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Vedic chant

September 02, 2023

The oral tradition of the Vedas (Śruti) consists of several pathas, "recitations" or ways of chanting the Vedic mantras. Such traditions of Vedic chant are often considered the oldest unbroken oral tradition in existence, the fixation of the Vedic texts (samhitas) as preserved dating to roughly the time of Homer (early Iron Age).[1]

UNESCO proclaimed the tradition of Vedic chant a Masterpiece of the Oral and Intangible Heritage of Humanity on November 7, 2008.[a]

Tones Edit

Vedic chantings use 4 tones – Udatta उदात्त (middle tone), Anudaatta अनुदात्त (lower tone), Svarita स्वरित (higher tone) and Deergha Svarita दीर्घस्वरित (High tone extended). These are usually marked with intuitive svara marks – an underline for lower tone, a small vertical line above the letter for a higher tone and two vertical lines for Deergha Svarita.[2]

Pathas Edit

The various pathas or recitation styles are designed to allow the complete and perfect memorization of the text and its pronunciation, including the Vedic pitch accent. Eleven such ways of reciting the Vedas were designed – Samhita, Pada, Krama, Jata, Maalaa, Sikha, Rekha, Dhwaja, Danda, Rathaa, Ghana, of which Ghana is usually considered the most difficult.[3]

The students are first taught to memorize the Vedas using simpler methods like continuous recitation (samhitapatha), word by word recitation (pada patha) in which compounds (sandhi) are dissolved and krama patha (words are arranged in the pattern of ab bc cd ...); before teaching them the eight complex recitation styles.[4]

A pathin is a scholar who has mastered the pathas. Thus, a ghanapaathin has learnt the chanting of the scripture up to the advanced stage of ghana. The Ghanapatha or the "Bell" mode of chanting is so called because the words are repeated back and forth in a bell shape. The sonority natural to Vedic chanting is enhanced in Ghana. In Jatapatha, the words are braided together, so to speak, and recited back and forth.[5]

The samhita, pada and krama pathas can be described as the natural recitation styles or prakrutipathas. The remaining eight modes of chanting are classified as complex recitation styles or Vikrutipathas as they involve reversing of the word order. The backward chanting of words does not alter the meanings in the Vedic (Sanskrit) language.[5]

Oral transmission Edit

Prodigious energy was expended by ancient Indian culture in ensuring that these texts were transmitted from generation to generation with inordinate fidelity.[1][6] Many forms of recitation or pathas were designed to aid accuracy in recitation and the transmission of the Vedas and other knowledge texts from one generation to the next. All hymns in each Veda were recited in this way; for example, all 1,028 hymns with 10,600 verses of the Rigveda was preserved in this way. Each text was recited in a number of ways, to ensure that the different methods of recitation acted as a cross check on the other. Pierre-Sylvain Filliozat summarizes this as follows:[7]

  • Samhita-patha: continuous recitation of Sanskrit words bound by the phonetic rules of euphonic combination;
  • Pada-patha: a recitation marked by a conscious pause after every word, and after any special grammatical codes embedded inside the text; this method suppresses euphonic combination and restores each word in its original intended form;
  • Krama-patha: a step-by-step recitation where euphonically-combined words are paired successively and sequentially and then recited; for example, a hymn "word1 word2 word3 word4 ...", would be recited as "word1word2 word2word3 word3word4 ..."; this method to verify accuracy is credited to Vedic sages Gargya and Sakalya in the Hindu tradition and mentioned by the ancient Sanskrit grammarian Pāṇini (dated to pre-Buddhism period);
  • Krama-patha modified: the same step-by-step recitation as above, but without euphonic-combinations (or free form of each word); this method to verify accuracy is credited to Vedic sages Babhravya and Galava in the Hindu tradition, and is also mentioned by the ancient Sanskrit grammarian Panini;
  • Jata-pāṭha, dhvaja-pāṭha and ghana-pāṭha are methods of recitation of a text and its oral transmission that developed after 5th century BCE, that is after the start of Buddhism and Jainism; these methods use more complicated rules of combination and were less used.

