holdingback the breath.After inhaling, like in Pranayama, the half-lotus position is maintained –sitting on the heels is also ok – the body is bent forward; the head is placed inthe region between the knees. The hands may be used at will; breath is notcontrolled or retained even though the energy is kept in the head as if thebreath was being held (this skill will develop with practice). The head isplaced close to the right knee, the face is turned towards the left knee.At this point there is a pause of some seconds (10-30) while trying to perceivenot only a pressure in the right side of the head (which is easy), but also amovement sensation - an inner swinging perception.Then the head is placed close to the left knee, and the face is turned towardsthe right knee perceiving some pressure on the right side of the head: thesame pressure perception happens on the left side of the head with the rightknee. Then one places his head between both knees: the same pressuresensations should be felt centrally on the forehead.After completing the three movements, the starting position with the head andspine erect is resumed. Then, to end one cycle of this exercise, the energy isbrought down from the Kutastha to Muladhar with one long exhalation. Thisexercise should be repeated at least three times. As for the proper Maha Mudra, when the right leg is extended and the righthand grabs the right foot’s toes and the left hand grabs the inner side of theright foot, (the face is turned left) the breath is free to flow in order to staydown for a longer time and feel the aforesaid sensations on the right side ofthe head. One should then feel the same sensations on the left side of thehead, when practicing the opposite position. When both legs are extended, theperceptions are to be felt on the front part of the head. The whole practice canbe accompanied with mentally chanting Om, Om, Om….When the advanced form of Maha Mudra (introduced by the forward bows) ispracticed in a very calm way, the ideal conditions are created for the best way

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to tune with the Omkar reality in its deepest aspect of internal movementsensation.

Om Japa [Variation K1C] It is preferable to practice with the tongue in Kechari Mudra, or with thetip of the tongue simply turned backwards. The breath, as always in OmJapa, is free. The Chakras are not visualized with their two components but only as dimlights in the spine, which is comparable to a well. One’s awareness (like abucket moving into the well) goes up and down and in each Chakra mentallyverbalizes the syllable Om from one to three times, trying to perceive in eachChakra’s location a swinging, fluctuating sensation. Coming up, this is done in Muladhar, Swadhisthan… up to Vishuddha, thensomething particular happens. A kriyaban perceives a virtual horizontal line connecting the temples as wellas a virtual line from the Kutastha back to the occipital region.Gently (very softly!) swinging the head sideways and then back and forthmay support the perception of the two lines’ intersecting point. Thisintersection is the seat of the Ajna Chakra and is the best place to concentratein order to tune with the Omkar’s internal movement aspect.Then, in the same way, the awareness begins the descent by chanting Om inVishuddha…down to Swadhisthan, Muladhar. After six rounds, the kriyaban is ready to enjoy and intensify the sameperception in Pranayama.

Pranayama [Variation K1C]What was happening in the Om Japa described above, now occurs morerapidly during one full breath. The breathing is deep, with or without a soundin the throat – depending on which is more convenient for the individual. Theawareness will not move it’s focus from the Ajna Chakra.There may be varying ways of practicing this technique; however, what isimportant is perceiving the swinging sensation, at least for an instant, in eachChakra.After each inhalation, it is fine to have a pause in Ajna - trying to intensify theswinging sensation. After exhalation there may be (if comfortable) a shortpause in the Muladhar. It is clear how this process becomes more and moresubtle. The breath goes on in an imperceptible way, but (because) all theattention is focused only on the swinging sensation in each Chakra, up anddown the spine.This experience is very strong and totally absorbing, and is definitelydifferent from the Pranayama techniques described previously. From a

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particular moment onwards, the process gradually begins to reveal theTrivangamurari movement.Since this procedure (called Amantrak) is considered a Higher Kriyatechnique, it will be described in chapter II/4, section [C].

Introduction to the vertical processes

A horizontal routine - whose length is constant in time as that of afence’s pegs (ie a constant series) - is the only system of practicerecommended by many organizations and by a limited number of Kriyateachers. It consists in a daily practice of the same set of techniques, changingneither the order of practice nor the number of their repetitions. A vertical routine is a particular feature of Lahiri Mahasaya's Kriya. Itconsists of, once a week, putting the usual routine aside and instead using justone technique, whose number of repetitions is gradually increased - just likehow the pipes of an organ gradually increase in length.During the other days the practitioner can enjoy a minimal practice of theFirst Kriya techniques, as well as let some days go by without doing anyKriya and instead enjoying a long walk.So once a week, or every other week, one incrementally adds a preset numberof repetitions to a particular technique until, in a certain amount of time, atotal number of repetitions is reached. Then the process begins again withanother Kriya until the last of the Higher Kriyas is "vertically climbed".This process is always done in a gradual way and assimilated, bit by bit, amida regular active life. If one tries to be smart and abruptly decides to performthe final dose, it is like doing nothing because the inner channels close up. To make a trivial comparison, it would be like pouring a liquid too quicklyfrom one bottle to another bottle which has a smaller opening: consequentlyall the liquid would be spilled. Our inner obstacles cannot be removed in oneday, not just because our constitution could not bear it, but also because ourclearing force initially is weak and must be enhanced week after week.

It is clear that the praxis of a horizontal routine is fundamental in Kriya.For a beginner it is recommended as a prudent way of familiarizing oneselfwith the basic techniques; for an expert kriyaban, it is the most logical way ofenjoying the ecstatic state with minimal effort.It is in the delicate middle phase of the path where the vertical routine isrequired – in fact, let me say frankly that they are vital. Practising only a horizontal routine, a kriyaban might run into boredom andannihilate any enthusiasm for further practice.

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The human being cannot bear the continual repetition of the same, identicalroutine for an indefinite period, and nobody can escape this "law". Whathappens is that one's psychophysical system becomes accustomed to thepractice and stops reacting, causing the routine either to become ineffective ornot as effective as in the beginning. An expert once wrote that the hope of obtaining a deep internal changethrough such a practice is comparable to the hope that hitting a piece of irononce a day might, after some years, release the atomic energy that it containswithin. The intensity of the practice should somehow be increased.This principle also applies to athletes who wish to achieve world classperformance; they must do interval training where they push their physicaland mental endurance beyond their normal everyday levels. In this way theirbodies adapt slowly to what would otherwise be unachievable levels ofperformance.By means of a vertical process, a kriyaban will discover a stout innertransformation, both in his psyche and in his ability to enter deepintrospective states. My opinion is that a student, incapable of completing at least one of the mainvertical processes, will hardly proceed on this path. Beginning this process isan act of courage, a very mature act of trust in Kriya and in oneself. Navi Kriya and Kriya Pranayama are the best techniques with which tobegin a vertical process: their importance is beyond words!One can begin the vertical process of Navi Kriya after minimal familiarization(a few weeks) with the Kriya techniques. The best thing is to practice thevertical process of Pranayama after that of the Navi Kriya.

Vertical process of Navi KriyaLet us consider the advanced variation of Navi Kriya as it has been explainedin the previous [A] section. The gradual shifting of energy along thecircumference of the head has a strong effect.22 This technique catches theattention in a way which is impossible to achieve in the other variations. Byutilizing this process, the purpose of entering that realm of peace andtranquillity is at hand and by no means an intangible goal. After a short practice of Maha Mudra, Talabya Kriya and Pranayama, akriyaban practices twice the standard quantity of this advanced variation ofNavi Kriya, which means: initially chanting Om in the Chakras and in the

22 It is interesting to see how some students of Kriya - those who want to awaken theSahasrara Chakra and bother to find the best Mantra to be mentally verbalized in theupper part of the head - are incapable of comprehending how useful the mechanics ofthis very technique can be to advance toward that very purpose!

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Kutastha + 36 descents of energy + Om chanted in the Kutastha and in theChakras in the reverse order + repetition of the whole process. The total amount of descents is 36x2.After some days a kriyaban is ready to practice 36x3. After a week's rest – itis useful to absorb the practice's effects - he can practice 36x4 and so on up to36x20 = 720 descents. As the process becomes gradually more intimate, the head movements are justhinted. After many repetitions of this variation of Navi Kriya, before the exhalationbegins, something new happens. A little resistance manifests, as if the lungscannot move. This resistance is eventually defeated by the awareness ofsomething subtle entering one’s body. The result is that the air moves out ofthe nose, yet he who is practicing would swear that this does not happen. The long sessions of practice are not necessarily continuous; on thecontrary, it might be interesting to divide them in two or three parts byintroducing intermission. One can end each part with Mental Pranayama orsimply rest in Savasana. However, the total number of repetitions prearrangedfor that day must be completed before going to sleep at night: this is vital toeliminate any resistance. It is up to a kriyaban’s intelligence to make the practicing days as pleasant aspossible. It is good to wake up early in the morning to do half the work andtake a little rest right after the practice; lunch can be followed by a short walkin the open air, while the last part of the practice is to be completed in theafternoon. In the evening, if one can afford a walk at full ease, a powerfulcalmness would fill the sphere of his thoughts. That is the time when thebenediction of a blissful silence comes. The psychological effect that istypical of this practice, is that of unification. It is just as if all the differentaspects of one’s personality unite and consolidate into something new and, atthe same time, something very ancient. By the end of this process, one has thefeeling that entire eons have passed by!

Vertical of Pranayama36x1, 36x2,….36x20 Pranayamas is a very good plan; 24x1, 24x2,…..24x24is lighter but good anyway. Since this process is of primary importance, it is worth discussing it in moredetail. First of all: when more than a hundred breaths are practiced, it is wise tomake use of the twelve letter Mantra (which means to shift to OmkarPranayama.)

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During each stage of the process, up to the completion of the prescribednumber, it is important to keep a slender thread of breath. In other words, theprocess should never become purely mental. From a certain point onwards one should utilize the Shambhavi Mudra.Up to now, a kriyaban’s inner gaze was directed either on the Kutastha or onthe Ajna Chakra. When intuition guides him to do that, he should raise theeyebrows. With the eyelids closed or half-closed, the eyes look up to the roofwith no movement of the head. In the beginning, a light tension is perceivedin the eyeballs’ muscles, but the position is maintained rather easily once youget over that tension. He will have the impression that all his being is raised tothe Fontanelle – or is floating in the sky above the body. If all the recommendations are followed, the consciousness will find itselffloating in a state of infinite softness, in a great and soothing spiritual light.By proceeding in this manner, a kriyaban, sooner or later, has the impressionof crossing a mental state which resembles a loss of awareness and emerge ina limpid perfect awareness; it is as when by air plane we cross the clouds andsuddenly emerge into the clear sky and perceive the light. Lahiri Mahasayaexplained that this Uttam Pranayama (Uttam means higher) is not practicedby the currents of Ida and Pingala but by the Samana current.

