Changes

* Usage of Svaras gives a musical tinge to the veda mantras, while such an attempt in traditional samskrit is not seen (chandas is applicable).<ref name=":4" />

* Usage of Svaras gives a musical tinge to the veda mantras, while such an attempt in traditional samskrit is not seen (chandas is applicable).<ref name=":4" />

=== मात्रा ॥ Matra ===

=== मात्रा ॥ Matra ===

* The time of utterance (उच्चारणम्) of a syllable is called Matra (मात्रा). In vaidika samskrit - Hrasva (ह्रस्वः), Deergha (दीर्घः), Pluta (प्लुतः) kinds of utterances are available but Pluta is gradually lost in present day samskrit language.<ref name=":4" />   

* The time of utterance (उच्चारणम् | uccharana) of a syllable is called Matra (मात्रा). In vaidika samskrit - Hrasva (ह्रस्वः), Deergha (दीर्घः), Pluta (प्लुतः) kinds of utterances are available but Pluta is gradually lost in present day samskrit language.<ref name=":4" />   

<blockquote>अधः स्विदासी३त् उपरि स्विदासी३त् भीरिव विन्दन्ती३ । adhaḥ svidāsī3t upari svidāsī3t bhīriva vindantī3 । </blockquote>

<blockquote>अधः स्विदासी३त् उपरि स्विदासी३त् भीरिव विन्दन्ती३ । adhaḥ svidāsī3t upari svidāsī3t bhīriva vindantī3 । </blockquote>

* Anunasikikarana (अनुनासिकीकरण ) -  Svaras (स्वर-s) which are अच् (vowels) when present at the end of the word (अवसानम्) are transformed into anunasika (अनुनासिकः) forms except in Shakala shakha (शाकलशाखा) of Rigveda. Example : ईड्यो॒ नूत॑नैरु॒'''तँ'''। (Rig. Veda. 1.1.2) (Pratishakhya Sutra given on Page 554 of Reference <ref name=":4">Upadhyaya, Baldev. (1958) ''[https://archive.org/details/VaidikSahityaBaldevUpadhyaya1958 Vaidik Sahitya]''. </ref>)

* Anunasikikarana (अनुनासिकीकरण ) -  Svaras (स्वर-s) which are अच् (vowels) when present at the end of the word (अवसानम्) are transformed into anunasika (अनुनासिकः) forms except in Shakala shakha (शाकलशाखा) of Rigveda. Example : ईड्यो॒ नूत॑नैरु॒'''तँ'''। (Rig. Veda. 1.1.2) (Pratishakhya Sutra given on Page 554 of Reference <ref name=":4">Upadhyaya, Baldev. (1958) ''[https://archive.org/details/VaidikSahityaBaldevUpadhyaya1958 Vaidik Sahitya]''. </ref>)

* Anusvara usage (अनुस्वारप्रयोगः) - Considered as a varna different from both Svara and Vyanjana (व्यञ्जनम् । consonant), the Anusvara is pronounced using the nasika (नासिका) (Rik. Prat. 1.5). However, presently, the pronunciation of anusvara is diluted and gradually declining. Example : '''सिंह''' with the requirement of pronunciation of anusvara is uttered as '''सिह''' without the anusvara.  

* Anusvara usage (अनुस्वारप्रयोगः) - Considered as a varna different from both Svara and Vyanjana (व्यञ्जनम् । consonant), the Anusvara is pronounced using the nasika (नासिका) (Rik. Prat. 1.5). However, presently, the pronunciation of anusvara is diluted and gradually declining. Example : '''सिंह''' with the requirement of pronunciation of anusvara is uttered as '''सिह''' without the anusvara.  

