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Yoga The Iyengar Way PDF
Yoga The Iyengar Way PDF
YENGAR
WAY ·
SIL1t4, MIRA
& SHYAM MEHTA
~~~~
. ~
v ~.~~~ 0:::
APPENDIX
f.AM INDEED delighted to go through the script of Yoga: The Iyengar Way
by Silva, Mira, and Shyam Mehta.
This book is a fine product of eastern thoughts and western minds. The
explanations are direct and I am sure that those who read the book will get an
insight into Yoga and will enjoy the nectar of health in body, contentment of mind,
and spiritual satisfaction.
Yoga is an immortal art, science, and philosophy. It is the best subjective psycho-
anatomy of mankind ever conceived for the experience of physical, mental,
intellectual, and spiritua I well-being. It has stood the test oftime from the beginning
of civilization and it will remain supreme as a precise psycho-physical science
for centuries to come.
There are many different types of cells in the body, with physical, physiological,
emotional, intellectual, and spiritual functions. It is known that each cell has
a life of its own. These cells are the pearls of life. In the practice of Yoga every
cell is consciously made to absorb a copious supply offresh blood and life-giving
energy, thus satiating the embodied soul. With serenity one then experiences the
self by the self, and rests the self in the lap of the soul (jlvatman) .
I am pleased to be associated with this work of my pupils. My suggestions have
been incorporated in the book. I will be glad if those who read it appreciate
and practice the art of Yoga.
B. K. S. IYEN GAR
= .=
R.amamani Iyengar Memo ri al Yoga In stitute. Pune.
6
Preface
Remaining in the midst of the family, always doing the duties of the
householder, he who isfreefrom merits and demerits, and has restrained his
senses, attains salvation. The householder practicing Yoga is not touched by
sins; if to protect mankind he does any sin, he is not polluted by it. ·
SIVA SAMHITA, V.187
Yoga gives the energy to lead life fully and with enjoy- stretch and cope with the pressures of work.
ment. Time spent alone in practice puts mundane For me, the benefits of Yoga are more moral or
issues in perspective and builds a fund of inner spiritual than physical. True, if! have a headache or
strength. Family, friends, and work all benefit. other minor pain, or have missed a night's sleep, I can
We illustrate the value of Yoga in everyda y life by recover through Qsana practice. More important,
giving a brief outline about ourselves. Yoga keeps my mind calm and clear, enabling me to
tackle problems at work and at home, to think for the
SILVA MEHTA long term, and to evaluate a situation dispassionately.
--------------------.---------------------
I had an accident when I was 25 in which I sustained a My Yoga practice has given me determination and
crush fracture of the spine. I was in tremendous pain. the ability to accept the ups and downs of life with an
Doctors, surgeons, naturopaths, and osteopaths pre- equal mind. It gives me the direction for improve-
dicted I would be in a wheelchair by the time I was ment - how to become more human, understanding,
fifty. A few years later I developed osteoarthritis. tolerant, and ethical. I can stand back and question my
I was living in India at the time. A naturopath . life and yet provide the steady influence required for a
friend told me: "There is only one thing for your stable home life and a successful career. My interest in
arthritis - Yoga and Mr. Iyengar." I knew very little Yoga is shared by my wife, Rukmini.
about Yoga, but within three weeks I was in B.K.S.
Iyengar's class and have been ever since, whenever the MIRA MEHTA
-------------------.---------------------
opportunity presented itself, and so have my children. I was brought up with Yoga and classes with Mr.
In India there is a saying, "When the pupil is ready, the Iyengar from early childhood. As a child I was stiff
Guru appears." We must have been ready. and weak, suffering from a curvature of the spine and
Starting Yoga gave me periodic, almost miracu- painful neckaches and legaches. In my late teens I de-
lous, lifting of pain, and the feeling of excitement and veloped chronic backache, which in turn affected my
euphoria. I began to shake off the depression caused stamina and concentration.
by physical agony. Over the years Yoga has improved I began to take my practice seriously from adult-
my physical health, and has given me a new outlook hood. Gradually, helped by frequent visits to India to
and optimism. Far from being in a wheelchair, I am study at the Institute there, I gained health and
able to help others surmount their physical problems. strength, as well as flexibility. My early problems
Teaching Yoga has been rewarding and satisfying. have virtually disappeared and the postures are no
longer unattainable.
SHYAM MEHTA
--------------------.--------------------- Apart from bringing an equable frame of mind, I
My sister and I have enjoyed a mixture of Yoga and feel that Yoga has developed my strength of char-
fun in Mr. Iyengar's classes from a young age. acter. It has also given me the ability to listen to
In my case, practice became more intense and dedi- others and understand their point of view, and to
cated during .my college years. Hard work was re- think in terms of the common good.
warded by mastery of new postures and less discom- Yoga helped me throughout my university studies.
fort in others. I began to extend my knowledge of As my interest deepened, I chose a course which gave
Yoga philosophy from ' the base gained during Mr. me a background knowledge of Indian philosophy.
Iyengar's many lectures. I also began teaching. While preparing for a research degree, I found Yoga
After my degree, I became an actuary. My Yoga took up more and more time and I turned my whole
training enables me to concentrate for hours at a attention to it, with no regrets.
7
Introduction
Disciplined action study of the self, and surrender to the Lord constitute the
J
practice of Yoga.
"Tapas svadhyaya Isvaraprar:lidhanani kri yayogai:J." Yoga Sutra 11.1
In Indian philosophy there are always three strands of emotions and encourages a caring concern for others.
thought - work (karma), knowledge (jiiana) , and Above all, it gives hope. The practice of breathing
devotion (bhakti). The three strands go together. techniques calms the mind. Its philosophy sets life in
The above quotation from the Yoga aphorisms perspective. In the realm of the spiritual, Yoga brings
(Yoga Sutra) ofPataiijali points to this division, and we awareness and the ability to be still. Through medita-
have taken it as the theme underlying the three parts tion, inner peace is experienced.
of this book. Tapas relates to energetic practice, Thus Yoga is a practical philosophy involving
svadhyaya signifies the study of the self and of Yoga every aspect of a person's being. It teaches the evolu-
philosophy, and lSvaraprary.idhana shows the way of tion of the individual by the development of self-
devotion, without which practice is not complete. discipline and self-awareness. .
Anyone, irrespective of age, health, circumstance
TH E VALUE OF YO GA of life, and religion, can practice Yoga.
--------------------- . ---------------------
Human beings are made up of three components:
TH E DI SC IPLI NES OF Y OGA
body, mind, and soul. Corresponding to these are ---------------------.---------------------
three needs that must be satisfied for a contented life: Yoga is a classical Indian science dealing with the
the physical need is health; the psychological need is search for the soul. The word "Yoga" signifies both
knowledge; and the spiritual need is inner peace. the way to discovery of the soul and union with it.
When all three are present there is harmony. Yoga philosophy was systematized some 2,000 years
Modern society faces problems which affect all ago by sage Pataiijali in a single treatise, Yoga Satra.
these aspects. Today's lifestyle with its technological The work is still acknowledged by all Yoga practi-
wonders is a mixed blessing. Convenience and speed tioners as the authoritative text on Yoga.
are obtained at some cost to physical health . Labor- Yoga comprises eight limbs. These are:
saving devices minimize physical exertion, resulting 1 Universal ethical principles (Yama)
in stiffness and muscular weakness. A sedentary life 2 Rules of personal conduct (Niyama)
causes backache, neck problems, heaviness in the 3 The practice of Yoga postures (Asana)
limbs, and difficulty in walking. The extensive use of 4 The practice of Yoga breathing techniques
visual media leads to headaches and eye strain. (Prary.ayama)
The mental anxieties of a competitive world deplete 5 Control of the senses (Pratyahara)
inner resources, inviting stress-related problems such 6 Concentration of the mind (Dharary.a)
as insomnia and digestive, respiratory, and nervous 7 Meditation (Dhyana)
disorders. If pressures are not balanced with time for 8 Absorption in the Infinite (Samadhi)
quiet reflection, the quality of life is impaired. Glimpses of the latter may come at any stage of
Modern trends of thought are a melting pot of old practice, elevating it beyond the realms of physical
and new ideas. Artificial values stemming from and mental endeavor.
acquisitiveness and self-interest lead to alienation Yoga is built on a foundation of ethics (yama) and
from the spiritual purpose of life. The loss of belief personal discipline (niyama). These are universal pre-
can bring a sense of loss of one's own true identity. cepts found in all societies. Thus from the practical
Yoga helps in all these problems. At the physical point of view , Yoga can be considered to begin at the
level, it gives relief from countless ailments. The prac- level of postures (asanas).
tice of the postures strengthens the body and creates a Each limb forms part of the whole, and tradition
feeling of well-being. teaches that, even after attaining great heights in
From the psychological viewpoint, Yoga sharpens Yoga, the practice of asana and prary.ayama should be
the intellect and aids concentration. It steadies the continued, for the health of the body.
8
INTRODUCTION
9
About this Book
This book explains the basic principles and practices of important ones have been omitted owing to lack of
Yoga. It is based on the authors' thirty years' study space, but will be found in Light on Yoga and Yoga: A
with Y ogacharya B. K. S. Iyengar and as teachers of Gem for Women. The sequence of the asanas in this book
his method. The explanations give help to beginners follows that in Light on Yoga.
and expand on some of the finer points which are the Part II: The Mind gives guidelines and instructions
hallmark of his teaching. for breathing techniques (pralJ.ayama). It intro-
The book is in three parts. Although this division duces the reader to the concept and technique of con-
has been made for clarity and convenience, the three trol of the senses (pratyahara). This is followed by an
parts are integrated. Side by side with the techniques, outline of Yoga philosophy.
the book reflects on various philosophical and practi- Part III: The Soul discusses the goal of Yoga and
cal topics. Part I: The Body deals with postures how it relates to practice.
(asanas), giving general guidelines and step-by-step Courses, remedial programs, and a selected
instructions and photographs for 108 postures. A few bibliography are provided at the end of the book.
A SANA &
PRACTICE
Grace, beauty, strength, energy, and firmness
adorn the body through Yoga.
YOGA SUTRA, 1Il.47
PART I· THE ASANAS
The Asanas
If you look after the root of the tree, the fragrance and flowering wi 11
come by itself If you look after the body, the fragrance of the mind and spirit
will come of itself
B. K. S. IYENGAR
By their wide-ranging effects, Yoga asanas and Asanas are an integral part of Yoga . They are not
relaxation techniques make efficient use of all physical mere physical exercise as they involve both psycho-
and mental resources. This brings about better adjust- logical and physiological processes. They are linked to
ment in various life situations and paves the way for all the other aspects ofY oga, rooted in ethics and end-
the health of future generations. ing in spirituality. Yoga uses the body to exercise and
control the mind, so that at a later stage the body and
SEEKING HEALTH
--------------------.--------------------- mind together may harmonize with the souL,
Health is a balanced state of bodily elements and of all The Yoga asanas affect and penetrate every single
anatomical and physiological systems, where each cell and tissue, making them come to life .
part of the body functions at full potential. All these The wide variety of postures offers a training cap-
complex systems must work smoothly and without able of creating a vigorous body, well-functioning
interruption , but in ordinary life they do not. Mental, inner organs, and an alert mind.
moral, and emotional aspects, too, must be sound. The asanas each have a distinct form and shape. To
Spirituality completes full health and puts human execute them, exact stretches, counter-stretches, and
affairs in the perspective of the universal. Striving resistances are needed. These align the skin, flesh, and
toward this goal is the main aim of Yoga. muscular structure of the body with the skeleton.
The Patanjali Yoga Satras (I, 30-31) enumerate the There are postures and cycles of postures tha t give a
various physical· and psychological defects that variety of different effects: stimulating, calming,
hamper progress in any undertaking. They are disease, energizing, building stamina or concentration, pro-
sluggishness, doubt, carelessness, idleness, sensual moting sleep, internally soothing, and so on. These
indulgence, living in the world of illusion, inability to benefits come as a side effect of Yoga through correct
progress and to consolidate progress. In addition, practice. Thus the standing poses give vitality, the
there are other psychophysical disturbances. These sitting poses are calming, twists are cleansing, supine
are sorrow, despair, shakiness of the body, and poses are restful, prone poses are energizing, the in-
labored breathing. verted poses develop mental strength, balancings
Yoga is a means by which to gain an increasing bring a feeling of lightness, backbends are exhilarat-
measure of control over these problems. ing and the jumpings develop agility.
To this end, Patanjali lays down the three duties of Relaxation is a separate art. The quality of relaxa-
tapas, svadhyaya, and !Svarapra1'!idhana. These are the tion depends on the intensity of the postures that
three cornerstones of the practice of Yoga. Here we precede it.
deal with the first of these - tapas (self-discipline and Many common physical ailments and defects,
fervor). It fires the practice of Yoga with zeal. With- including chronic disorders, can be improved by the
out it, nothing can be attained. This disciplined practice of Yoga postures . They work on specific
approach carries over into other areas of life . areas of the body such as the joints, the liver, kidneys
Tapas means warmth, heat, fire. It is the heat and and heart. The movements and extensions in the pos-
energy gained by devoting one's thoughts and actions tures, including the positioning of the inner organs in
toward a particular goal, without dissipating them the inverted sequences, have a profound effect on how
elsewhere. These thoughts and actions themselves they function. The body is oxygenated and filled with
generate energy because they are so concentrated. healthy blood, decongested and rested. Stamina, lung
Good health cannot be taken for granted but must capacity, heart performance, muscle tone, circulation
be striven for. Yoga teaches that this is achieved and respiration all improve.
through the practice of asanas. Asanas need to be prac- It is on such principles that therapeutic
tised with tapas in order to achieve maximum benefit. Yoga is founded .
12
ASANA & PRACTICE
13
PART I· THE ASANAS
14
ASANA & PRACTICE
Sternum (breastbone)
Collarbone Stomach
Diaphragm
Abdomen
Pubis
Kneecap
Shin
Calf Perineum
Pelvis
Arch offoot
15 ~!i
PARTI· THE ASANAS
A balanced practice session incorporates Zisanas from body to improve cellular metabolism and circulation.
several sections, in various combinations. For this In order to penetrate them, freedom has to be created.
reason courses containing Zisanas of progressive levels Movement starts with joints, bones, and muscles, and
of difficulty have been given on pp. 175-184 to guide finer actions terminate with the skin, where micro-
the student towards systematic practice. scopic muscles are involved.
Anyone suffering from a minor ailment should The skin is a sense organ. By developing the sensi-
follow the remedial program specified on pp. tivity of the skin new messages are sent to the brain,
183-7, until relief is gained. Those with a serious which explores new avenues of awareness.
medical problem need a specially qualified teacher. In order to carry out these adjustments and to dis-
cover subtle areas of the body, mental effort is re-
quired. The mind must be sharply focused toward
THE PHILOSOPHY OF ASANA PRACTICE
-----------.----------- the part concerned. The mental force is internalized .
The practice of Zisanas is integrated with Yoga philo- When an action is performed it is imprinted on the
sophy and the two cannot be separated. Many details brain, creating a reflective attitude. The brain
are given in the postures which gradually need to be becomes like a mirror receiving the impressions of
introduced into practice. Making the shapes of the actions, but the brain itself does not act:
postures is a physical activity; understanding and This reflective attitude refines the intelligence.
implementing the finer details is necessary to develop Practicing in this wa y refreshes both the mind and the
complete involvement. body, and gives a sense of accomplishment. There are
The body contains millions of cells which have to always new goals to be achieved and new perceptions
gain nourishment. Actions must pervade the whole to be experienced. This makes Yoga a lifetime interest.
GLOSSARY OF TERMS
-------. -------
16
.............................
STANDING POSES
You should do the Qsanas with vigor and at the same time be relaxed and composed.
BK .S. IYEN GAR.
The standing poses are invigorating. They refresh the body and mind by
removing tension, aches, and pains . They stimulate digestion,
regulate the kidneys, and relieve constipation. They improve circulation and
breathing. The back, hips, knees, neck, and shoulders all gain
strength and mobility through practice.
The standing poses also teach the principles of correct movement. This is
fundamental for the postures and also in everyday life, where they develop
awareness of the right way to sit, stand, and walk.
--------------------------
(llslJiOi
Tadasana •
TApA = mountain; ASANA = posture
THE BODY extends upward, with the base as firm as a rock; the mind is steady .
and attentive. TaQasana teaches balance, centering, and evenness and direction of
extensions. These principles apply in all the postures .•
FEET
--------------------.--------------------- raise the coccyx and sacrum. Draw the buttock
Stand straight, facing forward. Keep the feet together, muscles up.
the toes and heels in line, big toes and centers of the Tuck in the waist from all sides and stretch it up to
inner ankles touching. create space between the pelvis and the rib cage.
For a moment lift the soles of the feet, stretch them Move the kidney area further into the body.
forward from the centers of the arches, then put
UPPER TRU N K
them down. Now raise the heels, extend them back --------------------.--------------------
from the centers of the arches and put them down Lift the diaphragm and the rib cage. Open the
again. The soles of the feet are now extended. Keep diaphragm and the floating ribs outward.
all the toes down and stretch them forward, not Move the thoracic spine and the back ribs in. Lift
forgetting the little toes. the collarbones and open the chest by widening the
Keep the weight even on the inner and outer edges front ribs away from the sternum. Feel the internal
of both feet, and on the heels and soles. Be light on the opening of the chest.
feet and keep the arches lifted. Raise the upper chest and the collarbones. Draw
the skin of the shoulders toward the shoulder blades.
L EG S
--------------------.--------------------- Press the shoulder blades into the back and take them
Extend the legs up vertically; lift the inner and outer down, without collapsing the back ribs.
ankles and stretch the Achilles tendons up. Lift the shin Relax the shoulders and keep them down. Widen
bones. Extend the calf muscles and the skin of the them horizontally at the front, away from the neck.
front legs up. Keep the legs facing forward and join
ARMS
the inner knees. --------------------.--------------------
Lock the knees by drawing the kneecaps into the Turn the upper arms out and stretch the arms down,
joints and draw the inner and outer knees back. Open palms facing the thighs. Then relax the arms and
and stretch the backs of the knees without straining hands, letting them hang naturally.
them.
Lift the thigh bones and pull the thigh muscles up,
right to the tops of the thighs. Compress the thighs Side view
Keep the crown of the head,
and draw the muscles toward the bones. Normally center of the top of the ear,
the skin and flesh of the thighs sag; when they are and center of the ankle in
drawn up they become parallel to the bones. This one line.
happens in other parts of the body also. Stand against a wall to
Finally tuck in the skin and flesh at the top of the see whether the body is
backs of the thighs. in line.
LOWER TRUNK
--------------------.---------------------
Create space between the thighs and the trunk at the
front, sides, and back. Lift the hips. Move the coccyx
and sacrum forward and up, then lengthen the spine
and the trunk. Keeping the pubis tucked back, move
the lower abdomen and the abdominal organs up and
back without tensing them.
Lightly compress the muscles around the anus to
18
STANDING POSES
Alignment NE C K
Head -----------+-----------
This is a sensitive way of centered Stretch the neck up. (The neck becomes supple and
adjusting the body. The two over legs able to stretch when it is trained by doing other
sides and the front and back of
the body should be exactly in postures.) If the back is humped, the neck auto-
line and parallel. If one little matically shortens. So, move the dorsal spine inward
finger is crooked and the other and extend the neck from below the shoulder blades.
straight, precision is lost. Lift the sternum and extend the front of the neck
from the jugular notch. Do not tense the throat or the
Balance
This is a delicate concept, neck.
bringing equilibrium of
HEAD
gravity, lightness, -----------+-----------
centering, and Lift the back of the skull awa y from the neck to make
alignment.
the head light.
Keep the head straight, the chin level, and the ears
vertical.
Relax the face and look ahead, keeping the eyes
soft. Stay for 30 to 40 seconds, breathing evenly.
Reflection
Settling into the posture brings repose . .It
follows precise placement of the limbs,
correct extensions, and balance. There is
peace and unity within. The mind fills
every particle of the body, bringing
harmony. This is Yoga.
ORDHVA HASTAsANA
----- + -----
Knees
straight ORDHVA = upward, above;
HASTA = hand
Centering Stretch the arms forward
Center lines run between the and up. Lock the elbows (see
legs, through the front and Focus, p. 21). Open the
back of the body to the crown palms, keep the fingers
of the head, and through the together. Stay for 20 to 30
sides of the body and limbs. seconds, then bring the arms
Awareness of them gives a back down .•
sense of direction .
Evenness oj extensions
This develops harmony of
movement. It means extend-
ing both sides simultaneously, Weight even
from the same level and with a on both feet
similar length, depth, and
intensity.
PART I · THE ASANAS
Trunk upright
II
.
.------
I
----- -----
[> Stand in D .9asana (p . 18)
with the right side about 3ft
away from a ledge. Take
two or three breaths.
Keep the left foot firm,
facing directly forward .
Turn the right leg out and
place the center of the back
of the heel on the ledge, in
----- ----- .
W A YS OF PRACTICING
20
STANDING POSES
Vrksasana
• •
Vl~.K$A = tree
THE TREE pose gives a beautiful upward stretch Arms he/pi/lg
and a sense of balance .• tmnk to
21
PAR T I THE ASANAS
Utthita Trikonasana •
UTTHITA = extended; TRIKONA = triangle
THE EXTENSION of the limbs and trunk to form several triangles teaches
alignment and a sense of direction .•
22
STANDING POSES
WORK IN THE
Back view
Keep the back oJthe body in one plane. POSTURE
Open the backs oj the knees. Press the = .=
right buttock and the right side oj the " Hit the left inner ankle and
sacrum Jorward, lift the lift hip, and i,mer leg to the leJt.
take it back. Take the shoulders back, •
Tuck the top oj the right thigh
the shoulder blades and the back and the bottom oJthe hip into the
ribs in . hip joint to increase the bend.
•
Stretch the spine vertebra by
vertebra Jrom the coccyx to the
head. Extend the back oj the
neck away from the trunk, and
the skull away Jro-m the neck,
keeping the head in line with
Arms in line the spine.
•
Stretch the right arm Jrom the
wrist up. Raise the right rib
cage and bring it Jorward.
Stretch the left arm from the
trunk up and turn the lift rib
cage back. Keep the lift side
directly over the right.
Front oj body
revolving '.Ip
Inner legs
revolving outward
23
PART I· THE ASANAS
Utthita Parsvakonasana •
UTTHITA = extended; pAR5VA = sideways; KOl':JA = angle
IN THIS pose the trunk extends sideways into space, over a leg bent to a right '
angle. There is a single stretch from back foot to fingertips .•
24
STANDING POSES
WORK IN THE
POSTURE
=+=
Keep thefeetfulL of life to make
'the posture lively. Press the
outer edge ofthe backfoot down .
•
Keep both arms stra ight, elbows
locked. Go on revolving the
back leg and trunk upward. Inner knee firm
25
PART I· THE ASANAS
Virabhadrasana I
VIRABHADRA = a warrior from Indian mythology
THIS IS a vigorous posture which fills the body with strength .•
It shou ld not be done by those suffering from heart problems or high blood pressure .
26
STANDING POSES
Thigh pulled up
toward ceiling
PART I · THE ASANAS
Virabhadrasana II
VIRABHADRA = a warrior from Indian mythology
THIS IS the second warrior pose. The body rises erect over the legs, while the arms
reach out to opposite sides .•
28
STANDTNG POSES
A rm pulling back
T runk vertical
Hip j oint
tucked in
Ou ter heel
Inner heel
pressing down
29
PART I · THE ASANAS
Ardha Chandrasana
ARDHA = half; CHANDRA = moon
THE EXTENDED trunk, poised over a finely balanced leg, is reminiscent of the
Indian moon floating in space .•
¥IU!1% _
STANDING POSES
WORK IN THE
POSTURE
=+ =
Learn to synchronize the actions of raising the
back leg and straightening the front leg and arm
when going into the posture .
•
Raise the right inner and outer ankles and draw
the leg up from the arch . Keep both knees
straight. Extend the spine horizontally from the
coccyx to the back of the head. Move the right
side of the spinal column, the right kidney, and
the right back ribs into the trunk to tum better.
Arms extending
from shoulder
Trunk revolving up
Inner leg
stretching
tow.ard heel
F 0 c u s Cupping Reflection
the hand . Coordination is learned by
Keep the fingertips lightly doing the Qsanas. When, in
but firmly on the floor, the standing poses, the arms
facing the same wa y as the are taken sideways or the
foot. Bend all the knuckles. legs are spread apart, they
Extend the wrist and the normally do not move simul-
arm upward, away from taneously or with the same
the hand . intensity. They have to be
Leg vertical trained so that the move-
ments start and finish with
the same momentum. In this
way the body develops grace
and rhythm .
31
PART I· THE ASANAS
3
ql~~<AI+I~
Virabhadrasana I II
VIRABHADRA = a warrior from Indian mythology.
THIS IS the third and most difficult warrior pose. It combines strength and
dynamism with firm balance .•
Arms lifting
and stretching
forward
I
leg back. Keep the trunk , arms, and
leg parallel to the ground. Keep the
( chest down. Lower the hea d for a
moment to relax the neck, then raise
the head, and gaze forward. Balance,
maintaining the horizontal stretch,
for 20 to 30 seconds. Do not hold the
breath.
With an exhalation bend the right
leg, lower the left leg, and go into
Vlrabhadrasana I.
Come up, straighten the leg, and turn
to the front. <J Rest the arms if
necessary. Repeat from [> to <J on
C> Turn the left leg and foot Simultaneously (a) bring the hips and
2 45° in, the right foot 90°
out, and the trunk completely to
4 the body weight forward onto the
right leg, (b) straighten the leg, and (c)
the left. Finally take the arms to the
sides, jump the legs together, and
bring the arms down. Rest in
the right. Exhale, bend the right bring the left leg in and raise it to the level Uttanasana I (p. 44) .
knee, and go into Vlrabhadr- of the left hip while (d) keeping the left hip
asana I. down.
Balance on the right leg, make the hips
level, and extend the left leg back. Keep the
knee pointing down and the heel and toes
stretching. At the same time stretch the
arms and the trunk forward and the left
32
STANDING POSES
WORK IN THE
POSTURE
=+=
Keep the right heel and toes firmly down, the kneecap
tucked in, and the thigh muscles pulled up. Stretch the
inner and outer leg right to the top oj the thigh. Keep
the left leg strong .
•
Do not collapse the chest but stretch the Jront oj the body
toward the head. Press the shoulder blades into the back
and stretch the armpits and upper arms Jorward while
extending the left leg back. Keep the elbows locked. Leg stretching back
Leg lJertical .
------ .
WAYS OF PRACTICING
------
Reflection
Executing the techniques correctly is
only the start oj Yoga. Gradually the
mind must also become inlJollJed and it
is necessary to delJelop concentration
and willpower. Concentration
invollJes Jocusing the mind on the
postures, paying attention to detail,
and maintainirlg balance. Willpower
olJercomes flagging concentration and
strength, and recharges the postures
Rest the outer edges of the hands
lightly on a ledge.
with energy. In this way, mind and
body work together.
