CHAPTER 3

as adopted in the Esoteric School of the Sufi Movement:

(All breathing practices herewith mentioned are done with the help of a metronome set to 60 beats per minute. The given number of beats are suggested here as basic proportions but are open to variation)

3.1. The Twenty Purification Breaths (see Initiator’s book I, p.7)

This practice, done with closed eyes, consists of the following (the number of beats is ad libitum):

5xNN: 5 times in through the nose and out through the nose

5xNM: 5 times in through the nose and out through the mouth

5xMN: 5 times in through the mouth and out through the nose

5xMM: 5 times in through the mouth and out through the mouth

The concentration is on the pure energy of the Prana that is so beautifully described in the words of the Sufi prayer called Nayaz. This prayer is done for purification purposes as well as healing purposes, and for inspiration and strength.

3.2. The Element Breaths

This practice is done with closed eyes, in the same sequence as the twenty purification breaths, but with the difference that it is done while focusing on specific locations and maintaining appropriate concentrations:

In through the nose / out through the nose, while focusing on the tip of the nose. Concentration on the stability of the earth element imagined in a predominant yellow shade.

In through the nose / out through the mouth, while focusing on the bridge of the nose. Concentration is on the ongoing movement of the water element imagined in a predominant green shade.

In through the mouth / out through the nose, while focusing on the third eye (center of the forehead). Concentration is on the source of energy in the fire element imagined in a predominant red shade.

In through the mouth / out through the mouth, while focusing on the top of the head (the fontanel). Concentration is on the inspiration received through the air element imagined in a predominant blue shade.

In through the nose / out through the nose, with a very silent and subtle breath, hardly perceptible or audible, while focusing one meter above the head. Concentration is on a crystal ball where all colors are perceptible and which rises higher and higher in one’s imagination. As it rises the image loses the concept of shape and becomes gradually a brilliant light which transforms into an all-pervading illumination, visualized as an abstract description of the Ether element, which inspires meditative attunement. The fifth part is done on an open rhythm.

Or, to put it in a scheme:

N4-N6 tip of the nose stability of the earth element yellow shade

N4-M6 bridge of the nose ongoing movement of the water element green shade

M4-N6 third eye source of energy in the fire element red shade

M4-M6 top of the head inspiration received through air element blue shade

NN 1 m. above head crystal ball (rising higher and higher) all pervading light

3.3. The Focusing Breaths

N4-N6: Breathe in through the nose / out through the nose, 4 in / 6 out; or:

N4-M6 In through the nose / out through the mouth, 4 in / 6 out.

This is done with open eyes while focusing a round spot of a chosen color placed on the wall at about 2-3 meters distance and is done for a minimum of 5 minutes.

It can also be done with closed eyes visualizing the focused spot.

3.4. The Stretch Breaths

Breathe in through the nose for 5 beats and breathe out through the mouth for progressive numbers, for instance: 6 times 5 in 5 out / 5 times 5 in 10 out / 4 times 5 in 15 out / 3 times 5 in 20 out / 2 times 5 in 25 out / 1 time 5 in 30 out; with open eyes, all the time focusing a chosen spot.

Put in a scheme:

6x N5 - M5

5x N5 - M10

4x N5 - M15

3x N5 - M20

2x N5 - M25

1x N5 - M30

and then reversely, in order to re-create the natural rhythm of one’s breath:

2x N5 - M25

3x N5 - M20

4x N5 - M15

5x N5 - M10

6x N5 - M5

This practice can also be done NN,
or as above mentioned, but this time with closed eyes while visualizing a candle on a table. On the outgoing breath through the mouth one is mentally blowing upon the flame of the candle which bends accordingly in our imagination. The image of the candle and the blowing is no more done in the reverse process.

3.5. The Retention Breaths

(see Sufi Teachings, Lectures of Lake O’Hara, p.114-118)

While manipulating the breath, such as holding in and out, and following in thought the given lines, one is mentally tracing geometrical shapes in front of the tip of the nose. It is first done with open eyes and later on with closed eyes.

