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Shabda (Samskrit: शब्दः) a word similar to many others like Dharma and Jnana used in Sanatana Dharma, is of significance in the development of the language system and expression of thought. It is defined and explained as a that "heard by the ear" or it is a "sound (ध्वनिः)" or "a cry, roar (रवः)" by Vaiyyakaranas, apart from being used as a technical term (संज्ञा) of a valid tool of knowledge (cognition) or [[Pramana (प्रमाणम्)]] by the Darshanikas.

Shabda (Samskrit: शब्दः) a word similar to many others like Dharma and Jnana used in Sanatana Dharma, is of significance in the development of the language system and expression of thought. It is defined and explained as a that "heard by the ear" or it is a "sound (ध्वनिः)" or "a cry, roar (रवः)" by Vaiyyakaranas, apart from being used as a technical term (संज्ञा) of a valid tool of knowledge (cognition) or [[Pramana (प्रमाणम्)]] by the Darshanikas.

[[File:Shabdotpatti.PNG|thumb|336.25x336.25px|Process of production of Articulate Sounds in a Human]]

 

Shabdanushasanam (शब्दानुशासनम्) means Vyakarana (Grammar) which deals with the systematic study to comprehend the meaning of a sentence by understanding the connotation and the denotation of the words which make it up.<ref name=":1">Sastri. Subrahmaya. P. S. (1944) ''Lectures on Patanjali Mahabhashya. Vol 1. (Ahnikas 1 - 3).'' Annamalai Nagar: Annamalai University</ref>  

'''Science of Dhvani''' ('''ध्वनिविज्ञानम्)''', involves the study of Dhvani (Sound), the synonymous terms, place of utterance and speech mechanism (उच्चारणस्थानानि वाग्यन्त्राणि), origin and classification of sounds, siddhantas involved in the production and propagation of sound, auditory organ and mechanism of reception of sound.

 

Shabdanushasanam (शब्दानुशासनम्) means Vyakarana (Grammar) a branch of Vedanga, which deals with the systematic study to comprehend the meaning of a sentence by understanding the connotation and the denotation of the words which make it up.<ref name=":1">Sastri. Subrahmaya. P. S. (1944) ''Lectures on Patanjali Mahabhashya. Vol 1. (Ahnikas 1 - 3).'' Annamalai Nagar: Annamalai University</ref>  

== परिचयः ॥ Introduction ==

== परिचयः ॥ Introduction ==

Shabdakalpadruma defines the word शब्दः as श्रोत्रग्राह्यगुणपदार्थ-विशेषः। that padartha having the quality of being captured (heard) by the ear. The synonyms for Shabda according to Amarakosha are<blockquote>१ निनादः २ निनदः ३ ध्वनिः ४ ध्वानः ५ रवः ६ स्वनः ७ स्वानः ८ निर्घोषः ९ निर्हादः १० नादः ११ निःस्वानः १२ निःस्वनः १३ आरवः १४ आरावः १५ संरावः १६ विरावः इत्यमरः।</blockquote>Shabda is two-fold as word (padam) and sentence (vakyam). A word is defined as that which has the meaning or signifying power (sakti). It is also defined as a unity of articulate letter-sounds having a (verbal or case-) ending.<ref name=":0">Dr. N. S. Ramanuja Tatacharya. (2005) ''[https://archive.org/details/ShabdaBodhamimansaAnInquiryIntoIndianTheoriesOfVerbalCognitionN.S.RamanujaTatacharya/page/n39 Shabdabodhamimamsa. An Inquiry into Indian Theories of Verbal Cognition. Volume 1: The Sentence and its Significance.]'' New Delhi : Rastriya Sanskrit Samsthan</ref>