An important planAkin to this procedure is the plan of completing, regardless of time, a certainamount of repetitions of a particular technique. Usually the set number is amultiple of 12, such as 1728 or 20736: the way of distributing this numberduring consecutive days is a personal choice which may vary in the course oftime. The most important among all these potential projects is that ofcompleting 20736 Omkar Pranayamas. (In 144 days, by practicing 144Omkar Pranayamas each day, this task can be accomplished.) Obviously, each session of practice may begin with some preliminarytechnique -Talabya Kriya, Maha Mudra and Om Japa.Therefore this is not a vertical process such as the aforementioned processes,but its effects - at any rate - are tremendous!

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CHAPTER II/3… HIGHER KRIYAS

The phase of the Kriya path we are about to deal with is of extraordinaryimportance; the subject is not difficult to understand, rather its practicalapplication requires extreme care.Before considering the following information, it is important that the readertake a look at the material contained in the third part of the book.There, one can find a concise digression about Kriya, ending with anemphasis about the necessity of ridding oneself from any wrong attitudes, andalso practicing simple but essential techniques like Japa. A mature frame of mind is necessary, as well as the ability to extend one’sKriya effort throughout the whole day. Keeping the mind always attuned to astate of calmness which blooms (during free pauses from work) into anecstatic mental silence, is the surest way to make the most of these teachings. The Higher Kriyas should always co-operate to establish a foundation ofharmony and calmness. The good effects of peace, inner joy and themanifestation of inner sounds should always go on increasing. In the oppositesituation, it simply means that one is not ready yet to proceed to this level ofpractice or that he is not following the instructions correctly!

The practice of the Higher Kriyas always takes place after Navi Kriya,within a routine like those described in the previous chapters. The onlyexception to this rule is when a kriyaban is an expert and is able to create, atwill, deep interiorisation without the aid of any preliminary Kriyas. If such isthe case –with the breath remaining calm, perceiving the inner sounds and thefeeling of bliss continuing to increase— one may skip Pranayama and NaviKriya.

As for the specific doses of these Higher Kriyas (since they have beenhanded down by tradition) a kriyaban can deviate from them, choose toperform the quantity of repetitions considered necessary, and neverthelessachieve remarkable results.The Kriya path is an endeavour through which we gain more and morefreedom and therefore it is always a joyful experience. It should never beforced into a stressful practice. If any teacher has ever given such animpression, it is due to their own psychological problems and conditioning. Inany case, the value of performing the vertical processes is unquestionable.

In India, the way in which a practitioner performs the Kechari Mudra iscrucial for initiation into the Higher Kriyas. Acharyas demand to see the

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actual execution of the Kechari; they want the student’s mouth to be openedin front of them and his or her tongue to disappear in the nasal pharynx. It is a fact that practicing the Higher Kriyas with one's tongue placed in thenasal pharynx is different from practicing with the tongue in a normalposition (it is explained that the internal pressure, produced by Kechari,makes the Thokar work in the most effective way); on the other hand, theKechari Mudra can be really difficult and almost impossible for some people.In those cases, then, is the entire practice of the Higher Kriyas to be avoided? My opinion on this matter is that Lahiri Mahasaya certainly asked for theregular effort of Talabya, but he also gave initiation in the simple form ofThokar to those who could not perform the correct tongue positioning ofKechari Mudra. Both his attitude and his partaking of human suffering leadsme to believe this. Through regular practice of Talabya Kriya —prior toPranayama or at any time during the day— it is possible to get many of theKechari’s typical effects. Kechari develops through several stages: a lot ofpeople are able to maintain the tip of their tongue on the uvula, but they arenot able to stick it completely into the nasal pharynx or to touch a particulararea in the palate’s upper part. I think that this can be adequate for achievingvery good results. 23

Second Kriya

Let us begin by describing the easy form of Thokar which contains thefull beneficial effect of the advanced form of the technique and therefore isenough in itself to produce the power needed to untie the knot of the heart. Thokar means adding to Omkar Pranayama particular movements of thehead: a complete anticlockwise rotation, followed by a stroke directedtowards the center of the chest. With the chin resting on the chest, a kriyaban slowly inhales and startsraising the awareness along the spinal column, touching every nucleus of theChakras with the syllables of the Mantra "Om Namo Bhagavate Vasudevaya"(the syllable Om is placed mentally in the first Chakra, Na in the second one,Mo in the third one, Bha in the fourth one, Ga in the fifth one and Ba in theBindu); simultaneously, the chin is raised as if to follow the inner movement.During inhalation, the muscles at the base of the spinal column are contracted.

23 I do not want to be misinterpreted! I am not saying that Kechari is not important; Iam fully aware that it is an effective and powerful tool - I will show its greatimportance in the advanced form of Thokar, which will be discussed in the nextchapter.

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When the chin is up and horizontal, the inhalation ends with the concentrationon the Bindu. The breath and the muscle contraction are held. The headbegins its round by moving to the left shoulder (left ear moves slightlytowards the left shoulder, the face does not turn left or right and themovement is free of all bouncing) and Te is thought in the Medulla. The headtilts back a little and in a sweeping arc reaches the right shoulder, (the rightear coming near the right shoulder), the syllable Va is thought in the fifthChakra. The rotation proceeds and the head bends forward just a little andmoves left until the left ear is near the left shoulder (again, the face is notturned to the left). From this position, the chin is tilted down diagonally as ifto strike the center of the chest, while simultaneously Su is placed in the heartChakra by intense mental concentration.24

Figure 5. Movements of the head in the easy form of Thokar

The awareness remains there for one or more seconds, enough to perceive a"radiation" emanating from the heart Chakra. The head is kept down and thecontraction at the base of the spinal column is eased off; via a very subtleexhalation the remaining syllables are "placed" in the first three Chakras: Deinto the third one, Va into the second one and Ya into the first one. Theduration of this process is about 24 seconds. For several weeks, the kriyaban is guided to perform this technique 12 times aday. Then one is guided to gradually increase his number of repetitions. Each24 An expert Kriya Acharya checks that the physical strike is not forceful. One shouldnot allow the weight of one’s head to push the chin toward the chest; this physicalmovement is definitely too powerful and also harmful for the head and neck. Hence,mindful physical effort is simultaneously aimed at lowering the chin, while resisting theforce of gravity, concluding with a slight jolt which is intensely felt within the fourthChakra.

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week one can add six more repetitions. The presence of physical problems(the cervical vertebrae are vulnerable indeed!) may require that one stop thetechnique for a few days or practice on alternate days. It is better to add more cycles over time rather than face the prospect ofexperiencing continuous head and neck pain throughout the entire day!A very wise approach is to settle into 36 repetitions per day without evertrying to increase beyond this number of repetitions. The goal is to reach 200 repetitions, in which case the number of repetitionscan be divided into two or more sessions during the day. Those who embarkon this venture, should perform the movements of the head in a very delicateway. When increasing the number of repetitions, these movements are onlyhinted: the chin does not come close to the chest and the explosion of energyin the fourth Chakra is mainly achieved by the sheer power of mentalconcentration.

Third Kriya

The Thokar, with the repetition of the movements within one single longbreath, is truly an a astonishing technique. It creates an increase of power andenergy in the fourth Chakra, thus producing an intoxicating experience of joy. A kriyaban inhales in the same way as in the Second Kriya. Whileholding the breath at the end of the inhalation - when the energy is in the head- he repeats the complete set of head movements placing the syllables Te VaSu several times in the locations previously described. The technique concludes exactly as the preceding one: by exhaling andplacing the syllables De, Va and Ya in the respective lower Chakras. This technique is performed only once. Usually, in the first days whenfamiliarizing with the technique, a kriyaban is guided to repeat the whole setof movements 12 times. The entire process may last around 70-80 secondsfrom inhalation to exhalation. Then, one is guided to gradually increase thenumber of repetitions. Each week, one can add six more repetitions. Again, itis wise to settle into 36 repetitions per day without ever trying to increasebeyond this number of repetitions.

Now let us deal with the reports according to which some kriyabansattained the ability to perform a tremendous amount of 200 repetitions whileholding the breath. Undoubtedly, common sense is needed to thoroughlygrasp the authentic meaning of this instruction! Trying to get to a highnumber of rotations and repeating exactly the same movements we havedescribed in the Second Kriya at a high speed, obsessed by holding the breath,is simply absurd. It amounts to nothing but a mere violence against one’s own

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body! Usually, by increasing the number, these movements are only hinted:the chin does not come close to the chest and the explosion of energy in thefourth Chakra is mainly reached by the sheer power of concentration.Some kriyabans do different rotations deprived of the strokes and practise thestroke just at the end of the last rotation. In both cases they hold the breathand continually think Te in the Medulla, Va in the cervical and Su in the heartChakra. Te is thought when the head is to the left, Va to the right and Suwhen the head moves from right to left.All the rotations serve to uniformly direct the energy into the higher Chakras.With the last rotation the chin draws close to the chest and the final strokehappens: the energy accumulated in the head is directed towards the heartChakra. The correct way of practicing this Third Kriya is a matter of innerrealization - an instinct which is discovered with time. In my opinion –differently from what it is affirmed in the Kriya literature - a minimal quantityof air flows in and out of the body unconsciously. With the aim not to breathe(which does not mean holding one’s breath: it might sound identical but it isnot) a practitioner proceeds without tension.The natural and pleasing experience, together with the sensations of warmthand of exciting joy in the fourth Chakra, brings the kriyaban to feel as if he isnot breathing. The impression is that the breath is compressed in the spacefrom the throat to the Kutastha. The feeling that the breath is dissolved iscompletely different from that of holding it. Instead of trying to win someapnoea record, a kriyaban learns to fill his or her system to the utmostpossible extent with Prana; just as a pot may be filled with water to the brim.What is discovered is a non-forced Kumbhaka. Inevitably there must be an imperceptible exhalation whenever the chin ismoved toward the chest – this is what a rational mind would think - similarly,an imperceptible inhalation must be produced whenever the chin is broughtback up. A molecule of air passing through the nostrils cannot for the worldruin the Thokar technique and its effects! The watchful attention of an expertteacher is capable of awakening the kriyaban’s intuition and help one toexperience this "miracle" of Beauty.

