Sound of Sanskrit Oral Traditions of Sanskrit Uma
- Slides: 111
Sound of Sanskrit Oral Traditions of Sanskrit Uma Swaminathan & S. Swaminathan
The arts of memory Remembering can be the means of salvation A. K. Ramanujan from 'Uncollected Poems and Prose',
Many years ago, I witnessed a remark able feat of memory. A Jaina monk came to our college, and a performance of his Astavadhana was arranged. Astavadhana means 'attention to eight things at once'. He was able to do the following eight things simultaneously: he repeated without change a poem that was recited to him by one person, answered several questions in philosophy, arithmetic, or the local newspaper put to him by three others, played a game of dice with another, and a game of chess with still another, completed a half finished verse recited by a seventh person, and finished by accurately giving us the count of pebbles that were being thrown all the while on his bare back. He could also dictate eight different texts, often compositions of his own, to eight different copyists.
These feats displayed skills of both mindfulness and memory. Such arts of memory are part of ancient classical and oral traditions. We know that the Vedas were orally transmitted for centuries before they were written down; even after they were written down they were systematically memorised, gotten by heart, inscribed as it were on the bodies of the reciters. The techniques for acquiring them orally included not only grammatical and phonetic analyses, but various pedagogic methods of marking each uttered phrase physically by various gestures and bodily movements so that the texts were inscribed almost into the body's motor memory.
When I was studying linguistics at Poona, we interviewed an 80 year old Vedic scholar who could without a moment's pause, repeat any part of the Rg Veda from any point to any point, backwards, omitting every other line, give you a concordance of any word or phrase you chose citing its use through the entire text, and so on. We were the ones who were exhausted at the end of the performance.
Indian musicians know all their texts and songs and ragas by heart, Indian epic reciters and orators often use no notes, and I've a friend who once reproduced a poem of mine that I'd lost, which he had seen only once some years earlier. One may, of course, relate these skills to a learned yet oral tradition. Later, even with literacy and the use of palm leaf manuscripts, one needed to possess the text orally as the manuscripts were few, often no more than once, in the possession of a teacher who guarded it like gold. Yet there were other reasons for the cultivation of these arts. .
Remembering was not a mere skill to show off, it was the means of enlightenment and salvation. . .
Oral Traditions of Sanskrit
India has achieved a remarkable success in oral transmission. Sanskrit was one among the main vehicles through which this was accomplished. Sanskrit language itself was best suited for this. It is our aim to suggest these factors of Sanskrit: making of its alphabet, its grammar and the role played by the poetic metres. While doing this an attempt will be made to breeze through the treasure of its rich literature, and through Indian advances in science accomplished mostly through the medium of Sanskrit
An Invocation from Rig Veda "Om: “O Devaa-s, may we hear with our own ears what is auspicious; “May we see with our own eyes what is auspicious; “May we enjoy the term of life allotted by the devaa-s, praising them with our body and limbs steady; “May the glorious Indra bless us; “May the all‑knowing Sun bless us; “May Garuda, the thunderbolt for evil, bless us; “May Brhaspati grant us well‑being. ” “Om, Peace, Peace. "
Indian Tradition Intellectual activity in India has always strongly favoured oral over written means of expression “Things from books are not as good as things from living and abiding voice. ”
Sanskrit language and its literature are some of the great heritages of India. It is a precise and a profound language. It is not merely a language, but also a science and an art. Its grammar compares with world's complex scientific structures. To say that Sanskrit symbolises Indian spirit would not be an exaggeration. The success of Indian oral tradition owes to a great extant to Sanskrit.
Let us start from the earliest literature and study how they contributed and furthered oral tradition.
Veda-s Its earliest literature, the Veda s, are a few thousand years old and are transmitted wholly orally. Veda s are fountain head of most that can be called Indian. Vedic thought is the basis for Indian philosophy and spiritualism and many branches of arts and science.