Shabdakalpadruma defines the word शब्दः as श्रोत्रग्राह्यगुणपदार्थ-विशेषः। that padartha having the quality of being captured (heard) by the ear. The synonyms for Shabda according to Amarakosha are<blockquote>१ निनादः २ निनदः ३ ध्वनिः ४ ध्वानः ५ रवः ६ स्वनः ७ स्वानः ८ निर्घोषः ९ निर्हादः १० नादः ११ निःस्वानः १२ निःस्वनः १३ आरवः १४ आरावः १५ संरावः १६ विरावः इत्यमरः।</blockquote>Shabda is two-fold as word (padam) and sentence (vakyam). A word is defined as that which has the meaning or signifying power (sakti). It is also defined as a unity of articulate letter-sounds having a (verbal or case-) ending.<ref name=":0">Dr. N. S. Ramanuja Tatacharya. (2005) ''[https://archive.org/details/ShabdaBodhamimansaAnInquiryIntoIndianTheoriesOfVerbalCognitionN.S.RamanujaTatacharya/page/n39 Shabdabodhamimamsa. An Inquiry into Indian Theories of Verbal Cognition. Volume 1: The Sentence and its Significance.]'' New Delhi : Rastriya Sanskrit Samsthan</ref>

== शब्दलक्षणम्  ॥ Shabda Lakshana ==

== शब्दलक्षणानि ॥ Shabda Lakshanas ==

 

'''Vaiseshika Darshana''' says that Sound is that object of which the organ of apprehension is the ear.<ref name=":3">Sinha, Nandalal (1923 Second Edition) ''The Vaisesika Sutras of Kanada with the commentary of Sankara Misra''. Allahabad: The Panini Office (Page 86-91)</ref> <blockquote>श्रोत्रग्रहणो योर्ऽथः स शब्दः । वैशेषिक-२,२.२१ । (Vais. Sutr. 2.2.21)<ref name=":4">Vaiseshika Sutras ([https://sa.wikisource.org/wiki/%E0%A4%B5%E0%A5%88%E0%A4%B6%E0%A5%87%E0%A4%B7%E0%A4%BF%E0%A4%95%E0%A4%B8%E0%A5%82%E0%A4%A4%E0%A5%8D%E0%A4%B0%E0%A4%AE%E0%A5%8D Full Text])</ref></blockquote>'''Mahabhashya''' of Patanjali, expounds the vaiyakarana view and addresses the definition of "what is Shabda?"<blockquote>अथ गौरित्यत्र कः शब्दः ? ...... कस्तर्हि शब्दः? येनोच्चारितेन सास्नालाङ्गूलककुदखुरविषाणिनां सम्प्रत्ययो भवति स शब्दः ।। अथ वा प्रतीतपदार्थको लोके ध्वनिः शब्द इत्युच्यते।<ref name=":2">Mahabhashyam ([https://sa.wikisource.org/wiki/%E0%A4%AE%E0%A4%B9%E0%A4%BE%E0%A4%AD%E0%A4%BE%E0%A4%B7%E0%A5%8D%E0%A4%AF%E0%A4%AE%E0%A5%8D/%E0%A4%AA%E0%A4%B8%E0%A5%8D%E0%A4%AA%E0%A4%B6%E0%A4%BE%E0%A4%B9%E0%A5%8D%E0%A4%A8%E0%A4%BF%E0%A4%95%E0%A4%AE%E0%A5%8D Pushpashahnika])</ref></blockquote>Summary: Now, when one says गौः (cow), what is Shabda?... Shabda is that on whose manifestation the correct knowledge of the object (Cow) which has dew-lap (सास्ना), tail (लाङ्गूल), hump (ककुद), hoof (खुर), horns (विषाण) etc, is produced; or, the '''sound which has a decisive meaning is said to be shabda''' in the world.  

