The Hathayogapradipika (An Exposition on Forceful Union)  

Robert L. Peck © 2007

(updated 1-1-07)

The following translations are samples taken from the fairly voluminous Hathapradipika of which the first chapter is used as a Bible for the majority of yoga students around the world. Later chapters contain some very false translations which can only be attributed to a deliberate attempt to suppress the methods for increasing inner creative powers. Nevertheless, even when accurately translated, the truth contained within these verses is quite safe in the modern world, since the required preliminary mental and physical abilities are virtually non-existent within the majority of modern individuals. The distorted writings shift the original teaching to advocate such things as the obviously impossible task of cutting the base of the tongue in the mouth so that it can stretch up into the sinus cavity. Similarly, the original verses that describe the development of powers within individuals were generally shifted to promote obeisance to external powers. This shift is quite obvious in the modern definition of the word hathayoga as meaning ‘gentle’ yoga rather than the original and literal meaning of being ‘forceful’ yoga.  

The Hathapradipika provides an excellent explanation of the early Dionysiac mysteries depicted in their references to lingams and winnowing baskets (Liknon) similar to those in the Rig Veda. We therefore start with 35th verse in Book I, the supreme pose, called the siddhasana, or the door to inner powers. The preceding positions or asanas described in Book I can be considered as preparation for this position of stimulating the source of inner power. This verse is truly a door opener when the inner responses to the interaction of upward pressure of the foot and downward pressure of churning are found and controlled.  

Before reading the Hathapradipika, the reader is advised to remember the experiences of childhood when ecstasy, evolution and creative energy were so prevalent. The highly developmental games of children are quite forceful rather than quiet and gentle; inner feelings and body motions are amplified rather than suppressed as children learn to manifest their inner dreams. Children learn to overcome their frustrations and feelings though violent activities with the most violent being the total body involvement in deep sobbing. The area of the perineum that children delight in stimulating through pratfalls and sliding etc. is called the yoni in the following text. The resulting rising power is an inner god called Indra. The god Agni is used as an allegory for the sensation of inner fire or heat.  

The following selected verses list the literal translation and the original Sanskrit words and roots with the common interpretation placed in between. The Commentary is added to assist in further definition of the terms and concepts. The chosen verses provide the central teachings of the Hathapradipika. The first chapters prepare the student for the third chapter and the practices listed below. The physical nature of the practices essentially end with the squeezing of the kanda as described in the included verse 110 & 111 which can be done anywhere. Chapter Four (not included) of the Hathapradipika is a summary as well as a description of the inner sound or nadam that arises after the upper flow of the fire of Agni and the down flowing rain of Indra are obtained.

1:35, Book I, Verse 35

Take the perfected posture of steadily pounding and churning the yoni (center of the perineum) vigorously with the foot placed in different places. Fixed and bound with the power of Indra using the liberating exhalation and the appearance of shaking, the conquering enjoyable physical feeling is observed and maintained which opens the door to breaking through and producing enlightenment//   

“Press one heel below the sex organs and place the other heel above the penis. Sit up straight and press the chin against the chest. Fasten the eyes between the eyebrows. This is the siddhasana which opens the doors to perfection.”  

yoni: center of perienum. sthAna: position. kam: to strive after. aNghrim: aNgh: set about. mUla: firmly fixed root. ghaTitaM: attempting,  produced. kqtvA: causing. dRDham: firm. vinyaset: to place in different places. meDhre: medhya: vigorous.  pAda: foot. math: to churn. aika: related to one. mev: to serve. hqdaye: seat of feelings. kqtvA: causing. hanuM: han: to strike, pound. susthiram: firm, steady/ sthANuH: fixed. saMyamita: bound. indriyo: power of Indra. cala: moving, shaking, dqfA: to become visible.  pafyed: paSya: beholding. bhruv: bh(: to maintain. rantaraM: ranta: to enjoy physically. ram: enjoy carnally. tara: surpassing, conquering. hy: hi: to assist. etan: breathing out. mokSa: liberation. kapATa: door. bheda: opening breaking through. janaka: producing. siddha: perfected, enlightened. asana: posture. procyate: pracyu: to move proceed//    