Rest the foot on the back of a
chair and extend the trunk for-
ward.
Having the hands and feet sup-
ported helps in understanding
the line of the posture.
33
PAR T I THE ASANAS
________ql_4~~
_______________
Parivrtta Trikonasana • •
PARIV~TTA = reverse, revolved; TRIKONA = triangle
0
IN THIS pose, the trunk revolves a full 180 backward."
1
3t
Stand in Ta9asana (p. 18).
Inhale and jump the legs
to 4ft apart, arms stretched
sideways. C> Turn the left leg
and foot 45 to 60° in and the
right leg 90° out. Line up the
right heel with the left instep. 2 Stretch the right leg up and hit the
left leg back, revolving it inward
to the maximum. Simultaneously
3 Press the left heel down and, with
an exhalation, swing the left side
of the trunk down toward the right
bring the left hip and the left side of the foot, and turn the right side up . Extend
WAYS OF PRA C TICING
trunk forward and take the right side the left arm from the shoulder until the
---;:=====;;;;;;; • ~===~
slightly back until both sides of the hand rests on the floor beside the outer
body are parallel. Extend the trunk up edge of the foot. Use the pressure of
and keep the arms extended. the fingers to turn the trunk more.
(The front of the body - the pubis, Bear the direction of the spine in mind:
navel, and sternunl - now faces com- keep it centered and turning on its own
pletel y forward [to the right] and the axis; let the trunk follow the move-
back of the body and the spine face ment of the spine. Do not sway the
directly back [to the left].) hips to one side.
To learn alignment, do the pos- Extend the whole back from the
ture at right angles to the wall. coccyx to the head. Revolve th e hips ,
Press the back heel into the wall waist, and chest. Move t.h e left kidney,
(above), with the back of the the left back ribs, and the shoulder
trunk parallel to the wall. Center blades in to bring the chest over the
the trunk, bend forward, and
right leg. Then lengthen the front of
then turn to the right.
the body from pubis to abdomen,
Place the hand on a brick.
abdomen to chest, chest to shoulders.
Keep the top hand down on Extend the right arm up, turn the head,
the hip.
and look up. Stay for 20 to 30 seconds,
If you are stiff, keep the lower breathing evenly.
hand beside the inner edge of
the foot. Inhale and come up . Turn to the
center. <J Repeat from C> to <J on the
left, then jump the legs together and
bring the arms down .
34
STANDING POSES
I Front view
Extend the front of the body
and opell the chest. Revolve
the abdomen upward. Bring
the trunk into the same plane
as the legs.
WORK IN THE
POSTURE
=+=
Stretch the left hip away from
the left thigh. Turn the hips to
the maximum and cempress
them to extend the spine
toward the head .
•
Stretch the right arm 14p to create
space Jor the trunk to !i/rn .
•
Keep the legs, trun.k, head, and
arms in one vertical plane and
the head and coccyx in olle line.
Hips turning
Spine extending
and turning
from coccyx
35
PART I · THE ASANAS
Parivrtta Parsvakonasana
e e
36
STANDING POSES
Trunk rotating
and extending
WORK IN THE
POSTURE
=+=
Co on turning. Do not allow
the right thigh to lift or the left
knee to bend. Front thigh down
+.
Stretch the abdominal organs
toward the rib cage. Move the
diaphragm away from the
abdomen.
+
Make the back concave.
37
PART I · THE ASANAS
q ~ ~=ij- -3l'Cf
-
-€I ~
--
I+I~ ---
38
STANDING POSES
WORK IN THE
POSTURE
=+=
Extend the trunk and left leg away Jrom each other.
Keep the left th(ifh and knee strong ly gripped .
•
Malle the left side oj the spine into the trunk. Bril1g the
leJt side oj the chest oller the right leg to keep the posture
in Iirle .
•
Flatten the back ribs and tum the rib cage more.
Rel/oille the chest and abdomen upward.
Front view
Move the sternum toward
the head. Stretch the armpits.
Shoulder blades
39
PART I· THE ASANAS
Parsvottanasana
pAR5VA = sideways; UTTAN = extended
THE TRUNK stretches first up and then down over the legs, with the hands joined
in prayer position behind the back .•
40
STAND I NG POSES
WORK IN THE
41
PART I· THE ASANAS
Prasarita Padottanasana I
PRASARITA = spread out, expanded; pADA = foot, leg;
UTTAN = extended, stretched
THIS IS a resting pose with the legs spread wide apart and stretching up .•
..------...,
42
STAND IN G POSES
Front view
Feet and hands placed
• evenly. Inner legs hitting
away from each other
WORK IN THE
POSTURE
=+=
Keep the outer edges of the feet down and
the knees straight. Stay il1 con trol oj the
legs to maintain their upward extension
and their distance; if the feet slide too far
apart, the groin and thigh muscles may
tear. Pull up the very tops of the th Ighs. Lift
the buttock bones .
•
Move the head closer to the legs arid take
the hands further back, without co llapsing
the shoulders or constricting the neck .
•
Adjust the weight distribution between the
Jeet, hands, and head Jrom moment to
moment.
Legs firm ly
stretching up
Back
relaxed
Arms Jorming
a right angle
Shoulders
lifting
Foe U S Hitting
the legs outward PRASARITA
With a strong, swift PADOTTANASANA II
----.----
action move the inner This is done with the
legs away from each hands in Parsvottan-
other; do not disturb the asana (p. 40). It is more
feet. difficult, as the trunk
bends down without the
support of the hands ....
43
PART I · TH E A SA N AS
Uttanasana I
UTTANA = extension
THI S IS a version of UWinasana done for relaxing purposes, in which the body
elongates passively .•
W O RK IN THE
POSTURE S i d e view
=.= Bring the weight
Separate the buttock bones. slightly fo rward onto
•
K eep the abdomen relax ed and moving
the front of the f eet so
that the legs do not
towards the chest. Bring the hips and
slant backward.
lower abdomen to ward the thighs.
Uttanasana II
.'
Shins, knees
and thighs WORK IN THE
in a vertical
line POSTURE
=+=
Pay attention to thefeet (see Taqasana,
Feet, p. 18). Keep the toes active .
•
K eep the inner ankles, kn ees, and thighs
together. Stretch to the tops of the thighs.
Roll the hip sockets in.
With an exhalation •
2 sweep the trunk and
the anTIS down, placing the
Lengthen the front of the body and the
spine downward, keeping the shou Ider
hands on the floor beside blades pulled toward the waist.
the feet or a little further
back. Look up.
In going down, move
the buttock bones out-
ward and lift them away
from the thighs.
. ,
45 ..
PART I · THE ASANAS
-------------- - ---
Garudasana
.
CARUQA = the eagle deity in Indian mythology
IN THIS balancing posture the anns and legs are intricately entwined .•
Thighs crossing
at top
Front view
Arms and legs
firmly entwined.
Waist extending .
upward.
Foot stab le
46 .."..
STANDING POSES
----- -----------------------
Utkatasana •
UTKA TA = powerful, mighty
THE BENT legs and upstretched trunk and arms
form a dynamic zigzag. The heels and arms
extend in opposite directions while the hips
move down as if to sit .•
WORK IN THE
POSTURE
Back ribs in =.=
1 Stand in Ta:da:sana
(p. 18). Inhale and stretch
the arms forward and up.
Stretch the Achilles tendons and
the calf muscles up.
•
Bwd more in the ankles and
Join the palms (or keep the
arms parallel). knees to make the angles oj the
joints more acute.
Keeping the heels
•
2 down and the arms and
upper torso lifted, exhale
Move the tops oj the thighs
down more and lift the hips and
abdomen away from the legs.
and bend the legs by about Maintain a strong upward
60°. Bend the ankles, stretch oj the trunk and arms
knees, and hips. without creating any strain.
Keep a firm grip on the
•
Although the trunk leans
back of the body. Stretch it Jorward, keep pulling it back
up, moving the kidney area, toward the vertical axis.
back ribs, and shoulder
blades deep in. Extend the
abdomen, lift the rib cage
and stretch the armpits.
Pull the waist, the top of
the trunk, and the arms
back. Keep the elbows
straight. Look ahead. Stay
for 20 to 30 seconds,
breathing evenly.
With an exhalation
straighten the legs and Ankles flexing
bring the arms down.
47
PART J. THE ASANAS
Panghasana
PARICHA = gate, crossbar
FROM A kneeling position the trunk extends to the side, creating a gate with a
crossbar. +
WAYS OF PRACTICING
-----+-----
Keep the sole of the right foot
raised on a pad.
WORK IN THE
POSTURE
= +=
Tuck the top oj the right thigh
in toward the hip. Bend more
in the hip joint and slide the
trunk closer toward the leg .
•
Keep the trunk extended and
the arms straight. Make the
right side oj the back concave.
48
------------..-------------
SITTING POSES
Extension brings space} space brings freedom ,freedom brings precision. Precision is truth
and truth is God.
B. K. S. IYENGAR
The sitting poses are calming. They remove fatigue, refresh the brain, and
soothe the nerves. They regularize blood pressure and aid recovery from illness.
They promote healthy sleep.
They fall into two categories: upright postures that involve flexing the legs into
different positions, and forward bends where the trunk bends over the legs.
Virasana
VIRA = a hero
THIS IS wonderful for refreshing and relaxing the legs when they are tired. It
may be used for sitting in meditation .•
50
SITTING POSES
WORK IN THE
POSTURE PARVATASANA
------,--. - - - - - -
=+= PARVATA = mountain
Raise the hips, keeping the buttock bones down; C> Interlock the fingers with the
stretch the abdomen and the trunk up. right thumb base over the left, .
•
Move the lumbar and the kidneys in without base of the fingers in contact.
projecting the floating ribs forward . Turn the palms out and stretch
•
Lift the diaphragm . Keep the shoulders balanced
the arms forward and up. Lock
the elbows. Open the armpits.
over the hips and sit with the back erect. Pull up the trunk with the arms.
Take the arms further back.
Stay for 15 to 20 seconds. Bring
the arms down. <J Repeat from
C> to <J , left thumb in front .•
Head straight
VIRASANA
FORWARD BEND
------. ------
Spread the knees apart, bend
down between them, and extend
the arms, waist, and chest for-
ward. Rest the forehead on the
floor. Stay for 20 to 30 seconds .•
Shoulders
back
Thighs and
shins compact
Hands
51
PART I · THE ASANAS
Dandasana • •
DAl\TPA = a stick or staff
THIS POSTURE is the basis of the sitting poses and twists. The trunk is erect and
the legs are stretched straight .•
Sit on the floor with the legs away from the legs and draw the TRUNK AND ARMS
-------. -------
stretched out in front and the trunk outer edges slightly back.
Pressing the hands into the floor,
upright. Join the inner knees and Straighten the knees by pressing
extend the sides and the back of the
inner ankles. Place the palms on the the kneecaps into the knee joints and
body up . Stretch the sacrum and
floor beside the hips, fingers pointing stretching the backs of the knees.
lumbar. Lift the rib cage; press the
forward. Stay for 15 to 20 seconds. Press the thighs, knees, and shins
shoulder blades into the back.
down. Tuck the tops of the thighs in
LEG S AND FEET Rotate the upper arms outward and
-------. ------- toward the trunk.
lock the elbows.
Extend the legs and heels forward,
keeping them parallel and centered.
Stretch the soles, the tops of the feet,
WAYS OF PRACTICING
------- ----'------ .
If the lower back sags, sit on two folded
Extend the front of the body from
the pubis up. Keep the lower abdo-
men slightly pulled back, without
and the toes up. Keep the feet parallel: blankets. tensing it. Lift the sternum, the top
move the inner edges of the feet ribs and the collarbones. Move the
shoulders back and down. Open the
Fr on t v i ew chest and breathe evenly.
Keep the chest
lifted and broad
------- .
HEAD
-------
Do not let the head tilt. Keep it
straight and look ahead.
F 0 c u s Alignment
(See also Ta9asana, p. 18). Keep both
sides of the body parallel. Center the
Upper chest face and the trunk.
lifting
R efl ection
Paying attention to detail brings precision in
the postures. Precision leads to perfection and
truth. Truth is divinity. Being observant
trains the inner eye to see subtle movements
within the body. As practice becomes more
accurate, the body responds with pointers to
further refinements. In this way practice is
filled with the light of understanding) and
clarity in Yoga is attained.
52
SITTING POSES
Sukhasana
SUKHA = happy, easy, comfortable
THIS IS an easy posture, where the legs are crossed simply .•
WAYS OF PRACTICING
------------- .-------------
Sit on two or three folded blankets.
FORWARD BEND
----------- .
-----------
Bend over the legs, stretching the
arms forward, head on the floor..
Support the thighs on blankets.
If the back is weak, sit against a wall with
a small cushion behind the waist or chest.
WORK IN THE
POSTURE
=+=
Learn to sit straight. Stretch the lower
trunk up without tensing it. Open the chest
by moving the dorsal spine in and widening
the front ribs away from the sternum.
Take the shoulders back. Drop the upper
Back view arms down .
Move the
sacrum in
and up
Legs relaxed
53
PART I· THE ASANAS
Padmasana
PADMA = a lotus, symbol of creation
THE TRUNK rises from the compact support of the crossed legs. This is one of
the principal postures used in meditation."
54
SITTING POSES
BADDHA PADMAsANA
--------------+--------------
BADDHA = bound
W O RK IN THE
POSTURE
=+=
Squeeze the thighs tOlllard each other . •
•
Maintain the lift oj the body. PIlII up
the coccyx and the bUllock III lise II's.
•
Malle the shoulder blades ill. Liji the
diaphragm. Sit steadily, keepill:\[ file
jace relaxed.
Palms relaxed
Shins crossed
55
PART I· THE ASANAS
Gomukhasana
GO = COW; MUKHA = face, aspect
THE CLOSELY crossed thighs and the hands clasped behind the back give this
posture an asymmetrical balance."
WORK IN THE
POSTURE
=+=
Learn to sit without leaning to one side. Keep
the trunk balanced and centered .
•
Open the right armpit and roll the left shoulder
back. Press the shoulder blades in.
Elbow
facing
ceiling
----- ----- .
WAYS OF PRACTI C I NC
56
SITTING POSES
Baddha Konasana •
BADDHA = bound; KOf':JA = angle
THIS IS the "cobbler" pose. It strengthens the bladder and is invaluable for
menstrual problems and in pregnancy .•
Clasp the fmgers around
2 the toes and pull up the
abdomen, waist, and chest.
B ADD H A K Of\lASANA
FORWARD B END
Open the groin, bring the - - - - - - +- - - - - -
sacrum forward, and take
the knees down to the
ground.
Keep the head straight.
Sit quietly, without strain-
ing the thighs , for 2 to 5
minutes (or longer),
breathing evenly.
1 Sit in Dalf9asana (p. 52).
Bend the knees to the
sides and draw the heels in
R elease the hands and legs. Bend forward, pressing the t:lighs
with the elbows. Take the hips and
towards the pubis. Join the WAY S OF PRA C TI C I NG chest down. Rest first the forehead,
soles of the feet. - - - - - +- - - - - and later the chin, on the floor. ...
Sit on two blankets.
Hold the ankles and
Roll blankets under the knees.
bring the feet close to the
perineum. With the fmgers, Sit against a wall with a
support behind the back.
open the inner calf and
thigh muscles upward.
Keep the heels , toes, and
inner and outer edges of the WORK IN THE
feet in line. Press the feet POSTURE
lightly together. Make =.=
both arches a similar shape . R elax the undersides oJthe legs.
Open the thighs out- Pull on the Jeet with the hands
ward and keep the knees and press the Jeet down. Lightly
level. Raise the hips. For a contract the perineal area arId
moment place the finger- draw the bladder up.
+
tips behind the hips and Lift and open the chest.
stretch the back of the body •
upward. Move the trunkJorward
Tmnk between the arms and take the
pulled up shoulders back.
Hands
clasping Jeet
57
PART I· THE ASANAS
ParipurIJa Navasana
PA RIP ORl'f A = full, complete; NAU = boat
IN THIS posture the body is like a boat, with the arms as oars .•
Sit in DaI!9asana (p. 52).
ARDHA NAvASANA
With an exhalation raise -------------------+--------------------
the legs to 60° and lower ARDHA = half;
the trunk by 30°; simult- NAU = boat
aneously raise the arms to
shoulder level and stretch
them toward the legs.
Keep the palms facing each
1 Sit in DaI!9asana (p. 52).
Clasp the hands behind
the head; bring the elbows
other. slightly in so that the arms
Balance on the front of form a semicircle.
the buttock bones. Elong-
ate the trunk toward the
head and the legs toward
the feet. Keep the knees and
2 lExhale, lean back, lower the trunk, and raise the
,legs to 30°. Balance, with the legs and trunk
extended above the ground. Extend the front of the
elbows locked. Lift the body but do not tense the abdomen. Stay for 15 to
chest and look toward the 20 seconds, looking toward the feet. Release the
feet. Do not tense the hands and come down.
abdomen.
Stay for 20 to 30 seconds,
breathing evenly.
Lower back
lifting
WORK IN THE
POSTURE
=+=
WAYS OF PRACTICING Keep the trunk and the legs up.
----------+-------- Do not cQ,/lapse the lower back:
Keep the hands on the floor keep the sacrum firm Iy pressed
until the legs and trunk are in and lifting. Extend the backs
balanced; then raise the arms. oj the legs and the inner heels.
Go into and come out of the •
Keep both sides oj the bady
posture with bent legs.
parallel.
58
SITTING POSES
,
Janu Sirsasana •
JANU = knee; SIR.$A = head
WITH ONE leg bent to the side, the trunk stretches forward .•
WAYS OF PR ACT I C I NG
-----. -----
Sit on folded blankets. Rest
the forehead (see p. 04).
Support the bent knee or use
a pad or belt behind it.
59
PART I· THE ASANAS
Ardha Baddha
Padma Pascimottanasana
ARDHA = half; BADDHA = bound; PADMA = lotus;
PASCIMOTTANA = posterior stretch
THE HEEL presses into the abdomen, which extends over it."
60
SITTING POSES
TriaJig Mukhaikapada
Pascimottanasana
TRI = three; ANCA = limb; MUKHA = face; EKA pADA = one foot or leg;
PASCIMOTTANA = posterior extension
HERE THE trunk extends freely; the problem is to keep the hips balanced .•
Toes
stretching
back
61
PART I· THE ASANAS
$i i.:I FH <;OJ
Krauncasana
KRA UNCA = a heron
THE TRUNK and raised leg meet in an upward stretch; the bent leg grips the .
ground .... Avoid this posture during menstruation.
Trunk moving
toward leg
62
SITTING POSES
Mancyasana I
MARiCI = the name of a sage in Indian mythology
THIS IS a complex pose where the body first twists to the side and
then bends forward."
63
PART I· THE ASANAS
Pascimottanasana
PASCIMA = back; UTTANA = extension
IN THIS extreme extension of the back of the body the ego becomes subdued and
the mind quiet. "
64
SITTING POSES
Upavista Kotlasana
UPAVI$TA = seated; KONA = angle
HERE THE legs are spread wide apart. Sitting upright in this posture is beneficial
for gynecological problems and can be practiced during menstruation and
pregnancy as 19n9 as there is no strain. U.
WA YS OF P RACTlCING
-----. -----
WORK IN THE
3 the floor, pulling on the big toes, and
at the same time resisting the pull.
POSTURE Move the waist and chest forward,
=+= then take the shoulders and upper chest
Control the separation of the legs: as they stretch down . Rest the head on the floor.
away from each other, do not let them roll Stay for 20 to 30 seconds, breathing Foe u s Making the back
outward. K eep the knees pressed down. concave
evenly.
•
Every so often exhale and move the trunk further
Raise the coccyx. M ove the
Inhale, come up . Bring the legs together. sacrum, lumbar, kidneys, and
down, taking the chest and chinforward. dorsal spine in, then extend
the front as well as the back of
the body up. Extend the cer-
vical vertebrae and take the
head ba ck.
Chest
down
Inner legs opening Arms extending
away from each other from shoulders
65
PART I· THE ASANAS
Parsva·'Upavista Kotlasana
pARSVA = sideways; UPAVI$TA = seated; KO~A = angle
THIS COMBINES a wide spread of the legs with a lateral extension of the trunk ....
PARIV~TTA UPAVI~TA
----_ ----- ..
KONASANA
PARIVRTTA = revolved
Study the text and illustra-
tions opposi te for Parivrtta
Jinu S1r~asana. Do the pose
with the legs in Upaviga
KOQasana .•••
Leg extendillg
away from trunk
66
SITTING POSES
,
Parivrtta Janu SlrSaSana
e e
Klli'i'
IJIII/ill,\! htlrk
67
PART I · THE ASANAS
Kurmasana
KORMA = tortoise
THE BODY is enclosed by the arms and legs and the mind draws inward .....
VARIA TION
---------- . ----------
Turn the arms in, with the Take the head down.
palms facing up, and stretch Move the chin forward
them back almost in line and stay for a further 20 to
with the legs. 30 seconds .....
Extend the legs forward.
68
PART I· THE ASANAS
Mancyasana (standing)
MARICI = name of a sage
.
THIS STANDING twist is very useful for relieving backaches .•
WORK IN THE
POSTURE
=+=
Pull the left thigh back .
•
Keep the trunk upright. Every two or
three breaths turn more on an
J J
70
TWISTS
Right hand
pushing
WORK IN THE
POSTURE
=+=
Tllm the hips as I/Iuch as possible, thell
the waist, chest, alld shoulders. MOlle the
left kidlley in .
•
Lift the rib cage alld take the shou lders
jJack .
•
Sq.ueeze the abdomen to the right.
71
PART I· THE ASANAS
Bharadvajasana I
BHARADVAjA = name of a sage
H ERE THE trunk turns in a spiraling movement from the hips .•
Turn the left arm out Turn the head and look
3 and place the palm
under the right outer thigh,
over the left shoulder. Stay
for 20 to 30 seconds,
fingers pointing in. Swing breathing normally.
the right arm back and,
Release the hands and turn
from behind, hold the left
to the front; straighten the
upper arm just above the
legs. <l Repeat from [> to
elbow. Pull the right elbow
<l on the left.
and shoulder back, press
the back of the body WAYS OF PRA CT I C I NG
forward and swing the -.,-------. - - - - -
trunk further around. Sit on two folded blankets.
WORK IN THE
Front view POSTURE
Extend the Arm =+=
front of the elongating Keep the legs firm.
body when
turning
downward •
Revolve from the hips. Move
the lumbar and dorsal spine in.
Be strong it! the left side of
the back .
•
Lift the upper chest, roll the
shou lders back, and take the
shoulder blades deep in.
Trunk turning
away from
legs
Legs close
together
72
TWISTS
Marlcyasana III
MARICI = name of a sage
ARM S ENTWININ G the trunk and bent leg, the body turns."
Abdomen
revolving
Leg extended
WAYS OF and firmly
PRACTICING pressed do wn
----.-~--
Sit on two folded blankets.
To achieve a good lift of
the trunk, place the back
hand on a brick or
baseboard.
Use a belt to catch hands.
73
PART r· THE ASANAS
Ardha Matsyendrasana I
ARDHA = half; MATSYENDRA = Lord of the fishes, first teacher ofY oga to mankind
THIS IS a complicated twist, combining a strong turn with balance. "
74
•c
TWISTS
Right side
turning back
Reflection
In stretching or turning the tru~lk,
the internal organs should move
together with the skin,flesh, and
WORK IN THE bones. This stimulates the inner
POSTURE orgarlS. The effects of the iisanas
are intensified. When the inner
=+=
and outer body work in harmony,
Keep both feet active; do not
understanding of y(1ga deepens.
slide off the left foot .
•
Take the trunk closer to the
legs. Leave no space between
the armpit and knee.
•
Draw the elbows closer together
and away from the trunk . Crip
the hands strongly to increase
the turn of the trunk.
Foot supporting
trunk
75
PART I· THE ASANAS
Pasasana
pASA = noose
THE ARMS form a noose around the legs and trunk."
Ankles bending
Heels
stretching down .Jk::;.elllil_.~~~::t..:i!fl!l"-
76
( .
TWISTS
Bharadvajasana II
BHARADVAjA = name of a sage
THE LEGS are anchored, allowing the hips and trunk to turn strongly."
77
PART [ . THE ASANAS
Ardha Matsyendrasana II
ARDHA = half; MATSYENDRA = Lord of the fishes
THE STRONG grip of the hands makes the trunk lift and turn freely ....
WAYS OF PRACTICING
----- . -----
Use a belt around the bent leg.
Support the bent knee.
78
)
------------..-------------
SUPINE & PRONE
POSES
After acting J reflect on what you have done. If you do not reflect J there is confused
action. Pause between each movement. The self has to find out whether the posture
has been done well or not.
B. K. S. IYENGAR
This section includes two categories of posture. They stretch the abdomen,
increase the mobility of the spine and hips, and open the groin. Some strengthen
the back, arms, and legs. Others are restful.
80
SUPINE & PRONE POSES
WAYS OF PRACTICING
-------. -------
Trunk curving
over bolster
81
PART I· THE ASANAS
--~
Supta Virasana
SUPTA = supine; VIRA = hero
THIS POSE rests the legs and is good for the digestion." >
82
SUPINE & PRONE POSES
Matsyasana
MATSYA = fish
THE DOWNWARD action of the legs creates space in the pelvic region ....
83
PART I· THE ASANAS
at
right angles
to trunk
Aims stretching
WAYS OF PRACTICING
-----------.--------~--
WORK IN THE
To avoid straining the back or Lie with the legs against a wall. POSTURE
legs, bend the legs over the Raise the legs to 90° and =.=
abdo,men, then straighten lower them, 8 to 12 times in Do not hold the breath.
them up to 90°.
Hold the feet with a 'belt (in
step 4) to straighten the legs.
quick succession.
.
•
Press the outer hips down.
Keep the abdomen passive . Do
.
84
SUPINE & PRONE POSES
lathara Parivartanasana
e
VARIATION
----------e-------
----- ----- .
W A YS OF PRA C TI C I N G
85
PART [. THE ASANAS
Bhekasana
frogBHEKA =
STRENGTH in the arms helps to develop flexibility in the legs."
3"
trunk. Stretch the tops of the thighs
away from the trunk, then bend the Continue turning the hands until
legs back. One at a time, bend the the fingers point toward the
arms with the elbows pointing up head. With the heels of the hands just
and place the hands on top of the feet. above the toes, press the feet down
beside the hips. Keep the feet in line
WAYS OF PRA CT I C I NG
with the shins. Exhale and raise the
-------. ------- head and chest. Stay for 10 to 15
Work with one leg at a time, repeating seconds, breathing evenly.
several times .
Release the hands and legs.
Arms strong
Chest lifting
86
SUPINE & PRONE POSES
Anantasana
ANANTA = the Eternal One; serpent couch of Lord Vishnu
THE BODY reclines on the side, one leg extending up toward infinity."
