Arjuna is the star of the Gita, and is sybolic of the 3rd chakra, Manipura, or the "jewel city". Arjuna is the brother who symbolizes the individual self, the warrior, the austere and disciplined soul.
Some factoids about Arjuna and Manipura:
Manipura is situatued at the navel, and associated with digestion both of food and with assimilation of ideas.
Manipurna is associated with the fire element, the visua sense, and the anus.
"Ram" is the bija mantra of the Manipura chakra.
This chakra, in balance, promotes austerity, tapas, self discipline, personal growth, and forbearance, or Titikisha.
In the Mahabarata, Arjuna, the emobodiment of Manipura, hid out as a palace eunich among all the court ladies. His austere nature never wavered.
This chackra, out of balance, symbolizes the kleshas is the propogator of fear, anxiety, negative actions rooted in ignorance, greed, and misplaced loyalty.
Karna, the Kaurava brother, is the character who symbolizes the negative counterpart of Arjuna and the embodiment of imbalanced Manipura.
It couldn't just be a story about a battle, could it?
Each of the brothers in the Bhagavad Gita symbolizes something. The oldest of the Pandava brothers, Yudhisthira, is sybolic of the 5th chackra.
Factoids about Yudisthira:
Yudhisthira means "firm in battle" or could also mean "faith and confidence", and could be interpreted as "hanging in there" even when disengagement would be more prudent.
Yudishtira is the son of Kunti and the god Dharma (also called Yama), the god of Justice.
Yudishtira is teh embodiment of virtue and purity, but is not shrewd.
The 5th chackra is called Vishuddha Chackra. Vishuddha means "pure".
The 5th chackra is in the throat.
Ether element is seated at Vishuddha Chackra
The related sensory level of Vushuddha is sound, auditory sense.
The bija mantra is "ham"
The 16 petals of the chakra correspond to vowel sounds
All ancient texts in the Classical Indian Lit cannon were originally taught and learned through recitation and memorization. The act of memorizing texts encouraged focus and scholarly concentration in the pupil.
The Bhagavad Gita is an episode contained in the Mahabarata
It may have first been an independent text, later inserted into the Mahabarata
BG was spoken by Lord Krishna in 3102 BC, just prior to the Mahabharata War.
Some scholars place BG at 500-300 BC.
BG tells the story of Prince Arjuna of the Pandava family as he struggles with morality and mortality on the battlefield of Kurukshetra.
Arjuna is fighting the Kaurava family, who happen to be his cousins with whom he grew up.
The battlefield is not just a battlefield, it is a symbol of our inner landscapes, our lives.
Arjuna's struggle is symbolic of each of our own struggles for self-mastery.
Arjuna loses his nerve on the battlefield, questions his reasons for being there and his involvement in the whole situation.
Arjuna asks his charioteer and good buddy, Krishna, for some perspective.
Krishna is not just a dude, but is actually Krishna, the god.
Krishna is an avatar of Vishnu, the preserver and sustainer.
Krishna is not an external being or superhuman, but symbolizes the divine spark that lies at the core of the human personality.
What good fortune for Arjuna!
Krishna offers advice on the nature of the soul and its relation to the divine, on the levels of consciousness and reality, the makeup of the phenomenal world.
Krishna expounds on a 3-pronged path to liberation: karma yoga, jnana yoga, and bhakti yoga.
Mindful action without attachment to the outcome of one's actions is encouraged above the renunciation of all action. Act, and let it go rather than not acting.
Mindful and ceaseless work with no selfish attachment purifies the consciousness.
In The Bhagavad Gita, the act of physical, literal vision acts as a clarifying experience for s/he who sees. Each time the act of seeing is talked about, a deeper kind of vision is being alluded to and honed. This deeper vision tends to be of a spiritual nature, and allows the seer a deeper understanding of their humanity and the workings of the cosmos. Physical vision elucidates spiritual work while advancing earthly and spiritual understanding.
The first chapter of the Gita opens with Sanjaya, the servant and charioteer of King Dhritarashtra, relating the news of the Kurukshetra battle to his king. While not on the battle himself, Sanjaya can relate to Dhritarashtra the goings on, as he has been given the power of sight by the sage Vyasa. This special cognition reveals the story to Dhritarashtra, and therefore also to us, the readers of The Bhagavad Gita. The telling of the story is possible only because of the divine vision granted Sanjaya. It is vision, both literal and figurative, that transmit the tale of The Bhagavad Gita.
Dhritarashtra, father of the hundred Kaurava brothers, was born blind. His bride Gandhari voluntarily blindfolded herself for the course of her life as to share her husband’s condition. This pivotal lack of sight must not be overlooked. Their literal lack of sight can be read as a symbolic lack of vision. Lack of foresight as well as lack of oversight created and environment for the 100 sons to run amuck. Despite their bravery, they symbolize the senses unrestrained and deleterious. Without guidance clarified by vision, the 100 children of Dhritarashtra and Gandhari, the Kaurava brothers, lack righteousness.
