INHALATION AND EXHALATION (BREATH)

 

                                   THE MECHANICS OF 

                                            BREATHING

             PREVIOUSLY THE RESPIRATORY SYSTEM WAS DISCUSSED IN TERMS OF LEVES WHICH ARE NOT READILY VISIBLE TO THE CASUAL OBSERVER: MOLECULAR INNTERACTIONS, MICROSCOPE TRANSPORT, AND INTERNAL ANATOMY. THE FOCUS OF DISCUSSION NOW SHIFTS CLOSER TO THE BODY'S SURFACE IN ORDER TO STUDY THE ORGANIZATION AND ACTION OF THOSE STRUCTURES WHICH CREATE THE DRIVING FORCE FOR MOVING AIR IN AND OUT OF THE BODY.

                     IN LOOKING AT THE BODY, SEVERAL ANATOMICAL DIVISIONS BECOME READILY APPARENT: THE FOUR LIMBS, THE HEAD, AND THE TORSO. EACH COMPRISES A DISTINCT ANATOMICAL UNIT. SINCE IT IS THE TORSO WHICH CONTAINS THE ORGANS RESPONSIBLE FOR MOVEMENT OF AIR INTO THE BODY, A WELL AS THE OTHER MAJOR ORGAN SYSTEMS RESPONSIBLE FOR DISTRIBUTION OF OXYGEN, IT IS HERE THAT A DISCUSSION OF THE MECHANICS OF BREATHING MUST BE CENTERED.

                    ONE CAN SUBDIVIDE THE TORSO INTO THREE REGIONS, THE THORAX OR CHEST, WHICH HOUSES THE HEART AND TWO LUNGS, THE ABDOMEN, WHICH BEGINS IMMEDIATELY BELOW THE DIAPHRAGM, AND WHICH EXTENDS FROM THE ORGANS OF EXCRETION AND REPRODUCTION. FOR THE PURPOSES OF THIS DISCUSSION, THE PELVIS WILL BE CONSIDERED AS ESSENTIALLY CONTINOUS WITH ABDOMEN.

                    LOOKING ONLY AT THE SUPPORTING BONE, MUSCLE, AND SKIN, WITH THE INTERNAL ORGANS REMOVED, THE TORSO CAN BE VIEWED AS FORMING A ROUGH CYLINDER, SLIGHTLY FLATTENED OUT, SO THAT IT IS WIDER THAN IT IS DEEP WHEN SEEN IN CROSS SECTION. THE BONY SPINE, OR VERTEBRAL COLUMN, WHICH RUNS VERTICALLY THROUGH THE BACK PARALLEL TO THE LONG AXIS OF THE TORSO "CYLINDER" PROVIDES STRUCTURAL SUPPORT FOR THE WHOLE TORSO, ACTING AS A FRAMEWORK AROUND WHICH OTHER TISSUES AND ORGANS ARE GROUPED. THE VERTEBRAL COLUMN ITSELF IS COMPOSED OF A NUMBER OF SMALL INDIVIDUAL BONES CALLED VERTEBRATE. THEY ARE STACKED, ONE ON TOP OF THE OTHER AND ARE SEPERATED BY DISCS OF SHOCK-ABSORBING TISSUE. THE FIRST TWELVE OF THESE BONES WITHIN THE TORSO, THE THORACIC VERTEBRAE, EACH ATTACH TO PAIR OF RIBS, ONE ON EITHER SIDE. THE RIBS ALL TRAVEL PARALLEL TO EACH OTHER, CURVING IN FORWARD AND DOWNWARD DIRECTION. THE FIRST TEN OF THESE JOIN IN THE MIDLINE AND FUSE WITH THE STERNUM, OR BREASTBONE, TO FORM THE RIB CAGE. A SERIES OF SMALL JOINTS CONNECT THE RIBS AND VERTEBRAE, THIS ALLOWS THEM TO MOVE SLIGHTLY IN A HINGED FASHION, SOMEWHAT LIKE A CURVED BUCKET HANDLE MOVES. THE RIBS, ALONE WITH THEIR ATTACHMENTS TO THE STERNUM IN FRONT AND VERTEBRAL COLUMN IN BACK, FORM THE WALLS OF THE THORACIC, OR CHEST, PORTION OF THE BODY CYLINDER.