Leg, trunk,
and upper arm
in line
87
PART I· THE ASANAS
Supta Padangu$thasana
SUPTA = supine, lying down; PADANGU.$THA = the big toe
THIS POSE is useful for releasing the lower back. "
WORK IN THE
POSTURE
=+ =
4 With an exhalation, bend the
right elbow outward, and draw
the leg toward the head. Simulta-
Exhale, lower the head and trunk;
bring the arms and the right leg
down. <J <J <l Repeat from C> C> to
Co on extending the backs oj
the legs; keep the heels strong.
neously raise the head and chest <J <l <l on the left. Keep the thigh muscles gripping
toward the leg, until the head the bones.
touches the shin. Stay for 15 to 20
•
Elollgate the trunk and open the
seconds. chest.
88
SUPINE & PRONE POSES
Caturanga Davdasana
CA TUR = four; ANCA = limb; DAf':JPA = stick, rod
THE BODY is held parallel to the ground by the strength of the legs and arms. "
89
PART I· THE ASANAS
iiWi ,.,.
,
Adho Mukha Svanasana
ADHO = downward'; MUKHA = face; SVANA = dog
THIS POSTURE imitates a dog stretching downward. It rests the heart .•
WORK IN THE
POSTURE
Legs hitting =.=
back Keep the weight even on both hands and
both Jeet .
Trunk movinR
•
Move the dorsal spine and kidneys in.
toward legs From the diaphragm stretch the abdomen
up and the chest down .
------- .
WAYS OF PRA CTIC ING
-------
Press the heels or the thumbs and
forefingers against a wall.
Rest the head on a bolster.
90
SUPINE & PRONE POSES
- ,
Urdhva Mukha Svanasana
ORDHVA = upward; MUKHA = face; s'VANA = dog
THIS IS a vigorous upward stretch of the trunk .•
WAYS OF PRA CT I C I NC
------- . -------
To get a better lift, pla ce the hands o n a
brick .
Place a chair aga inst a wall; rest the tops
of the thighs on it, grip the chair firm Iy
and cu rve back .
SIMPLE J UMP I NC
91
PART [. THE ASANAS
,
Salabhasana I
SALABHA = locust
THE CHEST and legs lift and extend, giving the pose a tensile strength .•
92
SUPINE & PRONE POSES
BhujaJigasana
BHUJANGA = a snake, cobra
THE BODY resembles a cobra poised to strike. "
Foe u s Avoiding pain in the
spine
The whole spine must be in-
volved in stretching, other-
wise pain will occur in the
weak areas. Where there is a
pinching feeling, that part of
the spine is contracted, with
the intervertebral discs rub-
bing against each other. To
avoid this, create space in the
spine: extend and curve it
vertebra by vertebra.
Chest puffed
WORK IN THE
POSTURE
=+=
Keep the legs together and stretch
them back .
•
Stretch the arms up . Take the shoulders
back. Move the rib cage Jorward. Curve
the spine evenly, without putting too much
oj a load on the lumbar.
93
PART I· THE ASANAS
Dhanurasana
DHANURA = a bow
IN THIS posture the body arches like a strung bow. "
Arms pulling
legs up
Lower back
pressing down
Chest lifting
WORK IN THE
POSTURE
=+ =
Keep a firm grip on the legs.
Raise the thighs and shins more .
•
Increase the extension of the
front ofthe body and the curve of
the back.
94
------------..-------------
INVERTED POSES
You must savor the fragrance of a posture. Until you are relaxed, you
cannot savor the fragral1ce.
13. K. S. IYENGAR
The inverted poses revitalize the whole system. They take the weight off the
legs, relieving strain. By inverting the inner organs, they activate parts
that are sluggish. They improve circulation and tone the glandular system.
They help concentration as blood is brought to the brain, and are a marvelous aid
to sleep. SIr~asana in particular activates the pituitary gland.
Sarvali.gasana strengthens the nervous system and the emotions; it activates
the thyroid and parathyroid glands.
Adho·Mukha Vrksasana • •
ADHO MUKHA = face down; V~K$A = tree
THIS IS the full-arm balance, which gives tremendous energy. (Do not attempt
this posture if the arms are not strong.)".
WA YS OF PRACTlClNG
WORK IN THE -----. -----
To keep the arms straight, tie
POSTURE them with a belt, just above
=+= the elbows.
Press the heels oj the hands down and
Practice Adho Mukha
stretch the fingers Jorward. K eep the
Svanasana (p. 90) until the
arms strong.
arm s are strong; then practice
•
Stretch the trunk vertically up . Lift the jumping repeatedly until the
shou lders, take the shoulder blades in, legs go up.
%
INVERTED POSES
Pifica Mayurasana
PINCA = tail feather; MAYORA = a peacock
THE TRUNK and legs resemble the fanlike tail of a peacock ....
sacrum
tucked in
Straighten the legs and Tie a belt just above the elbows to keep
2 walk in, raising the
trunk and hips. Keep the
the arms in.
Hold a brick between the thumbs and
left leg bent and slightly index fingers to keep the wrists apart. Back
forward, the right leg Balance with the feet away from the wall
straight and slightly behind. for a more vertical stretch.
Prepare to jump.
97
PAR T I THE ASANAS
,
Salamba Slrsasana I •
SALAMBA = supported; SIR$A = head ·
THE HEAD-BALANCE is called the king of the postures. It develops poise and
lightness, and stimulates the brain."
WORK IN THE
POSTURE
=+=
Keep the arms and head steady. Move the
Exhale and swing the
4 legs up until they are
vertical. Inner legs
chest Jorward, without collapsing
the lumbar.
•
extending up Stretch the leRs away Jrom the hips. Stretch
Lift the shoulders,
the backs oj the legs. Open the backs oj the
stretch the neck, and take knees. While extending the legs up, draw the
the dorsal spine in. Extend skin oj the front oj the legs toward the trunk.
the trunk and the legs up. •
Pay attention to alignment. Keep both sides
Tuck the sacrum and
oj the body leve l and workil1g evenly. Keep
coccyx in (see Focus, p.
the body centered. Do not lean on one side.
97) . Keep the knees •
straight and facing for- Find repose and lightness in the posture.
ward. Extend the heels,
soles of the feet, and toes.
Stay for 5 to 10 minutes
or longer, keeping the face Side view
and eyes relaxed. Do not Press the wrists
down. Lift the
stare. Breathe evenly.
upper arms and
Continue the cycle, or bring them for
exhale and come down with Move the back
straight legs. Bend the legs ri bs in. Stretch
and rest the head, until it the sides oj the
clears, on the floor. body upward.
Body balancing
symmetrically on
crown oj head
and arms
Ears and
eyes level
99
PART I· THE ASANAS
100
I NVE RTED POSES
WAYSOFPRACTICING
Straighten the legs up. ~~~~~.~~~~~
4 Balance for 1 to 5
minutes, working on all the
Backs oj legs
extending
points mentioned on the
prevIOus pages.
Exhale. Bend the legs to-
ward the abdomen and
come down . Rest the head .
WORK IN THE
POSTURE
=+=
See instructions jor Work in
the Posture jor sa lamba
Sfr~asana I (pp. 98-9).
-"
Sfr~iisana near a wall Straighten the legs up,
Sfr~iisana in a corner
Keep the interlocked
Foe u s Folding a blanket fingers centered and touch-
At all stages of folding a blanket ing the corner. Keep the
keep the edges together and the arms equidistant from the
folded parts smooth. If there are two walls. With the heels,
creases, this disturbs the posture. measure the distance from
Make the folded edge the longest one the corner, and make it
and keep it at the front. equal on both sides.
- ...
101
PART I· THE ASANAS
,
Slrsasana cycle
SfR~ASANA variations develop strength in the arms as well as balance
and a sense of line.
, ,
Parsva Sfrsasana Parivrtta Eka Pada Sfrsasana
PARSVA = side, flank; SiR$A = head PARIV~TTA = revolved; one leg;
EKA PADA =
The trunk and legs lift and turn strongly. " head
SiR$A =
As the trunk turns, the legs spread apart ....
Be in SIr~asana (p. 98). Turn the rib cage, waist, Be in SIr~asana (p. 98). 15 to 20 seconds, breathing
Keep the base of the posture hips, and legs. Compress the I> Stretch the hips up. evenly. Exhale, turn to the
firm. Lift the upper arms hips, thighs, and shins. Take the left leg forward front. Join the legs. <l
and shoulders and stretch Tuck in the abdomen. Stay and the right leg back. Repeat from I> to <l,
the legs. for 15 to 20 seconds, Keep the knees straight. changing the legs.
I> Exhale and turn to breathing evenly. Exhale Exhale and turn to the
Continue the cycle or
the right, taking the left and turn to the front . right. Keep the head and
exhale and come down.
side of the body forward Center the head and trunk. <l neck facing forward, the
and the right side back. Repeat from I> to <J on shoulders lifted. Keep the
the left. pubis pointing up. Make WA YS OF PRACTICING
the heels strong and stretch ----- . -----
Corrtinue the cycle, or Use a wall: do Parsva
the backs of the legs and SIr~asana, then take the legs
exhale and come down .
feet without disturbing apart.
the line of the legs. Stay for
WORK IN THE
POSTURE
=+=
Stretch the back of the left Legfrom the
Lumbar to the heel. Stretch the front of
the right leg from the waist to the
Trunk and
legs revolving
Legs extending
away from
each other
WORK IN THE
POSTURE
=+=
Do not disturb the eLbows or
the head .
•
Press the Left shouLder bLade Trunk revolving
into the back ribs. Lift the
right side of the trunk .
•
Stretch Jrom shouLders to
hips, hips to Jeet. Do not
throw the hips out to one
side. Turn the spine on
its axis.
Arms stabLe
INVERTED POSES
, ,
Eka Pada Sirsasana Parsvaika Pada Sfrsasana
EKA PADA =one leg; SIR~A = head PARSVA = sideways; = one leg;
EKA PADA
The trunk balances, with one leg stretching up and SjR~A =
head
the other reaching down .... One leg descends to the side, without disturbing the
vertical extension of the pose ....
Be in SIr~asana (p. 98). legs straight and in line; this Be in SIqasana (p. 98). Stay for 15 to 20 seconds,
[> Extend the left leg up, is more important than [> Stretch the left leg up. breathing evenly.
simultaneously lower the reaching the floor . Turn the right leg out- Inhale, bring the right
right leg to the floor dir- Stay for 15 to 20 seconds, ward in its socket and take leg up and turn it
ectly in front of the trunk. breathing evenly. Inhale it sideways down to reach forward. <J
Pull the right side of the and bring the right leg the floor. Do not lean to the Repeat from [> to <J
groin back and do not up. <J side. Keep the foot in line on the left.
allow the left leg and hip to Repeat from [> to <J on with the leg, and the back Continue the cycle or
lean forward. Keep the the left. of the leg facing the ceiling. exhale and come down .
Continue the cycle or
WA YS OF PR ACT I C lNC
exhale and come down. -----. -----
.
Use a wall for support.
WAYS OF PRA CTlC lNC Take the leg down onto
----- -----
Use a wall for support. a chair.
Take the leg down onto a
chair. Leg Lifting WORK IN THE
steadily POSTURE
WORK IN THE =+=
POSTURE Lift the shoulders and the right
=+= side of the trunk.
Keep the shoulders and •
Keep the pelvis upright: move
trunk lifting; do not the right side of the sacrum in
col/apse the chest. and lift the outer hip .
•
Stretch the left inner Leg. •
Keep both legs straight.
Rellollle the leg in to keep
itfacingforward. MOlle '
the right buttock forward
as the leg goes down.
Stretch the feet and toes.
103
PART I· THE ASANAS
,
Slrsasana
,
cycle ,
Baddha K01Jasana in Sirsasana Upavista K01Jasana in Sfrsasana
BADDHA = bound; KONA = angle; SiR-?A = head UPAVI-?TA = settled; KONA = angle; SIR-?A = head
The pelvic opening of this posture is especially The wide spread of the legs lifts and opens the pelvic
beneficial for women .•• area."
Be in SIr~asana (p. 98). for 15 to 20 seconds, Be in SIr~asana (p. 98). Baddha KOl)asana, then
With an exhalation bend breathing even ly. Spread the legs wide straighten the legs up. Con-
the knees to the sides. Bring apart, opening the inner tinue the cycle or exhale
Straighten the legs up.
the heels close to the peri- thighs away from each and come down.
Continue the cycle or ex-
neum, soles together, toes other. Keep the feet in line
hale and come down.
pointing up. with the hips, not in front WA YS OF PRACTICING
Open the thighs out- WAYS OF PRACTICING of them. -----. -----
-----. ----- Use a wall for support .
ward to keep the knees in Use a wall for support . Stay, breathing evenly,
line with the hips. Stay for 15 to 20 seconds. Spread the legs from Baddha
KOf).asana in Slr~asana .
Bend the legs back into
Feet pressing
evenly
Sides of the
body stretching up
- -===---=====- -
104
INVERTED POSES
,
Parsva Vlnisana in Sfrsasana Ordhva Da1Jdasana
PARSVA = sideways; ViRA = hero; S IR-? A = head U RDHVA = upward; DANDA = stick, staff
The pelvis is brought forward strongly for the legs The legs are lowered from Siqasana to make a ri g ht
to turn." angle with the trunk ....
Hips
turning
WORK IN THE
POSTURE Legs poker-stiff
=+=
Press the back ribs in, without
pushing the abdomen forward .
•
Compress the hips and thighs.
Do not make the feet hard.
105
PART I· THE ASANAS
,
-
Slrsasana
,
cycle ,
Urdhva Padmasana in Sfrsasana Pi1Jdasana in Sfrsasana
URDHVA = upward; PADMA = lotus; SiR-?A = head PINI)A = a ball, globe; SIR-?A =: head
Strength, lightness, and flexibility combine in this The trunk and folded legs form a compact ball .....
posture .....
Be in SIr~asana (p. 98). [> From Ordhva Padmasana armpits. Stay for 10 to 15
1 [> Exhale, bend the right
leg vigorously, and place
I PAR5VA ORDHVA
PADMAsANA
in SIr~asana, exhale and
bend the legs over the
seconds, breathing evenly.
----.---- Inhale and come up.
the foot into the left side of PAR5VA = sideways abdomen, keeping the Release the legs. <J
the groin. From Ordhva Padmasana shoulders and trunk well Repeat from [> to <J
in SIr~asana turn to the lifted. Do not collapse the with the left leg bent first.
right. Keep the coccyx neck or trunk when the legs
and sacrum tucked in and bend down. If the neck is Exhale and come down .
2 Bend the hips for-
ward. Take the left
foot into the right side of
press the knees back.
Stay for 10 to 15
strong, bend further, and
take the knees close to the
seconds.
the groin . Stretch the
Turn to the front and
thighs up. Tuck in the then to the left. Change
coccyx and sacrum. Press the legs and repeat ....
the knees back. Stay, breath- l
ing evenly, for 10 to 15 WORK IN THE
seconds. POSTURE
Inhale and release =+=
the legs. <J Lift the upper arms strongly and
Repeat from [> mOlle them forward. Extend the neck.
to <J with the left · •
Allow the back to curlle when taking the
leg bent first . legs down. Move the chest toward the
legs. Draw the knees closer together.
Continue the cycle
or exhale and
come down.
Knees facing
the ceiling
WORK IN THE
POSTURE
=+=
Learn to balance. Lift the
shoulders. Stretch the
abdomen, the hips, and the
lumbar .
•
Tuck the buttock muscles
into the peillis. Draw the
knees closer together.
Head and
trunk centered
106
INVERTED POSES
,
Salamba Slrsasana II •
SALAMBA = supported; SlR.$A = head
WITH ONLY the palms for support this three-point head-balance gives a feeling
of lightness ....
Arches ojJeet
balanced over
crown of head
WORK IN THE
POSTURE
=+=
Adjust the weight on the hands
from moment to moment to keep
the body balanced. Press the
inner palms down and bring the
elbows in. Lift the forearms I
upper arms I and shoulders I and
aLso the shoulder blades. Chest moving
•
Take the dorsaL spine and the forward
sacrum in .
•
Stretch the thighs away from
the hips.
Straighten the legs, raise the hips,
2 and walk in until the trunk is .
almost perpendicular. Shoulders up
107
PART [. TH E ASANAS
Salamba SarvaJigasana
SALAMBA = supported; SARVANGA = all parts of the body
THIS IS called the queen or mother of the asanas. It soothes and nourishes the
whole body .•
108
INVERTED POSES
WORK IN THE
POSTURE Reflection
=+=
In the Qsanas every cell oj the body becomes
Press the hands into the back,
Jull oJlife. This makes the body vibrant. Each
keeping them level. Move the part,Jrom the toes to thejingers, is active. Each
sternum toward the chin.
has its own job to do - lifting , turning ,
•
Tuck the coccyx in toward the extending, or pressing - in a complex inter-
pubis and stretch the groin, inner play. If one part is not sensitive, the posture
legs , and heels up. Take the is not complete. This total action is Yoga.
.
thighs back .
Make the body steady. Keep both
sides parallel and extend them
evenly. Do not tense the eyes, ears,
forehead, or throat.
H ead relaxed
109
PART I· THE ASANAS
Halasana
HALA = plow
WITH THE trunk and legs taken over the head, the brain relaxes .•
l3e in SarvaIigasana WAY S OF PR ACT I C I NG
(p. 108). ----- . ----- ARDHA H ALAsANA
To avoid straining the back, - - - - - - - - - - . - - - -- - - - - -
Keeping the legs straight, go down with bent legs. ARDHA = half; HALA = plow
exhale and take them over
Release the hands and take the
the head ; rest the tips of the arms over the head. Before doing Sarvang- Move the legs forward
toes on the floor. asana (p. 108) , place a to support the tops of the
R est the toes on a stool. chair over where the thighs. Take the arms
Raise the hips and take
them over the head to head will be and put two over the head and relax
curve the trunk slightly. or three blankets on it. completely.
Tuck the kneecaps in and
lift the thighs, shins, and
ankles. Keep the feet ver-
tical, the heels stretching
VARIATION
-- -- .----
For a more intense
l Then, from Sarvang-
asana, exhale and bring
the legs onto the chair.
Stay for 5 to 10 min-
utes or longer, breath-
ing evenly .•
WORK IN THE
POSTURE
=+=
With the hands, press the back ribs forward.
Lift the front and sides of the body up. Stretch
the lumbar .
•
Open the backs of the legs (see Focus, p. 89).
•
Learn to relax.
Legs lifting
INVERTED POSES
Sarvangasana cycle
SARVANGASANA variations refresh the legs and strengthen the back.
WORK IN THE
POSTURE
=+=
Do not disturb the elbows or WORK IN THE
the head. POSTURE
•
Stretch the left leg and the =+=
right side oj the trunk up, as Move the right side oj the
Leg maintaining the right leg goes down. trunkJorward when turning
vertical Line
•
Open the inner thighs away
the leg .
•
Jrom each other. Keep both Extend both legs to the heels
kneecaps locked. and keep them stra ight.
Leg revolving
inward
Hip Lifting
PART I · THE ASANAS
Sarvangasana cycle
Kar1J-aplcjasana Parsva Halasana
KARJYA = ears; pIQA = pressure PAR5VA = sideways; HALA = plow
The senses are shut away from external distractions A strong action in the hips is needed for the legs to
and the body relaxes. " step to the side. "
Be in Halasana (p . 110) . Stay for 10 to 15 seconds, Be in Halasana (p. 110) . Do not move the head and
Exhale and bend the legs. breathing evenly. I> Raise the hips. Exhale shoulders while taking the
Take the knees to the Straighten the legs into and take a large step to the legs to one side.
ground beside the ea rs, Halasana. right with the right leg and Stay for 10 to 15
close to the shoulders. Be bring the left leg toward it. seconds, breathing evenly.
Continue the cycle or
on the centers of the shins Walk further until the feet Walk the feet to the
exhale and come down.
and stretch the feet back. are in line with the right center. <l Repeat from
Bring the sternum for- shoulder. Keep the knees I> to <l on the left.
ward and lift the trunk. WAYS OF PR ACTIC I NG straight and facing the
- - - - - + - - -- - Continue the cycle or
Settle into the posture Rest the knees on a bolster. ground, the backs of the
exhale and come down.
without straining the back legs facing the ceiling.
Keep the hands on the back
and neck. Take the arms until the neck can support the
around the legs and clasp weight of the body.
the hands.
WORK IN THE
POSTURE
=+=
Keep the left elbow down. Extend the
front of the body and the groin up .
WORK IN THE
POSTURE •
Bring the right side of the trunk
=+= forward. Raise the left outer thigh
Do not compress the abdomen . and pull the right buttock bone back.
•
Extend the shins toward the knees .
•
Learn to surrender to the pose to
become comfortable. Hips lifting
A bdomen
relloilling .away
from legs
Arms and
legs enclosing
head
u--- - -- - --
112
INVERTED POSES
WORK IN THE
POSTURE WORK IN THE
=+= POSTURE
With the help of the hands =+=
move the legs further apart. Do not move the left elbow. Press the
Stretch the inner legs to the heel of the hand into the sacrum and
heels. the fingertips into the area of the
•
Lift the chest, abdomen, and coccyx to get a good grip.
. pubis. •
Stretch the legs strongly to make
them light .
•
Press the back ribs in.
Both legs
stretching
as one
Legs hitting
upward
113
PART I· THE ASANAS
---------- --
+l1(#5~
Sarvangasana cycle
Ordhva Padmasana Pi1Jcj,asana
in Sarvangasana in Sarvangasana
URDHVA = up; PADMA = lotus, PIIYpA = a ball; SARVANCASANA = neck-balance
SAR v ANCASANA = neck-balance The body is rolled into a compact ball ....
With the legs crossed, the body gets a strong upward
stretch .. . .
Be in Sarvangasana (p. thighs up so that the knees Be in Ordhva Padmasana Stay for 5 to 10 seconds.
108). Bend in the hips and face the ceiling. Extend the in Sarvangasana (left) with Inhale, bring the legs up,
bring the legs slightly for- whole trunk up. the right leg crosse~ first . and release them. <J
ward. [> Exhale, bend the Stay for 10 to 15 seconds, [> With an exhalation bend Repeat from [> to <J with
right leg, and place the foot breathing evenly. <J the legs over the chest. the left leg first.
into the left side of the Repeat from [> to <J Support the back firmly
Continue the cycle or
groin. Catch the foot with with the left leg first. with the hands.
exhale and come down.
the hands and bring it If possible, bend still
Continue the cycle or
further down. Exhale and more, taking the shins
exhale and come down.
bend the left leg. With the over the head. Draw the
help of the hands, cross it
over the right, taking the WAYS OF PRA CT I C I NG
knees closer together.
Release the arms, lengthen
-WAYS
- - -OF-PRA
. -CT I C I NG
----
----- . ----- Rest the thighs on a stool.
foot as far down as possible. Cross the legs without the them from the armpits, and Rest the knees on a bolster.
Tuck the coccyx and help of the hands. clasp them around the legs.
sacrum in, and stretch the
WORK IN THE
POSTURE Hips level
=+=
Press the buttock bones
forward and the knees back.
Draw the knees closer
together .
•
Lift the chest, make the
spine concave, and stretch
it up .
Trunk moving
forward
114
INVERTED POSES
VARIATION
•
116
INVERTED POSES
1 Be in Setu Bandha
Sarvangasana (opposite).
Keep the back of the body
2 Exhale and straighten
the left leg vertically
up. Tuck in the kneecap and
Leg
vertical
firmly lifted. C> Bend the extend the heel and the toes
left leg over the abdomen, up . Lift the left hip. Do not
keeping the knee in line. let the legs turn outward.
Stay for 10 to 15 seconds,
breathing evenly. WORK IN THE
WAYS OF PRA C TICING
Exhale and bend the left POSTURE
-----. ----- leg over the abdomen; then =+=
Keep the right leg bent when take it down. <l . Keep the right legfirm. Balance
stretching the left leg up. Repeat from C> to <l the extensions oj the two legs.
Drop back into the pose from with the right leg up. Stretch the left leg, lifting it
Eka Pada Sarvangasana Jrom the buttock.
(p. 111) . Jump up into Sarvangasana,
or come down.
•
Maintain the arch oj the back.
Buttock
lifting
117
PAR T I THE ASANAS
•
118
INVERTED POSES
Chest open
PART I · THE ASANAS
t=ld~~~
-
or blanket halfway across,
1 Place a thick folded
blanket over one edge of
a bench or coffee table. On
to support the shoulders. Sit
with the feet on the bench,
2 Exhale and carefully lie
back, curving the waist
over the edge of the bench
head is on the bolsters. Keep
the sacrum on the bench.
Move the sacrum and the
the floor in front of this legs bent, about 2ft away until the shoulders rest on flesh of the buttocks away
place 1 or 2 firm bolsters or from the edge and facing the top blanket and the from the waist.
several blankets, long away from it. Holding the
enough to take the bench, lean back onto the
shoulders, head, and upper elbows. Check that the
arms. Pbce a small pillow trunk and legs are in line.
WAY S O F PRA C TI C I NG
-----.-----
Adjust the height of the
3 Straighten the legs
a wa y from the trunk,
then relax them. Lift the
bolsters according to the
flexibility of the spine. rib cage so that the upper
To relax further, tie a belt chest opens and breathing
around the mid-thighs. If there becomes deeper. Take the
is a helper to undo the belts, arms over the head and
tie the legs just above the relax.
ankles, below and above the
Stay, breathing evenly, for
knees, and at the tops of the
thighs.
5 to 10 minutes or longer.
Raise the feet onto a bolster if
the back aches.
120
..
INVERTED POSES
WOR.K IN THE
POSTURE
=+=
Stretch the abdomen toward the chest, the
Trunk curving chest away]rom the abdomen .
over bench •
Let the edge ofthe bench press into the bottom
and relaxing
of the rib cage to arch the back more.
Keep the head and neck relaxed and press
the shoulders down .
•
Learn to let go. Enjoy the relaxation.
Head relaxed
121
PART I· THE ASANAS
Vipanta Karavi
VIPARITA = inverted; KARA~I = a particular type of practice
THIS IS a restful practice, where the body is inverted without effort .•
122
------------..-------------
BALANCINGS
You must hold the balance by the intelligence of the body - by instinct or the sense of equilibrium
- and not by strength. When you keep the balance by strength} it is physical action;
when you keep it by the intelligence of the body} it is relaxation in action.
B. K . S. IYENGAR
Lolasana
LOLA = swinging to and fro; pendant earring
THE BODY swings backward and forward between the arms, developing
lightness ....
R efl ectio n
2 Straighten the elbows, press the
palms into the floor ; exhale and
lift the trunk and legs off the floor,
Yoga enhances all theJaculties
oj the body and maintains them
with the crossed feet close to the
at their peak. The postures in-
crease vigor, pliability,
perineum. Draw the legs up and bal- stam ina , and resilience. They
ance on the hands. Swing backward also develop firmness and light-
and forward two or three times. ness. These qualities are trans-
Exhale and come down. Stretch out Jerred to the mind. Thus afinely
the legs. <J tuned body is considered
necessary Jar spiritua l growth.
Repeat from I> to <J , cha nging
the legs.
