How many varieties of Pranayama are there? How do they differ from each other? Should a student practice them all? Which is the most useful among them? Are there any special advantages associated with particular varieties? These are some of the questions which arise when one thinks about the varieties.
As we have noted earlier these different varieties involve only one form of kumbhaka, i.e., the inner kumbhaka. So far as the kumbhakais concerned the varieties do not show any difference yet in some yoga texts they are called varieties of kumbhaka instead of calling them varieties of pranayama. That is because kumbhaka is traditionally considered to be the most important component of pranayama. That is true from the point of view of an advanced student. But it has not much significance for a beginner who may even skip over the kumbhaka altogether, and still derive enough benefits for the fitness of body and mind.
The varieties differ with regard to puraka and rechaka. Either of them may be done through both the nostrils or only through theleft or right one. Since kumbhaka is the most effective part of pranayama, this difference of the use of nostrils while inhaling and exhaling should not really matter much because the technique of kumbhaka is the same in all the varieties. But the ancient texts do speak of special features of different varieties. These need not be studied extensively for deciding their relative merits. But so far no such comparative studies have been made.
The principal varieties of pranayama or kumbhaka are only two, namely sahita and kevala. Sahita means accompanied by. In this variety kumbhaka is accompanied by puraka and rechaka. This variety can be sub-divided into two, namely, inner kumbhaka and outer kumbhaka. Kevala means alone. This kumbhaka is not related to or associated with puraka or rechaka. How does one practice it, if it is irrespective of them, one may ask. The right answer to this question is that it is not a thing to be practiced at all. It just happens. It cannot be brought about. We can bring about puraka, kumbhaka, or rechaka but not kevala kumbhaka. Kevala kumbhaka signifies a state in which breathing just stops without any effort. It is a state of complete stillness of the mind and breath. It is a basic presupposition of llathayoga that the movement of the mind and breath is interdependent. When one is moving the other moves and when one becomes still the other is completely silent, too. Thus kevala kumbhaka signifies a state of sahaja samadhi. Just as this state is not the result of any conscious effort, kevala kumbhaka is also not the product of any practice. It has no varieties or grades and no measurement in terms of space, time, or number of repetitions. These qualifications apply only to sahita kumbhaka.
So the varieties which we shall describe now are all varieties of sahita kumbhaka. It is not at all necessary for a student to learn or practice all the varieties of pranayama. A teacher should, however, know them.
Anuloma-viloma
Viloma means produced in the reverse order. This variety gets it a name from the fact that the order of using the nostrils for inhalation and exhalation is reversed every time. In each round one does puraka through the left nostril followed by kumbhaka end rechaka through the right nostril, and then reverses the order to do puraka through the right nostril, then kumbhaka and then rechaka through the left nostril. Thus one round of Anuloma-viloma pranayama includes two each of the three components. In all other varieties each round is made by only one each of the three components. A round consists of all the set of procedure that is repeated again and again.
It is not necessary to repeat the details of procedure, e.g., that one should be uniform, that kumbhaka should always be accompanied by the three bandhas, and so on. We have already described these points in detail. They are to be followed in all the varieties. But there is one important point which we have not discussed earlier. It also applies equally to all the varieties. The question is: what should one think or do mentally while doing pranayama?
Pranayama is a process of silencing the breath resulting in silencing the mind. Even a few rounds of pranayama of moderate measure properly practiced can give the student an experience of peace of mind. To promote this experience and to get the benefit of the effect of pranayama on the mind the student should remember some facts about the working of the mind.
