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338 views119 pagesTechnical Terms and Technique of Sanskrit Grammar - Kshitish Chandra Chartterji - Part2
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VIBHAKTI
The word Vibhakti* is derived from vi-bhaj ‘to divide,
distribute’ and means ‘separation, partition, division, modi-
fication’. frafnaeg: gut ares: | femtaaat at) aea-
afnfram: | frasaa mfacizeniisaafa gery Nyasa
i. 2.44. In TS. i, 5.22, discriminations from the usual form in the
Adhana are termed Vibhakti. In the Kausitaki Brahmana i4
also Vibhakti is used in the sense of discrimination according
to Keith. Eggeling and Hillebrandt, however, hold that
Vibhakti is used here in the sense of case. Whatever be the
true meaning of Vibhakti in this passage, the fact remains
that it is concerned with the different cases of the word Agni.
am arms raat RV. vi. 16.10 ‘Agni, come for refreshment.’
* Acc. to Kasika on Panini ii3.32 the names of the seven case-
endings, prathama to saptami, have been taken over from Purvacaryas,
and indeed we find them with the same meaning and in the same order
in Yaska. The origin of the name for case-ending itself, viz. vibhakti,
goes still farther back to an ancient custom in connexion with the
Punaradheya or Punaradhana, the repeated employment of the three
sacrifical fires, if the first employment did not show the required result.
In it a cake has to be offered to Agni alone and for the six stanzas
to be employed mutatis mutandis for this, such, stanzas must be chosen
in which the name of the deity always appears in a different form
because repetitions weaken the ceremony—wafaad | af ¥ wale
azo F feq ay ema! | omagamimvqar = We do not leam about
this custom from AB. which does not treat of Agnyadheya but from TS.
and other Brahmanas. Liesicu, Zur Einfuehrung in die indische
einheimisehe Sprachwissenschaft, 11.15.
O.P. 129-25 386 TECHNICAL TERMS OF SANSKRIT GRAMMAR
afin gat quiz 1.12.1. We choose Agni as our messenger.’
afirearfa: aftrea?t i.12.6 ‘Agni is kindled with Agni.”
afrdatfr saga vi. 16.34. ‘May Agni smite the foes.’
aa; SA Aaraz v. 13.2 ‘We meditate the praise of Agni.”
wan at aat ga; vi 14.1 ‘To Agni that mortal who doth
service.”
The first word in each of the above verses is known as
Vibhakti, Form this it was an easy transition to normal end-
ings (the Nirukta speaks of Namavibhakti) and from thence to
verbal endings also.
In the Tandya-Maha-Brahmana we find :
ang cf sant sanfaian:, afnfafa fede
eufaafa adiaen, afaftfar ager ensie
(afirirrt: afiereea at fame wet art fe
argerd vamengt eq) aa arafe saa fa fe
afianef eet) oafafafa fader faafetedrenat
won| afr gd acted fa aa aeaact: | afaafa adtar
admeng: eI] aa wa cafe afserfa: afin’ efa
zeqa| afaftfa gata aqedergt aT) AAeT aT
aafae arafacia: azar afa aa ree) ater: |]
aera aarat aeafafeatratrear aang zai.
frcaraafa | ACSTHETATETT 2101,
Lon sefafrate: aarr afafiaferar aear at
mera aren eagaiefaatata oeent fasta
maredtivg mavaat aware enfeen araret: aa
agfa aa ag araafa | aram: | VIBHAKTI 387
eegfa qaqenat eofieafirm: | xafirf facia |
weafa adiaet | eg efragder! eafefe caw)
wife cset) Ba sty gafa apgafta | ae
earat adierizafeatareat vere auedivaa: gat |
ATOSITTETATATT Qo 112
The NatyaSastra (xv. 30) explains the significance of
Vibhakti thus :
Gael aga at aaife_es TTA aT |
frrsrard aeng fieraaea at: THT
‘Since they discriminate the meaning of one or many words,
of dhatu and pritipadika, they are known as “‘vibhaktis”’.’
The Nirukta exemplifies the Nama-vibhaktis thus :
argh fea eq fat gfteat: | Ho ato golealgo
Indra over Heaven rules, Indra over the carth.
urafag afaat Taq He ao epee
Indra alone the chanters praise highly.
waa gees SPravoTe | Ho Go wiecies
With Indra the Trtsus being active.
BATT ATA TAA | Ho cho ciecie
To Indra chant the Saéman.
Reged waa ara Prat) Fe Ao ARAe
Without Indra no place whatsoever is pure.
waer g fralfer gare | Ho To TAR
Of Indra, now will I proclaim the herioc deeds.
FX RAT AFT | 388 TECHNICAL TERMS OF SANSKRIT GRAMMAR.
On Indra our desires rest.
It will be seen that Yaska does not regard the Vocative
as a Vibhakti, Panini and other grammarians agree with
Yaska on this point. Saunaka, in his Brhad-devata, how-
ever, distinctly speaks of eight Vibhaktis ast ag sgsart
ama, fara: (i. 43) and is perfectly justified in doing s0-
No doubt the dual and plural of the Vocative are identical
with those of the Nominative, still the singulars differ in the
case of the a-declension and several other declensions. The
dual and plural of the Ablative are identical with those of
the Dative, still the Dative and the Ablative are reckoned
as separate Vibhaktis.