* Vyanjana (व्यञ्जनम् । consonant) - Dilution of vyanjana varnas such as Visarga (विसर्गः) Jihvamuliyas ('''जिह्वामूलीय-s''') and Upadhmaniyas ('''उपध्मानीय-s''')

* Vyanjana (व्यञ्जनम् । consonant) - Dilution of vyanjana varnas such as Visarga (विसर्गः), Jihvamuliyas ('''जिह्वामूलीय-s''') and Upadhmaniyas ('''उपध्मानीय-s''')

** Visarga : Usage of visarga is gradually declining. The sound of 'ह' at the end of the word is not being used in present day.

** Visarga : Usage of visarga is gradually declining. The sound of 'ह' at the end of the word is not being used in present day.

** k ('''क्''') and kh ('''ख्''') form the Jihvamuliyas and p ('''प्''') and ph ('''फ्''') form the Upadhmaniyas which are lost in present day samskrit usage.  

** k ('''क्''') and kh ('''ख्''') form the Jihvamuliyas and p ('''प्''') and ph ('''फ्''') form the Upadhmaniyas which are lost in present day samskrit usage.  

* The vyanjana ' '''ळ''' ' as in '''इळामग्ने'''  and '''साळ्हा''' is seen only in vaidika bhasha. Usage of ' ळ ' and ' ळ्ह ' and the rules for their conversion to ड and ढ are described in Rik Pratisakhya. These vyanjanas are commonly seen only in Rigveda and not in other vedas also. (Pratisakhya Sutra given on Page 555 of Reference <ref name=":4">Upadhyaya, Baldev. (1958) ''[https://archive.org/details/VaidikSahityaBaldevUpadhyaya1958 Vaidik Sahitya]''. </ref>)

* The vyanjana ' '''ळ''' ' as in '''इळामग्ने'''  and '''साळ्हा''' is seen only in vaidika bhasha. Usage of ' ळ ' and ' ळ्ह ' and the rules for their conversion to ड and ढ are described in Rik Pratisakhya. These vyanjanas are commonly seen only in Rigveda and not in other vedas also. (Pratisakhya Sutra given on Page 555 of Reference <ref name=":4">Upadhyaya, Baldev. (1958) ''[https://archive.org/details/VaidikSahityaBaldevUpadhyaya1958 Vaidik Sahitya]''. </ref>)

* ' ऌ and ॡ ' varnas are only seen in vaidika bhasha. Example: अचीक्ऌपत् | acīkḷpat |  

* ' ऌ and ॡ ' varnas are only seen in vaidika bhasha. Example: अचीक्ऌपत् | acīkḷpat |  

* Doubling of consonants (द्वित्वम् | dvittva), called as Krama (क्रमः), is a process performed under many defined conditions and exceptions. Example : सोमानं '''स्स्व'''रणम् । somānaṃ ssvaraṇam (Rig. Veda. 1.18.1)

* Doubling of consonants (द्वित्वम् | dvitva), called as Krama (क्रमः), is a process performed under many defined conditions and exceptions. Example : सोमानं '''स्स्व'''रणम् । somānaṃ ssvaraṇam (Rig. Veda. 1.18.1)

* Svarabhakti (स्वरभक्तिः) and Abhinidhana (अभिनिधानम्) are grammatical processes where combined varnas (संयुक्तवर्ण-s । Samyuktavarnas) are broken down for clarity of pronunciation. Example: स्वर → सुवर, पृथ्वी →पृथिवी and दर्शत → दरशत  

* Svarabhakti (स्वरभक्तिः) and Abhinidhana (अभिनिधानम्) are grammatical processes where combined varnas (संयुक्तवर्ण-s । Samyuktavarnas) are broken down for clarity of pronunciation. Example: स्वर → सुवर, पृथ्वी →पृथिवी and दर्शत → दरशत  

* Vyuha (व्यूहः) and Vyavaya (व्यवायः) : Vyuha means separation. The process of separation of combined letters to accommodate the appropriate metrical construction (chandas) in a pada of mantra is called Vyuha. Vyavaya (meaning interval) is a similar process applicable to combined letters containing y(य्)-v (व्)-r (र्)-l (ल्) which are separated to allow proper metrical composition.

