Etymology of the west must learn from Birthr hari but they will not. A portion will be sent in these columns for those who would like know how a language is meaningful KR IRS 24223
*SPHOTA* *Two Aspects of the Word* As mentioned earlier in the series, the first two khandas of the Vakyapadiya cover subjects such as grammar as also the philosophy of grammar and linguistics, focusing on the word (Sabda) and meaning (Artha). The first Khanda (Brahma-khanda <http://sarit.indology.info/bhartrhari-vakyapadiya.xml?root=1.5.6.2&view=div>) of Vakyapadiya introduces the concept of Sadba-sphota and gives the outline of its general philosophy; and, its distinction from sound (Dhvani, Nada). By Sabda Sphota, Bhartrhari refers to that inner unity of Sabda (word or sentence) which conveys the meaning (Artha). The text explains a complete sentence as the intent of the speaker, which is unerringly grasped, directly and immediately, by the listener (Sphota). And, that it is not the same as Nada (non-linguistic sound or that which expresses) or Dhvani (intonation) which act as a carrier to convey the intended meaning. Here, in Grammar (in contrast to Tantra and to the classical theories of Indian music), Nada signifies the gross sound which results from a collection of subtle Dhvani-s. *** After establishing , in the opening Karika-s (Shastra-aramba), that Sabda–tattva (Word-principle) is verily the Brahman, the ultimate truth which is beyond space or time; and declaring that Sabda Brahman (Supreme word principle) is One (ekam eva), is imperishable (Akshara) and is identical with the highest Reality –Para Brahman, Bhartrhari takes up the question of language and meaning. (Anadi-nidhanam Brahma sabda-tattvam yad-aksharam / vivartate artha-bhavena prakriya jagato yatah – VP. 1.1) Bhartrhari begins his discussion on words and meaning (VP: 1.44-49) by stating that in the words which are expressive, Grammarians see two aspects : one, the cause of all words, and another, the kind of words used to convey a meaning. These two , though appearing to be separate, are ,in fact, not distant from each other; they, in truth, are one. The Supreme Word principle and the spoken word are in a similar relationship – as that between the fire which is inherent in the firewood, and that which is made manifest through rubbing fire-sticks together. dvāv upādānaśabdeṣu śabdau śabdavido viduḥ / eko nimittaṃ śabdānām aparo ‘rthe prayujyate -VP:1.44 avibhakto vibhaktebhyo jāyate ‘rthasya vācakaḥ / śabdas tatrārtharūpātmā saṃbandham upagacchati – VP: 1.45 ātmabhedaṃ tayoḥ ke cid astīty āhuḥ purāṇagāḥ / buddhibhedād abhinnasya bhedam eke pracakṣate – VP:1.46 araṇisthaṃ yathā jyotiḥ prakāśāntarakāraṇam / tadvac chabdo ‘pi buddhisthaḥ śrutīnāṃ kāraṇaṃ pṛthak – VP: 1.47 vitarkitaḥ purā buddhyā kva cid arthe niveśitaḥ / karaṇebhyo vivṛttena dhvaninā so ‘nugṛhyate – VP: 1.48 nādasya kramajātatvān na pūrvo na paraś ca saḥ / akramaḥ kramarūpeṇa bhedavān iva jāyate – VP:1.49 [Translation of Shri K Raghavan Pillai <https://archive.org/stream/Vakyapadiya/vakyapadiya#page/n21/mode/2up> Words are of two kinds — one, the cause of all words, and another, the kind of words used to convey a meaning. Some consider that there is an intrinsic difference between them, according to others, the second type is only a manifested form of the first the Supreme Word principle and the spoken word are in a relationship similar to that between the fire which is inherent in the firewood, and that which is made manifest through rubbing fire-sticks together. The potential fire in the kindling wood, once inflamed, illuminates itself as well as other objects. Like the light concealed in the piece of kindling wood is the cause of the manifestation (prakāśa) of another [light]. It is the same way in which the mental word is the cause of every audible word. The nada or the uttered sound is only the Sphota or the Word-principle in manifest form. But the manifested word has characteristics of its own which are not – of the Sphota (44-49) In the next kārikās it is claimed that although the distinction between the mental and the audible words may be useful for the description of a verbal communication, from the ontological point of view it is invalid. It is the indivisible word that acquires succession in the phonemes (Varna) as if being differentiated. Modifications, which the mental word is subject to in the course of audible manifestation, have the same character as the changes which the reflection of an object undergoes because of the movement of water. pratibimbaṃ yathānyatra sthitaṃ toyakriyāvaśāt / tatpravṛttim ivānveti sa dharmaḥ sphoṭanādayoḥ // VP:1.50 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex> //] ** Here, Bhartrhari, just as Patanjali, begins with the observation that the words or sentences (Sabda) can be viewed in two ways or as having two aspects (upādāna-śabdesu): One; as sound patterns (Dhvani); and, the other as its cause and essence (Artha). [Patanjali had said: Sphota is both internal and external. The internal form of Sphota is the innate essence of the word-meaning. The external aspect of Sphota is the uttered sound which is perceived by the sense organs. It merely serves to manifest the inner Sphota with its inherent word-meaning. But, for Patanjali, Sphota could be a letter (Varna) or a fixed pattern of letters (Pada).] (i) The gross sound pattern, Dhvani or Nada, is a sequence of sounds. Those sounds are employed to convey or to give an audible form to the intent of the speaker. Those audible sounds through their divisions and time sequence, produced one after another by the speech organs, act as means (upaya) or as vehicles to transport the intent of the speaker. Such quanta of sound-sequences (words) might create an impression as though they are independent; and, the meaning intended to be conveyed by them (Sphota) comprises several parts. But, in truth, the individual words have no separate existence; and, both the sentence and its meaning (Sphota) are part-less. .