It is clear from the following passage of the Mahabhisy®
(i. 2.24) that in ancient works on grammar the Vocative
was placed after the Locative.
feat wer wafiagfegf | fear aver arafsrad’
wer) faa aer mafigagon want faqrae maha
ma fe 1 fagraeq arafagatrerta | Peat ae amafagat:
Sa fagr ger mafiagt Pah) fagr aer ma: &
Faget ef |.--crait a grr usage fags) wat aT
ere caged ger | cat at gat csgarat S44!
ust T Gat cage ae) cat agar TagATal
HT | TT a Gat Tagare: eA) ceT aT
TSBATa Fae | Tay at Hard F crerpanfe fa |
On cannot help thinking that originally the Vocative
terminations, were Si, au, jas and these were placed imme
diately after the Nom, terminations, which were su, au. ia VIBHAKTI 399
Grammarians regarded the Vocative singular as a special
“= of the Nominative for the sake of laghava or brevity
ut the sé is preserved as the ending for the Nominative
singular in Katantra,J., Sak., He., Mu. ete.
The seven Vibhaktis are generally Known as prathamé,
vitiya, trtiya, caturthi, paficami, seth saptaml. The
Nominative naturally comes first as being the Karaka par
excellence (svatantrah karta i. 4. 64) and as being of most
e we can have a sentence with-
Cut the other cases, but a sentence without a Nominative,
expressed or understood, is hardly possible. The Accusative
Comes second, because in the neuter the Nominative and
Accusative are identical. in all cases and also because in the
sh between strong
ase of those declensions which distingu:
and weak stems the Nominative shares the strong character
With the singular and dual of the Accusative. In other
Words, it is necessary to place the ‘Accusative immediately
site the Nominative for the purpose of the Sarvanamastbana-
ewe In order of frequency also the Accusative comes after
lominative, because it is primarily affected by the action
Sf the agent. The Accusative plural is weakest, the Instru-
patal singular is also weakest, S0 the Instrumental comes
'Mmediately after the Accusative. The Instrumental dual is
Ssoticat in form with the Dative dual, so the Dative splined
after the Instrumental. ‘The Ablative comes after the Dative as
its rj
* dual and plural are identical with those of the Dative. The
“nitive singular is identical with the Ablative singular ‘except
the Genitive. This is
in
the adeclesion and so it comes after
fi
Tequent occurrence, sine’ 390 TECHNICAL TERMS OF SANSKRIT GRAMMAR
how the names Prathami, Dvitiy etc. came to be given to the
different case-endings.
It is just possible that the lakaras (moods and tenses) were
at one time called Prathama, Dvitiya etc., two of which names
Paficami (Imperative) and Saptami (Potential) are still preserv-
ed in the works of the Katantra and its followers, Hemacandra
and others.
In “fie prathamayor am” P, vii, 1. 28 Prathama in the
dual stands for prathamA and dvitiyé. The practice of the
Pratisakhyas is to use the second word in the dual.
The word vibhakti occurs in CA. a frarfarererfacraey
CA. ii, 51, Rerraragrfia fender CA. iii
J. takes the dual vibhakti as standing for nominal and
verbal endings and resolving the word into its constituent
letters v, i, bh, a, k, t, 7 adds @ to the consonants, because?
prathama ends in @ and p to the vowles because sup: the
generic term for the case-endings, ends in p. Thus the seve?
Vibhaktis, according to J., are : 1a, and
vd, ip, bhd, ap, ka,
ip. Mu. appears to have improved upon the terminology of
J. by adding i to the initial consonant or consonants of th
Oldest names. In the case of the Locative, however. since
St sounds very much like si, 7 is added to the consonants of
the second syllable. The reason why i is added and not 4
's that out of the seven names of Vibhaktis four end in i. TH?
names according to Mu. are; pri, dvi, tri, ci, pi, si and pl
Sak. defines vibhakti in 1, 3, 181 and prathama ete: it
1.3, i .
182 ff. so in the previous rules he has to use svaujas et vibHAKTI 301
for “prathama,” as in oar, Alte 1. 3. 99, wire: --
ate gq 1. 3. 100 ete.
. Sah. uses the pratyahara sup and the Vstti says under
sara” vi. 2: “genfraatratiat BT TAT”
and in the text the word vibhakti is used in arererfegeet:
£ ~
aafiebereraay vi. 32. etc.
tie oe ang Katantra used the term Vibhakti also to denote
° ‘addhita suffixes tas, tra, ha, dha, thi, adhuni, danim,
tha, tham, astat, atas, etc., which pratically serve the purpose
Of Vibhaktis.
ex a system of grammar
hie, ion of Mu. which uses the ! i
uses the name of Visnu and converts Vi
Visnubhakti,
Ure | fereahfin efor TAT
PeerewaT ge] Uaeeal su, eat
RAR | lal
lo | aan Ter fare | BIR
order Rragare Prva | Thee | gerenigat oat
Sufifhersara ef frre: 1 Tat BIRR
Frafanetar Pagear aerasa: Td 2
Fame: waa agra TH BEAT It RIRRR
oy awa ax amr oe Fee ava
Frm feeafanfefir gear 1 UNC TRE
Ror aarqarer Prats ETH | RIRIRS.