Effects of the Thokar technique The Thokar technique marks one of the most beautiful moments in akriyaban’s life. He feels a really appeasing presence in his heart and movesaround as if his heart bore a brazier within. He perceives that the center of his personality is not in the brain, but in hisheart; a different way of seeing life is born. He feels the assurance of adefinitive belonging to the heavenly dimension of the Beyond. Intoxicated by

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this new condition, comparing it with that of the mystics, he wonders if it ispossible for him to go on playing his worldly role without being paralysed bysuch a bliss! As the months go by, the effects are sometimes more difficult to bear.Lahiri Mahasaya wrote in his diaries that when the cardiac plexus is struck -by means of the Thokar technique - the Prana that is linked to the breathing is«directed inward; a spontaneous state of profound absorption catches thepractitioner, bringing him or her into a condition of stability and quiet for aprolonged period of time. Thokar opens the doors of the inner temple». Hewrote that the kriyaban will be touched deeply and will learn to see whatothers cannot or do not actually want to see. The heart knot is the main cause for people’s tendency to be influenced byothers, churches and by organizations in general. Noticing how manyillusions religions and cults propagate, one’s participation in other people’ssorrow grows. He may feel sorry for all those people who - in the abyss of atragedy - keep on imploring their God; not with a true genuine religious spiritbut with a beseeching attitude in order to avoid even worse calamities. Attimes, the sentiment of this devastating reality fills one’s heart with tears, andis experienced as a painful grip tearing the chest apart. However, this is afleeting experience: after this comes such a high intensity of love that theexperience turns into an experience of "blissful" pain. Every session of Thokar amounts to digging a stream of inspiration out of thearid soil of one’s acquired indifference, where the waters of primitiveaspiration can flow once again. Like a hammer, the Thokar destroys the grey walls of the prison one has builtaround oneself; it clarifies some complex psychological mechanisms whichnormally lead one to taking wrong decisions and to a daily violence towardsone’s necessities.Life is hard; when the moral fibre of a man is wounded, this fundamentalcontact is not possible via the normal means of self-analysis. The healingdoes not occur through intelligence and comprehension but through alimitless burning intoxication which can be obtained only through theThokar. The impact of Thokar performed with passion can disentangle onefrom oneself and from one’s present life circumstances, and offer a higherway to a new life.

Fourth Kriya

The Gayatri Mantra is considered to be a supreme vehicle for gaining spiritualenlightenment. Its purest form is Tat Savitur Varenyam Bhargho Devasya DhimahiDhiyo Yonaha Prachodayat. (Oh, great Spiritual Light who has created the

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Universe we meditate upon Your glory. You are the embodiment of Knowledge.You are the remover of all Ignorance. May You enlighten our Intellect and awakenour Intuitional Consciousness.) This Mantra is prefaced with either a short or a longinvocation. The short invocation is: Om Bhur, Om Bhuvah, Om Swaha.The terms Bhur, Bhuvaha, Swaha are invocations to honour the three planes ofexistence (physical, astral and causal respectively) and to address their presidingdeities. The long invocation is: Om Bhur, Om Bhuvah, Om Swaha, Om Mahah, OmJanah, Om Tapah, Om Satyam. This invocation is more complete since itrecognizes that there are more planes of existence: the seven Lokas.Mahah is the mental world, the plane of spiritual balance; Janah is the world ofpure knowledge; Tapah is the world of intuition; Satyam is the world of Absolute,Ultimate Truth. We can be satisfied with the explanation that these are the sevensounds which activate our Chakras and connect them to the seven great spiritualrealms of existence. Through this procedure, a spiritual light is infused in eachChakra which reveals itself as a vibrational rhythm in the Kutastha. In the Fourth Kriya technique we use only the complete opening long invocation,not all the parts of the Gayatri Mantra. The tradition [see Lahiri Gita and PranabGita] ties Manipur with Om Mahah and Anahat with Om Swaha. The reason is thatthe world of thinking, evoked by Om Mahah, is more fit for the nature of the thirdChakra, while the causal world of pure ideas, recalled by Om Swaha, is related toAnahat Chakra. In conclusion we associate a Mantra to each Chakra in this way:Muladhar - Om Bhur; Swadhistan - Om Bhuvah; Manipur - Om Mahah; Anahat -Om Swaha; Vishuddhi - Om Janah; Medulla - Om Tapah; Bindu - Om Satyam.(Regarding the pronunciation of the Sanskrit Mantras, the reader should be able tofind this information on the internet.)

After a short practice of the Third Kriya, the breath is softly calmed down,and the internal light perceived in the heart Chakra reveals the Kutastha. The conscience is totally settled in that light. From there a part of theattention goes down towards the first Chakra. During a short inhalation (ofone or two seconds) this Chakra is imagined to be raised into Kutastha, to beseen (visualized) herein (precisely: rediscovered there) as a bright "moon". 25 The lifting happens in an instant - it is not a movement of energy like inPranayama. One then performs the mental chanting of Om Bhur at whichpoint the intuitive perception of the vibrational rhythm of the MuladharChakra occurs within the Kutastha. 26

25 It is also possible to visualize the Kutastha like a tunnel starting from the pointbetween the eyebrows and protruding forward like a horizontal proboscis in the spacein front of the body: having crossed its opening, we first find the light of the Muladhar,then, moving forward, the lights of the other Chakras.

26 A very slight oscillating movement from left to right of the head can be carried out,only at the very beginning, then it must diminish to immobility.

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Thirty six repetitions of the Mantra are carried out. A kriyaban discovers thathis breath is almost non existent or perfectly absent. Once the 36 repetitionsare completed, a kriyaban inhales shortly and, with a calm exhalation, bringsthe Chakra back down. To give an estimate, the process of 36 repetitions maylast about two, two and a half minutes. The same procedure is repeated foreach Chakra up to the Medulla. While in the beginning the light sensation might seem to be the same forevery Chakra, later on it becomes something particular for each one of them.A kriyaban learns to sense the «different rhythms of the Chakras». Hebecomes intuitively aware of the Chakras’ true location - which are not in thespine, but in the Kutastha. Once a kriyaban is able to see the Spiritual Eye and the tiny star inside,he should then direct all his concentration on it while mentally chanting OmSatyam at least 36 times. No effort should be made in controlling ormanipulating one’s breathing pattern – whether one is breathing or not. If one is not able to see the tiny star, one ought to wisely use its trigger pointwhich is the Bindu in the occipital region: from the Kutastha one moves backinto the Bindu, where Om Satyam will be repeated from 36 up to 200 times.At this point one can enter the Paravastha state or reverse the procedure bygradually "lowering" one’s attention to the Medulla, the cervical Chakra, theheart Chakra ….. mentally chanting the respective Mantras.

Effects of the technique of raising the Chakras The technique of raising the Chakras into the Kutastha leaves its mark fromany point of view. A kriyaban discovers that even with lesser doses than thoseprescribed one can obtain astonishing results. The strong concentration applied on the Kutastha and Bindu - either in thefantastic situation in which one is able to see the tiny white resplendent starinside the Spiritual Eye or concentrating on its trigger point in the occipitalregion —creates a great psychological order extending to all the aspects oflife, from any point of view. This process touches those regions of one’s psyche where one never focusesone’s awareness; a kriyaban develops the ability to see one’s life as it really isand realizes the reason for many wrong decisions. The ego is not just a function that needs be made transparent and destroyed;rather, it is the ego that sets up a complicated mental structure based onincorrect ways of reacting to certain stimuli. It can be destroyed with the workin Bindu. As days go by, the ego’s more subtle tricks suddenly becomenoticeable.

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Leaving aside the psychological effects and concentrating upon thesubtle, esoteric ones, this technique’s most delicate aspect - the ability todistinguish in the mirror of the Kutastha the Chakras’ different rhythms -enriches the Omkar experience in a way that is impossible to graspintellectually. If, up to now, a sort of "veil" prevented contemplation of theSpiritual Eye, via the use of this technique - especially by prolongedconcentration in Bindu - this obstacle will suddenly disappear. 27

A stable transformation is perceived while performing the daily practice ofPranayama. This technique becomes more beautiful: one seems to have alaser in the Kutastha. Pranayama happens without any effort; the stimulus tobreathe in is naturally accompanied by the sensation of energy climbing up.Kutastha is the unique motor of this movement of energy, which becomesstronger and stronger; strong experiences take place in the spine.

BreathlessnessSince I’m writing from experience, not from books, I cannot but underlyinghow important is the practice of Japa. After a day of Japa, the breathless stateblooms after the practice of Thokar. In the beginning of each Kriya routine, during each Pranayama exhalation, itis important to perceive the irradiation of each Chakra that shrouds the body’sinternal organs. After Pranayama, a minimal dose of Omkar Pranayama is practiced; this isfollowed by the favourite form of Thokar which should not exceed 12-18rotations. Then, with the purpose of calming the psychophysical system, atleast six Omkar Pranayama breaths are taken. Then, during a deep mentalPranayama , the breathless state appears.It commences in the body, in its cells, with a fresh sensation of energysustaining each individual atom.The concentration is directed on the Chakras - a 10 seconds pause in eachone of them is the minimum time - they are felt as knots which unravel assoon as they are slightly "touched" by some anticlockwise rotations of one’sawareness. A striking perception of immobility, together with an innerlightness and utter mental transparency is the first mark that one is movingalong the right direction. It is important to go ahead simultaneously awareboth of the Chakras and of a fresh energy sustaining each cell of the body.The breathing process becomes like frozen. This state does not produce anyinner throb of surprise, anxiety or tension: a kriyaban is not upset by thethought: «I am not breathing»; he feels a fresh energy enlivening his cells

27 Some schools give great importance to the concentration on the Bindu: they affirmthis is the best way to climb up to the Sahasrara dimension beyond duality.

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from inside, and fully enjoys a new state of living where there is no need tobreathe at all. An incomparable sense of inner freedom - which will never beforgotten - is its result. If a kriyaban, engulfed in this dimension, sits for along time, he experiences an elation that nothing else in life can give.It is an unbelievable state - compared to it, the common way of living issuffocation.In my opinion, during his first year of practice, a kriyaban should not aim atreaching this state. It can only come after there has been a considerablechange in one’s emotional sphere. The required change calls for a couple ofyears at least; it starts with the vertical processes of Navi Kriya andPranayama. It grows and strengthens itself by increasing gradually thenumber of repetitions of any form of Thokar.

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CHAPTER II/4… DEVELOPMENT OF THE HIGHER KRIYAS

In chapter II/2 (the present chapter is its ideal sequel) we have tried todevelop a sequential order to the many variations of the Kriya techniques.We have not restricted ourselves to describe the positive effects of eachtechnique separately - but tried to find a meaningful way of classifying them.We have considered three main sections: A, B and C, each one aimingrespectively at tuning with a different aspect of the Omkar reality. In this chapter we are going to follow the same classification system.28

By reading this chapter it will become apparent what great benefit a kriyabancan receive by familiarizing himself not only with the basic procedures of theHigher Kriyas, but also with the following sets of variations.