Vedic Literature Vedic scriptures comprise of great Veda s: Rig, Yajur, Sama and Atharva Veda s. Each of these has three main sub divisions: samhita s : sacred hymns, in verse; prayers addressed to the gods to be recited in sacrificial ceremonies br. Ahma. Na s : commentaries on the Veda s, mostly in prose and are details of rites and mode of performance. Ara. Nyaka s, of which Upanishad s are chapters
Four Veda-s Rig veda is the most important; oldest and forerunner of the later scriptures; It is an important part of both historical and living traditions of India Yajur veda, mostly in prose form, contains sacrificial formulae and prayers Sama veda, its major portion from Rig veda, explains the sacrificial rites; it is chanted in a musical fashion, and considered to be the basis of Indian classical musical scale Atharva veda, in prose and in poetry, mainly deals with charms etc.
Rig Veda consisting of more than 74000 words was transmitted purely orally, while preserving the text free of interpolation, modification or corruption
Oral Tradition Oral tradition was such a remarkable success that all knowledge was passed on orally then on. Possible factors for this were: All literature being mainly in poetical form, and the prosodic structure and use accents aiding congregational chanting, and adopting of various modes of recitation to avoid corruption were some important factors.
In later times, this led to certain highly original steps that resulted in an oral tradition that has not been excelled anywhere, any time.
One such accomplishment was the arrangement of a logical alphabet, an outcome of scientific analysis of sounds that form the language. The other is even more remarkable, that is, compiling a grammar of great efficacy and brevity, a feat only shared by its neighbour language, Tamil. A large vocabulary was, then, possible, using precise and clear cut rules.
Sanskrit Alphabet Sanskrit alphabet is a remarkable and has no parallel in the world.
Vowels and Consonants The sounds produced by human voice were first divided into mainly two major groups: vowels, which can be produced continuously, and consonants, which cannot be.
This by itself must be a great break through. This can be appreciated when we see that many contemporary languages did not make such a difference at all, and many ancient languages, like the Sumerian, Egyptian, Hebrew and Arabic did not use vowels at all or used very few.
Identifying Letters of Alphabet At least four factors have been taken into account in identifying and defining sounds that are included in the alphabet:
1. Place from where a sound originates in the vocal system, called sth. Ana (xjÉÉlÉ) 2. Nature of effort required to produce a sound, called prayatna (mÉërɦÉ) 3. Duration of a sound, called k. Ala (MüÉsÉ) 4. Whether a sound is reflected, amplified or attenuated, called kara. Na (MüUhÉ) Not only the formation of the alphabet but also naming them shows the rational mind.
Alphabet The Sanskrit alphabet consists of 48 letters that are known as var. Na-s (uÉhÉï ‘that give colour to the language’).
These 48 form three groups: i) vowels [svara, xuÉU], 13 (xuÉrÉÇ UÉeÉiÉå CÌiÉ xuÉUÈ ‘that exists or shines by itself’), ii) consonants, [vyanjana, urÉgeÉlÉ] 33 (AlÉÑ urÉerÉiÉå CÌiÉ urÉgeÉlÉÈ ‘that is pronounced after it has been joined with a svara’)], iii) others visarga (ÌuÉxÉaÉï), a sort of hard breathing out like ‘ha’, and anusv. Ara (AlÉÑxuÉÉU), a nasal sound like ‘m’. All these arranged on the basis of the origin of production of these sounds.
Normally one lists visarga �: and anusv. Ara ��under vowels. Sanskrit is syllabic, and generally, a word in Sanskrit ends in a vowel, a visarga or a anusv. Ara.
Origin of Sounds Five locations have been identified Throat (guttural Mül. P) Roof of mouth (palatal iÉÉsÉÑ) Tongue (cerebral qÉÔkÉïlÉç) Teeth (dental SlirÉ) Lips (labial AÉå¸rÉ) Let us start with vowels (xuÉUÈ svara s)
Vowels are known as (xuÉUÈ svara s) �, �, �, � and �are simple and short vowels. Their long varieties are �, �, � and �. (� does not have a long sound). There are four compound vowels �, �, � and �. (These are called diphthongs in English)
Vowels Origin of Sound Throat Roof of Mouth Tongue Teeth Lips Simple Short Long � � � Compound (Diphthong) � � � �
Simple vowels compound to produce diphthongs �+ � = � � + �= � �+ � = �
Consonants are called urÉgeÉlÉÈ (vyanjana s). The identification of consonants and their arrangement, as mentioned before, are remarkable again. Four kinds of consonants exist in Sanskrit.
