Dharana

The final three aspects of Ashtang Yoga, according to Patanjali, are Dharana, Dhyana, and Samadhi. There are eight aspects (angas) in all. He further says that the term “Sanyam” is used to refer to all three qualities (Control). This suggests that all three factors should be considered simultaneously. While studying, we should also keep in mind that the phases of concentration known as Dharana, Dhyana, and Samadhi are progressively more advanced. The description of Dharana, or the primary level of focus, as given by Patanjali is more or less identical to the greatest stage of mental concentration as characterised by contemporary psychologists. This demonstrates Patanjali’s careful consideration when outlining the three stages.

These three stages don’t have a defined boundary between them, which is another feature of them. Dhyana stage automatically enters when specific Dharana stage progress is accomplished, and Sadhaka (Practitioner) automatically enters Samadhi stage when certain Dharana stage progress is made. The three stages blend into one another as effortlessly as three colours do in an artist’s painting. All three stages will not be covered in this syllabus. We shall simply consider Dharana, the initial stage.

This is how Dharana is defined by Patanjali. This sutra’s literal translation is “Deshbandh of chitta is Dharana.” Chitta, or the very unsteady mind, makes it difficult to focus; Dharana is the act of doing so. The mind will be at liberty within this area’s boundaries, and it should not cross the boundary. This exercise is called Dharana.

Dharana, the first phase in the protracted process of mind control, is described by Patanjali as the initial procedure. The restriction placed on the intellect is called “Alamban.” The “Alamban” aids in focusing and engaging the mind in a specific region. Anything can be a restriction. We’ll witness Om’s restriction, or “Alamban.”.

The study of concentration of the mind called Dharana. Consequently, it is vital to make a few advance preparations. Through our five senses, we can see the world in many different ways. Usually, the mind follows such sensory perceptions. It is important to pay attention to how these perceptions can be diminished in order to stabilise the mind. The environment should not be uncomfortable and should be enjoyable. There shouldn’t be any outside interference. There are a number of disruptions that should be avoided, including the general commotion, other sounds, a strong breeze, varied odours, and exceptionally bright light. The reasons that demand the mind’s attention are diminished when these are eliminated. Then, one should take a relaxed seat and adopt a Dhyana-friendly stance, such as Padmasan, Swatikasan, or Siddhasan.

The ability to maintain a particular posture for a longer period of time should be practised. Otherwise, the mind will become preoccupied with the impulses coming from different muscles. The body should be in the “samkay shirogreevam” position with the eyes concentrated on the front-facing portrait of Om. The image must be placed in an area with enough light and be at eye level. An attempt should be made to lock the eyes back on the image whenever they try to move away from it. In general, the mind follows the vision, thus if the gaze is fixed, the mind will also be locked. Start the Japa of Om in a relaxed manner.

In order to be effective, the Om sound should be released from the mouth gradually. While performing the japa, neither the lungs nor the voice cords should feel strained. (The perfect pronunciation technique should be learned from the professionals.) The mind will follow the tongue and restrain its movement toward Om as the tongue is doing the japa of Om. The japa is naturally heard by the ears, and as a result, the mind once more experiences it. As a result, the Om will be kept firmly in mind.

Out of the five sense organs, only the eyes, tongue, and ears are focused on Om. As a result, the mind, which follows sensory experiences, will likewise be intensely focused on Om. Here, Om is a “alamban,” and the constrained space within which the mind can move is represented by the dimension that Om covers (deshbandh). After some time, stop the japa, close your eyes, and attempt to focus your thoughts on the recollections of Om that your vision, tongue, and ears have brought to mind. The actual dharana is the mind’s involvement in this experience, which transcends the senses. When doing this, the mind could wander away from the experience and toward other things.

The dharana is ended as a result. The experience must then be re-introduced to the mind. There will be a number of disturbances, but with repetition they become less frequent. Dharana is complete focus without any interruptions. There is only the “Alamban” experience available at that point. It is a calming, enjoyable stage that offers great fulfilment and mental calm. Only a small portion of the stage is experienced during a half-hour of Dharana practise; the majority of the time is spent restraining the wandering mind. However, with continued practise, the length of the enjoyable stage lengthens and the sadhaka is better equipped to move on to the following stage.

It is intended to decrease the “alamban’s” boundaries or its area with more practise. The region will be smaller, increasing the effectiveness of the Dharana and bringing the sadhaka(Practioner) closer to the next level of dhyana.

One can select any other alamban other than the dhyana. This “Alamban” should be the subject of gaze, tongue and the ears like Om. “Alamban”, which can be the subject of these sensory perceptions, is better. If the “Alamban” is subject of only one sensory organ, then the other organs will choose their own subjects and try to pull the mind towards them. This will make mind unsteady further. All this should be considered while choosing the subject of the “alamban”.

Dharana, Dhyana, and Samadhi should be viewed collectively rather than separately, according to Patanjali. As a result, while listing the findings, the dharana results are combined with the other two instead of being presented separately. With examples of various “Alamban,” he has highlighted that the impacts will also rely on them. The issue is not further discussed here because it is not covered in this syllabus.

On the other hand, we can directly experience Dharana’s effects. Dharana is the mental stage of intense concentration. Modern psychologists have identified the peak of human mental focus, which is comparable to dharana, and have described it. It follows that the initial stage of mental focus as viewed by Patanjali corresponds to the highest level suggested by psychologists. After this are the stages of Dhyana and Samadhi.

The busy mind is affected and diminished by dharana. As a result, the drawbacks of having an active intellect are also diminished. Instead of allowing the mind to wander, it is maintained firmly in one place. The mental pressure is reduced by this. The capacity of the mind strengthens. The work is accomplished with such automatic focus and effectiveness. With regular Dharana practise, one can experience a new form of tranquilly throughout the day and less mental turbulence.

An effort is made over here to suggest the direction of the studies of dharana. The description does not cover the study of Dharana completely. The study and progress depend on the individual strength of each sadhaka. A common education cannot be imparted of such advanced study. After one tries to study and practise, guidance can be given individually depending upon the disturbances faced, the experiences observed and after judging the progress. This information cannot cover all these aspects.

This much direction is plenty for the practioners, who also study other parts of yoga and Dharana. They are not expected to practise and study every day. They only need to practise once every week. However, individuals who desire to advance in the subject should begin daily practice while being guided by a knowledgeable guru.