SECTION [A] The schools which aim at enhancing the tuning with Omkar in the aspectof inner sound vibrations until it reveals the spiritual light in the upper part ofthe head, present the Kriya’s higher steps in a very simple, essential way. TheSecond Kriya is not intrinsically different from the mental Pranayama; theThird Kriya is a mild, very interiorised form of Thokar; a deep absorption inthe Anahat sound and in the light in the upper part of the head is the essenceof the Fourth Kriya.

Second Kriya [Variation K2A][I]…A kriyaban fragments his breath: each portion of breath creates astimulus on a different Chakra. Each syllable of the Sanskrit Mantra "OmNamo Bhagavate Vasudevaya" is connected with a different fragment of thebreath.The inhalation is divided into six parts, like sips; the physical sound of "aw-aw-aw-aw-aw-aw" is made in the throat. During the first "sip", theconcentration is on the Muladhar, where the syllable Om is mentally chanted;during the second "sip", the concentration is on the second Chakra, where thesyllable Na is mentally chanted … and so on, until Ba is mentally placed inthe Bindu and the inhalation is completed.

28Of course not all the variations I have heard of are now described. It is possible thatsome among Lahiri Mahasaya’s disciples taught the teachings received from Himmixed with tantric additions. Some Kriya Acharyas (teachers) had a carefreerelationship with facts, not clarifying which was the original part of their teaching.They did not disclose these details because they thought that their techniques would bepractised with greater care if they would have been taken as the original Kriya. Perhapsin future I will include other variations in a proper appendix.

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The breath is then held, the chin is brought down towards the throat cavity,and the head then resumes its normal position. The head bends slightlytoward the left shoulder, without turning the face, and then moves back intoits normal position. The head now bends backward, and afterwards the headmoves back into its normal position. The head then bends slightly toward theright shoulder, without turning the face, and moves back into its normalposition. The chin is brought down towards the throat cavity, then the headresumes its normal position. Then the exhalation starts.The exhaling breath is divided into six punctuated parts, or pulses (shee-shee-shee ..etc); during the first of these parts, the syllable Te is chanted in theMedulla; during the second one, the syllable Va is placed in the fifthChakra… and so on … Su… De… Va, until Ya is mentally verbalized in theMuladhar. This procedure is repeated for at least six breaths. The timing depends on theindividual; usually it is approximately 15-20 seconds for each complete roundbut it can be longer.[II]…Then a kriyaban forgets the breath wholly. He concentrates on eachChakra while listening for the inner sound.Although some close their ears with their thumbs by pressing the tragus, 29 thelistening is enhanced with varying repetitions of each one of the syllables ofthe twelve letter Mantra while concentrating on its vibration until it turns intothe inner astral sound of the Chakra .One associates the repetition of Om, Om, Om, Om ...(many, many times) withthe first Chakra; Na, Na, Na, Na ... with the second one…Mo, Mo, Mo, Mo…with the third one etc. The rhythm is about one or two syllables per second. One stops at each Chakra for one or two minutes going upwards anddownwards along the spine, following the same path and order of the initialtechnique of Om Japa and mental Pranayama (including the Bindu andMedulla). All the effort is directed in making each syllable a mild yet effective way oftouching a Chakra with our consciousness. It is recommended to complete 6-12 rounds. One will have the experiencethat just three rounds of the technique will produce a very deep state ofintroversion.

29 One can rest the elbows on a support. This method is described clearly in the HathaYoga Pradipika 4:68. «Sitting with the Shambhavi Mudra, one should close the ears,eyes, nostrils and mouth. Then by listening to the inner sound - inside his or her rightear - one should explore the crystalline passage of the Sushumna which has beencleansed of all its impurities»

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Third Kriya [Variation K3A]The Third Kriya aims at increasing the pressure upon the heart Chakra, thusincreasing the listening to its typical bell sound. This technique is practice atits best after Second Kriya but can be also practiced independently. Theimportant condition is that a kriyaban is very calm with all his attentionturned inside, with an almost non perceptible breath. The practice beginswhen the chin is brought down towards the throat cavity. Here it remains for afew seconds (3-6 or more): a mental pressure is exerted upon the fourthChakra. One may perceive only a slight increase of his awareness in thatChakra and a warm sensation as well. Both will intensify and turn into aneuphoric sensation as the technique is carried on. Then the head resumes itsnormal position and a kriyaban concentrates on the pressure in his head. Hehas learned to sense it (and to evoke it easily) both through the forwardbendings [see chapter II/2 part A] and through Omkar Pranayama (during thebarely hinted head rotation). The practice of Kechari is of great help.Then his head bends slightly toward the left shoulder, without turning theface. He stops there for the same time as before and exerts a mental pressureupon the fourth Chakra. It is clear how the technique goes on: the head comesup, pressure in the head is perceived…goes backwards, pressure in the heartChakra… comes up…The movements of the head are therefore those described in the Second Kriyabut slower. The bell sound coming from the heart Chakra becomes the uniquefocus of the concentration, it increases its intensity with the repetition of themovements. There may be different uses of the Mantra. One is the following: Om isthought during the first movement of the head, Na during the second… Eachsyllable (which can be repeated in the same way of the Second Kriya) is asmall stimulus of the heart Chakra.By the time the whole Mantra is said, the head has accomplished threerotations. One starts with 12 rotations [= 4 repetitions of the Mantra = 4 x 12= 48 movements of the head] and increases of one per day up to 144 rotations[= 36 repetitions of the Mantra = 36 x 12 = 432 movements of the head].At the end, a kriyaban has a long pause in the heart Chakra with the chintowards the throat cavity.

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Fourth Kriya [Variation K4A]As Lahiri Mahasaya wrote, now that the Prana is «directed inward» and the«doors of the inner temple are opened» a kriyaban enjoys the profoundabsorption in the Anahat sound. Once the practice of the Third Kriya is over, after having lifted the chin, hedraws a depth breath and is about to enter the deepest phase of meditation. He encounters different internal experiences; two are of particularimportance: the first one is a particular feeling in the spine, the second is themanifestation of a marvellous light in the crown of the head. The general sensation of immobility is such that the body seems to be likethat of a statue: the backbone seems to have become like a steel bar thatextends from the Muladhar to the Fontanelle. Until then, one has never had asuch a strong experience of the spine. While this sensation happens almost immediately, the light is perceivedlater. We can describe it this way: it is as if the crown of the head, inparticular the superior part of it, with a crepuscular light.When the light perception is clear a kriyaban concentrates only on it.In the opposite case he get near it by going on repeating the Mantra in theheart Chakra; if he is able to perceive the pulse of his heart, he synchronizesthe repetition of the Mantra with this pulse. When he begins to perceive light at the top of his head, he can explore thepassage of Sushumna by perceiving light in each Chakra’s location. Bypausing himself in the various Chakras, as it happens in the mentalPranayama, he has a particular realization. He realizes that each Chakra’slight is the same light at the crown of his head. At a certain point, a kriyaban realizes he is in the Kutastha. He knows he isthere: it is a very powerful realization. The experience of the small star or the dot bright as the light of a millionsuns, appears later, sometimes a lot of time later.

SECTION [B]

In part [B] of chapter II/2 we have described a remarkable intensificationof the mechanism of Pranayama.The schools aiming at bringing one closer to the Omkar’s light aspect, teachthe same kind of intensification of the Thokar procedure.

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Second Kriya [Variation K2B]With one’s chin on the chest, a kriyaban slowly inhales and starts raising theawareness along the spinal column, touching the spinal Chakras with thesyllables (the syllable Om is placed mentally in the first Chakra, Na in thesecond one, Mo in the third one, Bha in the fourth one, Ga in the fifth one andBa in the Bindu); while simultaneously the chin is raised as if to follow theinner movement of awareness. During the inhalation, the muscles at the baseof the spinal column remain contracted and the hands (with interlockedfingers) are placed upon the navel area so as to push the abdominal regionupward, thus creating a mental pressure on the first three Chakras.The rising energy touches the internal part of the spinal column, mentallyentering each Chakra. When the chin is up, horizontal, the inhalation endsand the perception is now at the Bindu. During this process the breath andmuscle contraction are held. Without turning the face, the head moves towardthe left shoulder, then it returns to the starting position while at the sameraising the chin up as much as possible; a contraction of the neck’s rearmuscles follows. (The position is that of the second part of the Navi Kriya,with the head fully back.) During this movement, a light sensation in theBindu center descends to the left, curving and entering the Medulla. A shortpause (about one second) in the Medulla makes the kriyaban aware of theillumined portion of his head over the Medulla. The eyebrows are raised, atwhich instant the kriyaban intensively practices the Mula Bandha; thus givinga thrust to all the energy present in the lower abdomen towards the upperChakras and, from there, injecting it into the Kutastha by thinking of thesyllable Teeee while directing the energy from the Medulla to the Kutastha.When the energy hits the Kutastha it explodes in the great golden-white lightof the spiritual eye. A kriyaban who has the tongue in the Kechari Mudra position, by making aneffort to go higher and forward with the tongue, will experience the feeling ofhaving reached and touched the Kutastha.From that chin-up position, the face turns to the right and then to the left:during this movement the fifth cervical Chakra is perceived and the syllableVa is mentally vibrated in it. Then, from the left position, the chin strikes themiddle of the chest and the syllable Su is vibrated in the heart Chakra. The muscles at the base of the spinal column are relaxed and, while exhaling,the remaining syllables De, Va and Ya are placed in the third, the second andthe first Chakras respectively. For some weeks, the kriyaban is guided torepeat this technique 12 times. Then he is guided to gradually increase therepetitions up to 24-36 times. In the presence of physical problems (thecervical vertebrae are very sensitive!), mindful and delicate movements arecrucial.

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Second Kriya: variation K2B*We may observe that the light perception in the Medulla crosses the fifth Chakra,winds downward and enters the heart. This inner flow connecting the three higherChakras - Medulla, fifth and fourth - with the Bindu, is an approximation of theTrivangamurari movement (three-curve movement) which we are going toencounter in section [C]. There we shall see how it is possible to consider avariation of Thokar which strikes the underlying Chakras.In anticipation of such an important procedure which helps to unfasten the knot ofMuladhar-Kutastha, it may be interesting to preface with introducing a simpler wayof obtaining the same effect.