[pade na varna vidyante varnesva avayaya na cha / vakyat padanam atyantam pravibhago na kascha na // VP 174] According to Bhartrhari, the letter-sounds have a limited range. Each sound helps in gaining a better understanding of its next. The first one could be vague ; and , the next one little more clear and so on, until the last one, aided by the accumulated impression created by all the preceding perceptions, finally reveals the complete meaning (Sphota) with precision and distinctness, as the light does. ātmarūpaṃ yathā jñāne jñeyarūpaṃ ca dṛśyate / artharūpaṃ tathā śabde svarūpaṃ ca prakāśate – 1.51 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.xml?root=1.5.6.2&odd=sarit.odd&view=div> * (ii) The second; the essence or the meaning-bearing aspect of the language is called the Sphota. It is through that Sphota the meaning (Artha) of the sentence, as a whole, flashes forth. Bhartrhari envisages Sphota “as that internal aspect, which is a timeless and part-less (avibhakta) linguistic symbol, to which meaning is attached”. Here, Sphota represents the true intent, purpose of the sentence (Sabda), while Dhvani the articulated sound-pattern, in its physical aspect, acts as a carrier to manifest the Sphota. (ii) These two – Dhvani and Sphota – though appearing to be separate are, in fact, intimately related through a natural process (Yogyata). The former (Dhvani), acts as the outer garment or as an instrument in order to convey the inner essence of the word (Sphota). Thus, a word has a dual power; one to indicate itself and the other to indicate the thing symbolized by it. It is like the power of fire: to reveal itself and at the same time to reveal other things.It is both the revealer and the revealed (prakasha and prakasyatvam). [Earlier, Panini had also mentioned that it is through conveying the own form first, the word conveys its meaning – svaṃ rūpaṃ śabdasyā śabda saṃjñā – 1.01.068 <https://sanskritdocuments.org/doc_z_misc_major_works/aShTAdhyAyI.html?lang=iast> ] ** Though the Sphota is revealed in stages by each succeeding sound; it is, by itself, ‘one and indivisible’. The sounds uttered (words) are merely parts of a sentence that aid to reveal this Sphota. Bhartrhari asserts that it is the cognition of the Sphota in its entirety that is important in understanding the complete and true meaning of a sentence. While the audible noise may vary depending on the speaker’s mode of utterance, Sphota as the meaning-unit of speech is not subject to such variations. [ For instance; the sound of the word Ghata (gh, a, t and a) can be produced in any number of ways, either naturally (prakrta) or in a modified manner (vikruta). That word can be uttered slowly (vilambita), a little more quickly (madhyama) or even very quickly (druta).The variations in speed or in the mode of utterance are called vritti. The vritti might vary the form in which the word is uttered (Dhvani); but , it does not alter the content and the sense (Sphota) of the word. Again; a pot in bright light can be seen clearly. The pot could be seen for a longer time if clear light continues to fall on it. The visibility of the pot depends on the quality of light that falls on it. The variation in the quality of light does not alter the very nature or the status of the pot. Similarly, the change in speed or accent or mode of uttering a word (vritti) does not alter its Sphota. The physical aspect of the word that is the quality of its sound (Dhvani) might vary ; but , its Sphota remains unchanged.] Obviously, Sphota is viewed here as a changeless element of speech, the inner unity which holds together the meaning. But, Bhartrhari does not define the term precisely. [The commentators surmise that the ancient concept of Pranava (Om-kara) might have provided the inspiration to come up with the Sphota concept. In fact, Sphota is often identified with Pranava; and is taken as the imperishable Vak, the speech-principle (Vak-tattva).] ** Bhartrhari explains the relation between the Sphota and Nada through an analogy of reflection of the moon on the surface of water. The relation between the object (moon) and its image (reflection) is because of the reflective surface (water). And the movement of the reflection might not necessarily be because of the movement of the object (moon). He says; just as the reflection on the water might give an impression as though the moon (object) is rippling and moving, similarly the Sphota takes on the properties of uttered speech (sequence, loudness or softness and so on) in which it is manifested. According to this view, the reflection acquires the qualities of the object. nādasya kramajātatvān na pūrvo na paraś ca saḥ / akramaḥ kramarūpeṇa bhedavān iva jāyate // 1.49 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex> // pratibimbaṃ yathānyatra sthitaṃ toyakriyāvaśāt / tatpravṛttim ivānveti sa dharmaḥ sphoṭa-nādayoḥ // 1.50 