Samskrta Uccarana by Lokanath Swami Rev Ed 4 PDF

Sa &Sk *-T aa ear<aMa(
Sa s ktoc craam
A Comprehensive Guide to
Sanskrit
Pronunciation
Lokanth Svmi
Contents
Preface...................................................................................................... 4
Introduction ............................................................................................. 5
Acknowledgements .................................................................................. 8
1. rla Prabhupda Saskta ikmta .................................................. 9
Saskta Mhtmya ....................................................................................................... 9
Prabhupdas Vision for Sanskrit Education ................................................................. 11
Strategy & Implementation ........................................................................................... 12
Benefits of Accurate Pronunciation ............................................................................... 19
Bhva-grh Janrdana ................................................................................................. 21
The Gravity of Mantroccraam .................................................................................. 24
2. Prabhupda Disciples Speak Out ....................................................... 26

3. Vara ik Sanskrit Phonetics ....................................................... 30
The Sanskrit Language ................................................................................................. 30
Vedgas....................................................................................................................... 31
The Devangar Alphabet ............................................................................................. 32
Svaras (Vowels) ............................................................................................................ 35
Simple Versus Combined Vowels ................................................................................... 35

Vowel Pronunciation ....................................................................................................... 37
Vyajanas (Consonants) ............................................................................................... 39
Consonant Types ............................................................................................................. 40

Points of Articulation ...................................................................................................... 41
Semi-vowels ..................................................................................................................... 46
Sibilants ............................................................................................................................ 46
Pure Aspirant ................................................................................................................... 47
Nasals ............................................................................................................................... 47
Conjunct Consonants ...................................................................................................... 48
Parritas (Dependents) ............................................................................................... 49

Anusvra .......................................................................................................................... 49
Visarga.............................................................................................................................. 50
Other Symbols .............................................................................................................. 51
Avagraha .......................................................................................................................... 51
Daa ............................................................................................................................... 51
Virma .............................................................................................................................. 51
Numbers .......................................................................................................................... 52
Verse Meters ................................................................................................................. 52

Akaras and Mtrs in Sanskrit .................................................................................... 56
Hari-nmmta-vykaraa ............................................................................................... 56
Mtrs............................................................................................................................... 57
4. Mispronunciation............................................................................... 59
General Theory ............................................................................................................. 59
Conditioning .................................................................................................................... 59
Inattentiveness ................................................................................................................. 60
Guru (Long) versus Laghu (Short) Syllables................................................................... 62
The Phonetics of Sanskrit Syllables................................................................................. 62
Reciting Verses................................................................................................................. 64
Specific Examples ......................................................................................................... 64

Frequently Mispronounced Words ................................................................................. 65
Frequently Mispronounced Names ................................................................................. 68
5. Mistakes in Daily Prayers ................................................................... 71

rla Prabhupda Praati ............................................................................................. 71
r r Gurv-aaka1 ..................................................................................................... 72
Nma-sakrtana .......................................................................................................... 76
Prema-Dhvani ............................................................................................................... 77
r Nsiha Prama ................................................................................................... 79
r Tulas Prama ....................................................................................................... 81
r Tulas-krtana ......................................................................................................... 81
r Tulas Pradakia Mantra ...................................................................................... 83
r Vaiava Prama .................................................................................................. 83
Paca-tattva Mah-mantra ........................................................................................... 84
Hare Ka Mah-mantra............................................................................................. 84
gra-rati (Greeting of the Deities) ......................................................................... 86
r Guru-vandan ......................................................................................................... 87
Jaya Rdh-Mdhava .................................................................................................... 90
Invocation ..................................................................................................................... 91
r Guru Prama ........................................................................................................ 92
r Rpa Prama ......................................................................................................... 92
Magalcaraa ............................................................................................................. 93
Prasda-sevy ............................................................................................................... 93
Gaura-rati .................................................................................................................. 95
6. Questions & Answers ........................................................................ 98

7. Practical Implementation and Resources ......................................... 102
Recordings .................................................................................................................. 103
Guidebooks ................................................................................................................. 103
Websites ...................................................................................................................... 103
Software ...................................................................................................................... 104
Appendices........................................................................................... 105
BBT Diacritic Pronunciation Guide ............................................................................ 105
Bengali Pronunciation................................................................................................. 105
Sdhu-bh and Calti-bh ........................................................................................ 107

Specifics of Bengali Pronunciation ................................................................................ 107
Prabhupdas Bengali Accent......................................................................................... 109
Bibliography ......................................................................................... 110

Glossary ............................................................................................... 111
Preface
By His Grace Gopiparaadhana Prabhu
Introduction
Pronounce it Right
After speaking with senior ISKCON members about devotees tendency to

mispronounce Sanskrit and the importance of correctly pronouncing it, I learned
that many of them saw a need for a detailed Sanskrit pronunciation guide.
ISKCON devotees have developed a habit of pronouncing certain Sanskrit words
and mantras incorrectly, and the longer they continue, the more difficult it will
be to learn the correct pronunciation.
When ISKCON was a new society, the Indian people appreciated
Westerners taking up Ka Consciousness and accepted the mispronunciation of
Sanskrit words just as an adult accepts the imperfect speech of a child. However,
when the child becomes an adult, he is expected to speak properly. Similarly,
ISKCON has progressed tremendously in the past thirty years, and discrepancies
of this nature will no longer be accepted. Our improvement in the correct
pronunciation of Sanskrit will increase the credibility of our movement and is an
indication of our maturing growth.
One could also say we are not a new spiritual movement. We are
Rpnugas, following in the footsteps of Rpa Goswm and the great cryas. In
order to represent the disciplic succession, it is extremely important that we pass
on the correct oral tradition. Our tradition stresses the importance of hearing, but
we must also hear from the correct source.
One cause for our tradition of incorrect pronunciation stems from the
very early days of our movement. There were only a few devotees who could
correctly pronounce the Sanskrit lokas, and there were also no songbooks or
song sheets that devotees could refer to. When I joined ISKCON in the early
seventies, there were no song sheets and we had to learn only by hearing from
others who had learned by hearing from others.
Learning to play the mdaga was like that too. Previously no one was
trained to play the mdaga. The older devotees would just pick up the mdaga
and play, imitating what they had heard from other untrained devotees. The
result was they started inventing mdaga beats.
We did not know if what we learnt was proper or not, and whatever
pronunciation, songs or mdaga beats we did learn, either by imitating
Prabhupda or other devotees, eventually became the standard. Unfortunately,
many incorrect standards have survived for the past thirty years: This was the
way they were saying it from the early days of ISKCON, so it must be right.
We should understand that this is not necessarily anyones fault,
nevertheless the history of ISKCONs evolution is still haunting us. My concern is
that as a movement, the senior devotees and especially the leaders and
Prabhupda disciples, should carefully learn and pronounce words properly so
that a wrong standard is not set for the future generations of devotees.
There is a gulf of difference between a new bhaktas mispronunciation
and the mispronunciation of an old bhakta. If a new bhakta mispronounces your
name, you dont mind, but it is absurd if he still mispronounces your name after
thirty years: Why is this person mispronouncing my name after so many years?
He should know how to say it properly by now. As we grow, we are expected to
learn more. Something not considered an offense in the beginning of spiritual life
is considered an offense in the later stages of spiritual life.
We learn from a passage in Part One of Hari auri Prabhus A Transcendental
Diary that rila Prabhupda wanted his disciples to correctly pronounce Sanskrit
words:
Moving over to sit at his desk he (rla Prabhupda) asked, So, what is your name? Certainly
he must have already heard it many times over the last few days, so perhaps it was his way of
making me feel more comfortable. It relieved my embarrassment, making me feel that he is getting
to know me on a more personal basis. Arry Sawry, rla Prabhupda, I said in my broad
Northern English brogue. Haree Showree, Prabhupda corrected in his elegant Bengali accent.
Giving me a warm smile he asked for some water
Transcendental Diary Part I
Prabhupdas books have the correct transliteration of Sanskrit words, but the
tradition of mispronunciation as passed down by the parampar of errata has
continued. If we fail to correct this now or introduce some standards, then the
mistakes will become a part of our tradition. Just as when someone whispers a
secret into one persons ear, who whispers it to another person, who whispers it
to other and the result is completely different to the original, similarly in a few
hundred years we may even have completely different mantras. Some words that
devotees mispronounce change the meaning of, or have the opposite meaning to
the original words (see verse below). This will eventually lead to philosophical
misunderstandings. Therefore, we have to stop now, go back to the basics, and
hear things right.
YaiPa bhuNaaDaIZae,
TaQaaiPa Pa# Pau}a VYaak==r<aMa( )

SVaJaNa" XvJaNaae Maa >aUTa(,
Sak==l& Xak==l& Sak*==Ta( Xak*==Ta( ))

yadyapi bahundhe
tathpi paha putra vykaraam
svajana vajano m bht
sakala akala sakt akt
When the child practices phonetics, he should be trained not to mispronounce
even a single syllable, else the meaning can change completely:
One would not want to call his/her svajana (family and kinsmen) as vajana
(dogs).
Misarticulating sakala as akala changes the meaning from the complete
whole to just a part.
Sakt means once and akt means excrement, though the two words
have only a slight difference.
Mispronunciation of words is nothing to feel ashamed about. Learning a

foreign languages grammar is difficult, and learning the foreign languages
pronunciation is even more difficult. This is because our tongue is conditioned
according to our native language. Due to the differences in pronunciation
between other languages and Sanskrit, it is sometimes difficult for foreign
devotees to pronounce Sanskrit words properly. Also, many Indian devotees do a
poor job pronouncing Sanskrit. But with practice one can learn the proper
pronunciation of the Sanskrit language.
Any eager, keen, and opportunistic student can learn the Sanskrit (or any
other new) language with motivation and a respectful outlook towards the
language and cultures surrounding the language. Along with enthusiasm and
attitude, strategies and methods for commiting the new vocabulary and grammar
to memory are also essential, and this is to be augmented by hearing the language
regularly and attentively (either by direct association with native speakers or
through audio/video), which is the best way of learning it. To improve our
pronunciation, we can begin by attentively hearing and reciting the morning
Bhgavatam lokas. A book, even the best one, can only help in a limited way if
the language is not heard regularly and spoken without inhibition.
Sanskrit is a phonetic language. It is written as it is spoken. The reader is
advised to learn the script from the beginning as it shortens the process of
learning and also helps pronounce correctly. Sanskrit can be read just as well in
Roman transliteration. An additional benefit of learning the Devangar script is
to be able to read original texts not available in Roman English transliteration.
However, it is the authors personal opinion that reading the Devangar script
affords one additional spiritual potency and originality that is unaivalable in the
Roman transliteration.
We hope that this Pronunciation Guide will help you improve your
Sanskrit pronunciation and enable you to better understand the translations and
deeper meanings of the Vaiava literature.
Lokanth Svmi
Acknowledgements
I would like to offer my sincere appreciation and gratitude to:
His Holiness Bhakti Vikasa Swami for his kind support and feedback.
His Holiness Jayadvaita Swami, His Holiness Bhakti Caru Swami,
Tattvavit Prabhu, and Satadhanya Prabhu for sharing their observations
and outlooks on Sanskrit pronunciation.
His Holiness Radha Ramana Swami for assisting in enumerating mistakes
made in daily prayers.
His Grace Gopiparanadhana Prabhu for providing his experienced input
and technical corrections.
His Grace Basu Ghosh Prabhu and Samskrtanandaji for his advice on
specifics.
Radhika Ramana Dasa for authoring the chapter on mispronunciation.
Madan Gopal Dasa for translating bhava-grahi-janardana text.
(mention name of Italian mataji who typed early manuscript)
(mention name of devotee who drew illustrations)
Vidvan Gauranga Dasa for his detailed feedback in the editing process.
Sarva-saksi Dasa for printing and publication work.
Aja Govinda Dasa for typing the list of mistakes in daily prayers, revision
of chapter on Sanskrit basics, compilation, interviews, layout, etc.
rla Prabhupda Saskta ikmta

[ql/ Pa[>auPaad Sa&Sk*-Ta iXa+aaMa*Ta
1.1
Saskta Mhtmya
rla Prabhupda was keen on publishing his books with a high academic
standard. He specifically instructed the Bhaktivedanta Book Trust to include a
Sanskrit or Bengali pronunciation guide and index of verses, in order to assist the
reader in accurately reciting the verses in evey volume of his books:
Every volume of Srimad-Bhagavatam as well as Caitanya Caritamrta must be fully complete
with an index, list of references, glossary, Sanskrit pronunciation guide, and index of Sanskrit
(or Bengali) verses. This will be best.
(Letter, February 6, 1975)
Sanskrit is a highly reformed and structured language. Every word is
pronounced exactly according to its spelling. In English, some words are
phonetically ambiguous, but in Sanskrit, every syllable, consonant and vowel
accurately and precisely represents a unique sound:
Therefore it is called Sanskrit. [In] Sanskrit everything is reformed. It is not by that b-u-t but,
p-u-t put, if you say u, then you must say b-u-t but and p-u-t put but not that sometimes put
sometimes but, no, that will not be allowed in Sanskrit. The pronunciation must be regular. You
cannot change, Sanskrit means reformed language.
(Lecture, April 23, Tokyo)
In his lectures also, rla Prabhupda stressed the vague phonology of the
whimsical English language. On the other hand, he pointed out, the very
definition of the word Sanskrit means refined or perfect:
The real meaning of Sanskrit means reform. It is not whimsical, just like in English language,
b-u-t but, p-u-t put. It is not like that. Every word, every syllable has got a symbolic
meaning.
(Lecture, January 19, 1969)
Not only the phonetics, but also the rhyme of Sanskrit verses, due to the very
stict form of loka, is unparalleled:
ymasundara: Today when we were looking at the Sanskrit lokas, I suddenly
realized that this very strict form of loka made it easy to memorize for the
people.
Prabhupda: Yes, oh yes.
ymasundara: Therefore they were always
Prabhupda: Yes. That Sanskrit loka is so made that if you repeatedly chant five,
six times, it will be memorized. And once it is memorized, you will never forget
it.
ymasundara: Then you can pass it down and you dont have to write it.
Prabhupda: No. That requires only memory. That was the system, ruti. Once
hears from the spiritual master, it is memorized for good. The memory was so
sharp, and the memory was prepared by this brahmacarya.
ymasundara: And the grammatical rules are so arranged to make it easy to
memorize-natural rhythm.
Prabhupda: Natural, quite natural, natural rhythm. Its not artificial.
ymasundara: Whereas our Western poems are all so many different lines,
lengths, rhythms, you cant remember them.
Prabhupda: There is no standard. There is Trayita Darpaa, there is a book, you
can So many words, the first pronunciation five, second pronunciation seven,
like that. Theres different kinds of (indistinct), sandhi.
ymasundara: So its meant for hearing and memorizing.
(Folio: Darwin.Sya. No date supplied)
Modern day languages are creations of mankind, and are thus imperfect, but
Sanskrit emanates directly from the spiritual world, and is spoken also in deva
nagara or the planet of the gods:
Devangar. This language is spoken in the higher planetary system, even in Vaikuntha this
language is spoken. Devangar, deva nagara, just like Tokyo is Japan nagara, similarly nagara
means city and the citizens are called nagari, one who lives in the city. They are called nagari,
so Devangar. These alphabet letters are called Devangar but in the cities of the demigods this
language is spoken Devangar.
(Lecture, April 23, Tokyo)
The poetic and beautiful language Sanskrit is known as the language of the
gods:
Yes, Sanskrit is spoken not only on Krsna Loka but also in higher planets of the demigods. It is
called the language of God and the demigods. It was spoken also on this planet. When the people
were all godly they used to speak in Sanskrit. Sanskrit is the origin of all languages of the
civilized people. It is most perfect, not only descriptive: the word Sanskrit means the most
perfect. Because not a single word you can pronounce without having a bona fide principle. It is
not like the English language, but/put with irrational difference in pronunciation, no
prinicples. Sanskrit is not like that. Therefore it is perfect. It is not whimsical. English poetry
has one line one-inch long, next line 600 inches long. Sanskrit is not like that. There are strict
principles, and it is so beautiful. Therefore in Sanskrit language not an ordinary man can become
a poet. No other language of the world can be compared with it. No other language of the world
is so perfect as Sanskrit. Any language near to Sanskrit language is nearer to perfection. Sanskrit
is pronounced the same way here or there, it is standard.
Though it may take a long time to master Sanskrit, once it is learned, the student
obtains the key to the Vedic literatures, the gateway to education:
10
Anyone serious about studying the Sanskrit language should first learn grammar. It is said that
simply to finish studying Sanskrit grammar takes at least twelve years, but once one learns the
grammatical rules and regulations very nicely, all other scriptures or subject matters in Sanskrit
are extremely easy to understand, for Sanskrit grammar is the gateway to education.
(CC Adi-lila 15.5 purport)
Nowadays students gain knowledge with a limited application, in the form of
engineering, technology, etc. However, during the Vedic era, education meant
learning Sanskrit grammar, through which all the stras are open:
Formerly Sanskrit schools first taught grammar very thoroughly, and this system continues even
now. A student was supposed to study grammar carefully for twelve years in the beginning of his
life, because if one is expert in the grammar of the Sanskrit language, all the stras are open to
him. Sri Caitanya Mahaprabhu was famous for teaching grammar to students, and therefore
Kesava Kasmiri first referred to His position as a teacher of grammar.
(CC Adi-lila 16.31 purport)
With knowledge of Sanskrit, the student can delve into the ocean of Vedic
literature without any translation. Much of the Vedic texts are yet to be
translated.
if you understand Sanskrit grammar, then you can read all the Vedic literature without any
translation. Simply by studying. Therefore the Sanskrit scholars are first of all taught grammar.
And when one is expert in reading grammar properly, then all Vedic literature becomes very
simplified.
(Conversation, May 6th, 1975 Perth, Australia)
1.2
Prabhupdas Vision for Sanskrit Education
In the quotes below, we see that Prabhupda envisioned his adult disciples and
gurukula children to both learn Sanskrit, which he wanted to be a compulsory
element of the gurukula curriculum:
Sanskrit should be compulsory for all our children to learn, and anyone who has elementary
knowledge of alphabet and grammar can begin to teach it.
Prabhupda was displeased at the mispronunciation of Sanskrit by gurukula
children, and he insisted the gurukula educators teach the children perfectly
Sanskrit and English:
You should teach the children perfectly Sanskrit and English instead of spoiling time and
money. The children cannot pronounce correctly the Sanskrit. Let them read it correctly, that is
wanted first. They must pronounce nicely English and Sanskrit. The English is no difficulty. If
you can do this, then your education is all right...You may introduce contests, but if the children
and also the older devotees cannot pronounce Sanskrit correctly, it is all a useless waste of time.
(Letter, September 3, 1974)
11
Prabhupda also wanted his disciples to hear the records and try to repeat the
verses of the Bhgavatam after understanding the pronunciation:
This is our program. We have come here, not to exploit your country, but to give you something
substantial. This is Krsna consciousness movement. So read Srimad Bhagavatam, pronounce
these verses very nicely. Therefore were repeating. You hear the records and try to repeat.
(Lecture, April 14, 1973)
1.3
Strategy & Implementation
Previously, every brhmaa was trained in the science to pronounce a Vedic

mantra:
It is the practice of the brahmanas conversant with the science to pronounce a Vedic mantra in
the right accent. The combination of the mantra and Sanskrit words must be chanted with the
right pronunciation, otherwise it will not be successful.
SB 4.13.27 purport
Prabhupda would dedicate substantial time from his lectures and talks to
arduously train his disciples in this brahminical practice to invoke
transcendental vibration through chanting the verses:
Pradyumna: (chanting verse) Na ghaetrtha-sambandha.
Devotees: Na ghaetrtha-sambandha.
Prabhupda: It is sandhi? Na ghaeta artha. It has been lost? Na ghaetrthasambandha. Na ghaetrtha-sambandha. Again, recite the whole loka.
Pradyumna: (devotees repeating) r-uka uvca, tma-mym te rjan,
parasynubhavtmana, na ghaetrtha-sambandha svapna-draur ivjas [SB
2.9.1]
Prabhupda: Now read again.
Pradyumna: Whole thing?
Prabhupda: No, this same verse. Practice it. In this way you practice one mantra
daily. Each mantra will purify you hundred yards daily. Go forward. These
mantras are very powerful, given by Vysadeva Gosvm, vibrated..So we
should try to learn, get it by heart, at least one loka, two lokas in a week. And if
we chant that... Just like you are chanting so many songs, similarly, if we chant
one or two verses of rmad-Bhgavatam, that will make you very quickly
advanced for spiritual realization. We are therefore taking so much trouble to get
this transliteration, the meaning, so that the reader may take advanced step, full
advantage of the mantra. It is not that to show some scholarship, that I know so
much Sanskrit. No. It is just offered with humility to learn the mantra because
one who will chant the mantra... They are all transcendental vibration. Just Hare
Ka mantra... This is mah-mantra, but they are also mantras, all the verses
from Bhagavad-gt, rmad-Bhgavatam, spoken by Ka, spoken
by....Bhgavata also, spoken by Ka. Vysadeva is incarnation of Ka. Theyre
also mantras, infallible instructions. So try to get it by heart, chanting. Either you
chant by seeing the book or get it by heart, it is all the same. But try to chant one,
two lokas daily. Chant.
12
Pradyumna: (chants with devotees responding) r-uka uvca, tma-mym te

rjan, parasynubhavtmana, na ghaetrtha-sambandha...
Prabhupda: (correcting) Na ghaetrtha-sambandha. Like that. It is written like
that?
Pradyumna: Ghaetrtha-sambandha.
Prabhupda: artha, artha separated?
Pradyumna: No. Together. Ghaetrtha.
Prabhupda: No. Ghaetrtha-sambandha. It should, should not be. Na
ghaetrtha-sambandha. Like that. T should be long. T. Ghaeta arthasambandha. Na ghaetrtha-sambandha. Is that all right?
Pradyumna: Yes.
Prabhupda: So pronounce like that.
Pradyumna: Na ghaetrtha-sambandha.
Prabhupda: Loud. Na ghaetrtha-sambandha.
Pradyumna: Na ghaetrtha-sambandha.
Prabhupda: Yes. Na ghaetrtha-sambandha.
Devotees: Na ghaetrtha-sambandha.
Pradyumna: Svapna-draur ivjas.
Prabhupda: Oh. Again pronounce.
Pradyumna: r-uka uvca (repeats verse)Prabhupda: Very important verse.
Now we shall go to the words and meaning. Again recite. r uka uvca.
(Devotees repeat the verse)
Prabhupda: Once again. Do it again. (Pradyumna repeats the verse)
Prabhupda: Again. (devotees repeat verse again) Anyone can recite? All right.
See the book and recite.
ymasundara: r-uka uvca, tma-mym te rjan, parasynubhavtmana.
Prabhupda: Parasy. The transliteration is the long a. You have seen? You just
try to follow the transliteration. That will be easier.
ymasundara: Parasynu...
Prabhupda: Parasynubhava, bhavtmana. tm.
ymasundara: Yes. Long over a. tmana.
Prabhupda: Yes. Now, beginning.
ymasundara: Parasynu...
Prabhupda: No. First line. (devotees repeating)
ymasundara: r-uka uvca, tma-mym te rjan, parasynubhavtmana.
Prabhupda: Read it again.
ymasundara: r-uka uvca, tma-mym te rjan, parasynubhavtmana na
ghaetrtha...
Prabhupda: Na ghaetrtha-sambandha, svapna-draur ivjas. Next. Next.
You read. Go on. One after another. (continues devotee reciting, Prabhupda
correcting) You read the transliteration. The thing is hearing the meter and
repeat. Thats all. The writing is already there, transliteration. Simply you have to
hear the written. Just like you have chanted so many verses, songs, by hearing.
The hearing is very important. A child learns another language simply by hearing,
pronunciation, hearing. That is natural. If we hear one thing repeatedly, you will
learn. You will learn. So one has to hear little attentively. Then it will be easy.
There is no difficultyThis is by hearing. So simply you have to hear. Therefore
whole Vedic stra is called ruti. It is a process of hearing. Go on. (recitation
13
continues) Next. Each one of you. Na ghaetrtha-sambandha svapna-draur