Stopped Consonants The first is called sparsha (xmÉzÉï ‘touch’), for to produce these sounds the tongue or other parts have to touch specific places in the mouth. They are known as ‘stopped consonants’
Five such positions of touch have been identified: � a sound produced at the throat, � the tongue touches the roof of mouth to produce this sound, � a sound caused by the tongue, � � originates at the teeth, and, finally, a sound produced at the lips. We can see the logic in this series. In the first the vibration is created at the throat, and moves progressively towards the lips.
To each of these is associated a group (uÉaÉï varga). The first letter of each varga, for example, � is hard (AbÉÉåwÉ agho. Sha), that is, light in resonance, called ‘voiceless’ and since breath is held back, it is non aspirate (AsmÉmÉëÉhÉ alpa-pr. Ana).
Origin of Sound Simple - Throat � Roof of Mouth � Tongue � Teeth � Lips � We can see the logic in this series. In the first the vibration is created at the throat, and moves progressively towards the lips.
Origin of Sound Simple - Throat � Roof of Mouth � Tongue � Teeth � Lips � Voiceless (agho. Sha) and is called ‘simple’, as the breadth is held back, it is non-aspirate (alpa-pr. Ana).
Origin of Sound Unvoiced Simple - Aspirat e Throat � � Roof of Mouth � � Tongue � � Teeth � � Lips The second letter is also simple, but, aspirated, that is, the breath is thrown out (mah. A-pr. Ana).
Origin of Sound Unvoiced Voiced Simple - Aspirat e Throat � � Roof of Mouth � � Tongue � � Teeth � � � � Lips The third are ‘light’ (gho. Sha), rich in resonance (voiced), but in the first of this pair the breath is held back (alpa-pr. Ana) and in the latter it is thrown out (mah. A-pr. Ana).
Stopped Unvoiced Voiced Origin of Sound Nasal Simple - Aspirat e Throat � � � Roof of Mouth � � � Tongue � � � Teeth � � � � � Lips Each group ends in a nasal sound (n. Asik. A) that is soft and resonant.
Semi-vowels Semi vowels are the sounds that lie between the vowels and ‘stopped’ consonants. These are, hence called antasparsha (AliÉxmÉzÉï semi vowels). To produce these sounds the tongue touches very lightly the place of contact, and not fully as in the sparsha. Four have been identified and they are:
Origin of Sound Stopped Unvoiced Voiced Nasal Semi vowel Simple - Aspirat e Throat � � � Roof of Mouth � � � Tongue � � � Teeth � � � Lips
Sibilants produce close to whistling sounds and create heat when sounded. Hence these are called ushman (EwqÉlÉç ‘heat’). The sounds are �, �and �.
Origin of Sound Stopped Unvoiced Voiced Nasal Semi vowel Sibi lant Simple - Aspirat e Throat � � � Roof of Mouth � � � � Tongue � � � � Teeth � � � � �b � � � Lips
Others Aspirate � visarga �: anusv. Ara �� Normally one lists visarga and anusv. Ara under vowels. (Sanskrit is syllabic, and generally, a word in Sanskrit ends in a vowel, a visarga or a anusv. Ara. )
No one who looks at this alphabetical structure can remain without being amazed at the depth of the insights and the clarity of vision. It would be difficult to find an alphabet in any language that is organised so systematically and logically.
Vedic recitation Vedic stanzas are learnt and transmitted orally. Accent is the most characteristic of Vedic chants. Vedic stanzas were regulated by number of syllables, and the occurrence of long and short syllables were restricted only to the cadence. But by the classical period, accent was discontinued, but a definite length and a specific sequence of short and long syllables defined the metres.
