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If the body is elemental, affective and material or insentient (箩补岣峚) what is the cosmos? The cosmos encompasses the proximate locale of the practitioner, the manner of polity (ideally peaceful as conducive to yoga practice), and the earth more broadly as goddess, as heaven and hell realms, and as constituted by the phases of emergence, continuity and dissolution. It is these latter senses, of cosmos as elemental and temporally cyclical that are perhaps most relevant here, yet the earth as goddess can also correlate to 办耻峁囜笉补濒颈苍墨 as goddess. The analysis of the yogi as sovereign is also informed by the relationship between earth as goddess and yogi as sovereign. The 丑补峁环补 yogi appears to gain control of the cosmos as does the yogi of the 惭补丑腻产丑腻谤补迟补: 鈥�Yoga leads not only to control of oneself, but also to control of the world鈥� (Jacobsen 2005:6).

The texts articulate the elemental constitution of the cosmos. In the 础尘峁泃补蝉颈诲诲丑颈 the cosmos is within the body in terms of geographic and divine cartography (础尘峁泃补蝉颈诲诲丑颈 1.15-17) and the cosmic features of sky, wind, fire, water and earth are in the body (础尘峁泃补蝉颈诲诲丑颈 1.18). In the 碍丑别肠补谤墨惫颈诲测腻 the yogi sees the entire universe as undifferentiated from himself (碍丑别肠补谤墨惫颈诲测腻 1.64). But here I focus on a passage in the 骋辞谤补办峁�a艣补迟补办补. Here a rather difficult passage appears to identify the cosmos and body as of the same nature. Two verses define freedom from the state of materiality (箩腻岣峺补产丑腻惫补惫颈苍颈谤 尘耻办迟颈岣�) and error regarding the appearance of time (骋辞谤补办峁�a艣补迟补办补 91) as doctrines that have the form of the rope and the snake鈥攊.别., doubt about the nature of reality. Time is the cause of doubt about the nature of reality (骋辞谤补办峁�a艣补迟补办补 92).^[1] The elemental universe is illusory from the perspective of the temporal body (骋辞谤补办峁�a艣补迟补办补 93) as it is produced from the elements: it is neither real in name nor form (骋辞谤补办峁�a艣补迟补办补 94). It is through comparison between the universe and the body that both are found to be unreal. Both are material and insentient although they appear otherwise within the incorrect frame of temporal perception. The text draws on tropes familiar from 惫别诲腻苍迟补 to make this case: in addition to the rope and snake we have water in a mirage, the hare鈥檚 horn, and knowledge from a dream (骋辞谤补办峁�a艣补迟补办补 92-97). If the argument is sophisticated the witnesses are poor. What is clear is that through introspection the body is revealed as insentient or material because it is formed of the elements (骋辞谤补办峁�a艣补迟补办补 98)鈥攁nd the universe is also elemental (骋辞谤补办峁�a艣补迟补办补 93). 骋辞谤补办峁�a艣补迟补办补 99, again difficult to construe, appears to assert the importance of the breath while 骋辞谤补办峁�a艣补迟补办补 100 refers to seven levels and the attainment of perpetual happiness in a condition it calls 鈥榖eing without fire鈥� (骋辞谤补办峁�a艣补迟补办补 100). The text concludes with a poetic and sexual interiorisation of the practice that we shall consider in chapter four. The description of the body as material (箩补岣峚) and composed of the elements is key to understanding how the processes of yoga, such as baking (辫腻办补) and meditation on the elements, operates. Here I emphasise the articulation of the body and cosmos as both 箩补岣峚.