ivjas. What is the ajas spelling?
Devotee: I-v-a-n-j-a-s-a. Ivjas.
Prabhupda: Long a or short a?
Devotee: Long a.
Prabhupda: Yes. Ivjas. Ajas. Ajas means wholesale. Go on. (recitation
and corrections continue) Na ghaeta arthasambandha, combined together it
becomes na ghaetrtha-sambandha. Trtha. What is the spelling? Trtha?
Devotee: T, long a, r-t-h-a.
Prabhupda: Of tha? What is the...?
Devotee: T-a-r-t-h-a. Na ghaa...
Prabhupda: T-h-a. There must be r.
Pradyumna: Yes. Ghaetrtha. G-h-a-t-e-t-a-r...
Prabhupda: T-a-r. Yes. T-a, artha. So you were missing that r. Na ghaetrthasambandha. All right. Next. (recitation continues) Get it next. Come here. So
you have to study like that. So many lokas, I am taking so much labor. If you do
not read it carefully... It is not for that I am making business, for selling only, and
not for my students. You must all read like this, practice. Why so much trouble is
being taken, word to word meaning and then transliteration? If you chant this
mantra, that vibration will cleanse the atmosphereNext chant. (another devotee
recites verse) Very good. Next, next. Bhnu Prabhu (Bhnu recites) Thank you
very much. He has pronounced very nicely. So he will teach you. Yes. Next.
(another devotee recites verse) Very good. (another devotee recites verse) Very
good. Yes. In this way, each one of you, you chant and others will follow. Then
one or two days, you get the loka by heart. You can chant. It is not difficult. Now
read the word meanings and translation.
Karandhara: r-uka uvcar ukadeva Gosvm said; tmathe Supreme
Personality of Godhead; mymthe energy; te without; rjanO King...
Prabhupda: Rjan.
Karandhara: RjanO King.
Prabhupda: It is address, addressing. Nominative is rj and addressive is rjan.
Go on.
The above long discussion is only one of several instances in which Prabhupda
personally engaged his disciples in understanding the Sanskrit grammar and word
for word pronunciation and translation. He really wanted his disciples to
memorize and recite verses.
atadhanya Dsa recalls one such incident:
One day Srila Prabhupada became very upset, and spoke in a strong voice
describing how he had gone through all the trouble to include the Sanskrit slokas
and transliterations in the Srimad Bhagavatam, but the devotees were neither
showing any interest nor learning the correct Sanskrit pronunciation. In short, they
were ignoring the Sanskrit he had placed within his books. He became adamant and
said that from now on everyone in ISKCON must learn to pronounce Sanskrit
correctly and understand the Sanskrit slokas.
14
For the next three weeks during every Srimad Bhagavatam class,
Prabhupada called upon each devotee to chant the slokas aloud. He would take ten
or fifteen minutes with each person and personally teach him how to pronounce
every single Sanskrit syllable in the sloka. In that way Prabhupada taught seven or
eight people every day.
We were studying the Second Canto, Answers Citing the Lords Version,
and I remember, even to this day, the slokas that Srila Prabhupada drilled into us
intensely day after day. In fact, Pradyumna would tutor the devotees during the
day so that the next morning we would not be embarrassed when we were called
upon to chant. We were finally able to correctly chant the slokas in that chapter.
Before Prabhupada left, he announced that there would be a final exam in
the temple room. At class time Prabhupada called on each devotee to recite the
entire chapter in Sanskrit. Then Prabhupada went through all the trouble to make
corrections and explain how we did. This went on for hours, and he told each of us
whether our recitation was good or more work had to be done. Somehow I was the
last one to chant. I took my turn and recited the whole chapter. Then Prabhupada
looked at me and said, First prize.
Satadhanya Dasa, Tokyo 1972
Prabhupda wanted the members of ISKCON to become proficient in all areas of
devotional service. Pronunciation of the Sanskrit vibration is no exception.
Prabhupda wanted his disciples to recite the scriptural verses co-jointly as they
chant Hare Ka mah-mantra:
I am happy to learn that you have begun to teach our students Sanskrit pronunciation. Please
see that they can pronounce very nicely the Sanskrit verses in Bhagavad-gita, Srimad
Bhagavatam, Isopanisada, and Brahma-samhita, and teach them to chant co-jointly as they
chant Hare Krsna maha-mantra.
(Letter, April 17, 1970)
Every mantra of the Bhagavad-gt and rmad-Bhgavatam is abda-brahma, i.e.
the Absolute Lord in His form of transcendental sound. If the mantra is
misarticulated, then this sound form of the Lord is disfigured. Instead of invoking
the Lord, the distorted sound may invoke inauspiciousness. Therefore,
Prabhupda accentuated the devotees be educated to pronounce in Sanskrit
vibration:
in the meantime I have received one small tape record. Your teaching of Sanskrit
pronunciation has been very much successful. I was just thinking of teaching our students the
pronunciation of the Sanskrit verses in the Bhagavad-gita, Srimad-Bhagavatam, etc. and by
Krsnas will you have already begun this. It will be a great help for me if the students are taught
to pronounce in Sanskrit vibration. It will be another effect of transcendental sound
vibration
Along with musical accompaniment, devotees could compose songs, sing also,
like songs, with tamboura the Vedic mantras, suggested Prabhupda:
15
Yes. You can sing also very nicely, sing also, like songs, with tamboura. It is very nice. (sings:)
Cintmai-prakara-sadmasu kalpa, like that, it is very nice. In every temple there should be,
one man should play on tamboura and chant. It requires nice pronunciation, and with the sound
of tambouraPeople are coming, offering darana, and the singing is going on. That is the
system in Indian temples. It immediately vibrates.
(Folio: Darwin.Sya. No date supplied)
In his strategic outlook for the future of ISKCON, Prabhupda knew that Sanskrit
education was essential for the gurukula children as a scholastic tool, which
would enable them to firmly and more deeply grasp the Vedic literatures. Thus,
he ordered the gurukula educators to purchase minimum fifty copies of the
primary Sanskrit book:
One thing is, I have just returned from Dallas Gurukula school, and the young students there
require to learn Sanskrit language. So I think you may purchase minimum fifty copies of the
primary Sanskrit book for learning Sanskrit language from Bharatiya Vidya Bhavan in
Chowpatty and send to Dallas school as soon a possible. Ask them if they will donate, but if
they will not donate then purchase outright minimum fifty copies of the first grammar or primary
book for learning Sanskrit at earliest age.
Not only for the gurukula children, but also for his adult disciples, Prabhupda
encouraged Sanskrit classes, not for becoming scholars, but to aid in their
pronunciation of the mantras in the proper accent:
Regarding Sanskrit class, it is very encouraging that Mr. Parikh is helping you in this
connection, but the chief aim for learning Sanskrit would be how to pronounce the Sanskrit
verses especially in our published booksTherefore the main aim of this Sanskrit class should be
how you can learn this chanting in the proper accent. It is not our aim to become a Sanskrit
scholar.
Anybody who reads rla Prabhupdas books can learn Sanskrit by studying the
detailed word for word synonyms from Sanskrit to English, enumerated for each
verse. Prabupda was even willing to produce recordings of the verses for
assisting the reader in pronouncing Sanskrit very nicely just by reading his
books:
The linguistics professor has correctly remarked. It was my intention in presenting the books
that anyone who would read, they would learn Sanskrit. For example almost all of my disciples
are pronouncing Sanskrit very nicely just by reading my books. He says that there is no
pronunciation guide, but it is there is it not? The best thing would be is a recording.
In fact, in his following conversation with Dr. Patel, Prabhupda overtly
expresses his wish to explain Bhagavad-gt grammar, i.e. analysis of the
Sanskrit syntax to probe the meanings and formations of words and phrases in
the Bhagavad-gt verses. Prabhupdas disciples Harivenu and Yadu Prabhus
have fulfilled their spiritual masters desire by authoring the book Sanskrit
Grammar in Bhagavad-Gt (see Guidebooks in Resources section). This book has
16
detailed lessons on Sanskrit with practical demonstrations and examples from the
verses of the Gt.
Dr. Patel: teach Sanskrit through Bhagavad-gt.
Prabhupda: Oh, that we are doing.
Dr. Patel: That is what I said.
Prabhupda: That we are doing. We give each words meaning. Each word of any
Sanskrit loka, we give the meaning. That is right.
Dr. Patel: That is the way I learned myself. I mean, a student of...
Prabhupda: If one is serious to learn, he can learn. There is no difficulty. No,
dharma-ketre kuru-ketre [Bg. 1.1]. Now, if he inquires, The word is dharmaketra. Why it is written ketre? then it is grammar.
Dr. Patel: That is what I say. That is the way I learned.
Prabhupda: So that, if he likes, he can learn it. Saptam, adhikaraa saptam,
sthna, ketra, ketre, dharma-ketre. If he simply tries to learn the nominative
case, the objective case, or like that, then hell learn.
Dr. Patel: (Sanskrit) Like that. All things in different ways.
Prabhupda: Sajaya uvca. It is nominative case. Dharma-ketre kuru-ketre
samavet [Bg. 1.1], this is plural number, yuyutsava, plural number. Mmak
pav caiva [Bg. 1.1]. Pav is plural number, and when it is added with
ca it becomes ca. The visarga... In this way he can learn. Eva, again sandhi.
Mmak pav ca eva.
Dr. Patel: My meaning was that. My idea was that...
Prabhupda: Yes. So any serious student, he can learn at home. It is not very
difficult. And after studying one or two or a dozen sentences like that,
automatically, yes, he learns sandhi, he learns verb, he learns subject, object,
everything. No time, otherwise I would have made Bhagavad-gt grammar. Yes.
Prabhupda: That is what I really meant when I say that...
Prabhupda: You can do that. You can do that. People will read it, Bhagavad-gt
grammar. On the Bhagavad-gt teach them grammar. Just like Jva Gosvm
compiled Hari-nmmta-vykaraa, similarly, you write. You have got both the
knowledge, Sanskrit, and through English, Bhagavad-gt grammar. People will
take it. I have no time; otherwise I have done it. Simply nominative case,
objective case, abda-rpa.
(Conversation, Bombay, April 13, 1976)
Though Prabhupda did not have enough time to write a complete Sanskrit
grammar textbook, he did specifically make sure to include diacritic marks on the
Roman transliteration of the scriptural texts in his books to assist the reader to
pronounce exactly the Sanskrit verses:
Prabhupda: You are reading the transcription or original verse?
Hdaynanda: Transcription.
Prabhupda: So this transcription is quite helpful in pronunciation, everything.
Exact it is coming. The diacritic marks follow, you can pronounce exactly.
(Conversation, Los Angeles, June 10, 1976)
Because the Sanskrit alphabet has more letters than the English alphabet, to allow
those without knowledge of Sanskrit to correctly pronounce the words, a system
17
using a combination of the English alphabet and dots and lines was introduced in
the scholarly community. These markings are called diacritic marks and can be
seen in the letters , , , , , , , and others. These marks tell the reader exactly
how that sound is to be produced. To give one example, the line over the top of a
vowel () tells the reader to pronounce the vowel for twice as long as he normally
would. Prabhupda instructed his publishers to strictly adhere to this academic
standard of correct diacritic spelling in all his publications:
In reply to Jayavaitas questions, henceforward the policy for using diacritic markings is that I
want them used everywhere, on large books, small books, and also BTG. If there is any difficulty
with the pronunciation, then after the correct diacritic spelling, in brackets the words
pronounced as _ may be written. So even on covers the diacritic markings should be used. We
should not have to reduce our standard on account of the ignorant masses. Diacritic spelling is
accepted internationally, and no learned person will even care to read our books unless this
system is maintained.
(Letter, December 31, 1971)
The diacritic system is known as Roman transliteration (transliterate means to
write in the corresponding letters of another alphabet). It is internationally
accepted by all scholars since the last seventy years, and each and every Sanskrit
sound can precisely be transliterated in English without loss or ambiguity. As per
Prabhupdas instructions, all his books use diacritic marks for printing
transliterated Sanskrit text:
Diacritical marks must be maintained. These are internationally accepted by all scholars so I
want that they should remain. If they are a botheration then leave out the Sanskrit words
altogether or wherever there is a Sanskrit word, keep the English spelling for pronunciation
(following it), eg. Ka pronounced Krishna. If you are printing childrens books you may
avoid Sanskrit words but in my speeches there must be Sanskrit. This changing from one
standard to another is not good, either avoid Sanskrit, put English pronunciation in brackets or
use the diacritical marks whenever there is Sanskrit.
This Roman transliteration system enables the novice Sanskrit student to read
Sanskrit without knowledge of the Devangar script if he or she is willing to
learn the diacritic marks:
You practice this diacritic mark. English transliteration is there. It is not very difficult. Simply
if you practice twice, thrice, four times, it will come exactly, the pronunciation. You have to
learn the diacritic marks. Then it will be all right.
(Lecture, March 27, 1976)
Prabhupda did not want lazy followers. He arduously wrote and published
books as his contribution to the society, and he wanted his disciples to use the
diacritics and special features in his books to their advantage. Prabhupda
encouraged his disciples: You can learn Sanskrit. You can pronounce very nicely.
It requires learning. Thats all.:
Devotee: If you dont pronounce the Sanskrit prayers that are in the rmadBhgavatam, if you dont pronounce them properly or...
18
Prabhupda: Why not? You can pronounce them properly. Everything you can
learn. Just like I am speaking in English. English is not my mother language, but I
have tried to learn it, and I am doing my business. Thats all. Similarly, you can
learn any language. You can learn Sanskrit. You can pronounce very nicely. It
requires learning. Thats all.
(Lecture, June 12, 1968)
1.4
Benefits of Accurate Pronunciation
In regards to preaching programs: pious Indians are naturally attracted to pure

recitation of Vedic mantras. If the devotees could impress the public with
spectacular recitation of Veda-mantra, they would be received like God.
And wherever you go, in any part of the world, if you can chant this mantra, oh, youll be
received like God. It is so nice. And in India hell actually receive like Gods if you chant this
mantra. They will so offer their respects, so many. Veda-mantra.
Just like the Lords holy names, the verses of scripture are also transcendental
vibrations, pure recitation of which brings all auspiciousness. If you purely chant
these mantras, wherever you go, you will be all respected:
Prabhupda: ...transcendental vibration. So everything is there. If you do not
practice, what can I do? The transliteration is there, the accent is there, and now
our Pradyumna is there also. Utilize time; become attracted. As Ka is allattractive, you become attracted at least to some. Ka is all-attractive. You
cannot become all-attracted. At least you become attracted to some. They are
becoming attracted by good apartment, by shaving the beard or..., like that. You
told me they are trying to remain young?
Sudm: Yes, yes. You have given us so many lokas. Now we have so much to
start. So many mantras, Bhagavad-gt, rmad-Bhgavatam, opaniad.
Prabhupda: Huge. So why you are not utilizing this facility?
Sudm: Were missing the point.
Prabhupda: This evening you will have to chant these verses and you will
explain. Who will explain? You will explain? Thats all right. Then I shall speak.
First of all let them hear from my disciples, then I shall speak. Is it all right?
Sudm: Yes, rla Prabhupda.
Prabhupda: So now practice whole day how to pronounce these lokas.
Pradyumna: Better all chant.
Prabhupda: Yes. And explain. Practice like this. Then wherever you go, you will
be all respected.
Prabhupda desired that his sankirtana devotees uniquely demonstrate the
chanting of the mantras to attract the public towards Ka:
19
When we lead our world Sankitana Party at that time, if we can demonstrate the chanting of
the mantras as they are stated in Isopanisad, Bhagavad-gita, Srimad-Bhagavatam, Brahmasamhita, that will be our unique position
Prabhupda did not just write books for distribution. He also wanted his disciples
to study them and practice resounding the mantras:
Prabhupda: Come on. Hm. What is that?
Devotee: Sanskrit.
Prabhupda: Bhgavata? So from the very beginning, o namo bhagavate,
janmdy asya yata [SB 1.1.1].
Pradyumna: (chants the verse one word at a time with devotees and rla
Prabhupda repeating until rla Prabhupda stops him at the word abhija.)
Prabhupda: (chants whole verse one word at a time with devotees repeating)
Like that.
Pradyumna: Janmdy asya yato nvayd... [SB 1.1.1].
Prabhupda: No, first of all let them practice. (chants whole verse one word at a
time with devotees repeating) Read like that.
Pradyumna: (chants whole verse one word at a time with devotees and rla
Prabhupda repeating)
Prabhupda: Again. (Pradyumna repeats whole verse one word at a time with
devotees and rla Prabhupda repeating) Next you. (Devotee recites whole verse
one word at a time with devotees and rla Prabhupda repeating.) Hm.
Krtannanda Mahrja. Janmdy [SB 1.1.1]. (Krtannanda recites with devotees
and rla Prabhupda repeating until the word tene when rla Prabhupda
interrupts.) This, this word abhija or abhija (Pronounces differently,) both
ways you can pronounce. So it is easier for you, as it is spelling abhija, or
abhija, as you like. Yes. (Krtannanda continues with rla Prabhupda and
devotees repeating.) Thank you. Viujana Mahrja. (Viujana recites with
rla Prabhupda and devotees repeating.) Karandhara Prabhu. (Karandhara
recites with rla Prabhupda and devotees repeating.) You. (Devotee recites with
rla Prabhupda and devotees repeating.) Any more? Anyone else? Hm. (rla
Prabhupda chants verse twice, one line at a time and devotees repeat.)
Prabhupda: So, if you chant these mantras, at least one in one day, your life will
be glorious. This mantra, bhgavata-mantra, not only Bhgavata, every Vedic
literature is a mantra. Transcendental sound. So practice resounding this mantra.
So we have taken so much labor to put in diacritic mark, all the words, word
meaning, utilize it. Dont think that these books are only for sale. If you go to sell
these books and if some customer says, You pronounce it, then what you will
do? Then he will understand, Oh, you are for selling, not for understanding.
What do you think? So therefore it is necessary now, you have got nice books,
each and every loka, verse, should be pronounced. Therefore we have given this
original verse in Sanskrit, its transliteration with diacritic mark-these marks are
universally accepted amongst the scholars. So all the scholars of Sanskrit, they
agreed to use this mark for pronouncing Sanskrit language. Sanskrit language is
very important, honored all over the worldSo if, those who are Indians,
especially present in this meeting, that if you want to glorify your country, then
you present this Vedic literatureI am therefore so much laboring hard that we,
20
before my leaving this body, I may give you some books who you can enjoy after
my death. So utilize it. Utilize it. Read every loka nicely, try to understand the
meaning, discuss amongst yourselves. Nitya bhgavata-sevay. That is our
mission.
(Lecture, July 6, 1972)
In Jhsi, where Prabhupda started his League of Devotees, his very first
disciple, Dr. crya Prabhkara Mira, was a college principal and a scholar of
Sanskrit. Thus in the quote below, Prabhupda is similarly envisioning an
educational institute for scholars from all countries to learn and read Sanskrit.
As such it is now necessary that men of culture all over the world may learn and read Sanskrit,
the mother of all other languages of the Aryan stock. The League of Devotees, therefore, will
maintain a Sanskrit academy and a degree college especially for the purpose of disseminating the
benefit of this great language to all. Scholars from all countries will be welcome to remain as
inmates at the institute.
On the mission of the League of Devotees, 1953
Even after establishing the International Society for Krishna Consciousness,
twenty years after his preaching exploits in Jhansi, Prabhupda still contemplated
launching a bona fide language school and paying Sanskrit scholars for training
his disciples in Hindi and Sanskrit. This would be a great aid in their preaching
mission (especially in India):
We want to introduce this program of teaching our students Hindi and Sanskrit for two
reasons. First of all, as I have already explained in a previous letter, if we can establish a bona
fide language school then our American and European disciples can acquire student visas for
coming to India. This will solve our visa problem. Secondly, if our students can actually preach
in Hindi, periodically quoting Sanskrit, it will be a very good credit for us and very respectfully
received by the Indian peopleThe curriculum can be two hours in the morning and two hours
in the evening and the panditas can be paid Rs. 200 per month. Our students, however, must be
prepared to apply themselves and actually learn the languages.
Before ending this section, we would like to describe one last benefit of uttering
Sanskrit purely: to speak the language of Sanskrit means to be refined and
cultured by definition. As the language of the gods, it brings divine grace. The
sounds of Sanskrit create beneficial vibrations for the ns (pathways of life air)
and strengthen the nervous system, thereby contributing to our health.
1.5
Bhva-grh Janrdana
One of the first arguments devotees offer against improving their pronunciation
is: Ka is in my heart and therefore He knows what I really mean to say. The
Lord takes only the essence of a devotees attitude and thus He is glorifed as
Bhva-grh Janrdana:
The Supreme Personality of Godhead is known as bhva-grhi janrdana because He takes
only the essence of a devotees attitude. If a devotee sincerely surrenders, the Lord, as the
21
Supersoul in everyones heart, immediately understands this. Thus even though, externally, a
devotee may not render full service, if he is internally sincere and serious the Lord welcomes his
service nonetheless. Thus the Lord is known as bhva-grhi-janrdana because He takes the
essence of ones devotional mentality.
(Purport, Srimad-Bhagavatam 8.23.2)
This is the Lords merciful nature: He pardons the mistakes in grammatical
composition of the devotees prayers, if the intent and service attitude is pure
for serving Ka:
So even we offer Ka prayer with broken languages, because Ka is Absolute, Ka will
accept it. Bhva-grhi-janrdana. Janrdana, Ka sees how much your heart is pure for
serving Ka. Ka does not see the wording, the grammatical composition of your prayer.
(Lecture, May 6, 1973)
The story of the illiterate South Indian brhmaa of r Raga teaches us a similar
lesson. His fellow brhmaas in the village would laugh at him and make fun of
his incorrect pronunciation of Bhagavad-gt lokas. But because of his intense
bhva (ecstatic love) for the Lord, he was in tears of ecstasy thinking of the
Supreme Lord driving the chariot of His devotee, Arjuna. As a result, the
brhmaa received the darana (audience) of Lord Caitanya.
With these arguments, one may justify laziness as being an indication of
devotion: I dont need to learn Sanskrit grammar and pronunciation. After all
akarcrya has said:
>aJa GaaeivNd& >aJa GaaeivNd& >aJa GaaeivNd& MaU!MaTae
SaMPa[ae SaiihTae k-ale/ Naih Naih r+aiTa duk*-Na( k-r<ae

bhaja govinda bhaja govinda
bhaja govinda mha-mate
samprpte sannihite kle
nahi nahi rakati du-kn karae
Worship Govinda, worship Govinda, worship Govinda, you fool! Your
grammatical word jugglery will not save you at the time of death.
akarcryas Bhaja Govinda
Prabhupda also is very tolerant of our mistakes. Bhva-grhi Prabhupda accepts
the pure service attitude. He forgives even our mispronunciation of guru as goru
(means cow) and only takes the meaning of guru and not goru, even if it is
spoken as goru:
You are chanting, the mantras, but because it is not your language, sometimes it appears
broken. Just like guru. Sometimes you say goru. Goru means cow and guru means spiritual
master. So the difference in meaning is vast. The spiritual master is not a cow or a bull. (laughs)
Because it is not your language, it does not matter. Because bhva-grhi-janrdana. Ka is
within you. He knows what you want to chant. Therefore He takes the meaning of guru and not
22
goru, even if it is spoken as goru. I dont take offense because I know that your desire is
something else. I do not protest that you are addressing me goru. I am not goru. So that is not a
fault. Similarly, it is said that yasmin prati-lokam abaddhavati. If somebody does not know
how to spell, how to say, but his idea is there, abaddhavaty api, because he wants to chant the
holy name of the Supreme Lord, nmny anantasya, ananta... Ananta means the unlimited. His
name is being chanted.
(Lecture, June 10, 1969)
In the above quote, Prabhupda refers to Nrada Munis famous instruction to
Vysadeva:
TaaiGvSaGaaeR JaNaTaagaivvae
YaiSMaNa( Pa[iTaaek-MabvTYaiPa )
NaaMaaNYaNaNTaSYa YaXaae_iTaaiNa YaTa(
*<viNTa GaaYaiNTa Ga*<aiNTa SaaDav" )) 11 ))

tad-vg-visargo janatgha-viplavo
yasmin prati-lokam abaddhavaty api
nmny anantasya yao 'kitni yat
vanti gyanti ganti sdhava
TRANSLATION
On the other hand, that literature which is full of descriptions of the
transcendental glories of the name, fame, forms, pastimes, etc., of the unlimited
Supreme Lord is a different creation, full of transcendental words directed toward
bringing about a revolution in the impious lives of this world's misdirected
civilization. Such transcendental literatures, even though imperfectly composed,
are heard, sung and accepted by purified men who are thoroughly honest.
rmad-Bhgavatam 1.5.11
The Lord gives preference to the motive, not the pronunciation of the language:
Yes you can sing prayers in Sanskrit, but prayers in English can be also pronounced because the
Lord accepts the motive, not the pronunciation of the language. He wants to see spiritual
motive. Even if some effectiveness is lost in translation, if the motive is there, it will make no
difference.
(Letter 1/2/1968)
The Lord is in our heart as the Paramtm, who is the witness to all our minds
actions. If we just pronounce the name of the Lord with the tongue, but do not
meditate upon Him within our mind, then the effectiveness of our chanting is
reduced. On the other hand, if we are sincerely chanting the Lords names, even
it is not perfectly pronounced, still, God will understand:
Because God will take your mind, not your pronunciation. If you mean to pronounce God's
name, even it is not, I mean to say, formally or perfectly pronounced, still, God will understand
that you are trying to chant His name. That is your perfection.
(Lecture 10/09/1969)
23
The above quotes are often misconstrued to justify improper pronunciation. The
pure devotee actually wishes to offer the best service to the Lord. Reciting the
pastimes of the Lord in the form of scriptural verses is also a devotional service,
and if our motive is to please the Lord, then we should endeavor to perform this
service to the best of our capacity. If one knows the proper method, he or she
should perform the service appropriately. Prabhupda makes this point in the
following lettereverything perfect for Krishna:
It is not our philosophy to print errors. Of course, our spiritual subject matter is transcendental
and therefore it remains potent despite mistakes in grammar, spelling, etc. But this type of
translation may only be allowed if there is no other way to correct it, then it is all right. But if
you know the correct order, then you must make it perfect. That is our philosophy: everything
perfect for Krishna.
(Letter, January 20, 1972)
1.6
The Gravity of Mantroccraam
Priests would ensure their mantroccraam (pronunciation of Vedic mantras) was

precise by testing sacrificial hymns on animals. If the sacrificed animal regained a
new life, the pronunciation was verified to be correct (Purport, rmadBhgavatam 4.19.27). If the pronunciation was even slightly flawed, the result of
the sacrifice could be reversed, as in the case of Tvas sacrifice:
hTaPau}aSTaTaSTva JauhaveNd]aYa Xa}ave )
wNd]Xa}aae ivvDaRSv Maaicr& Jaih ivizMa( )) 11 ))

hata-putras tatas tva
juhvendrya atrave
indra-atro vivardhasva
m cira jahi vidviam
TRANSLATION
After Vivarpa was killed, his father, Tva, performed ritualistic ceremonies to
kill Indra. He offered oblations in the sacrificial fire, saying, O enemy of Indra,
flourish to kill your enemy without delay.
PURPORT
There was some defect in Tvas chanting of the mantra because he chanted it
long instead of short, and therefore the meaning changed. Tva intended to
chant the word indra-atro, meaning, O enemy of Indra. In this mantra, the
word indra is in the possessive case (ah), and the word indra-atro is called a
tat-purua compound (tatpurua-samsa). Unfortunately, instead of chanting the
mantra short, Tva chanted it long, and its meaning changed from the enemy
of Indra to Indra, who is an enemy. Consequently instead of an enemy of
Indras, there emerged the body of Vtrsura, of whom Indra was the enemy.
rmad-Bhgavatam 6.9.11
24
Though the above quote is an extreme situation, it demonstrates the importance

of pronunciation, which can cause even life or death. If mantras are chanted
improperly, they can yield an opposite result. Tva wanted to produce a
creature that would kill Indra, but because he chanted just one syllable long
instead of short, the sacrifice produced Vtrsura, whom Indra would eventually
kill. Tva expected Indras killer to be born from the sacrifice, but the mantra
he uttered meant Indra is the killer of the person to be born.
Ultimately, incorrect pronunciation is not an impediment to going back to
Godhead. Nevertheless, we would like to see an improvement in the way
devotees pronounce mantras and songs in Sanskrit and Bengali.
25
Prabhupda Disciples Speak Out