Accent For reciting the Veda s accents came to be used to avoid monotony, and to promote unison in congressional chanting a base tone, ud. Atta (ESɨÉ), a higher tone, svarita (xuÉËUiÉ), and a lower tone, anud. Atta (AlÉÑSɨÉ), came in use. Later seven notes was employed in chanting Sama Veda It is believed this is the basis of Indian classical music
higher tone svarita, (superscripted in the text below) base tone ud. Atta, (unmarked in the text below) lower tone anud. Atta, (underlined in the text below) ������� ������ ��������� | ������� ������ � � �� : �� ���� �
Modes of Recitation For correct transmission of Vedic text five modes of recitation employed In these adjacent words are combined in a number of ways
1. samhita p. ATha (xÉÎq. WûiÉ mÉÉPû) (Continuous Recitation) Governed by rules of metre 2. pada p. ATha (mÉS mÉÉPû) (Word Recitation) Each word without sandhi 3. krama p. ATha (¢üqÉ mÉÉPû) (Step Recitation) (ab, bc, cd, . . . ) 4. ja. TA p. ATha (eÉOûÉ mÉÉPû) (Woven Recitation) [ab, ba, ab], [bc, cb, bc], . . . 5. ghana p. ATha (bÉlÉ mÉPû) (Compact Recitation) [ab, ba, abc, cba, abc], [bc, cb, bcd, dcb, bcd], . . .
Some authorities say that eleven modes were used: v. Akya, pada, krama, ja. TA, m. Al. A, sikh. A, rekha, dhvaja, danda, ratha, ghana
Ghana-patha In ghana p. ATha adjacent words are combined as [ab, ba, abc, cba, abc], [bc, cb, bcd, dcb, bcd] etc As an example we shall take the first three words and make the combination as per ghana p. ATha; the first three words are गण न a तव b c गणप त
Vedanga-s (Limbs of Veda-s) ved. Anga s are treatises on correct recitation, and adherence to ceremonial rites Sik. Sha (ÍzɤÉ) – correct pronunciation chhanda (Nûl. S) – poetic metres nirukta (ÌlÉ £ü) – etymology of Vedic vocabulary vy. Akar. Na (urÉÉMühÉï) grammar jyoti. Sha (erÉÉåÌiÉwÉ ) – science of calendar kalpa (MüsmÉ) – performance of sacrifice
Chhanda (Poetic Metres) Earliest Texts rig-veda-prati. SAkhya and nid. Ana-s. Utra of Sama veda Post Vedic Treatises chanda-s. Utra of Pingala (Pre Kalidasa) v. Rtta-ratn. Akara of Kedarabhatta (15 th cent. )
In poetry, poetic form is achieved in many ways; but definite and predictable form would be evident In Sanskrit the pattern is based on syllables, and on duration of time required to express a syllable Poetic metres of Sanskrit belong to two periods Vedic period Classical Period
Vedic poetry is a collection of s. Ukta s (xÉÔ£ü ‘hymn’) A hymn may contain upto fifteen lines Each line is a prosodic entity, divided into one or two p. Ada s (mÉÉS ‘quarter’) xÉWûxÉëzÉÏwÉÉïmÉÑ wÉÈ xÉWûxÉëÉ¤É xÉWûxÉëmÉÉiÉç xÉpÉÔÍqÉÇÌuɵÉiÉÉåuÉ×iuÉÉ AirÉÌiɸ¬zÉÉ…¡ÓûsÉqÉç
xÉWûxÉëzÉÏwÉÉïmÉÑ wÉÈ xÉWûxÉëÉ¤É xÉWûxÉëmÉÉiÉç xÉpÉÔÍqÉÇÌuɵÉiÉÉåuÉ×iuÉÉ Each. AirÉÌiɸ¬zÉÉ…¡ÓûsÉqÉç p. Ada comprises a specified number of syllables, regulated by the metre Pause, yati (rÉÌiÉ), provided in each p. Ada aiding congregational chanting
Vedic poetry is a collection of s. Ukta s (xÉÔ£ü ‘hymn’) A hymn may contain upto fifteen lines Each line is a prosodic entity, divided into one or two p. Ada s (mÉÉS ‘quarter’) Each p. Ada comprises a specified number of syllables, regulated by the metre Pause, yati (rÉÌiÉ), provided in each p. Ada aiding congregational chanting
Syllable Every syllable ends in vowel: example �, �, �� visarga: example �� or anusv. Ara: example �� A syllable is either ‘heavy’ (H) or ‘light’ (L)
Light Syllable ending in ends in a short vowel, like �� Heavy syllable Those that are not Light Syllables, like, those ending in long vowel (�, �� ), visarga (��, ��� ), anusv. Ara (�� , �� ), or ending in short vowel but followed by one or more unattached consonants (examples: ��� of ���� , � ���� of �����
Light Syllable (L) ending in ends in a short vowel, like �� Heavy syllable (H) Those that are not Light Syllables,
Let me explain the concept of syllables And their being heavy and light through an example.
