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Aṣṭākṣarī Baiṭh are code words of eight syllables (akṣara-s) for each varga of the Ṛgveda Padapāṭha. 1: Number of pada-s (p) 2: Number of pada-s with 1 akṣara / 4 akṣara-s (1a / 4a) 3: Number of pada-s with 2 akṣara-s / 5 akṣara-s (2a / 5a) 4: Number of pada-s with 3 akṣara-s / 6 akṣara-s (3a / 6a) 5: Number of pada-s with all akṣara-s anudātta / 7 akṣara-s (anu / 7a) 6: Number of pada-s ending in visarga / n (vi / n) 7: Number of pada-s with avagraha / words + iti (avg / iti) 8: Number of pada-s ending in m / t 8: If the total number of words ending in si, tu and se is odd visarga is added at the end of syllable 8 The code words for the first and last vargas of the Ṛgveda Padapāṭha are ghejāśatachathājaḍuḥ and ciphibhapapadhācadā
Annals of the Bhandarkar Oriental Research Institute, 2016
For investigating the rhythms characteristic of akṣara-gaṇa-vṛttas, the author developed a computer program that brings out the beat-structure of a given Metre. This paper shows how based on this beat-structure, it is possible to define akṣara-gaṇa-vṛttas in terms of mātrā-gaṇas leading to a re-classification of akṣara-gaṇa- vṛttas. This re-classification enables generating new Metres and recognizing the closeness of Metres, which may differ in number of akṣaras2 (syllables) in a pāda (quarter of a verse). ------------
"On some Markers used in a Grantha Manuscript of the Ṛgveda Padapāṭha belonging to the Cambridge University Library (Or.2366)", in E. Vergiani [...] (eds), "Indic Manuscript Cultures through the Ages. Material, Textual, and Historical Investigations", Berlin, De Gruyter, 2017, pp. 377-406.
The present article deals with a peculiar system of markers used in a manuscript of the Ṛgveda Padapāṭha written in the Grantha script, belonging to the Cambridge University Library (MS Or.2366). In the northern “orthodox” manuscript tradition of the Ṛgveda Padapāṭha, basically only four markers are used to analyse and rearrange the text of the Saṃhitāpāṭha, i.e. daṇḍas (for separating the words), avagrahas (for separating the members of the compounds), circles between daṇḍas (for marking the galitas), and the particle iti. Besides these four, however, in the Grantha manuscript a full system of additional markers is used. These markers, all illustrated in the article, apparently served the purpose of flagging peculiar or “irregular” euphonic modifications and other alterations in the Saṃhitāpāṭha, possibly to provide the reciter with all the information needed to accurately convert the Padapāṭha into the Saṃhitāpāṭha.
1. In the Ṛgveda-Padapāṭha iti is added to words which end in a pragṛhya vowel (dual endings ī, ū and e; vovative in o; words ending in o and a few other words). A pragṛhya vowel remains unchanged if placed before a vowel (absence of vowel sandhi). If the word ending in a pragṛhya vowel is a compound word then the compound word is repeated after the iti and the two parts of the compound are shown separated by an avagraha. Examples: śacīpatī iti śacī-patī, puruvasū iti puru-vasū, devaputre iti deva-putre and śatakrato iti śata-krato. If the word ending in a pragṛhya vowel forms a compound with iva then iti is added after iva and the compound word is repeated after iti. Examples: harī iveti harī-iva, śaṁyū iveti śaṁyū-iva and aśve ivetyaśve-iva. 2. Iti is added to a word which ends in aḥ or āḥ when the visarjanīya (ḥ) comes from r (riphita visarjanīya). This adding of iti is done only when the visarjanīya is placed before an unvoiced consonant or a pause. In these cases one does not know if the visaryanīya comes from r or from s. Examples: hotaḥ pāvaka (hotariti | pāvaka); punaḥ || (punariti). When a verbal form is ending in aḥ or āḥ and the visarjanīya is a riphita visarjanīya the verbal word is repeated after the iti. Examples: akarityakaḥ, kariti kaḥ, dardariti dardaḥ. If a compound word ends in an riphita visaryanīya the compound word is repeated after the iti and the two parts of the compound are shown separated by an avagraha. Example: vidhātariti vi-dhātaḥ. Two nouns which are not compound words and end in a riphita visarjanīya are also repeated after iti: dartariti dartaḥ and svariti svaḥ. 3. Iti is added to some verbal forms which end in a visarjanīya which is preceded by a vowel other than a or ā. After the iti the verbal word is repeated. Examples: syuriti syuḥ, pīperiti pīpeḥ. Finally there are a few other words which are repeated after iti. Examples: rathyebhiriti rathyebhiḥ; gdheti gdha, and vargiti vark.
