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You can reach the person managing the list at [EMAIL PROTECTED] When replying, please edit your Subject line so it is more specific than "Re: Contents of sanskrit digest..." Today's Topics: 1. Re: sanskrit Digest, Vol 42, Issue 8 (Michel Bostr?m) ---------------------------------------------------------------------- Message: 1 Date: Mon, 23 Oct 2006 11:17:08 +1000 From: Michel Bostr?m <[EMAIL PROTECTED]> Subject: Re: [Sanskrit] sanskrit Digest, Vol 42, Issue 8 To: <sanskrit@cs.utah.edu> Message-ID: <!&[EMAIL PROTECTED]> Content-Type: text/plain; charset="iso-8859-1" Friends, Shri Mishra makes some very good points below. May I add the following: 1) Clearly Panini composed the Ashtadhyayi with the intent that it should be memorised, so this is a part of an oral tradition. But note that the word sutra (with verb form is suu-traya, to tie, cognate with the English "sew")- means in the first instance a thread or string; secondly a book - the pages of which are sewn together with thread or string - ; and finally a grammatical rule. The fact that the Vishnusutra is attributed to Panini indicates that his works were composed in the context of a scholarly tradition that was both written and oral - though clearly precedence was given to the oral. If anyone knows why a grammatical rule is a sutra, I would love to hear from you. I take it that it is because these sutras are strung together, but this does not quite make sense. Suerly only the collection as a whole should be called a sutra? (I hope that I have not missed anything here.) 2) I have never actually heard about meanings being attribute to phonemes - only to syllables. In particular, I have heard the one about guru being derived from two roots, "gu" and "ru", at least a dozen times. (I am sure that someone out there will be able to remind what these roots are supposed to mean.) All I can cay is: if you say so, I guess that is what these sounds mean. But that does not make them Sanskrit. They are not found in any dictionary and, as far as I know, they have no conjugations or declensions, so they cannot be used in a Sanskrit sentence. Panini dealt with the structure of the Sanskrit language - and to a lesser extent, the Vedic language, where Sanskrit diverges from the Vedic. The meanings of syllables lies outside his field of study. 3) If a religious or philosophical text uses a myth as a heuristic device, or a hymn or a mantra as an aid to concentration, they can play a very useful role for adherents of that cult. This is something that I would not disparage. If other people invent meanings for words that are nowhere recorded in any natural sentence in Sanskrit, and cannot even be used in a real sentence, and if they consider this to be part of their religious observation then this has to be respected. As pointed out Shri Mishra, this is a natural outgrowth of the Vedic focus on the sounding of hymns. Nevertheless, it has nothing to do with the Sanskrit language as such and does not merit the attention of scholars either of language or of philosophy. Please forgive if I have sounded unduly critical on this subject. I am a giant fan of Panini, the greatest linguist that ever lived by a very wide margin - whether or not he actually composed all the works that are attributed to him. I dislike intensely seeing his work buried in an accretion of trivia. Also, as you see, I am in general rather lacking in diplomacy. Kind regards Michel ------------------------------ Message: 7 Date: Wed, 18 Oct 2006 21:59:43 +0200 (CEST) From: Anand Mishra <[EMAIL PROTECTED]> Subject: Re: [Sanskrit] sanskrit Digest, Vol 42, Issue 2 Panini and letters To: Michel Bostrom <[EMAIL PROTECTED]>, sanskrit@cs.utah.edu Message-ID: <[EMAIL PROTECTED]> Content-Type: text/plain; charset=iso-8859-1 Dear Friends, I am a newcomer to your mailing list and am writing for the first time. I have been following with interest the evolving discussion initiated by someone in search of the 'meaning' of the letters of Sanskrit alphabet. In this connection the informative letter of Mr. Dhananjaya and further the comments of Mr. Bostrom are noteworthy. I, however, want to share the following observations: (NB: I shall follow the Harvard-Kyoto convention for sanskrit because of portability problems with other conventions.) 1. There is an ancient vedic tradition much older then pANini which concerns itself with phonetics. This stream of learning is called 'zikSA' and is one of the six streams (vedAGga) developed for perfecting vedic recitations and rituals. pANini-zikSA is a work in this stream. 