This practice includes the following patterns:

The triangle breath pointed downwards,

The triangle breath pointed upwards

The square breath

The rectangular breath, vertical or horizontal

The circular breath

3.5.- The triangle breath.

For the triangle breath the numbers of beats for the retention and the holding out can vary in accordance with the intensity of purpose involved, and the ingoing and outgoing breath are done on the same number of beats, for instance: 6-6-6, starting either on the right or on the left side (jelal, jemal)

3.5.a) The triangle breath pointed downwards

Focusing upon the triangle shape pointed downwards, while tracing with the sight the lines of the triangle, starting on the left side, one absorbs Divine Energy, which is then shining within during the retention of the breath; then on the outgoing breath through the right nostril the Jelal condition is experienced. Similarly, when reversing the process, inhaling through the right nostril - absorbing Divine Energy - and exhaling through the left nostril, it is the Jemal condition which is experienced. This practice offers various levels of spiritual inspiration.

3.5.b) The triangle breath pointed upwards

During this practice the breath is held out instead of in. This is done when inhaling through the left nostril and exhaling through the right nostril, and then holding out (opposite of retention), hereby processing a Jelal experience. Then similarly, when inhaling through the right and exhaling through the left nostril, and holding out, this process is a Jemal experience. This practice develops will-power, inasmuch as the mastery over the want to "be" is obtained in the absence of the incoming breath, following which it becomes obvious that the "will power" is of Divine origin, whereas the "want" - which is of human nature - is the energy of the ego.

3.5.c) The square breath

This practice can be done either as a Jelal or as a Jemal experience, conditioned by the exhalation which is either on the right or on the left. It is processed on even beats, with the same number for the inhalation, retention, exhalation, holding out. This practice brings about a balanced condition; beginning left: for the development of will power, beginning right: Jemal.

3.5.d) The rectangular breath

In the vertical rectangular breath the holding and retention are shorter than the in-breath and out-breath, whereas in the horizontal rectangular breath it is the reverse: the retention and holding are longer than the in-breath and out-breath. These breaths (6-3-6-3 or 3-6-3-6), which are effective in experiencing either Jelal or Jemal conditions, are also extremely appropriate when associated with a creative thought, in particular as a Fikar. In the horizontal breath the thought and emotions are more intensely experienced, while in the vertical breath the attention is drawn more particularly to the breath discipline in combination with the idea of absorbing (in-breath) as well as projecting (out-breath) the chosen subject of meditation.

3.5.e) The circular breath.

We know that a vibration is in fact an eternal rotating process. Similarly the breath, which is the source of all action - within and without - represents also an eternal rotating process. For instance, when mentally tracing with the breath a luminous circle - either in or out on 1 circle, or in or out on _ circle -, one eventually realizes that one is creating an akasha of light in the shape of a cone, while at the same time being oneself the spectator of its brightness. While putting into motion that luminous circle, one places it higher and higher above the crown (Sahasrara chakra) - thereby developing deeper insight -, and as it climbs higher and higher upwards it’s luminosity becomes more and more intense, so that it’s presence is so bright that nothing else is mentally seen, neither within nor without.

3.6. The Projection Breaths (for healing)

This practice is developed particularly in relationship with healing purposes, but is also used in connection with the awakening of one’s own chakras. In this practice the breath is mentally projected in progressive stages: to a given area of one’s own body, or more specifically upon a chosen chakra. During this process one is visualizing a powerful light-stream which the breath is projecting upon the chosen spot, for the purpose of spiritual healing. This same process is practiced while visualizing an image at a distance, where either spiritual healing or spiritual awakening is wanted. This practice is done in three different stages:

inhaling through the nose and blowing through the mouth towards the chosen spot
breathing in through the right nostril and breathing out through the left nostril in the direction of the chosen spot. In the spiritual healing the Jemal breath is receptive of the divine healing power; whereas breathing out through the right nostril is avoided because of the creative characteristic of the Jelal breath.
breathing in and out through the nose as a Fikar.