These extraordinary retention techniques guaranteed the most perfect canon not just in terms of unaltered word order but also in terms of sound.[8] That these methods have been effective, is testified to by the preservation of the most ancient Indian religious text, the Ṛgveda (c. 1500 BCE).[7]

Example of a text with nine words in different patas is set out below:

Name Example Remarks
jaṭā

జట

ജഠാ

1 2 2 1 1 2 ~

2 3 3 2 2 3 ~

3 4 4 3 3 4 ~

4 5 5 4 4 5 ~

5 6 6 5 5 6 ~

6 7 7 6 6 7 ~

7 8 8 7 7 8 ~

8 9 9 8 8 9 ~

9 _ _ 9 9 _ ~

I+1 I+2 I+2 I+1 I+1 I+2
mālā మాల മാലാ 1 2 ~ 2 1 ~ 1 2 ~

2 3 ~ 3 2 ~ 2 3 ~

3 4 ~ 4 3 ~ 3 4 ~

4 5 ~ 5 4 ~ 4 5 ~

5 6 ~ 6 5 ~ 5 6 ~

6 7 ~ 7 6 ~ 6 7 ~

7 8 ~ 8 7 ~ 7 8 ~

8 9 ~ 9 8 ~ 8 9 ~

9 _ ~ _ 9 ~ 9 _ ~

I+1 I+2 ~ I+2 I+1 ~ I+1 I+2
śikhā

శిఖ ശിഖാ

1 2 ~ 2 1 ~ 1 2 3 ~

2 3 ~ 3 2 ~ 2 3 4 ~

3 4 ~ 4 3 ~ 3 4 5 ~

4 5 ~ 5 4 ~ 4 5 6 ~

5 6 ~ 6 5 ~ 5 6 7 ~

6 7 ~ 7 6 ~ 6 7 8 ~

7 8 ~ 8 7 ~ 7 8 9 ~

8 9 ~ 9 8 ~ 8 9 _ ~

9 _ ~ _ 9 ~ 9 _ _ ~

I+1 I+2 ~ I+2 I+1 ~ I+1 I+2 I+3
rekhā

రేఖ രേഖാ

1 2 ~ 2 1 ~ 1 2 ~

2 3 4 ~ 4 3 2 ~ 2 3 ~

3 4 5 6 ~ 6 5 4 3 ~ 3 4 ~

4 5 6 7 8 ~ 8 7 6 5 4 ~ 4 5 ~

5 6 7 8 9 ~ 9 8 7 6 5 ~ 5 6 ~

6 7 8 9 ~ 9 8 7 6 ~ 6 7 ~

7 8 9 ~ 9 8 7 ~ 7 8 ~

8 9 ~ 9 8 ~ 8 9 ~

9 ~ 9 ~ 9 _ ~

I...I+I ~ I+I...I ~ I I+1
dhvaja ధ్వజ ധ്വജ 1 2 ~ 8 9 ~

2 3 ~ 7 8 ~

3 4 ~ 6 7 ~

4 5 ~ 5 6 ~

5 6 ~ 4 5 ~

6 7 ~ 3 4 ~

7 8 ~ 2 3 ~

8 9 ~ 1 2 ~

9 _ ~ _ 1 ~

I I+1 ~ N-I-1 N-I
daṇḍa దండ ദണ്ഡ 1 2 ~ 2 1 ~ 1 2 ~ 2 3 ~ 3 2 1 ~ 1 2 ~ 2 3 ~ 3 4 ~ 4 3 2 1 ~ 1 2 ~

