Respected sir,
You have forwarded a posting about Grammar and it is stated Grammar is the
mouth of Vedapurusha. It is through the mouth, every body takes the food. So
the importance of keeping mouth clean and perfect.
Though at times most of us slip in grammar in any language, it gives the
importance of grammar in using Languages either orally or in written form.
So, all of us have to give atmost importance for grammar in any language
either in oral or written form.
Gopalakrishnan
On Saturday, 11 May, 2024 at 07:47:11 am IST, Rajaram Krishnamurthy
<[email protected]> wrote:
Sanathana dharma VYAKARANA Part 21 K Rajaram IRS 10524/11524
VYAKARANAM
Mouth of the Vedapurusa
Vyakarana or grammar isthe "mukha" of the Vedapurusa, his mouth. The Tamil word
for grammaris "illakanam". Grammar deals with the "laksanas" of alanguage.
"Laksmana(n)" is "llukkumanan" in Tamil. In thesame way,"laksana(m)" becomes
"illakanam" in that language.
There are a number of works on Sanskrit grammar. The mostwidely used and
important is the one by the great sage Panini. There is a gloss- a vartika- on
his "Vyakarna-sutra" by Vararuci. Patanjali haswritten a bhasya or commentary
on Panini's sutras. These three are the chiefworks on Sanskrit grammar.
There is a difference between grammar and other sastras. Inthe case of other
subjects, the original sutras constituting them are esteemedmore than their
bhasyas. But, in the case of grammar, or Vyakarana, the Vartika is more valued
than thesutras and still more valued is the bhasyas
According to one reckoning, there are six sastras.Vyakarana is one of them.
Four of the sastras are particularly important: apartfrom Vyakarana,
Tarka(logic), Mimamsa and Vedanta. Vyakarana is also one of theVedic sadanga
(six limbs of the Vedas ).
"Sucant sutram ", so it is said. (The sutra isjust an indication of something,
a truth or a principle. ) Every sastra has abhasya and each such bhasya is
known by a particular name. The vyakarana bhasya(of Patanjali) alone is called
"Mahabhasya", "the greatcommentary ".
Grammar and Siva
Siva temples have a mandapa (pavilion or hall) called" vyakarana-danamandapa".
In Tamil it has come to be called "vakkanikkum mandapam". There are such halls
in many temples in the Cholaterritory of Tamil Nadu. One such is in
Tiruvotrriyur near Madras. Why shouldthere be a mandapa for grammar in Siva
temples? What is Siva's connection withlanguage? Isn't Siva in his form of
Daksinamurti all silent?
Nrttavasane Nataraja-rajo nanada dhakkam navapancavaram
Uddhartukamah Sankadisiddhanetadvimarse Sivasutrajalam
I will speak briefly about this stanza. The silent Sivaremains still [as
Daksinamurti]. But the same Siva [in another form of his]keeps dancing all the
time and it was from his dance that the science of language was born.
Nataraja is the name of the dancing Paramesvara."Nata" is a member of a troupe
which also consists of the"vita" and "gayaka". The nata dances. Nataraja is the
kingof all dancers-- he who cannot be excelled as a dancer-- and he is also
calledMahanata [the great dancer]. The Amarakosa, the Sanskrit lexicon, has
these twowords: " Mahakalo mahanatah". In Tamil they say "
Ambala-k-kuttaduvan". We find from royal inscriptions that in the old
daysBrahmins too had such Tamil names-- " Ambala-k-kuttaduvan Bhattan",for
instance.
There used to be apublishing establishment in Bombay called the Nirnaya Sagara
Press. Itonce brought out old poetical works in Sanskrit under the general
name, "Kavyamala Series ". There were some books in this series with the name"
Pracinalekhamala" . Reproduced in one of them is the text of acopper-plate
inscription belonging to the Vengi kingdom. Vengi is situatedbetween the
Godavari and the Krsna.
The Cola rulers of the Telugu country and the Colas ofTanjavur were related by
marriage. Rajaraja Cola (Narendra) reigned inTanjavur; it was he who built the
Brhadisvara temple. Kulottunga Cola whobelonged to the family of the grandson
of a king of Vengi ruled as a member ofthe Cola dynasty of Tanjavur. Once he
visited the Cola kingdom and on hisreturn took some 500 Brahmins with him to
promote Vedic learning in Vengi. The"Dravidalu" of Andhra Pradesh are the
descendants of these Brahmins.
