“Anubhūta is the change that
occurs in one’s state of mind
when it is related to external objects
through the involvement of the senses.
This is also known as experience.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 11

“In this Sūtra Patañjali states that there are two ways
to discipline the five types of mental activity.
They are Abhyāsa and Vairāgya.
Abhyāsa is practice.
Vairāgya is to disconnect or sever the link
between the Citta and external objects.
These two, Abhyāsa and Vairāgya,
always go together as a pair.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 12

“According to my teacher,
trying to calm the agitations of the mind by reflecting on external objects
is like trying to get milk from the wattles hanging from the neck of a goat.
All seekers of truth are therefore advised to focus,
instead, only on objects that are in the realm of the divine.”
– T Krishnamacharya on Yoga Sūtra Chapter One verse 35

“Āsana alone can be a support for
our outer relationship with living.
However, can Āsana alone be a support
for our inner relationship with dying?
Especially as our disposition towards
clinging to life is continuous, as well as
being deeply buried within our psyche.
This is why Yoga offers vehicles beyond Āsana
for the inner and especially the final journey.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 9

“The Das Indriya or ten senses of experience and action,
whilst seen as belonging to the Bāhya Aṅga or five external limbs
in the eight limb Aṣṭa Aṅga Yoga of Patañjali,
are also the gateway to the Antar Aṅga or three internal limbs.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 54

“The ten senses or Das Indriya are the gateways
between our inner and the outer experiences,
in the twin roads of the worldly phenomena
that we call sensory knowing or bodily action.
The five senses that transport knowing from
the outer to the inner are called the Jñāna Indriya,
or the senses through which we perceive the world.
The five senses that transport action from
the inner to the outer are called the Karma Indriya,
or the senses through which we act out into the world.
The coordinator of this remarkable interface is Manas,
often referred to as the eleventh sense or internal organ.
The identifier in this remarkable process is Ahaṃkāra.
The discerner in this remarkable trinity is Buddhi.
The source of perception within this remarkable play
of knowing and action is known as Cit or Puruṣa.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 54

“Pratyāhāra is not feeding the tendency of the Citta
to automatically form a positive, negative, or neutral
identification with whatever stimuli the senses present to it.
From that, we can begin to understand how their external gathering
activities stimulate our conscious and especially, unconscious choices.
From this, we can begin to understand how the impact
of this sensory knowing can lead us to travel in different directions
and trigger different levels of response, often without us being really
conscious of how deeply their input stimulates our psychic activities.
From these responses, there will be the inevitable re-actions,
again quite possibly unconscious and multilevelled,
according to our psychic history in terms of our memory,
habit patternings and deeper memory processes.
From those initial insight, we can begin to understand
and interact in how we can resist unconsciously slipping
into the trance states that can so often culminate with
the  Kleśa manifesting fully in the entrancing dance of
Udārā Rāga, or Udārā Dveṣa, or Udārā Abhiniveśa,
the potent and profligate children of Avidyā.”
– Paul Harvey on Yoga Sūtra Chapter Two verse 54

“Before launching on Antar Aṅga Sādhana,
one should be a Niṣṭhāvān in Bāhya Aṅga Sādhana.
If this earlier stage is very well established,
then only a teacher may teach Dhyāna.”
– T Krishnamacharya 1984

“According to Krishnamacharya,
one who has not mastered the Bāhya Kumbhaka,
has not mastered the breath.”
– TKV Desikachar 1988

“Moving into the posture after the exhale (Bāhya Kumbhaka) is an adaptation.”
– From study notes with TKV Desikachar England 1992

“Jumping should be soundless and
always on the Bāhya Kumbhaka
or pause after the exhale.”
– 108 Postural Practice Pointers

“Whatever the effect Bāhya Kumbhaka has, it is
extended by the use of Uḍḍīyāna and Mūla Bandha.
However the total length of the breath is reduced.
Bandha substantially reduces the lengths
of the Pūraka, the Recaka and the Kumbhaka.
Which and by how much depends on the individual.”
– 108 Mudrā Practice Pointers

“When intending to use  Uḍḍīyana Bandha don’t
hold the stomach area tensely just after inhaling,
or if using Antar Kumbhaka, just before exhaling.
In choosing working ratios concentrate on those
emphasising the exhale and the Bāhya Kumbhaka.”
– 108 Mudrā Practice Pointers

“Jālandhara Bandha needs to be re-applied
every time during the Bāhya Kumbhaka,
prior to the Pūraka re-inforcing the lock.”
– 108 Mudrā Practice Pointers