2 3 ~ 3 2 ~ 2 3 ~ 3 4 ~ 4 3 2 ~ 2 3 ~ 3 4 ~ 4 5 ~ 5 4 3 2 ~ 2 3 ~

3 4 ~ 4 3 ~ 3 4 ~ 4 5 ~ 5 4 3 ~ 3 4 ~ 4 5 ~ 5 6 ~ 6 5 4 3 ~ 3 4 ~

4 5 ~ 5 4 ~ 4 5 ~ 5 6 ~ 6 5 4 ~ 4 5 ~ 5 6 ~ 6 7 ~ 7 6 5 4 ~ 4 5 ~

5 6 ~ 6 5 ~ 5 6 ~ 6 7 ~ 7 6 5 ~ 5 6 ~ 6 7 ~ 7 8 ~ 8 7 6 5 ~ 5 6 ~

6 7 ~ 7 6 ~ 6 7 ~ 7 8 ~ 8 7 6 ~ 6 7 ~ 7 8 ~ 8 9 ~ 9 8 7 6 ~ 6 7 ~

7 8 ~ 8 7 ~ 7 8 ~ 8 9 ~ 9 8 7 ~ 7 8 ~ 8 9 ~ 9 _ ~ _ 9 8 7 ~ 7 8 ~

8 9 ~ 9 8 ~ 8 9 ~ 9 _ ~ _ 9 8 ~ 8 9 ~ 9 _ ~ _ _ ~ _ _ 9 8 ~ 8 9 ~

9 _ ~ _ 9 ~ 9 _ ~ _ _ ~ _ _ 9 ~ 9 _ ~ _ _ ~ _ _ ~ _ _ _ 9 ~ 9 _ ~

I+1 I+2 ~ I+2 I+1 ~ I+1 I+2 ~ I+2 I+3 ~ I+3 I+2 I+1 ~ I+1 I+2 ~ I+2 I+3 ~ I+3 I+4 ~ I+4 I+3 I+2 I+1 ~ I+1 I+2
ratha

రధ

രഥ

1 2 ~ 5 6 ~ 2 1 ~ 6 5 ~ 1 2 ~ 5 6 ~

2 3 ~ 6 7 ~ 3 2 1 ~ 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~

3 4 ~ 7 8 ~ 4 3 2 1 ~ 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~

4 5 ~ 8 9 ~ 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~

5 6 ~ 9 _ ~ 6 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~ 5 6 ~ 9 _ ~

6 7 ~ _ _ ~ 7 6 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~ 5 6 ~ 9 _ ~ 6 7 ~ _ _ ~

7 8 ~ _ _ ~ 8 7 6 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~ 5 6 ~ 9 _ ~ 6 7 ~ _ _ ~ 7 8 ~ _ _ ~

8 9 ~ _ _ ~ 9 8 7 6 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~ 5 6 ~ 9 _ ~ 6 7 ~ _ _ ~ 7 8 ~ _ _ ~ 8 9 ~ _ _ ~

9 _ ~ _ _ ~ 9 8 7 6 5 4 3 2 1 ~ 9 8 7 6 5 ~ 1 2 ~ 5 6 ~ 2 3 ~ 6 7 ~ 3 4 ~ 7 8 ~ 4 5 ~ 8 9 ~ 5 6 ~ 9 _ ~ 6 7 ~ _ _ ~ 7 8 ~ _ _ ~ 8 9 ~ _ _ ~ 9 _ ~ _ _ ~

I I+1 / I+4 I+5 / I+1 ...1 / I+5...(-I items ) : One Index

FOR J 1...I 

J J+1 / J+4 J+5 : One Index

LOOP

Ghana ఘన ഘന 1 2 2 1 1 2 3 3 2 1 1 2 3 ~

2 3 3 2 2 3 4 4 3 2 2 3 4 ~

3 4 4 3 3 4 5 5 4 3 3 4 5 ~

4 5 5 4 4 5 6 6 5 4 4 5 6 ~

5 6 6 5 5 6 7 7 6 5 5 6 7 ~

6 7 7 6 6 7 8 8 7 6 6 7 8 ~

7 8 8 7 7 8 9 9 8 7 7 8 9 ~

8 9 9 8 8 9 _ _ 9 8 8 9 _ ~

9 _ _ 9 9 _ _ _ _ 9 9 _ _ ~

I+1 I+2 I+2 I+1 I+1 I+2 I+3 I+3 I+2 I+1 I+1 I+2 I+3

Divine sound Edit

The insistence on preserving pronunciation and accent as accurately as possible is related to the belief that the potency of the mantras lies in their sound when pronounced. The shakhas thus have the purpose of preserving knowledge of uttering divine sound originally cognized by the rishis.