                    BECAUSE THE RIBS GRADUALLY INCREASE IN LENGTH OF CURVATURE FROM THE TOP TO THE BOTTOM OF THE THORAX, THE WIDEST PART OF THE THORAX OCCURS AT ITS LOWER MARGIN. ATTACHED TO THESE LOWER RIBS AND TO THE STERNUM AND VERTEBRAL COLUMN IS A TOUGH, FLAT SHEET OF MUSCLE, THE DIAPHRAGM, WHICH IN EFFECT DIVIDES THE TORSO CYLINDER INTO TWO SMALLER CYLINDERS, ONE STACKED ON TOP OF THE OTHER, THE CHEST CAVITY ABOVE AND THE ABDOMINAL CAVITY BELOW. THE BOUNDARIES OF THE ABDOMINAL CYLINDER INCLUDE THE VERTEBRAL COLUMN AND ITS SUPPORTING MUSCLES IN THE BACK AND THE FLOOR OF THE PELVIS, BOTH OF WHICH ARE RELATIVELY INFLEXIBLE, AND FIXED, AND THE ABDOMINAL CONTENTS WHICH LIE JUST BENEATH THE SURFACE OF THE DIAPHRAGM, EXTENDING PARTLY INTO THE CHEST CAVITY. SEVERAL OVERLAPPING SHEETS OF MUSCLE, EXTENDING FROM THE RIBS ABOVE TO THE PELVIS BELOW, FORM THE FRONT AND SIDES OF THE ABDOMEN. 

                      THE DIAPHRAGM, WHICH SEPARATES THE CHEST AND ABDOMINAL CAVITIES, IS NOT FLAT IN ITS RESTING POSITION, BUT BILLOWS UP INTO THE CHEST CAVITY SOMEWHAT LIKE A PARACHUTE OR DOME. FOR THIS REASON ITS MOVEMENTS ARE NOT DIRECTLY VISIBLE AT THE BODY'S SURFACE, AND ONE HAS TO INFER ITS ACTIVITY AT THE BODY'S SURFACE, AND ONE HAS TO INFER ITS ACTIVITY BASED ON THE EFFECTS ITS MOVEMENTS HAVE ON OTHER BODY TISSUES.

                  IMMEDIATELY ABOVE THE DIAPHRAGM ARE THE RIGHT AND LEFT LUNGS, AND NESTLED BETWEEN THEM, THE HEART. THE LUNGS DO NOT ACTUALLY TOUCH THE DIAPHRAGM DIRECTLY, FOR THEY ARE COMPLETELY COVERED WITH A VERY THIN DOUBLE LAYER OF TISSUE KNOWN AS PLEURA. NORMALLY, THESE TWO LAYERS ARE IN DIRECT CONTACT WITH EACH OTHER, SLIGHTLY MOISTENED BY A SMALL AMOUNT OF PLEURAL FLUID WHICH ACT AS A LUBRICANT, ALLOWING THE PLEURAL LAYERS TO FREELY SLIDE OVER EACH OTHER.

                     THE INNERMOST PLEURAL LAYER COMPLETELY COVERS THE OUTSIDE OF EACH LUNG, WHILE THE OUTER LAYER COVERS THE INNER SURFACE OF THE CHEST WALL AND THE THORACIC SIDE OF THE DIAPHRAGM. SINCE BOTH PLEURAL LAYERS ARE IN SUCH CLOSE CONTACT WITH ONE ANOTHER, A MOVEMENT OF THE CHEST WALL OR DIAPHRAGM WILL BE TRASMITTED TO THE LUNGS, AND VICE VERSA. IF, FOR INSTANCE, THE LUNGS WILL FOLLOW, EXPANDING IN THE PROCESS. THESE ARE, IN FACT, THE TWO MAIN MECHANICS BY WHICH AIR MOVES INTO THE LUNGS.

