Samyama can be performed and the method of ‘splitting them open’ in Samadhi but a
study of the Sutras given in the latter portion of Section III will give the student a
fairly good idea of the large variety of objects which are taken up for Samyama in
Yogic practice. A careful study of these Sutras will not only give the student some idea
with regard to the different purposes of Sabija and Nirbija Samadhi but also throw
some light on the technique of Samadhi. It will help him to get a clearer insight into
the meaning of the two rather enigmatic Sutras I-42-43 in which alone Patanjali has
given some definite information with regard to the mental processes involved in
Samadhi.
Before we proceed to discuss these two Sutras let us first consider a few con-
clusions which may be drawn from a general study of the objects (Visaya) upon which
Samyama is performed and the results which accrue from this practice. These conclu-
sions may be stated very briefly as follows:
(1) If two things are related as cause and effect then by performing Samyama
on the effect it is possible to have knowledge of the underlying cause or vice versa as
for example in III-16.
(2) If certain phenomena leave an impression on any medium it is possible to
come into touch with the phenomena by reviving the impressions through Samyama as
for example in III-18.
(3) If a particular principle in nature finds expression in a particular phe-
nomenon then by performing Samyama on the phenomenon, it is possible to know
directly the underlying principle, as for example in III-28 or III-29.
(4) If a particular object is the expression of an archetype then by perform-
ing Samyama on the object it is possible to have direct knowledge of the archetype as
for example in III-30.
(5) If a particular centre in the body is an organ of a higher vehicle, faculty
etc. then by performing Samyama on the centre direct contact is established with the
vehicle, faculty etc. as for example in III-33 or III-35.
(6) If a thing exists in several degrees of subtlety, one derived from the other
in a series, then by performing Samyama on the outermost or least subtle form it is
possible to gain knowledge of all the forms, step by step, as for example in 111-45.
A careful consideration of the facts mentioned above will show that Samyama is
really a means of passing from the outer expression to the reality within whatever may
be the nature of the relationship between the outer expression and the inner reality.
ben green
(Ben Green)
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