Figure 6. How Thokar can strike the underlying Chakras

After the syllable Su is placed in the heart Chakra, while retaining the breath,another striking movement is repeated and mentally directed toward the thirdChakra, where the syllable De is vibrated. It is repeated once more and theconcentration is directed toward the second Chakra where the syllable Va isvibrated. Finally, it is repeated one last time and the concentration is directedtowards the first Chakra where the syllable Ya is vibrated.At this point, the headremains still while a slow exhalation takes place increasing the concentration on theMuladhar Chakra. This procedure can be repeated a few times.At the end of the whole procedure, a kriyaban may lift his body just a fewmillimetres with the help of his hands and then releases it. The buttocks touch the floor with a mild jolt, thus the energy at the base of the spinewakes up and is followed by an ecstatic feeling. This action, called Maha Veda

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Mudra, (Veda means perforation, obviously of the knot of the Muladhar) can berepeated up to nine times - always holding one’s breath, followed by a slowexhalation. This delicate variation of the technique is practiced only once a day! It isvery important that it is followed by a long concentration on the energy that is feltradiating from the Muladhar, touching each Chakra. The chin may either be downtowards the chest or parallel to the ground; while the breath may either be present ornot, it may either short or long. All one’s concentration should be focussed on therise of energy inside the spinal column.

Third Kriya [Variation K3B]As we have seen previously in the Third Kriya technique, the movements ofthe head are repeated while holding the breath. Let us remember the pointabout turning one’s head [see Third Kriya in chapter II/3]. The sameprinciples are applied here.

Fourth Kriya [Variation K4B]If we consider the technique of the Fourth Kriya (discovering the Chakras inthe Kutastha) as explained in the previous chapter, we understand that it is theperfectly model for enhancing the light aspect of the Omkar reality. I take this opportunity to inform that not all the schools employ the initial partof Gayatri Mantra; one can use different Mantras (even the classic HathaYoga’s: Lam, Vam, Ram, Yam, Ham, Om or Lam, Vam, Ram, Yam, Ham,Sham, Om… just in order to have seven syllables or those of the twelve letterMantra Om, Na, Mo, Bha… there are plenty of variations).The traditional teaching of visualizing the Kutastha as a sphere containing thesix Chakras in a stack is also not essential. The crucial aspect is the effort indiscovering, and feeling each Chakra in the Kutastha as a vibration of light.Lahiri Mahasaya’s sentence, which summarizes this technique: «a kriyabanlearns to detect the different rhythms of the Chakras», is enigmatic. The truthis that a kriyaban discovers what these rhythms, these light vibrations are -with a great amount of patience and constant application of the technique.

Optional technique: r aising the Chakras into the Sahasrara I think it is worthwhile sharing the following technique, which some utilize tocomplete the effect of the Fourth Kriya and foster the Paravastha state. "Foster" inthis case does not mean to cause or create – adding another technique for thispurpose, to the many already described, can be useless and distracting. However, itsdiligent employment, extended for at least three months and then dropped, can builda psychological mechanism to seek and enjoy the Paravastha state for longerperiods after each day’s Kriya routine. Of course, if this completion yields anyvaluable results this is because the Fourth Kriya has already established a good,sound basis for the use of this technique. Concentrating on the Kutastha and findingthe rhythms of the Chakras there is irreplaceable!

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In this technique, the Mantra Om Namo Bhagavate Vasudevaya is utilized. A kriyaban raises his eyebrows and perceives a dim light (like twilight) in theupper part of his or her head. The crown of the head can be ideally divided intotwelve parts: the first six on the right side, starting over the Bindu, the remaining sixon the left side coming back to the starting point. The technique starts with focusing on the Muladhar Chakra. Thanks to a shortinhalation (about one - two seconds), this Chakra is mentally raised into the first ofthese twelve parts. The concentration is simultaneously placed on the Chakra andthe first part of the crown of the head. As we have discussed in the previous formsof the Higher Kriyas, the breath is harmoniously held. An inner swinging sensation,accompanied by the mental repetition of Om Om Om Om ..., is perceived there. Thisgoes on for about 36 repetitions of "Om". At the end of it the repetitions, a shortexhalation brings that Chakra back down. The concentration moves to the secondChakra which, in the same way, is raised into the second part of the crown of thehead. There, the kriyaban tries to perceive the inner swinging sensation and repeatsNa Na Na Na ... for about 36 times. The same procedure is repeated in the variousparts of the crown while the concentration moves to the third Chakra, the fourth, thefifth, the Bindu, the Medulla and back to the cervical Chakra ….Usually, after "one tour" the Paravastha state takes over.

SECTION [C]

In the section [C] of chapter II/2 we have considered a particular way ofpracticing the basic techniques, where breath had a minor role and someparticular positions or slight movements of the body had a remarkableinfluence. The schools that aim at bringing a person to the tuning with Omkarin the aspect of movement sensation, introduce striking modifications to theHigher Kriyas. 30

The scheme according to which the three higher stages develop, mirrors astructure similar to that which we have only just encountered in the presentchapter, section [A]: where the Second Kriya is a particular variation ofmental Pranayama; the Third Kriya is a particular form of Thokar. The30 Some teachers, unable to comprehend the subtleties implied by the teachings wehave discussed in section [C], affirm that these procedures do not originate from LahiriMahasaya. They maintain that they bring the awareness and the energy out of theSushumna. Alas, when a kriyaban hears that, he is led to ignore - maybe forever - suchan authentic treasure; especially if his initial experience with these techniques is not aspositive as he expected! The truth is that these techniques can be performed only aslong as a kriyaban is tuned with the inner channel Sushumna. In any other case, hewould perceive nothing. When a kriyaban’s awareness is in the spinal column, heperceives his own body not through his senses, but through Kutastha. During thiselevated state, the Trivangamurari movement is perceived and realized as one’s actualbody. This experience fosters the breathless state and is a perfect vehicle to transcendthe essence of Time.

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Fourth Kriya is a deepening of the techniques previous described andhappens in the phase of immobility. During all these processes, no holding ofthe breath is prescribed: instead, the breath is always free and calm.

Second Kriya [Variation K2C] Preliminary technique Amantrak (without Mantra ) With the help of the breath in the beginning, then later without this help, akriyaban learns how to perceive the inner movement Trivangamurari. Let us therefore consider the practice of Pranayama as it has been explainedin chapter II/2, [Variation K1C]. We saw that, from a certain point onwards, the breath becomes almostimperceptible. Now, during the exhalation, a kriyaban guides hisconsciousness through the body (not along the spine) drawing three curvesthat cut the Medulla, the heart Chakra and finally touches the MuladharChakra.

Figure 7. Trivangamurari movement in its macro aspect

In the beginning this perception doesn't happen in the exact way as it isshown in the picture: the whole thing is not far from the central axis. The current flow comes down from the Bindu into the Medulla movingslightly on the left side, enters the Medulla, crosses it and moves to the rightside, bending down in a way to reach the fourth Chakra, going through it,bending down and reaching therefore the Muladhar from the left. Then, witha slight inhalation, the awareness comes up inside the spine, reaches theBindu, then with an exhalation, all is repeated a few times.At a certain point, the intuition guides a kriyaban to forget the breath entirely.

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He raises his awareness along the spinal column up to touch the Bindu, moreslowly than the way he has done with the help of the breath: half a minute isideally required to raise the awareness; the same is required for descent.By coming down, the path becomes more and more similar to the one drawnin the picture. A pause of about one second is made in the Muladhar Chakra.One round is equal to one minute, but if it turns out to be shorter, let us say45/50 seconds, this does not mean that the procedure has been doneincorrectly.It is difficult to add more detailed words of explanation about how thisdeepest aspect of the Omkar reality, the Trivangamurari movement, isperceived. 31 It is not the effect or the projection of the head’s physicalmovement, it is a reality of its own.The four new centers (one at the right side, three at the left) along thedescending flux (Figure 7) - where, in the definitive form of the SecondKriya, we are going to place the syllables Va, Su, De, Va (Figure 8) – shouldnot be considered as new Chakras; they are only small "vortexes" of currentwithin the main current.Although a practitioner should not get upset in attempting to pin-point theirlocation, let us specify that the one on the right side is to be visualised in theback, about an inch above the right nipple’s height, whereas the next one, onthe left side of the body is situated in the back about an inch under the leftnipple’s height (Figure 7). Let us add also that all the movement takes place on a virtual plane containingthe spine. The secret of these technique hides in good concentration skills,immobility and in the ability to bear the power resulting from it.For two weeks, a kriyaban is guided to repeat this technique 25 times. Thenfor another two weeks he is guided to repeat it 50 times and so on up to 200times. After the completion of this number he can pass on the definitivetechnique of the Second Kriya.

Second Kriya proper: Samantrak (with Mantra ) The technique does not change, but the perception is intensified through thetwelve-syllable Mantra. Again, during this process the breath is forgotten.

31 Some claim that the Trivangamurari movement appears to them in the particularform of Krishna or Shiva. Thus they imply that only by having this vision one hasachieved the perfection of the technique. Without disputing with them, my opinion isdifferent. It is correct to say that the shape of prince Krishna, as depicted in theiconography, reminds us of the Trivangamurari form; his neck, legs and back are keptin a peculiar position clearly outlining these three curves, perhaps it implies the cuttingof the three knots -but that's all there is to it.

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Figure 8. Variation of the Second Kriya

While the inner movement rises, the syllables Om, Na, Mo, Bha and Ga areput into the first five Chakras, and the syllable Ba into the Bindu. Then it descends along the left side, curving until it reaches the Medulla; thisis where the seventh syllable, Teee, is chanted.At this point the inner flux moves toward the right side of the body, reachingthe "vortex" center where the eighth syllable, Va, is placed. It curves anddiagonally crosses the heart Chakra region and arrives at the left "vortex"center where the ninth syllable, Su, is vibrated. The syllables De and Va findtheir location on the left "vortexes" of the body along the inner movement’slast segment, and finally the syllable Ya in Muladhar Chakra.For two weeks, the kriyaban is guided to repeat this technique 25 times. Thenfor another two weeks he is guided to repeat it 50 times and so on up to 200times. After the completion of this number he may use this procedure on aregular basis in the routine, instead of the Mental Pranayama (with fair doses:24 – 36) or pass on the practice of the Third Kriya.

Third Kriya [Variation K3C]With the chin on his chest, (while forgetting the breath) a kriyaban startspracticing raising the awareness very slowly along the spinal column andtouching its respective centers with the syllables (Om Na Mo etc. are placedin the Chakras as in the Samantrak technique) while raising the chin as if tofollow the inner movement. When the chin is parallel to the ground, theperception is at the Bindu. The movements of the head are similar to those weare acquainted with by the practice of the advanced Thokar technique(discussed in section [B]), but they are far slower and this time there are five"strokes". The five "strokes" movement will be further elaborated below.