Pa[>auPaad===iXaZYaGa<a Sa&Sk*-Ta===iXa+aaMa*Ta
Prabhupda-iya-gaa Saskt ikmta
Bhakti Vikash Swami: When I went to get my Gyatr mantra from rla
Prabhupda, he repeated the words one after another to me. I had the printed
sheet in front of me, but Prabhupda was correcting my pronunciation on every
word. Once, twice and sometimes three times he would correct me on one word.
He was going on correcting me, and after two or three lines he just stopped
correcting me. He gave up.
Tattvavit Prabhu: In a Bhagavad-gt class, Jaynanda Prabhu was speaking on
the verse patra pupa phala toyam, but he was pronounced the ph as f,
because thats the natural way an American would pronounce this sound. I
wanted to see what Jaynanda thought, so I said to him, Jaynanda, this says
phala. I read the pronunciation guide, and it is pronounced pha. He just
ignored me. He didnt think it was so important.
But he was still very interested in chanting. He would take us out on harinma and before lunch we would chant the eighteen mantras of the opaniad.
So its not that he wasnt interested, but he wasnt concerned so much for the
scholarly details.
Prior to 1974 typesetting machines couldnt generate diacritic marks, so the
BBT press workers would get typeset pages without the diacritic marks and then
sit at their desks putting the diacritics in by handevery single mark. (Incorrect
statement:
As
early
as
1969,
the
marks
were
being
put
in
(laboriously) with an IBM Selectric Composer). It took a long time to prepare one of
Prabhupdas books, but he was giving attention to that. He was stressing that it
be done correctly according to the phonetical system and want us to follow that.
Authors note Well before 1974, the BBT obtained the IBM Selectric Composer
with diacritics to expedite the proofing procedure. The 1972 Bhagavad-gita As It
Is was composed with this machine. The first book composed on it was probably
Sri Isopanisad, which was fist published in 1969.
Lokanath Swami: So, I think through this exercise we will know who
knows how much are the experts in the field of Sanskrit pronunciaiton.
Maybe in this book we should have a list of devotees who are well versed
in Sanskrit writing, compilation, poetry, prose or pronunciation, grammar.
Devotees could take assitance from them in different parts of the world.
Other devotees don't know that next door there's some scholar residing,
ISKCON scholar.
Vipramukhya Prabhu: Many times I thought of writing this book but the
persons who were most responsible I didn't think they would read the
book. I know persons who are GBC members who don't know how to
26
pronounce Lord Caitany's name or who don't know how to say Caitanya
Caritamrta. There is a very prominent GBC member who is also an
initiating guru, he doesn't know how to say Caitanya Caritamrta. How are
you going to correct that? I don't know what the solution to that is. I was
meditating for years what to call this book. As I suggested Songs Book
Revisited For Old Devotees or Classical ISKCON Mispronunciation I
didn't want to sound humorous or offensive but I think that it's nice that
Lokanath Maharaja wants to do it because people will respect it nicely if
he does it. But exactly how to put the book together, the mood of the sheet
of paper is nice and I think that there should be some kind of introduction
of the book to explain why it is being presented.
Jayadvaita Swami: You all begin thinking now. This should make you
thinking people, thinking devotees. You were not thinking for all these
years, but please now begin thinking about these matters and begin to
look at the way things have been printed in the songbook, or the verses in
Bhagavad-gita, Srimad Bhagavatam and look at them very carefully.
It wont take much time, but once you learn, in a few days, a few weeks, a
few months, then for the rest of your life youll be a master, and can do the
job of pronouncing Sanskrit very correctly. And then everyone will be
proud of you. And Indian Sanskrit scholars will be proud of you, and will
ask Oh, who is your teacher? Whick sakha (branch) do you belong to?
Bhakti Caru Swami: This is Srila Prabhupadas discussion with
Syamasundara Dasa. Its on the folio from a tape called Darwin.sya. Srila
Prabhupada says, cintamani prakara sadmasu kalpa, like that it is very
very nice like songs. In every temple there should be, one man should play
on tambura and chant. Ir requires nice pronunciation and with the sound
of the tambura it will be nice. ( Cannot find the quote in folio)
Lokanath Swami: I think the point hes making is when you chant Hare
Krishna sixteen rounds then you could learn difficult Sanskrit grammar
and pronunciation. You can also do it. Nothing is impossible for those
who are chanting 16 rounds. Thats one point, so lets take inspiration and
proceed.
So we are born with our mother tongues and then we have to adapt to this
new and internal language, the mother of all languages. So I think well
have to make sacrifice. If the devotees make an effort they will be able to
say it correctly. If theres no effort, no reminder, it is required, that is what
were trying to do. Besides other mantras, even Hare Krishna mantra,
theres a great influence of their own language. The way they utter the
original manamantra. Sanskrit language is a more complete language. It
27
takes the full use of the movement of the tongue, the lips, the throat, the
teeth, nose, breath, ear. So for pronouncing, because it starts from the ear.
So of course if you have cold then you cant say Sanskrit language, there
are a lot of nasal sounds. Your nose has to be clear, you have to have all
the teeth. When the teeth are missing, one of the reasons why children, as
well as old people, when they speak, with no teeth, its difficult ot
understand, so for pronouncing the language you need all these parts in
good operating condition, full flight operation has to be there. The
Sanskrit language expects that you really open up all your organs and fill
up the sound with the movement of the tongue, the tongue has a lot of
role to play.
Some people when they speak, its like a sparrow, just cheep, cheep,
cheep, theres no vadane bori. Bhaktivinode Thakur says when youre
singing glories of the Lord, should be full heart, full throat, full mouth.
Some people hardly open their lips or mouth while speaking. So naturally
their pronunciation is some kind of hissing sound, approximately the
same but not correct.
Bhakti Caru Swami: I think that prasadam is not Sanskrit word. The Sanskrit
word is prasad. Like yasya prasadad, so it is prasadah.
Jayadvaita Swami: But Prabhupada used to say prasadam.
JS: Some people say Bhagavatam with a long a at the end. So this is also
wrong.
Good example
BCS: The temple in Belgium say Radhadesa but there is no place called
Radhadesa. Actually this name comes from Radhadesa. This is a part of
Bengal where the Ganges does not flow, the place where Nityananda Prabhu
is born. The dh is a r, a heavy r. But it has become so commonly used now.
JS:
And Vrndavana is usually pronounced as Brindaban or Brindavan and similar
other things.
This is like a game we used to play in kindergarden called Chinese
Whispers. Somebody would whisper something in your ear and then youd
whisper it in the next persons ear and that child would whisper it in the next
persons ear until finally the last person would say what they heard and it will
be totally different from what the first person had said.
Suddha bhakata carana renu...
I heard also this morning something. Our Godbrother, the Ratha-yatra
founder, Jayananda, his pronunciation was very bad. You can read that in
Chapter 5. We dont want to offend him, especially because Prabhupada said
he was a pure devotee, but it seems that he could pronounce things wrongly
28
and still be a pure devotee! So this correct pronunciation business has

nothing to do with being a pure devotee, or anything like that.
29
ik Sanskrit Phonetics
3.1
The Sanskrit Language
The word Sanskrit (diacritically spelled as saskta) means the formally

perfected language. Though Sanskrit is the original language, and thus the
mother of all other languages, it is now known as one of the many Indo-European
languages, which include English, Latin, and Greek.
Modern day indologists profess that Sanskrit was brought to India by the
Aryans when they invaded Southeast Asia. As suggested by the Harappan and
Mohenjo Daro excavation sites, prior to the so-called Aryan invasion, the
sophisticated and advanced Sindhu (pronounced Hindu by the invading Persians)
or Indus Valley Civilization prevailed in India since the middle of the third
millenium. However, according to the Vedic version itself, at the beginning of
creation, the sounds of Sanskrit appeared from the mouth of Lord Brahm
beginning with praava, which is the divine sound okra (a - u - m), the origin
of all other articulations. Lord Brahm is the personal representation of Nryaa,
the Supreme Lord, and the source of the transcendental sound okra composed
of the three original sounds of the alphabet: a - u - m. Okra is the secret
essence and eternal seed of all Vedic hymns. From okra, Brahm created all the
other sounds of the alphabet, including the seven musical notes: a (aja),
(abha), ga (gandhra), ma (madhyama), pa (pacama -the fifth note), dha
(dhaivata), and ni (nida). These sounds are known as Sa, Re, Ga, Ma, Pa, Da,
Ni.
Nowadays, there are several different alphabets used in different parts of
India for writing Sanskrit, but they all follow the same eternal pattern of the
sounds of Sanskrit.
The Sanskit language was analyzed by the grammarian Panini in his
grammar book called the Adhyyi to comprise of 48 letters or akaras, 13 of
which are vowels and 35 are consonants. The word akara means that the sound
of the letter is never destroyed. This signifies the eternal quality of the sound.
There are two aspects to the quality of non-destruction. Firstly, the phonetic
characteristics of the language, i.e., in any word, the akaras retain their sound.
This is different to most languages where one letter can be pronounced two or
three different ways. In English, a may indicate many sounds as in the words far,
fat, fare, and fate; whereas in Sanskrit, each letter has only one precise sound and
any sound can only be written as one single letter. Thus spelling and
transcription of Sanskrit is exact and less prone to error than other languages.
The second aspect of non-destruction is that the akaras retain their individual
meanings as well. To give an example, the word guru consisting of the akaras
gu and ru stands for a teacher- one who dispels darkness of the mind. Gu
means darkness and ru means the act of removal.
30
There are the two divisions of Sanskrit: Vedic and classical. Vedic
Sanskrit is the script used in the four original Vedas, and classical Sanskrit is the
language codified by Pini, who defined Sanskrit phonology and morphology by
categorizing the sounds and forms of Sanskrit characters in his 4000 stras or
aphorisms. There are only a few differences in between classical and Vedic
Sanskrit. For example, the sandhi rules are dissimilar in the two. However, the
two are, pragmatically considering, phonologically nondifferent. The opaniad is
the only book translated by Prabhupda that uses Vedic Sanskrit.
Sanskrit is easier to learn than modern languages for three reasons: 1) it
has a systematic alphabet, 2) precise and constant grammar and syntax, and 3) an
unchanging vocabulary. On the other hand, modern spoken languages have
changing and varying vocabularies across the globe. English, for example, is quite
different now from its German source, since three quarters of it comprises words
borrowed from 350 other languages. English spoken in African countries, with
their multitudes of spoken languages (Nigeria has about 400), is greatly
intermingled with words from the native languages.
The word Sanskrit originates from the term saskta, meaning refined
and syntactically accurate grammar as opposed to prkta, which means
colloquial vernacular. Other Indo-Aryan languages and dialects were formed by
deviation (apabhraa) from the original Sanskrit language. The Sanskrit
language of ancient India continued changing. One of its forms is said to have
been used by the Buddha for the propagation of his faith in the sixth century B.C.
This language was called Pali. Buddhist and Jain scriptures are both written in
Pali, one of the many deviations from the original Sanskrit language.
3.2
Vedgas
The Vedas are the oldest literature of humankind. They are the basis of
the transcendental knowledge and culture of India. The Vedas have six
appendices called the a-vedgas, the six limbs of the Vedas:
iXa+aa k-LPaae VYaak-r<&a iNa& ^NdSaa& cYa" )
JYaaeiTaZaaMaYaNa& cEv vedaaiNa Za@ev Tau ))
ik kalpo vykaraa
nirukta chandas caya
jyotimayana caiva
vedgni aeva tu
ik (phonetics), kalpa (ceremonial rituals), vykaraa (grammar), nirukta
(dictionary), chandas (verse meters), and jyotia (astrology) are the six limbs of
the Vedas.
from the k-veda Bhya Bhmik (commentary introduction) of Syacrya
Four (ik, Vykaraa, Chandas, and Nirukta) out of these six vedgas relate to
the Sanskrit language. The first pair of vedgas teach us how to speak the Vedas.
31
The sounds of Sanskrit are purified and the words and sentences are refined by
being subjected to analysis. The purpose of ik, and in greater measure of
Vykaraa, is to refine and clarify Sanskrit as a means for the well-being of our
self. If sounds are well discerned and employed in speech, they will serve not
only the purpose of communication but also of cleansing us inwardly.
1. ik, the first Vedga, is the science of proper articulation and
pronunciation of the Vedic phonemes (sounds). ik divides the letters
into three classessvaras, vyajanas and aumnas. ik is essential
because mantras are precise sound formulas that must be executed
properly if the desired result is to manifest. Depending on the effort
(prayatna), place of origin in the body (sthna), the force used (bala) and
the duration of time (kla), the letters differ from each other in their
auditory quality and meaning.
2. The Vykaraa describes the grammar of Sanskrit and the meaningful
word formations. This is usually referred to as sphoa or meaningful
sound. Vykaraa has three main components: varas (letters, which are
indivisible and indestructibleakarasounds), padas (quarter-verses),
and vkyas (statements). Vkyas are comprised of padas, which consist of
varas.
3. Chandas describes the formation of sentences in metrical form. It is the
science of poetic meter. In the Vedas there are eleven chandas such as
gyatr, unik, anuup, etc. (rmad-Bhgavatam 11.21.41). Unlike
English, which uses a very limited number of meters (basically four),
Sanskrit offers about two-dozen Vedic meters and innumerable
conventional meters.
4. Nirukta describes certain fundamental root words used in the Vedas. It
also classifies words into groups of synonyms. For instance,
approximately a hundred and twenty synonyms for the word water are
given in Nirukta, which is the first dictionary in Sanskrit literature.
The Taittirya Upaniad also begins by emphasizing the importance of the
correct pronunciation of the Vedic mantras. To a person learned in Sanskrit,
ISKCON members must sound very uneducated and odd, chanting lokas and
Vedic mantras in all kinds of whimsical ways.
3.3
The Devangar Alphabet
The written form (script) of Sanskrit is called Devangar (the PadmaPura Ptla-khaa chapter 100 mentions it with the name Devalipi). Deva
means demigod and lipi means script; thus Devalipi is the script used by the
demigods. Devangar can similarly be translated: nagara means city, and
ngar means belonging to that city. So Devangar is the script belonging to the
city of the demigods.
Each letter represents one sound and one sound only, which makes it
easy to resolve how to pronounce a particular Sanskrit letter. There are different
Sanskrit accents and dialects in different parts of India, but the original sounds
are all pronounced the same.
The sound of Sanskrit mantras is based on four aspects:
32
1. Sthna: the pronunciation position, where the letter is

uttered.
2. Prayatna: the endeavor in enunciation.
3. Kla: the time period of the sound.
4. Karaa: reflection, deflection, amplification, attenuation, or
echo of the sound.
Of the six vedgas, the ik vedga describes the process of how sound
is produced by the human body: the self (tm) initiates speech via the
intelligence (buddhi), which inspires the mind (mana) to ignite the somatic blaze
within (kygni) that generates air (mruta) to be exhaled when it is oscillated
(mandra) and vocalized in the mouth to emit sounds.
In the Devangari alphabet, consisting of 48 letters or varas, thirteen
vowels are listed first, then the anusvra and visarga, followed by thirty-three
consonants. Together these 48 varas comprise all the eternally indivisible
(akara) sounds of the Sanskrit language. (Additionaly there are some Vedic
letters mentioned by Pini that are generally not listed in common enumerations
of the Devangari alphabet because they are not used in classical Sanskrit.) This is
different from the alphabets used for Western languages. For example, the order
of the English alphabet (a, b, c, d, e) mixes vowels and consonants
indiscriminately and is generally unsystematic. As European scholar Professor
Macdonall stated, We [Europeans] are still behind making even our alphabet a
perfect one.
The Devangar script reveals that the sounds of Sanskrit are very
ordered, patterned, and scientific. Artificial intelligence researcher Rick Briggs of
NASA has suggested that Sanskrit grammar and logic can be studied to augment
modern computer programming and artificial intelligence languages.
The alphabet is systematically arranged according to the structure of the
mouth. The alphabet divides consonants into the following categories:
Hard/voiced (kahora) versus soft/unvoiced (mdu). Voiced
sounds involve vibration of the vocal cords, and unvoiced sounds
do not.
Non-aspirated (alpa-pra) when the flow of air is restricted,
versus aspirated (mah-pra) when the flow of air is emitted
from the mouth while articulating the consonant.
Heavy (ghoa) versus light (aghoa).
It is essential to use the correct mouth position and not merely imitate an
approximation of the sounds. Because Sanskrit is pronounced exactly as it is
written, if one knows the sounds of the individual letters, he can pronounce any
Sanskrit word. With the help of this book, the Sanskrit practitioner can
comprehend the systematic Sanskrit phonetics, which is phonologically
troublefree for the verbatim reproduction of sound vibrations. Each Sanskrit
akara (sound or syllable) is either a vowel (root sound) or a vowel
prefixed/suffixed by consonants. For example, the name Ka is comprised of
two syllables: k + a = {root sound prefixed by k and suffixed by } + {root
sound a prefixed by }.
The pronunciation of Sanskrit is very simple: you open the mouth wide
and move the tongue and lips as necessary. The tongue and lips are almost pure
muscle and have little or no resistance to movement. For those who are
33
habituated to speaking different languages in their different styles of accentuation

and dialect, it may require some practice and attention to change that habit while
speaking Sanskrit with increased tongue movement.
The basic difference between vowels and consonants is that vowels can be
pronounced alone because they are pronounced with an open, unobstructed
mouth, but consonants need to be pronounced with vowels because they involve
various kinds of obstruction of the flow of air as it passes through the throat,
mouth, and lips. This we can observe from studying the etymology of the English
words vowel (from Latin vocabile, pronounceable) and consonant (con-sonante,
sounding together). In addition, the pronunciation of a vowel can be prolonged
but a consonant cannot.
The pronunciation position of each alphabetical letter is precisely
delineated in the Harinmmta-vykaraa:
AAak-vGaRhivSaGaaR<aa& k-<#=", wwRcvGaRYaXaaNaa& Taalu/, oOPavGaaR<aa& Aae",
$=vGaRrza<aa& MaUaR, _TavGaRl/SaaNaa& dNTaa", WdETaae" k-<#=Taalu/, AaedaETaae" k<#=aEM, vk-arSYa dNTaaEM, ANauSvarSYa iXarae NaaiSak-a va wTYaadqiNa
a--kavarga-ha-visarg kaha, i--cavarga-ya-n tlu, u--pavarg
oha, --avarga-ra- mrddh, --tavarga-la-sn dant, ed-aito
kaha-tlu, od-auto kahauham, va-krasya dantauham, anusvrasya iro
nsik v itydni
Vowels (svara)
Consonants (vyajana)
alpa
pra
mah
pra
alpa
pra
mah
pra
nsik
k
ka
%
kha
Ga
ga
ga
gha
x
a
h
ha
"
^
cha
Ja
ja
jha
Ha
a
Ya
ya
Xa
a
kahya
(guttural)
Aa
tlavya
(palatal)
wR
c
ca
mrdhanya
(cerebral)
$
a
#=
ha
@
a
!
ha
<a
a
r
ra
Za
a
dantya
(dental)
Ta
ta
Qa
tha
d
da
Da
dha
Na
na
l
la
Sa
sa
ohya
(labial)
o
u
Pa
pa
f
pha
Ba
ba
>a
bha
Ma
ma
v
va
W
e
Aae
o
We
ai
AaE
au
Notes: e and ai are kaha-tlavya, o and au are kahauhya, va is dantauhya;

mrdhanya or cerebral is also called retroflex.
The biggest factor in practicing the refined sounds of Sanskrit is to open
the mouth. For English, the mouth only opens to between .5 and 1cm, whereas
for Sanskrit one should open the mouth between 2 or 2.5cms. Try this for
34
yourself: with the mouth opened only slightly, pronounce a prolonged a and
slowly open the mouth wide. As your mouth opens wider, listen to the change in
quality, richness, and fullness that emerges. Can you hear the difference a closed
or open mouth makes?
In pronouncing vowels, the sound is produced with free flowing air that
is not stopped or blocked at any point. With consonants, the sound is produced
in a similar way, but by using the tongue or the lips to stop and release the air at
the throat, the palate, the upper part of the palate (roof), the teeth, or the lips.
The first twenty-five consonants are called spa or spara with
complete contact, because they involve a complete stop of the air.
The next four consonants (ya, ra, la, va) are called at-spa or atspara, which means with slight contact. They are palatal, cerebral, dental, and
labial, respectively. Ancient Sanskrit scholars describe them to be sounded by an
incomplete contact of the tongue with the place of articulation. The consonant ya
is pronounced by the tongues very slightly contacting the back of the mouth.
They are considered to be between vowels and consonants and so these semivowels in Sanskrit are called antastha or antaspara, which means inbetween. The three sibilants a, a, and sa, are three unvoiced hissing sounds,
which in Sanskrit are known as uman, i.e., heat-producing when uttered in the
mouth. The last consonant in the Devangari alphabet is ha, the purely aspirated
letter with breath coming from the stomach (hard aspirant).
After the 33 consonants of the main alphabet, numerous other conjunct
consonants (such as ka, ja, tra, ja, etc.) are counted as single letters that are
not to be separated or split.
An enthusiastic student can memorize the Devangar letters within three
to seven days, but to become proficient in reading, practice is needed.
3.4
Svaras (Vowels)
The Sanskrit term for vowel is svara. Patanjalis following stra defines a svara:
svaya rjate iti svara, that is, A svara is a self-existent or independent sound.
The following are the fourteen svaras or vowels of the Devangar alphabet:
A
Aa
wR
We
Aae
AaE
ai
au
Simple Versus Combined Vowels

Vowels are divided into two groups; simple and combined. Combined
vowels are created by combining simple vowels together. The simple vowels are
listed in five pairs: a and , i and , u and , and , and and . In each pair, the
first vowel is short (a), and the second is another version of the same, exactly
twice as long (). The short vowel should be pronounced for a length of one beat,
and the long vowel for two beats.
35
Long vowels
(aa)
Aa
wR
(ee)
(oo)
Short vowels
The last four vowels shown here are transliterated in English with
consonant letters because there are no separate letters available for them in the
English alphabet. But be aware that these are vowels, not consonants. The vowels
, , and disappeared long ago from Sanskrit vernacular and therefore the
information of their exact enunciation is lost. These vowels remained only in
print, but were not pronounced accurately by their readers. As described
elsewhere in the book, the original Ka was (and to this day, is)
mispronounced as Krishna or Krushna.
The four sayukta or combined vowels are e, ai, o, and au. The combined
vowels are created by combining a with another vowel following it. A plus i
makes e. A plus e makes ai. A plus u makes o. And a plus o
makes au.
Combined Vowels
W e (a + i)
Aae
o (a + u)
We
ai (a + e)
AaE
au (a + o)
The vowels and are extensions of the base vowel i:
The chart below demonstrates combinations of the basic vowels a, i, and u to

create the combined vowels e, ai, o, and au:
36
Vowel Pronunciation
The table below defines the throat, tongue, and lips in pronouncing the different
vowels:
Vowel
a
e
ai
u
o
au
Throat
Tense
Relaxed
Tense
Tense
Relaxed
Relaxed
Tongue
Relaxed
Relaxed
back raised*
back raised
back raised
half raised back
Tense
Relaxed
Tense
Relaxed
Relaxed
Relaxed
Relaxed
Relaxed
37
Lips
wide open
wide open
wide open
wide open
wide open
wide open
small
circle
small
circle
small
circle
as in
Yoga, ultra, America
Swami, father, start
pink, hit
need, heat
They
Aisle
bull, put
large circle
Hour, authority, awesome
fool, moon, school

Foam
**
Tense
Tense
***
Tense
half raised back

tongue tip
vertical
half raised back
tongue tip
vertical
half raised back
tongue tip
vertical
wide open
American pronunciation of pretty is

prrrty (short roll of tongue)
Longer version of
wide open
wide open
As in the American pronunciation of

pretty, but with l short roll of
tongue
Notes:
*The back of the tongue is raised.
**For , the tongue should be in the mrdhanya position.
***For , it should be in the tlavya position.
The first ten are simple vowels, and the last four are combined vowels (also called
diphthongs). The first two diphthongs, e and ai, are both gutturo-palatals. The
last two diphthongs, o and au, are both gutturo-labials.
The and are both cerebral, that is, they are produced by the tongues
curling back upwards and making contact with the roof of the mouth. The and
are both dental, that is, they are produced by the tongues tip pressing flatly
against the back of the upper teeth and gums.
Svaras are divided into three categories:
1. The five hrasva (short) svaras, constituting a timing of one
syllabic instant or mtr, are a, i, u, , .
2. The nine drgha (long) svaras, constituting a timing of two
mtrs, are , , , , , e, ai, o, and au (the diphthongs are not
topped with a line).
3. The nine pluta (protracted) svaras, constituting a timing of three
mtrs, are simply triplets of the long or drgha svaras and are
used when calling out for someone: --, --, --, --, - , e-e-e, ai-ai-ai, o-o-o, and au-au-au.
Additionally, in Vedic Sanskrit, vowels can be pronounced in three
different pitch accents. Following the rules of Pini in the formation of a word
from its rudimentary elements, the vowels acquire one of three basic pitch
accents or svara:
(a) Udtta, raised pitch,
(b) Anudtta, not raised,
(c) Svarita, a blend of the first two.
The pronunciation of the svarita is initially udtta for the period of half a
short vowel and anudtta for the rest (i.e. one and a half measures for a long
vowel). In continuous speech or sahit, all anudtta syllables following a svarita
are called pracaya and are pronounced ekaruti (monotone, between anudtta and
udtta), however, the anudtta immediately preceding a svarita or udtta is
pronounced sannatara (lower than anudtta). The Vedas may also be recited
entirely in ekaruti (with exceptions), nonetheless beware that the accent may
affect the meaning of a word, particularly a compound (e.g. s-kta, ind. well
done; su-kt, n. a good deed). With rare exceptions, a word standing alone has at
most one vowel accented udtta or svarita, the rest being anudtta. This is the
basis of the Western system of marking Vedic accents in transliteration. Since
38
most vowels are anudtta, this is taken as the basic or unaccented form, and the
other accents are marked as:
(a) Acute () for the udtta (e.g. krma).
(b) Grave (`) for the svarita (e.g. vky`a).
3.5
Vyajanas (Consonants)
The Sanskrit term for consonant is vyajana. Patanjalis following stra defines a
vyajana: anu vyajyate iti vyajana, that is, A vyajana is a sound that cannot be
pronounced without a svara or vowel. The letter a is inherent in every
consonant, and in the Devangar script, the inherent a is not expressed in
writing in a consonant even though the consonant maybe in a medial or final
position in a word. A consonant is a sound that modifies the root sounds
(vowels) to produce syllables. The following are the thirty three vyajanas or
consonants of the Devangar alphabet:
kka
%
kha
Ga
ga
ga
gha
x
a
Ya
ya
r
ra
l/
la
v
va
c
ca
^
cha
Ja
ja
jha
Ha
a
Xa
a
z
a
Sa
sa
h
ha
$=
a
#
ha
=@
a
!
ha
<a
a
Ta
ta
Qa
tha
d
da
Da
dha
Pa
pa
fpha
b
ba
Na
na
>a Ma
bha ma
There are three sections of vyajanas:

- The twenty-five sparas or stops: ka-varga, ca-varga, a-varga, ta-varga, and
pa-varga.
- The four antasta or semi-vowels ya, ra, la, and va.
- The four mas or heat-generating aspirates: a, a, sa, and ha.
The above comprise a total of 33. In the Vedas, a 34th consonant is found: ,
which has no Roman transliteration equivalent, but the closest estimation is a.
The following commonly spoken phrase in Vedic sacrifices contains this
consonant: agnime purohitam.
39
Consonant Types
Consonants can be either aspirated (mah-pra) or unaspirated (alpapra). The difference between aspirated and unaspirated is the presence or
absence of a breath of air from the throat after the initial soundan aspirated
consonant is pronounced with a breath of air after the initial consonant, whereas
an unaspirated consonant is pronounced with much less exhalation of air. The
test for aspiration is to put your hand in front of your mouth. You will feel a puff
of air on your hand when you utter an aspirated consonant.
Further more, consonants can be either voiced or unvoiced. Voiced
consonants are produced by vibrating the vocal cords, and unvoiced consonants
do not require vibrating the vocal cords. The test for voice is to put your index
finger on your Adams apple in the throat. You will feel your vocal cords vibrate
when you utter a voiced consonant.
English voiceless consonants are aspirated (as in pen, ten, and men)
when they start with a syllable that is emphasized. They are unaspirated (as in
stun, spun, and skin) when immediately followed by the sibilant cononant s. So
basically, there is alternation between aspirated and non-aspirated. Pin has an
aspirated p (because its initial and therefore stressed) and lip has an
unaspirated p (because its final and unstressed). In English there are variants of
the same one phoneme and so speakers are unconscious of the difference.
Therefore it is more difficult for English speaking people to pronounce the soft
dental or the unaspirated consonants correctly.
One of the most effective ways to be sure of pronouncing the aspirated
and unaspirated consonants correctly is to hold a piece of paper in front of your
mouth as you pronounce them. When the aspirated consonant is pronounced,
the paper will slightly shake. The paper will remain steady when an unaspirated
consonant is pronounced. Placing your hand in front of your mouth to do this
test is also very effective in realizing the difference between the two. It is very
important to not only know the difference while pronouncing, but to also know
the difference while hearing. On the chart below, indicates the vertical columns
of unaspirated and aspirated consonants:
1. Gutterals
2. Palatals
3. Cerebrals
alpa-pra
unaspirated
unvoiced
mah-pra
aspirated
unvoiced
alpa-pra
unaspirated
voiced
mah-pra
aspirated
voiced
anunsika
nasal*
Ga
ga
ka
kha
ga
gha
Ca
-^
Ja
Ha
ca
cha
ja
jha
=@
<a
40
4. Dentals
5. Labials
ha
ha
Ta
Qa
Da
Na
ta
tha
da
dha
na
Pa
Ba
>a
Ma
pa
pha
ba
bha
ma
*Refer to section on nasal consonants.
Points of Articulation
Among the consonants, first come the full-contact consonants, which
involve obstructing or stopping the flow of air. There are twenty-five of these,
divided into five groups of five, according to where the obstruction of air occurs.
In each of these five groups there are five sounds.
For your information, the Sanskrit word spara (meaning touch) is used
for vyajanas (meaning consonants) because articulating a consonant requires
some part of the mouth to touch some other part of the mouth. In the beginning,
the practitioner should identify the exact part of the mouth where the tongue
should contact to accurately pronounce each consonant.
According to Paninis Adhyya: the throat, the palate, the roof of the
mouth, the teeth, the lips, and the nose are the six points of articulation. When
the tongue contacts the above six points of articulation, the corresponding
consonants or vowels sounded are called guttural (throat), palatal (roof of mouth
or palate), cerebral (hard part of palate), dental (tongue pressed behind upper
teeth), labial (lips), and nasal (nose), respectively.
In pronouncing vowels a sound is produced by air by these different
organs and the tongue. The air is not stopped or blocked at any point. With
consonants the sound is produced in a similar way, but the tongue or the lips
make a full contact, stopping and releasing the air.
The first 25 consonants listed below are called sparas or stops. To sound
the consonants, one must stop the flow of air through the mouth at these
different points of articulation. In the production of a vowel sound (which is
intrinsic to any consonant, since a consonant cannot be pronounced without a
vowel), the breath coming from the lungs reaches the wind-pipe and causes the
vocal cords in the larynx to vibrate, so that the sound thus produced becomes
voiced. The breath is not stopped or obstructed in the chamber of the mouth,
which remains open throughout. Rather, it is modified by the various parts of the
tongue. The first five places of articulation or obstruction of breath or air and
their corresponding sounds are shown in the figure below:
41
Below is a diagram depicting the organs of speech in the mouth:
The diagram below depicts the waveforms generated in pronouncing a vowel

versus a consonant:
42
Five points of articulation:

1. The throat, or more exactly, the back of the mouth at the top of the
throat. The breath becomes blocked by the very back of the tongue to produce
the guttural sounds.
= Ga
ga
ka
kha
ga
gha
as in cut
(MP)
as in
bunk-house, as the
American
pronunciation of c in
cardboard
as in gullible
(MP)
as in
log-house,
as the gh
in ghost
as in stung
or sing
The above syllables are uttered from the throat. The consonant kha is just
a more heavily aspirated ka (that is, it is spoken with more breath), and
similarly gha is a more heavily aspirated ga. The letters are written as kha
and gha, but the ending ha is not to be sounded (the ha is to be sounded
in the consonant h); rather, the ha only indicates that more air needs to be
released while the letter is spoken. Whereas ka and kha are voiceless, ga
and gha are voiced consonants, or consonants sounded with a vocal cord
vibration in the throat. a is a nasal consonant, sounded gutturally in the
nose.
2. The palate, which is the front of the top of the mouth, a little back
from the teeth. Here, the contact with the palate is made by the tongue not
43
exactly by the tip, but by the middle of the tongue behind the tip. To pronounce
the palatals, put the tongue in the position to pronounce i. Now in this position,
practice the other letters of this group. For the letters ca to a, the tongue makes
full contact with the palate. The palatals are to be pronounced as affricates, the
breath being stopped by the middle of the tongue behind its tip.
Ca
Ja
Ha
ca
cha
ja
jha
as in
chuckle
(MP)
as in
church
as in
just
(MP)
as in
hedgehog
as in
canyon
3. The roof of the mouth (called murdhni in Sanskrit) is further back from
the palate, around the middle of the top of the mouth. It is shaped like a rounded
cup. The tip of the tongue should bend/curl backward and upward a little to
make contact with the roof properly. Many Westerners are unable to pronounce
the following cerebral or retroflex consonants since Western languages usually do
not require flexing the tongue backward to strike the roof of the mouth.
Therefore, we request all devotees to ensure that they can pronounce these
cerebrals, which is essential for accurate pronunciation of Sanskrit. These
cerebrals are produced at the centre of the roof of the mouth, the breath being
stopped by the front of the tongue curled upwards.
$=
a
#
ha
=@
a
!
ha
<a
a
as in talk or try
(note tongue
position)
(MP)
as in anthill
as in dawn
(note
tongue
position)
(MP)
red-hot
(aspirat
ed a)
does not exist in

English, but
pronounce nut with
tongue curled up
against mouths roof
4. The teeth. The Sanskrit dental sounds should be pronounced with the
tip of the tongue pressed flatly against the back of the upper teeth and gums.
(When English speakers use their native so-called dentals, Indians usually hear
them as cerebrals. English dental sounds, which are pronounced further back,
hardly touch the upper teeth at all. This is one major cause of Westerners
Sanskrit sounding wrong to Indians.) The dentals are produced at the upper
teeth, the breath being stopped by the tip of the tongue.
Ta
ta
Qa
tha
d
da
44
Da
dha
Na
na
as in
thorough
without the
aspirated h
(MP)
as in thirst
as the th in
the
(MP)
as the th in
rhythm
as in
nurture
5. The lips; as in English, these labial sounds are produced by closing

and opening (forcing the air between) the two lips. The labials are produced at
the upper lip, the breath being stopped by the lower lip.
Pa
pa
fpha
Ba
ba
>a
bha
Ma
ma
as in puff
(MP)
as in loophole, uphill
(not f
sound)
as in bus
(MP)
as rubharb
as in must
The above five consonants, known as pa-varga, sequentially symbolize

life in this world:
Pa stands for parirama, which means strenuous labor.
Pha stands for phena, which means foam emitted from the mouth
in fatigue.
Ba stands for bandhana, which means bondage of ensuing
fruitive reactions due for all pious/impious karma performed.
Bha stands for bhaya, which means anxiety and fright.
Ma stands for mtyu, which means demise, the ultimate end.
How the devotee of the Lord can achieve freedom from the above cycle of
birth and death is prescribed by Arjuna as he prays to the Lord:
AJauRNa ovac
k*-Z<a k*-Z<a Mahabahae >a-aNaaMa>aYar )
TvMaek-ae dMaaNaaNaaMaPavGaaeR_iSa Sa&Sa*Tae" )) 22 ))

arjuna uvca
ka ka mah-bho
bhaktnm abhayakara
tvam eko dahyamnnm
apavargo 'si saste
Arjuna said: O my Lord r Ka, You are the almighty Personality of
Godhead. There is no limit to Your different energies. Therefore only You
are competent to instill fearlessness in the hearts of Your devotees.
Everyone in the flames of material miseries can find the path of liberation
[a-pavarga] in You only. (Srimad Bhagavatam 1.7.22)
45
Semi-vowels
Ya
palatal
ya
r
cerebral
ra
l/
dental
la
Va
labio-dental
va
as in
yesterday
as in rub
as in
lump
as in won
The consonant ra is the only retroflex or cerebral that is written without a

dot below it in Roman transliterated form.
Originally, the consonant va was sounded labially like the English bilabial
w, and thus the Sanskrit va can also be transliterated in English as wa.
Nowadays and since some time ago, va is pronounced by striking the
lower lip on the edge of the upper teeth (labio-dental). It is recommended
that the practitioner pronounce the Sanskrit va like an English w (rather
than the English v), except that his lower lip should hit his/her upper
teeth, not the upper lip. The consonant va is pronounced as wa when it
is joined with a consonant in the same syllable (as in svmi).
After the twenty-five sparas are four more consonants called semivowels. They are called semi-vowels because they are produced when a
simple vowel moves to the a sound:
i + a ya
+ a ra
+ a la
u + a va
You may have noticed the difficulty Indians have with the v and w sound.
All these sounds are voiced and involve only partial obstruction of the
flow of air.
Sibilants
Xa
Palatal
a
Za
Cerebral
a
Sa
dental
sa
as sh in shut or
as ch in the
German ich
as sh in
shirt
as in
sun
These are three unvoiced hissing sounds, which in Sanskrit are known as
uman, which means heat-producing when uttered in the mouth. The a is
pronounced as in the German ich, a light sound with the tongue in front in the
palate position (there is a very slight contact of the tongue with the roof of the
46
mouth), which requires attentive rehearsing for the practitioner. a is

pronounced as the sh in ship or wish, a heavy sound with the tongue pulled back
in the far back cerebral (roof) position. Lastly, sa (exactly like the English s) is
pronounced as a pure sss hissing sound like the s in seek or miss, in the dental
(teeth) position. (There are no voiced sibilants in Sanskrit. A voiced sibilant
produces a z sound. Therefore we should never say tazmai r-gurave nama.
loka (verse), a (six), and sakala (whole) are three examples for pronouncing
the three sibilants. The word irsana (means headstanding posture) includes
all three of the sibilants.
Pure Aspirant
Last of the consonants is ha, which is a full puff of air (aspiration) from
the throat (air flows up from the stomach), and is voiced.
h
Throat
ha
as in
hunger,
Hari
While pronouncing the pure asbirant and the sibilants, air should only
pass through the mouth, whereas in nasal consonants (covered in the next
section) it passes through the nose.
Nasals
The ending consonant in each of the five groups of sparas is a nasal
consonant (or anunsika) because these five consonants (a, a, a, na, and ma)
are dependent upon flow of air in the nose. For example, x is uttered from the
throat with air passing through the nose. The consonant Ha also occurs from the
palate as well as the nose. So these are all called nasal sounds or nasal
consonants. They have rightly been called mukha-nsika-vacana (meaning
spoken at the same time in the mouth and nose) by the ancient grammarians.
The anusvra is also anunsika since it replaces the ma consonant
whenever ma is followed by another consonant. The following three of the four
antasthas or ardhasvaras (means semivowels) Ya, l, v may also sometimes
be nasal (or anunsika). Usually (in the Vedic language) they are nasal only when
they end a word that is in the plural case. The following is how the nasal
consonants are spelled in Devangari script to indicate the nasal sound: Yma, Lma, Vma.
The character m is used to mark the nasal (anunsika) sound. So the abovementioned eight consonants are anunsika or nasal consonants, and the
remaining 25 are an-anunsika, i.e., they are not nasal.
In forming the nasals, the breath partially passes through the nose while
the tongue or the lips are in the position for articulating the corresponding
tenuis.
The nasal consonants inside words are especially for facilitating
pronunciation. For example, in the word Gaurga, the is in the ka-varga, and
47
so is the next consonant ga. In other words, the is a gutteral sound and so is the
ga. The same principle is seen in the words Paca-tattva and Pavathe
following consonant of the nasal sound is in the same varga (class) as the nasal
sound.
Sometimes there is confusion between the use of , , , and . For
example sasra is occasionally spelt sasara or sasara.
Conjunct Consonants
In Sanskrit, when two or more consonants are sounded one after the
other without any vowels in between, they are combined into a single conjunct
consonant. Here are four examples of such conjunct consonants: ga as in
Gaurga (golden limbed Lord), ca as in pacmta (nectar of five drinks), pra
as in praj (citizens or subjects), and nma as in janma (birth). Two symbols
signifying conjunct consonants cannot be further broken down into components:
ka and ja. Ka is sounded like the roman letter x. An example of how it is used
is katriya. Bengalis do not utter the full ka consonant, but rather mispronounce
it as kkha (they enunciate katriya as kkhatriya), and elsewhere it is
mispronounced as ccha. Ja also has its various articulations, such as gya (the
way it is pronounced in Hindi) and dnya. It is actually a palatized form of gna,
and thus the practitioner can learn to pronounce ja as gnya. Thus the Sanskrit
root ja is the origin of the Latin co-gno-scere, from which is derived the English
word know.
48
3.6
Parritas (Dependents)
The four dependents are not mentioned as a vara or leter, but they are
used in the language for svarntara (amidst vowels or syllables):
1. Anusvra: after-sound; a pure nasal sound that replaces the M or Ma
(the half or full ma) when it is followed by another consonant,
usually found in the shape of a dot above the letter m (), but not
to be pronounced as m. It is shaped in Devangar as a dot above
the line ().
2. Visarga: hard-breathing; functions as a short echo of the preceding
vowel, sounds like a half ha with breath coming from the chest
(conversely, the full consonant ha requires breath from the
stomach). It is usually found at the end of a word in the shape of an
h with a dot below it (). It is shaped in Devangar like an English
colon symbol (").
3. Jihvmlya: a sibilant-substitute for the ka-varga (kahya or
guttural consonants) that indicates a half visarga. It is shaped in
Devangar as two concave lines opposite to each other ( ).
4. Upadhmnya: a sibilant-substitute for the pa-varga (ohya or labial
consonants) that indicates a half visarga. It is shaped in Devangar
as two lines intersecting each other to form a cross ().
The above four parritas (dependents) cannot exist without a svara
(vowel) and are thus dependent on a svara.
In the traditional alphabet system, the anusvra and visarga are appended
to the list of vowels. Thus the vowel list is as follows:
A Aa w wR O O * W We Aae AaE "

a i u e ai o au
This order is strictly followed in the modern dictionaries of Sanskrit. Of
the above four dependents, Sanskrit heavily uses the first two: anusvra
and visarga. These two have been delineated further in two sections of
their own:
Anusvra
k&
ka
49
as the n in
the French
bon
The literal meaning of the term anusvara is following or dependent upon
a vowel. The anusvara is always pronounced in Sanskrit words after a vowel
sound.
The anusvara replaces half-ma or ma when they are followed by another
consonant. A word ending with n is also changed to end with when followed
by certain consonants (e.g. vidvn cakre -> vidv cakre). In contrast to the nasal
stops, which are pronounced in both the mouth and the nasal cavity, the
anusvra is to be sounded in the nose only while the tongue is poised to articulate
the specific svara, which the anusvra supplements. Basically, it is a pure nasal
humming sound (represented in o) produced solely in the nasal cavity (also
called nsikya or anunsika). It is voiced and sounds similar to the n in the
French word bon, and thus the anusvra is easier for Europeans to articulate than
the visarga. The anusvra should only replace a ma when the ma is being followed
by a consonant. It should not replace a ma when the ma is being followed by a
vowel. Here is an example from Bhagavad Gita 9.16: aham agnir aha hutam. In
both cases, the pronunciation remains unaffected by the substitution.
Visarga
The visarga substitutes the s at the end of a word (e.g. tapas -> tapa)
when it is followed by any letter or by nothing. It substitutes the final r of a word
(e.g. punar -> puna) when followed by a hard consonant or by nothing. The term
visarga denotes its existence only at the end of a word. It is never seen in the
middle of a word, except in compound words, such as du-kha.
A visarga is articulated as a hard ha, followed by a short echo of the
preceding vowel. The short echo of the preceding vowel is only to be enunciated
when the visarga occurs at the end of a pda (quarter verse). It is transliterated as
. Ha and are respectively soft and hard aspirants that are sounded in the
position of the preceding vowel, free of any touch of the tongue with any other
organ.
"
k "
Throat
ka(a)
with an
echo of the
preceding
vowel
In practice, the visarga is pronounced when at the end of a sentence or at
the end of a half a verse with a short echo of the vowel that precedes it. A long
vowel before a final visarga should still be pronounced long, but the echo should
50
be short (ah, ih). For example i is pronounced ihi, and a is pronounced aha.
(According to some, it gains the added syllable only at the end of the second and
fourth lines of a verse).
If the vowel before the final visarga is a combined vowel, only the second
part from which that vowel was created should be used in the echo (eh, aih, oh,
auh).
The table below defines all the ten vowel endings with a visarga and how they
should be pronounced:
Short ending
vowels
akrnta
ikrnta
ukrnta
ekrnta
okrnta
3.7
Example
keava
hari
viu
hare
gvo
Pronounced
as:
keavaha
harihi
viuhu
harehe
gvoho
Long ending
vowels
krnta
krnta
krnta
aikrnta
aukrnta
Example
Pronounced as:
bhakt
tulas
svayambhu
rmai
gau
bhaktha
tulashi
svayambhhu
rmaihi
gauhu
Other Symbols
Avagraha
Symbol for avagraha: _
Symbol for double avagraha: __
The avagraha (means separation as defined by so vagraha, i.e., that
separation) is written to show when either the dipthong e or o at the end of
one word followed by another word beginning with a causes the regular sandhi
change of deleting the a. The avagraha is not actually supposed to be
pronounced; it is not an akara but just a written mark.
The single avagraha _ represents the omission of the short a vowel, and the
double avagraha __ represents the omission of the long vowel. In Roman
transliteration, the avagraha is symbolized by replacing the vowel a or in the
word by a single quotation mark () or apostrophe. Here is an example of how the
avagraha is used from the Bhagavad Gt 1.21-22: me cyuta = me (my) + acyuta
(infallible Lord).
Daa
Symbol for daa: )
Symbol for double daa: ))
In Sanskrit punctuation, the only signs are a single daa, used to mark the end
of a sentence, and a double daa, used to mark the end of a paragraph. In
Sanskrit verses, a single daa is placed midway through a loka, and a double
daa is placed at the end of the loka.
Virma
Symbol for virma or halanta: (
51
A virma or halanta marks the absence of a final a ending sound in a words last
consonant. Below is an example of k with the virma and ka without the virma:
ka k
k(
Numbers
The symbols for the nine digits are given in the table below:
eka
3.8
Verse Meters
rila Bhaktivinoda hakura has prescribed that a mantra requires both

proper accentuation (pronunciation) and proper verse meter (rhythm). The
entire prosody of Vedic literature is written in specific verse meters or chandas.
Though there are infinite combinations and permutations of verse meters,
Sanksrit academia recognizes about 300. We are not recommending the devotee
to study all the chandas, learning which would require years of dedicated study.
In this section, we simply want to introduce the most common chandas to the
devotee, so he/she can properly chant the mantra (man derived from manasa,
which means the mind; tra derived from tryate, which means to free or
liberate) and concentrate (the scientific definition of concentration is when two
or more senses are focused on a single object) fully on the mantras being chanted
so that the mind will not flicker away. The key to a loka is its meter. The
following table lists the first eight categories of different chandas divided by the
number of syllables in the pda (quarter-verse) of each:
Number of syllables per pda
4
5
6
7
8
9
10
11
Chandas
pratih
supratih
gyatr*
uik
anuup**
vhat
pakti
triup
*A chandas of three pdas, each eight syllables long, is also called gyatr (g-veda 3.62.10 glorifies
Lord Nryaa with an illustrious gyatr-mantra).
**The anuup-chandas is also called loka (the term we use commonly for verses).
52
There are seven major chandas used in the Vedas, other than which there
are seven others also used therein. Mahari Vlmki uses thirteen different
chandas in the Rmyaa, and Vysadev uses eighteen different chandas in the
Mhbhrata. Close to two hundred and fifty chandas are existent since the
classical period. Sometimes we may desire to know the meter of a verse. The basic
rules are as follows: In Sanskrit poetry, the syllables are classified as laghu and
guru, or short and long. Laghu is also known as hrasva, and guru is also known as
drgha. To determine this classification, we have to focus on the vowels. In Jva
Gosvms Harinmmta-vyakraa, a short or laghu vowel is called vmana, a
long or guru vowel is called trivikrama, and a conjunact consonant or
sayuktkara is called sat-saga.
When a short vowel is followed by a conjunct consonant it is also to be
pronounced as long. In other words, a syllable is guru (long) when its vowel is
either:
Rule 1. trivikrama (long, , , , and also e, ai, o, au),
Rule 2. followed by viucakra (anusvra ), viusarga (visarga ) or
sat-saga (a double consonant).
The last syllable of a pda (quarter verse) may be laghu or guru as per the
requirement of a particular meter.
Lets give an example using the Cintmai prayers of Lord Brahm. The
Devangar letters are grouped into syllables. Note the peculiarity of this division.
It is done this way because in Devangar the ligatures (two consonants) are kept
together. Now we can easily see if a vowel is followed by two consonants.
According to the traditional system, the light syllables (laghu) are marked
here with a straight line ()) and you say la (the first letter of the word laghu) in
one time unit. The heavy syllables (guru) are marked with an (_), and you say
gam (the first letter of the word guru plus viucakra) in two time units.
ic
NTaa
Ma
i<a
Pa[
k-
Sa
Sau
k-
LPa
v*
+a
ci
nt
ma
pra
ka
ra
sa
dma
su
ka
lpa
ka
This is the verse meter of all the fourteen-syllable verses of Brahma-sahit. The
first syllable ci, has a short i (vmana), but it is followed by sat-saga, therefore it
is guru. For the same reason the syllables i, sa, ka (of kalpa) and v are also guru.
Below is the first line of the first verse of the Brahma-sahit (an eight-syllable
verse):
wR
Xv
va
r"
ra
Pa
pa
r
ra
Ma"
ma
k*
k
Z<a"
a
The two verses beginning with riya knt are of a different meter (see
below). They have seventeen syllables and there is a small pause after the sixth
syllable. The rest of the rules are observed in the same way. Rule 2 is applied for
ya, nta, a.
53
i[
Ya"
k==a
NTaa"
k==a
NTaa"
Pa
Ma
Pau
z"
k-
LPa
Ta
vae
ri
ya
nt
nt
pa
ra
ma
pu
ru
ka
lpa
ta
ra
vo
k*-Z<aaYa vaSaudevaYa
devk-INaNdNaaYa c
NaNdGaaePaku-MaaraYa
GaaeivNdaYa NaMaae NaMa"
kya vsudevya
devak-nandanya ca
nanda-gopa-kumrya
govindya namo nama
1st pda
2nd pda
3rd pda
4th pda
(SB 1.8.21)
The above example shows an anuup verse in Devangar script followed by its
transliteration and a symbolic representation of the sequence of long and short
syllables in each pda. The single vertical bar in the Devangar marks the end of
one half verse and the double bars with the verse number in-between mark the
end of the verse. Note that the Devangar only shows two lines, but the
transliteration shows four. The verse in our example has eight syllables in each
pda. When you look at the symbolic representation of the long and short
syllables, you will see that all four pdas are different. They all have eight
syllables but the distribution of long and short syllables differs from one pda to
the next. Still, there are some common characteristics. In each pda the first
syllable is long and the fifth syllable is short. The first and third pdas end in the
same pattern, long, long, short, and the second and fourth pdas also end in
identical patterns, long, short long. Even though the anuup verses are most
prominent in the classical Sanskrit literature and nobody has any difficulties
reciting such verses, the rules for their composition are relatively complicated.
We will not discuss these rules in this seminar, as they are only interesting for
those who want to compose Sanskrit verses themselves. At this point it is enough
to say that the meter of those verses in the Bhgavatam which have eight syllables
in each pda is called anuup.
This metrical composition of Sanskrit lokas makes the verses rhyme in
beautiful poetry, which facilitated remembering and recollection for the students
who memorized all the Vedas in aural reception before they were compiled by
Vysadeva.
The science of Sanskrit meters or metrical composition is called chandas.
There is a number of learned works in the Sanskrit literature about this topic.
This text is based on a book entitled Chando-majar by Gagdsa Paita.
Gagdsa Paita was actually Lord Caitanyas grammar teacher, as confirmed
by the following quotes from the Caitanya-caritmta and Teachings of Lord
Caitanya:
gagdsa paita-sthne paena vykaraa
ravaa-mtre kahe kaila stra-vtti-gaa
When the Lord was studying grammar at the place of Gagdsa Paita, He
would immediately learn grammatical rules and definitions by heart simply by
hearing them once.
54
PURPORT
rla Bhaktivinoda hkura says that the Lord was given lessons by a teacher
named Viu and another teacher named Sudarana. Later on, when He was a
little grown up, He was under the care of Gagdsa Paita, who taught Him
grammar of a higher standard. Anyone serious about studying the Sanskrit
language should first learn grammar. It is said that simply to finish studying
Sanskrit grammar takes at least twelve years, but once one learns the grammatical
rules and regulations very nicely, all other scriptures or subject matters in
Sanskrit are extremely easy to understand, for Sanskrit grammar is the gateway to
education. (di 15.5)
In his eighth year, he was admitted into the tola of Gagdsa Paita in
Gagnagara close by the village of Mypur. In two years he became well read in
Sanskrit grammar and rhetoric. His readings after that were of the nature of selfstudy in his own house, where he had found all-important books belonging to his
father, who was a paita himself. (TLC prologue)
Below we have enumerated the most common eight examples of distinct verse
meters that we sing in our daily prayers. Just by counting how many syllables are
in each line or pda of a verse, one can recognize which tune to sing it in. If the
reader can recognize the meter of a verse according to the table below, they will
find no difficulty in reciting any verse of our Vaiava scriptures:
Pda
8
Sanskrit
Roman Transliteration
hre k*-Z<a hre k*-Z<a k*-Z<a k*-Z<a hre hr
hare ka hare ka ka ka hare hare

hare rma hare rma rma rma hare hare
hre raMa hre raMa raMa raMa hre hre

Sa&SaardavaNal/l/I!l/aek-
11
sasra-dvnala-lha-loka
trya kruya-ghanghanatvam
prptasya kalya-guravasya
vande guro r-cararavindam
}aa<aaYa k-a<YagaNaagaNaTvMa
Pa[aSYa k-LYaa<aGau<aa<aRvSYa
vNde Gaurae" [qcr<aarivNdMa(
NaMaaMaqr& SaidaNaNdPa&
12
nammvara sac-cid-nanda-rpa
lasat-kuala gokule bhrjamnam
yaod-bhiyolkhald dhavamna
parmam atyantato drutya gopy
l/SaTku-<@l&/ Gaaeku-le/ >a]aJaMaaNaMa(