Here is the opening stanza of purush. A s. Uktam xÉWûxÉëzÉÏwÉÉï mÉÑ wÉÈ xÉWûxÉëÉ¤É xÉWûxÉëmÉÉiÉç xÉpÉÔÍqÉÇ ÌuɵÉiÉÉå uÉ×iuÉÉ AirÉÌiɸ¬zÉÉ…¡ÓûsÉqÉç Let us take the first quarter, and show each syllable (a syllable ends in a vowel, visarga or anusvara) xÉ Wû xÉë zÉÏ wÉÉï mÉÑ wÉÈ Identifying ‘heavy’ and ‘light’ syllables by tagging unattached consonant of the following syllable xÉ WûxÉç U zÉÏUç wÉÉ mÉÑ wÉÈ L H H L L H
Here is the opening stanza of purush. A s. Uktam xÉWûxÉëzÉÏwÉÉï mÉÑ wÉÈ xÉWûxÉëÉ¤É xÉWûxÉëmÉÉiÉç xÉpÉÔÍqÉÇ ÌuɵÉiÉÉå uÉ×iuÉÉ AirÉÌiɸ¬zÉÉ…¡ÓûsÉqÉç Showing each syllable (a syllable ends in a vowel, visarga or anusvara) xÉ Wû xÉë zÉÏ wÉÉï mÉÑ wÉÈ xÉ Wû xÉëÉ ¤É xÉ Wû xÉë mÉÉiÉç xÉ pÉÔ ÍqÉÇ ÌuÉ µÉ iÉÉå uÉ× iuÉÉ A irÉ ÌiÉ ¸ ¬ zÉÉ …¡Óû sÉÇ Identifying ‘heavy’ and ‘light’ syllables by tagging unattached consonant of the following syllable xÉ WûxÉç U zÉÏUç wÉÉ mÉÑ wÉÈ xÉ WûxÉç UÉMçü wÉ xÉ WûxÉç U mÉÉiÉç L H H L L H xÉ pÉÔ ÍqÉÇ ÌuÉzÉç uÉ iÉÉå uÉ×iÉç uÉÉ L H H H H L L H AiÉç rÉ ÌiÉwÉç PûSè S zÉÉXèû aÉÑ sÉ H L H L H
Vedic Hymn An example “ We call on Thee, Lord of hosts, “The Poet of poets, the most famous of all; “The Supreme King of spiritual knowledge, O Lord of spiritual wisdom! “Listen to us with Thy graces, and sit in the place (of sacrifice). " Rig Veda II 23. 1 ������ ������������� | ����������� � ���������� ||
Jagati Metre jagati metre consists of two lines each line having two p. Ada s 1 st Line ������ ������������� | 2 nd Line ����������� � ��
Twelve syllables per p. Ada ������ 1 2 3 4 5 6 7 8 9 10 11 12 ����������� �� 1 2 3 4 5 6 7 8 9 10 11 12 ����������� 1 2 3 4 � �� 5 6 7 8 9 10 11 12
The first three of the last four syllables, called cadence, are Light [L], Heavy [H] and Light [L] ������ ��� L H L ��������� � �� L H L ������ ��� ���� � L H L Yellow – Light syllable; Red – Heavy syllable � ��
Important Vedic Metres Only a few metres account for most of the stanzas of Rig Veda Let us listen to some of these
Gayatri Metre The first stanza of Rig Veda is a prayer to Agni, carrier of sacrificial offerings It is set to g. Ayatri (aÉÉrɧÉÏ) Metre consisting of three p. Ada s in two lines Each p. Ada is of eight syllables with LHL as cadence
“I pray to Agni, the Priest, the God of Sacrifice, the Offerer of Oblation; “The Giver of best treasure. ” Rig Veda I 1. 1 ����� ������� �� ���� | ������ � ������|| Yellow – Light syllable; Red – Heavy syllable
g. Ayatri mantra is perhaps most important prayer. It is set in g. Ayatri metre, hence the name. “We contemplate that adorable glory of the Deity, - that is in the earth, the sky and the heaven. “May He stimulate our mental power. ” Rig Veda III 62 10 � ����������������� ����� | ���������� ||
