The subtle sounds which indicate progress in Yoga
When the Yoga enters into deeper states of trance, the heat of the Kundalini begins to course through the body, the subtle body is activated and the brain experiences a reverberating natural silence. The Yogin experiences a sense of purity, rejuvenation and alertness within. At this point, one may hear subtle sounds in the ear, smell burning incense or floral fragrances (which have non-worldly origin) and gain sight into the occult worlds. The sounds which the Yogin hears tend to vary depending on the inner plane of consciousness to which one is currently attuned. This post is a collection of these subtle sounds as noted in various ancient scriptures. As we see, there is lot of similarity in these descriptions.
The Yoga Upanishads
The Yoga Upanishads are a subset of the Upanishads which contain various techniques and experiences of Yoga. The following passage is from the Hamsa-Upanishad :
It (Nada, sound) is (begun to be heard as) of ten kinds. The first is Chini (like the sound of that word); the second is Chini-Chini; the third is the sound of bell; the fourth is that of conch; the fifth is that of Tantiri (lute); the sixth is that sound of Tala (cymbals); the seventh is that of flute; the eighth is that of Bheri (drum); the ninth is that of Mridanga (double drum); and the tenth is that of clouds (viz., thunder). He may experience the tenth without the first nine sounds (through the initiation of a Guru).
And this is from the Nadabindu-Upanishad (verses 31-41)
The Yogi should always listen to the sound (nada) in the interior of his right ear. This sound, when constantly practiced, will drown every sound (dhvani from outside …. By persisting … the sound will be heard subtler and subtler. At first, it will be like what is produced by the ocean (jaladhi), the cloud (jimuta), the kettle-drum (bheri), and the water-fall (nirjhara) . … A little later it will be like the sound produced by a tabor (mardala, or small drum), a big bell (ghanta), and a military drum (kahala); and finally like the sound of the tinkling bell (kinkin), the bamboo-flute (vamsa), the harp (vina) and the bee (bhramara).
(Guy Beck, Sonic Theology, pp 93-103)
The Darsana-Upanishad (6.36.-38) describes the sounds heard when the consciousness becomes centered in the Brahmarandhra (anterior fontanelle), located in the top-center region of the head:
When air (prana) enters the Brahmarandhra, nada (sound) is also produced there. resembling at first the sound of a conchblast (sankha-dhvani) and like the thunder-clap (megha-dhvani) in the middle; and when the air has reached the middle of the head, like the roaring of a mountain cataract (giri-prasravana) Thereafter, 0 great wise one! the Atman, mightily pleased, will actually appear in front of thee. Then there will be the ripeness of the knowledge of Atman(Divine) from Yoga and the disowning by the Yogi of worldly existence.
(Guy Beck, Sonic Theology, pp 93-103)
The Shiva-Samhita
This revelation comes from the Shiva-Samhita
Let him close the ears with his thumbs …. This is my most beloved Yoga. From practicing this gradually, the Yogi begins to hear mystic sounds (nadas). The first sound is like the hum of the honey-intoxicated bee (matta-bhrnga), next that of a flute (venu), then of a harp (vina); after this, by the gradual practice of Yoga, the destroyer of the darkness of the world, he hears the sounds of ringing bells (ghanta) then sounds like roar of thunder (megha).
(Guy Beck, Sonic Theology, pp 93-103)
Theosophical texts
In her book The Voice of the Silence, H.P.Blavatksy elucidates on the sounds perceived during increasing absorption in trance. This is an excerpt:
Before thou set’st thy foot upon the ladder’s upper rung, the ladder of the mystic sounds, thou hast to hear the voice of thy inner GOD* in seven manners.
- The first is like the nightingale’s sweet voice chanting a song of parting to its mate.
- The second comes as the sound of a silver cymbal of the Dhyanis, awakening the twinkling stars.
- The next is as the plaint melodious of the ocean-sprite imprisoned in its shell.
- And this is followed by the chant of the Vina.
- The fifth like sound of bamboo-flute shrills in thine ear.
- It changes next into a trumpet-blast.
- The last vibrates like the dull rumbling of a thunder-cloud.
- The seventh swallows all the other sounds. They die, and then are heard no more.
(H.P. Blavatsky, Voice of the Silence, Chapter 1 – online)
Hatha Yoga Pradipika
In the Hatha Yoga Pradipika, the following verses (verse number is indicated in parentheses) detail the subtle sounds which are heard.
- (69) When the Brahma knot (in the heart) is pierced through by Pranayama, then a sort of happiness is experienced in the vacuum of the heart, and the anahat sounds, like various tinkling sounds of ornaments, are heard in the body.
- (72) By this means the Vishnu knot (in the throat) is pierced which is indicated by highest pleasure experienced, And then the Bheri sound (like the beating of a kettle drain) is evolved in the vacuum in the throat.