2. Another vedAGga is vyAkaraNa which analyses the language by dividing it in constituting components and thus giving a description of that language. The grammarian provides these constituting components e.g. prakRti (dhAtu, prAtipadika etc.) or pratyaya (affixes) and then prescribes rules which generate the language from these components. In his aSTAdhyAyI it is this task which pANini takes up. Here it should be noted that the language (bhASA) came first and grammar later. Language is real ('akSara'=na kSaratIti a-kSara, that which does not obliterate) and grammatical formulation is a creation of the grammarian. He perceives a structure, a system in the language and explains it through his grammar. There could be more than one grammars for a language. 3. In this process, it is natural to identify and characterize the building blocks of the language. The normal ordering of the speech-sounds in Sanskrit is according to the place of articulation moving from 'kaNTha' (velar) towards 'oSTha' (labial). pANini (or may be someone prior to him, a 'pUrvAcArya') reorganized the alphabet allowing the formation of sigla and thus enabling a more compact formulation of rules. Here one must note an important feature of Indian scholarly tradition. And it is that a traditional Indian scholar, howsoever great, considers himself to be a transmitter of the wisdom he has acquired from his peers and is not much interested in proclaiming what 'he' thinks or what 'he' has discovered. (Patents and copyrights are a gift of modern civilizations!). Even if pANini himself is improvising this reordering of alphabet, he would rather attribute it to lord ziva 's cymbal. This story tells us more about this feature of Indian tradition. The emphasis is always on the 'teaching' and 'an unbroken continuity of teaching'. So we find upanishadic expressions like 'iti zuzrama pUrvezAM ye nastadvyAcacakSire'. 4. At this point we must also reflect upon the different styles of presentation of a fact, which we meet in the long indian tradition. It is perhaps very easy to caste aside 'fairy tales' as imaginary anecdotes. But more challenging, and in any case more interesting, is to relate it to the intended idea of the author. It is rightly said about indian tradition that 'poets precede prophets here'! One needs to have a little poetical flight to interpret many of the seemingly 'fairy tales'. I want to give here just one example: Often we read about 'AkAza-vANI'. On can easily criticize that how it could be possible that one suddenly hears a sound from sky. But a little reflection tells that the sky or 'AkAza' here is 'hRdAkAza' or 'the space within'. One hears the voice within and at the mythological level it would be presented as if the God or some celestial body is saying it. That 'AkAza' is often used for the space within, would be clear if one reads passages like 'hRdAkAze cidAdityaH sadA bhAsati bhAsati. nAstameti na codeti kathaM sandhyAmupAsmahe?' 5. Anyway, the point which I want to emphasize is that there is nothing wrong in trying to speculate about the 'meaning' of individual letters. At least one can not consider this attempt inferior to, let us say, a pure linguistic/scientific analysis of the language-elements. It is true that pANini 's main area of interest is to discover the inherent characteristics of these sounds and describe their behaviour and mutual relationships, and therein lies his genius. So e.g. about 'svara' or vowels it would be said: 'svenaiva rAjanta iti svarAH' (those who reign by themselves) i.e. they could be spoken without the help of vyaJjana 's or consonants (and not vice versa). And many rules are there for 'sandhi' etc. But an upanishadic seer would speculate further, e.g. in taittirIya upaniSad there is a zIkSA-vallI talking about zikSA (varNaH svaraH, mAtrA balaM, sAma santAnaH...) and then further 'sandhi' is not only combination of phonemes but 'combination' in general. E.g. mAtA pUrva-rUpaM, pitottararUpaM, prajA sandhiH, prajananaM sandhAnam... The entire corpus of upaniSad is replete with such philosophical speculations, the gist of which is often conveyed through the mystical syllable 'aum'. The same syllable could appear meaningless to some and the ultimate source of all wisdom to some. If we ignore this spiritual side of the truth then we have only half of the loaf, just like if we remain only at the spiritual plain we miss the other half of the loaf (warns us the upanishadic sage!). 