Sanjoy Mandal, Research Scholar, Central Sanskrit University (Shree sadashiva Campus) Puri, Orissa, India, 2020
The Indian Sanskrit Inscriptions throw light on the different aspect of kāvya, such as language, style, Alańkāra, metreRasāetc. Various inscriptions on stone, sandstone, rock etc. Kāvyaas expressed in the Inscriptions based on poetics (kāvyaśāstra) an on art of composing poems (kāvyavidyā). It would be elaborate general characteristics as prescribed in Sanskrit poeticswhice would serve as back ground for studying the selected Inscription from poetical points of view. Many of the Sanskrit Inscriptions are written in kāvya style using the different metres with rules of rhetoric and prosody .Poetic ornament or Alańkārasare very Important in the kāvya. Bhoja classifies poetic experession into three classes, such as: svabhāvokti , Rasokti and vakrokti. Vāmana uses the word Alańkāra in two senses: as a thinkof beauty and as figure of speech. Daņḍin Includes Guņaunder the word Alańkāra. It is very Important to note that the same figure of speech bears different names andsome times the same name denotes different figures of speech.
Journal of Language Relationship, 2019
The paper presents strategies for evaluating the influence of Panini's Astadhyayi on the vocabulary of Sanskrit. Using a corpus linguistic approach, it examines how the Paninian sample words are distributed over post-Paninian Sanskrit, and if we can determine any lexicographic influence of the Astadhyayi on later Sanskrit. The primary focus of the paper lies on data exploration, because the underlying corpus shows imbalances in the data distribution.
पूर्वतापनीयोपनिषद् means 'golden', is a school of Vājasneyi Samhitā, evokes praying through tapana, 'burning', i.e. fire and is related to R̥gveda. R̥k is 'praising' and R̥kvat gaṇa is 'prayer chant'. गण--पाठ [p= 343,2] m. a collection of the गणs or series of words following the same grammatical rule (ascribed to पाणिनि). This गण--पाठ begins with an invocatory prayer to Gaṇapati, 'lord of prayer' personified as Gaṇeśa, 'leader of troop'. How is Gaṇeśa personified? In iconography, following the Indus Script hypertext cipher, the body of a kharva, 'dwarf' rebus: karba 'iron' is ligatured with the face and trunk of an elephant. Indus Script hypertext cipher uses words with double meanings to render 'meaning' through rebus representation. karabha 'elephant' rebus; karba 'iron' is ligatured to mē̃d, mēd 'body, womb, back' rebus: meḍ 'iron'; मृदु mṛdu, mẽṛhẽt, 'iron' (Samskrtam. Santali.Mu.Ho.) Dance-step: meḍ 'dance-step' signifies meḍ 'iron' med, 'copper' (Slavic) Gaṇeśa writing the Mahābhārata, dictated by Vyāsa Indian, Rajasthani, 17th century Mewar, Rajasthan, Norhern India Dimensions Overall:33 x 23.2 cm (13 x 9 1/8 in.) Medium or Technique Opaque watercolor and gold on paper Classification Paintings Type Page from an illustrated manuscript of the Mahābhārata Accession Number 27.792 Dance-step of Gaṇeśa on Candi Sukuh sculptural frieze signifies karabha 'elephant' rebus; karba 'iron' PLUS meḍ 'dance-step' rebus meḍ 'iron'. There are many Indus Script hypertexts from the corpora ligaturing human face to an elephant trunk (creating composite animals) to signify the meaning of 'iron, metal'. Indus Script seal images of 'composite animal' demonstrating the cipher to convey messages related to metalwork. mũh 'a face' rebus: mũh, muhã 'ingot' or muhã 'quantity of metal produced at one time in a native smelting furnace.'