'''Vaiseshika Darshana''' says that Sound is that object of which the organ of apprehension is the ear.<ref name=":3">Sinha, Nandalal (1923 Second Edition) ''The Vaisesika Sutras of Kanada with the commentary of Sankara Misra''. Allahabad: The Panini Office (Page 86-91)</ref> <blockquote>श्रोत्रग्रहणो योर्ऽथः स शब्दः । वैशेषिक-२,२.२१ । (Vais. Sutr. 2.2.21)<ref name=":4">Vaiseshika Sutras ([https://sa.wikisource.org/wiki/%E0%A4%B5%E0%A5%88%E0%A4%B6%E0%A5%87%E0%A4%B7%E0%A4%BF%E0%A4%95%E0%A4%B8%E0%A5%82%E0%A4%A4%E0%A5%8D%E0%A4%B0%E0%A4%AE%E0%A5%8D Full Text])</ref></blockquote>'''Mahabhashya''' of Patanjali, expounds the vaiyakarana view and addresses the definition of "what is Shabda?"<blockquote>अथ गौरित्यत्र कः शब्दः ? ...... कस्तर्हि शब्दः? येनोच्चारितेन सास्नालाङ्गूलककुदखुरविषाणिनां सम्प्रत्ययो भवति स शब्दः ।। अथ वा प्रतीतपदार्थको लोके ध्वनिः शब्द इत्युच्यते।<ref name=":2">Mahabhashyam ([https://sa.wikisource.org/wiki/%E0%A4%AE%E0%A4%B9%E0%A4%BE%E0%A4%AD%E0%A4%BE%E0%A4%B7%E0%A5%8D%E0%A4%AF%E0%A4%AE%E0%A5%8D/%E0%A4%AA%E0%A4%B8%E0%A5%8D%E0%A4%AA%E0%A4%B6%E0%A4%BE%E0%A4%B9%E0%A5%8D%E0%A4%A8%E0%A4%BF%E0%A4%95%E0%A4%AE%E0%A5%8D Pushpashahnika])</ref></blockquote>Summary: Now, when one says गौः (cow), what is Shabda?... Shabda is that on whose manifestation the correct knowledge of the object (Cow) which has dew-lap (सास्ना), tail (लाङ्गूल), hump (ककुद), hoof (खुर), horns (विषाण) etc, is produced; or, the '''sound which has a decisive meaning is said to be shabda''' in the world.  

When a word like गौः is pronounced, the following concepts appear in the mind of the hearer :—the species cow, her action, her qualities, genus cow, the shape of the cow—and also the word made up of ga, au and visarga strikes his ear. The hearer begins to doubt whether on pronouncing गौः the Shabda refers to the species cow, her actions etc. According to Vaiyakaranas the relation (sambandha) of शब्दः (word) and अर्थः (its meaning), गुणम् (attribute) and गुणिन् (object having the attribute), क्रिया (action) and क्रियावान् (performer of action) is identity (samavaya sambandha). However none of these are the connotation of shabda and true connotation, according to Vaiyakaranas, is Sphota, which, when manifested, enables the hearer to have a clear knowledge of the object cow. They admit that every letter that is pronounced makes an impression in the mind and the sum total of the impressions made by all the letters of the word suggest the sense. Hence Shabda is not what we hear, but it is that, Sphota or sound-essence, which is manifested in the mind after the whole word is pronounced.<ref name=":1" />

When a word like गौः is pronounced, the following concepts appear in the mind of the hearer :—the species cow, her action, her qualities, genus cow, the shape of the cow—and also the word made up of ga, au and visarga strikes his ear. The hearer begins to doubt whether on pronouncing गौः the Shabda refers to the species cow, her actions etc. According to Vaiyakaranas the relation (sambandha) of शब्दः (word) and अर्थः (its meaning), गुणम् (attribute) and गुणिन् (object having the attribute), क्रिया (action) and क्रियावान् (performer of action) is identity (samavaya sambandha). However none of these are the connotation of shabda and true connotation, according to Vaiyakaranas, is Sphota, which, when manifested, enables the hearer to have a clear knowledge of the object cow. They admit that every letter that is pronounced makes an impression in the mind and the sum total of the impressions made by all the letters of the word suggest the sense. Hence Shabda is not what we hear, but it is that, Sphota or sound-essence, which is manifested in the mind after the whole word is pronounced.<ref name=":1" />