Re | aet aa frat | srornTfa | Qtatee ke
uses the word Vibhakti with the
last syllable «ti? and HN.
ibhakti into
raat) arenes 392, TECHNICAL TERMS OF SANSKRIT GRAMMAR*
ge) fires fifi: | Sai sf stfir axa
are | aut senfaciteradtaraqilcsiagterars: |
RIAA RE
fo) edwatz...ait aeit samt: | earfefata |
RNR SA
frasra fram: saat aq aaignsat aaa |
Past ar) arate: |
Fo | fererfiy: Fiat | ea, Paar stgidteietreer: 1 9%
Bol afiat fatafiagdaasafiaaagratat
frafter) zea
den seit frasatsaan af& farfea: | wat |
So, fieret aaftet egal) cgoe, samrerfreraret
aa: eafatifafic: 1 gees faq carat eee t
Ro) earfefraren fanqraaa: 1 2142,
fie Sq aratiafeafirar
safer ar erat Bar |
an erat evafia’ fred.
RATE AT TTT aE ea | Ao after aIR2
“If one thinks of distinguishing good men, that individual
has to be mentioned first who by the display of his prowess
is able to bring to subjection many refractory states, (when
one thinks of a good Vibhakti, then the first case-ending ha
to be taken into consideration, which by the manifestation of
Su, au, jas is able to convert
into
a large number of stems int
inflected words,’ VIBHAKTT 393
suet safe: att aafife aRaar
aqait adrafe aera: rrferacte
Faviiratca, (919°
i ten the oanes should tread the primrose path of dalliance”
ie fn et On who says? Salvation is for the third
fens » course the real meaning of the nile Is that
ang endings is to be used with words denoting time
place to denote the completion of the action.
ot il and aaett are used in peculiar senses in the second
‘ollowing two stanzas :
aareafired aft gerfia farfeit BT |
wae re: Bara eT geaerTt HRA
aaaar agereaarentfaat aqfaden fro
TlarrrafgaraafaarsereTrT |
Br aat aragaer aT: TAA
k aiterenaat at a aot adie Hl _
Dining t said that the daughter-in-law of King Vallila Seo,
of tis vom the pangs of separation from her husband wrote
all of her boudoir :
It is raining incessantly. Peacocks ™
Eith
to in my beloved or Yama will put ap
day,
re dancing in joy.
d to my sufferings
Thi i
his stanza happened to catch the eye of the King wo font
Wit
th Wrote to his son :
wee Peerless ( mantafraragerefeat )
T) of the lion of kings ( GUIaAeeAet
daughter (WET =
fafa). with 394 TECHNICAL TERMS OF SANSKRIT GRAMMAR
(heaving) breasts like the temples of elephants ( manl@gital-
waat=nfegerafaeafarrataer and (arched) eye-brows like
bows (AAA ATTA, i ) tormented by the first flush of
youth (qerrensrenrfart=nacTeqReD HoH aq ATTAIN
aaatarearfirhraor ) and having fainted like a crab or a fish
( gagraraa ) on a place devoid of water is suffering the
stings of the scorpion ( wanes farndmraTat,
© thou with the intellect of a bull (feetrnfaTa=saAFqera),
O ram (@ saqH=Ha), join her quickly ( qut’ gta: WA=-AAX
frregtrers ) 1
Amantrita and Sambuddhi
The vocative is termed Amantrita by Panini and as the
singular has often special forms differing from the Nom.
sing., the Voc. sing. is designated Sambuddhi. 4-mantra
Occurs in the Taittitiya Brahmana in the sense of ‘to address’.
Amantrana occurs in the sense of ‘address’ in the Satapatha
Brahmana : are3fet 3 fteret array vi.6.2.5. “Amantrita”
is the past passive participle of Gmantra and denotes the perso"
addressed. With the suffix -kta in the bhava-vacya (AGH
HTT i: fii, 3.114), it means the same thing as amantrana of
Sambodhana. Amantrita in the sense of the voc. occurs
first in the Pratisakhyas and in Panini, etere | aafatt
Tee: RP. 1.68, qaqdarafzanarardsaadt VP ii 173
arafradt = ii. 24 erage: iii, 139 agaraarenra-
mafacry vi. 1, arafed daraary CA. isl. It has
watatfa® for the voc, sing: uaprafaa Ofxaaareaet
47. Apr. uses “amantrita”” Several times: — aqqqTaTf#3% re VIBHAKT! 395
arenaraRaad wa) i 18. arate ;
18, ar fear ARTOTTCN
fren’ 1.27. mt
ann fegerrgr gree, Tea AS 2A |
areraid agate: amarfiazo atl * 286
Seater os does not define or explain
came thin, granted. Sambociane and Sambuddhi mean. the
sense ns Saati is made use of by Panini in a special
though j in this instance he is followed by Sarvavarman,
in the vast majority of cases Sarvavarman’s techni-
ry. Candra uses Sambodhane su
mantrita in vi.3.24 and
tens Sambodhana into
the first consonant
“gmantrita” but
i a ares self-explanato!
