Sound – Shabda
Its Nature and Application in
Yoga
Dr. Parimal Devnath,
12B174-Valvan,
Lonavla, Pune, (India).
Introduction
Sound is of two types:
A. one, that is generated by friction of
two or more objects (aahata), like
striking of a bell. This variety of
sound is physical and is a means of
communication. It again is of two
kinds.
i. One,
that is non-word, for example,
ringing of a bell or roaring of thunder.
This variety of sound is mostly indicative and is not as sophisticated a
medium of communication as spoken word.
ii. Second
variety is word. Word is used by human beings through articulation
of vocal cords, tongue and lips in association with breath. After pronunciation, it is heard by
ears. It is highly powerful and widely
used means of communication. An uttered word has the capability to build as well
as to destroy. Realizing this, Patanjali
in his Mahabhashya stated that ‘a word well studied and properly used can even
lead one to spiritual freedom’.
All words are sounds (except those occur in
mind forming a thought). But all sounds
are not words.
B. Second variety of sound is non-physical since it is not generated by friction of objects, nor
is it produced by vocal cords of a human.
This variety is called anaahata. It is discussed only in Yoga and other allied
spiritual systems.
As described in Hathapradipika, anaahata
can be heard as sounds resembling those of thunder, flute, bell etc. Realm of anaahata-naada is quite
unintelligible, unknown, mysterious and also mystical. It indicates existence of a non-physical,
non-phenomenal world underneath, coming in contact with it bears deep
implication on mind, conscience, buddhi, consciousness etc. It is heard during upward spiritual journey of
an aspirant as he transcends certain mundane and mental layers. It is said to be heard only through the right
ear (even though the ear is kept closed) during upward movement of Kundalini
Shakti.
It is through sound and shabda alone that
one can realize existence of a thing or event of past, present and future,
things which are formless (for example, feeling of devotion, knowledge and ecstasy,
various sentiments, emotions etc.) and also imaginary and non-real objects
(such as wish-fulfilling tree, castle in the air etc.).
We wish to limit our present discussion
only to certain basic aspects of word,
its position and use in Yoga.
Genesis
of (word) shabda
Shabda (word as sound) is all-pervading and
all-permeating. There is no corner in
the universe which is not covered by sound or word. This has been realized by the sages of the
ancient times. On due deliberation, they
have concluded that word itself is Brahma.
Shabda is as Eternal and Absolute as Brahma is. Such an understanding has prompted them to
frame the theory of ‘Shabda-brahma’ (Brihadaranyakopanishad-4.1). Brahma the
Absolute and Supreme Consciousness is conceived as shabda. It is also said that
shabda has originated from Pure Consciousness itself.
On the same line, there exists another theory
of ‘Shabdaadvaita’ – monistic interpretation of the theory of sphota advocated
by Bhartrihari (a very wise king and highly gifted and learned grammarian). This is how shabda as a universal phenomenon
has been viewed. Shabda is one of the
five tanmaatras (sources of five basic elements), as per Saamkhya, from which
aakaasha (ether) has been evolved. Since
aakaasha is all-pervasive, shabda as its source or origin occupies a much
higher and superior status. In traditional
culture, shabda is accorded an elevated and highly respectful position of a
Goddess giving it a religio-spiritual overtone.
It is called as Vaag-devi or Sarasvati in the Vedas.
Shabda is just like shinning light. It illuminates all objects, events, knowledge
and wisdom in a human. Therefore, the
Sanskrita poet Dandi has rightly said, ‘has there been no shabda spreading
effulgence, the whole universe would have been engulfed by darkness’.
How is shabda generated ? Panini in his Shikshaa says,
“It is aatman which in co-ordination with
buddhi decides a subject on which it would like to express. It engages the mind to speak. Mind stimulates the bodily fire which
subsequently inspires praana.
Thereafter, praana moves slowly through the chest. Thus a
sound is produced.’’
Shabda-shaastra – ‘study of shabda’ is the study of relationship of shabda with
an object which it indicates, its genesis, expansion, usage etc. It also
studies the nature of dhvani (alphabets, letters), rupa (derivation), artha (meaning),
vaakya (sentence) and vyutpatti (derivation, etymology). Various aspects of shabda have been deeply
studied in ancient
Components
and evolutes of shabda
‘Aakaasha has been evolved from shabda’— it
has been said in the system of Saamkhya.
In this system of classical philosophy and also in some of the
Upanishads, shabda is one of the five tanmaatras which are evolutes of the
Primal Prakriti which is at the very cause of the manifested creation.
From shabda, a sentence is formed which
gives a meaningful expression.
