JAP

      Without knowing the details of Bindu, Naad and Kala, the mystery of Jap cannot be fathomed. What is its objective? What are its kinds? What are the things on which its success is dependent. Without understanding all these Jap cannot be cleansed.

      Our mind is continuously being bombarded by worldly impulses and hence our mind also gets distracted by them and thus is swung along (tarangit) with them. The impulses, which are affecting our mind are actually our Vasnas (desires). (Because in our environment there are myriads of projections onto our mind but our mind does not respond to all of them. It is attracted or affected by only a particular set.) When we try to analyze it deeply then we come to the conclusion that our Vasna alone is the Vayu Tarang 
(wave). Air flows only when there is Vakrta (crookedness) in it.  This is also called Anu  (atom) and is Ashudh Shabd (impure sound). What is referred to as Chitvriti in the scriptures, is the vibration of these atoms only. Thus it is called as agitation of desires. Air is of 49 types. By their permutation and combinations, innumerable waves are travelling in the cosmos. These waves of sound are actually the waves of Matrikas/Varas (alphabet letters). When anyones Chit is entrapped in them, it gets moved. Without knowing the technique, one cannot guard against them. Due to their effect, Atma falls down from its Swabhaav (own natural state). It starts moving with Chit in those waves and by ignorance starts imposing those waves of Chit onto its ownself. Thus it starts feeling pains and pleasures and thus manifests the world.

      The vibrations of the air are called Varnmala. These are continuously arising and interacting with each other. These are experienced as Vritis (waves) in our Chit. This is ignorance. But where is the source of these Tarangs (vibrational waves). The vibrations, which are arising in Chidakash are the swings of Naad. This Naad is produced by the striking of Chit Shakti right from the manifestation of the world. That subtle Naad is the basis on which Mayateet Shudh cosmos is created. In this pure space there is no vibration or wave of air. It is the attribute of vayu (air) to flow crooked, where there is no crookedness, there is no air. But in this space though there is no air but still there is movement. This movement is called Saralgati (simple movement) in the scriptures. Without falling down from its own nature still it takes the crooked movement of air. To clear the Chit, from the effect of air waves, is the real purpose of removing the crookedness of air.

      The purpose of Japa is to remove this crookedness of air. Mantra of Jap is Naadatmak though it feels like Varnatmak at that moment, as it is made of Varnas (letters). But by experiencing the Jap over a longtime the power of Mantra arises. At that moment this mystery is revealed. Till Mantra is converted to Naad, it can not be said to be Chaitanya. First it starts moving in Naad. In the space between two Varnas is Naad, which is in the form of light. Slowly the Mantra disappears in Naad. At that time, one realises that Naad alone is there. The Varnas, which are also called AKSHAR, are eternal. If these Varnas are not eternal and could be annihilated then one could not have experienced them in the realm beyond Naad, Naadateet bhumi.         

      In the A-Ka-Tha triangle, all the Varnas are there (sixteen Varnas each on three lines and three Varnas in the corners of the triangle). Here they are also present individually. Thus ,we can say that all Varnas are of the form of Naad. Any Varna is not different from other as one thinks. Had it been possible to annihilate Varna then it would  not have been possible to have Darshan of eternal Sakar-Roop by piercing Brahm Jyoti.

      Between the two gross Shabdatmak Varnas is the realm of Naadtmak Chetan Shabd. By knowing this, all the ills are removed. At that moment, Chaitanya becomes principle entity. This is the sign of focusing of mind. Here there is no crooked flow but only lone Simple flow, Saralgati. This is the play of Chaitanya Shakti which is activated with the help of Mahamaya. That is why it is said that when Mantras are chanted with Varnas, they purify each other. So whatever are the obstructions between two Varnas in a Mantra, they get removed slowly with the effect of Japa. So, as these spaces between the two letters gets purified or removed, the entity of many gets removed and oneness starts dawning. In the end, Many gets converted to One. There is no sequence, no Kaal (time) here. This is called the development of Chaitanya. Actually our Chit is broken in to myriads of points, joining of all of them is called Ekagrata (one pointedness or focusing). Here, even the Varnas disappear, whatever one is left is only Akhand Chaitany Dhwani Matra realm. In the end, one reaches Mahabindu. Asan (seat) is permanently established here. As a result, Isht in the form of Guru or Guru in the form of Isht sits on it.