The names of allthese Brahmins and their gotras are mentioned in the
copper-plate inscriptiontogether with the subjects in which they were
proficient and dutiesthey had to perform. The landed property allotted to each
is referred to, soalso the names of the donors and of the recipients. The
Brahmins from TamilNadu had to teach the Vedas and sastras. That is why gifts
of lands were made tothem.
" Rupavatara-vaktuk eko bhagah": these words arefrom the inscription. It means
" one share to the Brahmin who isproficient in the Rupavatara. " Rupavatara is
a work on grammar.
In Ennayiram,near Tindivanam (Tamil Nadu), there was a school with 340
students. Of them 40studied Rupavatara, says an inscription of Rajendra Cola I.
In Tribhuvanam,Pondicerri(Pondicherry), also there was a Vedic school supported
by Rajadhiraja(A. D. 1018-1050) where the Rupavatara was taught. We also learn
from aninscription of Vira-Rajendra Devam dated A. D 1067, that this
grammatical workwas taught at a school in Tiru- ulldal, near Kanchi.{
Ennayirammeans eight thousand in Tamil. An inscription dated 1025 CE, belongs
to theRajaraja Chola mentions the name "Ennayiram". Hence the name"Ennayiram"
is 1000 years old. It also refers to the caste name ofJain merchants. It has
close connection with Ashtasahasram, a sub sect of Tamil Iyercommunity.And I am
proud of it}
Siddhanta-Kaumudi is a very popular treatise on grammar. Itis a commentary on
Panini's sutras by Bhattoji Diksita who was a disciple ofAppayya Diksita. The
latter was born in Adayappalam and was the author of 104works, many of them on
Saiva themes. His Kuvalayananda, a work on poetics, isalso famous.
Ardha-matra-Iaghavena putrotsavam manyante vaiyakaranah
This speaks of the great joy experienced by grammarians: ifthey gain as much as
half a matra it is a cause for jubilation like the birthof a son to a man who
has been long childless.
The sutras are verybrief and very precise. The Siddhanta- Kaumudi is also
famous for its brevityand exactitude; there is no circumlocution in it, no
beating about the bush.Maybe the sutras themselves are wordy but not Bhattoji
Diksita's commentary onthe same. Written some 400 years ago, it is very popular
even today and is thefirst book of grammar prescribed for students. (Bhattoji
Diksita also wrote theTattavakaustubha and dedicated it to his guru, Appayya
Diksita. In this heseeks to establish that there is no Truth other than the
Brahman and that, toclaim that there is, is not in keeping with the teachings
of the Upanisads.Bidden by his guru, he also wrote an attack on Madhvacarya's
philosophy ofdualism. The work, Madhvamata vidhvamsanam, is a cause of dispute
amongphilosophers but Bhattoji Diksita's commentary on grammar is acceptable to
allsystems.)
Before Siddhanta-Kaumudi, Rupavataram was the grammar workfamous among
students. "Rupam" here means the "complete form ofsound"; "avataram" is
descent, but in the present context"history". Rupavataram was published by
Rangacari, of PresidencyCollege, Madras.
That gifts of land were made to scholars who taughtRupavataram [the reference
here is to the Vengi inscription], shows theimportance attached to sanskrit
grammar in those times.
The Vengi inscription dates back to 850 years ago. Asmentioned earlier, the
names of Brahmins who received gifts are given in it.Many of them had the title
"Sadangavid"(learned in the six Vedic Angas). Some had Tamil names
--"Ambala-k-kuttaduvan Bhattan", "TiruvarangamudayanBhattan", etc. Of the
foregoing two names the first is associated with theCidambaram temple which is
Saiva and the second with the Srirangam temple whichis Vaisnava . Both Brahmins
were Smartas, even the one with the Vaisnava name.There has been as much
devotion to Siva as there has been to Visnu at alltimes. In the North and in
Kerala, even today, Smartas perform puja in alltemples. The man called
"Tiruvarangamudayan Bhattan" is not to betaken as a Vaisnava from his name. The
Sanskrit equivalent of the name isRangasvamin. "Udayan" means "svamin",
"svam"denoting possession.