One very conspicuous characteristic of the human mind is that it always wanders from thought to thought, knowing no rest at any time except in sleep. Much of this is simply a wasteful activity which, if minimized, could help the mind to function in a far better and useful way. For that one must learn to forget oneself at times, giving up all thoughts about the self and its relations with the external world as well as the inner world made by desires, beliefs, emotions end passions. This can be easily done while doing pranayama. At the start one should remember that one will not entertain any thought about oneself or the world during the sitting of pranayama. But the mind cannot remain vacant. It must have something to attend to, to be attached with or to ponder upon. This something may be provided by a mantra. In the absence of a mantra the mind may be attached to the flow of air during puraka and rechaka. During kumbhaka the mind should also be motionless, not remembering any past incident, not thinking about the future, not uttering any word or visualizing any image. With a little practice one can start enjoying such a silent, detached state of mind giving rest to it. It is a state of deep absorption in which the tensions end conflicts which always disturb the mind are not working. One should attain such a peaceful state of mind while doing pranayama of any variety.
Anuloma-viloma pranayama is also celled Nadishodhaka pranayama. Nadi means a channel. Shodhaka means that which purifies. This variety is called the purifier of the nadis especially because it helps to clear both the nostrils which are used alternatively for inhalation and exhalation. Actually every variety of pranayama cleanses the wadis, end even kapalabhati which is not counted traditionally as a variety of pranayama is very useful for that purpose. The word nadi does not mean the nostrils alone. In yoga it has also another meaning which we shall explain later.
Ujjayi
In this variety both the nostrils are used for puraka and the left one for rechaka. The sound represented by the letters Am' is to be produced during them, by a partial closure of the glottis. This sound is a peculiarity of this variety and its name is derived from this fact. It is also called 'Ujjapi' at some places. In the Hathayoga-pradipika (II. 52) it is said that this variety of pranayama may be practiced even while standing or walking. Obviously kombhaka should not be done in that condition. It is doubtful if there is any advantage to be gained by practicing Ujjayi while standing or walking. It would, indeed, be cumbersome to do such a thing.
Suryabhedana
Surya means the sun. Surya-nadi is the right nostril. In this variety of pranayama the right nostril is used for puraka and the left one for rechaka. In each round this same procedure is to be repeated. This may be called a viloma type of pranayama. It is supposed that in our body the sun is situated near the navel and the moon in the skull above the hard palate. The moon has a cooling effect and the sun a heating effect. Perhaps the concept of the sun has been derived from the fact that the food we eat is digested in the part of the body near the navel. Digestion is supposed to be brought about by heat and the sun is the source of that heat. The air taken in through the right nostril is supposed to make an impact on other forms of vital air in the body. Due to this impact they are collected near the root of the navel. This is supposed to have a great significance in the arousal of the kundalini. It has not been possible yet to explain all these ideas from our knowledge of modern physiology.
Bhastrika
This variety of pranayama is different from all other varieties in so far as it includes a few strokes of kapalabhati in the beginning of every round. This may be done in various ways as explained in the Hathayoga-pradipika (commentary on 11. 64). The text itself has mentioned only one of these ways (1I. 62~64) according to which the student should first sit in the Padmasana posture and go through a round of rapid exhalations and inhalations, moving the belly like the bellows of a blacksmith. After the last exhalation of this round (of kapalabhati) one should take a deep breath through the right nostril. After this puraka the breath is to be held inside, closing both the nostrils and applying the bandhas. The following rechaka should be done through the left nostril.
This variety of pranayama is recommended for the purpose of arousing the kundalini quickly. We may say that this variety of Bhastrika pranayama is just a combination of Suryabhedana and Kapalabhati.
In the commentary of Hathayoga-pradipika some more ways in which Bhastrika pranayama can be practiced are described. They are as follows:
1. In the first round the Kapalabhati part is done through the right nostril, followed by puraka through the right nostril, kumbhaka and rechaka through the left nostril. In the second round the Kapalabhati part is done through the left nostril, then puraka through it, followed by kumbhaka and then the right nostril is used for the following rechaka. Then the order is reversed for the third round and again changed for the fourth round, and so on. Thus this variety amounts to Kapalabhati with Anuloma-viloma pranayama.