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Without turning the face, the head moves very slowly [not as fast as intechnique K2B] toward the left, then it returns to the starting position while atthe same time raising the chin up as much as possible; a contraction of theneck’s rear muscles follows.

Figure 9. Variation of Thokar

During this movement, the Trivangamurari flow has descended from theBindu center to the left, curved and entered the Medulla. Then the seventhsyllable, Teee, is vibrated in the Medulla. In that very instant, the light of thespiritual eye is also clearly perceived.From the raised chin position, the face slowly turns to the right, the chin iscalmly lowered until it reaches a position parallel to, and above the rightshoulder. During this movement, the inner Trivangamurari flow, like a lightstream, reaches the eighth center. 32 At this point the chin, being parallel to the ground and above the rightshoulder, touches the latter for an instant and it is in this very instant that thesyllable Va is vibrated in the eighth center. The shoulder also makes a smallmotion upward to make contact with the chin easier. This completes the first32 There is no doubt about the speed of the movement of the head: the Trivangamurariflow goes on more slowly than in the previous Samantrak and Amantrak techniquesand the head just accompanies it.

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of five strokes. Right after this movement, the face turns left in a very slowmotion, accompanying - millimetre by millimetre - the perception of the innerflux moving across the fourth Chakra.The second stroke similarly takes place on the left side, when the syllable Suis chanted in the ninth center. The chin, grazing the left side of the collarbone,then slowly moves toward its initial position in the middle of the chest.During this movement - exactly when the syllables De and Va are thought inthe tenth and eleventh centers - two light strokes are given to the collarbone inintermediate positions. In the end, when Ya is placed into Muladhar, the lastchin stroke on the chest (central position) is carried out.A pause of about one second follows.

Kriya teachers say that one round should ideally last one minute, but frompractical experience it lasts approximately 40/50 seconds.For some days, the kriyaban is guided to repeat this technique 36 times. Common sense helps him with any problems met while practicing thisprocess – here I am specifically referring to stress and pain in the cervicalvertebrae and in the muscles of the neck. Abrupt movements should beavoided; it is thus possible to reach deep mental concentration when thinkingof each of the five syllables in their respective centers. During the first weeksit is wise to not practice every day, but spread practice to every two or threedays.

Very important vertical processWe have previously discussed how important the concept of a vertical routineis. The resulting powerful inner transformation is an objective beyond reachthrough purely horizontal routine schemes. Up till now, while describing the Higher Kriyas, it has been shown how someenvisage a scheme of increasing intensity but this is not done according to thevertical routine.On the contrary, the classic form of the vertical process is applied to thistechnique: one practices one day a week with the following doses: 36x1,36x2, 36x3,….. 36x35, 36x36. After hearing this simple formula from the lips of his teacher, a kriyaban isleft alone to be guided by his intuition in order to face this colossal venture.

Fourth Kriya [Variation K4C]The Micro movement is the subtlest reality, the most elevated among theprocedures that the Kriya tradition has handed down to us. The procedure weare going to describe is also called Muladhara Granti Veda; in the course of

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performing it, the Om vibration (after having travelled throughout the body)reaches the knot of Muladhara and opens the door of the Sushumna.The teachers who carry out this version of the Fourth Kriya maintain thatmany yogic actions - described as helpful in loosening the knot of theMuladhar - result only in producing an even tighter lock on it, which isnoticed as a very annoying nervous state.Only deep ecstatic experiences originate from the correct practice of theMicro movement.

A kriyaban puts his awareness in the Kutastha, the breath is quiet and heforgets it completely. With a part of his concentration he becomes aware ofthe Muladhar Chakra - which is visualized as a horizontal disk or coin with adiameter of approximately an inch. The Trivangamurari movement in reduced dimensions (micro) - similar tothat already experienced in large-scale dimension previously described - isperceived on the virtual coin’s surface (Figure 10).

Figure 10. Trivangamurari micro movement inside a Chakra

This "micro" movement should initially be perceived without the aid of theMantra, as a reality going on by itself, and then with the help of the Mantra"Om Namo Bhagavate Vasudevaya", which is chanted mentally. While trying to perceive it without Mantra (this procedure is called Amantrakmicro: some kriyabans were instructed to work for months in this way beforeusing the Mantra) the perception of the pulse may help; usually patience isneeded in waiting for that pulse (even if faint or uncertain) to manifest. 33

During this phase the 12 points along the micro movement path are notvisualized.

When using the Mantra (this procedure is called Samantrak micro), it ispresumed that the movement sensation is already there: therefore the syllablesonly provide stimulation.

33 Actually, if one had the full perception of it, he would be in the Samadhi state.

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Every time a kriyaban feels that a part of his awareness is no longer in theKutastha - that his awareness has slowly glided down to the location of theChakra - he raises it again into the Kutastha by means of a slight inhalation.The same experience occurs in each of the other Chakras, in the Bindu, in theMedulla, in the four centers outside the spine and, again, in Muladhar. All the centers are visualized as horizontal disks: usually it comesspontaneous to visualize them as if viewing them from top. With time andexperience, this visualization develops into a personal one, also because thenthe notion of dimension (of up and down) is lost.The Mantra’s syllables are used like "little thrusts" to enliven the innermovement perception. Syllable after syllable, millimetre after millimetre, thismovement is revealed more and more. In the beginning one progressesslowly, then it all happens more and more swiftly – for many people eachmicro-movement lasts about 10-12 seconds. Its duration cannot be decided byone’s own preferences, but it is determined by an intrinsic rhythm; one mustalso keep in mind that Lahiri Mahasaya’s recommended: «Don’t be in ahurry!». Obviously, the number of times the Mantra is chanted in its entiretyis equal to the number of times the micro-movement is perceived. It goes without saying that if the researcher has no experience of the "macro"movement, he will hardly achieve the experience the "micro" movement. Thisis perceived if and only if he has worked honestly and properly with theprevious Kriyas.

The best practice is when the micro movement happens both in the Kutastha and in the Chakra ’s location .

Now let us clarify the number of times this micro movement is perceived ineach center; there exist different schemes for this perception. A veryequilibrated one is that of perceiving the micro movement 3 times in eachcenter and completing multiple rounds going up and down (one round, fromMuladhar to Muladhar, lasts 6-8 minutes). To practice 4 – 6 rounds seems asmall amount, yet it produces a great joy and an almost irresistible bliss. Thisis the optimal tool to reach the Samadhi state.

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Vertical process of the micro movement techniqueThis process is reserved for those who are no longer working. This is by farthe most challenging of all the vertical processes.On the first day, the micro-movement is perceived 36 times in each of the 12centers. There is only one round to perform: a total of 36x12 perceptions ofthe micro movement. After some days one perceives 36x2 = 72 times (72 times in the first Chakra,72 in the second…and so on). After some days one perceives 36x3, then 36x4… At a certain point, an entire day is not sufficient to complete the round. That is why the work-load must be divided into two days. 34 As per usual,between one stage and the next, some weeks go by. When proceeding further,a single stage may require three days, then four, and so on, until the final36x36 - which might require a week or longer to be completed!35

Remarks

Maybe the reader has already found Lahiri Mahasaya’s sentence: «Anyreligious path consists of four stages characterized by the untying of fourinternal "knots" (Granti): tongue, navel, heart and Muladhar». These knotstend to hamper the whole Kriya process; they cut us off from the infinitereservoir of energy all around us, nourish the world of superficial emotionsand thoughts - they are the root cause of our miseries. Since their intentionappears to preserve our ignorance indefinitely, they are like seals protecting«our right to pain and suffering» (an expression dear to Mére, the faithfuldisciple and successor of Sri Aurobindo).

Without the understanding of the knots, the variation of the Kriyatechniques could only seem to be a human eccentricity.Although they have a kind of mutual dependence (one is not independent ofthe other, nor does a full opening of one happen before we witness theopening of the other) we are going to describe them as if they were separatedentities - as if it were possible to work on each individual knot at a time.

34 On the morning of the second day, the technique is resumed exactly where it hadbeen interrupted the previous night.

35 During each stage, it is wise to keep silent, avoiding any opportunity forconversation. However, the use of common sense should always prevail; if addressed, apolite reply is always imperative.

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Tongue…This knot occurs due to the fact that our tongue does notnormally reach the uvula and/or certain centers in the palate. Thus we are keptapart from the reservoir of energy in the Sahasrara region. Kechari Mudramakes this contact possible. Besides the recharging of fresh vitality,unequalled moments of pure calmness and mental silence fill the entire being:the mind begins to lose its despotic role!

Navel… This knot originated from the trauma of cutting the umbilicalcord; resulting with a consequent fracture inside our being. A singular, uniquereality was split into two parts: the spiritual side of man, which manifests asjoy and calmness, established itself in the higher Chakras and in the head; thematerial side in the lower Chakras.Such a split is the permanent source of many miseries: if the original unity isnot recomposed, at least partially, there can be no lasting happiness.To unfasten this knot, the abdominal breathing of Pranayama cooperates withthe various forms of Navi Kriya.The awareness crosses the "door" of the navel and reaches the seat of theSamana current, in the lower-medium part of the abdomen. This regioncontains the state of peace we enjoyed before our birth. In Chinese mystical literature the process of entering this region (into the DanTien) is designated through expressions like: «Coming back to the center»;«The union of heaven and earth»; «The birth of the golden flower»; «Thecreation of the dazzling gem». The ensuing psychological transformation is the unification of all the differentfacets of one’s personality, the discovery of a unique internal threadconnecting all the past actions with the forces that are currently bringing ourspiritual aspiration forward.

Heart… Until the heart knot is unfastened, we cannot have a realexperience of the spiritual reality: the heart beats madly as soon as somespiritual experience is approaching us and abruptly destroys calmness and thestate of consciousness we have gained with so much difficulty. From the heartoriginates "compassion", a keen desire to help suffering humanity - but alsoman’s tendency to be influenced and deviated by other people. It is the rootcause of the attitude to accept as truth only what is displayed within the frameof magnificence.This knot is to be blamed for the superficial emotions that nourish the worldof thoughts which cover and suffocate the kingdom of deeper feelings. Man easily yields to negative moods and reacts to them by surroundinghimself with little pleasures.

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These small enjoyments not only dissuade him from superior attainments butessentially prevent them. He is not able to enact the unique "drama" of hislife: it is as if, contented with trifles, he continually postpones the moment ofliving it truly. His life is a parody of what it could have been.In Kriya one achieves the unfastening of this knot by means of prolongedconcentration on the heart Chakra and particularly through listening to thebell sound originating from it. A consistent help comes from the variousforms of Thokar: the techniques in which the fourth Chakra is struck directly(as in the basic form or in the advanced variation K2B) and those in which thefourth Chakra is crossed - "cut" (as in K3C).

