Haṭha Pradīpikā 4.38
कर्णौ पिधाय तूलेन यं शृणोति ध्वनिं मुनिः |
तत्र चित्तं स्थिरीकुर्याद् यावत्स्थिरपदं व्रजेत् ||38||
Metre: Anuṣṭubh
Having closed (pidhāya | abs) both ears (karṇau | acc du) with cotton (tūlena | ins sg), the sage (muniḥ | nom sg) should make (sthirī-kuryāt | 3p sg act opt) the mind (cittam | nom acc sg) steady there (tatra), upon the sound (dhvanim | acc sg) which (yam | acc sg m) one hears (śṛṇoti | 3p sg act pres), until (yāvat) one reaches (vrajet | 3p sg act opt) the stable state (sthira-padam | acc sg).
Close the ears and make the inner sound that is heard the focus. In this way, the mind becomes firm until the stable state is reached.
In the version commented upon by Brahmānanda, the ears are closed with the hands or thumbs. This concrete instruction differs from the base text MBHDL2026, which mentions cotton. The Jyotsnā's own textual basis is therefore decisive for the summary of the commentary; the difference is shown separately in the apparatus.
tūlena MBHDL2026 ] hastābhyāṃ NS1882
The sound which a muni hears by closing his ears with his fingers, should be heard attentively, till the mind becomes steady in it.
Der Yogin halte die Ohren mit den Händen zu, und wenn er einen Laut hört, so konzentrire er seinen Geist darauf, bis er selbst unbeweglich wird.
Haṭha Pradīpikā 4.39
अभ्यस्यमानो नादो ऽयं बाह्यमावृणुते ध्वनिम् |
पक्षाद्विक्षेपमखिलं जित्वा योगी सुखी भवेत् ||39||
Metre: Anuṣṭubh
When practised (abhyasyamānaḥ | nom sg m pcp), this inner sound (nādo'yam | nom sg m) covers over (āvṛṇute | 3p sg med pres) external sound (bāhyam dhvanim | acc sg m). Having conquered (jitvā | abs) every distraction (vikṣepam akhilam | acc sg m) after a fortnight (pakṣāt | abl sg), the yogi (yogī | nom sg) becomes (bhavet | 3p sg act opt) happy (sukhī | nom sg m).
With continued Nāda practice, external noise recedes. Within half a month, distraction is overcome and inner joy arises.
The inner Nāda is intended to cover external noises and thereby reduce distraction. Brahmānanda interprets pakṣāt as half a month, or fifteen days, within which this concentration could become established. This is a traditional time statement of the commentary, not a reliable deadline or promise for present-day practitioners.
By practising with this nâda, all other external sounds are stopped. The Yogî becomes happy by overcoming all distractions within 15 days.
Dieser Nada, in den man sich versenkt, schliesst jeden äusseren Laut aus. Wenn ein Yogin nach 14 Tagen alle Unruhe überwunden hat, so wird er glückselig.
Haṭha Pradīpikā 4.40
श्रूयते प्रथमाभ्यासे नादो नानाविधो महान् |
वर्धमाने ततो ऽभ्यासे श्रूयते सूक्ष्मसूक्ष्मतः ||40||
Metre: Anuṣṭubh
During the initial practice (prathamābhyāse | loc sg), the inner sound (nādaḥ | nom sg), great and of many kinds (nānā-vidho mahān | nom sg m), is heard (śrūyate | 3p sg pas pres). When the practice (abhyāse | loc sg) then (tatas) increases (vardhamāne | loc sg m n pca), it is heard (śrūyate | 3p sg pas pres) as progressively subtler (sūkṣma-sūkṣmataḥ).
At first, the inner sound appears coarse and varied; as practice grows, it becomes increasingly subtle.
According to Brahmānanda, the sequence of sounds begins with coarse impressions such as the ocean, the roar of clouds, a kettledrum, and a drum. In the middle appear Mardala, conch, bell, and horn; later come small bells, flute, Vīṇā, and the humming of bees. The images do not form a rigid acoustic diagnosis, but a traditional ordering from coarser to subtler attention.
sūkṣmasūkṣmataḥ MBHDL2026 ] sūkṣmasūkṣmakaḥ NS1882
In the beginning, the sounds heard are of great variety and very loud; but, as the practice increases, they become more and more subtle.