The Tamil name of Nataraja is "TiruvambalaKuttaduvan". I wanted to speak about
Nataraja and his connection withgrammar. Let us go back to the stanza with the
first word, "Nrttavasane. .. " Nataraja performs an awe- inspiring dance. It
seems to bring togetherall the dances that all of us have to perform, the
rhythms of all our lives. Thehead of the Nataraja idol has something that seems
spread over it, somethingfalling down on both sides. What is it? It is the
god's mass of matted locks. Iam reminded of the snapshot photographs taken
nowadays. A snapshot is a rapidphotograph that captures an object in one of its
fleeting moments. It is not astudy that is static but one suggestive of motion.
Nataraja dances fast, butmomentarily seems to stop dancing. His matted locks
give the impression offanning out over the two sides of his face. The sculptor
of those times seemsto have taken a mental snapshot of that moment to create
the image of Nataraja.
Nataraja has a drum in one hand, called the dhakka ordamaruka. The tala of this
drum (the time kept by it) is in keeping with the"footwork" of the dancing god,
the movement of his feet. The beat ofhis drum is referred to in the words,
"nanada dhakkam".
There are chiefly three types of musical instruments. Thosemade of skin like
the dhakka, the tavil (drum accompaniment to nagasvarammusic), the kanjira (a
kind of hand drum), the mrdanga; stringed instrumentslike the vina, the violin;
wind instruments like nagasvaram, the flute. Thefinal beat of the drum is
called cappu. Similarly at the end of Nataraja'sdance (" nrttavasane ") the
damaruka produced the cappu sound.
When Nataraja dances, Sanaka and his brother sages,Patanjali Vyaghrapada and so
on stand around him. They are great ascetics, sothey are able to see the dance.
Nataraja's dance can be seen only by those whohave the inner vision of jnana.
The Lord himself bestowed on Arjuna the divineeye with which the pandava could
see his cosmic form. Vyasa imparted the samepower to Sanjaya so that he could
describe this wondrous form to Dhrtarastra.Only they (Arjuna and Sanjaya) could
see Krsna's universal form. Others on thebattlefield of Kuruksetra could not.
Because of the great efforts made by them,the celestials, the sages and yogins
obtained the divine eye to see the danceof Nataraja. In the Gita such a sight
is called "divya-caksus" (divineeye).
Sanaka and others saw the dance with their real eyes. Visnuplayed the drum
called the maddala, while Brahma kept time. At the close of thedance, the
concluding beats(cappu) produced fourteen sounds. It is thesefourteen that are
referred to in the stanza ("Nrttavasane", etc) as"navapancavaram"; "nava" is
nine and "panca" isfive, so fourteen in all. "Nanada dhakkam navapancavaram. "
If thenumber of sounds produced by Nataraja's dhakka is fourteen, the branches
ofVedic learning are also the same number (caturdasavidya). If the foundation
ofHindu dharma is made up of these fourteen vidyas, Nataraja'a cappu
producedfourteen sounds which, according to the verse, were meant for the
[Atmic]uplift of Sanaka and others. You must have seen in the
sculpturalrepresentations of Daksinamurti in temples four aged figures by his
side. Theyare the Sanaka sages. It is not Saiva works like the Tevaram and
theTiruvacakam alone that mention how instruction was given to the four but
alsothe Vaisnava songs of the Azhvars.
The fourteen sounds produced by Nataraja's drum are themeans by which the
reality of Siva is to be known and experienced within us inall its plenitude.
Nandikesvara has commented upon the fourteen sounds in hisSivabhaktisutra.
Among those present at Nataraja's dance was Panini. Hisstory is told in the
Brhatkatha which was written by Gunadhya in the Prakrtcalled Paisaci. Ksemendra
produced a summary of it in Sanskrit and, based onit, Somadeva Bhatta wrote the
Katha-sarat-sagara. It is the source of some ofthe stories of The Arabian
Nights, Pancatantra and Aesop's Fables. Perunkathaiis a Tamil version, the
title being Tamil for Brhatkatha.
The story of Paniniis told in the Katha-sarit-sagara. In Pataliputra
(modernPatna), in Magadha, there were two men called Varsopadhyaya
andUpavarsopadhyaya - the second was the younger of the two. Upakosala
wasUpavarsopadhyaya's daughter. Panini and Vararuci were Varsopadhyaya's
students.Panini made little progress in his lessons. So his teacher asked him
to go tothe Himalaya and practise austerities. The student did so and through
the graceof Isvara received the power to witness the tandava dance of Nataraja.