* Vyuha (व्यूहः) and Vyavaya (व्यवायः) : Vyuha means separation. The process of separation of combined letters to accommodate the appropriate metrical construction (chandas) in a pada (पादः) of mantra is called Vyuha. Vyavaya (meaning interval) is a similar process applicable to combined letters containing y (य्), v (व्), r (र्), l (ल्) which are separated to allow proper metrical composition.

=== पदम् || Pada ===

=== पदम् || Pada ===

* Words such as japhari (जफरी), tuphari (तुफरी), Arjuni (अर्जुनी), Aktu (अक्तु), Svetya (श्वेत्या), Gatu (गातुः), Gma (ग्मा) existed in Vaidika samskrit which are missing from traditional samskrit language.

* Words such as japhari (जफरी), tuphari (तुफरी), Arjuni (अर्जुनी), Aktu (अक्तु), Svetya (श्वेत्या), Gatu (गातुः), Gma (ग्मा) existed in Vaidika samskrit which are missing from traditional samskrit language.

* Dative case (चतुर्थीविभक्तिः) and Genitive case (षष्ठीविभक्तिः) are used interchangeably in vaidika bhasha. Example : In गोधाकालकादार्वाघटास्ते वनस्पतीनाम् | Here, instead of वनस्पतीभ्यः usage of वनस्पतीनाम् is seen.

* Dative case (चतुर्थीविभक्तिः) and Genitive case (षष्ठीविभक्तिः) are used interchangeably in vaidika bhasha. Example : In गोधाकालकादार्वाघटास्ते वनस्पतीनाम् | Here, instead of वनस्पतीभ्यः usage of वनस्पतीनाम् is seen.

=== लकाराः ॥ Lakaras (Tenses and Moods) ===

=== लकाराः ॥ Lakaras (Tenses and Moods) ===

* लेटलकारः - In vaidika bhasha usage of verb root in लेटलकारः (Subjunctive mood) is extensive. It is used in two senses: of a contractual agreement (उपसंवादः) and doubt or probability (आशङ्का). A study of the Rigveda, according to Pt. Baldev Upadhayaya, clearly differentiates the '''लेटलकारः''' (Subjunctive mood) from '''विधिलिङ्''' (Potential Mood). The fulfillment of an action lies well within the capability limits of the speaker (in the first person) is given by the लेटलकारः| However, विधिलिङ् indicates that action whose fulfillment lies beyond the capability of the speaker and hence, is described optional with sambhavana (संभावना | probability).<ref name=":4" />  

* लेटलकारः - In vaidika bhasha usage of verb root in लेटलकारः (Subjunctive mood) is extensive. It is used in two senses: of a contractual agreement (उपसंवादः । upasamvada) and doubt or probability (आशङ्का | ashanka). A study of the Rigveda, according to Pt. Baldev Upadhayaya, clearly differentiates the '''लेटलकारः''' (Subjunctive mood) from '''विधिलिङ्''' (Potential Mood). The fulfillment of an action lies well within the capability limits of the speaker (in the first person) is given by the लेटलकारः| However, विधिलिङ् indicates that action whose fulfillment lies beyond the capability of the speaker and hence, is described optional with sambhavana (संभावना | probability).<ref name=":4" />  

* Many rules are applicable to this mood. Examples:

* Many rules are applicable to this mood. Examples:

** ज्योतिषत् - After the dhatu when इस् form is seen it is transformed to इष् |  

** ज्योतिषत् - After the dhatu when इस् form is seen it is transformed to इष् |  

** तारिषत् - In the लेटलकारः form of word ending in स् will cause the वृद्धिः of the first svara of the dhatu

** तारिषत् - In the लेटलकारः, form of word ending in स् will cause the वृद्धिः of the first svara of the dhatu

** मन्दिषत् - In Parasmaipadi forms of a few लेटलकारः words, the इकारः of the vibhakti will be lost (लोपः).  

** मन्दिषत् - In Parasmaipadi forms of a few लेटलकारः words, the इकारः of the vibhakti will be lost (लोपः).  

** करवाव and करवावः - In लेटलकारः first person (उत्तमपुरुषः) forms a word ending with visarga, is used with or without visarga optionally.  

