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Some Important Shiksha Vedangas (study)

by Mala Laha | 2021 | 31,647 words

This page relates ‘Introduction to the Naradi Shiksha� of the study dealing with Shiksha Vedangas—a crucial component of Vedic literature focusing on phonetics and pronunciation in ancient texts. The researched texts include the Paniniya, Yajnavalkya and Naradi Shiksas, among others. The study also investigates historical phonological transformations between Sanskrit and Pali, exploring the evolution of sounds and pronunciation.

Go directly to: Footnotes.

Introduction to the ī Śṣ�

The ī Śṣ� is one of the oldest Śṣās with the treatment of accents in the 峾岹[1]. According to Hara Dutta, it is related to the Kauthuma branch of 峾岹[2].

ī was the author of the ī Śṣ�. His name has been mentioned six times in the main body of the work

तानरागस्वरग्राममूर्छनाना� तु लक्षणम्।
पवित्र� पावन� पुण्यं नारदेन प्रकीर्तितम्॥

tānarāgasvaragrāmamūrchanānā� tu lakṣaṇam|
pavitra� pāvana� puṇya� nāradena prakīrtitam||

(ī Śṣ�,1/2/2)

शिक्षामाहुर् द्विजानीनामृग्यजुः सामलक्षणम्�
नारदीयमशेषे� निरुक्तमनुपूर्वशः॥

śikṣāmāhur dvijānīnāmṛgyaju� sāmalakṣaṇam|
nāradīyamaśeṣeṇa niruktamanupūrvaśaḥ||

(ī Śṣ�, 1/2/3)

स्वर्गान� नाऽन्यत्� गान्धारो नारदस्� मत� यथा।
स्वररागविशेषेण ग्रामराग� इत� स्मृताः॥

svargān nā'nyatra gāndhāro nāradasya mata� yathā|
svararāgaviśeṣeṇa grāmarāgā iti smṛtāḥ|| 

(ī Śṣ�, 1/2/7)

यथ� सौराष्ट्रिका नारी तक्र� इत्यभिभाषते।
एव� रङ्ग� प्रयोक्तव्यो नारदस्� मत� यथा॥

yathā saurāṣṭrikā nārī takra' ityabhibhāṣate|
eva� raṅga� prayoktavyo nāradasya mata� yathā||

(ī Śṣ�, 2/4/10)

पञ्चमस्त� स्वर� गीती नारदेन महात्मना�
धैवतश्� निषादश्च गोतौ तुम्बुरुणा स्वरौ॥

pañcamastu svaro gītī nāradena mahātmanā|
dhaivataśca niṣādaśca gotau tumburuṇ� svarau||

(ī Śṣ�, 1/5/14) 

तुम्बुरुनारदवसिष्ठविश्वावस्वादयश्च गन्धर्वाः।
आमसु निभृतं करणं स्वरसौक्ष्म्यात् तेऽप� हि � कुर्युः॥

tumburunāradavasiṣṭhaviśvāvasvādayaśca gandharvāḥ|
āmasu nibhṛta� karaṇa� svarasaukṣmyāt te'pi hi na kuryuḥ||

(ī Śṣ�, 2/7/13)

According to the above text has been mentioned as author of the �Ի峾�, the third musical gamut and it states in this connection that there are only two (musical gamuts) on earth and on �ūǰ첹”—namely the �ṣaḍj峾�, �ⲹ峾� and the third �Ի峾� which is attributes to —“is current only in Paradise, and not on earth�.

षड्जमध्यमगान्धारास्त्रयो ग्रामा� प्रकीर्तिताः।
भूलोकाज्जायत� षड्ज� भूवलोकाच्च मध्यमः�

ṣaḍjamadhyamagāndhārāstrayo grāmā� prakīrtitāḥ|
bhūlokājjāyate ṣaḍjo bhūvalokācca madhyamaḥ||

(ī Śṣ�, 1/2/6)

स्वर्गान्नाऽन्यत्र गान्धारो नारदस्� मत� यथा।
स्वररागविशेषेण ग्रामराग� इत� स्मृताः॥

svargānnā'nyatra gāndhāro nāradasya mata� yathā|
svararāgaviśeṣeṇa grāmarāgā iti smṛtāḥ|| 

(ī Śṣ�, 1/2/7)

岹 was the author of ī Śṣ� of 5th century A.D. In ī Śṣ� the three �� have been discussed. 

ī Śṣ� has named the different �ū󲹲� (Modulation):

षड्ज� तूत्तरमन्द्र� स्यादृषभ� चाऽभिरुद्गता�
अश्वक्रान्ता तु गान्धारे तृतीया मूर्च्छन� स्मृता�

ṣaḍje tūttaramandrā syādṛṣabhe cā'bhirudgatā|
aśvakrāntā tu gāndhāre tṛtīyā ū󲹲 smṛtā||

(ī Śṣ�, 1/2 /11)

मध्यमे खल� सौवीरा हृष्यक� पञ्चमे स्वरे।
धैवर� चाऽप� विज्ञेया मूर्च्छन� तूत्तरायता�

madhyame khalu sauvīrā hṛṣyakā pañcame svare|
dhaivare cā'pi vijñeyā ū󲹲 tūttarāyatā|| 

(ī Śṣ�, 1 /2 /12)

These modulations have occurred in Bharata’s Nāṭya Śāstra. So the ī Śṣ�, composed probably before it.

Footnotes and references:

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[1]:

Śṣāsaṃgraha, p. 398

[2]:

峾īⲹԳܰԾ

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