2. Instead of using only one nostril for Kapalabhati at a time both the nostrils are alternately used, one for inhalation and the other for exhalation. Thus in the first round the right nostril is used for puraka and the left for rechaka of the Kapalabhati part. Then a deep puraka is done through the right nostril to be followed by kumbhaka and then a deep rechaka through the left nostril. Then in the second round the whole order is reversed, i.e., for Kapalabhati the left nostril is used for puraka and the right for rechaka, then the deep puraka and rechaka are also done through the left and the right nostrils respectively, kumbhaka being done between the two.
Bhastrika may thus be called the most elaborate variety of pranayama.
The four varieties which we have described so far are more common among the varieties of pranayama mentioned in traditional texts. There are four more varieties which are less common. In two of them puraka is done not through the nose but through the mouth. This is said to produce a cooling effect in the body. They differ from each other only so far as the puraka part is concerned. These two varieties are Shitali and Sitkari. Let us describe their technique in some detail.
Shitali
Shitala means pleasantly cold. This variety, as mentioned above, has a cooling effect. Hence its name. Its technique is as follows:
Sitting in a suitable posture, the tongue is drawn out of the mouth and its sides are turned upward to form a channel. During puraka the air is slowly sucked in through this channel. After the puraka the tongue is taken in, the mouth is closed. kumbhaka is done along with the bandhas, and then rechaka is done through both the nostrils. About ten to twenty such rounds may be gone through in a sitting. One enjoys doing Shitali pranayama especially in the summer. It is not to be practiced in the cold season. Sucking the air over the wet surface of the tongue produces a cooling effect.
About the effects of Shitali pranayama it is saidin the Hathayoga-pradipika (I I. 57) that by its practice one can overcome diseases of the spleen (and perhaps liver) and also have a control on hunger and thirst. Even poisons like snake venom may be destroyed. These claims are definitely worth investigating on the basis of clinical tests.
Sitkari
Sitkara is a sound made by drawing in the breath. This variety ofpranayama gets its name from this sound which is produced while doing puraka. The puraka is done through the mouth. For this the mouth is slightly opened, the tongues slightly pressed against the upper jaw, its tip touching the back side of the upper front teeth. The air is sucked in along the surface of the tongue through the gap between the two jaws. Friction of the air with the moist surface of the tongue gives rise to the sound called sitkara. After the puraka is completed the mouth is shut, kumbhaka is done as in all other cases of pranayama, and then rechaka is done through both the nostrils.
Some people call this Shitakari, sheeta meaning cold. But that is a mistake, although it is true that this variety of pranayama can also have a cooling effect like Shitali pranayama. The benefits of this variety as mentioned intraditionaltexts are: control upon hunger and thirst, overcoming laziness, and a vigorous, healthy, attractive personalitylikeKamadeva, the god of love.
It may be recommended that when a student gets established in the practice of pranayama be may try the various varieties on a moderate scale. For instance, in winter Suryabhedana may be practiced for having the heat effects of the sun, while in summer the cooling varieties may be practiced with advantage.
There are two more varieties which are not very commonly practiced by students. Their description in different texts varies, so it is difficult to say how exactly they are to bepractised. These varieties are: Bhramari and Moorchba. We shall describe them according to two different texts in each case.
Bhramari
Bhramara means the bumble bee. Its humming sounds imitated in this variety of pranayama. This sound is produced by the friction of the air with the thin edge of the soft palate which hangs like an arch in the poster or part of the mouth. When one snores while sleeping this sound is produced without one's knowledge because of the vibrations of the edge of the -soft palate. But snoring the sound is abrupt and uneven. In Bhramarithesoundis produced by systematic smooth movements. It is more pronounced during inhalation than in exhalation. Both the nostrils are to be used in puraka and rechaka. It is more difficult to produce the sound during puraka. It is of a higher pitch. Hence it is said that during puraka the sound is like that of a male bee and in rechaka it is dike a female bee, i.e., of a lower pitch. This is according to the Hathayoga-prodipika (11. 67).