pau. in vi. 2. 44, He uses a
Bodha a ‘ in vi. 3. 49. Jainendra short
of the an for Sambuddhi it has “ki” with
frst phabet and the i of sambuddhi. Jainendra’s use of the
tater a would lead one to suppose that acc. to this
Uses he ihe Voe. preceded the Nominative. $akatayana
addresses trisyllabic ““amantrya” (lit. one who has to be
Bidakin ) for the polysyllabic «Sambodhana” and for “Sam-
. he uses “ekamantrana”. ererarerraettAT TTT
er 12.121, Bhoja follows Panini. Hemacandra uses
trya for Sambodhana and adds agi? to denote the sing.:
me gas faa 1.4.40 Kramadisvara Uses bat
denot dhana and Sambuddhi for Amantrita and adds ‘st (©
o le the sing.: @ arate i 163. geet
* wa vi5. In the Subanta section there is a rule gaa
Baar 379 where maTATAS AS ave been
i appears to hi
Se .
d for Panini's Sambuddhi. Commentators. however, are 396 TECHNICAL TERMS OF SANSKRIT GRAMMAR
of opinion that aFpaqrais is correct reading here. Thus
Goyicandra says: MRaARgaratefa Sat TET Gea
zen, fing aq Gafaraata geen cergehafireatrat
safifa werd | qa aaqararggraa amet a
wadife ufifraddaesictrag gait a =aq)
Varhsivadana remarks in his Tippant: @FQEUFaTA za
want aaermafrartam: |
Curiously enough Vopadeva who uses monosyllabic technical
terms throughout contents himself with changing the poly-
syllabic Sambodhana into the trisyllabic Sambuddhi. For
the voc. sing. he uses “dhi” which is a vast improvement
on Devanandin’s “ki” being the last syllable of “sambuddhi”,
Sar. follows Mu. The Supadma, like the Sarhksiptasira uses
Sambuddhi for Sambodhana and “su” for sing. The Prayo-
garatnamala follows Panini. The Harindmamrta uses the
popular word Sambodhana for “‘4mantrita” and Buddha, the
name of the avatira which is nearest in sound to Sambuddhi,
for that term.
Kaccayana (Pali Grammar, ii. i4), has ‘“‘alapana” for
“amantrita and “ga” for Sambuddhi.
qo, arafar, [ a= arraa saati] tHad
wrrafg: 1 2gted-2e,
aro, amafead fa: raha y 2s
Ho, eaitat ater) gfe erereg-go
ao| aaraaarcamfady | aterad arghz: |
QIRS49R VIBHAKTI 397
Bo, aradt fafa: » firaraicaatta
qreTUMaer aT aaaen fran eareazary, aat afar
fardifaenal ) aft aerafaanarn,, frataa azfs-
srrfzfa aaamaaza cama arn anadifa
qifaenenta aeaeaeaa | aT
Prarn atent ari aeTRIeT A ATETH: |
arte frarqarat araaer g FzH: |) [Ale To 21208]
aft, aan fait dan gaa) waaa ar)
qaaconfag aateriaeeal BAT) Agata.
anette faeafr a aa ae af, aeafag’ wae fa
qari araeraaa ATISATTAET BA
saadiafrrra fagr ag a ararfzed area: a af
frofidaafaaeam: araerenseaat areaer: fafafa
a waa, aang warmaaaghraaafa) aarat)
weft aaaidatsrae wrqeahiaangacoitd ag
qardiggaa 1 aaa fe araer at faimer
qardta araaiaivia deriearhsaay) ag aur
gga Aerefafa ay) sa caieat—maaafao-
aienfaaaeaafana aft) cet amgumea oder
arprata safaris t arrears a saraavat ara:
aaa scafrafafa aasaadafarr wari) 4
aerfa—
fafirafrera: seq] Caer a Ta |
maaaadieg a fagtisaerad |) [ate Te a1 T: ree] KARMAPRAVACANIYA 443
af, wa a qiagq| wattia arararacoan:
aaa aardsateaa fanfatienfaaaa af 1
aa weioas? fafiefsensfraasdifa: aarafiie-
qaiaiamear) aafe aha seed wae eft aenfa-
aratst area carfaar aaa) aaads eet:
qgiem sai afafa at: avatar: gfiaeaaa-
arufzienonfaa Te areal ser cama | wa
africa: adifa sft armeaeeitsd ara eft
Mat, aga: aafaaenateransa dsc fea
wa waamaa | ay amaerdfeag svavfrerarhe
agnor war araes ehrataragienerfa | ae.