Commentary:   This asana is the chief and fundamental pose of the entire book. This pose is elaborated upon in Book III when the methods of churning, the motions within the yoni as well as the methods of exhalation are further developed. It should be noted that the Sanskrit uses two combined words each meaning carnal type enjoyment, union or knowledge. To explain the concept of carnal feelings which open the doors to enlightenment it is perhaps easier to refer back to the Greek word gignosko or later as ginosko which meant knowledge from other than the conscious thinking brain. The phrase carnal knowledge came to have the severely limited meaning of sexual union. The original concept was that with intimacy and contact, a metaphysical and higher level of understanding could be attained. The above position is assumed to awaken an individual to the metaphysical source of knowledge through the ecstasy of a physical contact. 

The word yoni also has a more general meaning of being the female pudendum even though it has a masculine ending ‘i’ instead of ‘I’ which is the feminine. The reason for this is its role in the evolution of an individual instead of procreation. The following text will also give further support for this distinction.

2:78

A powerful lean and purified body, a radiant face with a perfectly clear eye and speaking clearly, all harmonize together. Such attained health is a favorable sign of the radiant power associated with agni or the inner fire forcibly cleansing the passageways for soma or the hormones.  

“Hatha Yoga produces a lithe body, clear eyes, beautiful voice, control over ejaculation, increased gastric fire and purity of the nadis.” 

vapuH: a body. kqSa: lean. kq: purify. SatvaM: powerful. vadane: the face. pra: great,. sann: sam-nata: harmonizing with each other. nAda: sound. sphutatvaM: to speak clearly. nayan: related to the eye;. su-nirmal: perfectly clear./ arogatA: health.  bindu: spot, initiating power, source. ja: associated with. ‘gni: agni: god of inner fire.  dIpana: setting on fire. nADI: tube, duct. viSuddh: completely cleansed. haTha: force. siddhi: attainment. lakSaNam: favorable sign 

Commentary:  This verse is similar to the modern world’s descriptions of people being alive with an inner fire. The ancient model described the passage of soma by nadis which correspond to passage of controlling forces such as hormones through the blood vessels rather than by the normal neural system. The inner fire symbolized by the god Agni is the first stage of the purification and stimulation system of the ancients, and much of the next chapter discusses increasing the inner fires or Agni.  The word bindu is normally translated as a spot, mark or drop but it is also used as the dramatic and allegorical symbol of the instant and uniform spreading of a drop of oil on the surface of water or as an initiating force or catalyst that suddenly causes reactions to take place. This bindu is compared in the following text with the flames of Agni.

3:9

Persevere and endeavor to obtain the valuable secret concealed in the wicker basket. It is taken out of the winnowing basket truly like a proper pleasurable and uniting feminine presence, as will be explained.  

“It needs to be kept secret like a casket of gems and should not be discussed with anyone as a proper woman does not discuss her sexual pleasures.” 

gopanIyaM : secret.  prayatnena: persevering effort. yathA: in such a manner as follows. ratna: anything valuable. karaND : a basket of bamboo wicker-work. akam: to endeavour to obtain./ kasya: Liknon from: ka: kad: to remove the chaff or husk of grain. sya: winnowing basket. chinna: taken away or out of. iva: truly. vaktavyaM: to name something. kulastrI: a good woman. surata: playful, amorous, coition. yathA: in such a manner as follows.   

Commentary:  This verse introduces the inner purification process. The winnowing basket is the open meshed woven basket that allows the passage of wind through the grain as well as the dropping of sand and dirt. Perhaps the best example of the winnowing basket used in inner purification can be found in surviving art work of the Dionysians of Greece and Rome who also used it as a symbol called the Liknon.