Anushtubh Metre Anushtubh (AlÉѹÒpÉç) is the only Vedic metre remained in use in later period. It is similar to the g. Ayatri metre, but consists of four p. Ada s Here is the Vedic prayer to Rudra for deliverance.
"We worship Rudra, “Who spreads fragrance and increases nourishment. “May He release me, like the ripe cucumber from its stem, “From death, but not from immortality. " Rig Veda VII 59. 12 �������� ��� | ����� � ���� Yellow – Light syllable; Red – Heavy syllable ������
Upanishad-s While the Vedic sages raised many innocent and profound questions, authors of upani. Shad s (EmÉÌlÉwÉSè) attempted to unravel the cosmic mystery; greatest product of the Hindu mind Here is a gem from ka. Thopani. Shad (YPûÉåmÉÌlÉwÉSè) that reflects predicament of man
Trishtubh Metre The stanza set in tri. Sh. Tubh (̧ɹÒpÉç) metre of four p. Ada s of eleven syllables each with HLH as cadence
“Steeped in ignorance, men engage themselves in activities and pursuits and considering themselves men of learning, stagger along aimlessly like the blind led by the blind going round and round in the cycle of births. ” Ka. Thopani. Sad I ii 5 �������� ����� �����| ������� �� �������� || Yellow – Light syllable; Red – Heavy syllable
Grammar Let us follow certain aspects of oral tradition of grammar.
Sanskrit Language Sanskrit can be seen belonging two stages: pre Paninian and post Paninian Pre Paninian Language of Rig Veda, whose hymns and mantras are the oldest Language of the later hymns and mantras Language of the later Vedic prose works Language of a part of epics Post Paninian Language fixed by Panini, to which later classical literature belongs
Panini, the grammarian Panini, perhaps, lived in the 4 th century BCE. His native place could have been present day Peshawar.
Panini must have been preceded by a number of grammarians. We get a few names found quoted in his work. There were a number of commentators of Panini, the most important being Patanjali
Ashtadhyayi This comprehensive and scientific theory of grammar is taken to mark the end of the Vedic period. Panini’s ash. TAdhy. Ayi is the most complex, most exhaustive and the shortest grammar of classical Sanskrit.
There existed texts, Siva-s. Utra, u. NAdi-s. Utra, dh. Atu-p. Atha and ga. Na-p. Atha, before the Panini time. The immediate predessors were nirukta, nigha. NTu and pratishakya-s.
dh. Atu p. Atha – list of verb roots u. NAdi s. Utra s – etymology of vedic words nigha. NTu and nirukta dictionary for Vedic words u. NAdi s. Utra s, nigha. NTu and nirukta help in understanding meaning of Vedic mantras
Ashtadhyayi describes algorithms to be applied to material from the pre existing lexical lists, like dh. Atu-p. Atha and ga. Na-p. Atha for generation of well formed words.