.; dhatu 'scarf' rebus: dhatu 'mineral ore'; kola, 'tiger' rebus: kol 'blacksmith, working in iron'; xolā 'fish tail' rebus: kolhe 'smelter', kol 'working in iron'; फड, phaḍa 'hood of cobra' (ligatured as tail of composite animal) rebus: फड, phaḍa 'Bhāratīya arsenal of metal weapons'; पोळ pōḷa 'zebu' (bos indicus horns ligatured to composite animal) rebus: पोळ pōḷa 'magnetite (a ferrite ore)' Nindowari seal with squirrel hieroglyph. Hieroglyph: squirrel (phonetic determinant): खार (p. 205) [ khāra ] A squirrel, Sciurus palmarum. खारी (p. 205) [ khārī ] f (Usually खार) A squirrel. (Marathi) rebus: khār 'blacksmith'. Also, uṟuttai 'squirrel' rebus: urukku 'melt (iron ore mineral)' -- to create ukku 'steel'. See: Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender. Kannada. ऋक्-वत् ऋक्व्/अ mfn. praising , jubilant with praise RV. AV. xviii , 1 , 47; ऋक् a [p= 224,3] ऋक्-छस्,ऋक्-तस् ,andऋक्-शस् » under 2. ऋच् , [p= 225,1]. ऋच् [p= 225,1] cl.6 P. ऋचति , आनर्च , अर्चिता , &c , = अर्च्1 , [p= 89,3]; to praise Dha1tup. xxviii , 19 (cf. अर्क्/अ.); f. praise , verse , esp. a sacred verse recited in praise of a deity (in contradistinction to the सामन् [pl. सामानि] or verses which were sung and to the यजुस् [pl. यजूंषि] or sacrificial words , formularies , and verses which were muttered); sacred text RV. AV. VS. S3Br. &c Mn. &c; the collection of the ऋच् verses (sg. , but usually pl. /ऋचस्) , the ऋग्-वेद AitBr. A1s3vS3r. and A1s3vGr2. Mn. i , 23 , &c; the text of the पूर्वतापनीय, Ra1matUp.; पूर्वतापनीय [p= 643,2] n. (and °यो*पनिषद् f. ) N. of the first half of the नृसिंह-तापनी-योपनिषद् Col. (cf. उत्तर-तापनीय). तापनीय [p= 442,3] mf (आ)n. golden MBh. i , vii Hariv. R.; m. pl. N. of a school of the VS. (to which several उपनिषद्s belong) Caran2. (v.l. °पायन). तापायन [p= 442,3] m. pl. v.l. for °पनीय q.v. ऋग्--वेद [p= 225,1] m. " Hymn - वेद " or " वेद of praise " , the ऋग्-वेद , or most ancient sacred book of the Hindus (that is , the collective body of sacred verses called ऋचs [see below] , consisting of 1017 hymns [or with the वालखिल्यs 1028] arranged in eight अष्टकs or in ten मण्डलs ; मण्डलs 2-8 contain groups of hymns , each group ascribed to one author or to the members of one family ; the ninth book contains the hymns sung at the सोम ceremonies ; the first and tenth contain hymns of a different character , some comparatively modern , composed by a greater variety of individual authors ; in its wider sense the term ऋग्-वेद comprehends the ब्राह्मणs and the सूत्र works on the ritual connected with the hymns)AitBr. S3Br. Mn. &c Ta. uruku (uruki-) to dissolve (intr.) with heat, melt, liquefy, be fused, become tender, melt (as the heart), be kind, glow with love, be emaciated; urukku (urukki-) to melt (tr.) with heat (as metals or congealed substances), dissolve, liquefy, fuse, soften (as feelings), reduce, emaciate (as the body), destroy; n. steel, anything melted, product of liquefaction; urukkam melting of heart, tenderness, compassion, love (as to a deity, friend, or child); urukkiṉam that which facilitates the fusion of metals (as borax). Ma. urukuka to