In the other text called Gheranda Sambita (V. 77) an altogether different description is found. According to it a student is advised to practice Bhramari pranayama at midnight when the atmosphere is completely calm due to all sounds and noise of creatures being silent. One is asked to cover the ears with the' hands and practice puraka and kumbhaka. Then the student starts hearing various subtle sounds after a continued practice. That is Bhramari.
There are two drawbacks in this description. First, it is not explained whether puraka and rechaka are to be practiced in any particular manner, and if so, in what particular manner. This makes the description very vague. Secondly, the hearing of subtle sounds which happens after the arousal of kundalini does not call for any particular variety of pranayama. It is called rzadanusandhana which is the highest part among the four parts into which Hathayoga is divided. Perhaps what Cheranda SambiJa calls Bhramari is just the hearing of sounds in nadanusandhana, in which one may hear the sound of a bee among other sounds. But that cannot be called a variety of pranayama itself. It is in fact an effect of a prolonged practice of pranayama. So for practical purposes the description in the Hathayoga-pradipika seems more useful. The Gheranda SamhiJa speaks of Bhramari in the higher sense. There is nothing wrong in it. But it is meant for the adept. A beginner cannot priciest that way.
Of course Bhramari is not a variety of pranayama for the beginner. But when an established student starts practicing there is an initial difficulty about producing the correct sound during puraka. To make the edge of the soft palate vibrate to produce a low uniform sound is found difficult. To overcome this difficulty one may in the beginning do the puraka through one nostril only, instead of using both the nostrils. This way the sound can tee produced with more ease and smoothness. When the sound starts coming properly after some practice, one can start using both the nostrils for puraka.
Now about the effects of Bhramari pranayama. When one is able to get the right type of sound during puraka and rechaka, one starts enjoying it increasingly day by day. It is very absorbing, and has a very soothing effect on the mind. The mind is to be applied to the hearing of this sound, and thus it becomes very peaceful and silent. To some extent this is achieved even in Ujjayi by hearing the sound produced by closing the glottis partially. But the sound produced in Bhramari is more absorbing and soothing. The sound vibrations make an impact on the brain, and their immediate effect is peace and joy, which are things of greatest value in human life.
Moorchha
Moorchha means fainting. This variety of pranayama is so named from the fact that by practicing it one goes into a state of stupor. This variety is obviously not for the beginner at all. One is asked to apply the Jalandhara bandha not only during the state of kambhaka as in all other varieties, but also during the following rechaka. This is a specialty of this variety. There is no special recommendation as to how puraka and rechaka are to be done. So it seems that one is expected to use both the nostrils for them. What happens when the Jalandhara bandha is continued during rechaka? A possible explanation would be that pressure is exerted on the carotid sinus and carotid body located on the carotid artery which supplies blood to the head. There are pressure receptors situated in the carotid sinus which when stimulated by exertion of pressure on these parts bring about a lowering of blood pressure and reflex control of respiration. This may lead to the state of stupor in the long run. Such a state coming about by a long practice of Moorchha pranayama is said to be highly pleasurable and enjoyable. This shows how there is an intimate relation between breath control and mind control.
The above description of this variety is according to the Hathayoga-pradipika (11. 69). In the Cheranda Samhita (V. 83) a different description is found. It is said that one should do kumbhaka comfortably and apply the mind to the point between the eyebrows, called bhroo madhya and detach it from all other thoughts. This gives rise to the state of stupor. In that state the mind unites with the soul, and that creates a feeling of joy. Thus according to this text Moorchba pranayama differs from other varieties only in respect of concentrating mentally between the eyebrows. This means that any variety of pranayama can be converted into the state of stupor when practiced for sufficiently long time with intensity.