W A YS OF PRA CT I C I NG
------- . -------
Place the hands on bricks.
WORK IN THE
POSTURE
=+=
Keep the weight equa l on both hands.
Stretch the upper arms strongly up .
•
Draw the thighs up toward the trunk
Arms strong
and the shins up toward the thighs .
Stretch the toes back.
124
BALANCINCS
WORK IN THE
POSTURE
=+=
Be steady on the hands and extend the
arms up .
•
Keep the buttocks drawn up and the
left leg firm. Compress the abdomen
and keep the right leg active.
Energy of legs
moving forward
125
PART I· THE ASANAS
Ulsisthasana• •
name of a sage
VASISTHA =
BALANCING on one hand and one leg requires strength and concentration .....
1C>
Be in Adho Mukha Svanasana (p. 90).
Put more weight on the left hand,
making the right side light.
2 Turn the feet and trunk 90° to the
right; place the right leg over the left,
with the feet together. Keep the right side
over the left, head in line with the sternum
and slightly back. Rest the right arm along
the right side.
Be firm on the left hand and stretch the
arm up. Extend the trunk and lift the left
hip. Straighten the knees.
126
BALANCINCS
Hip lifting
127
PART I· THE ASANAS
Astavakrasana
• •
128
BALANCINCS
Bhujapldasana
BHUJA = arm; plPA = pressure
THE LEGS press the arms to lift the trunk up ....
129
PART [. THE ASANAS
Bakasana
BAKA = a crane
THIS POSTURE imitates the shape of a bird. The arms become like legs to support
the body ....
-- 130
BALANCINCS
,
Bakasana from Slrsasana
THE ARMS and shoulders develop strength and mobility .....
Legs compact
131
PART I· THE ASANAS
Parsva Bakasana
pAR5VA = sideways; BAKA = a crane
THE GRIP on the abdomen keeps the body turned and balanced .....
WAYS OF PR ACTICINC
------- . -------
This posture can also be done from
SIr~asana II (p. 107), like the
1 Stand in TaQasana (p. 18). l> Bend
down and bend the legs. Place the
hands in front of the feet, slightly
2 Bend the elbows, move the
abdomen strongly to the left, and
kneel on the right upper arm with
preceding one.
WORK IN THE
POSTURE
= +=
Keep the left arm strong as a
counterbalance to the weight on
the right arm .
•
Turn the trunk more . Contract
the abdomen and squeeze it
further to the left, while taking revolving
the legs to the right.
132
------------..-------------
BACKBENDS
When the iisana is correct there is a lightness J a freedom. Freedom comes when every
part of the body is active. Let us be free in whatever posture we are doing.
Let us be full in whatever we do.
B. K. S. IYENGAR
Backbends are rejuvenating. They give energy and courage, and combat
depressioh.. They open the chest and make the spine flexible. The arms and
shoulders become strong. The mind and body become alert.
I slip surface.
Backbends are strenuous and
should be started gradually.
caused by the liver being
extended, but it is not danger-
ous. Headaches can occur if the
The instructions given are for breath is held inadvertently.
the final postures. Beginners Dizziness caused by going up
and those who are stiff should and down is eased by bending
not force themselves beyond forward afterward. .
their c~pacity but should work The back should not be
on UHrasana (p. 134) and strained. If it is sore after
ViparIta Dat?-9asana on a chair G U IDE LIN E S back bends, care should be
(pp. 136-7). The body should be FOR P RAe TIC E taken to avoid pinching in the
toned by practicing these back- ------ • ------ lumbar. When practicing, the
bends before any of the others are attempted. sacrum and coccyx should move away from the
Ordhva Dhanurasana (p. 138) is an important lumbar (see Focus, p. 93).
posture. The more advanced backbends should After back bends the spine should be carefully
be attempted only when this has been completely released. This may be done by twists, especially
mastered. MarIcyasana III (p. 73) and Ardha Matsyendr-
For maximum effect the postures should be asana (pp. 74-5), or nonstrenuous forward bends,
repeated at least two or three times. This will particularly Janu SIr~asana (p. 59). Here the spine
ease the back, enabling it to bend more, and will should be released gradually and not stretched
improve the postures generally. by force.
Those who are supple should be careful to CAUTIONS: Do not do backbends if suffering
develop an even extension along the front and from heart trouble, high blood pressure, or other
back of the body. Overbending in one part, e.g. serious illnesses, nor during menstruation or in
the lumbar, will cause injury. Both sides of the pregnancy.
trunk must curve evenly. If suffering from a bad back or injured knees,
A feeling of nausea may possibly occur during do backbends only under supervision.
PART 1· THE ASANAS
3~lfI~
----------------------:......:..------------------- - - - - - - - -
Ustrasana
• •
U$TRA = camel
THIS SIMPLE backbend makes the shoulders mobile and opens the chest ... .
WAYS OF PRACTICING
------. ------
Thighs vertical
136
BACKBENDS
Front ojthe
body extending
WORK IN THE
POSTURE
=+=
Press the shins! knees! and thighs
down. Stretch the backs oj the legs .
•
Extend the abdomen and the rib
cage. Allow the chest to open over
the edge oj the chair .
•
Learn to relax in the posture.
Head back
137
PART I· THE ASANAS
~ ~~~:) 1\A:Tf
---------------------------- ~ -----------------------------------------
Urdhva Dhanurasana
oRDHVA = upward; DHANURA = a bow
THE ARCH of the body rises against the resistance of the arms and legs." .
2 With an exhalation
raise the chest and hips,
take the head back, and
place the crown of the head
on the floor. Check that the
hands are in line. Lift the
shoulders and sacrum.
138
BACKBENDS
Thighs stretching
towards hips
Sholliders up
WORK IN THE
POSTURE
=+=
Stretch both sides oj the body evenly.
Increase the arch oj the back and lift
the front oj the body .
•
Lift the outer thighs and hips to keep
the back oj the pelvis broad. Grip the
buttock muscles and lift the coccyx.
Raise the pubis, navel, and diaphragm .
•
Keep the breathing relaxed.
139 ;awE
PART I· THE ASANAS
- ,
Urdhva Dhanurasana from Slrsasana
ORDHVA = upward; DHANURA = a bow
DROPPING back from above makes the back-arch lighter. Both SIr~asana and
Ordhva Dhanurasana should be mastered first ....
WORK IN THE
POSTURE
1 Be in STqasana (p. 98).
Stretch up well. 3 Exhale and drop the
legs to the ground.
Keep the hips lifted .
=+=
Work in the posture as in
Ordhva DhanurZisana (p. 138) .
•
Keep the upper arms and
shoulders strong .
•
Curve the back evenly when
dropping back. Drop into the
posture lightly, not heavily.
140
BACK BENDS
WAY S OF PRA C TI C I NG
-------. -------
Stand about 2 ft away from a wall. Curve
back, taking the hands onto the wall;
Backs oj thighs
controlling descent WORK IN THE
oJ trunk POSTURE
=+=
Work in the posture as in
Increase the arch: press Ordhva Dhanurasana
2 the sacrum forward,
stretch the lumbar spine up,
(p . 138).
•
Keep the legs straight until
and curve the thoracic the very last moment.
spine. At the same time •
Pay attention to curving the
take the hands further
trunk evenly.
down the backs of the legs •
and look back. Keep the arms strong.
141
PART I· THE ASANAS
------------------------
f<r ql4 f"Qq<Jki (;SlfOl;;r
Dvi Pada Vipanta DalJdasana
DVI pADA = two legs; VIPARITA = inverted; DAf:JpA = stick, staff
THE SHOULDER BLADES must grip the ribs for the chest to open and the hips to
lift ....
WORK IN THE
POSTURE
=+=
Move the chest forward. Lift the
upper arms and open the armpits .
•
Roll the thighs in and draw them
toward the hips. Keep the
bu ttocks firm.
142
BACKBENDS
~151if.iql II~~
WAYS OF PRA C TI C IN G
-------------.-------------
Trllnk lifting
and curving
Bend the left leg up against a wall. Put a
belt around the foot and pull it toward
the head.
Back ribs in
WORK IN THE
POSTURE
=+=
Maintain a 'steady balance
while curving backward. Center
the left leg. Keep the left outer
buttock down and the sacrum
broad. Press the lower back
"down and extend upward away
from it.
143
PART f · THE ASANAS
---------------
Kapotasana
KAPO T A = a pigeon
THIS POSE imitates the shape of a pigeon .....
Upper arms
and armpits up
144
iUMPINGS
Rhythm has to be observed in Yoga more than staying.
D. K. S. IYENGAR
Surya Namaskar
SORYA = sun; NAMASKAR = greeting, salute
THIS IS an ancient Indian practice. Traditionally it is done before sunrise.' ...
Synchronize all movements with the inhalations and
exha lations. Take one or two normal breaths during each
posture before jumping to the next .
Stand in Ta9asana. Inhale, sw in g the arms up into Ordhva
Hastasana. Exhale, bend down into Uttanasana. Inh ale,
raise the head. Exhalc,jump back into Adho Mukha Svan-
asana . Inh ale, jump lightly onto the tops of the feet into
Ordhva Mukha Svanasana. Exhale, bend the arms, flick
the toes under and dip down into Caturatiga Dat)9aSana.
Continue, reversing the sequence as follows:
Inhale, jump lightly onto the tops of the feet and
straighten the arms into Ordhva Mukha Svanasana.
Exhalc,jump into Adho Mukha Svanasana. Inhale,jump
forward and place the hands by the feet for Uttanasana,
head up. Exhale, take the head down. Inh ale, stand up,
raising the arms into Ordhva Hastasana. Exhale, bring
the arms down · into Ta9asana .
Repeat the sequence from the beginning two or three Tiidiisana Urdhva UUiiniisana Uttiiniisana
times , without a break. At the end, rest in Uttana sa na. Hastiisana head up
V ARIA TION
------- . -------
Ta<;lasana, Ordhva Hastasana, Uttan-
asana as above. Then from Adho
Mukha Svanasana, jump forward via
Lolasana into Janu Sir~asana, with the Jiinu Srr~iisana
right leg bent. Change the legs. Jump
back into Adho Mukha Svanasana .
Repeat from Adho Mukha Svanasana in
Loliisana
the reverse sequence.
Repeat from the beginning, inserting
Ardha Baddha Padma Pakimottanasana, Ardha Baddha Padma
Triang Mukhaikapada Pascimottan- Pascimottiiniisana
asana, Marlcyasana I and Pascimottan-
asana into the sequence in turn .. . . .
------- ------- .
W AYS OF PRACTI C ING
146
JUMPINCS
--------- -- - -
WAYS OF PR AC TI C I NG
+---- - - - -
Practice jumping from UWinasana to Adho
Mukha Svanasana and back severa l times.
Then add Ordhva Mukha Svanasana, and
finally Caturanga DaI?-9asana (sec Simple
Jumping Sequence, p. 91).
Omit Caturanga DaI?-9asana from the main
sequence.
Vary the order of the last three poses (Adho
Mukha Svanasana, Ordhva Mukha Svanasana
and Caturanga DaI?-9aSana) .
148
RELAXATION
Detail and precision of the body lead to mastery of the art of relaxation.
B. K. S. IYENGAR
I t is important to be warm
during Savasana (p. 150), as
the body metabolism slows
straight into working life.
Those who are tense or
suffering from stress should
down. It is better to be covered tie a bandage around the fore-
with a blanket than to wear head and eyes.
restrictive clothing. Even socks Savasana may be done both
may constrict the toes. prior to and during Praryayama
The disciplined awareness practice. It can be used to sep-
of Savasana requires practice arate different methods, to rest
and a quiet mind. In the begin- the back and the lungs, to open
ning there may be a tendency G U IDE LIN E S the chest, and to make the mind
to fidget or go to sleep, and FOR P RAe TIC E calm. In this case it is helpful to
attention is required to counter- - - - - - _ • ______ do it with the chest supported.
act this. The regular practice of Qsanas greatly aids CAUTIONS. Do not do Savasana if suffering from
the ability to relax. mental illness, depression, or phobias. Do relaxing
Savasana should normally be done after asana postures where the chest is supported instead (see
practice, to allow the Qsanas to take their effect in Remedial Programs).
the body. Occasionally the Qsanas done are so If panic occurs during Savasana, keep the eyes
relaxing that a separate relaxation period is not open but quiet.
necessary. Or they may be so invigorating that If suffering from hyperventilation or epilepsy,
Savasana is impossible and their energy is carried seek advice from a specialist teacher.
PART I · THE ASANAS
,
SavasanaI
SA VA = a corpse
IN RELAXATION the body lies as still as a corpse and the mind is at peace. Once the
posture is mastered, quietness can be called upon at will..
HEAD A N D NECK
----------.----------
Keep the head straight and move it away from the
trunk. Be on the center of the back of the skull. Let the
eyebrows and bridge of the nose face the ceiling.
Extend the neck and throat, and relax them. Do not
raise the chin. If there is tension in the throat, readjust
the position of the upper back and head.
BA C K
----------.----------
Move the shoulders away from the head and press
them down. Move the shoulder blades and the back
1SitLeanin back
DaI?-9JSana (p. 52) .
onto the
elbows. Check that the
trunk and legs are in line. ribs in to open the chest.
Bend the legs slightly, raise the hips, and extend the
lower back toward the legs. With the help of the
hands, broaden the buttocks away from the sacrum.
Then place the sacrum down evenly and straighten
the legs.
ARM S
- - - - - - - - - - . - - - - - - - -- -
Turn the upper arms out, palms up. Extend the arms
and hands, then relax them. Keep them slightly away
from the trunk, with the corresponding parts of each
arm, wrist, and hand on the floor and the fingers
Settle the back on the flo or. curling naturally.
2 Lie down, lowering the
back vertebra by
vertebra. Place a pillow
Extend the trunk, arms, and
legs prior to relaxing them.
under the head and neck.
150
RELAXATION
Eyes quiet
151
PART 1· THE ASANAS
,
SavasanaII
SAVA = a corpse
THE MIND is trained to be indrawn, refining the relaxation."
bolster). Hold this against the relax the ears, draw the hearing in-
lumbar while going down. Place ward, as if listening to internal
another blanket under the head so sounds.
that the forehead does not drop back. Make the skin soft and sensitive,
from the head to the fingers and toes.
~djust the body carefully as in Learn to draw inward away from
2 Savasana I (step 2, page 150). the skin.
Still all thought processes. Do not
Lie back on a stepped arrangement of
blankets. This is good for people with
heart and respiratory problems, and in
pregnancy.
3 C lose the eyes by drawing the
upper lids down. Keep them still.
Relax the eyeballs and sink them
let the ego rise or the mind wander.
Draw the gaze of the eyes down,
into the rib cage. Begin to observe
deep into their sockets. the breath. Mentally follow the
Ora w the skin of the forehead course of the normal inhalations and
away from the center outward, to exhalations. Make the breath softer
smoothe out any wrinkles. Then and quieter. Let the mind merge in
release the skin from the hairline the breath.
down toward the eyebrows. Relax Stay for 5 to 10 minutes or longer,
the temples. maintaining the stillness of the body
Relax the skin of the face. Release and mind.
the tension from the corners of the Then slowly open the eyes, allow-
eyes, nose, and lips. Relax the skin of ing them to focus gradually. Bend
the nose and cheeks. the legs, turn to one side, and stay for
Do not clench the ja ws or teeth. a moment; turn to the other side.
Rest the tongue on the lower palate. Then get up from the side.
Reflection
The skin becomes sensitive through the
practice of as an as, mOiling and stretching in
harmony with the body. It is the boundary
between the intemal and the extemal world.
In Salliisana it is trained to relax. The more
the skin relaxes , the deeper the experiertce of
Salliisana. Mind and body draw inward
away from the skin, penetrating the subtle
Trunk supported to facilitate relaxation inner functions and sounds of the body. They
become still. This state ofpeaceful awareness
leads to meditation.
152
PART II
PRANAYAMA&
•
PHILOSOPHY
Control oj the mind is said to be the highest Yoga. It is
like the control of an unruly horse) which must be made
to obey its rider.
BHAG~VATAPUR~~A,XI . W
PART II THE MIND
SViidhyiiya, the study of th e self, is the second corner- dullness . The interplay of these qualities gives rise to
stone in the practice of Yoga. It leads to knowledge mood swings.
Uiiiina) and answers the second need of humanity, satis- Breath and the mind are closely linked. U sually the
faction of th e mind . state of mind affects the breath . It becomes agitated
and shallow during moments of excitement. When it
is quiet and deep, the mind becomes calm. In
ACQUIRINC K NOWLEDGE
- - - - - - - - - - . - - - -- - - - - - priiYJiiyiima, breath is used to change the m ental state.
Knowledge is a gift of the mind and marks the human The mind is trained to follow the course of the breath,
being from the animal. It is both theoretical and prac- and, by so doing, its sca ttered thoughts are channeled
tical and has to be acquired by study and experience. inward .
For Yoga students, sViidhyiiya comes through The calming of the mind through prii~liiyiima leads
sincere practice. The student has to learn to open to a state of quietude. With practice, this is prolonged
mind and heart to all aspects of Yoga. This effort is and deepened. Different types of priil'}iiyiima induce
worthwhile as understanding of oneself brings different states of awareness. Just as the many types of
m ental and physical assurance. It also brings an aware- iisanas need to be prac ticed in order to ton e and sensi-
ness that the principles of philosophy need to be put tize the whole body, so also a variety of priil'}iiyiimas
into practice. are necessary for a complete experience.
The appeal of sViidhyiiya may not at first be appar- The senses, too, are quietened by priil'}iiyiima and
ent, as the benefits derived from iisana practice are drawn towards the inner world. By nature, the eyes,
immense. However, it adds a further dimension to ears, nose, tongue, and skin are attracted to their
Yoga and is essential for those who wish to proceed objects, constantly seeking new experiences. Detach-
deeper into the subject. The body and mind attain a ing them from their objects and drawing them in-
state of quietness, and the boundary is crossed be- ward leads to a state that is self-contained, where
tween physical practice of Yoga and practice with nothing external is required. This is the "desireless"
understanding. In this way a spiritual awareness is state (priityiihiira). Once achieved , the distinction
acquired. between everyday life and spiritual life is known .
SViidhyiiya has several dimensions. On the practical Study of the self is furthered by familiarity with
level it involves the development and control of the Yoga philosophy, which gives guidance on how to
mind through the mastery and refinement of the achieve equanimity . The study of philosophy exer-
breath (priiYJiiyiima), and through the practice of still- cises and sharpens the mind and puts individual con-
ing the senses (pratyiihiira) . The mind must also be cerns into perspective. It gives a base of understanding
enriched by the study of philosophy . so that practice can be structured and ever-developing.
According to Yoga philosophy, the mind is the By explaining the purpose behind practices and rules,
instrument of perception and action. The Sanskrit it helps to maintain interest in the subject.
word for mind is manas. Mind is one of the primordial Applied to life, Yoga philosophy provides a yard-
principles of nature. It is part of the greater principle stick by which to gauge whether thoughts and actions
of consciousness (citta). are correct. Thoughts often change and actions can be
Citta has three components: mind, intellect, and wrong. Philosophy is the means by which we analyze
ego, and is permeated by three qualities: lightness, and build upon experience, avoiding past mistakes.
which makes the mind clear, intelligent, and peaceful; The following pages describe the techniques for
energy, giving it driving force that can be used for priiYJiiyiima and pratyiihiira and outline the Yoga
good or bad; and inertia, producing stability as well as philosophy.
154
QlOlltfF4
PralJayalna
In the work of Prar]ayama, the back is the blackboard, the
air comes to write, and the mind holds the chalk.
B. K. S. IYENGAR
PraI).ayama calms and strengthens the mind and becomes steady, the same techniques can be done
creates a feeling of internal space. It generates a store while sitting.
of energy in the body. Once the lungs are strong, it Sitting straight for Pral)ayama requires practice.
increases their capacity. The body should rise upward. The legs should be
It consists of three types of control of the breath: comfortable, so that they do not disturb the sitting
inhalation (paraka), exhalation (recaka), and retention position.
(kumbhaka). In these processes the breath is extended, The stages given should be practiced in their appro-
~xpanded, and refined. priate order, to master the different techniques .
Exhale completely before beginning any of the
G U ID E LI N E S FOR PRA C TI C E techniques. One cycle consists of one inhalation and
---------------------+--------------------- one exhalation.
PraI).ayama is attempted only when the body, nervous
If a cycle becomes disturbed, it should be com-
system, and lungs have been strengthened by asana
pleted and followed by two or three normal breaths.
practice. This usually takes at least two years. As
The reason for the mistake should be analyzed before
breath is subtle, even more care has to be taken over it
starting again.
than over the asanas.
Savasana is a preparation for praI).ayama.
Pral)ayama should be started gradually, a little at a Cautions
time. Even a few minutes are beneficial. With prac- Do not continue with PrJIJJyJma if the lungs get tired or if
tice, the time spent can be increased. there isfatigue or irritation, as it is then injurious. Jnstead,
Pral)ayama is best practiced in the early morning or lie down and relax. Lie down also if the back aches.
evening, in an airy room. The stomach and bowels If you panic or choke, make sure the abdomen is not
should be empty. tensing.
It is not advisable to do it immediately before or If the head becomes hot, this is a sign of overstrain. Lie in
after strenuous asanas, as these disturb the breath and SavJsana to recover.
Do not do deep inhalations if suffering from hypertension
the lungs. It may be practiced after a quietening asana
or heart problems.
session consisting of supported inverted poses. Do not do deep exhalations if suffering from hypote'1Sion
The breathing methods given here are first prac- or depression.
ticed in Savasana with the back supported. This trains If suffering from tension, cover the eyes with a soft cloth
the lungs for PraI).ayama, without causing strain. The or tie a bandage round the forehead and eyes. (The bandage
chest opens and breathing becomes easier. When it should be firm on the forehead but light on the eyes.)
155
PART II THE MIND
Caution
PriilJ-iiyiima is a very powerful practice. It deals with the life
Jorce. Mistakes made in asanas result at worst in a torn
muscle ..l\,;[istakes made in priilJ-iiyiima may affect the
nervous system and the brain. For this reason it is essential
to learn under the guidance oj an experienced teacher.
156
:l!. .
PRANAYAMA
- ---~--
157
PART II· THE MIND
5~ :Jf lt1l
Ujj4Yl PralJayama (lying down)
up = extreme; JAYI = conquering, subduing
THROUGH DEEP breathing, energy is diffused in the body."
1: DEEP INHALATIO N , NORMAL EXHALATION Do not jerk. Mentally follow the exhalation and
---------------------.--------------------- experience the increasing sense of calm. <l
Those suffering from lack of energy and low blood
Repeat from [> to <l for six or more cycles, keep-
pressure should concentrate on this method to
ing them of even length. Then rest and finish the
increase their oxygen intake.
practice at this point or continue with the next
Lie down for Pral)ayama (see p. 156). Relax for
technique.
three to four minutes. Take a few normal breaths, fin-
ishing with an exhalation.
Refinement of the Technique
[> Inhale slowly and deeply, lengthening the breath
• As the exhalation comes to an end, relax the
without straining. Draw the breath in at both sides of
abdomen further.
the septum (nasal bone). While inhaling, feel the lungs
and front ribs opening outward and up. Keep the • Let the flow of exhalation be even from both lungs
and nostrils. Do not let the air gush out. Do not inhale
brain passive.
before finishing the exhalation.
Exhale normally, as if relinquishing the breath with
a sigh. Keep the throat and nasal passages relaxed. Do 3: DEEP I NHALAT I ON AND DEEP EXHALAT I ON
not allow the rib cage to collapse. <l ------------------.--------------------
Lie down for Pral)ayama (see p. 156). Rest for a while.
From [> to <l forms one cycle of breath. Repeat six
Then take a few normal breaths, finishing with an
or more cycles, then rest. Finish the practice or
exhalation.
continue with the next technique. Later do more
[> Take a long, slow, deep inhalation, drawing the
cycles at a stretch.
breath in along the septum. Start by lightly depressing
the skin and flesh of the pubis and lower abdomen and
Refinement of the Technique
drawing them toward the diaphragm . This opens the
• Keep the face and the eyes still. Do not strain but go
rib cage more . Inhale until the breath reaches the top
on relaxing. Do not tense the arms or fingers when
outer corners of the chest and the collarbones.
inhaling.
Maintaining the lift ofthe'chest, exhale slowly and
• Keep the motion of the breath, the lungs, and the
deeply, without straining the throat. Control the out-
ribs parallel. Make the inhalations soft and observe
flow of breath, so as not to jerk. Do not suddenly
how the chest gradually opens.
collapse the ribs. <l
Repeat from [> to <l for six or more cycles. Then
2: DEEP EXHALA TION, NORMAL I NHALA TlON
---------------------.--------------------- rest and fmish the practice, or continue with the next
The practice of exhalation is calming and helps to technique.
reduce high blood pressure . The brain becomes quiet.
Lie down for Pral)ayama (see p. 156). After relax- Refinement of the Technique
ing, take a few normal breaths, finishing with an • Do not inflate the nostrils but keep them passive
exhalation. throughout.
[> Inhale normally. • Keep the inhalations and exhalations steady. Take
Keeping the lift of the top chest, exhale slowly normal breaths in between to help achieve this.
from the back of the nostrils. Do not strain. Control • Experience how the whole body from the pubis to
the outflow of breath, keeping it soft and smooth. the collarbones becomes involved in the breathing.
158
UjjaYl Pratzayama (sitting)
THE BACK of the body supports the breath as it rises and falls. This
is practiced in several stages ....
Cf5 J:J::f CP
Kumbhaka
KUMBHA = an earthen pot
LIKE A pot, the rib cage must be full or empty. There is an almost imperceptible
pause at the end of ordinary inhalation and exhalation . In Pral).ayama this is
accentuated and prolonged. Breath and its motion are suspended .....
Sit for Pral).ayama (see p. 157). Close the eyes and take In practice this is carried out during Viloma Pral).-
the head down. Take a few normal breaths, ending ayama (see p . 161) . Use the pause at the end of exhala-
with an exhalation. tion to maintain complete quietness of the mind. The
l>Ta ke a fast, sharp, full inhalation and pause. pause should be natural, not held by force.
Lightly draw the lower abdominal area up, without Do not concentrate on Bahya Kumbhaka until
tensing. Keep a light, muscular grip on the top outer Pral).ayama has become natural and Antara Kum-
corners of the chest and keep the top of the sternum bhaka has been learned.
lifted. Spread the breath evenly in the lungs. Do not
strain the lungs, face, or throat. Keep the skin soft. Reflection
Maintaining the grip on the top of the chest, quietly Pralfa is the universal life force pervading the cosmos. It is
exhale. Relax the abdomen. Take a few normal more subtle than air. During pralfayama , breathing is
brea ths to rest the lungs. <J. made more refined; this life energy is distilled from the air,
and is distributed and stored within the body. The
Repeat from l> to <J for four or more cycles. universal energy unites with the individual soul in the form
Raise the head and sit quietly for a few moments. Lie of breath. In exhalation the mind and ego are subdued as
down and rest, or continue with the next technique. the outgoing breath flows back into the external universe.