      If we discuss the gross aspect of Japa then we have to discuss three forms of it which are called Vachak (done with sound), Upanshu (done without sound, only lips are seen to be moving) and Mansic (when even movement of lips and tongue is also not there). Normally we are breathing. When we are chanting a Mantra with sound then our contact with the outer air is more; when we are doing Upanshu Jap then our contact with the outer air is less but when we do Mansic Jap then there is the least contact with outside air. By contact with the outer air our Chit gets agitated; the more the contact, the more the agitation of the mind. This is true in reverse also i.e lesser the contact with outer air, the  lesser the agitation of mind. While doing Vachik Jap, when after sometime our breathing cycle reduces, Jap automatically changes to Upanshu. When it reduces further, then Upanshu changes to Mansic Jap. At that moment the movement of outer air freezes. In yogic way, we can say that at that moment the movement in Idaa and Pingla stops and only Sushumana works. Whatever flow of power, which was taking place in Ida and Pingla during Vachak and Upanshu, it now starts flowing in Sushumana during Mansic Jap. At that moment, whatever Mantra that was being chanted outside starts moving inside the Sushumana. This indicates that sound has entered in to Madhyama state and chanting starts happening inside the Sushumana. (Out of the four states of Para, Pashyanti, Madhyama and Vaikhari). Still this jap is not purely outer or inner.

      Outside chanting is caused by outer air which travels in Ida and Pingla. But Jap in Sushumana is caused by inner air which travels in Suhumana. Outer air is gross while inner air is subtle. But inside Sushumana the movement of air is upwards and hence real Jap cannot happen there. For Jap, one has to attract the outside air with will power and change it into sound. Inside Sushumana due to continuous movement of upward air, an eternal sound emanates. Sushumana is Shabdmaya (with sound). This Shabd (sound) is in the form of Naad and is strongly associated with Kundlini. Thus when after long practice the Jap enters Sushumana, at that time the Sadhak starts hearing it on its own and he does not have to chant any further. This is called Ajapa Jap.   

      Vachik and Upanshu, both Japas are in Vaikhari. But Mansic Jap cannot be done in Vaikhari, it has to be done in Madhyama. In the normal Jap, a Sadhak has to put in effort but in Mansic there is no effort at all. In Vaikhari both Shabd and Arth (sound and meaning) are present, but in Madhyama they are together. In Pashyanti, they convert in to one entity. This is called the Sfuran of Chaitanya, Sakshatkaar, Mantra Sidhi, Isht Darshan etc.In Madhyama, Shabd starts changing into Jyoti (Light). As the Pashyanti by its name itself means ‘seen’, clearly indicates that things are seen in this realm and not heard. The darkness of mind gets removed in the realm of Madhyama . Between the two realms of Vaikhari and Pashyanti, the world disappears. It gets lighted up by effulgence and establishes as an endless Bhav Jagat. Slowly, this whole gets converted in to a Jyoti or Prakash (light). If one does not drown in to it then one can have Atma Darshan in this Jyoti. Para is beyond it.

      From Varnatmak Shabd one has to enter in to Dhwanyatmak-Shabd, or else one would not be able to find the Yog Marg (path). Dwanyatmak Shabd is actually Naad. Without achieving Naad, one cannot reach Bindu. When movement of particles in a line is removed then we get Bindu, in the same way when movement out of the Naad is taken away it also results in Bindu. This Bindu alone is the Jyoti explained earlier. This is another word for Atma-Swaroop.

      Though this whole system of Jap is very subtle and ultimately is associated with Kundlini yet here for the understanding of us all, it has been shared from the perspective of Gopi Nath Kaviraj ji's writings, and ones own little understanding. But one feels joyous to read such detailed explanation given by realised people. One feels blessed even in translating, as during the process one has to meditate on the subject and try to bring forth the essence....................Om! Jai Ma!



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