YaXaaedai>aYaaelU/%l/avMaaNa&
ParaMa*MaTYaNTaTaae d]uTYa GaaePYaa
AaiNa YaSYa Sak-le/iNd]Yav*itaMaiNTa
14
agni yasya sakalendriya-vtti-manti

payanti pnti kalayanti cira jaganti
nanda-cinmaya-sad-ujjvala-vigrahasya
govindam di-purua tam aha bhajmi
PaXYaiNTa PaaiNTa k-l/YaiNTa icr& JaGaiNTa

AaNaNdicNMaYaSaduJJvl/ivGa]hSYa
GaaeivNdMaaidPauz& TaMah& >aJaaiMa
k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a he
ka ka ka ka ka ka ka he
ka ka ka ka ka ka ka he
ka ka ka ka ka ka rak mm
ka ka ka ka ka ka phi mm
rma rghava rma rghava rma rghava rak mm
ka keava ka keava ka keava phi mm
k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a he

15
k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a r+aa MaaMa(

k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a k*-Z<a Paaih MaaMa(
raMa ragav raMa ragav raMa ragav r+aa MaaMa
k*-Z<a ke-Xav k*-Z<a ke-Xav k*-Z<a ke-Xav Paaih MaaMa(
55
k-daicTk-ail/NdqTa$=iviPaNaSaqTak-rvae
17
kadcit klind-taa-vipina-sagtaka-ravo
mudbhr-nr-vadana-kamalsvda-madhupa
ram-ambhu-brahmmara-pati-gaercita-pado
jaganntha svm nayana-patha-gm bhavatu me
Mauda>aqrqNaarqvdNak-Mal/aSvadMaDauPa"
rMaaXaM>aub]aMarPaiTaGa<aeXaaicRTaPadae
JaGaaQa" SvaMaq NaYaNaPaQaGaaMaq >avTau Mae
ceTaaedPaR<aMaaJaRNa& >avMahadavaiGaniNavaRPa<a&
19
[eYa"kE-rvciNd]k-aivTar<a& ivavDaUJaqvNaMa(
AaNaNdaMbuiDavDaRNa& Pa[iTaPad& PaU<aaRMa*TaaSvadNa&
SavaRTMaPaNa& Par& ivJaYaTae [qk*-Z<aSaNk-ITaRNaMa(
vNde_h& [qGaurae" [qYauTaPadk-Mal&/ [qGauNa( vEZ<ava&
21
[qPa& SaaGa]JaaTa& SahGa<argauNaaQaaiNvTa& Ta& Sa JaqvMa(

SaaETa& SaavDaUTa& PairJaNaSaihTa& k*-Z<acETaNYadev&
[qraDaak*-Z<aPaadaNa( SahGa<al/il/Taa[qivXaa%aiNvTaa&
3.9
ceto-darpaa-mrjana bhava-mah-dvgni-nirvpaa
reya-kairava-candrik-vitaraa vidy-vadh-jvanam
nandmbudhi-vardhana prati-pada prmtsvdana
sarvtma-snapana para vijayate r-ka-sankrtanam
vande 'ha r-guro r-yuta-pada-kamala r-gurun vaiav ca
r-rpa sgrajta saha-gaa-raghunthnvita ta sa jvam
sdvaita svadhta parijana-sahita ka-caitanya-deva
r-rdh-ka-pdn saha-gaa-lalit- r-vikhnvit ca
Akaras and Mtrs in Sanskrit
Hari-nmmta-vykaraa
Each letter has a particular position in the mouth from where its sound is
produced. This sound production requires a multitude of functions all
harmoniously working in the background, such as inhalation of breath, then
contraction of the chest, exhalation from the lungs (the source of air energy
rudimentarily required for the sound of speech), further, alteration of the shape
of the vocal chords in the throat, the passage of air in the nasal chamber, the
tongue motion, the teeth, and the lips. Over and above the animals, we
(mankind) are blessed with the special quality of spoken language, an essential
element of human culture. Even primates cannot talk like humans because they
only possess an elongated, level, and slim tongue with less space for movement
and inflexible vocal chords.
rla Jva Gosvm has written the Harinmmta-vykaraa, a text that
teaches one how to learn Sanskrit grammar with names of Lord Ka. In this
book, all the Sanskrit grammatical cases are shown in relation to the Lord.
In the Harinmmta-vykaraa: the fourteen vowels are called
sarvevaras. Sarvevara means the controller of everything, or God. Just as God
is independent, the vowel can also be pronounced independently from any other
letter. Of the sarvevaras, the first ten are called davatras and they appear in
five pairs of ektmakas (having one soul). One is short, the other long. The short
one is called vmana, and the long one trivikrama. The vmana takes one time
unit, and the trivikrama takes two time units.
The consonants are called viujanas. Viujana means devotee of Viu.
Just as a bhakta is always associated with the Lord and fully dependent on Him,
the viujana needs a sarvevara (vowel) for its pronunciation. The association of
two viujanas (two consonants together) is called sat-saga. The letter
(anusvra) is called viu-cakra, and (visarga) is called viusarga. From ka to
ma, each group of five letters is called viuvarga, and each group is named after
56
the first letter: ka-varga, ca-varga, etc. The table below shows the corresponding
terms used by Pini and Jva Gosvm:
Corresponding Terms Used by Pini and rla Jva Gosvm

Pini-vyakraa
svara
prathama-daa-svara
paca-dvi-svara
hrasva-svara
drgha-svara
vyajana
sayuktkara
varga
anusvra
visarga
Harinmmta-vyakraa
sarvevara
davatra
ektmaka
vmana
trivikrama
viujana
sat-saga
viuvarga
viucakra
viusarga
Definition
vowels: a, , i, , u, , e, ai, o, au, , ,
first ten vowels: a, , i, , u, , e, ai, o, au
in five pairs: {a,} {i,} {u,} {e,ai} {o,au}
short vowels: a, i, u, ,
long vowels: , , , , e, ai, o, au
consonants: ka, kha, ga, gha,
conjunct consonants: ka, ja, tra
in groups of five: ka-varga, ca-varga, etc.
nasal humming sound:
short echo of preceding sound:
Mtrs
When a consonant is followed by a vowel, the script, or mtr, changes as
follows:
A
Aa
Becomes
wR
Becomes
Becomes
Becomes
Becomes
We
ai
Becomes
Aae
Becomes
ae
AaE
au
Becomes
aE
Becomes
Becomes
Becomes
has no vowel sign as it is

inherent in a consonant
a
Becomes
Three more symbols for sounds that act in place of vowels:
57
stays as
&
"
stays as
"
marks
(
absence
stays as
of a
The last of the three vowel replacers is called a virma, which marks the absence
of a final a ending sound in a word. For example raMa = rma has an inherent a
ending vowel. However, one can purposefully omit the ending a by marking the
word with a virma as follows: raMa( = rm.
All the non-guttural simple vowels can change into the corresponding semivowels and, that is why, they are often called consonantals. That is to say, i and
can change into y; and into r; and into l; and u and into v. Here are
examples: mati+a=matya, nad+a=nadya, dhenu+a=dhenva, vadhu+e=vadhve,
pit+a=pitra, etc. The vowel furnishes no such example. In some cases, i and
change into iy, u and into uv, and and into ir. The guttural vowels a and
have got no corresponding semi vowels, but in word formation they generally are
affixed with y to avoid the hiatus caused by a double a, e.g., lat+a=latya (the
preceding long vowel is shortened before the following vowel). The non-guttural
vowel is shortened before u to do the same by taking y and v respectively, e.g.,
i+i-vas=iyivas, babh+a=babhva. The y appears also after u and , if they are
followed by i or , e.g., bh+iha=bhyiha.
Below is shown how three of the many consonants are modified with each of the
vowels:
kka
k-a
k
ikki
%
kha
%a
kh
i%khi
Gaga
Gaa
g
iGa
gi
k-I
k
%I
kh
GaI
g
kuku
%ukhu
Gaugu
kUk
%Ukh
GaUg
keke
%ekhe
kEkai
%Ekhai
Gaege
58
GaEgai
k-ae
ko
%ae
kho
k-aE
kau
%aE
khau
Gaae
go
GaaE
gau
k*
k
%*
kh
k
k
%
kh
Ga*
g
Ga
g
kh
k&
ka
%&
kha
G&a
ga
k=="
ka
k(
k
%"
kha
%(
kh
Ga"
ga
Ga(
g
Mispronunciation
4.1
General Theory
Accurate pronounciation has certain standard general principles, which are

presented below. Mistakes fall into standard categories (two major categories or
reasons of Sanskrit enunciation errors):
1. Conditioning.
2. Inattentiveness.
Conditioning
Different nationalities or cultures have their own multifarious dictions,
which are hard to change for devotees from any of these various cultures. Some
nationalities cannot pronounce r but pronounce it as l. For example, the letter
r is pronounced gutturally by Americans, ignored (or contact free) by the
British, and pronounced as l by East Asians.
There are many variations of pronunciation that occur due to influence of
local languages. These vary from region to region and country to country and
each language exerts its influence on the pronunciation of Sanskrit.
Americans sometimes replace t with a d sound, such as in saying dhot
as oi. English people tend to say all a sounds the same as the a in the word
ant. The Australians tend to make all a sounds the same as the a in the word
man. American devotees have a hard time pronouncing aspirated letters, which
they lack in their alphabet. They mispronounce bhakti as bki.
Western and Northern Indians tend to drop the short a sound at the end
of a word, i.e. Rm instead of Rma. Subsequently, further deviation occurs when
a conjunct consonant ends a word because an a has to be added to articulate the
ending conjunct consonant. For example, janma becomes janm by dropping the
ending a and to be able to articulate the ending, the word further becomes
janam. Ka transforms into K by omitting the a and is then articulated as
Krishan or Kishan, which is how most North Indians address Lord Ka. Many
Indians also mispronounce phala (means fruit) as fal. Sanskrit does not include
any fa sound in its alphabet. This fa was brought into India by the Persians.
East India (Bengal) also has its variation in dialect:
A conjunct consonant is simplified into a single stressed
consonant. Like Nitynanda is pronounced as Nitnanda (the t is
pronounced as tt and the y is subtly pronounced), katriya as
khatriya, caku as cakhu, Parikit as Parikhit.
The short a vowel is articulated as o, so Hare becomes Hore.
The ai vowel is enunciated as oi, and thus Caitanya in Bengali is
Coitonno.
59
The au vowel is changed to ou, therefore Gaurga turns into

Gourgo.
The ya semivowel is altered into ja, causing Yamun to be
uttered as Jamun.
The va semivowel is voiced as ba, resulting in Vndvana to be
spoken as Bndbono.
In Bengali speech and phonetics, there is practically no
distinction between the three sibilants a, a, and sa. All are a in
Bengali talk. Here are examples: sat (means existence) is
replaced by ot, satya (means truth) transforms into oto, and
sattva (means goodness) is converted into otto.
An extra y is added prior to o in prama mantras, and thus
Bengalis say namayom instead of nama o.
Maybe it is no coincidence that the English word lucky (synonym for
fortunate) sounds very similar to Lokh, which is how a Bengali addresses
Lakm, the Goddess of Fortune.
Gujaratis and Maharastrians pronounce as ru. Instead of i they say
rui (refer to Prabhupdas conversation below). Instead of Ka they say
Krua. Some Gujaratis also reverse sa with a, and vice versa.
Dr. Patel: A modern rushi.
Prabhupda: What is that rushi?
Dr. Patel: Rushi...
Prabhupda: Oh, i, yes.
Dr. Patel: You call it "i" and we call it "rushi." that is the difference in
pronunciation.
Prabhupda: Just like the Oriyas. they call "Krushna."
Dr. Patel: "Krushna," yes. They cannot even say Ka.
Prabhupda: They cannot say, "Ka;" they say, "Krushna."
Dr. Patel: We call, "Kreshna." We call "Kreshna," you call, "Ka," they call,
"Krushna." These are different... We call, "rushi."
Prabhupda: Yes. Bhva-grhi janrdana. But Ka can understand who is asking
for Him. (laughter)
(Conversation 17/2/1974 morning walk)
The Polish accent is always on the penultimate, or second-to-last syllable.
Somehow or other the Polish devotees make this happen when they pronounce
Sanskrit also.
In Portugese, the letters t and d are pronounced like c and j
respectively. This also often is transferred to their Sanskrit pronunciation, i.e,
govindam ji-purusam and dhoci (for dho) Spanish devotees pronounce j as y.
Therefore jaya jaganntha becomes yaya yaganntha.
French-speaking devotees have difficulty pronouncing h sound, so they say are
instead of Hare, and aribol instead of Haribol.
Inattentiveness
Though in some cases, devotees just cannot change their diction due to cultural
language conditioning. However, sometimes devotees dont pay attention. Why
60
did Prabhupad spend so much time on diacritic marks? He insisted devotees to

pronounce it correctly. Inattentiveness or laziness manifests itself in two types of
mispronunciation:
1. Blurring the distinction between long and short vowels: One of the most
important causes of Western devotees mispronunciation of Sanskrit is
the confusion of long and short vowels. Every language has its own ways
of accentuation of its own vowels as short and long. In English, generally
words are pronounced by stressing the first and last vowels, leaving the
middle syllable unaccentuated. For example, geography is pronounced by
stressing the first o and the last (or third) y vowels. Indians who are not
so accustomed to English pronunciation often mispronounce geography
by overstressing the middle vowel a. This is because in Hindi and
Sanskrit, generally middle vowels are stressed, as for example in the
words Rmyaa and vyssana, in which native English speakers switch
the second (or middle) and third (or last) vowels. We recommend the
Sanskrit practicing devotees to exaggerate the difference between the long
and short vowels, which never sound bad, but actually if practiced and
perfected, come out nice and natural while reciting Sanskrit. For
illustrating the difference between the distinct sounds of a versus , the
following table is a list of monosyllabic English words illustrating the
difference in the sound between and a. All of the words in the left
column are pronounced like a short a in Sanskrit. The words in the right
column are pronounced like a Sanskrit long :
Words with a vowel
sounding like a
gun
fun
but
rut
pun
shut
cut
Words with a vowel

sounding like
gone
fawn
bought
rot
pawn
shot
caught
The Sanskrit language is scientifially arranged for case of pronunciation.

Letters are transformed according to the letters and words around them
so that they flow freely acorss the tongue. This system of euphonic
combination for poetic meter is called sandhi.
2. Lacking attention to double consonants and double vowels: In English,
repeated or double consonants are usually pronounced as a single
consonant. For example, the word happy, though it has double p, is
usually pronounced as hapy. However in Sanskrit, one must make sure to
enunciate for twice the time on long vowels and double consonants.
Everything in Sanskrit must be pronounced.
Both of these principles can be summarized by the technical distinction between
laghu and guru. It maybe difficult to understand guru and laghu, therefore the
above two generic principles were described above, which can remove half the
problems in Sanskrit pronunciation.
61
Guru (Long) versus Laghu (Short) Syllables

Guru means heavy or long and laghu means light or short. Laghu is also
known as hrasva, and guru is also known as drgha. A guru syllable has at the least
one of the following three characteristics:
A long vowel (, , , , e, ai, o, au). The vowel e is always long in
Sanskrit, there is no such thing as a short e. Take for example the
Sanskrit word setu (meaning bridge), which is never pronounced with a
short e.
The vowel is followed by a conjunct consonant (sayuktkara). For
example, in Ka, the first syllable has a which is a short vowel, but
that is followed by , a conjunct consonant, so K is a guru syllable. Bha
and gha are not conjunct consonants, but ka and ja are two examples of
conjunct consonants.
The vowel is followed by an anusvra () or visarga (). The anusvra or
visarga is never followed by another vowel. In the word patra, the first
syllable pa is guru because it is followed by the conjunct consonant tra.
Tra is also a guru syllable because it is followed by an anusvra.
Laghu is everything that is left over, i.e., anything that does not have any of the
above three characteristics. Guru syllables are to be emphasized or accentuated
during pronunciation and laghu syllables are not to be emphasized or
accentuated.
The Phonetics of Sanskrit Syllables

For correct pronunciation of Sanskrit, it is essential that Western practitioners
know where to articulate the breaks in between syllables. A syllable primarily
consists of a vowel prefixed and/or suffixed with consonants. In the shortvoweled syllable, the vowel sound is affected by both its prefix and suffix.
Conversely, the long vowel in the long-voweled syllable is audibly affected only
by its prefix, i.e., there is an audible break in between the long vowel and its
suffix. The table below illustrates how to break down a word into its component
syllables:
Bhagavad Gt
Bha + ga + vad
Bha + ga (first way)
Bhag + a (second way)
When the vowel is short, the syllable
can be divided either of the above two
ways.
Phonetic Analysis:
In the first syllable, the root sound a is
prefixed by bh and suffixed by g
followed by subsequent syllables in
avad.
rimad Bhgavatam
Bh + ga + va + tam
Bh + ga (correct division)
Bhg + a (incorrect)
When the vowel is long, it is separated
from its suffix.
Phonetic Analysis:
In the first syllable, the root sound is
prefixed by bh and followed by
subsequent syllables in gavatam.
It will be helpful for the novice to point with finger and mentally note each
syllable distinctly while reading Sanskrit. The long vowels should be exaggerated,
62
as opposed to the short vowels. With a wider open mouth, the novice should
ensure he/she is placing the tongue on the correct point of articulation for a given
consonant. Lastly, the practitioner may want to focus on one group of sounds
(long vowels, visargas, sibilants, aspirated consonants, etc.) at a given time.
Below is presented a hierarchy of language:
63
Language = medium for communication of information

Spoken language
Sign language
Sentences = a single statement
Words = a term defined in vocabulary*
Nuance/connotation
/
Punctuation
Grammar
Syllable phonemes**
Single vowel***
Consonant prefix and/or suffix****
*The vocabulary of languages is built through conventional usage of words,

which are formally defined in dictionaries for written languages. Usage and
convention are more important in some cultures where the language is only
spoken and never written (Kacchi in north-western Gujarat).
**A syllable contains only one vowel, which is its root sound.
***The number of vowels and syllables is exactly the same in a Sanskrit word.
However, one must remember that the combined vowels (such as ai and au) are
to be counted as single vowels, not two separate vowels. For example, the word
kaunteya (means son of Kunti) is comprised of the following three syllables:
kau + nte + ya. Dividing it into four (ka + un + te + ya) is incorrect. The
practitioner needs recognize combined vowels as single characters and single
sounds. Transliterating Sanskrit words into Roman diacritics has its limitations,
one of which is the fact that the English script does not have all the alphabetical
characters to represent all the Sanskrit sounds. This is reconciled by using
combinations of English letters to represent the Sanskrit sounds.
****A single syllable may comprise any of various combinations/permutations of
conjunct consonants. The word mrdhnya (means of the cerebrum) is
comprised of the two syllables m + rdhnya. An English reader may be amazed to
see such a complicated conjunct consonant as rdhnya in the second syllable.
Reciting Verses
In the recitation of verses, a word beginning with a vowel should be recited
without pause or break immediately after the previous word. In such a case, the
two words should be mentally joined, i.e., the gap between the two words should
be ignored (like in English we say i-tis when reading it is). For example, in
the third line of Bhagavad-Gt 12.1: ye cpy akaram avyakta, the words cpy
and akaram are to be recited together without pause.
4.2
Specific Examples
64
Below are examples of frequently mispronounced Sanskrit words and names.
Frequently Mispronounced Words

Sanskrit contains three genders: neuter (napusaka-liga), masculine (purualiga), and feminine (str-liga). Very rarely do neuter or masculine
words/adjectives end with an . An example of this rule exception is gop, which
is masculine. In most cases, ending a masculine or neuter word/adjective with a
long changes its gender to feminine. Some other words change to feminine
gender when they end with an , and certain words can be changed to feminine
by ending with either or . The following table demonstrates how ending a
masculine word with the long vowel changes its gender:
Sanskrit Gender Endings

Masculine
suta
Feminine
sut
English
son/daughter
blaka
blik
boy/girl
gaja
gaj
elephant/she-elephant
ava
ava
stallion/mare
bhagavn
bhagavat
God/Goddess
deva
dev
demigod/demigoddess
aktimn
akti
powerful/power
dsa
ds
servant/maidservant
Pranta is a name for boys, and Prant is a girl name. Vilsin, Chandrik, and
Vsin are some examples of feminine names. rla Vysadeva is Satyavat-suta,
the son of Satyavat. Mispronouncing his name as Satyavat-sut would be a
misnomer. Vabhnu-sut is rmat Rdhr, but Vabhnu-suta could refer
either to rdm or Subala, the two brothers of rmat Rdhr.
r Caitanya Mahprabhu is ac-suta, Lord Ka is Devak-suta, and Lord
Balarma is Rohi-suta. However, pronouncing the ending a very long will refer
to the daughter, i.e., Subhadr. Similarly, K (notice the long ending ) is a
name of Draupad.
Before the days of the diacritic Sanskrit transliteration system that we have of
spelling the names scientifically, to try to get the correct pronounciation, the
names were spelled phonetically, eg. Krishna, instead of beging spelled as Ka,
and Nsiha was spelled as Nrisingha. Without the diacritics, devotees were
pronouncing siha as singha. Many devotees still say Nrisingha.
65
The following verse (SB 1.2.18) shows examples of conjuctions:

NaPa[aYaeZv>ad]ezu iNaTYa& >aaGavTaSaevYaa
>aGavTYautaMaaeke- >ai->aRviTa NaEik-I

naa-pryev abhadreu
nitya bhgavata-sevay
bhagavaty uttama-loke
bhaktir bhavati naihik
A word ending with u is modified to end with a v so that it can flow into
the next word in pronunciation. Devotees often recite the above verse
before giving class, and even though it is one of the most commonly
recited verses, it is one of the most commonly mispronounced verses. The
phrase pryeu abhadreu becomes pryev abhadreu. The u becomes a v
because it precedes a vowel.
When a word ends with i and precedes a word beginning with a vowel,
the i becomes a y. This also changes the pronunciation. For example, in
the last line of the fourth verse of the Dmodaraka prayers, the third
and fourth words become joined: sad me manasy virst kim anyai.
The third word, manasi, is followed by virst. The ending i becomes
a y in manasi so it can flow into the next word: manasy virst. These
two words should be pronounced fluently as a single word.
The following table displays how masculine nouns are transformed in their dative
case:
Sanskrit Dative Cases

Ending
i
Noun
giri
muni
hari
rma
hara
ka
iva
preha
prada
vadnya
Dative Case
giraye
munaye
haraye
rmya
harya
kya
ivya
prehya
pradya
vadnyya
The following table demonstrates common standardized ISKCON

mispronunciations of Sanskrit, Bengali, and Hindi words:
Commonly Mispronounced Words
66
Mispronunciation(s)
Correct word
Definition
seeka
ikh
prada
prasda
tuft of hair at the back of

the head
mercy
majar
majar
sankirtn
sakrtana
flower bud,
young maidservants
congregational chanting
Brindaban,
Vrindaban
brmana
Vndvana
forest of Vnd Dev
brhmaa
priestly order
snatn
santana
eternal
rmt, rimate
rmat
beautiful
annda
nanda
bliss
prikrm
parikram
circumambulation
purnm
prim
full moon night
brahmacr
brahmacr
roti, rti
rati
Bgavatm
Bhgavatam
guru-pj
guru-pj
celibate student (on the

path of transcendence)
worship ceremony
offered to the Deity
the sacred scripture most
dear to devotees
worship of guru
caritamrt
caritmta
nectar of divine activites
llamrta
llmta
nectar of pastimes
harebol, harbol
haribol
jugga, jagya
yaja
greeting (recite the names

of Hari)
sacrifice
p, pta
pit
father
samprady
sampradya
lineage, disciplic
succession
The following table shows pairs of similar sounding words with entirely
different meanings:
67
Similar Sounding Words

dm
price (Hindi)
dhma
abode
dl
lentils (Hindi)
la
branch of a
tree
bsi
rotten (Hindi)
bhsi
swim (v.)
pit
father
kahi-ml
neck beads
daki
donation
pta
Kunt-ml
dakia
yellow,
drunk
Kunts
garland
south
Caption: A father staggers around drunk as her daughter wrongly

addresses him as pta.
Frequently Mispronounced Names
All over ISKCON, many devotees hear and speak their names with complete
disregard to the proper pronunciation. Even during lectures and public
presentations, devotees continue to improperly articulate these names. This not
68
only discredits ISKCONs public image, but also the audience may
misunderstand what name the speaker is discussing. Every devotee should ensure
that at least his or her name is properly spelled and articulated.
Commonly Mispronouned Names

Incorrect
Correct
Prabhupad, Prabhupd,
Praopd
Prabhupda
Subhdra
Subhadr
Naryen
Nryaa
Narda, Narada
Nrada
Rukmn
Rukmi
Devki, Devki
Devak
K (name of Draupad)
Ka
akr
hkura
Ydubr
Yaduvara
Hurrysorry
Hari-auri
Pralananda, Pralnandan
Prahldnanda
Kranana
Krtannanda
nant
Dnantha
Caru
Cru
Dmodr
Dmodara
The table below demonstrates common Indian terms that have deviated from the
original:
Deviations from the Original

Deviation
Original word/phrase
Cause
Benares
Muttra
Vras
Mathur
Calcutta
Jumna
Nursing
Kolakt
Yamun
Narasiha
British name nominated for the city

Modification of the th consonant to tt and
omission of the u vowel
British name nominated for the city
Hindi vernacular omission of vowels
Ending a omitted and the anusvra sounds
69
Rabindranath
Tagore
Narain
Luxmi
Juggernaut
Ravndranth
hkura
Nryaa
Lakm
Jaganntha
deo
brahmin
je mtdi
jungle
ekankaar
Deva
brhmaa
jaya mt k
Jgala
eka okra
like an ng because h is a kahya