160
PRANAYAMA
~?)F4 :s:tI
----- -
OIlQF8
161
PART II· THE MIND
fCJMlJ:l }lIOlitfIU
Viloma Prattayama (sitting)
DURING THE pauses, the breath is made to spread within the lungs ,
bringing a feeling of freshness ....
1: I N TERR U PTFD I N I-I ALAT IO N , 2: I N TERR U PTED E X I-IALATlO N,
L ONc E X II A L A TI ON L ONG I N I-I ALAT I ON
--------------------- +--------------------- --------------------- +---------------------
Sit for Pral)ayama (see p. 157) . Close the eyes and Sit for PralJayama (see p . 157). C lose the eyes and
lower the head . Take a few normal breaths, ending lower the head. Take a few normal breaths, ending
with an exhalation. with an exhalation.
C> Divide the trunk and the breath into three : C> Take a long, deep inhalation . Pause to establish
1 Inhale partially, as if from the pubis to the pelvic the lift of the chest.
rim. Pause for a few seconds. Keep a very slight grip Keep the same divisions of the trunk and breath as
on the lower abdomen and lift it. before (see left).
2 Inhale partially, as if from the pelvic rim to the 1 Exhale partially, as if from the collarbones to the
di aphragm , then pause. Maintain a lift of that area. diaphragm, then pause . Do not collapse the rib cage.
3 Inhale fully, as iffrom the diaphraglTl to the collar- 2 Exhale partially, as if from the diaphragm to the
bones, then pause . Lift up from the base of the chest. pelvic rim, then pause. Do not allow any breath to
Exhale slowly, controlling the outflow of the enter the area.
breath. Take two or three norm al breaths in order to 3 Exhale completely, as if from the pelvic rim to the
rest the lungs. <J pubis. Pause, keeping the mind and body still. Take
Repeat from C> to <J for six or more cycles. Raise two or three normal breaths to rest the lungs. <J
th e head and sit quietly for a few moments. Then Repeat from C> to <J for six or more cycles. Raise
either lie down and relax or continue with the next the head and sit quietly for a few moments. Then lie
brea thing technique . down in Savasana.
When practicing, divide the trunk and breathe into
Refinement of the Technique four, five, or more sections.
• Do not strain in the pauses. Stay still and do not
allow the breath to shake the body. Refinement of the Technique
• Keep the interrupted exhalations smooth .
• Observe the different parts of the body as the breath
F 0 c" s Lifting the trunk is suspended.
when sittitlg
The trunk and the spine
shou ld stretch up from the Reflection
base and should feel light. Pral)ayama is a subtle, precious gift. Although difficult, it
Adjust the height of the is attainable through practice. It is like playing a musical
blankets according to instrument with delicate fingers or painting a picture
whether the spine can lift with a fine brush. Each, separate breath flow s smoothly
or not. If it does not stretch into the next, making an undulating pattern of rising
up, use three or four inhalations and falling exhalations. The rhythm becomes
blankets. Keep the folded part of the body and the mind savors its bea uty. Through
edges to the front. Support
Pral)ayama, energy is drawn from the external atmo-
the tops of the thighs as
well as the buttocks, so that
sphere; the individual mingles with the universal, with
the trunk does not tilt for- awareness.
ward. Move the buttock
bones away from each
other and keep them in ljne.
M aintain a firm posture allows the bodily energy to
throughout, with the spine rise and be distributed, other-
and chest lifting. Tills wise concentration is lost.
162
fJRATYAHARA
):1(=£1 I~ I~
Pratyahara
Be so silent that you hear the sound within. Not even the ticking of the clock
should disturb.
B. K. S. IYEN G AR
Although the senses are quietened during Pral).ayama , With the thumbs cover and close the ea rs , exertin g
Pratyahara is a separate discipline which draws them minimum pressure to avoid strain. Kee p the pressure
to a standstill. It is a period of suspension of activity. even in both ears. Stay for two minutes or longer,
This rests the nervous system and collects the mind . without disturbing any part of the body .
Pratyahara is a preparation for concentration and Keep the fingers sensitive. Kee p the eyes soft, th e
meditation. muscles of the ears relaxed, and the nostrils and
It is difficult to achieve and the following technique, corners of the lips passive.
Sal).mukhI Mudra, is helpful. The light touch of the Experience the stillness that comes to the senses.
fingers on the eyes, ears, nose, and lips shuts off the dis- Experience the coolness in the eyes.
turbance of the external world. Then lower the arms, rel ease the han ds, and lie
down. Hold onto the stillness for as long as possible.
GUIDELINES FOR PR ACT I C E
---------------------.--------------------- Reflection
Sal).mukhI Mudra should be practiced only when It is sometimes essential to withdraw from everyday
some experience is gained in Pral).ayama . activities in order to revive the body, mind, and spirit. One
It need be done only occasionally. way is to go on vacation and take a break from the pressures
It is useful as a means to recover from exha ustion of life. Strength returns for continuing work afresh. The
or tension, as it is refreshing . Yogi's way is to disengage the senses from the outside
It can be done either sitting or lying down. world and retrea t into an internal world where sp iritual
resources abound.
Cautions
Do not press the eyeba lls.
Do not close the ea rs if suffering from an ea r injection.
Do not practice this if suffering from depression .
163
PART II· THE MIND
Yoga is a unique blend of theoretical knowledge and given as the best object of meditatIon .
practical application. For this reason alone it is worth Other ancient works are the PuraYJas, dealing with
studying. The practice of the fourth limb (praYJayama) cosmology and the world order. Usually meditation
gives an awareness that a philosophical journey has and the stilling of the mind are discussed but a signifi-
already begun . cant reference is made in a principal PuralJ·a -
Yoga deals with the most profound of mysteries, SrImad Bhagavatam - to the therapeutic aspect of Yoga
the essential nature of the human being in relation to asanas.
the universe . The meaning of Yoga is union or One of the earliest references to Yoga is in a ritual-
yoking, from the Sanskrit root yuj, to unite. In the istic manual, Ahirbudhnya Samhita, considered to
context of Yoga philosophy, the union is between the be at least 3,000 years old. This defines Yoga as the
individual soul and the universal soul. The individual union of the individual self with the highest Self. It
has to search for the divine within, and Yoga provides outlines Yoga theory and practice, including the eight
the systematic steps to achieve this, ensuring limbs enumerated by Patal1jali (see p . 169). It states
that progress can be measured. that two texts of Yoga were revealed in the beginning,
Yoga philosophy has appealed to great thinkers one being "mind-restraining Yoga," and the second
over the centuries and its practice has been extolled the "Yoga of action." These works are now lost.
for its benefits. In modern times Yoga has spread to all In a separate category are the great epic histories,
corners of the world and has helped countless people . the Ramayana and Mahabharata, which narrate
For all these reasons, the teachings of Yoga should be stories of the incarnations of God . Interspersed with
approached with an open mind. As with any new sub- the narrative are discourses on moral and philosophi-
ject, the concepts may at first seem difficult to grasp, cal topics. The Mahabharata is an important source of
but once they are understood they give a profound knowledge about Yoga. In the story itself the char-
insight into human existence. acters invariably resort to Yoga and meditation to
collect their minds before any important undertaking.
Y OGA TEXT S
---------------------.--------------------- There are long discourses on Yoga philosophy.
References to Yoga are found throughout Indian The Bhagavad CTta (Song of the Lord) is a great
scriptures in the form of explanations, definitions, and Yoga text which is still read and recited every day by
eulogies. millions of people in India. It forms the scriptural por-
The most ancient scriptures rank among the oldest tion of the Mahabharata, being a dialogue between
in the world. The earliest are the Vedas, the root of all God (Lord Krishna) and his devotee, Arjuna, on the
subsequent teachings. They are considered to be re- eve of battle. It consists of eighteen chapters, discuss-
vealed by God at the beginning of time and to contain ing different aspects of Yoga. Among them are the
eternal truth. They consist of sacred hymns, ritualistic Yoga of action (karma yoga), the Yoga of knowledge
rules and formulae, philosophical speculation, and Uiiana yoga) and the Yoga of devotion (bhakti yoga) .
ancient lore. Stilling the mind by meditation is also described.
In the West, the best known part of the Vedas are Various subjects are covered: religious duty, ethical
the Upani~ads - philosophical and mystical treatises and living, selfless action, stability of mind, eradication of
poems exploring the nature of the universal soul. The desires, and renunciation. It deals broadly with the
Katha Upani~ad speaks of the stilling of the mind and nature of the universe and creation, and with the
control of the senses, and the Svetasvatara Upani~ad glory of the soul and Divinity.
describes the practice and beneficial results of Yoga. From these bodies of literature a philosophical
There is a set of specialist Yoga Upani~ads of vary- compilation was made which brought together the
ing antiquity that deal with the revelation of the soul entire sum of knowledge about Yoga. This is the Yoga
by means of meditation. The sacred syllable "aum" is SiJfra of Patanjali, also known as the Yoga of Eight
164
THE PHILOSOPHY OF YOGA
Limbs (A~tiiliga Yoga). Its date is estimated variously to certain mastery of the subject as a whole.
be between 200 and 800 years Be, although tradi- Riija Yoga is the union of the mind with the soul in
tional accounts place it earlier. Pataiijali's Yoga Sutra is the transcendent state of samiidhi. Raja means mastery
the authoritative text, recognized by all schools of of the mind and senses. Pataiijali's Yoga is sometimes
Yoga, and is the source for all subsequent works. classified as Riija Yoga because it has these aims.
Parallel with Yoga, fiv e other classical systems Hatha Yoga (the Yoga of willpower) aims to attain
arose, dealing with different ways of perceiving the liberation through the grace of th e divine power
universal truth. One of them, Siimkhya ("enumera- (KulJqalinI) which lies dormant in each individual.
tion"), is paired with Yoga and together they provide This power is aroused by means of various practices
a complete conceptual framework of the evolution that clear the paths and centers of energy in th e body.
and nature of the universe, and the place of man and These include iisanas; special internal cleansing pro-
God within it. God, the soul, and primordial matter cesses using water and cloth (kriyiis); priilJiiyiimas de-
are given as the three principles coexisting eternally. signed to channel and maintain the flow of energy ;
and closing actions (bandhas) , preventing the loss of
VARIOUS TYPES OF YOGA
----------- . ----------- energy. Hatha Yoga is described in various medieval
After Patanjali, many other authors wrote on the works, the most important of which are the Hatha
subject, laying stress on one or another aspect and Yoga PradTpikii of Sviitmiiriima (possibly 15th century),
founding schools on their theories. Some authors and the GheralJqa and Siva Samhitiis.
interpreted and wrote commentaries on the Yoga In Mantra Yoga, perfection is attained through the
Satra, and others specialized in the various recitation of sacred syllables (man.tra). It is considered
branches of Yoga that are mentioned in the texts: useful for those of weak intellect (Yogatattva and
Riija, Harha , Mantra, and Laya Yoga (Yoga Upani~ads Variiha UpalJi~ads).
and Hatha Yoga texts) or Bhakti, Karma, and jniina In Laya Yoga perfection is attained through absorp-
Yoga (Bhagavad GTtii). These are distinct aspects of tion (laya) in God (Yogatattva and Variiha Upani~ads).
Yoga which can be followed according to individual This is a desireless state where sensory objects are
disposition or sectarian tradition. They presuppose a forgotten in the experience of the ultimate bliss.
---.
PATANJALI
Pataiijali holds a unique position in the line of great
--
All these types of Yoga are grounded in the eight he is liberated from all ties to the material world.
limbs of Yoga and are interconnected. The Sutras are difficult to understand. This is partly
because of their subject matter and partly because
P A TA Nj A LI 'S YOG A S U TRA
-------------------- . --------------------- present-day life and ways of thinking seem far re-
Patanjali's Yoga Sutra is divided into four chapters, moved from those of ancient times. They presuppose
dealing with absorption in the universal principle familiarity with a host of philosophical concepts; for
(samiidhi), practice (siidhana) , accomplishments example, about the nature and purpose of the universe
(vibhuti), and spiritual liberation (kaivalya). These and about human psychology. They also presume a
topics are condensed into 196 aphorisms (sutras). background of practical experience of Yoga.
Patal1jali's work embraces all the branches of Yoga. Like other Indian classical teachings, they belong to
He shows it to be a complete and internally consistent an oral tradition where knowledge was imparted
science. It has a vocabulary of carefully defined and from master to disciple at first hand. Only students
classified technical terms and a framework of con- capable of understanding were allowed to receive in-
cepts, premises, practical observations, and instruc- struction. This had the double benefit of maintaining
tions, woven together by reasoned argument and the a high standard and keeping the teaching pure.
attestation of experience. The result is a detailed Although the essential doctrines have been preserved,
delineation of the path of Yoga from beginning to the schools which promulgated them no longer exist
end, including motivation for undertaking it, ob- and the base of understanding has largely been lost.
stacles that may be met, distractions on the way, and
COMMENTARIES O N YOGA SUTRAS
arrival at the final goal. The goal is to clear the cloud- -------------------- .--------------------
ing of the intelligence, and from this enlightenment to The Yoga Sutras are the subject of a number of
gain liberation. important explanatory commentaries. The primary
The first chapter, Samiidhi pada, presents Yoga as and most ancient of these is by Vyasa; it is often read
the stilling of the fluctuations of the mind. It describes together with the text itself Other important ones
the various states of the mind and modes of conscious- span the 8th to the 18th centuries, AD. The commen-
ness from the unpredictable, changeable states which taries expand, clarify and interpret the Sutras.
hold sway in everyday life to the sublime states of Modern scholars have also translated and inter-
superconsciousness and deep meditation. preted the Yoga Sutras, as have sectarian schools,
The second chapter, Sadhana pada, gives the means stressing particular aspects ofY oga. Not all write with
for transforming the mind from its customary scat- the benefit of practice of Pataiijali's Yoga to give
tered state to a concentrated one that leads to the insight into the subtle realms of Yoga.
sublime. These are the eight limbs of Yoga. The first Amongst these commentators, B. K. S. Iyengar is
five constitute practices (sadhana): ethical behavior, exceptional in having explored the various aspects of
personal disciplines, practice of postures, breathing classical Yoga. Following in the tradition ofPataiijali,
techniques, and control of the senses. The effects of he considers Yoga as one unified subject. All the eight
these p'ractices lead to the last three limbs: concentra- limbs are made to play their part in the spiritual devel-
tion, meditation, and the transcendent state of samadhi. opment of the individual. He clarifies the Yoga Sutras
The third chapter, Vibhuti pada, enumerates the in the light of experienced knowledge. His insights
various powers and extrasensory perceptions which have uncovered meanings and threads of reasoning
come to an accomplished Yogi. These can be a trap hitherto obscure in theoretical study. His interpreta-
for the practitioner. Attachment to them can cause a tion is both logical and relevant to Yoga practice.
break in practice and loss of previous achievements. The outline of Yoga philosophy, based on explana-
One must progress beyond their range towards the tions by B. K. S. Iyengar and his son Prashant, is taken
higher goal. from the following Yoga Sutras ofPataiijali: Chapter
The fourth chapter, Kaivalya pada, describes the I, Stitras 2,6-15,19,20,24-26,33-39,51; Chapter II ,
final journey of the soul toward emancipation. The Stitrasl,6, 13, 16,23,30,32,34,46,49-52,54; Chapter
Yogi realizes the ultimate spiritual reality of the uni- III, Stitras 1-3, 7, 8, 51, 56; Chapter IV, Stitras 10, 12,
verse. This experienced knowledge shines forth and 18, 19, 24, 29, 34.
THE PHILOSOPHY OF YOGA
167
PART II, THE MIND
168
THE PHILOSOPHY OF YOGA
caused by greed, anger, or delusion. These negative (santo~a), fervor for the subject (tapas), study of the
states of mind lead to unpleasant consequences, which self (sviidhyiiya), and surrender of all thoughts and
unsettle the mind further. They need to be checked by actions to God (ISvarapralJidhiina).
the practice of Yoga. Niyama establishes discipline in daily life .
The mind can be quietened through breathing
practices, and a particular priir]iiyiima of retaining the (iii) Asanas
breath after exhalation is mentioned. Meditation also These are the Yoga postures. Asanas are described as
stills the mind. Consciousness is brought to bear on a having the properties of being steady (sthira) , and
sublime, uplifting object or experience, such as the joyful (sukham). Long continued efforts are necessary
exemplary life of a saint, .or religious worship. to attain mastery and perfection. Body and mind
In these ways the obstacles that disturb the calmness move in harmony and become absorbed in the infin-
of mind are overcome. The serene state attained is citta ite. All dualities of mind cease.
vrtti nirodha~, the restraint of the fluctuations of con- Pataiijali does not mention any iisanas by name , but
sciousness, which Pataiijali gives as the definition of a tradition of iisana practice is implied. Some postures
Yoga at the very beginning of the Yoga Satra (1.2). are given in the various commentaries on his work
This is samiidhi, where consciousness becomes pure and in other Yoga texts. Traditionally there are said to
and can be used as an instrument to reveal the ultimate be 840,000 iisanas, corresponding to th e full poten tial
truth of existence. Here the body is under complete of human movement. Systematic, precise practice of
control and is at one with mind and soul. The identity iisanas died out in India after Pataiijali 's time . In recent
of the soul with the uni versal spirit is realized. years the range and depth of the iisanas are becoming
known again, through the work of B . K. S. Iyengar.
TH E EIGHT LIMB S OF YO GA
---------------------+---------------------
Yoga is classically divided into eight aspects or limbs, (iv) PriilJiiyiima
a~tiinga.The limbs are interlinked; each has numerous This is the art of Yoga breathing, consisting of the
facets that are revealed through study of the texts and regulation and refinement of the inhalation, exhala-
by practice. They lead progressively to the highest tion, and retention of breath. Learning to control and
stages of awareness and to spiritual life. Their disci- channel the life breath induces an introspective atti-
plines become more and more internal. tude and opens the gateway to spiritual knowledge .
Priir]iiyiima should be learned only after a degree of
The limbs are as follows: proficiency has been gained in the iisanas.
Breath consists of the gross element of air and
(i) Yama priir]a, the life force pervading the universe. PriilJa is
This consists of the ethical precepts of nonviolence the communicating link between the human organ-
(ahimsii), truthfulness (satya), nonstealing (asteya) , ism and the cosmos. As it consists of energy, strong
chastity (brahmacarya), and finally, noncovetousness warnings are given in all traditional Yoga texts against
(aparigraha). the practice of priir]iiyiima without supervision, and
These principles of right living are universal and before a student is ready.
form the foundation of Yoga. The essence of Yama is
not to harm any living creature in either thought, (v) Pratyiihiira
word, or deed. This is the drawing in of the senses from the external
The translation of concepts here is only approxi- world into the interior self. External disturbances and
mate. Each has a range of meanings and applications distractions are unable to cross the threshold of the
that vary acco~ding to one's own circumstances and inner world.
stage of progress.
(vi) DhiiralJii
(ii) Niyama This is uninterrupted concentration, with the mind
These are personal practices to be observed. They are focused steadily on a particular point or object. Con-
cleanliness of mind and body (Sauca) , contentment stant practice is needed to achieve this.
169
PART II THE MIND
170
PART III
THE SOUL - - -- + - - - -
DHYANA&
SURRENDER
(( When the sun has set, and the moon has set, and the fire has gone
out, and speech has stopped, what light does a person here have?"
((The soul, indeed, is his light," said he, ((Jor with the soul, indeed, as
the light, one sits, moves about, does one's work, and returns."
BRHADARANYAKA UPANr~AD , IV .3.6.
PART III· THE SOUL
Th e third cornerstone of the practice of Yoga is jective involvement in "I see," "I want," " I do " must
l5varapra~lidhana. It involves surrendering oneself to be shed so that actions do not disturb th e inner being.
God, in order to revea l the soul. It leads to inner peace, In this wa y Yoga is a philosoph y within a religious
answering the deepest need of mankind, and brings framework. The individual is not required to believe
fulfilment of the soul. in any religious dogma and there are no prescribed
modes of worship. According to Patai1j ali, the pra cti-
EXPERIEN C I NG I NNER P EACE
--------------------- . --------------------- tioner can be of any religious persuasion and, true to
Inner peace is the absence of internal and external this, many people fmd that their personal belief is
conflict. The conscience is clear and there is strength strengthened through their prac tice.
to sustain others. The mind is undisturbed by mun- The interpretation of how Yoga philosophy relates
dane desires; neither is it and is not shaken by circum- to practice is based on the following Yoga Sutras of
stances. There is harmony in the soul as it rests in the Pataiijali : Chapter I, Sutras 2, 20-22, 24-26, 28, 33-39,
divine. 49; Chapter II, Sutra 48; Chapter III: Sutra 47; Chapter
In Indian philosophy the soul is analyzed, pictured, IV: Sutras 25-26.
and loca ted. Situated in the spiritual hea rt at the base SYNTHESIS OF THE LIMB S OF YOGA
of the center of the chest cavity, its light is hidden for ---------------------.---------------------
the majority of people, but shines in saints and Yogis. All the limbs of Yoga play their part in achieving this
It is subtle yet powerful. It is linked to the universal state of harmony . Yama gives a basis of moral be-
spirit, God, who is considered to be within as well as havior. Niyama develops a self-disciplined and con-
outside oneself. tented mind . Asana builds a healthy, strong body; this
Everyone has a soul, and through Yoga the soul can has a direct impact on the state of the mind.
be unveiled . Pra1']ayama and pratyahara develop tranquillity , which
The prac tice of Yoga has up till now brought the forms a receptive base for meditative pra cti ces.
aspirant a great deal of knowledge. At the same time it Dhara1']a and dhyana enhance the state of inner peace,
is realized that the individual is insignificant in the face preparing the soul for immersion in the bliss of
of the Supreme. By letting go of personal pride, the samadhi, the union of the soul with the divine.
experience ofY oga is carried into a deeper dimension, Asana is the first conscious step on the pa th ofY oga.
where God becom es the guide. From then on all the limbs are integrated to some
God can be understood as a personal deity or as the extent. Asana practice involves being ethical and dis-
abstract principle of Truth and Perfection. According ciplined, extending the breath, and drawing the senses
to Indian philosophy , there are six primary divine away from the exterior world. Concentration and
qualities . These are true knowledge, strength, mastery meditation bring about complete absorption in it.
of the body, mind and self, unshakeable firmness, the In order to channel effort in the right direction and
power to break limitations, and energy. As the Yogi lay the foundation for success, five positive qualities
proceeds on his journey toward the ultimate goal, he are necessary. These are faith (Sraddha) , vigor
strives to make them manifest in himself. The perfect (Vlrya) , memory (smrti) , absorption (samadhi) , and
Yogi is endowed with beauty, grace, strength, and wisdom (prajna).
luster, which Pataiijali calls the "wealth of the body." Faith is based on subjective experience; it is not just
The grace of God is necessary to gain a glimpse of idealistic or blind belief. Vigor relates to the amount
the soul. I§va rapra1']idhana is a devotional act. It in- of mental and physical effort put into practice.
volves humility and love . Memory involves assimilating knowledge and recall-
Surrender of the self means giving up egotism, the ing experience. It spurs the intelligence. Absorption
sense of the "I" - the smaller or selfish self. The sub- is keeping the attention within the framework of the
SURRENDER OF THE SELF
subject. Wisdom results from this absorption . Based attention is diffused all over the body without any less-
on sure self-knowledge, it broadens to an understand- ening of intensity . This is meditation .
ing of others. The intensity of involvement should not be greater
Three steps are required to reach the state of in one area than another. When it is even, there is no
absorption: repetition, understanding, and sincerity oscillation in the mind. It does not move to the past or
of purpose. Progress will be more rapid if these are future but dwells in the present.
borne in mind. The steps apply to all aspects of Yoga, At this time the analytical part of th e brain remains
but here the iisanas are taken, by way of exa mple. passive and the meditative brain observes the body
The first step is to become familiar with the object from within. There is a feeling of internal peace. This
desired . In the case of an iisana, the name and meaning experience is indescribable. It spurs the practitioner to
of the iisana should be known as they symbolize its continue the search for the soul.
inner essence. Its form should be studied in order to B. K . S. Iyengar describes this as meditation in
perfect the minute details which define it . Repetition action, where the inner being expresses itself on the
molds the body into its shape and imprints the subtle surface during the performance of the iisanas. This is
aspect of its name into the consciousness. distinguished from passive meditation, where one sits
The second step involves total attention, giving in a meditative pose, drawing the senses inward and
body, mind, and heart to the iisana. One has to refl ect cOlTlmuning with the deity within.
while performing it, in order to realize its full poten-
THE EXPRESSION OF THE SO U L
tial. An attitude of humility and receptivity is essen- --------------------- .---------------------
tial to catch an y light of knowledge that comes. When the body is mastered through iisana, the mind
The third step is intensely personal, where know- controlled through priiIJ,iiyiima and the senses subdued
ledge and commitment deepen. The Yoga practice through pratyiihiira, the fruit of Yoga practice is
becomes more important than the person performing experienced. Consciousness is focused on the spiritual
it, so that the ego is subdued. Practice becomes neces- center, to make contact with the soul.
sary to life. The iisana becomes a friend to turn to in Knowledge of the soul goes beyond sensory per-
time of need. Finally one surrenders completely and ception and rational thought, as all these belong to the
becomes immersed in the iisana . realm of nature , (prakrti). In meditation on gross
In this wa y the prac ti ce of Yoga becomes an act of objects, such as on a rose or flame, the psychologica l
devotion. The spirit in which the sacred syllable faculty is being used, since these objects can be appre-
"aUln," or any prayer, is repeated to achieve medita- hended by the senses. This is not Yoga meditation .
tion permeates all actions. . In Yoga, the mind must be disengaged from gross
objects and from the senses and focused on higher,
MEDITA T I ON I N ACT I ON
---------------------.--------------------- subtler realms. Thus the highest knowledge is gained
When the self, mind, intelligence, and consciousness through revelation or intuition . Yoga is a training to
extend together with the inner organs and the outer develop the intuitive faculty and bring about the sub-
body , the self and its vehicle, the body, become one. limation of the senses and mind.
Then there are no dualities. This unified state gives a When the senses and mind are transcended , experi-
taste of citta vrtti /1irodha~, the state where the fluctua- ence is of the soul alone. The physical, physiological,
tions of the mind cease. and mental functions are at peace and there is absolute
When the iisanas are performed in this way, this is stillness of the consciousness (citta vrtti nirodha~).
dynamic meditation. The mind is alert and active; it Consciousness is in its pure, pristine state. It is com-
moves with every action of the body and penetrates pared to a flawless crystal that reflects objects in their
every remote cell. true form. Similarly, consciousness reveals the essen-
Thus, in order to keep the knee straight, attention tial, intangible core of all objects. This intuitive vision
is focused on the knee. This is concentration. Then, of the Truth is the highest wisdom. It can penetrate
holding the attention there, the mind moves to the the mystery of the universe and the reality of exist-
n'e xt focus - thigh, hip, w aist, and so on - and from ence . It is the acme of human experience. It is the
th ere to another part of the body , and another, until expression of the soul.