According to Shri. N. Sivasenani<ref>Dr. Sivasenani Nori replying on [https://groups.google.com/d/msg/bvparishat/moXZPCz08_0/GsWBm8-zJVsJ What is meant by Ooha?]</ref>, Sabda has two definitions as given by Patanjali:<blockquote>"''प्रतीतपदार्थकः ध्वनिः शब्दः। is thus a working definition - applicable to vaikharee  shabdas as per Nagesa - which makes meaningful words Sabdas.''</blockquote><blockquote>''The other, more philosophical definition, applicable to madhyamaa according to Nagesa, which accomodates the concept of sphota is: येनोच्चारितेन सास्नालाङ्गूलककुदखुरविषाणिनां सम्प्रत्ययो जायते स शब्दः। The idea is like this. A word is meaningful only if the listener is aware of it. Let us say that I propose that our group of friends go to a tundra for a holiday. If my friends do not know what a tundra is, my statement does not make sense. If they know that tundra is a cold desert, then they can reply along the lines of: "Oh! why on Earth would you want to go to a place where nothing grows, and there is nothing to see" or "Yes, such great calmness would be very nice". So the words uttered by a speaker only trigger the sense that has already been acquired by the listener. Therefore, when one says गौः the image of an animal with a सास्ना (dew-lap in English, and గంగడోలు in Telugu, the loose skin hanging below the neck of a cow), tail, hump, hoof, horns etc. arises in the mind of the listener, hence the definition: Sabda is that on whose pronunciation (or, manifestation) the correct knowledge of the object with dewlap, tail etc. is produced.''"</blockquote>

According to Shri. N. Sivasenani<ref name=":5">Dr. Sivasenani Nori replying on [https://groups.google.com/d/msg/bvparishat/moXZPCz08_0/GsWBm8-zJVsJ What is meant by Ooha?]</ref>, Sabda has two definitions as given by Patanjali:<blockquote>"''प्रतीतपदार्थकः ध्वनिः शब्दः। is thus a working definition - applicable to vaikharee  shabdas as per Nagesa - which makes meaningful words Sabdas.''</blockquote><blockquote>''The other, more philosophical definition, applicable to madhyamaa according to Nagesa, which accomodates the concept of sphota is: येनोच्चारितेन सास्नालाङ्गूलककुदखुरविषाणिनां सम्प्रत्ययो जायते स शब्दः। The idea is like this. A word is meaningful only if the listener is aware of it. Let us say that I propose that our group of friends go to a tundra for a holiday. If my friends do not know what a tundra is, my statement does not make sense. If they know that tundra is a cold desert, then they can reply along the lines of: "Oh! why on Earth would you want to go to a place where nothing grows, and there is nothing to see" or "Yes, such great calmness would be very nice". So the words uttered by a speaker only trigger the sense that has already been acquired by the listener. Therefore, when one says गौः the image of an animal with a सास्ना (dew-lap in English, and గంగడోలు in Telugu, the loose skin hanging below the neck of a cow), tail, hump, hoof, horns etc. arises in the mind of the listener, hence the definition: Sabda is that on whose pronunciation (or, manifestation) the correct knowledge of the object with dewlap, tail etc. is produced.''"</blockquote>

== शब्दभेदाः ॥ Classification of Shabda ==

== शब्दभेदाः ॥ Classification of Shabda ==

One finds interesting classifications of shabda expounded by various Siddhantakaras such as Vaiyakaranas, Naiyayikas, Mimamsakaras, Vedantins and each of them play a significant role in understanding the role of Shabda in verbal comprehension.

One finds interesting classifications of shabda expounded by various darshanakaras such as Sankhyakaras, Vaiyakaranas, Naiyayikas, Mimamsakaras, Vedantins and each of them play a significant role in understanding the role of Shabda in verbal comprehension.