Portions of the Vedantic literature elucidate the use of sound as a spiritual tool. They assert that the entire cosmic creation began with sound: "By His utterance came the universe." (Brihadaranyaka Upanishad 1.2.4). The Vedanta-sutras add that ultimate liberation comes from sound as well (anavrittih shabdat).

Katyayana likens speech to the supreme Brahman. He uses the Rigvedic verse – "Four are its horns, three its feet, two its heads, and seven its hands, roars loudly the threefold-bound bull, the great god enters mortals" (Rig-Veda, iv. 58, 3), to assert this claim. Katyayana explains that in the verse, the "four horns" are the four kinds of words i.e. nouns, verbs, prepositions, and particles; its "three feet" mean the three tenses, past, present and future; the "two heads" imply the eternal and temporary words, distinguished as the "manifested" and the "manifester"; its "seven hands" are the seven case affixes; "threefold bound" is enclosed in the three organs the chest, the throat, and the head; the metaphor "bull" (vrishabha) is used to imply that it gives fruit when used with knowledge; "loudly roars" signifies uttering sound, speech or language; and in "the great god enters mortals" entails that the "great god" speech, enters the mortals.[9] Thus, primal sound is often referred to as Shabda Brahman or "word as The Absolute". Maitri Upanishad states:

He who is well versed in the Word-Brahman, attains to the Supreme Brahman. (VI.22)[10]

Mantras, or sacred sounds, are used to pierce through sensual, mental and intellectual levels of existence (all lower strata of consciousness) for the purpose of purification and spiritual enlightenment. "By sound vibration one becomes liberated" (Vedanta-sutra 4.22).

See also Edit

Notes Edit

a. ^ Wayne Howard noted in the preface of his book, Veda Recitation in Varanasi, "The four Vedas (Rig, Yajur, Sama and Atharva) are not 'books' in the usual sense, though within the past hundred years each veda has appeared in several printed editions. They comprise rather tonally accented verses and hypnotic, abstruse melodies whose proper realizations demand oral instead of visual transmission. They are robbed of their essence when transferred to paper, for without the human element the innumerable nuances and fine intonations – inseparable and necessary components of all four compilations – are lost completely. The ultimate authority in Vedic matters is never the printed page but rather the few members – who are today keeping the centuries-old traditions alive."[11]

Citations Edit

  1. ^ a b Scharfe, Ch. 13: "Memorising the Veda", p. 240 ff.
  2. ^ Saraswati, Swamini Svatmabodhananda (1 July 2014). Rules of chanting – Sanskrit grammar series 2 (PDF). Bangalore. Retrieved 29 August 2018.{{cite book}}: CS1 maint: location missing publisher (link)
  3. ^ Krishnananda, p. 112.
  4. ^ Scharfe, p. 248.
  5. ^ a b Ramaswami, p. 68.
  6. ^ Staal, p. 26.
  7. ^ a b Pierre-Sylvain Filliozat (2006). Karine Chemla (ed.). History of Science, History of Text. Springer. pp. 138–140. ISBN 978-1-4020-2321-7.
  8. ^ Wilke, Annette and Moebus, Oliver. Sound and Communication: An Aesthetic Cultural History of Sanskrit Hinduism (Religion and Society). De Gruyter (February 1, 2007). P. 495. ISBN 3-11-018159-2.
  9. ^ Cowell and Gough, p. 209.
  10. ^ Cowell and Gough, p. 220.
  11. ^ Howard, p. ix.