173
PART III· THE SOUL
~)~I~
Dhyana
Meditation does not make the mind dull. Rather, in meditation the mind is
still but razor sharp, silent but vibrant with energy. But this state cannot be achieved
without afirm, stable sitting posture, where the spine ascends and the mind descends and
dissoLves in the consciousness of the heart, where the true Self reveals itself.
B. K. S. IYENGAR
Meditation is a state of timelessness where everyday the chest slightly forward and take the elbows down
concerns have no relevance. It is beyond psycho- and back toward the waist. Extend the palms to-
logical time and space. It connects the spiritual core of ward the fingertips; lightly tuck in the skin of the
the individual consciously with the infinite universe . backs of the hands and knuckles toward the bones.
Meditation gives the experience of bliss. Relax the wrists.
174
A PPE N DIX
Courses
The courses on the following pages have been designed to SUGGESTED S C HEME OF PRA CT I CE
enable students to practice systematically. Course I is for -----------.-----------
beginners; Course II is for students at a general level of Alternate lessons 1 and 2 in the first week, then lessons 2
practice; Course III is for those at intermediate level; and and 3 in the second week, and so on until by week 12 all
Course IV is for advanced studen ts. Postures marked with lessons have been done twice. Finally, consolidate prac tice
one diamond in the Asarta section are found in Course I, by repeating all the lessons once more.
those with two diamonds in Course II, and so on. Some-
times the intermediate stage of a more difficult posture is Lesson 1
introduced in an earlier course. Sukhasana (p . 53) and Parvatasana (p. 51); Ta~asana (p. 18);
The asanas are introduced in their appropriate context Ordhva Hastasana (p. 19); VJ;"k~asana (p. 21); Utthita
and their progression is structured. Most of the postures Trikol]asana (p. 22); Utthita ParSvakol]asana (p. 24); Vlra-
may be repeated two or three times, except for Slr~asana bhadrasana II (p. 28); Parsvottanasana on ledge (p. 40) ;
and Sarvangasana. The courses include repetition and Uttanasana r (p. 44), hands on ledge; Sukhasana; Sarvang-
consolidation. asana (p. 108); Ardha Halasana (p . 110); lying, legs bent
Guidance is given on how to evaluate progress, and over abdomen (p. 85); Savasana r (p. 150).
when to proceed further. This depends on the frequency o Do Uttanasana I between standing poses or after 2 poses, to
and duration of practice and on natural aptitude. rest. If back aches, place hands on ledge. Repeat standing poses
Course I introduces the basic asanas. The succeeding twice each. Learn to adjust height of blankets in Sarvarigasana.
courses build on this original foundation. In Courses II to If Sarvarigasana is difficult, lie with legs up against a wall (p. 80).
IV the lessons are grouped into monthly cycles, with a
different emphasis of postures each week of the month. Lesson 2
This results in a variety of lessons. Sukhasana and Parvatasana (p. 53); Utthita Hasta Padari-
There is, however, an underlying unity. Each lesson gUHhasana I and II (p. 20); Taqasana (p. 18); VJ;"k~a"Sana (p.
starts with postures that extend the body or collect the 21); Trikol]asana (p. 22); Parsvakol]asana (p. 24); Vlra-
mind, then intensifies, and ends with postures that stabilize bhadrasana I (p. 26), hands on waist; Vlrabhadrasana II
the practice.
(p. 28); Par~vottanasana (p. 40), catching the elbows;
Inverted postures are normally done every time. R elax- UttanasanaI (p. 44), hands on ledge; Vlrasana and Vlrasana
'ation should not be neglected. forward bend (pp. 50-51); Gomukhasana (p . 56) , arms only;
During menstruation the sequence oflessons should not Sarvarigasana (p. 108); Ardha Halasana (p. 110); Savasana
be continued. Suitable asanas are given on p . 187. I (p. 150).
o Rest in UWinasana I after Virabhadrasana I. Before doing
-----------
COURSE I
. -----------
This course consists 0(12 lessons. It contains the asanas that
Sarvarigasana, lie down and stretch. In Savasana, learn to lie
straight.
can safely be done by beginners. First their shape should be Lesson 3
studi"ed and gradually details incorporated to make the pos- Vlrasana (p . 50); Utthita Hasta PadariguHhasana I and II (p.
tures more correct. 20); Uttanasana I (p. 44), hands on ledge; Trikol]asana (p.
The emphasis is on learning the standing poses, through 22); Parsvakol]asana (p. 24); Vlrabhadrasana r (p . 26);
I which the body gains strength .and coordination. Other Uttanasana r (p. 44); Vlrabhadrasana II (p. 28); Parsvottan-
postures are given to widen the scope of learning, to asana (p. 40); Prasarita Padottanasana (p. 42); Vlrasana and
develop agility, and to relax. Vlrasana forward bend (pp. 50-51); Sukhasana (p. 53) ;
Together with the physical aspect of the postures, Gomukhasana (p. 56), arms only; Sarvarigasana (p. 108)'
glimpses come of a meditative, silent quality. In this way Halasana or Ardha Halasana (p. 110); Savasana I (p. 150).
the postures are both exhilarating and relaxing. D Keep arms up in Virabhadrasana I. Trikol]asana, Parsvakol]-
It is beneficial to practice for a short time every day, asana, Vlrabhadrasana I, Virabhadrasana II, and Parsvottanasana
rather than a longer session once a week. If practicing every are the five basic standing poses.
day, spend two days a week doing sitting poses, inverted
poses, and relaxation, omitting the standing poses. Lesson 4
Those who practice less often will take longer to gain a Vlrasana (p. 50); Adho Mukha Svanasana (p. 90); Vlrasana
basic knowledge of the postures contained in the course. forward bend (p. 51); Taqasana (p. 18); Trikol]asana (p.
Caution Take particular care oJthe knees. Learn to straighten 22); Parsvakol]asana (p. 24); Vlrabhadrasana I (p. 26);
and extend them without straining. Uttanasana I (p. 44); Vlrabhadrasana II (p. 28); Parsvottan-
175
APPENDIX
asana (p. 40); GarU(~asana (p. 46); Utka~asana (p. 47); Adho Sarvangasana (p. lOS); Halasana (p. 110); Sarvarigasana (p.
Mukha Svanasana (p. 90); Parvatasana in Vlrasana (p . 51); lOS); Eka Pada Sarvangasana (p. 111); I>arSvaikapada
Virasana forward bend (p. 51); Sarvangasana (p. lOS); Sarvarigasana (p.) 11); Supta Baddha Koq.asana (p. Sl) ,
Ardha Halasana or Halasana (p. 110); Savasana I (p. 150). without bolster; Savasana I (p. 150).
o Do Adho Mukha Svanasana by walking back from Uttan- o In Parsvottanasana, practice alternative method, keeping head
asana. Do standing poses with back against wall. down while going to other side through center.
Lesson 5 Lesson 9
Ta9asana (p. lS); Trikoq.asana (p. 22); Parsva Koq.asana (p. Lying with the legs up (p. SO); Adho Mukha Svanasana (p.
24); Virabhadrasana I (p. 26); Uttanasana I (p. 44); Vlra- 90); Ta9asana (p. IS); TrikOl)aSana (p. 22); Parsva Koq.asana
bhadrasana II (p . 2S); ParSvottanasana (p. 40); Marlcyasana, (p. 24); Vlrabhadrasana I (p. 26); Virabhadrasana II (p . 2S) ;
standing (p. 70); Bharadvajasana on chair (p. 71); Ardha Candrasana (p. 30); Vlrabhadrasana III (p. 32),
Virasana and forward bend (pp. 50-51); Sarvangasana hands on ledge; Parsvottanasana (p. 40); ParIghasana (p.
(p. lOS); Halasana (p. l1q);Ja~hara Parivartanasana variation 4S); UHrasana (p. 134); Ordhva Mukha Svanasana (p. 91);
(p. S5) with legs bent; Savasana I (p. 150). Adho Mukha Svanasana (p . 90); Sarvarigasana (p. lOS);
. 0 Do standing poses with one foot against wall. Lie down and Halasana (p. 110); Savasana I (p. 150) .
stretch before doing Sarvangasana. o Do U~~rasana with support if preferred.
Lesson 6 Lesson 10
Lying on cross bolsters (p. SO); Uttanasana I (p. 44); Adho Ta9asana (p. IS); Vrk~asana (p. 21); Garu9asana (p . 46);
Mukha Svanasana (p. 90); Vlrasana and Parvatasana (pp. 50- Utka~asana (p. 47); ParIghasana (p. 4S); Sukhasana and
51); Sukhasana and Parvatasana (p. 53); Triarig Mukhai- Parvatasana (p. 53); Sukhasana forward bend (p. 53); Vlr-
kapada Pakimottanasana (p. 61); Pakimottanasana (p. 64); asana (p. 50); Baddha Koq.asana (p. 57); Bharadvajasana I
Sarvarigasana (p. lOS); Halasana (p. 110); ViparIta Karaq.I (p. 72); Sarvarigasana (p. lOS); Halasana (p. 110); Eka Pada
(p. 122). Sarvarigasana (p. 111); ParSvaikapada Sarvarigasana (p.
o In Virasana pay attention to line of bent legs and to under- 111); Ordhva Prasarita Padasana (p. S4), step 4 only;
standing whether knees are relaxed or strained. In Triang Savasana I (p. 150).
Mukhaikapada Pascimottanasana and Pakimottanasana use a o In Bharadvajasana I, do not complete the posture but work in
belt to get a concave action of back. intermediate stage with the hands on the floor. In Ordhva
Prasarita Padasana, bend the knees over the abdomen and then
Lesson 7 stretch the legs up.
Utthita Hasta Padangu~~asana I and II (pp. 20-21); Tadasana
(p. IS); V~k~asana (p. 21); Trikoq.asana (p. 22); ParSva Koq.- Lesson 11
asana (p. 24); Vlrabhadrasana I (p. 26); Vlrabhadrasana II Marlcyasana, standing (p. 70); Bharadvajasana on chair (p.
(p. 2S); Ardha Candrasana (p. 30); Vlrabhadrasana III (p. 71); Ta9asana (p. lS); Trikoq.asana (p. 22); Pars va Koq.asana
32), hands on ledge; ParSvottanasana (p. 40); Prasarita (p. 24); VTrabhadrasana I (p. 26); Virabhadrasana II (p. 2S);
Padottanasana I (p. 42); VIrasana and forward bend (pp. 50- Ardha Candrasana (p. 30); ParsvoWi.nasana (p. 40); Pra-
51); DaI).9aSana (p. 52); ParipurI).a Navasana (p. 5S);Janu- sarita Padottanasana (p. 42); Sarval1gasana (p. lOS);
sIr~asana (p. 59), head up; Triarig Mukhaikapada Pascimot- Halasana (p. 110); Savasana I (p. 150) .
tanasana (p. 61); Pakimottanasana (p. 64); Sarvarigasana o Start to increase timings in Sarval1gasana and Halasana.
(p . lOS); Halasana (p. 110); Savasana I (p. 150).
o Bend forward in Uttanasana I after Virabhadrasana I if Lesson 12
necessary. Do Ardha Candrasana against a wall. Use a belt and Uttanasana I (p. 44); Adho Mukhi Svanasana (p. 90);
keep head up forJanusir~asana, Triang Mukhaikapada Pascimot- Ordhva Mukha Svanasana (p. 91); Adho Mukha Svanasana
tanasana, and Pascimottanasana. (p . 90); Vlrasana (p. 50); Daq.9asana (p. 52); Paripurq.a
Navasana (p. 5S); Janu SIr~asana (p. 59); Triarig Mukhai-
Lesson 8 kapada Pakimottanasana (p. 61); Pakimottanasana (p. 64);
Adho Mukha Svanasana (p. 90); UWinasana I (p. 44); Baddha Koq.asana (p. 57); UpaviHa Koq.asana (p. 65), step
Ta9asana (p. lS); Trikoq.asana (p. 22); Parsva Koq.asana (p. 1; Bharadvajasana I (p. 72); Sarvarigasana (p. lOS); Halasana
24); Vlrabhadrasana I (p. 26); Vlrabhadrasana II (p. 2S); (p. 110); Savasana I (p. 150).
Ardha Candrasana (p. 30); Parsvottanasana (p. 40); Vir- o Repeat sitting poses twice. In Bharadvajasana I, remain in
asana (p. 50); Sukhasana (p. 53); Baddha Koq.asana (p. 57); intermediate stage.
176
COURSES
- - - - - - - - - - - - - - - - - - --
177
APPENDIX
178
COURSES
asana I (p. 44); Pascimottanasana (p. 64); Ordhva sequence x 3; Uttanasana I (p. 44); Srr~asana (p. 100);
Prasarita Padasana, (p. 84) x 2; Sarvangasana (p. 108); ViparHa Dal)qasana on chair (p. 136), step 3 x 3; Bharad-
Halasana (p. 110); Setu Bandha SarvaIi.gasana (p. 116); vajasana on chair (p. 71); Pascimottanasana (p. 64), using
Savasana I (p. 150) . chair; Sarvangasana (p. 108); Halasana (p. 110); Parsva
o Be careful of knees in Padmasana ; practice several times with Halasana (p. 112); Savasana I (p. 150).
one leg on top and other underneath. Sequence before and after o In Viparita Daq.9asana on chair, learn to adjust blankets and
Slqasana is to keep head relaxed. Go into Setu Bandha Sarvang- neck.
asana from floor.
Lesson 5D
Lesson 4D (Relaxation and PriitJiiyiima)
(Relaxation and PriitJiiyama) Uttanasana I (p.44); Adho Mukha Svanasana (p. 90); head
Supta Vlrasana (p. 82); Supta Baddha KOl)asana (p. 81); supported; Ylrasana forward bend (p. 51); SIr~asana (p.
Vlrasana forward bend (p . 51); Srr~asana (p. 100); Sar- 100); Janu SIqasana (p. 59), head supported; PaScimottan-
vaIi.gasana on chair (p. 118); Ardha Halasana (p. 110); Setu asana (p. 64), head supported; Sarvangasana on chair (p.
Bandha Sarvangasana on bench (p. 120); Savasana II (p. 118); Ardha Halasana (p. 110); SarvaIi.gasana on chair (p.
152); normal breathing, lying down (p. 156) 10 mins. 118); Savasana II (p. 152); normal breathing, lying down
o Virasana forward bend is to prepare head for Slr~asana. Be (p. 156), 10-15 mins.
comfortable and relaxed before beginning breathing practice. o For Sarvangasana on chair and Halasana prepare chair and
stool so you can go from one to other without coming down.
Lesson 5A (Standing)
Adho Mukha Svanasana (p. 90), x 3; Taqasana (p. 18); Lesson 6A (Standing)
Trikol)asana (p. 22); Parsva KOl)asana (p. 24); Vlrabhadr- Taqasana (p. 18); VJ;"k~asana (p. 21); Trikol)asana (p. 22);
asana I (p. 26); Vlrabhadrasana II (p. 28); Vlrabhadrasana Parsva KOl)asana (p. 24); Vlrabhadrasana I (p. 26); Vlra-
III (p. 32); Ardha Candrasana (p. 30); Parsvottanasana (p. bhadrasana II (p. 28); Trikol)asana (p. 22~; ParSva KOl)asana
64); Garuqasana (p. 46); Utka~asana (p. 47); Vlrasana (p. 24); ParivJ;"tta Ardha Candrasana (p. 38); Parsvottan-
forward bend (p . 51); Srqasana (p . 100); Sarvangasana (p. asana (p. 40); Prasarita Padottanasana (p. 42); Vlrasana
108); Halasana (p. 110);Janu Srr~asana (p. 59); Pascimottan- forward bend (p. 51); Vlrasana and Parvatasana (p. 51);
asana (p. 64); Savasana I (p. 150). Srqasana (p. 100); SarvaIi.g;asana (p. 108); Halasana (p. 110);
o Do Adho Mukha Svanasana first with hands against wall, then Karl)aplqasana (p. 144); Savasana I (p. 150).
feet, then again hands. Do standing poses with back against wall, o As before, rest forward in Uttanasana between standing
except for Virabhadrasana I and Parsvottanasana: here keep back poses if necessary.
heel against wall ..Recapitulate alignment. Do Parsvottanasana
with hands down. Lesson 6B (Sitting)
Supta Vlrasana (p. 82); Adho Mukha Svanasana (p. 90);
Lesson 5B (Sitting) Uttanasana I and II (p. 44); Srr~asana (p. 100);Janu Srr~asana
Vlrasana ,(p. 50); Parvatasana in Vlrasana (p. 51); Adho (p. 59); Bharadvajasana I (p. 72); Triang Mukhaikapada
Mukha Svanasana (p. 90); Uttanasana (p. 44); SIr~asana PaScimottanasana (p. 61); Bharadvajasana II (p. 77); PaScim-
(p. 100); Janu Srr~asana (p. 59); Ardha Baddha Padma ottana sana (p. 64); Pasasana (p. 76); SarvaJi.gasana - for-
Pascimottanasana (p. 60); TriaIi.g Mukhaikapada PaScim- ward bend sequence (p. 148); Savasana I (p. 150).
ottanasana (p. 61); Marlcyasana I (p. 63); PaScimottanasana o In SarvaIi.gasana - forward bend sequence, learn to co-
(p. 64); Paripurl)a Navasana (p. 58); Ardha N avasana (p. ordinate actions of limbs while body is in motion.
58); Gomukhasana (p. 56); Baddha KOl)asana (p. 57);
Upaviga KOl)asana (p. 65), step 1; Padmasana (p . 54); Vlr- Lesson 6C (Backbends)
asana 1P. 50); Sarvangasana (p. 108); Ardha Halasana (p. Tadasana (p. 18); Trikol)asana (p. 22); Parsva KOl)asana (p.
110); Savasana I (p. 150). 24); Vlrabhadrasana I (p. 26); Vlrabhadrasana II (p. 28);
o If back feels· strained after forward bends, do one or two ParSvottanasana (p. 40); Srr~asana (p. 100); 0 rdhva Mukha
twists. Svanasana (p. 91); Salabhasana I (p. 92); Salabhasana II (p.
93); Dhanurasana (p. 94); Ardha Halasana (p. 110); Sar-
Lesson 5C (Miscellaneous) vangasana (p. 108); Halasana (p. 110); Parsva Halasana (p.
Taqasana (p. 18); Ordhva Hastasana (p. 19); Uttanasana II 112); Savasana I (p. 150).
(p. 45); Adho Mukha Svanasana (p. 90); Ordhva Mukha o In back bends, pay attention to keeping sacrum and pubis
Svanasana (p. 91); Caturanga Dal)qasana (p. 89); repeat this down.
179
APPENDIX
- -------------------~-----------
Lesson 6D Lesson 7D
(Relaxation and Pra11ayama) (Relaxation and Pra11ayama)
Sukhasana (p . 100); VTrasana (I;'. 50); Padmasana, (p. 54); ViparIta K aral).I (p. 122) ; Supta Vlrasana (p. 82); Uttan-
VTrasana (p. 50); Adho Mukha Svanasana (p . 90); STr~asa na asana I (p. 44) ; Adho Mukha Svanasana (p. 90); SIr~asana
(p. 100); Sarvaligasana on chair (p. 11 8); Ardha H alasana (p. (p. 100); Sarvangasana on chair (p. 118); Setu Bandha Sar-
110); Setu 13 andha Sarva ngasa na on bench (p . 120); Sav- vangasana on bench (p. 120); Savasana II (p. 152); Ujj ayI
asana II (p. 152); normal breathing, lying down (p. 156) ; Prat:tayama II, lying down (p. 159); Savasana I (p . 150).
Ujj ayT Pral)ayama I and II (pp. 158- 9); Savasa na I (p. 150) . o Increase timings in asanas so that chest opens more and
o Do sitti ng poses against wa ll , in order to lea rn to sit straight . relaxation becomes deeper. This prepares body and mind for
Pral)ayama.
180
CO U RSES
Lesson 8D Lesson 9D
(Relaxation and Pra'1ayama) (Relaxation and Pra'1ayama)
Sukhasana (p. 100); Vlrasana (I?' 50); Padmasana, (p. 54); Lying on cross bolsters (p. 80); Supta VIrasana (p. 82);
Vlrasana (p. 50); Adho Mukha Svanasana (p. 90); SIr~asana Supta Baddha KOl).asana (p. 81); SIr~asana (p. 100); Sarvang-
(p. 100); Sarvangasana on chair (p. 118); Ardha Halasana (p. asana on chair (p. 118); Ardha Halasana (p. 110); Setu
110); Setu Bandha Sarvangasana on bench (p. 120); Sav- Bandha Sarvangasana on bench (p . 120); SavasanJ II (p.
asana II (p. 152); normal breathing, lying down (p . 156); 152); normal breathing, lying down (p. 156); UjjayI
UjjayI Prat:Jayama I and II (p. 158-9); Savasana I (p. 150). Pral).ayama I, II and III (pp. 158-160); Savasana I (p . 150) .
D Do sitting poses against wall, in order to learn to sit straight. D [fback aches from bending back, do Bharadvajasana on chair
(p. 71) and Marlcyasana, standing (p. 70), before lying down.
Lesson 9A (Standing)
Surya Namaskar variation (p. 148);jumping into standing CO N SOLI DA TION
- - - - - - - - - - - . - - - - - - -- - - -
poses (p. 17); Uttanasana I (p. 44); Supta Vlrasana (p. 82);
Finally, repeat lessons 1 to 9, A to D.
SIr~asana (p. 100); ParSva SIr~asana (p. 102); Dat:J9asana (p.
Increase the times taken in SIr~asana and Sarvat:Jgasana to
52); Janu SIr~asana (p. 59); Triang Mukhaikapada PaScim-
gain balance and confidence. Learn to relax in the postures.
ottanasana (p. 61); Ardha Baddha Padma Pascimottan-
Learn to feel the extent to which the body is following the
asana (p. 60); Pascimottanasana (p. 64); Bharadvajasana I
details that have been given in the postures. Spend longer
(p. 72); Bharadvajasana II (p. 77); Sarvangasana (p. 108);
in Savasana to improve the quality of reJaxation .
Halasana (p. 110); Setu Bandha Sarvangasana (p. 116); Sav-
Do not proceed to Course III until you can comfortably
asana I (p. 150).
hold SIr~asana for 5 minutes, Sarvangasana for 10 minutes
D Do as many jumpings as possible without becoming tired. Do and Halasana for 5 minutes. This usually takes a mit).imum
Setu Bandha Sarvangasana from floor.
of 2 years' practice.
L~sson 9B (Sitting)
Adho Mukha Svanasana (p. 90); Uttanasana I (p. 44); COURSE III
-----------. -----------
Vlrasana (p. 50); Baddha Kot:Jasana (p. 57); Upaviga This course consists of 16 lessons. It increases the range of
KOt:Jasana (p. 65), step 1; Baddha Kot:Jasana (p. 57); SIr~asana sitting and inverted postures and introduces balancings and
(p. 100); Baddha KOIJasana in SIr~asana (p. 104); Upaviga Jumpmgs.
KOIJasana in SIr~asana (p. 105);Janu SIr~asana (p. 59); Ardha As the principles and techniques of the postures are
Baddha Padma Pascimottanasana (p. 60); Triang Mukhai- absorbed, practice increases in intensity and sensitivity.
kapada PaScimottanasana (p. 61); Krauncasana (p. 62), step
2; PaScimottanasana (p. 64); ParSva Upaviga KOt:Jasana (p. SU G GESTED SCHEME OF PRA C TI C E
66); Marlcyasana III (p. 73); Ardha Matsyendrasana I (p. ----------- . -----------
74); Sarvangasana (p. 108); Halasana (p. 110); Eka Pada Alternate the lessons outlined here with lessons from
Sarvangasana (p. 111); Parsvaika Pada Sarvangasana (p. Course II. After lesson 4, A-D have been practiced, con-
~ 11); Supta KOt:Jasana (p. 113); ParSva Halasana (p. 112); solidate progress by repeating all the lessons, and then for
Savasana II (p. 152). the next four months, repeat lessons 1 and 2, A-D, 2 and 3
D Work on arms, shoulders, and shoulder blades in Adho Mukha A-D, and so on each month. Finally, spend 3 months con-
Svanasana and Sir~asana . Do forward bends with a concave solidating all the lessons so far.
back, using a belt. Repeat twists 3 times, catching last time.
Lesson lA (Standing)
Lesson 9C (Backbends) Ta9asana (p. 18); Trikol).asana (p . 22); Pariv~tta TrikolJ-
Adho Mukha Svanasana (p. 90), x 2; SIqasana (p. 100); asana (p. 34); Parsva KOt:Jasana (p. 24); Pariv~tta Parsva
Ta9asana (p. 18); Trikot:Jasana (p. 22); Parsva Kot:Jasana (p. KOl).asana (p. 38); Vlrabhadrasana I (p. 26); Vlrabhadr-
24); Vlrabhadrasana I (p. 26); Vlrabhadrasana II (p. 28); asana II (p. 28); ParSvottanasana (p.40); Prasarita Padottan-
Vlrabhadrasana III (p . 32); Ardha Candrasana (p. 30); asana I (p. 42); Prasarita Padottanasana II (p. 43);
ParSvottanasana (p. 40); ViparIta Dal).9aSana on chair (p. Uttanasana II (p . 45); Uttanasana II, variation (p. 45);
136), x 3; Drdhva Dhanurasana (p. 138), x 3; Marlcyasana SIr~asana I (p. 98); Parsva SIr~asana (p. 102) ; Sarvangasana
III (p. 73), intermediate stage, x 3; Ardha Halasana (p. (p. 108); Halasana (p. 110);Janu SIqasana (p. 59); PaScimot-
110); Savasana I (p. 150). tanasana (p. 64); Savasana I (p. 150) .
D In Viparita Dar;H;!asana on chair, take arms over head at end. In o Work on detail and accuracy, spending more time on each
Ordhva Dhanurasana place hands on a height, e.g. on bricks. posture.
181
APPENDIX
Lesson 1D Lesson 2D
(Rela~ation and Pra1Jayama) (Relaxation and Pra1Jayama)
~dho Mukha Svanasana (p. 90); Uttanasana I (p. 44); Supta Baddha KOf.1asana (p. 81); Supta VIrasana (p. 82);
Sir~asana I (p. 98); Sarvangasana on chair (p. 118); Ardha Matsyasana (p. 83); VIrasana forward bend (p. 51);
Halasana (p.,1 10); Setu Bandha Sarvangasana on ViparIta Daf.1Qasana on chair, head supported (p. 136);
bench (p . 120); Savasana II (p. 152); normal breathing, lying Sarvangasana on chair (p. 118); Ardha Halasana (p. 110);
down (p. )56); Viloma Praf.1ayama I and II, lying down Setu Bandha Sarvangasana on bench (p. 120); Savasana II
(p. 161); Savasana I (p. 150) . (p. 152); normal breathing, lying down (p. 156); UijayI
D Increase timings in inverted postures. Praf.1ayama III, lying down (e. 160); Viloma Praf.1ayama I
and II, lying down (p. 161); Savasana I (p. 150) .