faateerara, dfxerar fremafearanfa: | aeqaatia fr
anit amafanfeer fafreframnfiaanadiaa |
&Sfafraratita carat eeare: | aETSasfy a farm:
arhyreraentaadidan ai shred genlemeide,
age: frase weer TAA | za g TTT
adete aarfiarnt wet an fifrafterrse oa
eincadirsea oft ued) af set qe hr
qhreaferge wenfrrrenfaa aaa afireg-
waa sda woraftedsanatgacmre: sfsar
sree gay ada tier) ated afseqay reared
aS Tare afachamatt a [ qeiqe-es ] cenftar wa
saaarrearfrarfcat earifrctaarrartearananier 1a |
qa
asraadtad frre fitad |
rarfcfatrrent crenata fe after 1’ [sto go RIR08] 444 TECHNICAL TERMS OF SANSKRIT GRAMMAR
ga) adag «to fat aga frarfaarnactanar-
gerarat waearfzceadadifa arate: |
Bhoja says in his Sragaraprakaéa :
oy ou frafsaitqafaaasaemadataa: a-
qaaaay: | aate—
feanfaaaerata araeatat cH |
aasaatian eahifrrapartcar: 1
afa) fa gaufimarany: aasaadiadaifaat
ageray Tat THM waeTtisal aiftafafca |
arm—ageat | adiarh, AR, sofa) aga
asa || ae aaigaa |) satanic
afaaaaa: | afircart ofa: ofafaPaafrzaa: afr.
qd aadaln a garamy afacfmact ay aftr:
qaideraraararenmeagaag afatiat) rare
aft [oo qaice-e¢ ] aaa ag so ag oft ore oft
afa afi g aft aft xterm wea: | Bgeeng, ae,
diver, onfaeay, astag, sigs, TA, Raa
era, a0t:, fear, sfafaha:, sfearad, area, gsc,
afamnoy, Te, ATTA, waren, Tel, BAT,
wuraq, afsar: fa gifaafacat:; aang: wart,
afaqtt vedi, af: caer, vertt snii, sod? gyi,
aera carat af 1 NIPATA
Nipata is explained thus in the Nirukta: aq f&qrat: |
saraaaay frrafa) acquard, aft aafcdarer,
aft cage: | 1. 41-2.
‘These are known as nipatas as they are used_in diverse senses,
as well in the sense of conjunction as in the sense of comparison,
as also as expletives.” BD also says : STITT arty, faarat:
ayaa: ii. 89. And this sense is generally accepted by later
grammarians also. The Cidasthimala says: faqaa qraafa
eatelazafeaa, But the word nipata is often used in the sense of
accidental appearance in the Nirukta, Asvalayana Srauta Stitra,
Brhaddevata etc. Rk Pratisakhya says distinctly ; nipatah
padapiranah xii. 25. From this it is clear that Nipatas were so
called because of their subsidiary character, because they were
not regarded as essential parts of the sentence nor as having
an independent existence. In the Nirukta we find : aamsr
ahraist aetisea afrgt, | arfafrrreanst: vii. 13.5-7, Again,
ag at wat aa afafieaasaka atsfraiatan:,
farmaasa sat srfadt aaa aaa Ra) Nir. vii.
20.4 In BD. also we find:
faacad afadet aati a usa aa |
aa aa sad ea famaa a gary ense
“That deity to whom the oblation is offered, and to whom
the hymn belongs, will there be the chief object (of praise),
not (the deity) who is praised incidentally” . .wareqrgt fararare 446 TECHNICAL TERMS OF SANSKRIT GRAMMAR’
ar eqaa samenfar: vill. 60."...... Brahmanaspati is praised
either as the chief object or incidentally‘.
The nature of the nipata is best described in BD. :
sarag arig faqiar: aqzeas |
wairdaed a afasaerecate |
aarat qeorat ar ara? afar 1
fravaty aay qeoraleaada: 1
aad ofa dene farararai a faa
aa sco farqterh GF a ii. 89-90, 93
“Particles are enumerated in various senses—both for the
purpose of connecting actions and occasionally for the sake of
comparison. Others again (are) occasionally (used) for the
purpose of fiilling up defective verses (pada). Those (particles)
which in metrical books have the purpose of filling up (the
verse) are meaningless. ...There does not exist an enumeration
of the particles (stating explicitly) ‘there are so many’. These
particles are used at every turn on account of the subject-
matter.” Macdonell.
With this may be compared the following from RP.
gat fagrat: 1 cake
Paqra: Teg, | CRUE
fanraaradamifarraaadararaat a avian: |
Rare cafe dete aga frarat aerfravat a 2
RRR
+ maaaaMga fa aera | NIPATA 447
Kautilya says in his Arthasastra: = fiparfaeifyat: (v. 1.
faarar ) nea sraat:, asearaay fravat: 1 xia
The Natyasastra (xv) of Bharata defines nipata thus :
sirafartinngigaraaenanar st |
aenfaqafa a2 aearettet Praag
K. uses nipata without defining it; e.g.. aterat at FT AT
faqrat: a2 see, i. 3. 1. Durga, the commentator,
explains it thus: fafiaa: tia asifafa faatan | astifi-
waAT aframaaaatazaissaa: fag: | aa ae—
ameaqasimeaizhra fradifa faarar 1
J. uses the first syllable ni for nipata. Mu. follows J. Sak.
uses cidi for nipata. He. follows Sak. Sam. uses avyaya for
nipata also. Su. follows Panini. Following in the foot-steps of
K, PR. uses nipata without defining it in @tarat faqrat ET
@ ®asteagy i. 79. The commentary Prabha-prakasika says :
feared qornafizg am fara eft anifir aq) &
ATATETAT: t
farraraicania araaeafa & aa |
atarah eat: ae Trae frzalag |
zara fa dea faqrarat a faaz |
saraaamad frrafer 92 92 11
Curiously enough HN. does not disdain to the use the term
nipata.