                  AIRFLOW INTO TEH LUNGS OCCURS WHEN THE STRUCTURES SURROUNDING THEM EXPAND AND PULL THE LUNGS ALONG WITH THEM. THE RESULTING SUCTION PULL AIR INTO THE LUNGS FROM THE UPPER AIRWAYS TO THE TRACHEA AND BRONCHIAL TREE, INTO THE ALVEOLI. THIS IS THE PROCESS OF INHALATION. 

SVASTIKASANA, SIDDHASANA, PADMASANA (MEDITATION)

 

                                        SVASTIKASANA

                                     (AUSPICIOUS POSE )

                      IN ANCIENT TIMES, THE SVASTIKA WAS A SYMBOL OF DIVINE BLESSINGS. IN THIS POSTURE, THE HEELS AND ANKLE  BONES ARE NOT ALIGNED. BEND  THE LEFT LEG AT THE KNEE AND PLACE THE SOLE OF TOP OF THE LEFT CALF, AND PUT THE OUTER EDGE OF THE FOOT AND THE TOES BETWEEN THE THIGH AND CALF MUSCLES. THE BIG TOE SHOULD BE VISIBLE. PULL THE TOES OF THE LEFT FOOT BETWEEN THE RIGHT THIGH AND CALF SO THAT THE BIG TOE IS VISIBLE. PLACE THE HANDS ON THE CORRESPONDING KNEES, JOINING THE FINGERS IN THE FINGER LOCK.

                                         SIDDHASANA

                              (ACCOMPLISHED POSE)

                  A FAVORITE OF YOGIS, SIDDHASANA IS CALLED THE ACCOMPLISHED POSTURE, OR THE POSTURE OF ADEPTS. IN IT ADVANCED YOGIS MEDITATE FOR HOURS AND HOURS AT A TIME OR PRACTICE ADVANCED PRANAYAMA TECHNIQUE. PLACE THE LEFT HEEL AT THE PERINEUM AND THE RIGHT HEEL AT THE PUBLIC BONE ABOVE THE ORGAN OF GENEARATION. ARRANGE THE FEET AND LEGS SO THAT THE ANKLES ARE IN ONE LINE OR TOUCH ONE ANOTHER. PLACE THE TOES OF THE RIGHT FOOT BETWEEN THE LEFT THIGH AND CALF SO THAT ONLY THE BIG TOE IS VISIBLE. PULL THE TOES OF THE LEFT FOOT UP BETWEEN THE RIGHT THIGH AND CALF SO THE BIG TOE IS VISIBLE. THIS IS THE FINEST OF ALL POSTURE, BUT IT COULD BE UNCOMFORTABLE FOR THOSE WHO ARE NOT ADVANCED.

                              PADMASANA (LOTUS POSE)

