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The symbolic representation of the particular accent according to the 驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ� is to be made by a movement of the hand^[1]. This symbolic representation is one of the important parts of proper articulation of the accent.

If there are some miscommunications between hand and mouth, the proper articulation cannot be performed-

啶�啶ム�� 啶掂ぞ啶｀�� 啶むぅ啶� 啶�啶距ぃ啷� 啶班た啶曕�嵿い啶� 啶む�� 啶�啶班た啶掂ぐ啷嵿�溹く啷囙い啷嵿イ
啶�啶む�嵿ぐ 啶�啶む�嵿ぐ 啶膏�嵿ぅ啶苦い啶� 啶掂ぞ啶｀�� 啶�啶距ぃ啶苦じ啷嵿い啶む�嵿ぐ啷堗さ 啶むた啶粪�嵿�犩い啶苦ゥ

yath膩 v膩峁嚹� tath膩 p膩峁嚹� rikta峁� tu parivarjayet|
yatra yatra sthit膩 v膩峁嚹� p膩峁噄statraiva ti峁ａ弓hati||

(驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ�, 47)

According to 驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ� the movements of the hand is a very important part of the Vedic recitation. The proper symbolic representation is highly appreciable^[2].

Vedic recitation becomes incomplete without the movement of the hand鈥�

啶灌じ啷嵿い啶灌��啶ㄠ�� 啶む�� 啶�啷嬥そ啶о��啶む�� 啶膏�嵿さ啶班さ啶班�嵿ぃ啶掂た啶掂ぐ啷嵿�溹た啶むぎ啷嵿��
啶嬥�椸�嵿く啶溹�佮�冟じ啶距ぎ啶�啶苦ぐ啷嵿う啷嵿う啶椸�嵿ぇ啷� 啶掂た啶�啷嬥え啶苦ぎ啶оた啶椸�氞�嵿�涏い啶苦ゥ (啶�啶距�溹�嵿�炧さ啶侧�嵿�曕�嵿�� 啶多た啶曕�嵿し啶�, 啷�啷�)

hastah墨na峁� tu yo'dh墨te svaravar峁嘺vivarjitam|
峁沢yaju岣�s膩mabhirddagdho viyonimadhigacchati|| (驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ�, 41)

In the 驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ� there are some general symbolic representation discussed by the author. For example, the left hand is to be moved when the high accent is located before a low accent in the 鈥�蝉补峁僪颈迟腻辫腻峁环补鈥� of a Vedic text鈥�

啶夃う啶距い啷嵿い啶距え啷佮う啶距い啷嵿い啷� 啶む�� 啶掂ぞ啶�啶距く啶� 啶�啶� 啶嗋ぐ啶�啷囙い啷嵿��

ud膩tt膩nud膩tte tu v膩m膩y膩 bhava 膩rabhet| 

(驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ�, 57)

These types of symbolic representation of the particular accent are also mentioned in different books like 笔补谤墨艣颈办峁Ｄ�^[3], 笔补迟补帽箩补濒颈蝉奴迟谤补 ect. According to 笔补迟补帽箩补濒颈蝉奴迟谤补, in the case of the low accent, the right hand is to be placed or moved near the heart鈥�

啶灌�嵿く啶︵�嵿く啶ㄠ�佮う啶距い啷嵿い啶� 啶灌�冟う啶�啶膏ぎ啷�啶�啷� 啶︵�曕�嵿し啶苦ぃ啶灌じ啷嵿い啷囙い啶距え啷佮う啶距い啷嵿い啶�啷嵿ぐ啶︵ぐ啷嵿ざ啶ㄠ�� 啶�啶掂い啷�啶むた 啶�啶距さ啶冟��

hyadyan耻诲腻迟迟补岣� h峁沝ayasam墨pe dak峁�i峁嘺hastet膩n耻诲腻迟迟补pradar艣ana峁� bhavat墨ti bh膩va岣�|

(笔补迟补帽箩补濒颈蝉奴迟谤补, 1.4.6).

Thus, in articulating the high accent, the hand would be come near the head; while in the case of the 鈥�svarita鈥�, the hand is to be moved near the ear. These types of movements of the hand in the direction of the hand, the heart, or the ear are symbolic. With reference to these movement of the hand, the 笔补谤墨 艢颈办峁Ｄ� points out that the high accent occurs when the effort is directed towards the upper part of the vocal organs. Then the head represents the upper part, the ear the central or transverse part and the heart the lowest part of the articulating organs. This theory, which attributes the accent to the various attitudes of the vocal organ, may possibly refer to the raising of the larynx for the high pitch, and the lowering of it for the low pitch, and if it is intended for this sense, it becomes a sound. The reason which led 笔补迟补帽箩补濒颈 to localize the accent in the various attitudes of the vocal organs is the need to determine a fixed standard of accent for all speakers and hearers. According to the 驰腻箩耻峁�a产丑奴峁�a峁嘺^[4], creation of the high accent (耻诲腻迟迟补) is tension of the organs, firmness of the voice and narrowness of the cavity of the throat while in case of low accent (an耻诲腻迟迟补) looseness of the organs, weakness of the voice, and wideness of the cavity of the throat are required.

Footnotes and references:

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[1]:

samucc膩rayed var峁嚹乶 hastena ca mukhena ca| svara艣caiva tu hastasya dv膩vetau yugapadasthitau|| (驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ�,25)

[2]:

svaravar峁嚹乶 prayu帽c膩no hasten膩'dh墨tam膩caran| 峁沢yaju岣�s膩mabhi岣� p奴to brahmalokamav膩pnuy膩t|| (驰腻箩帽补惫补濒办测补 艢颈办峁Ｄ�,45)

[3]:

驰腻箩耻峁�a产丑奴峁�a峁嘺m Com. On The 笔腻谤颈 艢颈办峁Ｄ� 99, 81

[4]:

yad g膩tradairdhya d墨rghat膩 ca y膩 dhvane岣� tath膩峁噓t膩 ka峁囜弓havilasya y膩 ca et膩ni kurvanti ca 艣abdamuccai岣� yaddhrasvat膩 y膩 尘峁沝耻迟腻 svarasya y膩 vist峁泃膩 ka峁囜弓havilasya cait膩岣� kar膩峁噄 艣补产诲补峁� 苍颈丑补迟补峁� ca nityam. (Com. On The 笔腻谤颈 艢颈办峁Ｄ� 81, 82)