=== Vaidika (वैदिकाः) and Laukika (लौकिकाः) ===

=== Vaidika (वैदिकाः) and Laukika (लौकिकाः) ===

=== Dhvani (ध्वनिः) and Varna (वर्णम्) ===

=== Dhvani (ध्वनिः) and Varna (वर्णम्) ===

According to Nayyayikas, Shabda (Sound) is of two kinds, namely, Dhvani (ध्वनिः) and Varna (वर्णम्). The same concept is mentioned in Bhashapariccheda.<blockquote>शब्दो ध्वनिश्च वर्णश्च मृदङ्गादिभवो ध्वनि:।।164।।</blockquote><blockquote>कण्ठसंयोगादिजन्या वर्णास्ते कादयो मता: सर्व: शब्दो नभोवृत्ति: श्रोत्रोत्पन्नस्तु गृह्यते।।165।। (Nyayasiddhanta Muktavali 164-165)<ref>Nyayasiddhanta Muktavali ([https://sa.wikisource.org/wiki/%E0%A4%A8%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%AF%E0%A4%B8%E0%A4%BF%E0%A4%A6%E0%A5%8D%E0%A4%A7%E0%A4%BE%E0%A4%A8%E0%A5%8D%E0%A4%A4%E0%A4%AE%E0%A5%81%E0%A4%95%E0%A5%8D%E0%A4%A4%E0%A4%BE%E0%A4%B5%E0%A4%B2%E0%A5%80 न्यायसिद्धान्तमुक्तावली])</ref></blockquote>Meaning: Sound is inarticulate (ध्वनिः) and articulate (वर्णम्). Inarticulate sound is that which is produced from a drum. Sounds such as ka that are produced by the conjunction of the throat and so on, are regarded as articulate. All sounds abide (inherent) in ether or space (नभोवृत्ति:), but it is perceived when it is produced in the ear (in the case of distant sounds which are imperceptible).<ref>Swami Madhavananda, (1954 Second Edition) ''Bhasa-Pariccheda with Siddhanta Muktavali by Visvanatha Nyaya-Panchanana. (English Translation)'' Almora: Advaita Ashram (Pages 266)</ref>

According to Nayyayikas, Shabda (Sound) is of two kinds, namely, Dhvani (ध्वनिः) and Varna (वर्णम्). The same concept is mentioned in Bhashapariccheda.<blockquote>शब्दो ध्वनिश्च वर्णश्च मृदङ्गादिभवो ध्वनि:।।164।।</blockquote><blockquote>कण्ठसंयोगादिजन्या वर्णास्ते कादयो मता: सर्व: शब्दो नभोवृत्ति: श्रोत्रोत्पन्नस्तु गृह्यते।।165।। (Nyayasiddhanta Muktavali 164-165)<ref>Nyayasiddhanta Muktavali ([https://sa.wikisource.org/wiki/%E0%A4%A8%E0%A5%8D%E0%A4%AF%E0%A4%BE%E0%A4%AF%E0%A4%B8%E0%A4%BF%E0%A4%A6%E0%A5%8D%E0%A4%A7%E0%A4%BE%E0%A4%A8%E0%A5%8D%E0%A4%A4%E0%A4%AE%E0%A5%81%E0%A4%95%E0%A5%8D%E0%A4%A4%E0%A4%BE%E0%A4%B5%E0%A4%B2%E0%A5%80 न्यायसिद्धान्तमुक्तावली])</ref></blockquote>Meaning: Sound is inarticulate (ध्वनिः) and articulate (वर्णम्). Inarticulate sound is that which is produced from a drum. Sounds such as ka that are produced by the conjunction of the throat and so on, are regarded as articulate. All sounds abide (inherent) in ether or space (नभोवृत्ति:), but it is perceived when it is produced in the ear (in the case of distant sounds which are imperceptible).<ref>Swami Madhavananda, (1954 Second Edition) ''Bhasa-Pariccheda with Siddhanta Muktavali by Visvanatha Nyaya-Panchanana. (English Translation)'' Almora: Advaita Ashram (Pages 266)</ref>

 

A dhvani is an inarticulate sound, e.g. the sound of a bell or a drum. It has no fixed nature of its own, nor any fixed relation to other similar sounds. This Dhvani is thus incapable of forming parts of a language. From a linguistic standpoint, the cries of birds, and beasts and even newborn babies are considered inarticulate. They are as variable and disorderly as sounds produced by physical things and do not lend themselves to any use as alphabet of a language.<ref name=":7" /> It is clear from the fact that he who makes noise is told: "Make shabda", "Do not make shabda" etc, thus Dhvani is Shabda.