“One primary prerequisite to initiation into a Tri Bandha Sādhana
was an ability in Prāṇāyāma within a Vinyāsa Krama around
Nāḍī Śodhana where the crown was 12 breaths at 12.12.12.12.
Thus, before being taught Uḍḍīyana Bandha,
an essential precursor to Mūla Bandha,
there needed to be competence in sustaining Prāṇāyāma,
within a Vinyāsa Krama leading to a crown ratio of 1.1.1.1.
with the Pūraka, Antar Kumbhaka, Recaka and Bāhya Kumbhaka
each set at 12 seconds in a crown of 12.12.12.12. for 12 breaths.
Thus, a Vinyāsa Krama peak of almost 10 minutes sustaining the crown
ratio within a Prāṇāyāma practice, with the entire practice itself totalling
over 20 minutes, all performed with one technique, Nāḍī Śodhana.
This technique alone is already in itself demanding to sustain with
an inaudible softness, as if pouring oil slowly and smoothly amidst
an almost undetectable deftness of finger movement on the nostrils.
A further example of how there needs to be an effortless skill in working
with the Kumbhaka and how our fluency with all four components of the
breath sets a practice direction and evolution in that, amongst other goals,
it determines our readiness to incorporate the Tri Bandha into our Sādhana.”
– 108 Mudrā Practice Pointers

“Explore the Antar Kumbhaka with a soft holding.
Explore the Bāhya Kumbhaka with a firm surrender.”
– 108 Prāṇāyāma Practice Pointers

“Bhāvana for the Breath in Āsana, Mudrā and Prāṇāyāma
– Pūraka – Lifting from the Viśuddhi Cakra
– Antar Kumbhaka – Expanding from the Anahāta Cakra
– Recaka – Contracting from the Svādhiṣṭhāna Cakra
– Bāhya Kumbhaka – Sustaining from the Mūlādhāra Cakra”
– 108 Prāṇāyāma Practice Pointers

“Prāṇāyāma is common to both Haṭha and Rāja Sādhana,
whether working with the Prāṇa Śodhana of Haṭha Yoga,
where you were taught to practice it at each
of four transitional points through the day,
or with the Citta Śodhana of Patañjali,
where it is the pivotal Bahya Aṅga,
Prāṇāyāma is seen as the primary means to engage
the Élan Vital, the vital force or creative principle.”
– 108 Prāṇāyāma Practice Pointers

“In order to access its inner dimensions,
I feel Prāṇāyāma needs to be sustained,
in terms of both frequency, consistency and
competence, rather than it being a sporadic,
or perhaps nominal foray, into its potential as
a primary tool within Bāhya Aṅga Sādhana.
Maybe this is because of insufficient interest
in a long-term exploration into Prāṇāyāma?
On this point, one might offer observations
on the environment and expectations within
which the styling of modern group classes
are framed, seemingly ‘posing’ as if ‘Yoga’?
Or, perhaps because this cursory glance at its
form and function arises from us just looking
for nominal, immediate or even external fruits?
As one might with Āsana, when experiencing
a structural, energetic or psychological issue?”
– 108 Prāṇāyāma Practice Pointers

“There are special times
when we need to disconnect
from the sensory external in order
to connect with the psychic internal.”
– 108 Dhāraṇā Practice Pointers

“In terms of reasons to practice,
reducing the external is not the
same as enhancing the internal.”
– 108 Yoga Practice Pointers

“The First and Second Chapters of the Yoga Sūtra
can be linked to the teaching concepts of
Śikṣaṇa, Rakṣaṇa and Cikitsā Krama.
In that the Samādhi Yoga in Chapter One
can be seen as apt for a Śikṣaṇa situation,
whereby the primary aim is discernment, as in
exploring what lies within the sense of I-Am.
Whereas in Chapter Two, the Kriya Yoga section
can be seen as being apt for a Cikitsā situation,
whereby the primary aim is recovering, as in
reducing agitation through lifestyle changes.
and the Bāhya Aṅga section of Aṣṭāṅga Yoga
can be seen as being apt for a Rakṣaṇa situation,
whereby the primary aim is establishing stability,
through a formal practice within a Yoga Sādhana.”
– 108 Teaching Path Pointers

“Ere to our Yoga Sādhana turning inwards towards engaging
the Antar Aṅga and the Ātma–Buddhi relationship,
we are advised to first turn outwards towards engaging
the Bahya Aṅga and the Manas–Indriya relationship.”
– 108 Yoga Study Path Pointers

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