** करवाव and करवावः - In लेटलकारः, first person (उत्तमपुरुषः) forms a word ending with visarga, is used with or without visarga optionally.  

* Lit lakar (लिट्) is used for past perfect tense (परोक्षभूतकालः) in laukika bhasha but it is used in present tense (वर्तमानकालः) also in vaidika bhasha.

* Lit lakar (लिट्) is used for past perfect tense (परोक्षभूतकालः) in laukika bhasha but it is used in present tense (वर्तमानकालः) also in vaidika bhasha.

Every akshara has a specific and significant position in the matrix. Also nature and intensity of effort involved in uttering, differ from akshara to akshara and also from one group to another. All the variations and characteristics of each akshara are reflected in its meaning.   

Every akshara has a specific and significant position in the matrix. Also nature and intensity of effort involved in uttering, differ from akshara to akshara and also from one group to another. All the variations and characteristics of each akshara are reflected in its meaning.   

When we speak or hear, the speech sounds are aksharas. When we put them into writing, their name is alphabet. Vedic alphabet is shown below as per their articulation points in the speaking machine (mouth): Only articulation points (and not all aksharas) are shown below. The akshara kha (ख) has no separate point of touch. The articulation point is the same as ka. Similar is the case with other aspirants – cha (छ), jha (झ) etc.<ref name=":1" />

When we speak or hear, the speech sounds are aksharas. When we put them into writing, their name is alphabet. Vedic alphabet is shown below as per their articulation points in the speaking machine (mouth): Only articulation points (and not all aksharas) are shown below. The akshara kha (ख) has no separate point of touch. The articulation point is the same as ka (क). Similar is the case with other aspirants – cha (छ), jha (झ) etc.<ref name=":1" />

{| class="wikitable"

{| class="wikitable"

!1

!1

# The arrangement of the positions of articulation in the mouth, either from left to right or from top to bottom is shown above. Everyone can verify themselves the arrangement.

# The arrangement of the positions of articulation in the mouth, either from left to right or from top to bottom is shown above. Everyone can verify themselves the arrangement.

# Main Vowels only are shown as the remaining vowels are just combinations of the prime vowels: <blockquote>a + i = e (अ +‍ इ = ए)</blockquote><blockquote>a + u = ō (अ +‍उ = ओ)</blockquote><blockquote>a + e = ai (अ +‍ ए = ऐ)‍</blockquote><blockquote>a + ō = au (अ +‍ ओ = औ)‍ and</blockquote><blockquote>a + a = ā (अ +‍अ = आ);  i + i = ī (इ + इ = ई);  u + u = ū (उ +‍उ = ऊ)</blockquote>

# Main Vowels only are shown as the remaining vowels are just combinations of the prime vowels: <blockquote>a + i = e (अ +‍ इ = ए)</blockquote><blockquote>a + u = ō (अ +‍उ = ओ)</blockquote><blockquote>a + e = ai (अ +‍ ए = ऐ)‍</blockquote><blockquote>a + ō = au (अ +‍ ओ = औ)‍ and</blockquote><blockquote>a + a = ā (अ +‍अ = आ);  i + i = ī (इ + इ = ई);  u + u = ū (उ +‍उ = ऊ)</blockquote>

# Vowel "a (अ)" is added to each consonant (k – क् | k + a = ka | क् +‍अ = क) to make it an akshara. Combination of vowel and the consonant results in an akshara, a separate recognizable sound unit. This automatic combining capability of both the vowel and consonant is innate in every man. Consonant sound alone cannot be sustained for more than half matra (मात्रा) duration (matra is the time period required to utter an akshara  to be clearly audible and recognizable). Veda calls this natural union, samhita (संहिता). It is the vowel sound that gives prana (प्राणः) – life and makes the consonant stand the full matra period. The vowel – consonant combination is the fundamental samhita on which the entire speech system depends.  

