Permanent Friendship - Verse 2

When the seer observes "the actor" as not other than the guṇas...
and knows (self) beyond the guṇas, one discovers my being.

This verse, and the previous three in the Equanimity sequence are all variations of one intent – to end avidyā - what is opposed to vidyā - Self knowledge. Avidyā is, in Patanjali's words, the field for all other kleśa-perpetual causes of suffering.

This verse boosts the power of one's Self to "overrule" described in the previous verse "Self is the friend of that Self by which self is overruled"

Here ātman–Self is named draṣṭā-seer;
The self (actually anātman–not-self) who, in the last verse "acts just like an enemy" – is kartā-actor/doer, the one who acts– but not like an enemy because of being seen clearly as just the guṇas. The guṇas were featured in "Equanimity" Verse 2

In ancient Sānkhya-yoga theory, all change in life was described as proprietary to the interaction of three guṇas; sattva-light, rajas-action, tamas-inertia. All creation was simplified for the sake of the distinction made in this verse:

When one sees the actor, the one who breathes, thinks, sees, hears, talks, walks, eats, sleeps, remembers, plans etc. as nothing more than guṇas, then the seer observes the various physical instruments of seeing, hearing, talking... the field expanding with pleasure, contracting with pain... all as changes of ever-transforming guṇas - while I (ātman), the seer, continue to observe.

Seeing remains the same. I, the seer, remain the same. This verse completes the meaning of Verse 3 in the "Equanimity" series; "the same in pleasure and pain.. the same in blame and praise." It's the seer alone who is the friend. And amazingly, the guṇas, now in their proper perspective, are friendly, not unfriendly.

No-one should take anyone's word about this. Put it to the test.
Try sitting quietly.. observe the moment when exhalation ends and inhalation begins, with no effort to control the breath, and no desire to have any result other than observing the moment when the return of breath to the body begins – you can see – it's moving by itself – not because of anything I'm doing. The air outside the body will enter in even if you say "no". Try applying the formula "breathing is nothing other than the guṇas"

Then, while continuing to observe the breath, notice that the hearing of sounds is occurring - the auditory instrument is recording a wide range of sound - just observe hearing taking place continuously. Even if you say "stop" it will continue. . . "hearing is nothing other than the guṇas"

The bigger test of "seeing" is to apply it to painful, negative and upsetting experience. With a bit of effort to remain as the seer, the same insight can be applied "this is nothing other than the guṇas. The I-actor worried about continuation and consequence is just guṇas."

Bring in support from Verse 3 "remaining the same in pleasure and pain", or the same as when observing the breath... as when observing hearing.

With some practice-abhyāsa (and some letting go–vairagya) the second half of the verse takes root "One knows oneself beyond the guṇas." and "one discovers My Being" – not as far away as it may have seemed.

Although the Gitā preceded the Yoga Sutras by centuries, the language is identical. The foundation of Patanjali's whole presentation is the dichotomy between draṣṭā and dṛśya, seer and seeable. In II.18 he defines dṛśya first as the light, action and stasis–the guṇas. Two sutras later he defines "draṣṭā–seer" as "just seeing"– pure, although observing (anupaśya*) behaviors. *see anupaśyati in the 4th line

Everything described above perfectly fits Patanjali's opening definition of yoga in Sutra 2. Sutra 3 states "then the standing apart of the seer (I) in my true nature."

Pronunciation Tips to increase your enjoyment
t and d and n are dental sounds with tip of tongue touching back of upper teeth.
ṭ and ṣ are cerebral sounds with tip of tongue turn up towards the front of the palate vault.
Note: their position occurs naturally in the word draṣṭā, sh sound ṣ guides the tongue to a cerebral ṭ.
ch, bh and dh (dental) are made with added breath.
ś (sh) in anupaśyati is palatal, pronounced with tongue in the same position as the ya or ca which follow it and guide the tongue to a natural palatal ś .

Each segment is repeated twice: 1st Listen - 2nd Repeat