qo) sitiacfacra: | arzattsey) saa: |
RrstaR-Re 448 TECHNICAL TERMS OF SANSKRIT GRAMMAR
Go, fey areca TR cee eee
qo me Treteacrfaarats | Lees
geaerftel | aaaat aasaeaisaagart wnat
aqearaneaert: | sag saa fararctfa Frater: |
Rectal dran: Ashe aaa: AISTATHTE |
anran ga ast eq: eRe TAHT I
[ GF. ato To 2198 ]
aa) seniuafatifiraraenfidarecaaarattr-
afrisfagdenra saaaaig Fradtecaafaat
aa ae fara -a ag Pera agqarrat ad-
argrat fatarat fafafitarat afafafhiaraigafa ater
aarafia |
Zo) arqatseed eee
mol aff: ee
ate, arfefiora: |) sige,
go, arzat faqrerean: | aie
It is interesting to note that nipata is used in practically
the opposite sense of accidentally by ASvaghosa in his Buddha-
carita ii. 54:
od aaa fairl ware afztard eqfaaa fas |
eel wl gaye gat 8 aa a arenfzfa ara: Ul
Similarly in Saundaranada xvii, 31 also nipata is used iM
the sense of established, observed: In cases like these the
word is the past participle of the root pa to protect preceded
by ni. AVYAYA 449
Nipata is used in its technical sense by Asvaghosa in
Saundara xii, 12:
ag aiarnaeaer Sat fasted aia: |
fay ara aaa famratsftafea ese: UI
This stanza has been misunderstood by many scholars. The
reference here is to sentences like Bhavabhiti’s :
semerasfta aa Fisft ama |
amlat et facafafiigat a seat
AVYAYA
Avyaya literally means that which undergoes no change and
was probably applied first to the supreme deity. Transferred
to the province of grammar it meant indeclinable. We find in
the Gopatha Brahmana (i. 6) :
ard fag fag a aaa a fae
aaig a aia aa cafe 7777 II [aeTATa Tas]
This is expanded in the Mahabhasya (i. 1.38) into:
a atttecaafafs) # ga at safe? aigadearfa
Bea, cxafraagant 3) metals Sag fafa,
faa fafa) aa fofea aeTIH!
Bhattoji says in his Sabdakaustubha on “syvaradi-nipatam
Avyayam” i, 1.37: eqorereleraT BFaAT, MAST goafaarat
afr ada —aean aft) cag Te ate fers
SEM RARITY aq acanfafa qraat) az at, Tear
OP. 12929 450 TECHNICAL TERMS OF SANSKRIT GRAMMAR
aft aengcrafeft | fre fea wean, feyfate
gfaarga arrerierentate ara: | faafeg aca, aaay
faalfkderg | aera aafa fegmtnacar
annsfia carta aaarzeraeaa |
“Vyaya” is found in the Nirukta in the sense in which it
occurs in “avyaya” . cma g wafa ca a aed feacdtaatg:
i.8. Here Yaska says that not only the form ‘tvah’ occurs, the
forms ‘tvam’ etc. containing different case-endings are also met
with, - “Drsta-vyaya” occurs again in Nirukta v. 23 in the same
sense. Similarly in VP. we find “vyayavarhs cdntah” ii. 26
which is explained thus by Uvata : ara-ment fifera:—eaa at,
aeraaia ae fae fa fants a finae atser7ata |
arate —aaq ef oaer ga Rhreenfeafaan:
fra @ errant |
In BD. also we find “sarhkhya vibhakti-vyaya-linga-yukto
bhavah’ i. 45.
The word “‘Avyaya” is also found in CA. (ii. 48, iv. 71). APr-
(ii, 2) and Unadisiitra ii 65.
Upasarga and Nipata would appear to be older terms than
Avyaya, since it is not mentioned in the traditional enumeration
of parts of speech, viz., naman, akhyata, upasarga and nipata.
Panini evidently divides all parts of speech into ‘subanta’.
and ‘titanta’ (vyayavant’ of the older grammarians) and
‘avyay’. The last embraces nipita, gati, upasarga, karmaprava-
caniya and other indeclinables. In more ancient times the
Upasargas were probably more numerous comprising some later AVYAYA 451
“gatis (cf. BD. ii. 95) and all those indeclinables that were not
regarded as upasarga were designated nipita.
Panini does not define ‘avyaya’. He simply enumerates them
in svaridi-nipatam avyayam i. 1.37 and following rules.