In all three stages the in-breath is done on Ya Shafi and the out-breath on Ya Kafi, with the understanding that Ya Shafi is the healing power absorbed from the Divine Presence and Ya Kafi is the projection of that healing power flowing through the channel of one’s own selfless Prana.

3.7. The auto-suggestion Breaths (Fikar)

(See Initiators’ book II, p.17-20; book III, p. 11-15)

This is a rhythmic breathing practice, where the breath is associated with a mentally repeated wazifa. It is done on a subtle and smooth breathing, either during a certain number of repetitions, or unconsciously at any time during daily occupations. The wazifa is chosen in accordance with a desired purpose, either of a creative nature, or of an inspiring one.

3.8. The Alternative Breaths

3.8.a) preparation for Kasab

This practice is done on a rhythmic formula: 4 in / 6 out (N4 - N6); - either RN4 - LN6 (Jemal): in through the right nostril and out through the left nostril, - or LN4 - RN6 (Jelal) : in through the left nostril and out through the right nostril. When in need of a Jemal condition one does the Jemal breath, whereas when in need of a Jelal condition one does the Jelal breath. When it is desirous to be in a meditative condition one attunes oneself to the Kemal breath, which is established when alternating Jemal and Jelal in as many repetitions as required: - RN4 - LN6 ~ LN4 - RN6 (this is the Kemal breath. See also page 8 about the two Kemal conditions) These practices are done with closed eyes while visualizing the bright light of the Prana flow to be seen at the tip of the nose.

3.8.b) The Kasab Practice of the Sufis -( Initiators’ book III, p.16 - 23)

Done in either of the following formulas (in-holding-out), the 2^nd being an intensification of the chosen breath.

Jemal : RN4 - 8 - LN4or:* Jemal : 5x LN4 - 8 - LN4

Jelal LN4 - 8 - RN4* Jelal 5x RN4 - 8 - RN4

Kemal LR4 - 8 - LR4* Kemal 5x LR4 - 8 - LR4

3.9. Breaths associated with a mystical concept (Shagal)

- see booklet Shagal.

In this practice the breath is as a bridge connecting the outer and inner worlds, drawing and withdrawing impressions to and from both levels of consciousness. Then, after proceeding through the entire complex coordination of thinking, these impressions are then reflected upon an inner screen, the root of all five senses, the inner consciousness. This Sufi practice, called Shagal, offers the understanding of breath as an energy with two opposite attractive poles together in one and the same function - either drawing inward or drawing out from within. This practice consists of symbolically blocking the entries of the senses with the fingertips, thus pulling a veil over outer impressions in an effort to open up a contact with the energy which is drawn from within. In other words, in this practice the usual working of the senses is reversed. That is to say, one is drawing from within instead of from the outside, with this difference: that which is drawn from within is the very source of all sensorial energy, whereas that which is received from the outside, although sustained by the energy of the cosmos, wears an inescapable veil of mental substance.

When closing the hearing, one listens to the unstruck sound of the cosmos, then audible within as the sound HU.

When closing the eyesight, one searches for the inner light, revealed as luminosity with no relationship to any material concept of brilliancy.

When mentally closing off the taste (while pressing the tongue on the palate), one replaces it by an incoming feeling of savoring the nature of values unknown to the tongue.

When closing the nostrils, thereby blocking the outgoing flow of breath, one is merging the self-consciousness into the Prana energy, which has been held within. It is then, in the absence of self-consciousness, that the true reality of the cosmos - which is just as much within as without - is revealed; just like the light which shines within the light globe as well as outside.

The sense of touch is sublimated to a higher level of perception, different from the ordinary understanding of the concept of touch, when attuned to the subtle contact with the central consciousness, the Divine Presence.

When all five senses have been inwardly discovered, a further step consists of practicing these all together in a combined experience.

It is essential to indicate that these meditative practices cannot have any effect unless they are done without any self-assertion or any material purpose.

End Chapter 3