Lesson 2A (Standing) D Experiment with height of bolster or blankets in Setu Bandha
TaQasana (p. 18); ParivI;tta Trikof.1asana (p. 38); ParivI;tta Sarvaf.lgasana, in case less is needed.
Parsva KOf.1asana (p. 38); ParivI;tta Ardha Candrasana (p.
30); Ad~o Mukha Svanasana (p . 90); SIr~asa~a I (p. 98); Lesson 3A (Standing)
Parsva Siqasana (p. 102); ParivI;tta Eka Pada Sir~asana (p. Uttanasana I (p. 44); Adho Mukha Svanasana (p. 90); Adho
102); Sarvangasana (p. 108); Halasana (p. 110); Eka Pada Mukha VI;k~asana (p. 96); SIqasana I (p. 98); Parsva VIr-
Sarvangasana (p. 111); ParSvaika Pada Sarvangasana (p. asana in SIr~asana (p. 105); TaQasana (p. 18); Trikof.1asana
111); Supta KOf.1asana (p. 113); ParSva Halasana (p. 112); (p. 22); Parsva KOf.1asana (p. 24); VIrabhadrasana I (p. 26);
Karf.1apIQasana (p. 112); Sarvangasana (p. 108); Setu Vlrabhadrasana II (p. 28); Ardha Candrasana (p. 30);
Bandha Sarvangasana (p. 116), dropping back; Halasana Vlrabhadrasana III (p. 32); ParSvottanasana (p. 40) ; Pras-
(p. 110); Setu Bandha Sarvangasana on bench (p. 120); arita Padottanasana (p. 42); Utka~asana (p. 47); Uttanasana
Savasana I (p. 150) . II (p. 45); Lolasana (p. 124); Eka Hasta Bhujasana (p. 125) ;
D Repeat reverse standing poses several times each. Sarvangasana (p. 108); Halasana (p. 110); Eka Pada Sar-
182
COURSES
vaQgasana (p. 111); Parsvaika Pada Sarvai1gasana (p . 111); Adho Mukha Svanasana (p. 90); Sarvai1gasana (p. 108) ;
Parsva Halasana (p.112); Savasana I (p. 150). Halasana (p. 110); Savasana I (p. 150).
o Observe movements of sacroiliac joints in standing poses. D In Adho Mukha V~ksasana , learn to stretch arms vertically Lip.
Pay attention to arms in all other postures.
Lesson 3B (Sitting)
Adho Mukha Svanasana (p. 90) ; Uttanasana I and II (p. 44); Lesson 4B (Sitting)
SIr~asana I (p. 98); Marlcyasana III (p. 73); Ardha M ats- Urdhva Mukha Svanasana (p. 91); Adho Mukha Svanasana
yendrasana r (p. 74); Pasasana (p . 76); Bharadvajasana II (p. (p. 90); Caturai1ga Dal)4asana (p. 89); SIr~asana I (p. 98);
77); Ardha Matsyendrasana II (p. 78);janu SIr~asana (p. 59); Baddha KOQasana in SIr~asana (p . 104); Upaviga K01)aSana
Ardha Baddha Padma Pakimottanasana (p. 60) , full pos- in SIr~asana (p. 105); Urdhva DalJ4asana (p. 105) ;
ture; Triai1g Mukhaikapada Pascimottanasana (p . 61); Padmasana (p. 54); M atsyasana (p. 83); Vlrasana (p. 50);
Pakimottanasana (p. 64); Padmasana (p. 54); Baddha Supta Vlrasana (p. 82); DalJ4asana (p. 52); Paripun)a Nav-
Padmasana (p. 55); Sarvai1gasana (p. 108); Halasana (p. asana (p. 58); Ardha Navasana (p. 58), janu SIr~asana (p.
110); Supta KOlJasana (p. 113); U rdhva Padmasana in 59); Ardha Baddha Padma Pakimottanasana (p. 60);
Sarvai1gasana (p. 114); Savasana r (p. 150). Triai1g Mukhaikapada Pascimottanasana (p. 61); Kraunc-
o In twists, concentrate on turning hips. asana (p. 62); Marlcyasana I (p. 63); Pakimottanasana (p.
64); Parsva Upaviga KOl?aSana (p. 66); UpaviHa K01?aSana
Lesson 3C (Inverted) (p. 65); Sarvangasana (p. 108); Halasana (p . 110) , Eka Pada
ViparIta DaQ4asana on chair (p. 136); SIr~asana I (p. 98); Sarvai1gasana (p. 111); Parsvaika Pada Sarvai1gasana (p.
Parsva SIr~asana (p. 102); Parivrtta Eka Pada SIr~asana (p. 111); Supta K01)aSana (p. 113); Karl)apI4asana (p. 112);
102); Eka Pada SIr~asana (p. 103); ParSvaika Pada SIr~asana Parsva Halasana (p. 112); Setu Bandha Sarvali.gasana (p.
(p. 103); Ordhva DaQ4asana (p. 105); Surya N amaskar 116); Ordhva Padmasana in Sarvai1gasana (p. 114); Pi1)4-
with variation (p. 146); H alasana (p. 110); Sar- asana in Sarvai1gasana (p. 114); Savasana I (p. 150).
vai1gasana (p. 108); Eka Pada Sarvai1gasana (p. 111) ; o Do not force knees in Padmasana or any of its variations.
ParSvaika Pada Sarvai1gasana (p. 111); Parsva Halasana (p.
112); Supta KOQasana (p . 113), KarQapI4asana (p. 112); Eka Lesson 4C (Backbends)
Pada Setu Bandha Sarvai1gasana (p. 117); Setu Bandha Sar- Adho Mukha Vrk~asana (p.96); Pinca Mayurasana (p. 97);
vai1gasana (p . 116); Halasana (p. 110); Savasana I (p. 150). SIr~asana I (p. 98); ViparIta DaQ4asana on chair (p. 136);
o Learn to drop back with one leg into Eka Pada Setu Bandha Ordhva Dhanurasana (p. 94); Dvi Pada ViparIta DaQ4-
Sarvangasana from Eka Pada Sarvangasana . asana, against wall (p~ 142); Ordhva Dhanurasana from $tr~
asana (p. 140); Vlrasana forward bend (p. 51); janu SIr~
Lesson 3D asana (p. 59), x 3; Pakimottanasana (p. 64); Ardha Halasana
(Relaxation and Prii1]iiyiima) (p . 110); Savasana I (p. 150).
Supta Vlrasana (p. 82); ViparIta Dal)4asana on chair (p. o Do Urdhva Dhanurasana severa l times in different ways: with
136), head supported; SIr~asana I (p. 98); SarvaQgasana on hands on bricks and against a wall, and in center of the room. In
chair (p. 118); Ardha Halasana (p. 110); Setu Bandha Sar- forward bends, allow back to release gradually without forcing
vai1gasana on bench (p. 120); Savasana II (p . 152); or stretching it.
UijayI Pral)ayama r and II , lying down (pp. 158-9); Viloma
Pral)ayama r and II , lying down (pp. 161-2); Savasana I (p. Lesson 4D (Prii1]ayama)
150). Savasana II (p. 152); normal breathing, lying down (p. 156);
o Make inhalations and exhalations same length and volume. Viloma Pral)ayama I and II, Iyirl,g down (pp. 161-2);
norma l breathing, sitting (p. 157); Savasana I (p. 150).
Lesson 4A (Standing) o Be carefu l not to overstrain. Quality, not quantity, of
Adho Mukha Vrk~asana (p. 96); SIr~asana II (p. 107); Praryayama is important.
TrikoQasana (p. 22); Parivrtta TrikoQasana (p. 34); ParSva
KOQasana (p. 24); Parivrtta ParSvakoQasana (p. 38); Vlra- CONSOLI DA TION
bhadrasana I (p. 26); Vlrabhadrasan a II (p. 28); Ardha ----------+----------
Candrasana (p. 30); Parivrtta Ardha Candrasana (p. 38); Repeat all the lessons.
Parsvottanasana (p. 40); Uttana sana II (p. 45); Utthita Absorb the details of the poses and aim for steadiness in
Hasta Padai1gughasana I and II (p. 20), ca tching foot, them. Understand the purpose of the intermediate stages.
without ledge; Ugrasana (p. 134); U rdhva Mukha Svan- Begin to work more on backbends.
asana (p. 91); Dhanurasana (p. 94); Bhujai1gasana (p. 93); Do not go on to Course IV until you have achieved a
APPENDIX
steady SIr~asana for 15 minutes, Sarvangasana for ,20 min- Janu SIqasana (p. 67); Pariv~tta Upaviga KOl)asana (p. 66);
utes and Halasana for 10 minutes. In addition, SIr~asana Sarvangasana (p. 108); Halasana (p. 110); Eka Pada Sar-
variations should be strong. Adho Mukha V~k~asana, vangasana (p. 111); Parsvaika Pada Sarvangasana (p. 111);
Piiica Mayurasana, 0 rdhva Dhanurasana and dropping Supta KOl)asana (p. 113); Parsva Halasana (p. 112); Parsva
back from SIrsasana should all come with ease. You Sarvangasana (p. 113); Savasana I (p. 150).
should also be able to do Padmasana, to touch the head on
the shins in forward bends, keeping the legs straight, and Lesson 3 (Backbends)
to catch the hands in twists. Supta Vlrasana (p. 82); Matsyasana (p. 83); SIr~asana (p.
100); ViparIta Dal)c,lasana on chair (p. 136), x 3; Ordhva
COURSE IV Dhanurasana (p. 138), x 3; Ordhva Dhanurasana from SIr~
- - - - - - - - - - - . - - - - - -- - -- -
asana (p. 140), x 6; Dvi Pada Viparita Dal)c,lasana (p. 142),
This course consists of 6 lessons, as an example of how to x 3; Adho Mukha V~k~asana (p. 96); Adho Mukha Svan-
incorporate some of the asanas of the fourth level of diffi- asana (p. 90); Uttanasana I (p. 44); Ardha Halasana (p . 110).
culty into practice.
The postures practiced so far will have given a great deal Lesson 4
of strength and mobility. Through doing the advanced (Balancings and Backbends)
asanas, lightness and agility are gained. The ability to dis- Adho Mukha V~k~asana (p. 96); Piiica Mayurasana (p. 97);
criminate between correct and incorrect actions also Uttanasana I (p. 44); SIr~asana II (p. 107); Bakasana from
increases at this stage. SIr~asana (p. 131), then drop back and lift up into Ordhva
Dhanurasana (p. 138), x 6; Vlrasana forward bend (p. 51) ;
S UGG ESTED SCHEME OF PRACTICE
----------- . ----------- Janu SIqasana (p. ?9); Pascimottanasana (p. 64); Ardha
Practice rna y be arranged so that each da y of the week has a Halasana (p. 110); Savasana I (p. 150).
different emphasis, with, for example, standing poses done
on one day, sitting poses on the next, then backbends, Lesson 5 (Padmasana)
balancings, twists, "inverted poses, and relaxation. Other Vlrasana (p. 50); Supta Vlrasana (p. 82); Padmasana (p. 54);
postures may also be included. Pral)ayama may be done Matsyasana (p. 83); Parvatasana in Padmasana (p. 55);
after a relaxation program or separately, at a different Baddha Padmasana (p. 55); SIqasana I (p. 98); Padmasana
time of day. in SIr~asana (p. 106); ParSva Ordhva Padmasana in SIr~asana
Caution It is essential first to learn praYJayama under the (p. 115); Pil)c,lasana in SIr~asana (p. 106); Sarvangasana (p.
guidance of a teacher. 108); Ordhva Padmasana in Sarvangasana (p. 114); Pil)c,l-
asana and Parsva Pil)c,lasana in Sarvangasana (p. 115);
Lesson 1 Parsva Ordhva Padmasana in Sarvangasana (p . 115);
(Standing and Balancings) Savasana I (p. 150).
Ordhva Hastasana (p. 19) and Uttanasana II (p. 45) up and
down in quick succession, x 10; SIqasana II (p. 107); Tri- Lesson 6 (Backbends)
kOl)asana (p. 22); Pariv~tta Trikol)asana (p. 34); ParSva Supta Vlrasana (p. 82); Bhekasana (p. 86); Uttanasana II (p.
KOl)asana (p. 24); Pariv~tta Parsva KOl)asana (p. 38); Ardha 45); Adho Mukha Svanasana (p . 90); Adho Mukha
Candrasana (p. 30); Pariv~tta Ardha Candrasana (p. 38); V~k~asana (p. 96); Piiica Mayurasana (p. 97); Ordhva
Uttanasana I (p. 44); Bhujaplc,lasana (p. 129); Bakasana (p. Dhanurasana from SIr~asana (p. 140), x 3; Ordhva
130); Parsva Bakasana (p. 132); A~~a Vakrasana (p. 128); Dhanurasana (p. 138), x 3; Dvi Pada ViparIta Dal)c,lasana
Sarvangasana (p. 108); Ardha Halasana (p. 110); Setu (p.142), x 3; Kapotasana (p . 144), on chair, x 3; Eka Pada
Bandha Sarvangasana on bench (p. 120); Savas ana I Rajakapotasana (p. 143), near wall, using belt; Kapotasana
(p. 150). (p. 144); Vlrasana forward bend (p. 51); Marlcyasana III (p.
73), x 3; Ardha Halasana (p. 110); Savasana I (p. 150) .
Lesson 2 (Sitting)
Surya Namaskar (p. 146); SIr~asana I (p . 98); ParSva CONSOLI DA TION
SIr~asana (e. 102); Pariv~tta Eka Pada SIqasa!la (p. 102); -----------. -----------
Eka Pada SIqasana (p. 103); ParSvaika Pada SIr~asana (p. Make sure that all the different parts of the body are active
~03); Ordhva Padmasana in SIr~asana (p. 106); Janu in all postures. Be firm in your understanding of base and
SIqasana (p. 59); Ardha Baddha Padma Pascimottanasana key points of postures. Relate the directions in poses to
(p. 60); Triang Mukhaikapada Pakimottanasana (p. 61); the directions of Tac,lasana. Keep the mind and self totally
Marlcyasana I (p. 63); Pakimottanasana (p. 64); Pariv.r;tta within postures, to experience them to the full.
184
Remedial Programs
This section gives programs of asanas to alleviate some Where alternative programs have been suggested,
medical conditions. Where Praryayama is included, it the one that gives the most relief, or the postures within it,
should be done lying down and preferably at a different should be practiced.
time from the main program. When following a program for a particular condition,
For remedial purposes, the postures are adapted to suit it is best to continue it until relief is gained before starting
individual needs. For this reason it is necessary to have the on the regular courses.
guidance of a suitably qualified teacher. The programs contain postures of different levels of
Programs for serious medical conditions are not difficulty (see p. 16). Those who have not done Yoga
given. In such cases, help should be sought from a qualified before should work on beginners' postures within the pro-
specialist teacher. grams until they progress. Later, more advanced pos-
In cases of recent operations or injuries, time should be tures from the same group may be added. Praryayama
allowed for the wounds to heal before Yoga practice is should not be done by beginners.
undertaken. Here it is best to seek medical advice. Timings in this section are as in the main instructions
During fever or in acute illness rest is required. After- for the asanas, unless otherwise specified.
ward, the recuperation program should be followed. The programs should always end in Savasana (p. 150) .
Amworrhea see Gynecological ticularly Pariv~tta Trikonasana (p. 34); cycle (pp. 108-115); Setu Bandha Sar-
Problems Pari v~tta Parsvakonasana (p. 36) and vangasana (p. 116); Savasana II (p. 152) .
Parivrtta Ardha Candrasana (p. 28);
Anemia B Adho Mukha Vrk~asana (p. 96);
Parsvottanasana (p. 40), hands on ledge;
Lying on cross bolsters (p. 80); Supta Plnca Mayiirasana (p. 97)2 ViparIta Dal")c;i-
twists (pp. 70-3); Vlrasana forward
Vlrasana (p. 82); Adho Mukha Svan- asana on chair (p. 136); Urdhva Dhanur-
bend (p. 50); SIrsasana and Parsva
asana, head suppo rted (p. 90); SIr~asana asana (p. 138); Ardha Halasana (p. 110).
SIr~asana (pp. 100, 1(3); Sarvangasana (p.
and cycle (pp. 98-105); twists (pp. 72-6);
110); Halasana and Parsva Halasana (pp. Constipation
Sarvangasana on chair (p. 118) and
~10 , 112); Viparlta KaraqI (p. 122);
Ardha Halasana (p. 110); Setu Bandha A Trikonasana (p. 22); Parsvakol).asana
Sa vasana II (p. 152). (p. 24), Virabhadrasana I and II (pp. 26,
Sarvangasana on bench (p. 120).
In the case of cervical spondylitis, SIr~ 28); Parivrtta Trikonasana (p. 34) and
UjjayI Praqayama I (p. 158) and Viloma
asana and Sarvangasana should be done Pariv~tta Parsvakonasana (p. 36);
Pral")ayama II (p. 162).
only with supervision. Parsvottanasana (p. 40); twists (pp . 70-
Arthritis and Rhellmatic Conditions 78); Sarvangasana and cycle (pp. 108-
1 Fibrositis and muscular rheumatism Backache 115).
When not in pain, all postures may be A Standing MarIcyasana (p. 70), x 3;
B (For those in regular practice)
done. Ca re should be taken not to aggra- Bharadvajasana on chair (p. 71); x 3;
SIr~asana and cycle (rp. 98-106), especi-
vate a painful cond ition. Trikoqasana (p. 22); Parsvakoqasana (p.
ally Pil)c;iasana (p. 106); Sarvangasana
24); Ardha Candrasana (p. 30), all twice;
2 Osteoarthritis (Osteoarthrosis) and cycle (pp. 108-115), especially
Uttanasana (p. 44), hands on ledge;
All postures may be done , paying parti- Pil).c;iasana (p. 114) and Parsva Piqc;iasan'l
Ja~hara Parivartanasana (p. 85), knees
cula r attention to working the affected (p.116).
bent; Ardha Halasana (p. 110); Viparlta
joints. KaraqI (p. 122) . Cramp
3 Rheumatoid Arthritis B Utthita Hasta Padangughasana I and If cramp occurs during Yoga practice,
Lying on cross bolsters (p. 80); Bharad- II (p. 20), twice each; Trikoqasana and relax the affected part and do deep
vajasana on chair and Bharadvajasana I Parivrtta Trikol}asana (pp. 22,34); Parsva- breathing until it disappears.
(pp. 71-2), twice each; Parvatasana in kOI!asana and Parivrtta Parsvakol)asana
Sukhasana (p. 53); Janu SIr~asana and Depression
(pp. 24, 36), Ardha Candrasana and
Pascimottanasana (pp. 59,64), head sup- A Adho Mukha Vrk~asana (p. 96);
Pariv~tta Ardha Candrasana (pp. 30, 38);
ported; Adho Mukha Svanasana (p. 90), Pinca Mayiirasana (p. 97); SIr~asana (p.
Supta Padangughasana (p. 88), with belt
head supported; $Ir~asana (p. 100); Sar- 98); Viparita Dal).c;iasana on chair (p.
or against column, twice; Ardha Hal-
vangasana on chair (p. 118); Ardha 136); Sarvangasana on chair (p. 118);
asana (p. 110); Savasana I (p. 150) , legs
Halasana (p. 110). Setu Bandha Sarvangasana on bench (p.
bent on chair.
120); Ordhva Dhanurasana (p. 138), x 3;
When not in pain, all other postures may Savasana II (p. 152) .
be done. Concentration, lack 1"
A Adho Mukha Svanasana (p. 90); B Sarvangasana and forward bend se-
4 Spondylitis Ordhva Svanasana (p. 91); SIr~asana and quence (p. 148); six sequences done in
All standing poses with wall support, par- cycle (pp. 9R-I0n); Sarvangasana and quick succession.
185
APPENDIX
Diarrhea bend sequence, simple variation (p. 148), syendrasana I (p. 74); Supta VTrasana (p.
SJr~asana (p. 100); Sarvangasana on. chair several times; Halasana (p. 110), for 3 82); Supta Baddha KOl)asana (p. 81);
(p. 118); ArdIn Halasana (p. 110); Setu mins; Sarvangasana (p. 108), for 5 mins; Savasana II (p. 152).
Bandha Sarvangasana on bench (p. 120); PaScimottanasana (p. 64), for 1 min;
B Janu SJr~asana (p. 59) and other
Viparlta KaratiT (p . 122). Savasana I (p. 150).
forward bends (pp. 60, 61, 64), head
Ears bandaged and supported.
Fibrositis see Arthritis and Rheumatic
1 Ear Pressure when doing inverted Conditions UjjayT Pral)ayama II (p. 159); Viloma
postures Pral)ayama II (p. 162).
See Cautions in SJr~asana (p. 98) and Sar- Giddiness Inverted postures, especially Ardha
vatigasana (p. 108). A Forward bends (pp . 59, 60, 61, 64, Halasana (p. 110), often give relief.
2 Tinnitus and Fluid in Ears 66), head supported.
Adho Mukha Svanasana (p. 90); B Savasana II (p. 152). Hernia
SJr~asa na (p. 100); Viparlta Da1)9- 1 Hiatus
asana on chair (p. 136); Sarvangasana Gynecological Problems VTrasana and Parvatasana (p. 50); Supta
(p. 108) ; Ardha Halasana (p. 110); Janu 1 Amenorrhea VTrasana (p. 82), supported; Matsyasana
STr~asana (p. 59), head supported; PaSci- (p. 83), supported; ViparTta Dal)9asana
Supta Baddha Kot)asana (p. 81); Baddha
mottanasana (p. 64), head supported; on chair (p. 136) ; UHrasana (p. 135),
Konasana (p. 57); Upavi~~a K09-asana (p.
lying on cross bolsters (p. 80). The supported; Bharadvajasana I (p. 72),
65), sitting up; Adho Mukha Svanasana
head and the ears ha ve to be adjusted twice; Savasana II (p. 152).
(p. 90); SJr~asana (p. 98); Badd~a KOI)-
carefully.
asana and Upaviga KOl)asana in STr~asana 2 Inguinal
(p. 104); forward bends (pp . 59, 60, VTrasana (p. 50); SJr~asana (p . 100); Ardha
Eye Strain 61, 64, 66); Sarvangasana on chair (p. Navasana and Paripiirl)a Navasana (p.
For the following programs tie an 118); Ardha Halasana (p . 110); Setu 58), using a belt or resting the feet on a
elastic bandage around the forehead with Bandha Sarvangasana on bench (p. 120) . chair; Sarvangasana (p. 108); Halasana
one part lightly covering the eyes (p.
2 Premenstrual Tension (p . 110); Supta KOl)asana (p. 113);
151). Uncover the eyes between postures,
Baddha Kot)asana (p. 57) and Supta Karl)apI9aSana (p. 112); ViparIta KaraIft
if necessary . Remove contact lenses.
Baddha KOl)asana (p . 8!); Supta VIrasana (p. 122); UjjayT Pral)ayama I (p. 158).
A Adho Mukha Svanasana (p. 90);
SJr~asana (p. 98); Sarvangasana (p. 108) (p. 82); Adho Mukha Svanas,ana (p. 90);
or Sarvangasana on chair (p. 118); Ardha STr~asana (p. 98) and Parsva STr~asana (p. Indigestion
Halasana (p. 110) or Halasana (p. 110); 103); Sarvangasana on chair (p. 118); Supta VIrasana (p. 82); Matsyasana (p .
Ardha Halasana (p. 110); Setu Bandha 83); Supta Baddha KOl)asana (p . 81).
forward bends, head supported (pp . 59,
60, 61, 63, 66); ViparTta Karal)l (p. Sarvangasana on bench (p. 120).
122); normal breathing, lying down (p. Insomnia
UjjayT Pral)ayama I and II (pp. 158-9).
156). A Adho Mukha Svanasana (p. 90);
3 Uterus, Prolapsed ViparTta Dal)9aSana on chair (p. 136);
SJr~asana and Sarvatigasana should be Lying on cross bolsters (p. 80); Supta SJr~asana (p. 98); Sarvangasana on chair
done only if they relieve the eye strain . Baddha Konasana (p . 57); Adho Mukha (p. 118); Ardha Halasana (p. 110); Setu
B ~al)mukhT Mudra (p . 163). Svanasana (p. 90); SJr~asana (p. 98); Bandha Sarvangasana on bench (p. 120);
Baddha KOl)asana and Upaviga KOI)- Ujjayl Pral)ayama I and II (pp. 158-9).
Fatigue asana in SJr~asana (p. 104); Sarvang- B VTrasana and forward bend (p. 50);
A ViparTta Karal)T (p. 122); Supta asana on chair (p. 118); Ardha Halasana Janu SJr~asana (p. 59), head supported;
Baddha KOl)asana (p. 8!); Supta VIrasana (p. 110); Setu Bandha Sarvangasana on Ardha Baddha Padma PaScimottanasana
(p. 82); Adho Mukha Svanasana (p. 90); bench (p. 120); ViparIta Karal)I (p. (p. 60); Triang Mukhaikapada PaScimot-
STr~asana (p . 98); Sarvangasana on chair 122). tanasana (p. 61); Pakimottanasana (p .
(p . 118); Ardha Halasana (p. 110); Setu For other menstrual and gynecological 64); Ardha Halasana (p. 110); Supta
Bandha Sarvangasana on bench (p. 120); problems, see Yoga: A Gem for Women, Baddha KOl)asana (p. 81).
Savasana lor II (p. 150 or 152). by Geeta S. Iyengar.
(If the back aches as a result of the back-
Knee Cartilage Problems
bending movements, do Standing
Headache SJr~asana (p. 98); Sarvangasana (p. 108)
MarTcyasana [po 70] and Bharadvajasana
A Lying on cross bolsters (p. 80); and Ardha Halasana (p. 110) should be
on chair [po 71] before Savasana.)
Bharadvajasana on chair (p. 71); done to rest the knees. Standing poses
B Uttanasana (p. 44); Adho Mukha standing MarTcyasana (p. 80); Bharadvaj- should be done with particular attention
Svanasana (p. 90); Vlrasana forward asana I (p. 72); MarIcyasana I, twisting (p. to the alignment of the knees, to avoid
bend (p. 51); Sarvangasana and forward 63); MarIcyasana III (p. 73); Ardha Mat- strain. In sitting poses careful adjustment
186
REMEDIAL PROGRAMS
of the bent leg may be needed so that on stepped arrangement of blankets, Spondylitis see Arthritis and R.heumatic
there is no pain (see ways of practicing legs in Baddha KOI)asana. Conditions
and focuses, pp . 50 and 54).
Uiiayl Pral)ayama I and II (pp. 158-9).
Stress
If the pain is acute, avoid bent leg pos-
B ViparHa Karani (p. 122); Supta Adho Mukha Svanasana (p. 90), head
tures and seek advice.
Vlrasana (p. 82) supported; Janu Slr~ supported; ViparIta Dandasana on chair
asana (p. 59), T riang Mukhaikapada (p. 136), head supported; Sarvaligasana
Leg ache
Pascimottanasana (p. 61), Ardha Baddha on chair (p.. 118); Ardha Halasana (p.