6. There is a clear seperation of sound and script; and indian tradition is an oral tradition. There is in fact no word in Sanskrit parallel to the word 'scripture' of semitic traditions. The meta linguistic rules of aSTAdhyAyI itself prove that it was composed and transmitted orally. E.g. Rule 1.3.002 defining the markers says 'upadeze ac anunAsika it' An ac (vowel) which is anunAsika (pronunced nasalized) in upadeza (grammatical corpus) is called 'it'. Or the 'adhikAra-sUtra' are the ones uttered with high pitch. Moreover, the modern script devanAgarI is very systematically organized based strictly on phonetic principles. Being a syllabic script it has the advantage of representing the basic units we speak (consisting either one svara alone, one or more consonants ending in a vowel, or a consonant followed by pause - which is depicted by 'halanta' i.e. 'ening with hal=consonant'). But it is not very suitable for grammatical presentations as we do not write each phonem seperately. 7. There is an established tradition of correlating the sounds or a corpus of literature (e.g. veda) to the idea of the Absolute/God etc. The primary reason behind such an attempt is that we have a strong vedic tradition where 'vedic word' is the ultimate reality and therefore other concepts of the ultimate reality e.g. God / hari must be identified with the 'word'. Thus, in later theistic traditions veda is sometimes emanation of God, word of God, or God itself. Further, the body of God(ess) is as if formed from 'words' ('tava ca kA kila na stutirambike, sakala-zabda-mayI kila te tanuH...) I end this letter with a beautiful 'stuti' in 'zArdUlavikrIDita chanda' of the 'varNa-maya' form of the Godess in which all the 'akSara' are seen as the body parts of the deity. Those of you, who could identify the 'hidden letters' here would certainly 'see' the meaning of these letters as well!! Adyo maulirathAparo mukhami-I netre ca karNAvu-U nAsAvaMzapuTe R RR tadanujau varNau kapoladvayam dantAzchordhvamadhastathoSThayugalaM sandhyakSarAni kramAt jihvAmUlamudagrabindurapi ca grIvA visargI svaraH k-AdirdakSiNato bhujastadaparo vargazca vAmo bhujaS Th-Adis-t-AdiranukrameNa caraNau kukSidvayaM te pa-phau vaMzaH pRSThabhavo'tha nAbhihRdaye b-AditrayaM dhAtavo y-AdyAH sapta samIraNazca sa-paraH kSaH krodha ityambike evaM varNa-mayaM vapustava zive lokatrayavyApakaM yo'haMbhAvanayA bhajatyavayave'pyAropitairakSaraiH mUrtIbhUya dinAvasAnakamalAkAraiH ziraH zAyibhis taM vidyAH samupAsate karatalairdRSTiprasAdotsukAH ye jAnanti yajanti saMtatamabhidhyAyanti gAyanti vA teSAmAsyamupAsyate mRdupadanyAsairvilAsairgirAm kiMca krIDati bhUrbhuvaHsvarabhitaH zrIcandanasyandinI kIrtiH kArtika-rAtri-kairava-samA saubhAgya-zobhAkarI With warm regards Anand Mishra --- Michel Bostrom <[EMAIL PROTECTED]> schrieb: > > > Friends, > > Dhananjay Sahib has given a very good response to > the question. To expect > Panini to have been involved in collecting fairy > stories about the inherent > meanings of letters is just the kind of nonsense > that obscures, rather than > illuminates, the study of history and of language. > Panini was a giant: the > originator of the science of grammar and an logical > thinker and literary > composer of extraordinary powers. Do you also want > him to be a juggler and > storyteller for the amusement of the masses? > > I would like to clarify a seemingly minor, but > nevertheless important, > point. Dhananjay Sahib (correctly) writes: "As far > as I know writing is not > mentioned, and script is not a part of paaNini's > grammar". But he then goes > on to apparently contradict himself by discussing > what he says that Panini > said about particular letters!! There is a bit of a > mis-fit here. The fact > is that Panini elucidates Sansrit phonetics - the > SOUNDS used in speeches, > not the letters used to represent those sounds > visually. The science of > phonetics is quite independent of the writing > system. That the present > writing system of Sanskrit corresponds to Panini's > phonetics is due to the > influence of his work (and that of other ancient > writers on the subject), > rather than the other way around. > > The symbols used to represent sounds are quite > arbitrary, and indeed, the > symbols used to represent the sounds of Sanskrit > have varied enormously over > the centuries. At the time of Panini, the most > commonly used letters were > probably the "Brahmi" script, which superficially > looks