3:10

The soma is pressed out of the yoni with the foot while striving for pleasure. The foot is placed within the swollen creative center of the self and held firm.      

“Pressing the perineum with the left heel and stretching out the right leg and grabbing the toes.” 

pAdamula: pAda: the foot. mula: root. vAma: striving after. yoniM : center of procreative energy. saM : together. pIDya: pID : to be squeezed or pressed out. dakSiNam: that which is right, pleasure./prasAritaM : expanded, swollen. padam kqtvA: to set foot in or on. kara: doer, creator. abhya: within the self. dhAraya: holding. dRDha: firm, strong. 

Commentary:  Sitting on the foot forces the separation of the thighs and opening of the perineum. This explains the popularity of sitting cross-legged by martial artists as well as the yogis. To this stretching is added the direct pressure of the foot against the center of the perineum which corresponds to the pudendum in women. This center becomes more and more sensitive and pleasurable as it is routinely stimulated as well as efficient in increasing the inner creative fluids. 

3:11

Placing and uniting (the foot) on the narrowest part (of the perineum) maintaining the released upward flowing (power). In such a manner (as to) force the churning rod to move like a snake, without the churning stick stimulating sexual arousal.   

“Then contract the throat and keep raising the inner wind. As a result of this mudra the kundalini is made to straighten just a snake does when it is beaten.” 

kaNThe: narrowest part. bandham: uniting. samAropya: placing upon. dhArayed: maintaining, vAyu: inner vitality flow. mu: released. Urdhva: rising, upward./ yathA: in such a manner. daNDa: pole, churning stick, hataH : struck, forced, sarpo: sarpa: to glide, snake, daNDA: a rod, churning stick, akAraH: without causing. prajAyate: procreative power:// 

Commentary:  The yoni, is the depression which forms in the center of the perineum of men normally tightly closed with the hardened and undeveloped bulbospongiosus muscle. The churning rod is an allegory for the moving swollen bulbospongiosus. Later verses describe the more developed muscle response as an inner tongue of fire rather than a simple rod. The yoni is not to be confused with the spot (clitoris or penis) that stimulates the sexual response.

3:12

In that manner one’s potential power, shakti, or inner kundalini is forcibly excited, aroused and acquired. / The conquering union of being folded double (bent over) then gives numbness to the lower belly. 

“The kundalini shakti becomes straightened and the two nadis become lifeless.” 

qj: to obtain, acquire. vi: to set in motion, excite. bhUtA: become, being alive. tathA: in that manner. faktiH : creative power. kuNDalI: serpent. sahasA: forcibly. bhavet: being./ tadA: then. sA: giving. maraNA: dying, ceasing. vasti: the lower belly. jAyate: jaya: conquering.  dvipuTA: folded double. AfrayA: uniting. 

Commentary:  One of the interesting phenomena associated with ecstasy is the deadening of certain areas of the body similar to the reduction to pain found as one nears a sexual orgasm. This phenomenon as well as the strong sense of rising sensations during the meeting of a challenge was described as the awakening on an inner coiled serpent, kundalini releasing shakti. Shakti is limited by one’s own ability and not of an external god. However shakti is not commonly experienced because of individual fears of pain and consequences if all of one’s powers were to be utilized. Certainly those who do perform amazing feats of strength or endurance report little if any pain as described above.

3:13

Slowly, gently, exhale and strengthen the diffused stream (kundalini) to certainly reach the great joy and superpowers obtained from the granary floor as has been taught.  

“Then exhale slowly and not quickly. This is indeed the Mahamudra of the great teachers.” 

tataH : diffused. fanaiH : fana: slowly. fanaireva: fanais: quietly. recayenna: reca: exhalation. yen: by means of. tu: to make strong. vegetaH : vega: a stream. / iyaM : this. khalu: khala: granary floor. mahA: great. mudra: joyous, glad. mahA: great. siddha: perfected, endowed with supernormal faculties. pradarfitA: taught. 