Bengali pronunciation spelled in English
Confusion of vowel as long or short
English u sounds like the Sanskrit a
The British Raj perceived the Jagannth
Rathaytra at Puri as an uncontrollable and
devastating force
East Indians pronounce bo for va
English version of the original word
Punjabi adaption of the original Sanskrit
English word originating from Sanskrit
Sikhs have deviated from the original name
of their entire group
70
Mistakes in Daily Prayers
5.1
rla Prabhupda Praati
nama1 o2 viu-pdya3 ka-prehya4 bh5-tale

rmate6 bhaktivednta-svminn7 iti nmine
1. Nma or nam are both common mispronunciations. Elongating
the ending a for musical symphony does not alter the meaning.
However, ending the word with does alter the meaning. Since it
is difficult to distinguish between a and , we recommend
exaggerating the difference for clarity.
2. Sometimes devotees erroneously add y to the o to flow from
nama to o.
3. Viu-pdya is often replaced by viu-padya, but this is incorrect
Sanskrit.
4. Ka-prehya is sometimes mispronounced as Ka-prihya or
ka-prasthya, both which change the meaning.
5. The vowel is long in bh.
6. Pronouncing rmati is wrong in this context as it is used in
reference to ladies. The proper pronunciation here is rmate, also
not rmte (as sometimes pronounced with a Western accent).
7. Due to sandhi with the next word starting with an i, the ending n
in svminn is doubled.
namas te8 srasvate deve9 gaura-v-pracrie

nirviea-nyavdi-pctya10-dea-trie
8. Nmaste or namste are wrong. Namaste alone is correct.
9. Srasvate deve refers to A.C. Bhaktivednta Svmi rla Prabhupda,
the son or servant of rla Bhaktisiddhnta Sarasvat hkura. To
pronounce it as sarasvat devi misconstrues the verse as worship of
Goddess Sarasvat. Srasvate devam is grammatically correct, but
does not sound as rhetorically ornate as srasvate deve. As rla
Prabhupda recommended in a lecture on August 10, 1971: You
should pronounce it srasvate, not srasvat. Sarasvat is the, my
spiritual master. So his disciple is srasvate.
71
10. The Western world is referred to in Sanskrit as pctya, which is

often mispronounced as pacaty or payta.
5.2
r r Gurv-aaka1
1. Considering the proper Sanskrit grammar rules, Gurv-aaka
should not be pronounced as Guruvakam.
sasra2-dvnala-lha-loka3trya4 kruya5-ghanghanatvam6
prptasya kalya-guravasya7
vande guro8 r9-cararavindam10
2. Bengali pronunciation changes s to and a to o which results in
ora. However, adhering to Sanskrit pronunciation for Sanskrit
verses is recommended. The anusvra in sasra is neither a
regular n nor a regular m, but is a nasalized m pronounced with
the palate lowered to allow air to pass through the nose. Smsara is
also a common Western mispronunciation.
3. Extending the a at the end of loka is allowed for singing. However,
pronouncing it as lok is incorrect.
4. The in trya is not the same as the regular n, but is a
mrdhanya or retroflex articulated with the tongue arched
backwards against the roof of the mouth. Traya is also wrong.
5. The first vowel a is long and the is a mrdhanya or retroflex.
6. Note the ha or aspiration and long second vowel a in
ghanghanatvam, which are important in referring to the analogy of
the guru as the dense cloud that showers us with mercy.
7. It is important to not forget the r in guravasya, since
pronouncing it as gunnavasya loses the meaning of the ocean or
arava of mercy.
8. One should not pronounce this as guru, since this would alter the
meaning to I, the guru, offer obeisances.
9. Sr (Bengali) and iri (Punjabi) are common mispronunciations.
10. Some devotees add an additional r and pronounce wrongly
cararavrindam. This destroys the meaning, which refers to lotus
(aravinda) feet (caraa).
mahprabho11 krtana-ntya12-gta13vditra-mdyan14-manaso rasena

romca-kampru15-taraga-bhjo
72

11. According to sandhi, end with o rather than u.
12. Many devotees wrongly sing nitya instead of ntya, which refers
to the gurus dancing in krtana.
13. Ending with the long is wrong.
14. Mdhyn is a common wrong pronunciation.
15. The verse refers to the symptoms of ecstasy the guru feels when he
dances and chants in krtana: 1) romca (hair standing on end), 2)
kampa (quivering of the body), and 3) aru-taraga (waves of tears
shedding from the eyes). That is why it is important to pronounce
kampru-taraga rather than kampu-taraga, which is a common
mispronunciation.
r-vigrahrdhana16-nitya-nngra-tan-mandira-mrjandau17
yuktasya bhakt ca18 niyujato 'pi
16. The word r-vigraha refers to the Deities and rdhana refers to
their worship. To pronounce correctly, it is best to not stop or
break while pronouncing r-vigrahrdhana, else pronouncing rvigra hrdhana as two separate words will change the meaning.
r-vigra harr dhana is another mispronunciation devotees should
be careful to avoid.
17. The word dau is important. It means etcetera, referring to more
temple services other than cleaning the temple.
18. Bhaktn aniyujato is a common mispronunciation. aidev is a
demigod, and his name is not implied here. Bhaktn is pronounced
correctly as bhakt since the ending is altered due to next word
ca. Bhakt ca niyujato refers to the gurus engaging his disciples
in the Lords temple services.
catur-vidha19-r-bhagavat-prasda-20
svdv-anna21-tptn22 hari-bhakta-saghn23
ktvaiva tpti bhajata24 sadaiva
19. There are no long vowels in catur and vidha, as both have hrasva or
short vowels.
73
20. Prasdo is a common mispronunciation during the morning

recitation of this song. Many devotees also mispronounce the s in
prasda as .
21. This refers to palatable (svdu) foodstuffs (anna). The words
combine in sandhi to form svdv-anna, which should not to be
pronounced as svadvna or svdana (sounds like svdana or
tastingbut this is not what is implied here).
22. Sometimes devotees wrongly sing tpti here, but this word is to be
sung only in the third line. Seeing the devotees satisfied (tptn),
the spiritual master feels satisfaction (tpti).
23. The word is not sagn (singular association with one), but is
saghn (plural association with many).
24. Make sure to articulate the visarga or ending .
r-rdhik-mdhavayor apra25mdhurya-ll gua-rpa-nmnm

prati-kasvdana26-lolupasya
25. Apra-mdhurya-ll refers to the unlimited conjugal pastimes of r
r Rdh Mdhava. Pronouncing it as apr alters the meaning.
26. Prati-kaa (at every moment) and svdana (relishing) combine in
sandhi to form prati-kasvdana, which should be pronounced
together without breaking in middle. The word here is not pratk,
which refers to waiting.
nikuja-yno rati-keli-siddhyai27
y ylibhir28 yuktir apekay
tatrti-dkyd29 ati-vallabhasya30
27. In a Western accent, sometimes devotees mispronounce as radikeli-sidyai. The implied meaning of rati-keli-siddhyai is perfection
of conjugal loving pastimes.
28. Yayalibhi and yaylibhi are common mispronunciations. Y ylibhir
yuktir refers to various (y y) arrangements (yukti) made by the
gops (libhi).
29. Tatrdi-dakd and Tatrdi-dkd are common mispronunciations.
The guru is very expert (ati-dkyt) in that connection (tatra) of
making various arrangements for the conjugal loving pastimes of
r r Rdh Mdhava.
74
30. Mispronouncing as di-vlabasya loses the meaning of the gurus

attribute of being very dear or ati-vallabha (note the double l and
bh).
skd31-dharitvena32 samasta-strair33
uktas34 tath bhvyata35 eva sadbhi
kintu prabhor36 ya priya eva tasya
31. Pronouncing it as kd is wrong.
32. Sometimes devotees separate the ending na in skd-dharitvena
and sing it along with the next words as follows: skd-dharitve
na-samasta-strair. This reverses the meaning. The verse intends
to say that the guru is to be regarded as much as the Supreme Lord
as is acknowledged by all the scriptures. However, na-samastastrair changes the meaning to not all the scriptures.
33. Pronouncing it as stre or astre is a very common mistake.
34. Since the previous word ends with an r, ruktas is a common
mispronunciation, which alters the meaning. Ukta means
acknowledged [by all scriptures].
35. Bh vyatha or bh yatha are common mispronunciations. Vyatha
(meaning distress) is definitely not implied here. Rather bhvyata
means is considered.
36. Prabhur is a common mispronunciation. Prabhu means Lord, and
prabho means to the Lord.
yasya37 prasdd38 bhagavat-prasdo39

yasyprasdn40 na gati kuto41 'pi
dhyyan42 stuvas tasya yaas43 tri-sandhya44
37. Yasya means of whom [guru]. If we mispronounce the first line
as yasyprasdd bhagavat-prasdo, this reverses the meaning to be
by whose [gurus] dissatisfaction, Kas mercy is received. It is
therefore essential to correctly pronounce this.
38. Prasdt is transformed into prasdd. The ending t is changed
into d because it is followed by the consonant bha in the next
word (Sanskrit grammatical rule).
39. Prasda is transformed into prasdo since the next word starts with
the soft consonant (mdu vyajana) ya.
40. If we mispronounce the second line as yasya prasdn na gati kuto
'pi, this reverses the meaning to be by whose [gurus] mercy, no
75
advancement is achieved. Again, it is essential to correctly

pronounce this. Aprasdt here is pronounced as aprasdn because
the next word starts with an n.
41. Guto is a mispronunciation, caused sometimes because the previous
word also starts with a g.
42. Dhyyan [meaning meditating upon] should not be
mispronounced as dhyym.
43. This is not yasya, but is yaas [meaning glory].
44. This is not tri-sandhym, but is tri-sandhya [meaning three
junctures of the day (sunrise, noon, and sunset)].
5.3
Nma-sakrtana
hari haraye1 nama2 ka ydavya nama3

ydavya mdhavya keavya nama
1. Harye is not to be sung here as that would be referring to Hara, a
name of Lord iva. Hari haraye here means unto Hari. The name
of Hari is contiguously recited twice in not only this song, but in
many songs such as hari hari viphale janama goinu.
2. Not to be pronounced as nma.
3. Not to be pronounced as nma ha.
Caption: Devotees mispronouncing haraye as harye are bewildered why

Lord iva has appeared.
76
gopla govinda rma r-madhusdana4

giridhr gopntha madana-mohana5
4. Mdhusudn is a common mispronunciation.
5. Madn-mohn is a common mispronunciation.
5.4
Prema-Dhvani
jaya o viu pda paramahasa parivrjakcrya1

aottara-ata r-rmad2 His Divine Grace A.C.
Bhaktivednta Svmi Prabhupda k3 jaya
jaya o viu pda paramahasa parivrjakcrya
aottara-ata r-rmad His Divine Grace
Bhaktisiddhnta Sarasvat4 Gosvm5 Prabhupda k jaya
ananta6-koi vaiava-vnda k jaya
nmcrya7 rla8 haridsa hkura9 k jaya
premse kaho r ka caitanya10 prabhu nitynanda11 r
advaita gaddhara12 rvsdi13 gaura-bhakta-vnda14 k
jaya
r-r-rdh15-ka gopa-gopntha16 yma-kua
rdh-kua17 giri-govardhana18 k jaya
vndvana19-dhma k jaya, navadvpa20-dhma k jaya
gag21-my22 k jaya, yamun23-my k jaya, tulas24dev k jaya
samaveta25 bhakta-vnda k jaya
All glories to the assembled devotees (three times).
All glories to r Guru and r Gaurga26.
All glories to rla Prabhupda.
1. Parivrjakcrya (sometimes mispronounced as parivrjakacrya
or parivrajakacrya) is formed by the sandhi of parivrjaka
(wandering religious mendicant) and crya (spiritual teacher).
2. rmad (meaning resplendent) does not have an emphasis on the
last vowel. It is sometimes mispronounced as rimd.
3. Note the long ending vowel.
77
4. Sereswatty or seraswatty are common mispronunciations. Siddhnta

Sarasvat was the title awarded to Bhaktisiddhnta hkura for his
unparalleled erudition.
5. Gasvm is wrong pronunciation. Gosvm means master of the
senses.
6. Ananti-koi is a common mistake. Ananta-koi means infinite
millions.
7. Not to be mispronounced as nmacrya. The sandhi of nma and
crya combines to form nmcrya, which means the spiritual
teacher of the holy names.
8. Make sure to enunciate the long vowel .
9. hkura (title or way of addressing the highly esteemed) is often
mispronounced as akr.
10. Caitanna is common Bengali accented diction. It is recommended
to articulate Sanskrit words in Sanskrit pronunciation.
11. Nitnanda is also common Bengali accented diction. Nityananda
and Nityannda are also mispronunciations.
12. Gadadr, gdadr, gdedr, and gadhdhara are some of the many
mispronunciations. Gaddhara (gad means mace and dhara
means carrying, i.e. carrier of the mace) is a name of Lord Visnu.
Make sure to not pronounce it as gadhdhara (gadh means
donkey).
13. rbo is common Bengali diction. rvsa (rvsa hkura) and
di (others) combine to form rvsdi.
14. Note the ending vowel in vnda (means group) is not long.
15. Make sure to articulate the ending long vowel . Rdh means the
best worshipper.
16. Some devotees sing gopa-gopik instead of gopa-gopntha. They
claim that Kas name has already occurred, and they replace it
with gopik to include the gops in the prema-dhvan (this is not so
important since it is not a pronunciation issue).
17. Many devotees over-accentuate the u in kua and forget to
articulate the a at the end.
18. Go (here it means cows) and vardhana (nourishing) combine to
form Govardhana, the mountain that nourishes the cows.
Mispronouncing it as Govardn eludes the meaning.
19. Vndvana (forest of r Vnd-dev) should not be misarticulated
as Vndavn or Vndavana.
20. Navadvpa (meaning nine islands) is sometimes mispronounced
as nvadvpa.
21. Gag is misarticulated as gga in Western accents.
22. My and mayy, either can be chanted as both mean mother.
23. Yamun is misarticulated as yamna in Western accents.
24. alsi, tulsi, and tulsi are some of the many mispronunciations.
Tulas means incomparably the best.
78
25. The word is not sma-veda, but is samaveta, which means

assembled.
26. Gaura (golden) and aga (limbs) combine to form Gaurga (note
the long vowel). Gauraga is therefore a mispronunciation.
5.5
r Nsiha Prama
namas te1 narasihya2

prahldhlda-dyine3
hirayakaipor4 vaka5il-aka-nakhlaye6
1. Nmaste or namste are wrong. Namaste alone is correct.
2. Nsihya does not match the meter. Common mispronunciations
to avoid include Narashinga and Nishringa.
Caption: Lord Narasihadeva is wondering why the devotees are calling

out to Him as Nara Shinga.
79
3. Praldalda dyne is a common Western mispronunciation. The

actual words are prahlda (to Prahlda Mahrja) + hlda (of joy)
+ dyine (the giver), which combine to form prahldhlda-dyine,
i.e. the giver of joy to Prahlda Mahrja.
4. Hirayakipur is wrong, as we are not referring to the city (pur) of
Ki.
5. Vaka ha is wrong. The ending is resounded with an echo of the
previous vowel. Vaka means chest.
6. rila-ak-nakhlye is common incorrect pronunciation. The
correct words are il (on the stonelike) + aka (chisels) + nakhalaye (whose nails) = il-aka-nakhlaye, i.e. whose nails are like
chisels on the stonelike [chest of Hirayakaipu].
ito nsiha parato nsiho

yato yato ymi tato7 nsiha
bahir nsiho hdaye8 nsiho9
nsiham10 di11 araa prapadye12
7. Yto yto ymi tto is a common mispronunciation.
8. Baher and hdayer are wrong. Bahir (meaning externally) and
hdaye (meaning in the heart) are correct.
9. The most common mistake in this verse is to reverse the endings of
nsiho and nsiha. Here is a mnemonic to remember the correct
order: a, o, a, o, o, i.e., nsiha, nsiho, nsiha, nsiho,
nsiho. Nsiha changes to nsiho when the next word starts
with a soft letter.
10. Nsiham should not be sung as narasiham, as that will alter the
meter. Nsiha is many times mispronounced as Ninga, Nanga,
Nsimma, Nsimba, etc.
11. Adim is incorrect. The phrase di araa describes Lord
Nsiha as the origin of all things and the supreme refuge.
12. Prapade is incorrect. Correct is prapadye, meaning I surrender.
tava kara-kamala-vare nakham13 adbhuta-ga14

dalita15-hirayakaipu-tanu-bhgam16
keava dhta-narahari-rpa jaya jagada hare
13. Nakhm is wrong. Nakham means the nails.
14. gm is wrong. Adbhuta-gam means wonderfully sharp tips.
15. Dlit is wrong. Dalita means ripped apart.
16. Bhgm is wrong. Bhgam means wasp.
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5.6
r Tulas Prama
vndyai1 tulas2-devyai3
priyyai4 keavasya ca
viu5-bhakti-prade6 dev
satyavatyai7 namo nama
1. Vndyai (meaning unto Vnd) is commonly misarticulated as
vndy or vnday.
3. Devay and devy are mispronunciations of devyai, which means
goddess.
4. Priyyai (meaning who is dear) is often mispronounced as priyay
or priyy.
5. The original verse mentions Viu.
6. Prade means who bestows and it should not be pronounced as
prati or pradi.
7. Satate and satyavaty are major distortions of the word satyavatyai,
which means unto Satyavat, another name of rmat Tulas
Dev.
5.7
r Tulas-krtana
namo nama1 tulas2 ka-preyasi3 namo nama4

rdh-ka-sev pbo5 ei abhil6
1. Namo namo is a common mispronunciation. Here, nama nama is
pronounced as namo nama. Only the first nama is pronounced as
namo, since the next word after it starts with n, which is a komala
or soft letter. The second nama remains as it is since the next word
after it starts with t, which is a kahora or hard letter.
3. Note that the a vowel is not long in ka-preyas, which means O
beloved of Ka.
4. Same note as 1.
5. Pvo (since this is a Bengali song, the actual Bengali enunciation is
pbo) means I will obtain.
6. Abhils and abils are incorrect. Abhil means I am desirous.
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ye7 tomra araa loy, tra8 vch9 pra hoy

kp10 kori' koro tre vndvana11-vsi
7. Ye is pronounced as je by Bengalis.
8. Note that only the first vowel is long in tra, which means
his/her.
9. Make sure to pronounce both vowels long in vch, which means
desire(s).
10. Note the ending long vowel in kp, which means mercy.
Kreepa is a common Western-accented mispronunciation.
11. Vndvana (forest of r Vnd-dev) should not be misarticulated
as Vndavn or Vndavana.
mora ei abhila12, vilsa kuje13 dio vsa

nayana heribo14 sad15 yugala-rpa-ri16
12. Abhilsa and abilsa are incorrect. Abhila means desire.
13. Note the ending is not kuja, it is kuje. The locative ending e
signifies in. Vilsa kuje means in the pleasure-groves.
14. Haribo is a common misarticulated word in this song. Nayana
heribo means I will behold with my eyes.
15. Note the long ending vowel in sad, which means always.
16. It is not rsi. Yugala-rpa-r means the waves of the Divine
Couple's beauty.
ei nivedana17 dharo18, sakhra19 anugata20 koro

sev-adhikra21 diye koro nija ds
17. Nive dhana changes the meaning. We are not mentioning money
(dhana) here. Another mispronunciation to avoid is nivedena.
Nivedana means request.
18. Daro is wrong. Dharo means please keep / accept.
19. Sakhir is wrong pronunciation. Sakhra means of one of the
cowherd damsels.
20. Anugato is a common mispronunciation. Anugata koro means
make me a follower.
21. Jodhikro and yodhikro are both wrong, and this mispronunciation
maybe due to imitating Bengali diction. Sev-adhikra means the
privilege of devotional service.
dna22 ka-dse koy23, ei yena mora hoy

r-rdh-govinda-preme sad24 yena bhsi25
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22. Note the long vowel in dna, meaning fallen and lowly.
23. Koy or kohe means says (in this regard, it means prays).
24. Note the long ending vowel in sad, which means always.
25. Vsi or bsi (meaning resident) are incorrect articulations which
change the meaning. The actual word is bhsi, meaning
swimming.
5.8
r Tulas Pradakia Mantra
yni kni ca ppni1

brahma-hatydikni2 ca
tni tni praayanti3
pradakia4 pade pade
1. Commonly many devotees enunciate this word as pa pni, but here
we are not referring to water (pni), but are referring to sins
(ppni). Also avoid saying cp pni.
2. Brmatydikni is incorrect enunciation caused by Western diction.
This phrase is referring to sins, such as brahma-hatya (killing of a
brhmaa) and dikni (so on).
3. Praa nti (peace) is not implied here. Praayanti means
completely destroyed
4. Pradaka, pradk, and prdak are all mispronunciations.
Pradakia means (by) the circumambulation (of Tulas Dev).
5.9
r Vaiava Prama
vch-kalpatarubhya ca1 kp-sindhubhya2 eva ca

patitn pvanebhyo3 vaiavebhyo namo nama
1. The most glaring mistake devotees make in this verse is
mispronouncing the first word as vanca, vnca, and vanc. The next
phrase kalpatarubhya ca is often mispronounced as klpatarubhya
ca, kalptarubhya ca, kalpaarubhya ca, kalpatarubhyca, and
kalpatarubhayaca. Vch-kalpa-tarubhya means who are desire
trees. According to Sanskrit sandhi principles, since the next word
is ca, the ending changes from tarubhya to tarubhya.
2. Note the ending long vowel in kp, which means mercy.
Kreepa is a common Western-accented mispronunciation. The next
83
word is also many times misarticulated as sindubya. Kpsindhubhya means who are oceans of mercy.
3. Western-accented devotees frequently misarticulate the vowels in
this phrase. Paeeanm and paeenm are common
mispronunciations. The next word is also wrongly enunciated as
pavanebyo and pavnebyo. Patitn pvanebhyo means who are
the purifiers of the fallen souls.
5.10 Paca-tattva Mah-mantra
(jaya)1 r ka caitanya2 prabhu nitynanda3 r

advaita gaddhara4 rvsdi5 gaura-bhakta-vnda6
1. rla Prabhupda has recommended devotees to not start with
bhaja.
2. Caitanna is common Bengali accented diction. It is recommended
to articulate Sanskrit words in Sanskrit pronunciation.
3. Nitnanda is also common Bengali accented diction. Nityananda
and Nityannda are also mispronunciations.
donkey).
5. rbo is common Bengali diction. rvsa (rvsa hkura) and
di (others) combine to form rvsdi.
6. Note the ending vowel in vnda (means group) is not long.
5.11 Hare Ka Mah-mantra
hare1 ka2 hare ka ka ka hare hare

hare rma3 hare rma rma rma hare hare
1. Hari, hre, hade, and hale are common mispronunciations. rla
Prabhupda instructs in his purport to the mah-mantra: Har is
the supreme pleasure energy of the Lord, changed to Hare in the
vocative.
2. Some argue whether Krushna or Krishna is the correct
pronunciation, but actually both are wrong. The and are not
the same as the regular r and n, but are both of the mrdhanya or
retroflex category articulated with the tongue arched backwards
against the roof of the mouth. Krishan, Krishina, Kishan, and
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Kishna are all deviations (apabhrama) from the original name of

the Lord. The deviations still maintain the same meaning (artha) as
the original word (sdhu-abda) because they remind us of the
original. The original name of the Supreme Personality of Godhead
is Ka, which describes His quality of being all-attractive.
3. Rm, Rm, Rma, Rmo, and Rama are all mispronunciations.
The correct name Rma refers to the Lord as the Supreme enjoyer.
The Powerful Effects of Properly Articulating the Mah-mantra: In the
mah-mantra, every one of the sixteen names of the Lord has the
consonant r, which is a mrdhanya or retroflex articulated with the
tongue arched backwards against the roof of the mouth. Mrdhan means
the head or cerebrum, and mrdhanya means of or towards the head.
Thus the mrdhanya or palate is in line with the brahma-randhra, the soft
spot on the very top of the head from which elevated yogis leave their
bodies towards higher planets. Thus by repeatedly striking the mrdhanya
while chanting the mah-mantra, the devotee can kindle his kualinakti. At a Bhagavad-gt lecture in Hyderabad (November 30, 1972), an
Indian gentleman asked about how to awaken kualin, and how to have
permanent state of awakened kualin, to which Prabhupda replied,
Chant Hare Ka. That's all. From this we can understand that chanting
Hare Ka encompasses every other spiritual process.
Okra (au) starts from the kaha (throat), resounds on the mrdhanya
(palate), and ends with the ohya (lips) closed. Similar to okra, hare
ka and hare rma both begin with ha in the throat, resonate ka and
ra at the palate, and end with at the dantya (teeth) or m with closed
lips.
Sanskrit is a precise language, which needs to be articulated very
attentively; else a mispronounced word can change the meaning and
results of a chanted mantra. Therefore, the devotee should avoid sleepiness
and laziness while chanting japa. By attentive and clear pronunciation, we
can follow rla Prabhupdas instruction that the upper lip, lower lip, and
tongue should all be engaged in chanting.
One should know in this connection that chanting involves
the activity of the upper and lower lips as well as the
tongue. All three must be engaged in chanting the Hare
Ka maha mantra. The words Hare Ka should be very
distinctly pronounced and heard. Sometimes one
mechanically produces a hissing sound instead of chanting
with the proper pronunciation with the help of the lips and
the tongue. Chanting is very simple but one must practice it
very seriously.
85
(Purport, Caitanya Caritmta di-ll, 17.32)

One strings vibration causes resonance in an adjacent string. Similarly, by
vibrating the tongue, throat, and body in correctly pronouncing the holy
names, the devotees soul will resonate spiritually.
5.12 gra-rati (Greeting of the Deities)
veu1 kvaantam2 aravinda-dalyatka3

barhvatasam asitmbuda4-sundargam
kandarpa-koi-kamanya-viea-obha5
govindam6 di-purua7 tam aha8 bhajmi
1. Venm is a common mispronunciation. The actual word is veu,
which means flute.
2. Kanvantam and kvanvantam is what many devotees sing. The
correct pronunciation is kvaantam (means playing).
3. Commonly devotees misarticulate this phrase as aravn
ddalyatk. The original phrase aravinda-dalyatka is
formed of the following words: aravinda-dala (like lotus petals) +
yata (blooming) + akam (whose eyes).
4. Also it is common to separate the words in the wrong places by
mispronouncing the phrase as barhvat samsitm buda. The
correct phrase barhvatasam asitmbuda is formed from these
words: barha (a peacock's feather) + avatasam (whose ornament
on the head) + asita-ambuda (tinged with the hue of blue clouds).
5. Excessive enunciation of the ending vowels and omission of the
ending anusvra in this phrase changes it to vie-obh. The
proper phrase is viea-obha, comprised of viea (unique) +
obham (loveliness).
6. Govindam (Lord Govinda, lover of cows) is often misarticulated as
govindm.
7. In the phrase di-puruam (the original person), puruam is
wrongly enunciated sometimes as pruam, puram, and purum.
8. amahm is another mispronounced phrase. The correct phrase is
tam (Him) + aha (I).
agni yasya sakalendriya9-vtti-manti10

payanti pnti kalayanti cira jaganti11
nanda-cinmaya-sad-ujjvala-vigrahasya12
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govindam di-purua tam aha bhajmi

9. Sakalendriya is comprised of sakala (all) and indriya (organs or
senses). Many times while singing the Govindam prayers, devotees
separate this word into sakalen driya.
10. Vri-mni is the incorrect enunciation of vtti-manti (note the
double t), which means possessing the functions.
11. The vowels are wrongly stressed and mispronounced as payn
tipn tiklaynti cirm jagnti. The original phrase is payanti (see)
+ pnti (maintain) + kalayanti (manifest) + ciram (eternally) +
jaganti (the universes).
12. The third line is also misarticulated as nand cinmay sad jvl
vigrahasya. Jvl (flame) is not implied here, but rather this phrase
describes the Lords transcendentally splendorous form comprised
of eternity, knowledge, and bliss: nanda (bliss) + cit (truth) + maya
(full of) + sat (substantiality) + ujjvala (full of dazzling splendor) +
vigrahasya (whose form).
5.13 r Guru-vandan
r-guru-caraa-padma1, kevala-bhakati-sadma,
vando mui2 svadhna mate3
yhra prasde bhi, e bhava toriy yi4,
ka-prpti hoy yh ha'te5
Caption: Since the disciples are mispronouncing guru as goru, instead of the
guru, a cow is accepting the worship.
87
1. Many devotees overstress the first u vowel in guru while singing.