nothing like > Devanagari. If you are in Delhi, visit the National > Museum on Janpath. > There is a reproduction of one of Ashok's famous > stone tablets outside the > entrance written in Brahmi script. It is entirely > unintelligible, but each > letter corresponds precisely to one of the sounds > described by Panini (and > therefore to an equivalent modern Devanagari > letter). > > In natural languages it is above all assemblages of > sounds that convey > meanings, not their visual representations. If > Panini had been > superstitious enough to be interested in the > "meanings" of individual sounds > taken individually, you can be sure that he would > not have confused the > sound with the letter used to represent it, so the > idea that he might have > written a whole book based on such fuzzy thinking is > a bit of a put-down to > the great man. > > Regards > > Michel > > > Michel Bostr?m > Silver Batts Insulation Systems > 12 Church Avenue Mascot NSW > PO Box 1275 Dee Why NSW 2099 Australia > Tel +61 2 9317 4455 > Fax +61 2 9317 3322 > Email [EMAIL PROTECTED] > > > This email and any files transmitted with it are > confidential and intended > solely for the use of the individual or entity to > whom they are addressed. > If you have received this e-mail by mistake please > delete this e-mail from > your system. Please note that any views or opinions > presented in this email > are solely those of the author and do not > necessarily represent those of > Silver Batts Insulation Systems. The recipient > should check this email and > any attachments for the presence of viruses. Silver > Batts Insulation Systems > do not accept liability for any damage caused by any > virus transmitted by > this email. > > > > > -----Original Message----- > From: [EMAIL PROTECTED] > [mailto:[EMAIL PROTECTED] On > Behalf Of [EMAIL PROTECTED] > Sent: Sunday, 15 October 2006 04:00 > To: sanskrit@cs.utah.edu > Subject: sanskrit Digest, Vol 42, Issue 2 > > Send sanskrit mailing list submissions to > sanskrit@cs.utah.edu > > To subscribe or unsubscribe via the World Wide Web, > visit > > http://mailman.cs.utah.edu/mailman/listinfo/sanskrit > or, via email, send a message with subject or body > 'help' to > [EMAIL PROTECTED] > > You can reach the person managing the list at > [EMAIL PROTECTED] > > When replying, please edit your Subject line so it > is more specific than > "Re: Contents of sanskrit digest..." > > > Today's Topics: > > 1. Re: sanskrit Digest, Vol 42, Issue 1 (Jay > Vaidya) > 2. Question on fonts ([EMAIL PROTECTED]) > > > ---------------------------------------------------------------------- > > Message: 1 > Date: Fri, 13 Oct 2006 13:58:28 -0700 (PDT) > From: Jay Vaidya <[EMAIL PROTECTED]> > Subject: Re: [Sanskrit] sanskrit Digest, Vol 42, > Issue 1 > To: sanskrit@cs.utah.edu > Cc: [EMAIL PROTECTED] > Message-ID: > <[EMAIL PROTECTED]> > Content-Type: text/plain; charset=iso-8859-1 > > The major works of pANini are: > ashhTaadhyaayii > dhAtupaaTha > gaNapaaTha > > pANini also either wrote or modified the > shivasuutras, or he may have > adopted them without editing. > > The pANiniiya shikshaa is either written by pAnini > or his early disciples. > > The phiT-suutra and li.ngaanushaasana are also > useful appendices while > reading the pANini texts > > Of these the shivasuutra and paaNiniiya shikshaa > deal with the > classification of letters. > > Regarding devanaagarii script: As far as I know > writing is not mentioned, > and script is not a part of paaNini's grammar. The > devanaagarii script is > nearly, but not completely, adequate to reproduce > all the sounds produced by > pANini's study of phonetics. Oral tradition is > adequate to maintain the > grammar's structure and teaching. (Though writing > makes it convenient to > store the texts in the library.) > > In the pANini grammar tradition, individual letters > have no meaning, and > their inclusion or exclusion is based on pragmatic > (or "scientific") > criteria. These are open for scientific debate. > However, extremely > convincing arguments have already been presented - > so no one these days has > much to debate regarding inclusion or exclusion of > letters in sa.nskita. > > Certainly, there are many amusing mythical stories > about the sa.nskR^ita > alphabet (but not its "meaning") > === message truncated === ___________________________________________________________ Der fr?he Vogel f?ngt den Wurm. Hier gelangen Sie zum neuen Yahoo! 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