A dhvani is an inarticulate sound, e.g. the sound of a bell or a drum. It has no fixed nature of its own, nor any fixed relation to other similar sounds. This Dhvani is thus incapable of forming parts of a language. From a linguistic standpoint, the cries of birds, and beasts and even newborn babies are considered inarticulate. They are as variable and disorderly as sounds produced by physical things and do not lend themselves to any use as alphabet of a language.<ref name=":7" /> It is clear from the fact that he who makes noise is told: "Make shabda", "Do not make shabda" etc, thus Dhvani is Shabda.

A varna is an articulate sound produced by the action of the vocal organ of humans, e.g. the alphabet a letter. A varna is a letter or syllable which has a fixed character and a definite place in the alphabet of any language. All varnas or letters are constituents of human speech but they independently do not have a specific meaning. These varnas are either spoken or written. Spoken letters are perceived by auditory sensation and written letters by visual sensation.<ref name=":7" />

A varna is an articulate sound produced by the action of the vocal organ of humans, e.g. the alphabet a letter. A varna is a letter or syllable which has a fixed character and a definite place in the alphabet of any language. All varnas or letters are constituents of human speech but they independently do not have a specific meaning. These varnas are either spoken or written. Spoken letters are perceived by auditory sensation and written letters by visual sensation.<ref name=":7" />

== शब्दगुणाः ॥ Nature of Shabda ==

== शब्दगुणाः ॥ Nature of Shabda ==

There are various versions about the nature of sound. While many agree that it is the quality of Akasha, there are differences of opinion about a few other qualities such as  

There are various versions about the nature of sound. While many agree that it is the quality of Akasha, there are differences of opinion about a few other qualities such as  

* Its Eternal or Transient nature

* Its Eternal or Transient nature

* Mode of transmission

* Substratum of Sound

* Relationship the Shabda (शब्दः) has with its Indriya (श्रोतेन्द्रियं)

* Relationship the Shabda (शब्दः) has with its Indriya (श्रोतेन्द्रियं)

* Relationship Shabda has with its meaning

* Relationship of the Shabda with its meaning

One perceives sound by the sense-organ of ear, which is कर्णविवरवृत्त्याकाशं श्रोतेन्द्रियं भवति । the space or ether enclosed in the ears (the auditory canal). There due to the proximity (सन्निकर्षः), and by identifying itself with the ether of Sravana indriya (by समवायसम्बन्धः) sound is recognized by the ear. Now, how is a sound generated at a distance by conjunction of two bodies such as the hand and drum (भेरीदण्डसंयोगेन) or the letters produced by the hitting of wind in the vocal organs such as Taalu, Kantha (ताल्वादिस्थानाघातेन मुखे जातो वा शब्दः) have any relationship with the ear?  

One perceives sound by the sense-organ of ear, which is कर्णविवरवृत्त्याकाशं श्रोतेन्द्रियं भवति । the space or ether enclosed in the ears (the auditory canal). There due to the proximity (सन्निकर्षः), and by identifying itself with the ether of Sravana indriya (by समवायसम्बन्धः) sound is recognized by the ear. Now, how is a sound generated at a distance by conjunction of two bodies such as the hand and drum (भेरीदण्डसंयोगेन) or the letters produced by the hitting of wind in the vocal organs such as Taalu, Kantha (ताल्वादिस्थानाघातेन मुखे जातो वा शब्दः) have any relationship with the ear?  

=== शब्दोत्पत्तिप्रक्रिया ॥ Origin of Sound ===

=== Substratum of Sound ===

[[File:Classification of Shabdas based on origin.PNG|thumb|350x350px|Classification of Sound Based on Origin according to Vaiseshika Darshana]]

Sound has not for its substratum any of the tangible substances, namely, earth, water, fire and air. Its substratum is ether which pervades all space. hence sound is produced even in a vacuum which is devoid of smell, taste, color and touch - the qualities of tangible substances. The reason why the sound produced in vacuum does not reach our ears, is that there is no air to carry it.