Withthis divine gift of the Lord, Panini indeed saw the tandava and heard
thefourteen sounds at its conclusion. For him these sounds meant the
fourteencardinal sutras of grammar and on them he based his Astadhyayi. As its
veryname suggests, this work, which is the source book of Sanskrit grammar,
haseight chapters.
The fourteen soundsare recited at the upakarma ceremony. Since they emanated
from the drum ofMahesvara(Nataraja), they are called "Mahesvarasutras". Human
beingscan produce only inarticulate sounds on the musical instruments played by
them.The handof Paramesvara is verily the Nadabrahman and Sabdabrahaman
incarnate, so hiscappu on the damaruka at the conclusion of his tandava sounded
as aseries(garland) of fourteen letters:
1. a i un; 2. rlk; 3. e on; 4. ai auc; 5.hayavarat; 6. lan; 7. nama nana nam;
8. jha bha n; 9. gha da dha s; 10. ja baga da da s; 11. kha pha cha tha tha
catatav; 12. kapay; 13. sa sa sar; 14.hal-iti Mahesvarani sutrani.
How didPanini make use of the fourteen sounds? He created an index from the
sutras tovocalise the letters or syllables together. Accordingto the
arrangement made by him, the first letter or syllable of a sutra voicedwith the
last letter or syllable of another sutra will indicate the letters orsyllables
in between. For example, the firstsyllable of "hayavarat", "ha", and the last
letter of"hal", "l", together make "hal". This embracesall the consonants in
between. Similarly, the first letter of the first sutra,"a", and the last
letter of the fourth sutra together form"ac"-this includes all the vowels. The
first letter of the firstsutra and the last letter of the fourteenth sutra
together form "al"- it includes all letters.
"Halantasya" is one of the sutras of Astadhyayi. "Al" itself has come to
meanwriting.
"A-kara" is the first letter in all languages. InUrdu it is alif; in Greek it
is alpha. Both are to be derived from"al". So too "alphabet" in English. Here
is another fact tosupport the view that, once upon a time, the Vedicreligion
was prevalent all over the world.
We know thus that the prime source of grammar isconstituted by the
Mahesvara-sutrasemanating from the drum of Nataraja. Since Paramesvara was the
cause ofthe sabda-sastras (all sciences relating to sound,
speech),"grammar-pavilions" have been built in Siva temples, but not in
Visnushrines.
By the side of Nataraja are Patanjali and Vyaghrapada. Iwent to a temple
nearSirkazhi(in Tamil Nadu). There, beside Nataraja, were Patanjali
andVyaghrapada. Beneath their images were inscribed their names. Patanjali's
namewas seen here as "Padamcolli" - the error must be attributed to
theignorance of the man who had inscribed the names. I was however happy
thatironically enough, this name benefited the sage and that even ignorance was
thecause of something appropriate. "Padam"has the meaning of grammar[as in]
"padavakya pramana". Here"pada" means grammar. So "Padamcolli" [the second half
ofthe name in Tamil] means one who "says" grammar.
When I saw this inscription I was reminded ofanother thing. We speak of
"gunaksara-nyaya". "Guna" heremeans an insect like the white ants which eats
into wood and palm-leaves.Sometimes in this process letters are formed
accidentally. If somethingmeaningful results from an act committed
unconsciously or unwittingly it issaid to be according to the
"gunaksara-nyaya". This term is thusapplicable to Patanjali being written as
"Padamcolli"
Some years ago I happened to see the Sahitya-Ratnakara. Theauthor of this
poetical work is Yajnanarayana Diksita who composed it 400 hundred years
agoduring the reign of Raghunatha Nayaka of Tanjavur. Diksita was a great
devoteeof Siva and in one of his hymns there is a reference to grammar.
Adau pani-ninadato' ksara-samamnayopadesena yah
Sabdanamanusasananyakalayat sastrena sutratmana
Bhasyam tasya ca padahamsakaravaih praudhasayam tam gurum
Sabdarthapratipatti-hetumanisam Candravatamsam bhaje
--- Sahitya-Ratnakara, 11. 124
"Aksara-samamnayam" in this stanza means grammar,a grouping together of
letters. Isvara's breath constitutes the Vedas. The windproduced by his hand
[as he beats the drum] is "Aksara-Veda", theMahesvara-sutras. It is called
"sabdanusasanam"."Pani-ninadatah" means "produced sounds with your hands"
or"the sounds came by to Panini". Thus the words have two meanings. Theidea is
that Panini created his grammar with the sounds produced by Isvara withhis hand.