Virasana (p. 50); Supta Virasana (p. 82);
Padma Pascimottanasana (p. 60) and 110); Janu Slr~asana (p. 59) and Pascim-
Bhekasana (p. 86); Padmasana (p . 54);
PaScimottanasana (p. 64), all with con- ottanasana (p. 64), eyes bandaged and
J/addha Koryasana (p. 57); Adho Mukha
cave back, using a belt; Setu Bandha Sar- head supported, up to 5 min each;
Svanasana (p. 90); Slqasana (p . 98); Sar-
vangasana on bench (p. 120) or lying on ViparHa Kararyl (p. 122).
vangasana and cycle (p. 108-115);
Ardha Halasana (p. 110), ViparHa Kararyi cross bolsters (p . 80); Sa vasana II (p. 152), Viloma Pranayama II (p. 162).
(p.122). on stepped arrangement of severa l
blanket,S, with the legs in Baddha Kon- Tinnitus see Ears
Menstruation asana; Savasana II.
Baddha Koryasana (p. 57) and Upaviga Uterus, Prolapsed see Gynecological
KOl)asana (p. 65), against a wall , S mins Premenstrllal Tension see Gynecolo- Problems
each; forward bends (pp. 59, 60, 61), 3 gical Problems
mins each side; Pascimottanasana (p. 64), Varicose Veins
5 mins; Supta Baddha Konasana (p. 81); Recuperation Virasana (p. 50); Supta VTrasana (p. 82);
Setu Bandha Sarvallgasana on ben ch (p. Lying on cross bolsters (p. 80); Supta Vir- Bhekasana (p. 86); Slr~asan a and cycle
120). asana (p. 82), supported; Janu Slr~asana (pp. 98-106); Sarvangasana and cycle
(p. 59) and Pascimottanasana (p. 64), (pp. 108-115); forward bends (pp. 59-
Uiiayi Pranayama I, II and III (pp. 158-9). head supported; Setu Bandha Sarvang- 63).
asana on bench (p. 120), Viparita KaranI
Migraine see Headache (p . 122); Savasana I or II (p. 150 or 152). Vertigo see Giddiness
Osteoarthritis see Arthritis and Rheu- Normal breathing, lying down (p. 156).
matic Conditions Whiplash
Rheumatism see Arthritis and Rheu- A Standing poses (pp. 22-40), against a
matic Conditions wall, especially Ardha Candrasana (p.
Pregnancy 30) and Parivt;"tta Ardha Candrasana (p.
[f you are pregnant, advise your Yoga 30), paying attention to making the
Sciatica
teacher of any previous mIs- thoracic spine concave; twists (pp. 70-77):
Do not jum p into the standing poses.
carriages or medical history. Medical
advice may also be required. Without a U tthita Hasta Padati.gu~~hasana r and II 13 Adho Mukha Svanasana (p. 90);
teacher, it is not advisable to start Yoga (p. 20); standing poses (pp. 22-42), with Adho Mukha Vt;"k~asana (p. 96); Plnca
m pregnancy . the front leg turned 10-20° more than Mayurasana (p. 97); Viparlta Dal)9aSana
usual; Uttanasana I (p. 44), hands on on chair (p. 136); Urdhva Dhanurasana
The following program will need to be (p. 138); MarTcyasana III (p . 73); Ardha
edge, standing with the toes turned in
adapted from week to week. It shou ld
and the heels turned out; Vlrasana (p. 50); Halasana (p. 110) .
not be done during weeks 11 to 13, when
Slqasana (p . 100), with the toes in and the Slr~asana (p. 100) should be done on the
exertion is to be avoided.
heels out; Supta Padati.gu~~hasana (p. 88), front of the head, near the forehead.
In all postures the abdomen should be
especially with the leg supported; Ardha
well extended to create space for the
Halasana (p. 110) or Supta Koryasana (p.
baby. There should be no discomfort or
113), with the thighs supported on two
strain.
stools.
[n inverted postures it is best to have a
helper so as not to jerk the body while
Scoliosis
gomg up.
Parvatasana in Sukhasana or Vlrasana
A Viparlta Karat)1 (p. 122); Baddha (p. 50 or 53); all standing poses (pp. 22-
KOl)asana (p. 57) and Upaviga Koryasana 42); Adho Mukha Svanasana (p. 90); Slr~
(p. 65), against a wall; Vlrasana (p. 50); asana and Parsva Slqasana (p. 100, 102),
Slr~asana (p. 100; if already practiced); twists (pp. 72-6), near a wall or ledge;
Sarvangasana with chair (p. 118); Ardha Sarvangasana (p. 108) and Halasana (p.
Halasana (p. 110); Savasana II (p. 152) 110).
Index
Page numbers for the main postures are in bold_
Adho Mukha Svanasana, 79, 90, 123, bending the leg to a right angle (Focus), cupping the hand (Focus) , 31
147 28
Adho Mukha V~k~asana, 96, 123 Bhagallad GTtii, 164,165 Dal)9asana, 52
alignment, 17 Bharadvajasana I, 69, 72 depression, 185
in Focus, 52 on cha ir, 71 detached retina , 95
amenorrhea, 186 Bharadvajasana II, 77 devotion, Yoga of, 164
anemia, 185 bhakti yoga (Yoga of devotion), 164, 165 Dhanurasana, 94
Anantasana, 87 Bhekasana, 86 dhiiranii (concentration), 169, 170, 172
ankles and feet (Focus), 28 Bhujaligasana,93 dhyiina (meditation), 9, 164, 169, 170,
Ardha Baddha Padma BhujapT9asana , 129 172, 174
Pascimottanasana, 60, 146 blankets: diarrhea, 186
Ardin Chandra sa na, 30-1 how to fold, 101 discipline , 8, 12
Ardha Halasana, 95 , 110 in Pranayama, 156 see also siidhanii
Ardha Matsyendrasana J, 74-5 boat pose, 58 disciplines of Yoga , 8, 170
Ardha Matsyendrasana II, 78 bow pose, 94 divine power (kl-lndalinl), 165
Ardha Navasana , 58 breath, 13, 169 dizziness, 133, 186
arthritis, 185 Kumbhaka, 160 dog pose , 90, 91
iisarlas, 12-13, 12-152,165,169,170,172, normal breathing, 156, 157 Dvi Pada ViparTta Dal?9asana, 142
173 retention of (kumbhaka), 160
A~~avakrasana , 128 Pral).ayan1a, 154, 155-62 ears:
avoiding pain in the spine (Focus), 93 Ujjayl Pranayama, 158, 159 fluid in , 186
avoiding strain (Focus), 27 Viloma Pral).ayama, 161 , 162 pressure in inverted postures, 186
buddhi (intellect), 167 tinnitus, 186
Backbends, 12, 133-44 effort and understanding (Focus), 117
Dvi Pada ViparTta Dal).9aSana, 142 camel pose, 134 ego (ahamkiira), 167, 172
Eka Pada Rajakapotasana, 143 cartila ge problems , 186-7 Eka Hasta Bhujasana , 125
Kapotasana , 144 catching the foot (FocLls), 59 Eka Pada Rajakapotasana , 143
Ordhva Dhanurasana, 138-9 Caturanga Dal)9 asa na, 89, 147 Eka Pada Sarvaligasana, 111
Ordhva Dhanurasana from- SIr~asana , centering th e legs (Focus), 139 Eka Pada Setu Bandha Sarvaligasana,
140 cervica l spondy losis, 95 117
Ordhva Dhanurasana from Tadasana, cha ll enge and response (Reflection), 29 Eka Pada SIr~asana, 103
141 choosing the right equipment (Focus), elements, 167-8
U~trasana 134-5 139 emotiona l disturbance, 168-9
ViparTta Da1)9asana (on chair), 136-7 citta (consciousn ess), 154, 167, 168-70, 173 emotions (Reflection), 118
Baddha Konasana , 57, 148 cleansing processes (kriyiis), 165 energy, 17, 160
in STr~asa~a, 104 closing actions (bandhas), 165 epilepsy, 149
Baddha Padmasana, 55 cobra pose, 93 equipment, 118
Bakasana, 130 combining effort and understanding ethical principles (yama), 8, 169, 170, 172
from STr~asana, 131 (FocLls),117 evo lution, 168
Parsva Bakasana, 132 concentration and wi ll power exha lation:
Balancings, 12, 123-32 (Reflection), 33 UjjayT Pranayama , 158, 159
Agavakrasana, 128 concentration (dhiiranii), 169, 170, 172 Viloma Pral?ayama, 162
Bakasana, 130 lack of, 185 eyes:
Bakasana from SIr~asana, 131 consciousness (ciua), 154, 167, 168-70, contact lenses, 95
BhujapT9asana, 129 173 detached retina, 95
Eka Hasta Bhujasana, 125 constipation, 185 strain, 186
Lolasana, 124 contact lenses, 95
Parsva Bakasana, 132 coordination (Reflection), 31 fatigue, 186
Vasi~thasana , 126-7 corpse pose, 150-2 fibrositis, 185
bandhas (closing actions), 165 Course I, 175-6 flexibility (Reflection), 86
base of posture (Reflection), 107 Course II, 176-81 Focuses:
beginning backbends (Focus), 135 Course III, 181-4 alignment, 52
bending the elbows out (Focus), 66 Course IV, 184 ankles and feet, 28
bending the legs in Padmasana (Focus), cramp, 185 avoiding pain in the spine, 93
54 crea tion of universe, 167-8 avoiding strain, 27
188
IN DE X
Focllses (etd) Hatha Yoga, 165 kailJalya (ultimate liberation) , 166, 170
beginning backbends, 135 Harha Yoga Pradlpikii, 165 Kapotasana, 144
bending the elbows out, 66 headaches, 69, 133, 186 karma yoga (Yoga of action), 164, 165
bending the leg to a right angle, 28 health, 12 Kan!api9asana , 112, 148
bending the legs in Padmasana, 54 heart problems, 17, 26, 95, 133 Karhopanisad, 164
catching the foot, 59 hernias, 69, 186 knees (Focus), 49
centering the legs, 139 high blood pressure, 17, 26, 95, 133 cartilage problems, 186-7
choosing the right equipment, 118 hitting the legs outward (Focus), 43 knowledge (jiiiil'la), 154, 164, 168
com bining effort and understanding, hyperventilation, 149 Krauficasana, 62
117 Krishna (Kr~na), 164
cupping the hand , 31 im portance of backbends (Reflection), kriyiis (cleansing processes), 165
fo lding a blanket, 101 139 Kumbhaka , 160
good pain and bad pain, 92 improving the neck balance (Focus), 108 kUl'!qalil'l1 (divine power), 165
gripping the floor, 90 indigestion, 186 Kiirmasana, 68
hitting the legs outward, 43 inguinal hernia, 186
improving the neck balan ce, 108 inhalation: Laya yoga (Yoga of absorption), 165
lining up the feet, 22 Ujjayi Pranayama, 158, 159 life force (prii~ta) (Reflection), 160
locking the elbows, 21 Viloma Pral!ayama, 162 lining up the feet (Focus) , 22
making the back concave, 65 insomnia , 186 locking the elbows (Focus), 21
opening the backs of the legs, 89 intellect (buddhi), 167 Lolasana , 124, 146
placing the hands, 124 Inverted Poses, 12, 95-122 lotus pose, 54-5
practicing with rhythm, 131 Adho Mukha Vrk~asana, 96 lying with legs up , 80
raising the legs, 130 Eka Pada Setu Bandha Sarvarigasana, on cross bolsters, 80
shoulders and arms, 28 117 lying down, breathing while see
stages in goin g up, 100 Halasana, 110 Pral!ayama
straightening the knees, 44 Ardha Halasana, 110
stretching the arms up, 21 Pifica Ma yurasana, 97 Mahiibhiirata, 164
taking the coccyx and sacrum in, 97 Salamba Sarvarigasa na, 108-109 making the back concave (Focus), 65
turning and ex tending the top arm, 25 Sa lamba Sarvarigasana cycle, 111-15 Mantra yoga(Yoga of religious formulas),
turning the back foot in, 22 Sa lamba Sirsasana cycle, 102-106 165
turning the front leg out, 22 Salamba Sir~asana I, 98-101 . Marlcyasana I, 63
turning the legs when the back foot is Salamba Sir~asana II , 107 Maricyasana III, 73
turned deep in, 41 Salamba Sarvarigasana (on chair), Marlcyasana , standing, 70
folding a blanket, 101 118-9 Matsyasana , 83
Forward bends Setu Bandha SarvaI'lgasana, 116 matter (prakrti), 167
Ardha Baddha Padma on bench, 120-21 meditation (dhyiina), 9, 164, 169, 170,
Pascimottanasana, 60, 146 Viparita Karani, 122 172,174
janu Sir~asana, 59, 133, 146 ISlJara, 167 memory (smrti), 168, 172
Marlcyasana I, 63 see also God menstruation, 14, 17,49,79,95, 133, 145,
PaScimotta~lasana, 64, 146, 148 ISlJarapranidhiina, 172 187
Trial!g Mukhaikapada Iyengar, B. K. S., 6, 9, 17, 49, 69, 79, 95, migraine see headache
Pascimottanasana , 61 , 146 123, 133, 145, 149, 166, 169, 172, mind (manas), 154, 167
173, 174 in Reflection, 151
Garu9asana, 46 Iyengar, Geeta , 9 muscles, cramp, 185
Cheranda Sarilhitii, 165 Iyengar, Prashant, 9 muscular rheum atism, 185
giddiness, 133, 186 Iyengar In stitutes, 9
God, 164, 165 , 172 nausea, 133
Gomukhasana, 56 janu Sir~asana, 59, 133, 146 Navasana, see Ardha Navasana,
good pain and bad pain (Focus), 92 j a~hara Parivartanasana, 85 Paripurna Navasana
gripping the floor (Focus), 90 jiiiina (knowledge), 154, 164, 168 nervous disorders, 17
Guru, 9 jTiiina yoga (Yoga of knowledge), 164-5 nidrii (sleep), 168
gynecologica l problems , 186 jumping, 12, 17 Niralamba Sarvarigasana, 109
Jumpings, 145-8 niyama (personal disciplines), 8, 169, 170,
half-moon pose, 30-1 Sarvarigasana and Forward bends, 148 172
Halasana, 110, 148 Surya Namaskar , 146-7 non-attachment (Reflection), 127
INDEX
o penin g the bac ks of th e legs (Foc us), 89 145, 187 Sarval1gasa na (ctd)
osteoa rthriti s, 185 prem enstrual tension , 186 Niralamba Sarval1gasa na, 109
Prone Poses see Supine and Pro ne Poses Parsva H alasana, 112
Padm asana, 54-5 pro per understandin g (R efl ectio n), 134 Parsva PiI)9asa na in, 115
pain , 14 Puranas, 164 Parsva Sarva rigasana, 113
good and bad (Focus), 92 puru sa (spirit), 167 Parsva Urdhva Padm asa na, 115
Parlg hasa na, 48 Parsvaikapada Sarvarigasana, 111
Paripurry a N avasa na, 58 raisin g the legs (Focus), 130 Pil)9asana in, 114
Pari vrtta Ardh a C handrasana, 38-9 Raja yoga (Yoga o f m as tery), 165 Salamba Sarvari ga sana, 108-9, 118-19
Pa ri v ~tta Eka Pada SIrsasa na, 102 Ram ayana, 164 Setu Bandha Sarvangasana, 11 6,
Pa ri v ~tta J inu SIr~asan~ , 67 recuperation, 187 120-1 , 148
Parivrtta Parsvakol) asa na, 36-7 R eflecti ons: ~upt a Ko ryasa na, 113, 148
Parivrtta T rikory asa na, 34-5 ba se of the posture, 107 Urdhva Padm asana in , 114
Pari vrtta UpaviHa KOI)asa na, 66 challenge and respo nse, 29 Savasa na, 12, 148, 149, 150-2
Parsva Urdhva Padm asa na, 106 concentratio n and will po w er, 33 sciati ca, 187
in Sar val1gasana, 115 coo rdinati o n, 31 sco liosis, 187
Parsva Vl rasa na in SIr~asa n a, 105 em o tions, 11 8 scriptures, 164-5
Parsva ikapada Sa rva l1 gasa na, 111 fl exibility, 86 sel f: .
Parsvalkapada SIrsasa na, 103 impo rtance o f bac k bend s, 139 disc ipline (tapas), 12
Parsvo ttanasa na, 40-1 life fo rce (p ra ~l a), 160 stu dy of (sviidhyiiya), 154
Parva tasa na: mind , 151 surrender o f, 172-3
in Pad m asa na, 55 no n-attac hm ent, 127 senses, 167- 8
in Sukh asana, 53 Pranayam a, 162 Pran ayam a (brea th cont ro l), 154
in Vl rasa na, 51 precisio n and truth , 52 withdrawal o f (pratyiihara) , 154
Pasasa na, 76 proper unde rstandin g, 134 Setu Bandh a Sarva I1gasa na, 116, 148
PaScim o ttanasa na, 64, 146, 148 repose in the posture, 19 on bench, 120-1
Patanj ali , 8, 9, 12, 13, 164, 165, 166-70, skin , 152 sho ulders and arm s (Foclls), 28
172 spiritual gro wth , 124 siddhis (s upern o rm al attainments), 170
perceptio n , rea l (p ramana) , 168 staying in th e postures, 107 SIr~asa n a, 95, 98-106
philosoph y, 16, 154, 164-73 suppo rted asa nas, 136 Baddha KOI) aSa na in , 104
pigeon pose, 144 withdrawing fr o m eve ryday ac tivitics, Bakasa na fro m , 131
Piiic q M ay urasa na, 97 163 Eka Pada SIrsasana, 103
Pil)9asa na: relaxa tio n , 12, 149, 150-52 Pari vrtta Ek; Pada SIrsasa na, 102
in Sa rva ri gasa na, 114 Savasana I, 150-51 Pa rsv~ SIr~asa n a, 102 '
in SIr~asa n a, 106 Sa vasa na II , 152 Parsva Vlrasan a in , 105
placing th e hand s (Focus), 124 rem edial program s, 185-7 Parsvalkapada SIr~asa n a, 103
plow pose, 11 0 repose in the posture (R efl ectio n), 19 PiI)9asa na in , 106
prac tice, 13, 17 rctina, detac hcd, 95 UpaviHa KOI)asa na in , 104
see 'also Standing Poses etc. rheum atic conditions, 185 Urdh va D andasa na, 105
prac ticin g w ith rhythm (Focus), 131 Urdh va Dh ~ ~urasa n a fro m , 140
prakrti (m atter), 167 sadh ana (discipline), 166 Urd h va Padm Jsa na in , 106
pram ana (rea l perceptio n), 168 Sa labhasa na I and II , 92 w ith bent legs, 100-1
pra'Ja (life fo r~e) (R efl ection), 160 Sa lamba Sarva l1gasa na, 108-9 Sitting Poses , 12, 49-68
Pral)aya m a, 154, 155-62, 164, 165, 170, on chair, 118-19 Ardh a B addha Padm a
172 Sa lamba SIr~asa na, 98-9, 107 PaScim o ttanasa na, 60
in R efl ectio n, 162 samadhi (s uperconscio usness), 165, 166, Ardin N avasa na , 58
Kumbhaka, 160 169, 170, 172 Baddh a Ko nasa na, 57, 148
N o rmal brea thin g, 156, 157 Sarhkhya, 165, 167 Baddha K OI)asa na fo rwa rd ben d, 57
Ujj ayI Pranaya m a, 158, 159 SanmukhI Mudra, 163 Baddha Padma sa na, 55
Vilo m a Pral1aya m a (lyin g down), 161 , Sa nskrit, 10 Dan9asa na, 52
162 Sa rva rigasana, 95, 111-15, 148 Go mukhasa na, 56
Prasarita Padottanasa na, 42-3 Eka Pada Sa rva ri gasana, 111 J inu SIr~asa na, 59, 146
Prat ya hara, 154, 163, 169, 170, 172 Eka P ada Se tu B andha Sa rva rigasana , Krauncasa na, 62
precisio n an d truth (R efl ection), 52 117 Kurm asa na, 68
pregnancy, 14, 17, 49, 69, 79, 95, 133, Karl)pldasa n a, 112 Iiftillg t he trunk (Focus), 162
IN DE X
Sitting Poses (etd) Supine and Prone Poses , 12, 79-94 U.ijayI Pral)ayama 158, 159
M arlcyasa na I, 63 , 146 Adho Mukha Svanasana, 90, 147 understanding (Focus), 117, 173
Padmasana, 54-5 Anantasana, 87 Upani~ads, 164, 165
Paripurna Navasana, 58 Bhekasana, 86 Upaviga KOl)asana, 65 , 148
Parivrtta j;inu SIqasana, 67 Bhujarigasana, 93 in SIrsasana, 104
Parivrtta Upaviga Konasana, 66 Caturariga Dal)dasana, 89, 147 Urdhva 'Dandasana, 105
Parsva Upaviga Konasana, 66 Dhanurasana, 94 Urdhva Dh~I;urasana, 123, 133, 138-9
Parvatasana, 51, 53, 55 Ja~hara Parivartanasana, 85 from SIr~asana, 140
Pascimottanasana, 64, 146, 148 lying on cross bolsters, 80 from Tadasana, 141
Sukhasana. 53 lying with legs up, 80 Urdhva Ha~tasana , 19, 146
Sukhasana forward bend, 53 Matsyasana,83 Urdhva Mukha Svanasana, 91 , 123,147
Triarig Mukhaikapada Sa labhasana I and 11 , 92 Urdhva Padmasana:
Pakimottanasana, 61 , 146 Supta Baddha Konasana, 81 in Sarvaligasana, 114
Upaviga Konasana , 65 , 148 Supta Padarigughasana, 88 in SIrsasana , 106
Vlrasana, 50-1 Supta Vlrasana, 82 Urdhva' Prasarita Padasana, 84
Vlrasana forward bend, 51 Urdhva Mukha Svanasana, 91, Ugrasana, 133, 134-5
Silla Samhitii, 6, 164, 165 147 uterus, prolapsed, 186
skin, 16, 18, 152 Urdhva Prasarita Padasana, 84 Utka~asana, 47
sleep (II idrii), 168 supported asanas (Reflection), 136 Uttanasana , 44-5,1.23,146,147
smrti (memory), 168, 172 Supta Baddha Konasana, 79, 81 Utthita Hasta Padarigughasana , 20
sou l, 16~ 168, 170, 172-4 Supta KOl)asana, 113, 148 Utthita ParSvakonasana, 24-5
dll yiirta (med itation), 174 Supta Padarigughasana, 88 Utthita Trikol)asana, 22-3
surrender of, 172-3 Supta Vlrasana, 79, 82
spirit, 167 surrender of the self, 172-3 Variiha Upanisad, 165'
see also soul Surya Namaskar, 145, 146-7 varicose veins, 187
spiritual growth (R.eflection), 124 slliidhyiiya (study of the scI£), 154 Vasighasa na, 126-7
spondylitis, 185 SIIiitmiiriima, 165 Vedas, 164
Sr/mad Bhiigallatam, 164 SIIetiisllatara Upani~ad, 164 vertigo see giddiness
stages in SIr~asana (Focus), 100 IIika lpa (im agination), 168
Standing Poses, 12, 17-48 Tadasana, 18-19, 146 Vilollla Pral)ayama , 161 , 162
ArdIn Chandrasana, 30-1 Taking the coccyx and sacrum in (Focus), Viparlta Dal)<;iasana (on chair), 133, 136
Garu<;iasana, 46 97 Viparlta Karanl, 122
Parlghasa na, 48 ' tapas (self-discipline), 12 Vlrabhadrasana I, 26-7
Parivrtta Ardha Chandrasana, 38-9 texts about Yoga, 164-5 Vlrabhadrasana II, 28-9
Pariv~tta Parsvakol)asana , 36-7 tinnitus, 186 Vlrabhadrasana 111,32-3
Parivrtta Trikonasana, 34-5 tortoise pose, 68 Vlrasana , 17, 50-1
Parsvakol)asana, 24-5 tree pose, 21 V~k~asana, 21
ParSvottanasana, 40-1 Triarig Mukhaikapada
Prasa rita Padottanasana, 42-3 Pascimottanasana, 61, 146 warrior poses, 26-9, 32-3
Ta<;iasana, 18-19 Trikol)asana, 16, 22-3 whiplash injuries, 187
Trikonasana, 22-3 turning and extending the top arm withdrawing from everyday activities
Utka~asana, 47 (Focus), 25 (Reflection), 163
Utthita Hasta Padarigu~~hasana , 20 turning the back foot in (Focus), 22
Utthita Parsvakonasana, 24-5 turning the front leg out (Focus), 22 yama (eth ical principles), 8,169,170,172
Utthita Trikonasana, 22-3 turning the legs when the back foot is Yoga of action (karma yoga) , 164, 165
U ttanasana, 44-5 , 146, 147 turned deep in (Focus), 41 Yoga of absorption (laya yoga), 165
Vlra bhadrasana I, 26-7 Twists, 12, 49, 69-78 Yoga of devotion (bhakti yoga), 164, 165
Vlrabhadrasan·a II, 28-9 Ardha Maysyendrasana I , 74-5 Yoga of eight limbs (a~tiiri:Ra yoga), 8,
Vlrabhadrasana 111,32-3 Ardha Matsyendrasana II, 78 169-70
Vrk~ asa na, 21 Bharadvajasana I, 72 Yoga Siitra, 8, 12, 164-5, 166-70, 172
staying in the postures (Reflection), 107 Bharadvajasana II , 77 Yogatattlla Upani~ad, 165
straightening the knees (Focus), 44 Bharadvajasana (on chair), 71
stretching the arms up (Focus), 21 Marlcyasana (standing), 70
Sukhasana, 53 Marlcyasana III, 73
sun, sa lute to, 146-7 Pasasana, 76
191
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YOGATHE [YENGAR
WAY
The ancient practice of Yoga has long been regarded .as an effective way of relieving
emotional stress, curing bodily ills, and achieving personal equilibrium. This is a
comprehensive, practical, and authoritative guide to the method developed over the
last fifty years by B.K.S. Iyengar, the world's foremost exponent of Yoga. Here is a
course manual embodying the purity and precision that have always been the
hallmark of Iyengar's work. It features over 100 key postures eaGh accompanied by
clear, step-by-step photographs and detailed instructions, and graded according to
level of difficulty. It incorporates advice for beginners and.the less flexible, and
expands on finer details of technique for more advanced students. The book
also includes sections on pra1Jfiyama (breathing), meditation, and the history and ,/
philosophy of Yoga, together with progressive courses of practice and remedial
programs for a range of common problems. Fully illustrated with hundreds of
photographs and written and demonstrated by students who have studied with
Iyengar for more than thirty years, this book is an indispensable guide for practitioners
and teachers everywhere.
~
ALFRED A. KNOPF, PUBLISHER, NEW YORK
52300>
II
9 780679 722878
ISBN D-679-72~87~4
III
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