melt, dissolve, be softened; urukkuka to melt (tr.); urukkam melting, anguish; urukku what is melted, fused metal, steel. Ko. uk steel. Ka. urku, ukku id. Koḍ. ur- (uri-) to melt (intr.); urïk- (urïki-) id. (tr.); ukkï steel. Te. ukku id. Go. (Mu.) urī-, (Ko.) uṛi- to be melted, dissolved; tr. (Mu.) urih-/urh- (Voc. 262). Konḍa (BB) rūg- to melt, dissolve. Kui ūra (ūri-) to be dissolved; pl. action ūrka (ūrki-); rūga (rūgi-) to be dissolved. Kuwi (Ṭ.) rūy- to be dissolved; (S.) rūkhnai to smelt; (Isr.) uku, (S.) ukku steel. (DEDR 661) Te. uḍuku to boil, seethe, bubble with heat, simmer; n. heat, boiling; uḍikincu, uḍikilu, uḍikillu to boil (tr.), cook. Go. (Koya Su.) uḍk ēru hot water. Kuwi (S.) uḍku heat. Kur. uṛturnā to be agitated by the action of heat, boil, be boiled or cooked; be tired up to excitement. Ta. (Keikádi dialect; Hislop, Papers relating to the Aboriginal Tribes of the Central Provinces, Part II, p. 19) udku (presumably uḍku) hot (< Te.) (DEDR 588) Ta. uṟukku (uṟukki-) to jump, leap over; uṟuttai squirrel. Te. uṟu to retreat, retire, withdraw; uṟuku to jump, run away; uṟuta squirrel. Konḍa uRk- to run away. Kuwi (Isr.) urk- (-it-) to dance. (DEDR 713) Ka. uḍute squirrel. Te. uḍuta id.(DEDR 590) Ma. uṟukku amulet. Tu. urku id.(DEDR 714) Māheśvara Sūtrāṇi emerge from the sounds of huḍukkā, 'drum' of Śiva हुडुक्क a stick or staff bound with iron L. हुडुक्का f. a kind of drum Sam2gi1t Ta. uṭukkai small drum tapering in the middle. Ma. uṭukka a tabor resembling an hour-glass. Tu. uḍuku a kind of small drum. Te. uḍuka small drum of the shape of an hour-glass. / Cf. Skt. huḍukka- a kind of rattle or small drum; huḍukkā- a kind of drum. (DEDR 589) In Hindu Veda tradition, Māheśvara Sūtrāṇi are fourteen verses that organize the phonemes of Sanskrit as referred to in the Aṣṭādhyāyī of Pāṇini, the foundational text of Sanskrit grammar. These phonemes emerge from the huḍukkā, 'drum' of Śiva. [quote] Within the tradition they are known as the Akṣarasamāmnāya, "recitation of phonemes," but they are popularly known as the Shiva Sutras because they are said to have been revealed to Pāṇini by Shiva. They were either composed by Pāṇini to accompany his Aṣṭādhyāyī or predate him. The latter is less plausible, but the practice of encoding complex rules in short, mnemonic verses is typical of the sutra style. IAST Devanāgarī 1. a i u ṇ 2. ṛ ḷ k 3. e o ṅ 4. ai au c 5. ha ya va ra ṭ 6. la ṇ 7. ña ma ṅa ṇa na m 8. jha bha ñ 9. gha ḍha dha ṣ 10. ja ba ga ḍa da ś 11. kha pha cha ṭha tha ca ṭa ta v 12. ka pa y 13. śa ṣa sa r 14. ha l १. अ इ उ ण्। २. ऋ ऌ क्। ३. ए ओ ङ्। ४. ऐ औ च्। ५. ह य व र ट्। ६. ल ण्। ७. ञ म ङ ण न म्। ८. झ भ ञ्। ९. घ ढ ध ष्। १०. ज ब ग ड द श्। ११. ख फ छ ठ थ च ट त व्। १२. क प य्। १३. श ष स र्। १४. ह ल्। Each of the fourteen verses consists of a group of basic Sanskrit phonemes (i.e. either open syllables consisting either of initial vowels or consonants followed by the basic vowel "a") followed by a single 'dummy letter', or anubandha, conventionally rendered by capital letters in Roman transliteration and named 'IT' by Pāṇini. This allows Pāṇini to refer to groups of phonemes with pratyāhāras, which consist of a phoneme-letter and an anubandha (and often the vowel a to aid pronunciation) and signify all of the intervening phonemes. Pratyāhāras are thus single syllables, but they can be declined [unquote] https://en.wikipedia.org/wiki/Shiva_Sutras