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex>// ātmarūpaṃ yathā jñāne jñeyarūpaṃ ca dṛśyate / artharūpaṃ tathā śabde svarūpaṃ ca prakāśate / / 1.51 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex> // According to Bhartrhari, the perfect perception is that in which there is identity between the essence or the thought (Sphota) and the form of its manifestation (Nada or Dhvani – the letters or sounds). They are the two halves of one entity; and, are not distinct and separable (asyaiv-ātmano bhedau śabdā-arthāv apṛtha -ksthitau – VP.2.31 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex>) The realization of this special kind of relation arises due to the function of mind, rather than of the external senses. [Some scholars have pointed out that Bhartrhari’s position is closer to the notion of reflection (Abhasa) formulated by the Trika philosophers of Kashmir. In this viewpoint, the Shaktis and their material forms as words are identical with the Absolute. The relationship between the two is described as that between the mirror and its reflection. That is; the latter can have no independent existence without the former. And, yet the latter also has a reality which is somehow identical with the former.] [Bhartrhari at another place clarifies (VP.1.59): ‘Two aspects of a word (upādānaśabda), distinguished artificially and perceived as separate, indicate different activities, without contradiction’. It means that all the elements extracted from the word in the course of linguistic analysis are ultimately unreal. But they are valid in their own context. The elements that are relevant in the context of one activity may not be valid in the context of another. That is to say; each kind of activity, i.e. each kind of communicative situation, has its own reality which in some way might differ from the realities of other situations. bhedenāvagṛhītau dvau śabdadharmāv apoddhṛtau/ bhedakāryeṣu hetutvam avirodhena gacchataḥ (VP.1.59 <http://sarit.indology.info/apps/sarit-pm/works/bhartrhari-vakyapadiya.tex>) ] [image: diwali-diya-lotusflower-design] *Sphota:* The technical term Sphota does not easily translate into English. Sometimes, the term ‘symbol’ is used for Sphota in the sense of its function as a linguistic sign. Some scholars have tried to equate Sphota with the Greek concept of Logos, which stands for an Idea as well as for word. But such explanations too seem rather inadequate. The term Sphota is derived from the Sanskrit root ‘Sphut’ which means ‘to burst forth’; but, it also describes what ’is revealed’ or ’is made explicit’. Sphota can also refer to the abstract or conceptual form of an audible word. Say, as when the idea or the meaning bursts or flashes on the mind after one hears /grasps the sounds that are uttered. [Harsha V. Dehejia remarks : translated wrongly as ‘explosion’; Sphota could ideally be understood as ‘blossoming’] In Grammar and in Indian linguistic theory, the term Sphota is of prime importance. Nageshabhatta in his Sphota-vada describes Sphota as an entity which is manifested by spoken letters or sounds; and, through which meaning is expressed (sphutati prakashate artho asmad iti sphotah, Vacaka iti yavat, Sphotavada). In a similar manner, Sri Madhava in his Sarva-darshana-samgraha, defines Sphota as that which is manifested or revealed by the Varna (phonemes): sphutyate vyajyate varnairiti sphotah’. Sri Madhava describes Sphota in two ways. The first as: that from which the meaning bursts forth or shines forth. And, the second as: an entity that is manifested by the spoken letters and sounds. To put it in another way; Sphota, in its linguistic sense, refers to that element which expresses a meaning (word). In its second sense, it is something that is made explicit by letters or sounds (meaning). Thus, the Sphota may be thought of as a kind of two-sided coin. On the one side, it is manifested by the word sound; and on the other side, it simultaneously reveals the word meaning. It is both the word and its meaning. Bhartrhari also deals with Sphota at two levels: one on the metaphysical plane and the other on the empirical plane. The Sphota here is more than a theory of language. The principle that is involved here is: the Brahman first manifested itself as Sound and then as form. The Sphota, Sabda-Brahman, the manifester as Logos or Word, is the power through which the Lord manifests in the universe. Liberation is achieved when one attains unity with that ‘supreme word principle’. Within this theory, consciousness and thought are intertwined; and Grammar becomes a path to liberation. This metaphysical Sphota-vada is a monistic philosophy based in Sanskrit grammar. At the empirical level, Bhartrhari is concerned with the process of communicating meaning. He deals with the word and the sound distinctions; the word meaning; the unitary nature of the whole sentence; the word-object connection; and the levels of speech, etc. His focus is on cognition and on language. Bhartrhari also says that Sphota is both external (bahya) and internal (abhayantara). And again, in understanding Sphota as an external entity we have to understand it in the form of universal (Jati) and individual or specific (Vyakti). Vakya padiya by birthrhari part 1 KR IRS 24223 -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. To unsubscribe from this group and stop receiving emails from it, send an email to [email protected]. 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