Shabda has dhvani or letters or alphabets
as components. Alphabets are also called
as akshara meaning indestructible which are smallest units of shabda.
Since shabda as sound has the quality of
aakaasha (ether), it can be perceived by hearing organ, since this organ is the
seat of space.
Language is one widely used medium of
communication. A language has factor in word or shabda.
A number of dhvanis or letters come
together to make a word or shabda which carries the potentiality to express a
meaning. It forms the cause for all oral communication. It is related to mind
and buddhi. It occupies the space of
mind and intellect.
Bhartrihari in his Vakyapadiya-I.46-47
says,
“Just as light or fire remains hidden in
firewood, similarly, shabda remains embedded in buddhi, which determines its
correct usage through an organ.”
It is also to be noted that even though it
appears that shabda and its artha (meaning or an object) conveyed by a
particular shabda are two different things, in fact these two are inseparably
interrelated. Had it not been so, any shabda would have conveyed any meaning.
Potency (shakti or sphota) of shabda is its natural companion or dharma just as
heat is the dharma (nature) of fire.
Patanjali in his Mahabhyasha on Panini’s
Sutras says— ‘Siddhe shabdaartha-sambhandhe’— the relationship of a shabda with
its corresponding object is eternal.
Sphota
The grammarians are of the opinion that a
particular ‘meaning’ is conveyed by using a ‘word’. It happens due to sphota
(lit. explosion) or vaak-tatva (its potentiality) which is eternal (even though
the sound of a word is short-lived) and its relationship with object it
indicates. A dhvani or a letters (
This contention is not subscribed by the
schools of Mimaamsaa and Nyaya.
Is
shabda eternal (nitya) or impermanent (anitya)? Yaaska the author of Nirukta is
of the opinion that shabda is eternal (nitya).
At
the worldly plane all dealings of shabda is done and received through senses
alone. In the process of production and hearing, shabda is continuously being
produced and destroyed – this is an opinion of some scholars. Countering this,
Yaaska says, even though position of shabda is always in a state of flux,
“relationship of shabda and artha (object or meaning) is permanently embedded in the mind of the vaktaa (speaker) and
shrotaa (audience). Therefore, shabda is
eternally existent.”
Sphota is the capacity (shakti) i.e. shabda-shakti
which is manifested through letters and words conveying a meaning. Sphota
generally means explosion i.e. uccaarana (pronunciation) of an expression in
the form of words, letters and sentences. It is the essence of words etc. Sphota
lends right cognition to a word or sentence. This essence of sphota has
metaphysical implication and is eternal in nature as has been delineated in
ancient philosophical school in the way of Shabda-brahma doctrine.
Shabda is illusive
Amrita-bindupanishad-15 says that the word
(shabda) that we use in our daily life is not ultimately real. It serves
us only in our real life. Therefore, it
is called maayaa or illusion, having no true substance. Shabda is only vyavahaarika (worldly) truth
and not paaramaarthika (Absolute) and therefore shabda is illusory.
Shabda and mind in Yoga
Savitarka,
Savicaara, Nirvirtaka, Nirvicaara- these terminologies are used by Patanjali in
his Yogasutra. Each of these describes
the state of mind on the measure and intensity and also content of words which
invariably occupy the space of mind. Thus
by judging by this yardstick, the status and degree of progress of a practising
Yogi can be traced properly. These terms
are quite self-explanatory.
Vitarka
(PYS-I.17)— a mind busy in analysis of gross object. So is Savitarka (PYS-I42).
Vicara
(PYS-I.17)— a mind preoccupied with analysis of subtle object. So also is savicara (PYS-I.44).
Nirvitarka
(PYS-I.43) and nirvicara (PYS-I.44,47) are states of the mind which is free
from all activities – gross or subtle.
It
can be said that words (shabda) play a very definitive and decisive role in
shaping up a mind. It is more so in the
path of Yoga. Yoga has plans for the
mind depending upon one’s objective. One
can even render the mind free from all words by making use of or repeating
suggested words, which is a process of replacing the ordinary words in mind and
finally freeing it completely.
This process involves mainly two different
sets of words and sounds— one repetition of bija-mantras
and the other access to anahata-nada.
Sound in Hatha practice
Varieties of shabda (sound) have been
recommended in Hatha tradition of Yoga.
All these practices are aimed at rendering the mind, first of all, from
habitual distractions and fickleness and then taking it altogether to the
transcendental state. This is done
through gradual development of one-pointedness.
For this engaging the mind only on single, decided and dedicated object in
the form of sound is said to be of great importance.