# Vowel "a (अ)" is added to each consonant (k – क् | k + a = ka | क् +‍अ = क) to make it an akshara. Combination of vowel and the consonant results in an akshara, a separate recognizable sound unit. This automatic combining capability of both the vowel and consonant is innate in every man. Consonant sound alone cannot be sustained for more than half matra (मात्रा) duration (matra is the time period required to utter an akshara to be clearly audible and recognizable). Veda calls this natural union, samhita (संहिता). It is the vowel sound that gives prana (प्राणः) – life and makes the consonant stand the full matra period. The vowel – consonant combination is the fundamental samhita on which the entire speech system depends.  

# The live energetic vibrant akshara matrix, embedded in the mouth of every human being, is the basis on which the Vedic language is built.

# The live energetic vibrant akshara matrix, embedded in the mouth of every human being, is the basis on which the Vedic language is built.

# When we look at the matrix, we notice an orderly system in the arrangement of the akshara positions:

# When we look at the matrix, we notice an orderly system in the arrangement of the akshara positions:

#* There are three main rows with eight aksharas in each row and a fourth subsidiary one with two aksharas.

#* There are three main rows with eight aksharas in each row and a fourth subsidiary one with two aksharas.

#* If we look from top to bottom, they are separated into three broad groups, vowels in the left (1 column), consonant (stops) aksharas in the center (5 columns). The last two column (7th & 8th) are different from both vowels and stops. Sanskrit linguists call 7th column aksharas ushma (ऊष्मः) type and of the 8th column, antastha (अन्तःस्थः) type. The ushma – aksharas require more air to utter. The nature of effort to pronounce antastha akshara is different from that all other types. Sanskrit grammar texts refer consonants in the middle as sparsha (स्पर्शः) aksharas and the Vowels as prana aksharas.

#* If we look from top to bottom, they are separated into three broad groups, vowels in the left (1 column), consonant (stops) aksharas in the center (5 columns). The last two column (7th & 8th) are different from both vowels and stops. Sanskrit linguists call 7th column aksharas ushma (ऊष्मः) type and of the 8th column, antastha (अन्तःस्थः) type. The ushma – aksharas require more air to utter. The nature of effort to pronounce antastha akshara is different from that all other types. Sanskrit grammar texts refer consonants in the middle as sparsha (स्पर्शः) aksharas and the Vowels as prana aksharas.

#* Vowel speaking area is spread from the throat to the lips and indicates the boundaries of the speaking machine. Similarly the limits of active area for of each group is clear, both in length and breadth from the orderly arrangement of the articulation points in the mouth.

#* Vowel speaking area is spread from the throat to the lips and indicates the boundaries of the speaking machine. Similarly, the limits of active area for of each group is clear, both in length and breadth from the orderly arrangement of the articulation points in the mouth.

#* The sparsha aksharas are in three horizontal lines. First line consists of aksharas with minimum resonance, the second with those of higher resonance and the last highest resonance. (नासिका | Nasal sounds) .

#* The sparsha aksharas are in three horizontal lines. First line consists of aksharas with minimum resonance, the second with those of higher resonance and the last highest resonance. (नासिका | Nasal sounds) .

#* The arrangement is so scientific and perfect, that the tongue can jump to any point and pick up the consonant before the vowel sound comes to join.<ref name=":1" />

#* The arrangement is so scientific and perfect, that the tongue can jump to any point and pick up the consonant before the vowel sound comes to join.<ref name=":1" />

Samhita’s capability is indicated by compound akshara kṣa – क्ष. The word not only indicates all the audio capsules which mouth can produce, but also its samhita capability. The word akshara literally means what it sounds!