What if we use both the techniques mentioned in the two texts for producing the state of stupor and great joy, one may ask. It may tee natural to expect that a two-pronged attack would be more effective. And it seems an important conclusion to draw that whichever variety of pranayama one may be practicing, it is possible to have the state of joyful Moorchha through persistent effort with either or both of the modifications during kumbhaka mentioned above.
An interesting question arises here. Can we combine the different varieties of pranayama in various ways instead of practicing them strictly according to the procedures mentioned in the texts and thereby get more benefit? For one thing such combinations are not mentioned in traditional writings, and then there may be innumerable combinations possible. We have ourselves recommended for the beginner what may be called a combination of Anuloma-viloma, Bhastrika, and Ujjayi. Such a combination is highly useful not only for the beginner but also for an advanced and even a much advanced student of pranayama. Like this some other combinations may also be tried by enthusiastic and imaginative but cautious students.
Before we end this chapter on the varieties of pranayama there is one more variety mentioned in one of the important texts but not in any other. It may be a debatable point whether this can be given the status of an independent variety or just a specialized technique associated with pranayama. Let us see what the text (Hathayoga-pradipika II. 69) has to say about it.
Plavini
Plu means to swim or float. Plava means floating. Plavini is that which makes one float. This variety is described in the text in the following words:
``The udara is profusely filled with air taken inside the body. Thereby one can effortlessly float even in deep water like a lotus leaf."
The word Udara means the belly. It's also used to indicate any cavity, including the thoracic cavity. The commentator of the text has not mace it clear as to what meaning of the word the author has in mind here. Some people seem to believe that filling the udara with air here means filling the belly by gulping in air. Of course this can be done with a little training. All of us unknowingly gulp in some air while eating. It comes out with a peculiar sound in belching. One can learn the technique of eating air by filling the mouth with air, then closing it, making the cheeks tight, pressing the lips against each other, and gulping the air just as we gulp water or food. For Plavini, the stomach is to be filled with air in this way to a considerable extent. Then one can just float on the surface of water without moving the limbs. One should lie on the back and keep the hands behind the head. This helps to balance the body more comfortably.
But should one practice pranayama while the stomach is filled with air? Just as one should never do pranayama soon after talking food it is not advisable also to do it on a stomach full of air, because that would interfere with free movement of the diaphragm and abdominal muscles. There would be an undue pressure on the stomach wall and the abdominal viscera. That would be like carrying an unnecessary load while climbing up and down. Moreover, with the stomach filled with air one would automatically float on water. So actually there is no pranayama involved in floating like this. Strictly speaking, therefore, Plavini is not a variety of pranayama as such.
It's possible to raise a doubt about the meaning of the word udara in the text. Did the author mean the stomach by the word? Or did he use the word just to mean filling of the lungs by the word udara? He has actually used the word udara. to mean the lungs while describing the technique of Bhastrika pranayma. He says, `'Puraka should be done through the right nostril (after the Kapalabhati part) till the udara is completely filled with air." Nobody will translate the word 'udara' here to mean the stomach. It clearly means the chest, or rather the lungs. And this is not the only example in the traditional texts where udara means the chest cavity. So it is quite likely that the author of the text really meant by the phrase `filling the udara with air' nothing else but taking long breaths and then holding the breath. Understood this way, the verse may become meaningful. Plavini may then mean doing kumbhaka while lying on the back on the surface of water. This can actually be done with some practice. The present writer has taught this technique to many students. Of course one must know swimming well already. If one takes the hands behind the head and keeps the chin away from the chest, bending the neck backward as one does in Matsyasana, then one can float in a horizontal position without effort. This is helped by doing kumbhaka as air is much lighter than water. This kumbhaka, which in fact is like any other example of kumbhaka of the inner type, may be called plavini because it helps one to float.
To sum up so far: we have pointed out in this chapter that there are only two principal varieties of pranayama, namely, sahita and kevala. Sahita is of two types, called bahya and abhyantara. We have described nine varieties of the latter.