This tradition suggests at least two
varieties of sounds for this purpose. One
is various bija mantras (which are aahata
sounds) and the other is absorbing the mind in
anaahata variety of sound.
Vyasa Bhashya-I.35 (on YogaSutra) says that
perception of supernatural sound is called shabda-samvit. It is suggested that one should concentrate
mind at the root of the tongue. Thus
consciousness of the supernatural sound arises.
This stabilizes a mind which is fickle.
Hathapradipika-I.43 and Gheranda Samhitaa-I.32
suggest practice of bhraamari-kumbhaka which provides access to anaahata-naada. According to Gheranda Samhitaa it is naadaabhivyakti
or naadaanusandhaana.
Nadanusandhana
is helpful in entering the state of Samaadhi.
Yogashikhopanishad says that vaasanas are made ineffective due to
practice of nadanusandhana. Thus naadaanusandhaana
should imply citta-vritti-nirodha.
Upanishadbrahmayogi is of the opinion that naada can be heard as a
result of repetition of so’ham.
a) Practice of Aahata
i. Pranava as bija
Hatha tradition says that the entire
universe is nothing but an expression of pranava. It is the bija of all bija-mantras. Pranava is expressed by the sound OM which is
comprised of three syllables— a, u and m which represent creation, sustenance
and dissolution respectively. Creation evolves
out of Pranava and also finally rests in it.
Vyaasa Bhashya of Patanjala Yogasutra-I.28
quotes Garuda-puraana explaining three
syllables of Pranava–
‘A’ represents Vyaktra – the manifest
creation, ‘u’ the un-manifest or avyaakrita and ‘m’ the Purusha – Supreme
Consciousness.
In other words, secrete of creation is
contained in Pranava repetition of which is helpful in unraveling this secret.
Gheranda Samhita says that Pranava is the
sacred monosyllabic mantra which should be repeated in sthula-dhyaana (during
basic meditation).
A-U-M = Akaara of OM moves the Hrit-padma,
Ukaara opens it up and makaara brings the naada (centrally aroused sensation of
sound). The last half-syllable
Ardhamaatraa is said to be Nishcala (unmoving). Perhaps the idea is that in the end there are
no vibrations of the vocal organ (Yoga-tatvopanishad).
Pranava – Taaraka (Vasishtha Samhitaa-vi.5)
says Taaraka means Brahma (Mandala-brahmanopanishad-1(II)4; Advaya-tarakopanishad-3,8)
knowledge of which helps in crossing the ocean of samsaara –
(Samsara-saagara-santaranaat).
ii. Hatha has suggested a set of bija-mantras to get to the core of the
process of creation. One such practice
involves repetition of bija-mantras such as hrim, vam, etc. The word bija means seed. Just as a seed contains the potentiality of a
large tree, similarly, a bija (mantra holds key to the very mystry of the
universe. This is done by neutralizing
the mind (sunya). For example, the
practice of khecari is supposed to take one to the state of sunya or absolute
void, signified by the word ‘kha’ meaning vacuum. A secret khecari-mantra has been revealed in
Yogakundalyupanishad with this objective kept in mind. Hatha is of opinion that only by making the mind free from
all objects, true nature of the creation can be known.
This and also such other practices are
therefore narrated as of the nature of jyotih (light, since it brings about
enlightenment) and tara-jyotih (light as savior – as it saves one from suffering
from ignorance).
iii. Additionally, hamsa-mantra forms a symbolic mantra in the form of inhalation
(ham) and exhalation (sah) of breath.
The ancient text of Satcakra-nirupana says that ‘ham’ symbolizes bindu
or Purusha which is the male principle of creation while ‘sah’ is visarga
(Prakriti) – the female principle of creation.
Sharadatilaka-XIV.91 says that ‘hamsa’
forms a style of effortless meditation wherein one need not mutter
anything. This is also called as
ajapa-vidya or ajapa-gayatri, it stands for the state of ignorance. When this ‘hamsa’ is reversed, it becomes ‘so’ham’,
signifying the highest state of consciousness.
In such a state, an individual gives up being an individual as he
realizes ‘I am non-different from Paramatma’.
This is release from ignorance.
Conclusion
From being helpful in living worldly life
to transcending it for fulfilling the highest state of Consciousness, role of
shabda is undoubtedly a crucial one and also all-permeating. In fact use of shabda decides it all— whether
we should suffer or overcome suffering.
Being aware of this, we can make a conscious
choice of the kind of shabda that should occupy our mind and intellect and
also guide our conscience to the highest blissful state. Yoga practice is all about this conscious choice, its implementation
consciously done and execution carried out with unbridled flow of awareness.
Be
Blissful!!!
***
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