Muladhar…This knot embodies the impossibility (or difficulty) oftaking away energy from the body and guiding it inside the subtle channel ofthe spine. The action of the two unbalanced lateral currents of Ida andPingala create a powerful obstruction at the base of the spine, blocking one'sefforts to enter the subtle Sushumna channel. Ida and Pingala Nadis keep on exerting a disturbing effect in the eyebrowsKutastha spot. They are referred in some texts as the Avarana and Vikshepacurrents - two forces deviating and deluding a kriyaban's effort to see andmaintain stable the vision of the spiritual eye. It is correct to remark thatanyone who practices a certain meditation discipline has some amount ofcontrol upon these currents, otherwise meditation itself would be impossible. To unfasten this Muladhara-Kutastha knot, an intense action is exerted onboth ends of the spinal column. In order this action can fulfil its purpose, it isnecessary, during Kriya practice, to maintain a meditative state situated on anideal line between sleep and wakefulness.It requires a real depth in the techniques and often one has to return to hisown footsteps to recuperate an equilibrium state which erroneously wasdeemed as permanent. All the set of the Kriya techniques operate towardsmaking equilibrium state a solid conquest. In this ideal, mature situation, the Omkar sound will manifest and its lightaspect revealed: this is the best event to make one's awareness cross theMuladhara-Kutastha knot and enter Sushumna.As the Kriya action goes ahead, a kriyaban perceives the Spiritual eye, is ableto enter it and the time bound consciousness dissolves. When his awareness isestablished in the Sahasrara Chakra, he can live the equilibrate life of a wiseman and achieve final emancipation. In the beginning of the path, Maha Mudra and Yoni Mudra embody the mainaction upon this knot. Yoni Mudra marks the last moment of the day when,

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having concluded all activities, a kriyaban withdraws his awareness from thebody and from the physical world: a "small death", so to speak.Those techniques which are generally classified as Fourth Kriya are a YoniMudra in greater dimension, since they are practiced in the last part of akriyaban's life. It is explained that they help to burn forever the necessity ofreincarnating.In section [C] we have introduced the micro movement procedure: theprocedure to «die forever» - to die at one's desires, at one's ignorance.Let us avoid the use of mythical and pompous terms such as Mahasamadhi(the conscious exit out of the body, at death) and consider what can be donein order to be fully aware during the process of dying. A kriyaban willpeacefully accept the natural decadence of his body, including some physicaldisturbances together with their consequent pain. There is no aversiontowards the needs of the body, rather a deep respect for it. When the rightmoment comes, death's mechanism (usually shunned by our most rootedinstinct) is invited by calming the heart and by merging deeply with theOmkar reality. There exists no secret technique 36, only an already acquiredability. It happens when the infallible spiritual intuition feels that the momentis right, not earlier.

In conclusion, if we have considered the three forms through which theOmkar reality can be approached, this was not just for satisfying anintellectual pleasure - such as that of considering three different theoreticalvisions of Kriya, showing the beauty of each one of them.The main reason has been that of introducing a fundamental principle: akriyaban, as soon as his internal knots begin to yield, necessarily meets eachone of these aspects of the Omkar reality and in the described sequence. 37

36 A kriyaban can get ready for this fundamental rendezvous with the infinite Source,by completing 36x48 perceptions of the micro movement for each center, this meansthat he perceives a total of 20736 micro-movements. A minimum of 12 days is requiredbut it is wise to live this experience in 24 days; in this way, each day he may enjoysome light physical activity, like a walk. An intensive use of the micro movementtechnique characterizes that phase of life in which all the other desires andpreoccupations are defeated by the overflowing enthusiasm to dive all the way into therealm of Spirit - with the certainty that, this time, it is going to be forever! It mighthappen that, during the last instants of a kriyaban’s life, he will be lucky enough to bepracticing Thokar. He will perform just one Thokar and stop the heart: he will apply somuch mental strength to the stroke, that he will withdraw the very energy that keeps theheart throbbing. It might happen that it will not be possible to perform the physicalmovement of Thokar. He will do his best to remain aware during the last instant: thenmerge in the micro movement in Kutastha and then go out….

To experience that, is his ardent hope and determination.

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He crosses different phases of development in which his tuning with Omkarvaries in intensity and quality.In different periods of his life a particular set of techniques may be moreadequate than another.Although the Higher Kriyas in their basic form as presented in the previouschapter are more than enough to reach the Divine Goal; I thought it wasinteresting to also present these three visions.As we have seen, reaching the manifestation of Omkar in the aspect of soundmarks the greatest part of the work related to the opening of the knot of theheart.Approaching the aspect of Omkar as light is essential for the work on theknot of the Muladhar - Kutastha. The delicate, fascinating experience ofOmkar as internal movement leads a person into the final dimension ofmeditation, which is no more than that of contemplating the Last Reality asfrom a certain distance - but that of letting oneself be "touched" by it. It is thiscontact that marks the moment in which the Ego and the mind let go of theirhold and the purest and truest dimension of existence appears.

37 As a spontaneous experience, which often happens to a kriyaban, this may nothappen and, for instance, an overwhelming experience of light may happen before thatof an inner sound.

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CHAPTER II/5… PRANAYAMA WITH INTERNAL BREATH

The digression on the Kriya techniques could stop here, with the previouslygiven descriptions. This could be the best thing: being partly simple (chaptersII/1 and II/3) while the rest is more intricate for those who are more curious.But since it is not my intention to make such a perfect thing, and I would liketo share -for the benefit of the researcher - each painstaking detail that Isucceeded in picking up, I will now try to deal with a difficult point, aboutwhich – I’m stating this without any problems - I am not entirely sure. Yet, itfascinates me like few other things.I am going to examine the concept of Pranayama with internal breath: whatit is, when does it happen and what are its implications.We shall see how such perfection of the Pranayama technique embodies thedeepest implication inherent to the concept of mystical realization, whichusually eludes the practitioner at the initial attempts.It is apparent that to a person who has not yet mastered the First Kriyatechniques and has not consecrated some years of his life to the HigherKriyas, this discourse will only satisfy an intellectual desire to understand thetheoretical aspects in its entirety. A strong point in my investigation is Lahiri Mahasaya’s sentence: «Followingan excellent Pranayama, the breath is wholly internally oriented. After a longperiod, today my descent has been fulfilled.» (Puran Purusha)! It seemsevident here that He did not simply refer to the movement of energy asperceived with the deep breathing process of the Kriya Pranayama.

Let us define Pranayama with internal breath: it is a spontaneousmovement of energy, which is similar to the one set in motion by thePranayama breathing technique, but it proceeds entirely independent from thebreath. This movement starts from the Muladhar and comes up in anindistinct way - not always giving the feeling to be confined to the backbone -and moves down through the whole body markedly as to bring vital energy toeach of its cells. During this event, the breath may go on freely in animperceptible way or be entirely absent – often a kriyaban is not even awareof which of the two alternatives is happening in his body.

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Comparison in the literature

#In Ancient China’s Internal Alchemy this experience is called: GreatHeavenly Circuit (Macro Cosmic Orbit, Cosmic Rotation).It is explained that in the basic breathing exercise of the Micro Cosmic Orbit(similar to Kriya Pranayama) four currents operate.Two are made by the energy of the air coming in and out of the lungs, thenthere is the current coming up along the spine during inhalation and the onecoming down during exhalation. These two internal currents are separatedfrom the first two, tied with the movement of the air, and follow differentdirections. The Micro Cosmic Orbit is called the "fourfold immortalbreathing". The purpose of the practice is to have only the two internal currents,annihilating the external ones. Where lies the key point?During exhalation, the internal current tends to follow, at least partly, the pathof the breath and has a strong tendency to relinquish the body. It is for this reason that the aspirant Taoist is taught at the end of inhalation to‘gulp’ the breath and, during the ensuing exhalation, visualize the breathflowing inside the body. Breath after breath, the Taoist converts the exhaling breath into a totally innerevent. There is no more effort in guiding the energy, it proceeds by itself inthe right direction, inside the cells of the body.In the Great Heavenly Circuit (our Pranayama with internal breath) only thetwo internal currents remain: this is an extraordinary event. In the internal Alchemy’s literature we find different evocative reports of howthis repeated attempt to internalise the breath creates quite a special state. It issaid that one’s body becomes as light as if one is walking on air. There aredescriptive sentences such as: "flying up in broad daylight".

# Mére aimed at bringing the spiritual life into Her body, continuallycharging this action up with a superhuman aspiration for a new way ofexisting - in order to encounter the Divine not in the heavens but in thedimension of matter. We know that Her Mantra was: Om Namo Bhagavate,and that She started repeating it while walking to and fro in Her room. Herexperiences are similar to those obtained by the free movement of energy inthe cells when the breath is wholly internalised.Her Mantra easily made its way through the various layers of Her conscience- thoughts, emotions, instincts as well - until it lighted a negative layer as thebase of all impossibilities - the origin of every feeling of desperation,deposited therein during the course of entire millennia.

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It took Her a long time to cross it, but Her awareness finally reached the cellsand an incomparable experience "exploded". She found an eternity ofperfection in it! The Agenda is an amazing "log" containing Her impossibleadventure. Talking to Satprem, Mére told him that by proceeding to bring Herawareness into the cells of Her body, a lot of people around started to react asif She had invaded their intimacy. Even though some researchers look at Herdescriptions as absurd, they are indescribably moving and inspiring.

#There are descriptions of mystics who "thought" of the prayers in theirbody. I have a lot of reasons to believe that this practice is still being usedtoday. Their prayers were very short, to the point that they would reduce it toa single syllable. The majority of them preferred the use of a vowel, making itvibrate mostly in their feet; some others would begin from their feet andgradually bring their conscience up along their entire body.The small collection of written material they left is published almostexclusively by some specialized publishers in the esoteric field; they can befound rummaging among occultism and magic texts. Kerning, Kolb, Lasario,Weinfurter, Peryt Shou, Spiesberger… these are just few of the names I canremember. These mystics - even though they were born within Christianityand felt completely in sync with its doctrines - have been confined in a corneras if they were exponents of the esoteric thought, or magicians whoseaspirations were for the development of secret powers.The reader who has the patience to research this written material, skimmingthrough pages and pages full of trivial theories and practices whose only goalis to confuse and mislead him; will eventually find paragraphs of inimitablecharm. The essence of their teachings is that any sound’s vibration, ifrepeated with an unfaltering concentration in the body, can reach its atoms; sothat the soul will find a direct link with the Divine Intelligence - « the wholebody will be re-activated with new life and be reborn».Their experiences are reminiscent of those obtained by the inner movement ofenergy in the cells when the breath ceases to be a physical phenomenon.