Also devotees should avoid enunciating guru as goru and garu
(means cow). Make sure to enunciate the retroflex in caraapadma, which means lotus feet.
2. This is not muni. Vando mui means I bow down. Bengali diction
changes the vando to bando.
3. Sarvadana mte or sarvadhana mte are common
mispronunciations. Sarvadhana means all wealth, and mte
means O mother, both of which are not implied here. The word
svadhna means attentive and mate means intelligence.
4. Toriy yi means crossing over. Avoid over-accentuating the i
and remember the ending long vowel in toriy.
5. Hate and hoite are both the same word. Yh haite means by
which.
guru-mukha-padma-vkya6, cittete koriy7 aikya,

r8 n koriho mane9
r-guru-carae rati, ei se uttama-gati10,
ye prasde pre sarva
6. Avoid elongating the ending a vowel otherwise it sounds incorrect:
guru-mukh-padm-vaky. The correct phrase is comprised of gurumukha-padma (the lotus mouth of the spiritual master) + vkya (the
words emanating from).
7. Koriho is not the correct word here. The correct word is koriy,
which means making or doing.
8. During the song, many devotees sing r n, but that is not implied
here. The correct word r means other (or anything else).
9. Mne is another misarticulated word of the song. Actually, the
phrase is koriho mane, meaning consider in the mind.
10. Uam-gai is another common mispronunciation. The correct
phrase uttama-gati (note the double t in the first word) means
highest perfection or ultimate goal.
caku11-dn dilo yei, janme janme prabhu sei,

divya jn hde prakito12
prema-bhakti yh hoite, avidy vina13 yte,
vede gy yhra carito
11. Pronouncing caku (means eyesight) as cakku changes the
meaning to knife (at least in Hindi). However, pronouncing this
88
as cakhu is common in Bengali diction, which transforms the

consonant k into kh.
12. Hdoy (means of or pertaining to the heart) is not the correct
word to articulate here, rather hde (means in the heart) is.
Minimizing the to a and elongating the i to causes one to
articulate prakato. However, the real word is prakito (means is
revealed), which can also be articulated in Bengali accent as
prokito. The phrase divya jn hde prakito means divine
knowledge is revealed in the heart.
13. Confusing the a and vowels results in vidy vin jate. The
correct phrase is avidy (ignorance) + vina yte (is destroyed).
r-guru karu-sindhu14, adhama janra bandhu15,

lokanth lokera jvana16
h h prabhu17 koro doy18, deho more pada-chy19,
ebe yaa20 ghuuk tribhuvana21
14. r-garu karna-snu is a common misarticulated phrase. Devotees
should avoid enunciating guru as goru and garu (means cow).
Also, note the retroflex and ending long vowel in karu
(means mercy). The dh consonant rather than should be
enunciated in sindhu (means ocean), with a short i vowel rather
than the long .
15. am janra banu is the second mispronounced phrase in the
first line. The proper words are adhama janra (of the fallen souls)
+ bandhu (the friend).
16. Pronouncing this as loke nth loke rjv n changes the meaning.
We are not calling (n) Rjv. Here is the word for word: lokanth
(spiritual master of the entire world) + lokera jvana (the life of all
people). Note the long and short a vowels in jvana.
17. Prbu is wrong enunciation. Prabhu means O master.
18. Note the ending long vowel in koro doy, meaning please be
merciful.
19. This is not chaya or choya (which in Bengali means six), but is
chy, meaning shade.
89
Caption: Since the disciples are mispronouncing pada-chy as pada-choya,

instead of the guru, a six-footed alien is accepting the worship.
20. Avoid enunciating this as j or josh. Yaa means fame.
21. This is not rbuvana or treebuvana. Tribhuvana = tri (three) +
bhuvana (worlds).
dui pade22 loila23 araa

gurudeva-patita-pvana24
22. Pda would be incorrect grammar here. Dui pade means at his two
feet.
23. Changing this to loilo would imply us asking the guru to take
shelter. But loila araa means we have taken shelter.
24. In rhyming with the previous line, devotees end with pavana,
which is not correct enunciation. Patita-pvana means savior
(pvana) of the fallen (patita).
Note: This last verse is a later addition to the original song.
5.14 Jaya Rdh-Mdhava
rdh-mdhava1 kuja-bihr2
gop-jana-vallabha3 giri-vara-dhr4
90
yaod-nandana5 vraja-jana-rajana6
ymuna-tra-vana-cr7
1. In flowing or matching the rhythm with the next word, which is
mdhava, some devotees mispronounce rdh as rdha.
2. Kujbi hr is not implied here though this is what many devotees
sing. The actual phrase is kuja (groves) + bihr (enjoyer) = kujabihr, or He who enjoys loving pastimes in the groves of
Vndvana.
3. Gopi-jana-wolaba is another common misarticulated phrase. Note
the long ending vowel in gop-jana (meaning cowherd
maidens). Note the double ll and bh consonant in vallabha
(means dear).
4. The ending word is not ri, as pronounced in Western accent.
Here are the proper words: giri-vara (Govardhana, the best of hills)
+ dhr (the holder of).
5. The Western accent enunciation of d as causes one to
pronounce yaoa-nanana. This also omits the at the end of
yaod (means the giver of fame), the mother of Ka. Nandana
means son or one who gives pleasure, so Lord Ka is yaodnandana, the beloved son of mother Yaod.
6. In Bengali diction, this is pronounced as braja (Vraja or Vndvana)
+ jana (inhabitants) + rajana (delighter of).
7. Yamna, Jamna, Yamna, and Jamna are all mispronunciations; the
actual name of the river Goddess is Yamun. However, when we are
describing the banks (tra) of the Yamun River, then the word in
Sanskrit becomes ymuna-tra, since the possessive form of yamun
is ymuna. Tra is often misarticulated as tr, even though there is
only a short vowel at the end. The Lord is wandering in the forests
along the banks of the river Yamun; vana (forest) + cr
(wanderer).
Note: This is a song from rla Bhaktivinoda hkuras Gti-sagha.
5.15 Invocation
o namo bhagavate1 vsudevya2

1. Bagavate, bgavate, and bhgavate are all incorrect. Make sure to
enunciate the consonant bh in the beginning and the first vowel as
short a in bhagavate, meaning unto the Personality of Godhead.
2. Vasudevya would be wrong since here we are not referring to
Vasudeva, the father of Ka. Here we are bowing to Vsudeva
(Ka), the son of Vasudeva.
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5.16 r Guru Prama
o ajna-timirndhasya jnjana-alkay1
cakur unmlita2 yena tasmai3 r-gurave4 nama
1. Jananjana or jannjana is the improper articulation. The consonant
ja is pronounced as gnya. Also remember that jna and
ajana combine in sandhi to form jnjana (note the first two
vowels are both long). Jna means knowledge, ajana means
ointment, and alkay means by a medical instrument called a
alk, which is used to apply medical ointment to eyes afflicted
with cataracts. Make sure to pronounce the second and fourth
vowels of alkay long.
2. Pronouncing this phrase as ckur anamilita obscures the
meaning. Caku, meaning eyes, becomes cakur (the ending is
changed to r since the next word starts with a vowel). Unm1itam
(note the long ) means were opened.
3. Tzmaye is a common Western misarticulation of the word tasmai,
meaning unto him.
4. Avoid pronouncing garave.
5.17 r Rpa Prama
r-caitanya-mano-'bha1 sthpita2 yena bh-tale3

svaya4 rpa kad mahya5 dadti sva-padntikam
1. Bistam, bstam, bhistam, bhstam, biam, bam are all incorrect.
Make sure to pronounce the bh consonant, the long vowel , and
the letter conjunctive in bham, which is the abbreviated (due
to loka meter) form of abham, meaning what is desired.
2. Make sure to pronounce the first vowel long and the last vowel
short in sthpitam, meaning established.
3. The vowel in bh (means this planet earth) is long, and the t in
tale (means the surface of) is not , as commonly enunciated in
Western accent.
4. Svya and so yam (so is derived from sa, which means s/he
and yam is the abbreviated form of ayam, which means this) are
both mispronunciations. Svaya means personally himself.
5. Mayam and mayyam are both wrong. Mahya means unto me.
92
5.18 Magalcaraa
vande 'ha r-guro r-yuta-pada-kamala r-gurn

vaiav1 ca
r-rpa sgrajta saha-gaa-raghunthnvita ta
sa jvam
sdvaita svadhta2 parijana-sahita ka-caitanyadeva
r-rdh-ka-pdn saha-gaa-lalit-rvikhnvit3 ca
1. Here r-guro (avoid pronouncing as r-guru, which alters the
meaning to I, the guru, offer obeisances) refers to ones main
initiating or instructing spiritual master (singular), whereas rgurn (avoid the common mispronunciation r-gurum) refers to all
the spiritual masters in the parampar (plural). Vaiavn (meaning
unto all the Vaiavas) becomes vaiav (note the long vowel
) because the next word starts with c.
2. Sa (with) + agra-jtam (elder brother) combine to form sgrajta,
which means with his elder brother. The agraja or elder brother
of rla Rpa Gosvm is rla Santana Gosvm. Make sure to
articulate the long vowels in saha-gaa-raghunthnvitam,
meaning with Raghuntha dsa Gosvm and his associates. Also
do not forget to enunciate the long vowels in sdvaitam (means
with Advaita crya) and svadhtam (means with Nitynanda
Prabhu).
3. Padn is a common mistake; pdn is the correct form referring to
the lotus feet of r r Rdh-Ka. Lalit-r-vikh-anvitn ca
(means accompanied by Lalita and r Visakh) becomes
according to sandhi and ending rules lalit-r-vikhnvit ca
(note the long vowels ).
5.19 Prasda-sevy
mahprasde govinde
nma-brahmai1 vaiave
svalpa-puyavat2 rjan
vivso naiva jyate
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1. Namo-brhmae and nmni-brhmai are common

mispronunciations, which are caused by the misunderstanding that
here we are referring to brahmaas. The actual phrase nmabrahmai refers to the holy name (nma) of the transcendental and
absolute (brahmai) Lord.
2. Svalpa-puyavatan or svalpa-puyavata is another misarticulated
phrase in this verse. Svalpa (formed from su-alpa) means very
meager and puyavat means stock of pious credit.
arra avidy-jl3, jaendriya the kl,

jve phele viaya-sgare4
t'ra madhye jihv ati5, lobhamoy sudurmati,
t'ke jet kahina sasre6
3. Sarirra vidya jl and arir avidya jl are both wrong. The actual
phrase is arra (body) + avidy (ignorance) + jl (cage), i.e., the
body is a cage of ignorance.
4. Viy is incorrect articulation. Viaya-sgare means ocean of sense
enjoyment.
5. Trmadhe jivyati is a common way this phrase is misarticulated.
The third line in this verse t'ra madhye jihv ati lobhamoy
sudurmati means of all the senses the tongue (jihv) is most (ati)
voracious (lobhamoy) and uncontrollable (sudurmati).
6. a'ke je kahna ssare (or sasare) is the way the last line of
this verse is enunciated when the vowels are intermingled. This
phrase is pointing out how difficult it is to overcome the urges of
the tongue: t'ke (it, the tongue) + jet (to conquer) + kahina
(difficult) + sasre (in this world).
ka baa daymay, karibre jihv jay7,

sva-prasd-anna dilo bhi8
sei annmta9 po, rdh-ka-gua go,
preme ko10 caitanya-niti
7. Baro doymoy and jva joy are incorrect. Here are the meanings of
the actual words: baa means very much, daymay (pronounced
doymoy in Bengali) means merciful, and jihv (tongue) + jay
(victory) is about controlling the tongue. Jay is pronounced in
Bengali as joy.
8. Omitting the v, missing the double nn, elongating the i, leaving
out the h causes one to pronounce sa prasd ana dlo bi. Here is
94
the translation: Oh brother (bhi), Ka is giving (dilo) us His

personal (sva) merciful (prasd) remnants of foodstuffs (anna).
9. Anamrta is wrongly enunciated in Western accent. Anna
(foodstuff) + amta (nectarean) is the nectarean foodstuffs we eat in
the form of Ka-prasda.
10. ako is another misarticulated word in the last line. The last line is
asking us to lovingly (preme) call out (ko) to Caitanya and Niti.
5.20 Gaura-rati
(kiba) jaya jaya gorcnder ratika1 obh

jhnav-taa-vane jaga-mana-lobh
gaurger ratika obh
jaga-jana-mana-lobh
1. There are two common mispronunciations: rati kioba and rati
keoba. The phrase ratika obh refers to the beautiful rati
ceremony.
dakhie niticnd2, bme gaddhara3

nikae advaita, rnivsa4 chatra-dhara
2. ak neniticnd is wrong phrasing. Here is the translation of the
phrase: on the right (dakhie) is the moonlike Lord Nitynanda
(niti-cnd).
donkey).
4. Here is the word-for-word: nikae (nearby) + advaita (Advaita
crya) + rnivsa (rvsa hkura) + chatra-dhara (holds an
umbrella). Some devotees recite this line as: nikae advaita prabhu,
rvsa chatra-dhara. They do this to avoid separating rnivsa into
rn and vs as follows: nikae advaita rn, vs chatra-dhara.
Either way you sing, avoid separating rnivsa into rn and vs.
bosiyche gorcnd ratna-sihsane5

rati korena brahm6-di deva-gae
95
5. Sihasne is another misarticulated word. Ratna-sihsane means

upon a jeweled throne.
6. Omitting the h and long ending vowel , devotees often
misarticulate brahm (Lord Brahm) as brama. Brahma (note all
short vowels) means transcendence. Bhrama (illusion) is a different
word altogether.
narahari-di kori' cmara dhulya7

sajaya-mukunda-vsu-ghoa8-di gya
7. Camara or camra (means untouchable) uly is wrong
enunciation here. Cmara is the whisk made of yak tale, and
dhulya refers to waving or fanning.
8. Ghoo is not correct. Vsu Ghoa is one of the elevated associates of
Lord Caitanya who used to sing for the pleasure of the Lord.
akha bje gha bje bje karatla9

madhura10 mdaga11 bje parama rasla
akha bje gha bje
madhur madhur madhur bje
9. The three musical instruments akha, gha, and karatla are
often mispronounced as ak (this word actually means doubt)
by omitting the h and elongating the ending vowel, gaa by
shortening the ending vowel, and karala (hardening the t into a
).
10. Mr is a common Western-accented mispronunciation of the
word madhura, which means sweet.
11. Mirdanga, mrdanga, mrudanga, mardang, and mardinga are some of
the many deviations of the drum called mdaga, which is formed
by mda (clay) + aga (limb or body).
bahu-koi candra jini' vadana ujjvala

gala12-dee vana-ml kore jhalamala13
12. Note there are no long vowels in vadana (means face) and gala
(means neck).
13. Note the jh at the beginning of jhalamala (means shining).
iva-uka-nrada preme gada-gada14
96
bhakativinoda dekhe gorra15 sampada

14. Note the ending vowels of all the highlighted words are not long.
According to this line, the voices of Lord iva, ukadeva Gosvm,
and Nrada Muni are all choked up (gada gada) in pure ecstatic
love (preme) of Godhead.
15. Gorara or gorar is not correct. Gorra means of Lord Caitanya.
97
Questions & Answers

Sa&vad Savda
Isnt it a smrta-brhmaa-type approach to be strict with

pronunciation?
rla Prabhupda defines a smrta-brhmaa as One who strictly follows
all the Vedic principles on the mundane platform (Caitanya Caritmta Madhyall 12.180) and one who is always interested in material profit, whereas a
Vaiava is only interested in satisfying the Supreme Personality of Godhead.
(rmad-Bhgavatam 8.19.33) So if we can please the Supreme Personality of
Godhead by glorifying Him more nicely, that certainly isnt material.
Why should I bother to take the time to pronounce Sanskrit and

Bengali properly? There are so many more important things for
us to do, and anyway, Ka knows what I mean to say.
1. To please rla Prabhupda.
2. To promote a better service attitude towards the stras and the holy
name.
3. To give us more credibility in the public eye.
4. To establish a good tradition in ISKCON of correct pronunciation as a cultural
embellishment to the Society.
(reply with the story of the man who was sawing the log for hours and hours,
working very laboriously, but who wouldnt take out the fifteen minutes required
to sharpen the blunt blade?)
Prabhupda used to say Parkhit, jagya, etc. How could

Prabhupda be wrong?
rla Prabhupdas body was from Bengal, so it was natural for him to
pronounce Parkhit, khatriya, etc. But everyone neednt imitate Bengali Sanskrit
pronunciation. If I try to copy rla Prabhupdas accent, it would be an unnatural
and unnecessary imitation. Prabhupda also wouldnt insist on such a thing.
When rla Prabhupda pronounced Sanskrit, it was occasionally with a Bengali
98
accent, but often without, thus he showed flexibility in his pronunciation

according to time, place and circumstance.
I was told to listen to others sing and to learn by listening. What

is wrong with doing that?
Nothing, if you hear from someone who has learnt it properly. We can
apply the principle of guru, sdhu, and stra here. We should know that by
consistently and concurrently referring to these three sources of knowledge, we
will be kept safely on the path of the previous acaryas. This is true with all the
strasincluding our Vaiava songbook. We can read the songs as they are
written there, listen to the spiritual master and the sdhus as they sing, and in
this way ascertain the correct pronunciation.
Shouldnt we avoid be picky or finding faults with devotees?

By correcting their real or apparent faults in an appropriate manner, we
are saving that devotee from possible criticism! Nobody should have any cause to
criticize a devotee of the Lord.
Whether you chant the maha-mantra with a French or Chinese

accent, isnt it the same? Isnt it the devotion that matters?
We are not all pure devotees. We are following the process of Vaidhbhakti, therefore we should pronounce the mah-mantra as it is.
Whats wrong with chanting the mah-mantra in different

ways?
Mispronunciation is not a disqualification in the chanting of Hare Ka.
Nonetheless, it is considered courteous and polite as well as cultured and
respectful if one makes the effort to correctly pronounce a name, word, or
language.
In this connection, Aindra Prabhu has commented, If a girl loves a boy,
she naturally loves the sound of his name. In rla Rpa Gosvms Vidagdhamdhava, Paurams-devi exclaims with great wonder, How much nectar is
contained in the two syllables K-a! The sound of the holy name is the
embodiment of the nectar of r Kas very personality, so if we want to relish
the sweetness of His person, then it would do us well to hear the actual sound of
His name. For this reason, correct pronunciation of the names of Ka is
desirable. For example, if we say Gishna, then we might consider what it is we
are actually relishing. We should be aware enough to notice whether or not our
99
pronunciation is corresponding to the diacritic markings with simple reference to

the pronunciation guide in rla Prabhupdas books.
Should we learn songs by singing or by reciting the word-forword translation?

Whichever is easiest for you. When we sing a song, we are doing
krtanam and smaraam. We have heard a song, (ravaam), and we sing it
(krtanam) from our memory (smaraam.) If we have heard it wrong, then we
remember it wrong and sing it wrong. But if we hear it correctly then we can
remember it correctly. We should utilize Prabhupdas books to recognize the
wrong pronunciation and learn the correct pronunciation. Then we will be able
to pronounce our daily prayers much better and without difficulty.
Do we have to know Sanskrit to be able to pronounce it

properly? Especially as we heard that Sanskrit is a very difficult
language?
Not necessarily, but it helps. If one has the desire, learning basic Sanskrit
pronunciation is not difficult. However, for learning to pronounce properly, there
is no need to undergo full training in Sanskrit, which includes studying all of the
six vedgas: ik (phonetics), Vykaraa (grammar), Chandas (meters), and
Nirukta (dictionary).
Is there a Sanskrit style of pronouncing Sanskrit?

This is a debatable question because different localities have adapted
Sanskrit to their way of speaking. In Bengal it becomes Bengalized, in North India
it becomes Hindized, and in South India they have a different accent in
pronunciation. So which accent should one follow? Actually, all we have to do is
follow the exact tongue movements for consonants as described in this books
section on consonant and vowel pronunciation. Then one can judge for him or
herself whether his or her pronounciation is correct according to the standard.
Sanskrit phonetics is so scientific that the words cannot be pronounced wrongly
if one is conscious about the tongues movements for particular alphabets. One
just needs to make sure that the tongue is going to the right points of
articulation. Combine the places of tongue movements with the specific amount
of air to be exhaled for aspirated versus non-aspirated consonants and one is
bound to pronounce correctly. At the least, we should introspect our tongue
movements and we will then ourself realize the changes we need to make. If the
Sanskrit alphabet is properly practiced, one should not face any ambiguity in
pronounciation. Some individuals may find it difficult to move the tongue to
particular points in the mouth, but with enough practice they should be able to
overcome their linguistic conditioning.
100
Should the visarga () be fully pronounced?

South Indians pronounce the visargas more, like h in Prahlda and
vara parama ka, but North Indians will generally minimize the visarga if
it isnt at the end of a sentence. But South Indians try to pronounce the visargas
fully everywhere. If we analyze the grammar including the sandhis etc, then the
South Indian style is more correct. But we will get into problems if we
standardize it one way or the other.
But what about basic rules?

Basic rules like case endings are mainly for pronunciation. It is good to
have a basic understanding of this. For example, you should know why we say
vara parama ka. If you do not know the significance of the sound,
then you would not want to say it at all and instead leave it out. In this sense you
will need a little grammatical understanding to see why you have to pronounce
words as they are. But it could be very simple. Explain the basic concept of the
endings of these words. Those endings have a function in how they relate the
word to the rest of the sentence. So if you say the wrong one, you have a different
sentence with a different meaning. For example
I heard that Bengali devotees change their style of language

when they hear the Westerners talking and singing Bengali. Is
that true?
Many of our krtan are led by gurus and senior Vaiavas who may not
have such good pronunciation. New devotees easily copy incorrect pronunciation
thinking, My guru cannot be wrong. However, educated devotees can make out
the difference. But why point out Bengali? This is happening all over the world.
101
Practical Implementation and Resources

Pa[Saar<a Prasraa
Learn & Teach: rla Prabhupda always encouraged us to learn and teach. A
brhmaas job is to learn and teach.
Names: One thing wed like devotees to do is to review their names and make
sure they're writing and pronouncing their names correctly.
Leaders Responsibility: Pronunciation reform is only possible when education

in ISKCON improves. First the leaders have to properly understand what their
mistakes are and then correct them. Their followers will pick it up very quickly.
The first people to read this book should be gurus, because they are always on the
microphone.
Some Points for Promoting Correct Pronunciation:
Encourage krtana leaders to learn the songs properly before leading.

This Pronunciation booklet will be distributed free to ISKCON
educational facilities such as temples, gurukulas and schools, etc.
Devotees are encouraged to enroll in ISKCON educational courses in
Sanskrit.
Teach what you have personally understood in this regard.
Everyone should read and study the songbook and, of course, sing from it
often, concentrating on diacritics and transliteration, word-for-word
meaning, etc.
It is the responsibility of the ISKCON leaders (ISKCON Gurus) to
pronounce properly and set a good example, especially while they give
classes.
Devotees should at least learn how to pronounce their own names
correctly.
Approach other Indian devotees for personal assistance.
We chant a verse from Srimad Bhagavatam every day. With this good
practice, one could become expert at chanting Sanskrit within a short
time.
Listen to, and learn from the members of your local Indian congregation
as they responsively chant the sloka before a class.
We'd like this mood of correct pronunciation to spread. When you've read this
information, please give a class on this topic, or conduct a short seminar in your
temple.
102
People to approach for good pronunciation:

Lokanath Maharaj
Hrdayananda Maharaj
Gopiparanadhana Prabhu
Bhakti Vikasa Maharaj
Basu Ghosh Prabhu
Radha Govinda Maharaj
Radha Ramana Maharaj
Purushatraya Maharaj
Shyamananda Prabhu
Purusatraya Maharaj
Samskrtananda
Radha Gopinath Prabhu (Chowpatty)
Radhika Ramana Prabhu
Vidvan Gauranga Prabhu
Yadu Prabhu
Dina Anukampana Prabhu
Aja Govinda das
Recordings:
Audio recordings of all the songs will be made available on a CD-ROM attached
to the end cover of this book or on http://www.lokanathswami.com.
Guidebooks:
The following books are recommended as excellent reference material for our
readers. All of the texts below are designed to teach Sanskrit. The reader may find
useful introductory sections on Sanskrit pronunciation from these books:
Bhaktivedanta Swami Language School. Sanskrit: Bhagavad-Gita Grammar.
Coulson, Michael. Teach Yourself Sanskrit. Teach Yourself series (registered
trademark of Hodder & Stoughton Ltd.) printed by McGraw-Hill Companies
Inc., 2003.
Das, Dina-Anukampana. Srimad Bhagavad Gita Slokas for Daily Recitation.
Das, Harivenu. Sanskrit: An Introductory Course Based on Srila Jiva
Goswamis Grammar of the Bhaktivednta Svm Language School. Shiv Hari
Press Vrindavan, 2000.
Das, Harivenu, et al. Sanskrit Bhagavad-Gita Grammar Book Series of the
Bhaktivednta Svm Language School. Rasbihari Lal & Sons, 2001-2008.
Macdonell, Arthur A. A Sanskrit Grammar for Students. Motilal Banarsidas
Publishers Pvt. Ltd., 1997.
Sampad & Vijay. The Wonder that is Sanskrit. Sri Aurobindo Society,
Pondicherry, in association with Mapin Publishing Pvt. Ltd., 2006.
Websites:
For extra practice, English - Sanskrit exercises can be found at the following
web links (these links were referenced in the writing of this book):
103
Coulson, Michael. Teach Yourself Sanskrit weblink:

http://www.teachyourself.co.uk/tysanskritsupplementary.htm
Wikner, Charles. A Practical Sanskrit Introductory. Available from
ftp://ftp.nac.ac.za/wikner/sktintro.ps600-jan02, 1996.
Wikner, Charles. Vedic Accents. Available from
ftp://ftp.nac.ac.za/wikner/accent.ps600-june97, 1997.
Software:
One useful software is the Devanagari Converter, which can aid the Sanskrit
typist by converting words written in Roman transliterated font into the
Devangar equivalent. Below is shown a screen print of this software:
104
Appendices
BBT Diacritic Pronunciation Guide
Throughout the centuries, the Sanskrit language has been written in a variety of
alphabets. The mode of writing most widely used throughout India, however, is
called devangar, which literally means "the city writing of the devas, or gods."
The devangar alphabet consists of forty-eight characters, including thirteen
vowels and thirty-five consonants. The ancient Sanskrit grammarians arranged
the alphabet according to concise linguistic principles, and this arrangement has
been accepted by all Western scholars. The system of transliteration used in this
book conforms to a system that scholars in the last fifty years have almost
universally accepted to indicate the pronunciation of each Sanskrit sound.
The short vowel a is pronounced like the u in but, long a like the a in far, and
short i like the i in pin. Long is pronounced as in pique, short u as in pull, and
long u as in rule. The vowel is pronounced like the ri in rim. The vowel e is
pronounced as in they, ai as in aisle, o as in go, and au as in how. The anusvra
(), which is a pure nasal, is pronounced like the n in the French word bon, and
visarga (), which is a strong aspirate, is pronounced as a final h sound. Thus a
is pronounced like aha, and i like ihi.
The guttural consonants-k, kh, g, gh, and -are pronounced from the throat in
much the same manner as in English. K is pronounced as in kite, kh as in
Eckhart, g as in give, gh as in dig hard, and as in sing. The palatal consonants-c,
ch, j, jh, and -are pronounced from the palate with the middle of the tongue. C
is pronounced as in chair, ch as in staunch heart, j as in joy, jh as in hedgehog,
and as in canyon. The cerebral consonants-, h, , h, and -are pronounced
with the tip of the tongue turned up and drawn back against the dome of the
palate. is pronounced as in tub, h as in light heart, as in dove, h as in redhot, and as in nut. The dental consonants-t, th, d, dh, and n-are pronounced in
the same manner as the cerebrals but with the forepart of the tongue against the
teeth. The labial consonants-p, ph, b, bh, and m- are pronounced with the lips. P
is pronounced as in pine, ph as in uphill, b as in bird, bh as in rub hard, and m as
in mother. The semivowels-y, r, l, and v-are pronounced as in yes, run, light, and
vine respectively. The sibilants-, , and s-are pronounced, respectively, as in the
German word sprechen and the English words shine and sun. The letter h is
pronounced as in home.
Bengali Pronunciation
Baltimore, July 7, 1976
760707CC.BAL
105
Pradyumna: (leads chanting, etc.)