Commentary:  People who commonly must prepare to face trying situations are generally aware of the taking of a deep breath and some inner adjustment in the guts. What was ‘taught’ is no doubt referring to the granary floor of the Rig Veda (1:28: 1, 5, 6) but will also be referred to later in verse 3:49.

3:32

In the covered cavity the reversal of the initiated tongue of fire is obtained, described as going between the opening and the interior and perceived as a sign of the existence of motion in the inner space or vitalization (of the body).  

“To accomplish the khechari mudra, reverse the tongue and thrust it up the back of the throat and turn the eyes toward the eyebrows.”  

kapAla: cover. kuhara: cavity.  jihvA: tongue (of fire). praviSTA: initiated. viparItA: reversed, contrary to rule. gA: obtained./ bhru: described as.  antargat: going between the entrance and interior. dqSTir: perceived as: mudrA. a sign. bhavati: state of being. khecarI: khe: space. cari: motion.  

Commentary:   The stimulation of the granary floor (or the perineal area), sensed as a cavity, initiates a sensation that feels like an inner tongue of fire or scintillation as it is felt to move within the lower abdominal and perineal cavity. Instead of remaining as a fire in the guts, the lower tongue becomes the source of an upper flow of what is perceived as a flow of energy or vitality which flows freely upward through the body similar to the perception of rising emotions. This verse calls the flow khecari but later uses the allegory of the upward writhing of an inner snake or serpent called kundalini or bhunamga. As the text continues further it is described as a form of vayu which is that which is breathed in to produce vitality. It is not just air but rather an ingredient of air which we know as oxygen that when taken in larger amounts is known to increase the metabolism rate of the body as well as changing mental acuity.

3:33

Separating the result of the motion yields a portion that increases the progression by conveying the powers of perfection as far as the eyebrows.    

“This requires lengthening the tongue, by cutting the frenum of the tongue, moving and pulling it until it can reach the eyebrows.” 

chedana: separating. cAlana: moving. doha: yielding, resulting. kalA: a part. kram: progress. vardhayitq: one who causes to increase/. sa: giving, causing. yAvad: as far as. bhrUmadhya: between eye brows. spqf : to convey to. tadA: then. khecarI: khe: air. carI: moving. siddhi: powers of perfection. 

Commentary:  A portion of the motion and energy being generated within the lower abdomen is directed upward until it can be felt behind the eyebrows. This results in the feeling of pressure and heat behind the eyes and a vibration or ringing in the ears.  

3:34

This emitted fluid (of vitality) is like a tool that stimulates and presses out an emitted pungent, glutinous and pure fluid. An increased quantity of the diffused, concentrated wetness is gathered and collected together.  

“Use a sharp, lubricated knife in the shape of a cactus plant, cut the frenum a hair’s breadth.” 

snu: emit fluid. hI: to stimulate. patra: pAtra: channel of flow. nibha: resembling. fastraM : tool, an instrument. su: to press out. tIkSNaM : hot, pungent. snigdha: viscous, glutinous. nirmala: pure/ samAdaya: samAdA: to gather. tata: diffused. stena: tema: becoming wet. roma: ruh: to increase.  mAtra: quantity. samucchinet: samucchi. to collect together, concentrate.//  

Commentary:  This is the verse that is generally falsely translated as giving directions for starting the cutting of the frenum of the tongue a hair’s breadth everyday until the tongue can extend up into the sinuses. The verse describes the outer secretion of a fluid from the head that is not commonly discussed but noted in times of stress, excitement or sexual stimulation. Children’s noses for instance drain quite profusely with excitement. Adults can find drainage during tension as their eyes tear up or they ‘choke up’ and have to clear their throats. The classification of the fluid as being pungent is that many times sneezing is associated with the drainage or its initiation as in exposure to black pepper. Drainage is recognized to wash the eyes, lining of the nose and sinuses as well as being directly connected to catecholamine or adrenaline production which either is a cause or a result of it. There may also be a similar connection with serotonin and the view of the self and world and other inner neurotransmitters and hormones that respond to external threats to the individual.