As the battle of Kurukshetra is to begin, the theme of sight once again is threaded through opening chapter of The Bhagavad Gita. Sight plays as a key a role for Arjuna as he asks Krisna to “drive his chariot . . . and place it between the two armies that I may see those warriors who stand there eager for battle” (Mascaro 1.22). Although Arjuna knows quite well who is in attendance, and why they fight, he asks Krisna to position the chariot so he can quite literally view with whom he will be fighting. The passage continues to describe how “then Arjuna saw in both armies fathers, grandfathers, sons, grandsons; fathers of wives, uncles masters; brothers, companions and friends” (1.26-27). It was this up-close sight of his family on both sides of the battlefield that produced Arjuna’s famous front-line wavering: “When Arjuna thus saw his kinsmen face to face in both lines of battle, he was overcome by grief and despair” (1.28). The literal sight of his foe produced in Arjuna a paralyzing anguish coupled with crippling lack of clarity; it is in plainly seeing his opponent that Arjuna loses heart. The act of seeing produces in Arjuna his state of despair, and therefore his overwhelming need to sit down and express his confusion to his dear friend and charioteer, Krishna.
As the dialogue between Arjuna and Krisna, and thus the meat of The Bhagavad Gita unfolds, Arjuna states that he can “not see the way of righteousness”(2.7) and asks Krisna to “be a light unto [Arujuna] on the path of duty”(2.7). Krisna expounds on the nature of the cosmos, how and why we should navigate the righteous path, and the nature of life itself. Using the symbolism of that which is visible and seen, Krishna Our current incarnation and understanding is but one episode of that which is “seen between two unseens” (2.28). Our current existence and manifestation is marked by its visibility, its sightedness; our ability to be seen in this world marks our existence. explains that we are “invisible before birth . . . and after death invisible again” (2.28).
Krisna goes on to introduce and then expound on the pivotal theme of symbolic soulful vision transcending the binding cycles of birth, death, and rebirth. Transcendent vision sees the Supreme, and dedicates all work and the fruits of all work to the Supreme. Transcendent vision does not cling to the simple stimuli from the senses, including most importantly the stimuli coming from the fruits of effort, but calmly and rightly views that all work and all efforts come from and return to the Divine. This transcendent vision is the sight Arjuna should use for his personal navigation.
Thus far, The Bhagavad Gita has told story of Arjuna waffling on the battlefield and being given a divine pep-talk by his charioteer, Krisna. In the course of their chat, Krisna reveals himself to Arjuna not just as his best friend and confidante, but as the god incarnate who maintains the balance of the universe. Krisna explains to Arjuna the key concepts in the cosmos Arjuna must master to have clarity, which Arjuna relishes, yet with which he is not fully satisfied. Arjuna asks for divine vision, to be visibly shown the truth spoken about by Krishna. It is in this passage that the weight of the symbolism of sight lies.
The theme of vision reaches its literal and symbolic climax in Chapter 11 of The Bhagavad Gita, as Arjuna, forever the willing straight man to Krisna, declares that while hearing Krisna’s teaching has been profound, and while he is grateful and honored by Krisna’s presence, Arjuna wants to see Krisna as God with his own eyes. Arjuna states, “I have heard they words of truth, but my soul is yearning to see: to see thy form as God of this all” (11.1). Arjuna asks, and Krisna obliges. Krisna reveals himself so Arjuna sees the form and essence of the God of Yoga in all its shapes and incarnations, with all the light of the universe emanating from the divine, and sees its entire infinite and bewildering splendor. It is this actual vision of the God of Yoga that reveals to Arjuna his own path of right action and dedication of all his effort to Krisna. Seeing God revealed to Arjuna his godly path in this world. Physical literal vision produced symbolic insight.
Despite the revelatory richness of Krisna allowing Arjuna to truly see him, Arjuna was overwhelmed by his vision. Arjuna exclaims:
in a vision I have seen what no man has seen before, I rejoice in exultation, and yet my heart trembles with fear. Have mercy upon me, Lord of Gods, Refuge of the whole universe: show me again thine own human form. I yearn to see thee again with thy crown and scepter and circle. Show thyself to me again in thine own form. (11.45-46).
Krisna mercifully shows Arjuna his human form once more, but allows him to keep the enlightened spiritual state of higher vision.