The stanza goes on to say: "With themovement of your hand the sutras of grammar
were created and with the movementof your feet its commentary has been
produced. " Patanjali, author of theMahabhasya, was an incarnation of the
primordial serpent Adisesa. Adisesa isnow the anklet of Parameshvara. It is in
keeping with this that the poet saysthat Siva created the bhasya with the
movement of his feet. He concludes byremarking that sound and meaning originate
in Siva.
In this way, Siva isthe prime source of grammar. That is why there are mandapas
in histemples where vyakarana is to be taught.
Works on Grammar
In the stanza [in the previous chapter ] we saw that thepoet calls Siva
"Candravatamsa". Itmeans the god who has the moon for a head ornament.
"Candrasekhara"and "Indusekhara" mean the same. Remarkably enough,
"Indusekhara" occursin the titles of two grammatical works. One is
Sabdendusekharam, and the otherpariposendusekharam. Astudent who has read
grammar up to Sabdendusekharam is considered a master of thesubject.{Have any
of you know or heard of any one in our clan near you sirs? KR}
If there are thirty books on Siksa, there areany number on grammar. Foremost
among them are Panini's sutras, Patanjali'sbhasya forit and vararuci's vartika
(mentioned earlier). Imake this statement in the belief that Vararuci and
Katyayana are the sameperson. Some think that they are not. Vararuci was one of
the "Ninegems" of Vikramaditya 's court.
Bhartrhari'sVakyapadiyam is also an importantgrammatical treatise. There are
said to be nine [notable] Sanskrit grammarworks, "nava- vyakarana". Hanuman
isbelieved to have learned them from the sun god. Sri Rama praises him
as"nava-vyakarana -vetta ". One of these nine works is Aindram authored
byIndra. It is said that the basic Tamil grammar book, the Tolkappiyam, follows
Aindram.
Sanskrit and Tamil Grammar
Just as "illakanam", the Tamil word for grammar,is derived from the Sanskrit
"laksana", so too a number of otherwords that have to do with grammar in that
language are of Sanskrit origin. Forinstance, there are two terms used in Tamil
grammar, pakuti (pahuti) and vikuti (vihuti). To illustratein the word
"Ramanukku" (for Raman ), "Raman " is pakutiand "ku" is "vikuti". Both terms
pakuti and vikuti arederived from Sanskrit grammar. "How do you say so? " it
might beasked. "Is it not pakuti an original tamil word derived from"pakuttal?
" Pakuti in the sense of that which has beendivided is indeed a Tamil word. But
I say that there is another pakuti that isa corrupt form of theSanskrit
"prakarti". It is in the sense of "prakarti" thatthe word "Raman" in
"Ramanukku" is described as pakuti. Asfor "vikuti" it is from the Sanskrit
"vikriti": there is nosuch word as "vikuttal" in Tamil corresponding to
pakuttal. From theundisputed fact that vikuti is from vikriti, we may conclude
for certain thatpakuti is from prakrti. (Vikrti is also called "pratyaya",
which gives many meanings to the same prakrti. When it is said
"Ramanaiaditten"-(I) beat Raman-the pratyaya "ai" added makes Raman theperson
who is beaten. If it is said Ramanal adipatten-(I) was beaten byRaman-the
prakrti Raman with the al makes him the one who beat.)
On the subject ofgrammar I have mentioned certain facts and it is not my
intention to elevateone language above another.