Everyone is familiar with how the head ‘wells up’ with danger or emotion, but the text describes this process and part of a total physiological and psychological response to releasing higher powers within the body. The usage of the word ‘wells’ may be a residue of allegorizing the reaction to the falling nurturing rain or rasana of the god Indra.

3:35

After procuring and obtaining the powers of Indra, the auspicious path can be approached and followed with repeated pounding, caressing and stroking to obtain increased collected quantity.  

“Then rub rock salt over the tongue, after seven days, cut again.” 

tataH: after. sa: procuring. indha: powers of Indra. va: strong. pathya: the auspicious path , abhyAM: to approach. cUrNitA: pound . abhyAM: to approach. pragha: to go forwards, proceed. Sayet to go./ punaH :repeated. sap: caress (also sexually). tadin: taDit: stroke, lightning: prApte attained to, reached.  roma: ruh: to increase.  mAtra: quantity. samucchinet: samucchi. to collect together

Commentary:  The inner heat and fire has been allegorized as produced by the inner god Agni and now the wetness is ascribed as resulting from procuring the powers of the allegorical inner god Indra who was the god of descending moisture or rain. The early model requires that these two gods be fed with a special fluid that was called amrita (‘not dead’ or vital fluid) similar to the Greek ambrosia (‘not dead’ or vitalizing fluid) also called food for the gods. Later amrita became known as soma.

3:36

Thus one is able to make progress in six months time with constant directed effort. In six months time a stream of rasana or the rain of Indra is generated and produced.  

“Continue this way for six months until the frenum of the tongue is severed” 

evaM; thus. kram: make progress. SaNmAsA: six months. nityayuktaH: always busy. samAcaret: to accomplish. /SaNmAsA: six months. ad: consume. rasanA: a quintessential fluid of the human body. mula: rooted or based. firA: a stream. bandhaH: produce.  praNaf : to attain. yati: disposer, striver.  

Commentary:  Rasana is the ‘rain’ of Indra, or the power of the inner god Indra, which is not to be considered as a normal sinus or nasal drainage since its cause is based upon the upward flowing fire of Agni rather than the head.

3:37

A small part (of rasana) crosses over into the junction where three paths meet (sky, air, and earth) in the head bringing forth the sign of the inner flow and active center.  

“Reversing the tongue insert it into the nasal cavity which is khecari or Vyomacakra.” 

kalAM: a small part. parAJ: crossing over. mukhIM: aperture of the head. kqtvA: encompass. tripathe: where 3 roads meet: pari: around yojayet: joined/ sA: giving. bhav: coming into existence. khecarI.  mudrA: sign. vyomacakraM: sky cakra: center. tad: that. cya: cyu: come forth from. 

Commentary: The paths are an early description of what are now called pathways for neurotransmitters, nerve impulses or hormones. The junction in the head is that mystical personal sense of the union of heaven (sky) and the vitality of life (‘air’ or vayu) with the functioning of the physical body. The experienced sign is a ringing or whistling sound called the nada or tinnitus today which can be interpreted as the sound of the movement of ‘air’, later called vayu, or energy in the body. The nada, now called tinnitus, becomes an important subject later in the text because it not only is a sound related to the inner energies of the body but it can also be altered in turn to change the inner energies. The metaphysical nature of the nada is supported by attempting to measure the pitch of it with the startling result that the inner pitch cannot be measured nor reproduced as it is being measured.

3:38

Even in half an instant of producing rasana in the head, releases the yogI from poison caused by sorrow, illness, death and growing old. 

“Even in half an instant of keeping the tongue in the sinus cavity, releases the yogin from poison caused by sorrow, illness, death and growing old.” 

rasanA: fluid. mUrdhva: head. gA: going. kSaNA: instant . ardham: half: api: even in.  tiSThati: producing./ viS: poison. air: relating to refreshment or food. vimuc: to be released from. yat: going, moving. yogI: femine form of yogi. vyAdhi: sorrow.  mRty: death: disease. jara: becoming old. Adi: first.  bhiH: caused by. 