Krisna had shown Arjuna his supreme light, as had been seen by none other. Krisna explains to Arjuna that it is not sacrifice or ritual or study that can bring this vision of the divine, but only by love and soulful vision of all creation does one see Krisna. Through the vision given Arjuna, the lesson of true pure offering of right work and all fruits of work to the divine is taught. The sight of Krisna illumines our own path, and we, the reader, can find ourselves sharing Sanjaya’s experience. As Sanjaya concluded his report of Arjuna’s and Krisna’s discourse, he savored what he saw:
I remember, O King, I remember the words of holy wonder between Krisna and Arjuna, and again and again my soul feels joy. And I remember, I ever remember, that vision of glory of the God of all, and again and again joy fills my soul. Where is Krisna, the End of Yoga, wherever is Arjuna, who masters the bow, there is beauty and victory, and joy and all righteousness. This is my faith. (18.76-78)
We, too, can carry with us Arjuna’s lessons and enlightened vision. The true dedication of all labor and all outcomes to the Divine can fill our souls and illuminate our path. Our vision can lead to higher insight and deeper understanding. Our literal earthly vision can remind us of the sacred larger vision of the divine.
Text Used: Mascaro, Juan. The Bhagavad Gita, 1962.
In every asana, make the commitment to how you do the pose, what the process is, and what the progress is. Do each pose with precision. Evolve in the pose through re-affirming correct actions and simultaneously participating in a willing submission to the pose itself. In essense, do the right work and quit doing the wrong work, while letting the pose work on you.
In preparation of Pranayama, practice every asana with a 50/50 focus on breath and alignment. Every pose must have breath consciousness and work with, not against, the strength and intelligence of the breath. Make each exhalation smooth and unhurried.
Sequence:
Surya Namaskar
Viparita Dandasana on a chair -chair edge at lower tips of shoulder blades
Viparita Dandasana on a chair with a bolster - bolster perpindicular to spine, along edge of chair seat.
Viparita Dandansana on a chair - with arms in sirsana on a stack of blankets
Baby back bends - small bhujangasana
start with arms straight out in front, with each repetition move them closer to underneath the shoulders.
*Do not sink in the hips, but lift the upper pubis (the pubis closest to navel) to elongate the small of the back, as though the organs of the abdomen are buoyantly hovering toward the back-body.
*Engage the inner glutes to roll the inner thigh up to the ceiling and elongate the lower crease of the buttocks from the inside to the outside (inwardly spiral your legs).
Dhanurasana
Start with feet apart, lift thighs, then move feet and knees together.
Urdhva Mukha Svanasana - with hands on block
Ustrasana - pubis on wall
Urdvha Dhanurasana
*Roll elbows in to mid-line, to elongate and puff-out the armpit-chest.
*As you move into the pose, take your belly button straight up; don't move your belly button towards the head or the feet then up, just go straight up to keep even opening in the chest and hips.
Ujjayi, in the Iyengar system is "a type of pranayama in which the lungs are fully expanded and the chest is puffed out out like that of a proud conqueror"(Light on Pranayama). I know in other systems, ujjayi breath incorporates a constriction around the glottis to make an ocean wave/Darth-Vader-esque hissing sound. That is not the definition of which I am speaking. I am sticking with the Iyengar definition.
Everyday -
Involuntary
uncontrolled
unconcious breath
Uneven
silent
it just goes
Ujjayi-
Voluntary
controlled
concious breath
productive
moves prana
requires and produces a focused mind
rhythmic
concise
conscious enlargement of ribcage
slight intentional sound -the inhalation is a slight sibilant "sssssssssss" sound, and the exhalation is a slight whispering "hhhhhhhhhhhhhh" sound.
All stages of pranayama begin with an exhalation, the full cycle of breath ending at the top end of the pause following the top of the inhalation.
This blog is intended, first off, as my small tribute to my esteemed guru and teacher, Yogacharya BKS Iyengar, and as a thank you to all the additional generous and gifted teachers who have invested in cultivating me as a teacher and as a student. Anything correct or of value in this blog comes from them. The errors, however, are all mine.
Secondly, this is a place for me simultaneously commemorate my 20th year of practice while consolidating all my notes on what I have learned about yoga in these 20 years.
It is purely for my own reflection and review, and not intended as a teaching tool, a diagnostic or prescriptive for anyone else's practice or therapeutic needs, and it especially is not intended as a compendium of Iyengar Yoga. It is a compendium of my one small teensy sliver of understanding of a much much larger art and practice.
Shout Outs
THANK YOU THANK YOU THANK YOU! THANK YOU THANK YOU THANK YOU!
Yogacharya BKS Iyengar
Geeta Iyengar
My mother -for bringing me into this world, and taking me to my first yoga class
Susan - my first Yoga teacher
Laura Allard - my second yoga teacher and guide who got me walking well again post-injury
The Austin Posse who guided me through Certification- Peggy Kelly, Devon Dederich, and Karuna.
The San Francisco Posse who tirelessly cultivated a whole herd of us from gray shapeless lumps into burgeoning teachers - Jaki Nett, Nora Burnett, Janet Macleod, Mandira Haynes, Kathy Alef, and all the IYISF faculty and staff.
The San Diego Posse - Carolyn Belko, Mary and Eddy.
Stephanie Popiel - for giving me a loan to stay in school.