Zu Anfang der Uebung wird ein lauter verschiedenartiger Nâda vernommen, dann bei fortgesetzter Uebung ein feinerer und feinerer.
Haṭha Pradīpikā 4.41
आदौ जलधिजीमूतभेरीनिर्झरसंभवाः |
मध्ये मर्दलशंखोत्था घण्टाकाहलजास्तथा ||41||
Metre: Anuṣṭubh
At first (ādau | loc sg), sounds arise like those of the ocean, clouds, a drum, and a waterfall (jaladhi-jīmūta-bherī-nirjhara-saṃbhavāḥ | nom pl m); in the middle (madhye | loc sg), they arise like a Mardala drum and conch (mardala-śaṃkhotthāḥ | nom pl m), and likewise (tathā) they are born of a bell and trumpet (ghaṇṭā-kāhala-jāḥ | nom pl m).
The experience of Nāda becomes progressively finer: first come powerful sounds of nature and drums, followed by more differentiated instrumental tones.
jaladhijīmūtabherīnirjharasaṃbhavāḥ MBHDL2026 ] jaladhijīmūtabherījharjharasambhavāḥ NS1882
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.
Zuerst (d. h. wenn der Athem zum Brahmarandhra gelangt, Com.) klingt es wie vom Meere, von einer Wolke (d. h. Donner), einer grossen Trommel und einem Jharjhara, in der Mitte wie von einem Mardala, einer Muschel, einer Glocke, einem Kâhala;
Haṭha Pradīpikā 4.42
अन्ते तु किङ्किणीवंशवीणाभ्रमरनिस्वनाः |
इति नानाविधा नादाः श्रूयन्ते देहमध्यतः ||42||
Metre: Anuṣṭubh
At the end (ante | loc sg), however (tu), there are the sounds of small bells, flute, Vīṇā, and bee (kiṅkiṇī-vaṃśa-vīṇā-bhramara-nisvanāḥ | nom pl). Thus (iti), various kinds of sounds (nānā-vidhā nādāḥ | nom pl m) are heard (śrūyante | 3p pl pas pres) from the center of the body (deha-madhyataḥ).
In the final phase, the subtlest sounds appear: small bells, flute, Vīṇā, and humming from the center of the body.
dehamadhyataḥ MBHDL2026 ] dehamadhyagāḥ NS1882
In the last stage, the sounds resemble those from tinklets, flute, Vîṇâ, bee, &c. These various kinds of sounds are heard as being produced in the body.
Endlich wie der Ton eines Glöckchens, eines Rohres, einer Laute, einer Biene. Diese mannigfachen Laute hört man in der Mitte des Körpers.
Haṭha Pradīpikā 4.43
महति श्रूयमाणे ऽपि मेघभेर्यादिकध्वनौ |
तत्र सूक्ष्मात्सूक्ष्मतरं नादमेव परामृशेत् ||43||
Metre: Anuṣṭubh
Even when (api) a loud (mahati | loc sg m n) sound of clouds, drums, and the like (megha-bhery-ādika-dhvanau | loc sg) is being heard (śrūyamāṇe | loc sg m n pcp), one should apprehend (parāmṛśet | 3p sg act opt) within it (tatra), beginning from the subtle (sūkṣmāt | abl sg n), only (eva) the still subtler sound (sūkṣmataraṃ nādam | acc sg m).
Even when the inner sound appears coarse and powerful, attention should be directed toward the subtlest sound within it.
The subtler tone is to be preferred because it lasts longer and thereby gives the mind a more enduring support. Brahmānanda thus explains the refinement functionally. A “higher” sound is not the goal in itself; the aim is a perception upon which attention can rest calmly without frequent change.
Though hearing loud sounds like those of thunder, kettle drums, etc., one should practise with the subtle sounds also.
Nachdem man die grossen Laute, wie die von Wolke und grosser Trommel, gehört hat, empfindet (parâmriset = cintayet, Com.) man immer feinere Laute.