Samhita’s capability is indicated by compound akshara kṣa – क्ष. The word not only indicates all the audio capsules which mouth can produce, but also its samhita capability. The word akshara literally means what it sounds!

One more example to indicate how Vedic words are coined : om is a very common word in Veda and ōm iti ekākṣaraṁ brahma – ॐ इति एकाक्षरं ब्रह्म is an often quoted sentence from Veda. akshara ō – ओ is the result of combining vowels a – अ and u – उ.  Thus, om represents Brahma through its manifestation, having the properties of a – अ, u – उ and ṁ – म्.

One more example to indicate how Vedic words are coined : om is a very common word in Veda and ॐ इति एकाक्षरं ब्रह्म । ōm iti ekākṣaraṁ brahma – is an often quoted sentence from Veda. akshara ō – ओ is the result of combining vowels a – अ and u – उ.  Thus, om represents Brahma through its manifestation, having the properties of a – अ, u – उ and ṁ – म्.

== संवादः || Discussion ==

== संवादः || Discussion ==

Interesting questions raised by Shri. Achyut Karve and discussed in the Bharatiya Vidvat Parishad may also be on the minds of many people:   

Interesting questions raised by Shri. Achyut Karve and discussed in the Bharatiya Vidvat Parishad may also be on the minds of many people:   

Although the answers to such questions calls for research which will only establish the historicity of the language, Indians have been attached to the Vedas and Sanskrit for millennia and have been nurturing and nourishing it for millennia. No other place did that. This discussion may be followed on Bharatiya Vidvat Parishad.<ref>Bharatiya Vidvat Parishad Discussion : [https://groups.google.com/forum/#!msg/bvparishat/GU1zGYtjoh4/307IR7c4AgAJ;context-place=searchin/bvparishat/vedic$20language%7Csort:date Origins of Vedic Language]</ref>

Although the answers to such questions calls for research which will only establish the historicity of the language, Indians have been attached to the Vedas and Sanskrit for millennia and have been nurturing and nourishing it for millennia. No other place did that. This discussion may be followed on Bharatiya Vidvat Parishad.<ref>Bharatiya Vidvat Parishad Discussion : [https://groups.google.com/forum/#!msg/bvparishat/GU1zGYtjoh4/307IR7c4AgAJ;context-place=searchin/bvparishat/vedic$20language%7Csort:date Origins of Vedic Language]</ref>

=== Akshara in Vedic Language ===

=== Akshara in Vedic Language ===

A few thoughts of Sri. Rayalu Viswanatha, regarding Aksharas<ref name=":1" /> of the Vedic Language.How does Veda apportion meaning to each akshara?

A few thoughts of Sri. Rayalu Viswanatha, regarding Aksharas<ref name=":1" /> of the Vedic Language.

The sparsha aksharas are in three rows. Human existence has three aspects. First one refers to activities associated with our daily routine. The second one is connected with our ideals, dreams, goals and emotions. The third is the world of knowledge, thinking and awareness. aksharas in the three rows are correspondingly used in Vedic language. All nasikyas (nasal sound are used to identify and describe the various jnana activities. The akshara ma (म), last in the line, is reserved for mind (manas) .

 

The sparsha aksharas are in three rows. Human existence has three aspects. First one refers to activities associated with our daily routine. The second one is connected with our ideals, dreams, goals and emotions. The third is the world of knowledge, thinking and awareness. Aksharas in the three rows are correspondingly used in Vedic language. All nasikyas (nasal sounds are used to identify and describe the various jnana activities. The akshara ma (म), last in the line, is reserved for mind (manas) .

The ushma aksharas are used to identify prana area (forces responsible for living).

The ushma aksharas are used to identify prana area (forces responsible for living).