Commentary: The best example of this verse’s teaching is the transformational sobbing of a child where the rains of Indra are in abundance with tears, drooling and mucus generated by the lower churning or tensioning in the belly and bowels. This inner churning is often noted in attempting to control crying during some emotional scene. Another common example is the recognition of uncontrolled crying or laughing as being the near perfect catharsis for emotional problems as well as the opening of new powers within the individual.  

The usage of the word YogI has a special meaning since the long I is a feminine ending for yogin or yogi which is a male student of yoga. A yogI is also obviously different from a yoginI, indicating a female student of yoga. This feminine addition to the masculine is essential to understanding the following text. Recent research demonstrating that the ratio of male to female hormones can be altered by simple life style changes is in partial support for the ‘feminizing’ of a yogi to a yogI.

It should also be noted that in the modern Western world, most women require the same development of the feminine since their bodies have lost many of the following described characteristics as they conform to a macho masculine centered world and procreative powers.

 3:42

The evidence of khecari (vayu or rising energy) is because of the expansion or opening of the hanging twin buds, certainly not the excreted drops (sexual) coming from inaccessible lust.   

“When the tongue is pushed into the sinus cavity, no semen can be lost, no matter how beautiful a woman may be.” 

khecaryA: inner power.  mudritaM: sign, evidence. yena: because of. vivaraM: opening, swelling. lambi: lamb: to stretch out. kor: bud. dva: two. / na: not. tas: throwing (excreted). kSarate: water. binduh: drop. kAmin: kAma: lust. yA going. fleSita: united with. sya: belonging to. ca: certainly 

Commentary: The reference to the hanging twin buds is of course pointing to the swelling and growth of the two budding nipples. This verse also attempts to differentiate the secretion of soma from the stimulation and secretion of sexual lubricant related to sexual arousal. This verse also implies the time it takes to start to activate the nipples with the ten maidens of fingers suggested in the Rig Veda.

3:43

A new motion is acquired when the expanding power unites with the moving yoni or perineum area, the rising (motion) proceeds bereft of clinging to the yoni posture.  

“Even if the fluid moves down to the genital region in the yoni mudra, it moves upward.”  

calita: unusual or new motion. ‘pi: api:  acquired. yadA: when. binduh: initiator. saM: unites. prApt: reached. yoni: yoni. maNDalam: surrounding ring/. vrajaty: proceed. Urdhva: rising. hqtaH: bereft of. faktyA: clinging to. nibaddho: related to. yonimudrA: yoni position.  

Commentary: When the downward stimulation from the nipple stimulation and the rasana equals that of the stimulation from the foot under the yoni, the foot can be withdrawn. This time is made quite obvious when a light stroke of a nipple causes a simultaneous response in the perineum or yoni which rapidly becomes greater than any mechanical stimulation with the foot.

3:111

The swollen bulb or kanda exists in that spot where pressure was applied by the feet to produce the power of Indra.  

sati: existing, real. vajrA: source of Indra’s power, lightning. sane: lasting.  pAdau: to the feet. kara: doer, hand. abhyaM to advance. dhArayed: holding. dqDham: steady./ gulpha: ankle. defa: point spot. sami: to come together. ca: and. kandaM: swollen bulb . tatra: in that place. prapIDayet: squeezing

3:110

The kanda is indicated by its rising to four fingers width and its extension to the palm width. It is described as being soft and covered with skin. 

UrdhvaM: rising.  vitasti: palm width. mAtraM: the full measure.  tu: to make strong. vistara: extensive. caturaNgulam: four fingers broad. mRdulaM: soft. dhavalaM: white. proktaM: called. veSTita: covered. ambara: clothes. lakSNam:  sign, symbol.

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