Maharshi Kanada explains about the characteristics of various things in the world ([[Padarthas (पदार्थाः)|padarthas]]) in his Vaiseshika Sutras. The concept of Sound arising from sound, which is one of the fundamental things, is evaluated clearly as follows<blockquote>संयोगाद्विभगाच्च शब्दाच्च शब्दनिष्पत्तिः। (Vais. Sutr. 2.2.31)<ref name=":4" /></blockquote>Sound is produced from conjunction (संयोगात्) disjunction (विभागात्) and from sound (शब्दात्ः) also.<ref name=":3" />

 

=== Nitya (Eternal) Anitya (Transient) Nature ===

Schools of thought subscribing to Nityatva include the Mimamsa (1.1.6-22), Vedanta (1.3.28-29) and Vyakarana

Thus the most important concepts that are studied today about Sound have been previously established ages ago by ancient darsanikas.  

Mimamsaka holds Sabda to be nitya, not because of a lack of understanding of its nature, but because for him Sabda is something beyond "sound" as normally understood, or Sabda as understood by a Naiyayika.

The primary question that now arises is, how does sound originate and travel in a medium to reach the ear. For this two theories are proposed, as given by Visvanatha

लिङ्गाच्चानित्यः शब्दः । वैशेषिक-२,२.३२ ।

<blockquote>वीचीतरङ्गन्यायेन तदुत्पत्तिस्तु कीर्तिता । कदम्बगोलकन्यायादुत्पत्तिः कस्यचिन्मते ।। (Bhas. Pari. 166) </blockquote>Its (sound's) origination is said to take place in the manner of waves. According to some the origination is in the simultaneous manner of the opening of Kadamba buds.

According to the concept of Ripple wave effect (वीचीतरङ्गन्यायम्) sound travels in a wave pattern by creating ripples in the medium just like circular waves in a lake which are generated and travel outward in all directions, from the spot where the stone was dropped. One may note the time lapse between the first wave generated and the last wave that reaches the shore before it disappears. According to the concept of unfolding of Kadamba bud (कदम्बमुकुलन्यायम्) at one instance, sound generated will be further produce multiple sound instances at a single point which in turn generate more sound; thus a simultaneous sound production effect is noted.

At a higher level, Sabda is Brahman, as set out in the first five shlokas of Vakyapadiyam.<ref name=":5" /><blockquote>अनादिनिधनं ब्रह्म शब्दतत्त्वं यदक्षरम्  । विवर्ततेऽर्थभावेन प्रक्रिया जगतो यतः   । । १.१  । ।</blockquote><blockquote>एकं एव यदाम्नातं भिन्नशक्तिव्यपाश्रयात् । अपृथक्त्वेऽपि शक्तिभ्यः पृथक्त्वेनेव वर्तते   । । १.२  । ।</blockquote><blockquote>अध्याहितकलां यस्य कालशक्तिं उपाश्रिताः   । जन्मादयो विकाराः षड्भावभेदस्य योनयः   । । १.३  । ।</blockquote><blockquote>एकस्य सर्वबीजस्य यस्य चेयं अनेकधा   । भोक्तृभोक्तव्यरूपेण भोगरूपेण च स्थितिः   । । १.४  । ।</blockquote><blockquote>प्राप्त्युपायोऽनुकारश्च तस्य वेदो महर्षिभिः   । एकोऽप्यनेकवर्त्मेव समाम्नातः पृथक्पृथक्  । । १.५  । ।</blockquote><font size="3" face="Times New Roman"></font>Translation of K. Raghavan Pillai from his book "The Vakyapadiya: Critical Text of Cantos I and II with English Translation, Summary fo Ideas and Notes" published by MLBD first in 1971.

1. That beginningless and endless One, the imperishable Brahman of which the essential nature is the Word, which manifests itself into objects and from which is the creation of the Universe,

मारुतस्तूरसि चरन्मन्द्रं जनयति स्वरम्।.... सोदीर्णो मूर्धन्यभिहतो वक्त्रमापद्य मारुतः।

3. the indestructible powers of which functioning through the powers of Time become the six transformations, namely, birth and the rest - the sources of all (these) manifold objects,

5. of that (Brahman) the Veda is both the means of realisation and the reflection and it has been handed down the great Seers as if consisted of many paths, althought it (really) is One.

लिङ्गाच्चानित्यः शब्दः । वैशेषिक-२,२.३२ ।

== References ==

== References ==

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[[Category:Darshanas]]

[[Category:Darshanas]]