                   PADMA MEANS "LOTUS". IT IS A SYMBOL OF YOGA BECAUSE JUST AS THE LOTUS GROWS IN THE WATER BUT KEEPS ITS PETALS UNTOUCHED BY THE WATER, SO DOES THE YOGI LIVE IN THE WORLD AND YET REMAIN ABOVE. IMMENSE BENEFITS ARE DERIVED FROM THIS POSTURE. TO DO IT YOU SHOULD TAKE YOUR PLACE FIRMLY ON A CUSHION (OR A FOURFOLDED BLANKET OR A PILLOW) BEND THE LEFT LEG AT THE KNEE JOINT, TURN UP THE SOLE AND PLACE THE FOOT FIRMLY AT THE RIGHT GROIN. SIMILARLY, FOLD THE RIGHT LEG, TURNING UP THE SOLE AND PLACING IT FIRMLY AT THE LEFT GROIN. BOTH HEELS SHOULD PRESS FIRMLY AT THE LEFT GROIN. BOTH HEELS SHOULD PRESS FIRMLY AGAINST THE ABDOMINAL WALL. PLACE THE HANDS ON THE CORRESPONDING KNEES AND ASSUME JNANA MUDRA ( THE FINGER LOCK). APPLYING BANDHAS LOCKS IN THIS POSTURE IS COMPLICATED, AND WITHOUT EXPERT GUIDANCE THEY SHOULD NOT BE APPLIED. APPLYING BANDHAS IN PADMASANA FOR A LONG TIME DEFINITELY DISTURBS THE INTESTINAL MOVEMENT AND CREATES GASTRIC PROBLEMS. AS AN EXERCISE, HOWEVER, IT IS ONE OF THE FINEST FOR THE ABDOMINAL MUSCLES.

                       MAITRI ASANA (FRIENDSHIP POSE)

                   FOR A MODERN MAN IS IT SOMETIMES MORE CONVENIENT TO SIT ON A STRAIGHT-BACKED WOODEN CHAIR, KEEPING THE HEAD, NECK, AND TRUNK STRAIGHT AND PLACING THE HANDS ON THE KNEES. THE LEGS SHOULD NOT BE CROSSED BUT FIRMLY PLACED ON THE GROUND BUDDHIST SCRIPTURES DESCRIBE THIS POSTURE.

THE AWARENESS OF BREATHING

                          THE IMPORTANT OF BREATH 

                                  AWARENESS IN MEDITATION

                         BREATH AWARENESS IS AN ESSENTIAL OF MEDITATION. AUTHENTIC SCHOOLS OF MEDITATION TEACH BREATH AWARENESS BEFORE LEADING A STUDENT TOWARD ADVANCED TECHNIQUES OF MEDITATION, BUT SOME OF THE MODERN SCHOOLS HAVE FAILED TO GRASP ITS SIGNIFICANCE. THIS IS WHY THEIR TEACHERS ARE UNABLE TO LEAD THEIR STUDENTS TO DEEPER STATES OF MEDITATION.

                       THE MIND IS IN THE HABIT OF IDENTIFYING ITSELF WITH THE OBJECTS OF THE WORLD, AND IT DOES NOT BECOME AWARE OF INTERNAL STATES AS LONG AS IT REMAINS IN THIS DISSIPATED CONDITION. WITH SYSTEMATIC DISCIPLINE, HOWEVER, THE MIND STARTS TRAVELIING INWARD TOWARD THE MORE SUBTLE LEVELS OF CONSCIOUSNESS, AND WHEN ONE ATTAINS A STATE OF PERFECT STILLNESS AND TRANQUILITY, THAT WHICH IS BEYOND THE MIND REVEALS ITSELF.

                IN LEARNING TO MEDITATE, TRANSQUILITY OF MIND IS AN IMPORTANT FACTOR, BUT EVEN MORE IMPORTANT IS BREATH AWARENSS, THE PRIMARY STEP IS TO FIND A STEADY, COMFORTABLE, AND EASY POSTURE. TH SECOND STEP IS T DEVELOP CALM, SERENE, AND EVEN BREATHING. THE THIRD IS TO CALM AND STEADY THE MIND, WHICH IS THE ONLY MEANS FOR EXPERIENCING THE DEEPER LEVELS OF BEING. THE FOURTH STEP IS TO GAIN CONTROL OF THE CONSCIOUS MIND, FOR THIS CONTROL CAN MAKE ONE DYNAMIC AND CREATIVE. IN THE FIFTH STEP, THE INVOLUNTARY SYSTEM AS WELL AS A VAST PART OF THE UNCONSCIOUS MIND, INCLUDING THE MEMORY, ARE BROUGHT UNDER CONSCIOUS CONTROL, AND IN THE SIXTH STEP, THE MIND BECOMES AWARE THAT IT IS CONDITIONED BY TIME, SPACE, AND CAUSATION. THROUGH MEDITATION, THE MIND CAN BE TRAINED TO REMAIN AWARE OF THE PRESENT MOMENT, THE DOOR TO ETERNITY. IN THE SEVENTH STEP, CONSTANT AWARENESS IS DEVELOPED THROUGH THE REGULAR PRACTICE OF MEDITATION, AND THE HIGHEST STATE OF TURIYA IS ATTAINED. THIS STATE IS FULL OF BLISS, PEACE, HAPPINESS, AND WISDOM.