Haṭha Pradīpikā 4.44
घनमुत्सृज्य वा सूक्ष्मे सूक्ष्ममुत्सृज्य वा घने |
तौ त्यक्त्वा मध्यमे स्याद्वा मनो नान्यत्र चालयेत् ||44||
Metre: Anuṣṭubh
Having abandoned (utsṛjya | abs) the dense sound (ghanam | acc sg n), one may remain in the subtle (sūkṣme | loc sg n); or (vā), having abandoned (utsṛjya | abs) the subtle (sūkṣmam | acc sg n), one may remain in the dense (ghane | loc sg n); or (vā), having abandoned (tyaktvā | abs) both (tau | acc du n), one may remain (syād | 3p sg act opt) in the middle (madhyame | loc sg n). One should not move (cālayet | 3p sg act opt caus) the mind (manas | nom acc sg) elsewhere (nānyatra).
Whether the sound is coarse or subtle, attention remains collected. In the end, even this distinction is abandoned and the mind is no longer distracted.
Attention may move between coarse and subtle inner sounds as long as it does not leave the inner auditory space. What is prohibited is not every change, but turning toward external sense objects. The commentary therefore makes the practice more flexible than a strictly linear ladder of sounds, while keeping its direction unambiguous.
tau tyaktvā madhyame syād vā MBHDL2026 ] ramamāṇam api kṣiptaṃ NS1882
Leaving the loudest, taking up the subtle one, and leaving the subtle one, taking up the loudest, thus practising, the distracted mind does not wander elsewhere.
Hat der Geist den lauten Ton aufgegeben, so ergötze er sich an dem leisen und umgekehrt; aber man soll den leichtzerstreuten (kshiptam = rajasatyantacancalam, Com.) Geist nicht auf etwas Anderes richten.
Haṭha Pradīpikā 4.45
यत्र कुत्रापि वा नादे लगति प्रथमं मनः |
तत्रैव तत्स्थिरीभूत्वा तेन सार्धं विलीयते ||45||
Metre: Anuṣṭubh
Wherever (yatra) at all (kutrāpi), or (vā) upon whichever sound (nāde | loc sg), the mind (manaḥ | nom acc sg) first (prathamam) becomes attached (lagati | 3p sg act pres), there precisely (tatraiva) this (tat | nom acc sg n) becomes steady (sthirībhūtvā | abs) and dissolves (vilīyate | 3p sg med pres) together with it (tena sārdham).
The first inner sound to which the mind becomes truly attached turns into a gateway to dissolution.
Brahmānanda reads the preceding sequence of practice as progressive Pratyāhāra, Dhāraṇā, Dhyāna, and Samādhi. Wherever the mind first binds itself to an inner tone, it can come to rest. The various sound images are therefore methodological points of entry, not separate final states.
tat sthirībhūtvā MBHDL2026 ] susthirībhūya NS1882
Wherever the mind attaches itself first, it becomes steady there; and then it becomes absorbed in it.
Auf welchen Laut auch immer sich der Geist zuerst richte, in den soll er sich ganz versenken, mit dem soll er vernichtet werden (vilîyate).
Haṭha Pradīpikā 4.46
मकरन्दं पिबन्भृङ्गो गन्धान्नापेक्षते यथा |
नादासक्तं तथा चित्तं विषयान्न हि काङ्क्षते ||46||
Metre: Anuṣṭubh
Just as (yathā) a bee drinking (piban bhṛṅgaḥ | nom sg) the nectar of flowers (makarandam | acc sg) does not attend (nāpekṣate | 3p sg med pres) to their fragrances (gandhān | acc pl), so (tathā) the mind attached to Nāda (nādāsaktaṃ cittam | nom acc sg) does not indeed (na hi) desire (kāṅkṣate | 3p sg med pres) the sense objects (viṣayān | acc pl).
When the mind is saturated with the inner sound, it loses interest in external sensory stimuli.
gandhān MBHDL2026 ] gandhaṃ NS1882
Just as a bee, drinking sweet juice, does not care for the smell of the flower; so the mind, absorbed in the nâda, does not desire the objects of enjoyment.
Wie die Blüthensaft trinkende Biene sich nicht um den Duft kümmert, so verlangt auch der in den Nâda versenkte Geist nicht nach den Sinnesgegenständen.
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