K., Candra, Sak., He., Su, Sam (i. 102 ff.) and PR. also use
the word.
ni, and ti), Probably the
author took the word ‘jhatiti’ as the type of avyas. It is
J. uses “jhi’’ for ‘avyaya’. (cf.
clear from his definition “asarnkhyarh jhi’” i.1.74 that ‘asathkhya’
was the word in general use in his ‘circle and Candra actually
dses it for avyaya. Asarhkhya, no doubt can be much more
easily understood than avyaya, but in such rules as sastyader
asatnkhyateh (Candra iv. 2. 54) ete. it causes ambiguity.
Candra also uses ‘“sasamkhya” (cf. early ‘vyayavant’) for
“anavyaya”, e.g., sasatnkhyad amah kyaj va i. 1. 24.
“Asatikhya” is preferred to “alinga”, because “yusmad,”
“asmad” etc, show no difference of gender (nanta samkhya
datir yusmad asmacca syur aliigakah PR.), though they are not
indeclinables, “Alliage yusmad-asmadi” isa well-known
8tammatical dictum, In the Sakatdyana-prakriyd-samgraha the
declension of ‘yusmad’ and ‘asmad’ is shown under the heading :
athaliigam, yusmad-asmac-chabdav ucyete.
Jhi-did not commend itself to Vopadeva (who generally
avoids jh in his technical terms), because it bears no resemblance
0 the word ‘avyaya’ and probably also because in the system
Of Panini it stands for a well-known verbal ending (-anti). So 452. TECHNICAL TERMS OF SANSKRIT GRAMMAR
he used the second syllable ‘vya’ to denote ‘avyaya’. In the
Jainendra system ‘vya’ stands for the krtya suffixes, being the
second syllable of ‘tavya’. In RT. ‘vya’ stands for ‘talavya’
being. its last syllable.
qo) wazfefarracar) 21h1301
do| aumMmandaadanaa gigi fas
erpearcraat fir: nice | weed fis: | aera ha: aig is? |
Bio | AG-at- Sa_-aaaeti greg raqanaacrsy-
THT URS I
sigrematn, | aaofegeeamdeacer fa | arf
Ger— aeaafaqramgrat - edsaadia-faafas fans:
Raq ag ata afedeariing eachzercaatta
Bo, RAITT TIA | ATT | Ug RONRE
aepida aaacrafafe.| fag area fates arareastt
a ararenat afaeaa | aegfa: | a cafe a ated aeafer
araaaia.a gardieadfafg: | rare: |
qo) eufzfa-faqet aa en, [ faefaoia, a=
MAT, 23=8277 | ]
Bol eufartz-ae-afga-qraraggeaat |
RIC
go, wurfe-nf-eaifec ataifratcan: |
fanaa: raarerereaa BATT |
grave ZF |
Be. wah-arhzaart-afgan ser aera BTA |
wae
SeeTTTA | Appendix-I
Panini as a Poet
| Kshitish Ch. Chatterji
Indian tradition has since a fairly early period connected the
grammarian Panini with a poem entitled the /a@mbavativijaya or
Patdlavijaya, There can be no doubt that these two names refer
to the same poem, for we often find quotations with ofa fas: at
the end. Cf, e.g., Durghatavylti on I1L,2.162 taeratog Pratt
faa: and — Supadmamakaranda on 11.3.7 BaTTeRH
aq fasranreny? da WPT: Waa: 1” Now if these were two
different works, commentators would not have simply
Mentioned fa but would have stated the names in full in
order to avoid confusion.
Several yerses, some of them of exquisite beauty, are also
ascribed to Panini in the anthologies, but it is difficult to say
whether they are from the Vijayakavya or not as no manuscript
of the poem has yet been discovered. The verses, however, do
Not appear to be the work of one author and, in all probability,
Most of them do not occur in the Vijayakavya.
The following verse from the Saduktikarnamyta distinctly
| refers to the son of Daksi as a great poet:
gaat afd. & ge SR TT
| ufaciettqa eta sfraatstt eer!
errata: Tea ARFARR-
| weraranité autt sraylataage
\ We have reverence for Subandhu. Who is there in this
Yorld that finds no delight in the author of Raghu? We are
5 cased With the son of Daksi, and Haricandra wins our heart.
tira excels in purity of diction and the words of Bharavi are
7° afrafeetifa arte
a 454 Technical Terms and Technique of Sanskrit Grammar
sweet by nature. Still Bhavabhati affords an indescribable
pleasure to our hearts.
From the Mahabhasya (28 Re] we learn that the prince of
grammarians was the son of Daksi: aa adnan waltgaes WT: |
In the Hardvali (as also in the Siktimiktavali) there is a
verse attributed to Rajasekhara which takes us a bit farther
jnasmuch as it mentions the name of Panini’
s poem.
vate wif aA er tea: |
ae ara eT STATA |
Hail to Panini who, by the grace of Rudra, first composed
a grammar and then the poem Jambavatiyaya.