                   AFTER SERIOUS OBSERVATION AND ANALYSIS OF ITS FUNCTIONINGS, YOGIS HAVE FOUND THAT THE MIND FORMS THE HABIT OF BEING CONDITIONED, EITHER BY REMEMBERING PAST EXPERIENCES OR BY IMAGINING THE FUTURE. THERE IS NO TECHNIQUE WHICH HELPS IT TO BECOME AWARE OF THE PRESENT EXCEPT THAT OF MEDITATION AND CONTEMPLATION. BUT MEDITATION IS NOT A METHOD OF ALLOWING THE MIND TO ROAM AIMLESSLY. IT IS A CONSCIOUS EFFORT OF COORDINATING THE BODY, THE BREATH, AND THE MIND. IN THE MONASTIC TRADITION, TEACHERS DO NOT TEACH THE ADVANCED TECHNIQUES OF MEDITATION UNLESS UNLESS THEY SEE THE SIGNS AND SYMPTOMS OF STILLNESS OF THE BODY AND SERENITY OF THE BREATH DEVELOPING IN THE STUDENT.

                    WHEN A STUDENT LEARNS TO STILL HIS BODY, HE BECOMES AWARE OF MANY TREMORS, TWITCHINGS, AND MOVEMENTS THAT HE WAS MOVE, BUT NO ONE HAS TAUGHT HIM HOW TO BE STILL, AND SITTING STILL IS VERY IMPORTANT, FOR THE LEGS MOVEMENTS THERE IS IN THE BODY, THE STEADIER THE MIND WILL BE. ALL OF THE TREMORS OF THE BODY ARE CAUSED BY AN UNDISCIPLINED AND UNTRAINED MIND. WHEN A STUDENT EXAMINES HIS BEHAVIOR, HE FINDS THAT NOT A SINGLE ACT OR GESTURE IS INDEPENDENT. THE MIND MOVES FIRST, AND THEN THE BODY MOVES - AND THE MORE THE BODY MOVES, THE MORE THE MIND DISSIPATES. WHEN THE STUDENT HAS LEARNED TO BE STILL, HOWEVER, AND BEGINS PRACTICING THE TECHNIQUES OF BREATH AWARENESS AND MEDITATION, HE DISCOVERS HE CAN HAVE CONSCIOUS CONTROL OVER HIS BODY, BREATH, AND MIND.

                          SO THE FIRST THING ONE MUST LEARN IS TO SIT STILL. THE RIGHT POSTURE IS ONE THAT MAKES ONE STEADY AND COMFORTABLE. AND IT IS ONE IN WHICH ALL OR MOST OF THE BODY PARTS ARE FREE FROM THE PRESSURE OF OTHER BODY PARTS.

                              SUKHASANA (EASY POSE)

                      SITTING WITH THE HEAD, NECK, AND TRUNK STRAIGHT, PLACE THE LEFT FOOT BENEATH THE RIGHT KNEE AND THE RIGHT FOOT BENEATH THE LEFT KNEE. EACH KNEE RESTS ON THE OPPOSITE FOOT. PLACE THE HANDS ON THE CORRESPONDING KNEES AND APPLY THE FINGER LOCK. THIS IS A POSTURE FOR BEGINNERS.