An essential semantic unity governed all the languages of Indian sprachbund consistent with dharma-dhamma which united many philosophical streams such as Hindu, Jaina or Bauddham giving Bharatam Janam a distinctive identity. See: http://bharatkalyan97.blogspot.in/2015/02/dharma-unites-bauddham-jaina-and-hindu.html Dharma unites Bauddha, Jaina and Hindu. French parole means: "voice", "spoken words". In the course of matching Indus writing hieroglyphs with Mleccha (Meluhha) glosses deemed to connote parole (meluhha/mleccha) of Indian sprachbund, many words and expressions have been identified which match the semantic prosody (chandas) in Rigvedic mantras (for example, glosses such as ayas 'metal alloy', ibha 'elephant'). It has also been noted by Kuiper that there are many Munda words in Samskritam (also in Rigveda), thus making such words integral to the sprachbund. Speculation as to why chandas style of expression was chosen by the pitr-s of many present-day Bharatam Janam -- pūrve yajnikāh -- need not detain this monograph which is focussed on the delineation of the characteristics of Indian sprachbund (language union). Chandas is such an abiding language tradition that the Vedic mantras have been transmitted from generation to generation with extraordinary fidelity for several millennia, perhaps from 8th millennium BCE. See: http://bharatkalyan97.blogspot.in/2015/02/rigveda-dates-to-8th-millennium-bce.html RigVeda dates to 8th millennium BCE based on astronomical references in the Rigveda. A comparable fidelity is noticeable in the essential semantic unity which binds many glosses of almost all Indian languages. A unique characteristic of languages of Indian sprachbund noted by linguists is re-duplication of words to add semantic emphasis which is also mirrored in gaṇapāṭha ('a collection of gaṇas or series of words falling under the same grammatical rule' -- ascribed to Pāṇini) method of rendering Rigveda chandas which may be defined as prosodic Samskritam. Many grammatical features distinguish Vedic from Samskritam. For e.g., "Proto-Indo-European and Vedic Sanskrit had independent prefix-morphemes. Such prefixes (especially for verbs) could come anywhere in the sentence, but in Classical Sanskrit, it became mandatory to attach them immediately before the verb." http://en.wikipedia.org/wiki/Vedic_Sanskrit_grammar Similar distinctive features may be noticed between Samskritam and Prakritam glosses or between Samskritam glosses and Mleccha (Meluhha) speech forms or expressions. The ancient primary source texts available are Pingala's Chandahśāstra in 8 chapters which focus on prosody and metrics and Pāṇini's Aṣṭādhyāyī, "8 chapters" which are Vedānga, the auxiliary disciplines of Vedic study and practice. See the brilliant article "A history of Pingala's combinatorics" by Jayant Shah. http://www.northeastern.edu/shah/papers/Pingala.pdf (Embedded) Mirror: https://www.scribd.com/doc/256783656/A-history-of-Pingala-s-combinatorics-Jayant-Shah
New Approaches on Anatolian Linguistics, J.-V García Trabazo et al. (eds), Barcelona: Universitat de Barcelona, pp. 317-333, 2023
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