In his Kavyamimamsa (Chap. X), however, Rajasekhar@
includes Panini among the Séstrakdras and not among the
Kavyakaras. Says Rajasekhara : —
Fad Ast Severe —
FS HAAS AAT ATETAL AA: |
sierra wifrafag faererary
gad a wrefaga wera —
sarratanifas ufitatigentae oats: |
deforaed ge wife: waist:
Tradition tells us of the examination of the composers of
poems at Ujjaini : Here were examined Kalidasa and Mentha,
here Amara, Ripa, Stra and Bharavi, here in this vigala were
examined Haricandra and Candragupta.
Tradition also tells us of the of the
c examination .
composers of the Sdstras at Pataliputra : Here were examine
Upavarsa and Varsa, here Panini and Pingala, here Vyadi. here
Vararuci and Pataijali, and thereby they all attained fame-
Ksemendra in his Suvrtiatilaka (JI1. 30) speaks of Panie®
excellence in the handling of the Upajati metre.
weve (7) aforeronfata: |
saenitraraheErreata sae: Panini as a Poet 455
Panini’s skill in Upajati makes him enviable just as a
garden is lovable because of its charming jasmines.
Namisadhu in his commentary on Rudrata’s Kavydlamkara
Il 8. says :
“omrefrmaa aaty oqafveiia qactenfy meredtarra-
WREST GaTeR Ce Ta: | cents wifes: wraveferse AereRTSt
— ery ya eo Tala ae eee: | de gels sea: —
Tse werd asia aq whe Sree: 1
ord acatrergiarst Tadd tia et
Sea eats qaadiraart Ta” fat
Though the author has already spoken of Vyutpatti* by
Means of which incorrect words should find no place in a
Composition, yet he refers to that topic again, to show that one
should take particuk care to keep one's composition free
from incorrect words (and expressions), because even great
Poets are found to have been caught in the net of apasabdas.
Thus in the Patal: aya-kavya of Panini in the expression
Weare ye ao Mey (having held fast the evening bride with his
hand) =r has been substituted for ¥ (though it is
Srammatically indefensible). Then again in the verse mse
&lc. of the very same writer we find the word swat where the {
°F Si has been (wrongly) dropped. oo
In the fourteenth century Vidyadhara writes in his Eka@vali
(1. 3-6) ;
ified: wrecerefeaenre: |
¥e wrataen meme aa a tl
wear Sere wet |
SETAC IA, BAIS ATATAT |
safari aed q sorarafierrrtftrr
were yore Aiea TTA Ad:
* Rudrata defines eqaate thus :
tera orpeciafeaherereresfaaAM|
Derppiedat agate wars 456 Technical Terms and Technique of Sanskrit Grammar
The plain meaning of the slokas is : Panini and other
scholars who are well-versed in all branches of learning have
divided all the Sastras in this world into three classes, viz
yatta, frat and #rrafra. Of these the Vedas where the
words are of primary importance are said to be wy,
because any mistake, ever so slight, in reciting the text gives
rise to sin. History and allied sciences are known as
(like a friend). In them the sense is said to be of primary
importance as they are of the nature of sare, Sastras where the
suggested sense is prominent are said to be miamafara (like
one’s beloved), because there the words and their ordinary
meanings are of secondary importance, the suggested sense
being of primary importance.
Now we do not find anything like such a division either
explicitly stated or suggested in the Astadhyayi of Panini. So We
are driven to the conclusion that the author of the
Jambavativijaya must have entered into such a discussion in the
introduction to his poem.
Later writers have indeed tried to show that almost all the
defects of composition dealt with in the science of Rhetorie
have been hinted at by Panini in his Astadhydyt and his tw?
followers — Katyayana and Patafijali. The commentator on the
Vyaktiviveka, for instance, says :
sive cor feria fdatmiferseatet 7
TEEGATE: oia:, ytd fre
weir! Tae Ten: ya eae yean are aerate TT
fatter: fsa Tay ver eat eafafrarae .."" C38 ae] AE
fe wea Tai ah tig a” aac epee aT: AT “
parang fete” [3 1g wo] qeoarrimenrgracrateharra Tae,
“a et yee” (7q ¢ ee] Be Rae, aa as fe waa
jae wanterrenra dered Hea sreraydreant: wANe: ee
TAL oe “serena agsifectgeaa wart” aft aes Tg
rere vires variate * aur ecard...’ (412 eed
* sh
_* [have not been able to trace the aiff, but sce Mahabhasy? .
Kielhorn Vol. I. p. 404.11.18-16. Panini as a Poet 457
There aah Src gaa weeds Aerofeaertaha
There SSSR arereaaty eters | war
Saray eifardta! dtd vefagui aringge agcafrenca
ferererdises 9 ofa, ware rea STATA |
[Vyaktiviveka, Trivandrum edition pp. 15-16].
As against this we h
e the general concesus of opinion
that a grammarian is constitutionally incapable of composing
or appreciating poetry. As Dharmadatta says :
FeRAM Gari TTT AAG
Patan Tr: aEperesaham: tl —
where fafa: is explained as grammarians and Mimamsakas.
Similarly Ksemendra in his Kavikanthdbharana remarks :
FR] WACTRATAM Ua EA ST AHCI FE: |
who critszaytien arafarsant: Gaara: ug Re Ht
awe apaayss: wnfoaearins Grae: |
sods Tafa fates e