- (73) In the third stage, the sound of a drum is known to arise in the Sunya(space) between the eyebrows, and then the Vayu goes to the Mahasunya, which is the home of all the siddhis.
- (75) When the Rudra knot is pierced and the air enters the seat of the Lord (the space between the eyebrows), then the perfect sound like that of a flute is produced.
- (84) In the first stage, the sounds are surging, thundering like the beating of kettle drums and jingling ones. In the intermediate stage, they are like those produced by conch,Mridanga, bells, &c.
- (85) In the last stage, the sounds resemble those from tinklets, flute, Veena, bee, &c. These various kinds of sounds are heard as being produced in the body.
(Hatha Yoga Pradipika, Vol 4)
Sri Aurobindo’s Savitri
Sri Aurobindo discusses these subtle sounds in his poem Savitri. The first excerpt alludes to a “cosmic murmur” which the Yogi hears. This is traditionally known as the Anahata sound. See the next passage in which Ramakrishna discusses the cosmic murmur or Anahata sound. The second excerpt is a list of sounds (flute, cricket’s rash, anklet bells, temple gong, bee’s croon) which are heard in increasing states of absorption.
As one drawn to his lost spiritual home
Feels now the closeness of a waiting love,
Into a passage dim and tremulous
That clasped him in from day and night’s pursuit,
He travelled led by a mysterious sound.
A murmur multitudinous and lone,
All sounds it was in turn, yet still the same.
A hidden call to unforeseen delight
Feels now the closeness of a waiting love,
Into a passage dim and tremulous
That clasped him in from day and night’s pursuit,
He travelled led by a mysterious sound.
A murmur multitudinous and lone,
All sounds it was in turn, yet still the same.
A hidden call to unforeseen delight
(Savitri, Book 2, Canto 14, The World-Soul, p 289)
In the summoning voice of one long-known, well-loved,
But nameless to the unremembering mind,
It led to rapture back the truant heart.
The immortal cry ravished the captive ear.
Then, lowering its imperious mystery,
It sank to a whisper circling round the soul.
It seemed the yearning of a lonely flute
That roamed along the shores of memory
And filled the eyes with tears of longing joy.
A cricket’s rash and fiery single note,
It marked with shrill melody night’s moonless hush
And beat upon a nerve of mystic sleep
Its high insistent magical reveille.
A jingling silver laugh of anklet bells
Travelled the roads of a solitary heart;
Its dance solaced an eternal loneliness:
An old forgotten sweetness sobbing came.
Or from a far harmonious distance heard
The tinkling pace of a long caravan
It seemed at times, or a vast forest’s hymn,
The solemn reminder of a temple gong,
A bee-croon honey-drunk in summer isles
Ardent with ecstasy in a slumbrous noon,
Or the far anthem of a pilgrim sea.
An incense floated in the quivering air,
A mystic happiness trembled in the breast
As if the invisible Beloved had come
Assuming the sudden loveliness of a face
And close glad hands could seize his fugitive feet
And the world change with the beauty of a smile.
But nameless to the unremembering mind,
It led to rapture back the truant heart.
The immortal cry ravished the captive ear.
Then, lowering its imperious mystery,
It sank to a whisper circling round the soul.
It seemed the yearning of a lonely flute
That roamed along the shores of memory
And filled the eyes with tears of longing joy.
A cricket’s rash and fiery single note,
It marked with shrill melody night’s moonless hush
And beat upon a nerve of mystic sleep
Its high insistent magical reveille.
A jingling silver laugh of anklet bells
Travelled the roads of a solitary heart;
Its dance solaced an eternal loneliness:
An old forgotten sweetness sobbing came.
Or from a far harmonious distance heard
The tinkling pace of a long caravan
It seemed at times, or a vast forest’s hymn,
The solemn reminder of a temple gong,
A bee-croon honey-drunk in summer isles
Ardent with ecstasy in a slumbrous noon,
Or the far anthem of a pilgrim sea.
An incense floated in the quivering air,
A mystic happiness trembled in the breast
As if the invisible Beloved had come
Assuming the sudden loveliness of a face
And close glad hands could seize his fugitive feet
And the world change with the beauty of a smile.
(Savitri, Book 2, Canto 14, The World-Soul, p 290)
Ramakrishna Paramahansa
This dialogue is from The Gospel of Ramakrishna, where Ramakrishna Paramahansa describes the mellifluous Anahata sound which reverberates through the Universe. This is analogous but not the same as the Cosmic Microwave Background radiation.
Prankrishna (to the Master): “Sir, what is the Anahata sound?”
Master: “It is a spontaneous sound constantly going on by itself. It is the sound of the Pranava, Om. It originates in the Supreme Brahman and is heard by yogis. People immersed in worldliness do not hear it. A yogi alone knows that this sound originates both from his navel and from the Supreme Brahman resting on the Ocean of Milk
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