Sanskrit: The Universal Language
Sanskrit is the language of all mankind; it is aninternational language and
also the language of the gods. The gods are called "girvanas"; so Sanskrit is
called "Gairvani". While the emperor of Tamilpoetry, Kambar, describes it as
the "devabhasa", the Sanskrit poetDandin calls it " daivi vak"(divine speech)
in his Kavyadarsa: " Samskrtam nama daivi vak. " Sanskrithas no syllable that
is indistinct or unclear. Take the English "word".It has neither a distinct
"e-kara" nor "o-kara". There areno such words in Sanskrit. Neither is the "r"
in "word"pronounced distinctly nor is it silent. Sanskrit, besides, has no word
thatcannot be traced to its root. Whatever the word it can be broken into
itssyllables to elucidate its meaning. Sanskrit is sonorous and auspicious to
listen to. You must notbe ill disposed towards such a language, taking the
narrow view that it belongs to afew people. To speak Sanskrit is not to make
some noises and somehow conveyyour message. The sounds, the phonemes, in it
are, as it were, purified and thewords and sentences refined by being subjected
to analysis. That is why thelanguage is called "Sanskrit''[Samskritam].The
purpose of Siksa, and in greater measure of Vyakarana, is toaccomplish such
refinement.To speak the language of Sanskrit itself means to berefined, to be
cultured. As the language of the gods it brings divine grace. The sounds of
Sanskritcreate beneficial vibrations of the nadis and strengthen the nervous
system,thereby contributing to our health.
LinguisticStudies and Religion
Siksa, Vyakarna and the subjects with -Chandas andNirukta-are Vedangas-(limbs
of the Vedas) connectedwith language. Next I am going to deal with prosody.By
works on religion we ordinarily mean those[directly] relating toGod, worship,
devotion, jnana, dharma and so on. Would not the right thing forme then be to
speak about such works? Kalpa,Mimamsa, the Puranas and Dharma sastra., But in
between has arisen the scienceof language that has apparently no connection
with religion. In the Vedic vieweverything is connected with the Lord. There is
no question of dividingsubjects into "religious" and "non-religious' '. Even
thescience of medicine, Ayurveda, which pertains to physical wellbeing,
isultimately meant for Atmicuplift- or for that matter, military science
(Dhanurveda). That is whythey were made part of traditional lore. So too
political economy which is alsoan Atma-sastra.
Grammar is associated with Sabdabrahman. Worship of theNadabrahman which is the
goal of music is a branch of this. If sounds are welldiscerned and employed in
speech they will serve not only the purpose ofcommunication but also of
cleansing us inwardly. The science of language ishelpful here.I have already
mentioned that Pathanjali's commentary on Panini'sSutras is called the
Mahabhasya. The prefix "Maha" in the name of thework is an indication of the
high degree of importance given to grammar in our tradition.Illustrious
teachers have written commentaries on the Vedas, on theBrahmasutra, on the
Upanisads, on the Bhagavadgita, and so on. But none ofthese has "maha" prefixed
to it. There is a saying that a scholarderives as much happiness from learning
the Mahabhasya as from ruling anempire.
Mahabhasyam va pathaniyam maharajyam va sasaniyam
I came across another piece of evidence like the Vengi inscriptionto prove how
in the old days our rulers nurtured and propagated the science ofgrammar.
*** Dhar was a state in the formal Central Provinces (now apart of Madhya
Pradesh). It is the same as Dhara which was the capital ofBhojaraja who was a
great patron of arts and who made lavish gifts to poets andartists. There is
amosque in the town of Dhar now. Once a cave was discovered in the mosque
whichon examination revealed some writings in Sanskrit. But the department of
epigraphycould not carry out any investigations until some years after freedom.
{Muslimatrocity KR} Then, with the permission of the authorities of the mosque,
theystudied their finding.To their amazementthey saw a wheel inside with verses
dealing with grammar inscribed on it in theform of a chart. Themosque stands
today where a temple to Sarasvati stood during Bhojaraja's time.The idea behind
the wheel isthat the science of language (grammar)must form part of the temple
toSarasvati, the goddess of speech---and grammar is the Vedapurusa's mouth.
They say that grammar could be learnt at a glance fromthis wheel. It is because
the science of language is worthyof worship that the wheel inscribed with
grammar was installed in the temple.With the blessings of Vagdevi (Sarasvati)
we have obtained the wheel, thoughlong after the mosque was built at that site.
The department of epigraphy has published the text of theinscription with an
English translation. We learn thus that sastraslike grammar were not regarded
merely as of worldly interest but in factconsidered worthy of worship. That is
why rulers promoted them.
K Rajaram IRS 11524//10524 NB: ***Vide ASI Dr Kalyanaraman inscription
article with photos ofarchaeology 76 pages. If Any who may need may write and
I shallsend a PDF. K Rajaram IRS 11524/10524
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https://groups.google.com/d/msgid/thatha_patty/354342352.827904.1715396306552%40mail.yahoo.com.