# I believe that Jung’s discoveries are precious for the understanding of themystic path - perhaps more than many other concept formulated during the20th century. Even though his statements never lacked the necessary prudence,the scientific community never forgave him for dealing with matters that werenot considered part of Psychiatry - such as Alchemy (deemed an absurdity),the realm of myths (considered the result of a senseless imagination) and,more than any other thing, the great value he attributed to the religiousdimension; which he considered something universal and fundamentally sane,

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instead of a pathology. Nowadays, the enthusiasm for his writings remainsespecially with those who deal with topics of a spiritual and esoteric nature. The idea that, with the sweet pressure of the Pranayama’s internal breath, akriyaban can break the barrier of the body and touch the psychologicaldimension which ties all human beings together (Collective Unconscious)seems a fable. However, everything leads to the conviction that this is exactlywhat happens.The body has been described as a shell containing one’s soul; if we passthrough this shell, we can touch everything - including other people’sconsciousness!During Pranayama with internal breath, a kriyaban may dig a tunnel throughthe unconscious mind-rock, until the path to the purest dimension of existenceappears – pure because there is no mind. By placing his heart beyond thethick wall of collective sorrow, he will perceive the scent and the immensityof existence that inhabits the other side of that wall. Kriya Yoga is not only a flight towards the heavens, but also the discovery of«the abysses of truth and the oceans of smile that lie beyond the narrow peaksof truth» (Sri Aurobindo). In a mysterious way, the bright beam of a kriyaban’s effort will pass throughthe layers of the Collective Consciousness, allowing what is obscure, lethargicand dark to become transparent and to find its perfect position in universalharmony. # My opinion is that if during spiritual practices, like Kriya Yoga, somethinghappens which appears to be out of the ordinary (what we might call"paranormal"), it is never extraneous to "human nature".I hope not to be misunderstood here: I know that some believe the universe is"filled" with innumerable "entities" - neither do I dispute this theory, nor willI say they are naive. My opinion is that these entities come out of someobscure region in the depths of our psyche – like for example, the abovequoted Collective Unconscious. When something extraordinary happens in our life, it is only an exteriorsymbol - even though it may seem astonishing - of something real,meaningful and interpretable of what is essentially happening inside. Now, even those who are pushed by the most honest reasons to write a bookabout Yoga (not for commercial purposes) seem not to be able to resist thetemptation of copying some lines from the most common Yoga books. Among these lines is the warning of the danger coming from the abuse of theSiddhis.Quoting Patanjali’s Yoga Sutras (IV:1), they recount that Siddhis are thespiritual powers (psychic abilities) that may occur as a result of the extended

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practice of meditation and through rigorous austerities; they explain that theyvary from relatively simple forms of clairvoyance, telepathy, to being able tolevitate, to be present at various places at once, to become as small as anatom, to materialize objects and more. As in a hypnotic trance, in a verydiligent way, they go ahead and recommend their readers not to ever indulgein these powers since «they are a great hindrance to spiritual progress».Have you ever seen a person who practices some Yoga and then indulges inbilocation?

Perhaps they write such nonsense because they are dreaming, visualizingthemselves to be possessing all the types of Siddhis; with all the fuss whichwill come out in interviews, taking part in talk shows etc.Of course, my position is not to deny the Siddhi issue entirely. I don't want toput a single word in this book about matters of which I am not fully sure, buthere I venture an hypothesis: some phenomena like clairvoyance andtelepathy are the sign that one has contacted the Collective Unconscious. Siddhis and the Collective Unconscious are tied up in very strict way,whereas we cannot say the same about Siddhis and the first levels ofmeditation - where only a deep peaceful state is perceived.These Siddhis are not a sign that one has become a half god, unless we meanto say he is a hero in enduring the darkness clouding others’ mind.This is indeed the real quality of the Siddhis – those we can observe in ourlives like clairvoyance and telepathy - an unambiguous sign that we havebegun draining (in ourselves) the ocean of deformation thriving in humanconsciousness. Out of the shell of his ego a kriyaban discovers himself indeed not to be aman amid others who have no connection with him, but humanity itself. Inthe beginning of his search he moved towards the light, but now the sadexperience of all the facets of the human condition tears his heart apart; he isin the light, but there are moments in which he cannot perceive it.This is hard to accept because it means to accept an infinite, irresolvable pain.It seems a paradox: so vast is the pain with which he comes in contact, so vastis his ecstasy! Therefore some unusual phenomenon are basically sound and will manifestconstantly if one is able to resist the impact of that experience - not to beoverwhelmed by it.

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Two main patterns of practice Now the time has come to give a practical description of the wholeprocedure.The characteristic of the Kriya tradition - which is its virtue but also the originof a lot of useless deformations - consists in being occupied by what can bedone in order to create the conditions for the blooming of such perfection,when the time is ripe.We can abdicate the dream that our phenomenon begins in a spontaneous waydeparting from a state in which the breath is calm, not checked in any way.The procedure consists of a sequence of deep breaths that are destined tobecome more and more subtle until they are a pure movement of energy. I describe two procedures which represent all that that I know about thismatter. In the first one we consider a continuous smooth breath; in the seconda fragmented one. I have removed every personal impression from theexplanation; these will appear at the end of chapter III/1.

[I]…. Procedure with a continuous breath

During the basic Pranayama procedure (without mental chanting Om ineach Chakra’s location) the movement of energy in the body becomes theunique, constant object of concentration. Let us see how to make the bodylive by inner light. [a]… During the inhalation, a kriyaban begins to feel not only the energyrising behind the spinal column but also (mixed with air) coming in throughthe nose. The two movements of energy are perceived simultaneously. Theenergy of the air flows into the lungs, crosses the diaphragm and enters theabdomen. He concentrates on the cold sensation he feels in the nostrils and on the noiseproduced by the breath in the throat. The awareness of this sound isunswerving: this sound is a transformer of air into energy. [b]… At the end of the inhalation he does the act of gulping, while visualizingthe breath going down into the body. During the exhalation the Prana isthought of as being distributed throughout the entire body, into all its cells.[c]… During the exhalation, the action of the diaphragmatic muscles isdistinctively felt: the navel moves towards the spine; a warm current around itincreases. 38

38 This procedure is like a Navi Kriya embedded in the Pranayama and is the secret totransform the breath into energy. It reminds us of the statement in the Gita regardingthe Yogi "offering the inhalation to the exhalation, and the exhalation to the inhalation."

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[d]… In a strange way - after many breaths - it is this heat that produces theperception of the Kutastha as an extraordinary concentration of energy andlight between the eyebrows. It grows and reveals to be the "engine" whichputs in motion the experience of the internal breath. It is now up to the kriyaban to intuitively sense when to forget the breathand concentrate only on the free rotation of the energy. The experience is very strong and totally absorbing, definitely different fromany kind of mental Pranayama.This is an experience of unthinkable beauty, which, however, is not gainedone day once and for all - but left to the kriyaban’s will of improvement tillthe end of his life. A crystalline state of joy and a feeling of absolute comfort appear. A sublimejoy explodes in the being: the perception of having crossed a barrier, of beingin another territory, a feeling of infinite safety, solidity and reliance.

[II]… Procedure with a fragmented breath

Some have learned Kapalabhati and Bhastrika Pranayama; they are verydifferent from Ujjayi. The latter is the basis of our Kriya Pranayama. In somebooks one may find a quote that Kapalabhati or Bhastrika Pranayama can betaken as the basis of a new form of Kriya Pranayama where the spiritualprogress is accelerated. I think that such forms of breathing, although they can produce very strongsensations, have substantial contraindications.I think that if they were really useful in unblocking our inner obstacles, LahiriMahasaya would surely have talked about them, at least to those discipleswhom he considered eligible for the Higher Kriyas. My hypothesis is that those who put Kapalabhati or Bhastrika Pranayama inrelation with Kriya, could have been mistaken them for the procedure I amgoing to describe.39

It is explained that the Prana (which normally resides in the region of the lungs) andthe Apana (which normally resides in the abdomen) join together and produce theaforementioned heat. It is like an "arrow" that, starting from the center of the "bow-body", can finally hit the "target" of the Kutastha. I want to remark here that if akriyaban strictly follows the advice to keep the concentration always inside the spine,the aforementioned process is dramatically hampered. A lot of kriyabans do not movetheir awareness a single inch from the spinal column, afraid they might reduce thewhole to a "less spiritual technique". Thus Pranayama suffers a profound distortion; therecommendation to visualize the spinal column as a tube "subtle as a thermometer’smercury channel" - where the energy is going up like "the mercury" as the temperaturerises - must be used during Omkar Pranayama only.

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Let us keep in mind what was said in procedure [I], sparing the action [b]of gulping the breath.A kriyaban divides the breath into as much as possible fragments of breath. In the beginning the experience seems a complicated one.In the technique of Second Kriya [Variation K2A] we saw the help which cancome by fragmenting the breath in six + six parts.The Pranayama inhalation was physically divided into six parts (aw-aw-aw-aw-aw-aw); the exhaling breath was divided into six punctuated parts, orpulses as well (shee-shee-shee ..etc). It was as if each Chakra was "struck" bythe particular force that each portion of breath created. A kriyaban can start from this breathing pattern – forgetting the use of anyMantra.The breath is divided into more and more short sips. It is not difficult todivide inhalation into twelve, then in eighteen sips…, which means two, thenthree… for each Chakra. The same applies to exhalation. The number of"pieces of breath" is thus increased: the short fragments of air become softinjections of energy throughout all the body in particular on the skin. At acertain moment the breath becomes a series of pulsations in each Chakra andthen seems to disappear. The great discovery is that, in this way, one can direct the energy in whateverpart of the body - into each individual cell. 40

39 In Kapalabhati there is an abdominal breathing pattern - diaphragmatic, not chestbreathing. A sudden contraction of the abdominal muscles raises the diaphragm and avolume of air is forced out of the lungs. As soon as the air is thrown out, the abdominalmuscles are relaxed, which allows the diaphragm to come down and a volume of airautomatically rushes in. Here, inhalation is passive and exhalation active. A yogi goesahead in this way for ten to fifteen expulsions. Then he takes a deep inhalation andholds the air as long as possible. There are different methods for increasing the set ofrepetitions. It is good to notice how in the literature it is emphasised that this exercisewill bathe every tissue of the body with energy. During the practice, it is recommendedto concentrate on the solar plexus.

40 It is perfectly useless to try to understand this process intellectually: only the practiceof this technique can show how these small pieces of breath will succeed in distributingthe energy in all the parts of the body.

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