'ke mi', 'kene mya jre tpa-traya'
ih nhi jni-'kemane hita haya'
[break]
Prabhupda: ...like that, but there is no mistake. But the (laughs) technical. So it
is finished? Kene? Finished? (laughter) There was one governor, a Mr.
Carmichael. So in India, in British period, every officer had to learn the local
language. We were students in the Scottish Church College. Our all professors
were Europeans, but during their service they had to learn Bengali. So one
governor, Mr. Carmichael, he was called for presiding over a meeting. So he
wanted to speak in Bengali. So he said, dekhite dekhite kimbhasa kartiya gele. So
the pronunciation is galo, but he said gele. So people were smiling. (laughter)
The audience, they were smiling. So there are some technical. Just like we
pronounce something and not to the correct current pronunciation. So, but when
we are reading Bengali, let us do it, as far as possible, as the Bengalis do. That's
all. Otherwise there is no mistake. Finish? Go on.
vanga-bh is the original Sanskrit term for Bengali.
Although many devotees may not be aware of it, in the course of our daily
reading and study we deal with two languages Sanskrit and Bengali. For
example, the rmad Bhgavatam and Bhagavad-gt are written in Sanskrit, and
the Caitanya-caritmta is written in an old, rarely used form of Bengali called
sdhu-bh.
I have often heard Bengali pronunciation used in Sanskrit verses and
Sanskrit pronunciation in Bengali songs. This is improper and unnecessary. It
may be acceptable if a native Bengali speaks Sanskrit with an accent, but most of
us are not native Bengalis. If you sing a Bengali song using Sanskrit
pronunciation, it sounds funny, and a Bengali would not understand what you
are saying. We should pronounce Bengali as a Bengali would pronounce.
Bhakti Cru Swami: When I used to do Bengali translation, I used
to write rmad-Bhgavatam according to English. Prabhupda
corrected me and said that I should write rmad Bhagavat.
Somehow the habit of using Sanskrit pronunciation for Bengali words has
even infiltrated our BBT editors in India. Look at the Hindi Caitanya-caritamta
printed by the Bombay BBT, and you will find the Bengali verse transliterations
are written using Sanskrit pronunciation. In other words, the transliteration
doesnt follow the correct pronunciation as indicated by the original Bengali
verses. rla Prabhupda told his editors to give the Bengali transliteration
according to the spelling, not according to the pronunciation. This is how we
have it in the English Caitanya-caritmta for example, haya instead of hoy.
To help avoid further confusion, it would be useful if devotees learn; 1)
What language a particular song or verse is written in, and 2) Some specifics of
Bengali pronunciation. Doing this would be beneficial because we would also
learn more about the tradition and origins of the great Vaiava songs and
songwriters.
106
Sdhu-bh and Calti-bh

To make matters even more confusing, because Bengali is a colloquial
(conversational or informal) language, some letter sounds are pronounced
differently today than they were 400 years ago. Therefore, even the correct
Roman transliterations of the Bengali verses found in the Caitanya-caritmta
often fail to accurately represent the way the language would be read and spoken
by a modern Bengali.
Bhmipati Prabhu: Sdhu-bh is the language the Caitanyacaritmta is written in, and it is the ancient form of the modern
Bengali. In the course of time, shortcuts were made in the
pronunciation and many words have been changed. Now Bengali
people speak Chalti (calita)-b, a simplified form of Sdhu-b.
Chalti (calita)-b is the spoken language of the villages and
cities, whereas Sdhu-bh is found mostly in literatures.
Although it is rare nowadays, previously all Bengali books and
songs were written in Sdhu-bh.
The songs of Narottama da hkura and Bhaktivinoda hkura, as well
as the books and commentaries of Bhaktisiddhnta Mahrja are written using
sdhu-bh. Nobody used chalti-bh. Many Bengali words are taken from
Sanskrit, so therefore in Bengali commentaries, in Bengali books and songs much
Sanskrit is used. But in Caitanya-caritmta, Caitanya-magala, Caitanyabhgavata, these books are original Bengali. They dont take from Sanskrit like
that. Bengali is closely derived from Sanskrit, and as such there are some
differences in pronunciation.
Specifics of Bengali Pronunciation

Just like we pronounce something and not to the correct current
pronunciation. So, but when we are reading Bengali, let us do it,
as far as possible, as the Bengalis do. Thats all. Otherwise there is
no mistake.
(Lecture, July 7, 1976)
Sanskrit is a phonetical language that is pronounced as it is written but
Bengali is not a phonetical languagesome words are not pronounced the way
they are written. In order to make the distinction between Sanskrit and Bengali
pronunciation, one should know some of the common differences of
pronunciation in the two languages.
The most common difference devotees hear is the difference is in the
pronunciation of Caitanya, and Nitynanda. A person from Bengal would not
pronounce the y in either of these names, pronouncing them as Caitana and
107
Nitnanda. This is similar to the way that one does not pronounce the l in the
English words palm and talk.
Some aspects of Bengali pronunciation definitely sprouted from a certain
branch of Vedic phonetics, specific to Yajur-veda brhmaas. The difference
became exaggerated over time, as is always the case with saskta transforming
into prkta. rla Jva Gosvms Harinmmta-vyakraa documents one of
these phonetic differences: the pronunciation of 'ya' as nearly 'ja' in certain
positioning. Towards the end of the first chapter, Jva Gosvm discusses atspari and at-sparitara, or the slightly-touching consonants ya, ra, la, and va.
Another peculiarity of Bengali phonetics traceable to Vedic roots is the
purely labial pronunciation of va as ba, which sounds closer to the English w,
as opposed to the common mixed dental-labial pronunciation. Another example
is the simultaneous rather than consecutive pronunciation of k and a in ka
(which gradually became one with the aspirated kha in Bengali vernacular).
Despite the variations in phonetics, rla Jva Gosvm has stated that the Bengali
accent is an acceptable form of Sanskrit pronunciation (need a reference?).
In Sanskrit, there are three types of s sound: s, , and . In Bengali there is
no such distinction. The letters s, , and are pronounced as . Prabhupda
himself said prada, and didnt distinguish between the three different kinds of
sibilants. However, somentimes he did. More educated Bengales often distinguish
the three different kinds of sibilants.
In written Bengali, many of the as are actually pronounced o.
However, the inconsistent placing of o for short a creates confusion as to how
the sound should be produced.
A few years ago there was a controversy in Western Canada about how to
pronounce Lord Caitanyas name. Some people said it should be Chuytanya
some people say Caitanya. I always say Caitanya, but from the way that it is
spelt, it looks like it should be Chuytanya. I believe Prabhupda said
Caitanya, but that might be a local pronunciation.
Following is a table with some Sanskrit words and the equivalent Bengali
pronunciation.
Sanskrit
Bengali
Sanskrit
Bengali
Vndvana
Brindban
Caitanya
Coitanna
vs
bs
Nitynanda
Nittynanda
katriya
khatriya
Yamun
Jamun
Lakmi
Lakh
yoga
joga
day
doy
prasda
pradam
108
Prabhupdas Bengali Accent

rla Prabhupda was from Bengal and spoke Sanskrit with a Bengali
accent. His accent is particularly evident in the lecture tapes of 1966. But soon
thereafter, he began reciting the Sanskrit verses with less of a Bengali accent, and
whenever he would quote the Gt or the Bhgavatam, he used pure Sanskrit
pronunciation. Some individual words such as katriya, yaja, or Parkit he
would pronounce with a Bengali accent, but generally he did not let it influence
his speech.
Although rla Prabhupda did pronounce certain Sanskrit words with a
Bengali accent, if we also do it, that is just imitation. Rather than simply imitating
Prabhupda, it would be better to proficiently articulate Sanskrit in a dignified
manner with knowledge of the associated phonology.
Addditional material:
In Bengali words most of the final as are silent but they were emphasizing it.
Generally in English we tend to pronounce that but in Bengali it is silent.
But with Sanskrit we pronounce all letters, and if a letter is a it must be
pronounced.
Yhra prasde bhi. It is printed as Jhra. So they have already made it
Bengali. So it should have been printed as yhra, but the Bengalis would
always say jhra. All ya, they change that into ja. But in Bengali, they say
jhra. All yas become jas , althouth you may write them as ya. so already
someone has written as ja.
mra ajana guru hoya hana . . . theres an n there and a nasal sound, but the
Bengali would read the same sound as hoya. So this is the point made by
Vaiysaki Prabhu, that we are using the Sanskrit diacritics, but they dont exactly
fit or are applicable, dont work for the Bengali.
How its spoken
hoiy hana
boro baa
mui
mui
choy chaya
bolo bala, etc.
How its written in Caitanya-caritmta

jya (is this correct) yya
jr
jnra
hoy
haya
koy
kaya
109
Bibliography
The following books were referenced in the writing of the text in this book:
Bam., Sou. Vidya. Xaale=Ya Sa&Sk*==Ta VYaak==r<a leya Saskta Vykaraa.
Abhijat Print House, 2002.
Bhaktivedanta Swami Language School. Sanskrit: Bhagavad-Gita Grammar.
Coulson, Michael. Teach Yourself Sanskrit. Teach Yourself series (registered
trademark of Hodder & Stoughton Ltd.) printed by McGraw-Hill Companies
Inc., 2003.
Chandler, David. How Language Works.
Das, Dina-Anukampana. Srimad Bhagavad Gita Slokas for Daily Recitation.
Das, Harivenu. Sanskrit: An Introductory Course Based on Srila Jiva
Goswamis Grammar of the Bhaktivednta Svm Language School. Shiv Hari
Press Vrindavan, 2000.
Das, Harivenu, et al. Sanskrit Bhagavad-Gita Grammar Book Series of the
Bhaktivednta Svm Language School. Rasbihari Lal & Sons, 2001-2008.
Desai, Rajaram Damodar. Sa&Sk*==Ta==P]aveXa" Sanskrit Pravesa. Pramod V. Bapat
Smita Printers, 1994.
Hegade, Janardan. Xauik==aEMaudI uddh Kaumudi. Samskrita Bharati, 2004.
Jha, Candrakanta. SauGaMa Sa&Sk*===Ta VYaak===r<a Easy Sanskrit Grammar. Bharati

Bhavan Publishers and Distributors, 2001.
Joshi, Pr. Sh. SauGaMa Sa&Sk*===Ta VYaak===r<a Easy Sanskrit Grammar. Nitin
Prakashan, 2004.
Macdonell, Arthur A. A Sanskrit Grammar for Students. Motilal Banarsidas
Publishers Pvt. Ltd., 1997.
Mishra, Sampadananda. ^NdaevLl=rI Chandovallari: A Handbook of Sanskrit
Prosody. Sri Aurobindo Society. Printed at Sri Aurobindo Ashram Press,
Pondicherry, 1999.
Narendra, Dr. VYaavhairk& Paai<aNaIYaMa Paninis Grammar. Sanskrit Karyalaya
of Sri Aravinda Ashram, Pondicherry, 1999.
Sampad & Vijay. The Wonder that is Sanskrit. Sri Aurobindo Society,
Pondicherry, in association with Mapin Publishing Pvt. Ltd., 2006.
Shastri, Bhimsen. l==gau iSaaNTa k==aEMaudI Pa]QaMa >aaGa Laghu-SiddhantaKaumudi Part 1. Bhaimi Prakashan, 1993.
Shastri, Jagadishlal and Hamsa, Cakradhar Nautiyal. NavINa ANauvad ciNd]k==a
Naveen Anuvad Candrika. Motilal Banarsidas Publishers Pvt. Ltd., 2003.
110
Glossary
English
Devangar
Definition
adhikaraa
aghoa
aikrnta
akrnta
krnta
akara
alpa-pra
ananunsika
antaspara
antastha
anudtta
anunsika
AiDak-r<a
anuup
ANauuPa(
anusvra
apabhraa
ANauSvar
location, in the sense of the locative case

light consonant
ai vowel ending
a vowel ending
vowel ending
indestructible and indivisible sound
non-aspirated sound, when the air flow is restricted
twenty-five consonants which are not nasal
literally in between touch; synonym of antastha
literally in between position; semi-vowel consonant
unraised vowel pitch accent (only Vedic Sanskrit)
five nasal consonants
the most common verse meter (also called loka) with
eigt syllables per pada
nasal humming sound
APa>a]&Xa
deviation in language
ardhasvara
Adhyyi
ADaRSvr
literally half vowel; synonym of antastho
AaDYaaiYa
Pinis Sanskrit grammar book
tm
AaTMaa
the self, who initiates speech
aukrnta
aumna
bala
buddhi
AaEk-araNTa
bl/
au vowel ending
heat generating sound
the force or energy used to vocalize a sound
bui
intelligence, which inspires speech
ca-varga
cvGaR
the palatal group of five spara consonants
chandas
^NdSa(
daa
d<@
dantya
dNTYa
davatra
dXaavTaar
Agaaez
Wek-araNTa
Ak-araNTa
Aak-araNTa
A+ar
ALPaPa[a<a
ANaNauNaaiSakANTa"SPaXaR
ANTa"SQa
ANaudata
ANauNaaiSak-
AaEZMaaNa
an appendix of the Vedas dealing with verse meters; a

specific verse meter
punctuation mark; single daa signals the end of a
sentence or half-verse, and double daa signals the
end of a paragraph or verse
the dental position of the tongue, when it is pressing
flatly against the back of the upper teeth
the first ten vowels or svaras (Harinmmtavyakraa)
111
Devalipi
devil/iPa
synonym for Devangar
Devangar
devNaaGarq
the script for writing Sanskrit; the language of the

gods
dhaivata
DaEvTa
sixth of the seven musical notes
drgha
ekrnta
dqgaR
ekaruti
Wk-[uiTa
ektmaka
Wk-aTMak-
long vowel
e vowel ending
monotone, between anudtta and udtta (Vedic
Sanskrit vowel pitch accent)
literally means one soul, used to group the ten
davatras into five ektmaka groups
(Harinmmta-vyakraa)
gndhra
GaaNDaar
third of the seven musical notes
gyatr
GaaYa}aq
a verse meter or chandas with six syllables per pada;

or a meter with three padas, each eight syllables long
ghoa
gaaez
heavy consonant
guru
Gau
halanta
hl/NTa
heavy or long (can refer to a vowel or syllable)

mark signifying the absence of the final a ending
sound following a words last consonant
Jva Gosvms Sanskrit grammar textbook, which
teaches Sanskrit with Krsnas names
short vowel
i vowel ending
vowel ending
consonant requiring slight contact of the tongue with
a point of articulation in the mouth
synonym of at-spara
a sibilant-substitute for the ka-varga
an appendix of the Vedas dealing with astrology and
horoscopes
the time duration of a vocal sound
an appendix of the Vedas dealing with ceremonial
rituals
guttural position of the tongue, when it touches the
back of the mouth at the top of the throat
reflection, deflection, amplification, attenuation, or
echo of the sound
hard or voiced sound, involving vibration of the vocal
cords
Harinmmtavykaraa
hrasva
ikrnta
krnta
Wk-araNTa
hirNaaMaaMa*TaVYaak-r<a
h]Sv
wk-araNTa
wRk-araNTa
at-spara
wRzTSPaXaR
at-spa
jihvmlya
wRzTSPa*
jyotia
JYaaeiTaz
kla
k-al/
kalpa
k-LPa
kahya
k-<#y
karaa
k-r<a
kahora
k-#=aer
ka-varga
k-vGaR
kygni
k-aYaaiGan
laghu
liga
l/gau
somatic blaze or bodily fire, which facilitates air

movement
light or short (can refer to a vowel or syllable)
il/
gender
iJaaMaUl/IYa
the guttural group of five spara consonants
112
lipi
il/iPa
the script for writing a certain language
madhyama
MaDYaMa
fourth of the seven musical notes
mah-pra
MahaPa[a<a
aspirated sound, when the air is emitted from the

mouth during articulation of the consonant
mana
MaNa"
mind, which deliberates what to speak
mandra
MaNd]
oscillation of air in the vocal cords
mruta
MaaTa
air movement, which is required for speech
mtr
Maa}aa
mdu
Ma*du
mrdhanya
MaUDaRNYa
murdhni
MauiDNaR
roof of mouth
mrdhnya
MaUDNYaR
literally means of the cerebrum
n
napusakaliga
Naa@q
pathways of pra or life air
NaPau&Sak-il/
neutral gender
nsikya
NaaiSaKYa
nirukta
iNa-
synonym for anunsika

an appendix of the Vedas dealing with etymology of
Sanskrit words
nida
iNazad
seventh of the seven musical notes
okrnta
Aaek-araNTa
ohya
Aae
pada
pda
pacama
Pad
Paad
o vowel ending
labial position of the mouth, when the lips are closed
and opened to force air between them
quarter-verse
synonym for pada
PaMa
fifth of the seven musical notes
pakti
parrita
pa-varga
Pai
Parai[Ta
a verse meter or chandas with ten syllables per pada

a sound that is dependent upon a svara
PavGaR
the labial group of five spara consonants
pluta
measure (of time); count; duration; the Devangar

mark on or next to a consonant to indicate the vowel
following that consonant
soft or unvoiced sound, which do not require vocal
cord vibration, as opposed to kahora
cerebral position of the tongue, when it is arched
back to contact the roof of the mouth
protracted vowel
pracaya
Pa[cYa
in sahit, all anudtta syllables following a svarita

are called pracaya and are pronounced ekaruti
prkta
Pa[ak*-Ta
colloquial vernacular, as opposed to saskta
pratih
prayatna
Pa[iTaa
a verse meter or chandas with four syllables per pada

the effort in generating a sound or phoneme
Pa[Ya
113
purua-liga
Pauzil/
masculine gender
abha
z>a
second of the seven musical notes
aja
z@(Ja
first of the seven musical notes
a-vedga
zeda
samsa
sahit
saskta
sayuktkara
sayukta-svara
SaMaaSa
sandhi
SaiNDa
sannatara
SaTar
saptam
SaMaq
sarvevara
ah
SaveRr
sat-saga
SaTSa
ik
loka
iXa+aa
the six appendices of the Vedas, namely ik, kalpa,

vykaraa, nirukta, chandas, and jyotia
compound word
continuous speech
the diacritical spelling of Sanskrit; refined, perfect
combined or conjunct consonant
combined vowel
Sanskrit grammatical rule of merging words and
changing word endings
the anudtta immediately preceding a svarita or
udtta is pronounced sannatara, lower than anudtta
(Vedic Sanskrit vowel pitch accent)
locative case; tat-purua-samsa of which the first
member is locative
svara (Harinmmta-vyakraa)
possessive case
conjunct consonant or sayuktkara
(Harinmmta-vyakraa)
an appendix of the Vedas dealing with phonetics
aek-
verse; anuup chandas
spara
SPaXaR
sphoa
spa
Sf-ae$=
sthna
SQaaNa
str-liga
qil/
feminine gender
supratih
sutra
SauPa[iTaa
a verse meter or chandas with five syllables per pada
Sau}a
aphorism
svara
svarntara
Svr
svarita
SvirTa
tlavya
Taal/VYa
vowel, an independent sound

amidst vowels or syllables
a blend of udtta and anudtta (Vedic Sanskrit vowel
pitch accents)
palatal position of the tongue, when it is in contact
with the palate (top of the mouth exactly behind the
upper gums)
a-varga
$=vGaR
the cerebral group of five spara consonants
ta-varga
TavGaR
the dental group of five spara consonants
Sa&ihTaa
Sa&Sk*-Ta
Sa&Yau-a+ar
Sa&Yau-Svr
zq
SPa*
SvraNTar
consonant requiring complete contact of the tongue

with a point of articulation in the mouth
meaningful sound
synonym of spara
point of articulation or place of origin for a vocal
sound
114
Trayitadarpaa
}aiYaTadPaR<a
triup
i}auPa(
trivikrama
udtta
i}aiv-Ma
a verse meter or chandas with eleven syllables per

pada
long or guru vowel (Harinmmta-vyakraa)
odata
raised vowel pitch accent (only Vedic Sanskrit)
ukrnta
krnta
upadhmnya
uman
ok-araNTa
uik
oiZ<ak(
vkya
vmana
varga
vara
virma
visarga
viucakra
viujana
viusarga
viuvarga
vhat
vaKYa
vykaraa
VYaak-r<a
u vowel ending
vowel ending
a sibilant-substitute for the pa-varga
heat-producing consonants
a verse meter or chandas with seven syllables per
pada
statement
short or laghu vowel (Harinmmta-vyakraa)
class, type, or group of consonants
indivisible letters
synonym for halanta
short echo of the previous sound; air releasing sound
anusvra (Harinmmta-vyakraa)
vyajana (Harinmmta-vyakraa)
visarga (Harinmmta-vyakraa)
varga (Harinmmta-vyakraa)
a verse meter or chandas with nine syllables per pada
an appendix of the Vedas dealing with Sanskrit
grammar
vyajana
VYaNa
Ok-araNTa
oPaDMaaNaqYa
oZMaNa(
vaMaNa
vGaR
v<aR
ivraMa
ivSaGaR
ivZ<aucivZ<auJaNa
ivZ<auSaGaR
ivZ<auvGaR
v*hTaq
a Sanskrit grammar text
consonant, a sound dependent on svara
macron: a short, straight mark placed over a vowel to indicate that it is

long or is to be pronounced in a certain way
phonetics: the science of vocal sounds tat deals with their production and
representation
syllable: a word or part of a word pronounced with a single, uninterrupted
sounding of the voice; unit of pronunciation, consisting of a single sound
transliteration: letter to letters translation, like from Sanskrit to Roman
115

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Sa &Sk *-T aa ear<aMa(

2. Prabhupda Disciples Speak Out ....................................................... 26

Simple Versus Combined Vowels ................................................................................... 35

Vyajanas (Consonants) ............................................................................................... 39

Consonant Types ............................................................................................................. 40

Parritas (Dependents) ............................................................................................... 49

Other Symbols .............................................................................................................. 51

Verse Meters ................................................................................................................. 52

Specific Examples ......................................................................................................... 64

5. Mistakes in Daily Prayers ................................................................... 71

6. Questions & Answers ........................................................................ 98

Sdhu-bh and Calti-bh ........................................................................................ 107

Bibliography ......................................................................................... 110

After speaking with senior ISKCON members about devotees tendency to

TaQaaiPa Pa# Pau}a VYaak==r<aMa( )

Sak==l& Xak==l& Sak*==Ta( Xak*==Ta( ))

Mispronunciation of words is nothing to feel ashamed about. Learning a

rla Prabhupda Saskta ikmta

Prabhupdas Vision for Sanskrit Education

Strategy & Implementation

Previously, every brhmaa was trained in the science to pronounce a Vedic

Pradyumna: (chants with devotees responding) r-uka uvca, tma-mym te

continues) Next. Each one of you. Na ghaetrtha-sambandha svapna-draur

Benefits of Accurate Pronunciation

In regards to preaching programs: pious Indians are naturally attracted to pure

SaMPa[ae SaiihTae k-ale/ Naih Naih r+aiTa duk*-Na( k-r<ae

*<viNTa GaaYaiNTa Ga*<aiNTa SaaDav" )) 11 ))

The Gravity of Mantroccraam

Priests would ensure their mantroccraam (pronunciation of Vedic mantras) was

wNd]Xa}aae ivvDaRSv Maaicr& Jaih ivizMa( )) 11 ))

Though the above quote is an extreme situation, it demonstrates the importance

Prabhupda Disciples Speak Out

Prabhupda-iya-gaa Saskt ikmta

and still be a pure devotee! So this correct pronunciation business has

The Sanskrit Language

The word Sanskrit (diacritically spelled as saskta) means the formally

The Devangar Alphabet

1. Sthna: the pronunciation position, where the letter is

habituated to speaking different languages in their different styles of accentuation

Notes: e and ai are kaha-tlavya, o and au are kahauhya, va is dantauhya;

Simple Versus Combined Vowels

The vowels and are extensions of the base vowel i:

The chart below demonstrates combinations of the basic vowels a, i, and u to

Hour, authority, awesome

fool, moon, school

half raised back

American pronunciation of pretty is

As in the American pronunciation of

There are three sections of vyajanas:

*Refer to section on nasal consonants.

Below is a diagram depicting the organs of speech in the mouth:

The diagram below depicts the waveforms generated in pronouncing a vowel

Five points of articulation:

does not exist in

5. The lips; as in English, these labial sounds are produced by closing

The above five consonants, known as pa-varga, sequentially symbolize

k*-Z<a k*-Z<a Mahabahae >a-aNaaMa>aYar )

TvMaek-ae dMaaNaaNaaMaPavGaaeR_iSa Sa&Sa*Tae" )) 22 ))

The consonant ra is the only retroflex or cerebral that is written without a

Sak==l& Xak==l& Sak==Ta( Xak==Ta( ))

<viNTa GaaYaiNTa Ga<aiNTa SaaDav" )) 11 ))

k-Z<a k-Z<a Mahabahae >a-aNaaMa>aYar )

hre k-Z<a hre k-Z<a k-Z<a k-Z<a hre hr

k-Z<a k-Z<a k-Z<a k-Z<a k-Z<a k-Z<a k*-Z<a he

k-Z<a k-Z<a k-Z<a k-Z<a k-Z<a k-Z<a r+aa MaaMa(

k-Z<a ke-Xav k-Z<a ke-Xav k*-Z<a ke-Xav Paaih MaaMa(