The concepts of root, phoneme and morpheme inherent in words were recognised by the Western linguists only after about 2000 years.
Modern scholars feel that its brevity and its unintuitive structure, are reminiscent of contemporary ‘machine language’. Its sophisticated logical rules and technique have been widely influential in ancient and modern linguistics.
Sanskrit language Sanskrit, the classical language was probably based on Saurasena, the Prakrit dialect of Madhya desa, a dialect from which Hindi and Punjabi evolved. Panini refers to the language as bh. ASha, and the name Sanskrit came into use later.
Even during the time of Panini, the distance between the ‘high’ language, Sanskrit and the spoken languages of the people, the prakrit dialects, must have been wide. But Sanskrit maintained a pre eminent position as the language of the scholars, of science and art, and the only medium for Hindu religious ceremonies.
By Panini’s time Sanskrit was fully standardized, some may even say, fossilized. Cultured as it was, almost artificially, and by and large divorced from common people’s life, Sanskrit was astonishingly alive and produced great literature and geniuses.
To the best of our knowledge there was no writing at least upto the time of Asoka. Even when writing came into common use, the tradition of orality continued.
Ashtadhyayi The text of Ashtadhyayi consists of almost 4000 s. Utra s distributed over eight chapters. Hence the title ‘Ashtadhayi’.
Panini commences his Ashtadhayi with �������� �������� “Out of desire to speak, the soul gathers all the meaning with the help of buddhi and impels the mind. ”
Ashtadhyayi is a formal system that gives clues for language processing insights. It also important for studying the structure and functioning of languages genealogically related to Sanskrit.
Verb roots form an important foundation for ‘creating’ words in Sanskrit. Most languages create new words through the process of adding prefixes and suffixes, and through inflections; but these are not very systematic. It is quite systematic in Sanskrit.
Here we have about 2200 monosyllabic verb roots and following Panini’s 4000 sutra s almost entire vocabulary is created. We shall take an example using the verb root ���meaning ‘to go’
�� - gone ���- movement ����� - transient ������� - to be attained ������- to surpass ������- to find ������ - to follow ������� - to disappear ������- to proceed ����� - in conjunction ���� - easily understood
We shall demonstrate how oral tradition was made possible using aphorisms. These were easily memorisable but contained substantial data in precise manner.
Siva sutras
Siva Sutras Legend ������ ������ | �������������� || " With an ambition to uplift sages, Sanaka and others, Nataraja, at the finale of his Tandava, sounded his Damaru fourteen times. “Thus came out the Siva Sutra-s. "
Siva Sutras Siva s. Utra s are clever arrangement of alphabet (the phonemes), that serve as symbolic rules that enable grammatical rules to be specified in a concise, algebraic form. The pre existed s. Utra-s were used by Panini in Ashtadhyayi
1. ACEhÉç 2. GIMçü 3. LAÉåXèû 4. LåAÉæcÉç 5. WûrÉuÉUOèû 6. sÉhÉç There are fourteen s. Utra s and they are: 7. gÉqÉXûhÉlÉqÉç 8. fÉpÉgÉç 9. bÉRûkÉwÉç 10. eÉoÉaÉQûSzÉç 11. ZÉTüNûPûjÉcÉOûiÉuÉç 12. MümÉrÉç 13. zÉwÉxÉUç 14. WûsÉç
Abbreviated Symbols (praty. Ah. Ara-s) Let me explain how abbreviated symbols are constructed using Siva s. Utra s, and how these were used in Ashtadhyayi
Take the first s. Utra ACEhÉç This contains three vowels and it is terminated by a consonant, hÉç. It is called CûiÉç letter or terminator letter. which has no function. The s. Utra is abbreviated simply as AhÉç and this would mean A, C & E, the three basic vowels. This abbreviated AhÉç is called praty. Ah. Ara. In grammatical s. Utra this praty. Ah. Ara would be used to refer all these three letters.
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