References Edit

  • Cowell, E. B.; Gough, A. E. (2001), The Sarva-Darsana-Samgraha or Review of the Different Systems of Hindu Philosophy: Trubner's Oriental Series, Taylor & Francis, ISBN 978-0-415-24517-3
  • Filliozat, Pierre-Sylvain (2004), "Ancient Sanskrit Mathematics: An Oral Tradition and a Written Literature", in Chemla, Karine (ed.), History of Science, History of Text (Boston Series in the Philosophy of Science), Dordrecht: Springer Netherlands, 254 pages, pp. 137–157, pp. 360–375, doi:10.1007/1-4020-2321-9_7, ISBN 978-1-4020-2320-0
  • Howard, Wayne. Veda Recitation in Varanasi. Motilal Banarsidass. ISBN 978-81-208-0071-7.
  • Krishnananda (Swami.), S. Bhagyalakshmi. Facets of Spirituality: Dialogues and Discourses of Swami Krishnananda. Motilal Banarsidass, 1st edition (June 1, 1986). ISBN 978-81-208-0093-9
  • Ramaswami, Srivatsa. Yoga for the Three Stages of Life: Developing Your Practice As an Art Form, a Physical Therapy, and a Guiding Philosophy. Inner Traditions; 1ST edition (January 1, 2001). ISBN 978-0-89281-820-4.
  • Scharfe, Hartmut. Education in Ancient India", 2002, BRILL; ISBN 90-04-12556-6, ISBN 978-90-04-12556-8
  • Staal, Frits (1986), The Fidelity of Oral Tradition and the Origins of Science, Mededelingen der Koninklijke Nederlandse Akademie von Wetenschappen, Afd. Letterkunde, NS 49, 8. Amsterdam: North Holland Publishing Company, 40 pages

External links Edit

  • Vedic Chanting – A perfectly formulated Oral Tradition
  • BBC Story on UN
  • Methods of Chanting
  • Weekly podcast on Vedic Chanting and Vedic 'Mythology'
  • Veda Reciting styles
  • Radio Sai - streaming Vedic Chants
  • Vedic Chanting Generation Tool

September 02, 2023
vedic, chant, oral, tradition, vedas, Śruti, consists, several, pathas, recitations, ways, chanting, vedic, mantras, such, traditions, often, considered, oldest, unbroken, oral, tradition, existence, fixation, vedic, texts, samhitas, preserved, dating, roughly. The oral tradition of the Vedas Sruti consists of several pathas recitations or ways of chanting the Vedic mantras Such traditions of Vedic chant are often considered the oldest unbroken oral tradition in existence the fixation of the Vedic texts samhitas as preserved dating to roughly the time of Homer early Iron Age 1 UNESCO proclaimed the tradition of Vedic chant a Masterpiece of the Oral and Intangible Heritage of Humanity on November 7 2008 a Contents 1 Tones 2 Pathas 3 Oral transmission 4 Divine sound 5 See also 6 Notes 7 Citations 8 References 9 External linksTones EditVedic chantings use 4 tones Udatta उद त त middle tone Anudaatta अन द त त lower tone Svarita स वर त higher tone and Deergha Svarita द र घस वर त High tone extended These are usually marked with intuitive svara marks an underline for lower tone a small vertical line above the letter for a higher tone and two vertical lines for Deergha Svarita 2 Pathas EditThe various pathas or recitation styles are designed to allow the complete and perfect memorization of the text and its pronunciation including the Vedic pitch accent Eleven such ways of reciting the Vedas were designed Samhita Pada Krama Jata Maalaa Sikha Rekha Dhwaja Danda Rathaa Ghana of which Ghana is usually considered the most difficult 3 The students are first taught to memorize the Vedas using simpler methods like continuous recitation samhitapatha word by word recitation pada patha in which compounds sandhi are dissolved and krama patha words are arranged in the pattern of ab bc cd before teaching them the eight complex recitation styles 4 A pathin is a scholar who has mastered the pathas Thus a ghanapaathin has learnt the chanting of the scripture up to the advanced stage of ghana The Ghanapatha or the Bell mode of chanting is so called because the words are repeated back and forth in a bell shape The sonority natural to Vedic chanting is enhanced in Ghana In Jatapatha the words are braided together so to speak and recited back and forth 5 The samhita pada and krama pathas can be described as the natural recitation styles or prakrutipathas The remaining eight modes of chanting are classified as complex recitation styles or Vikrutipathas as they involve reversing of the word order The backward chanting of words does not alter the meanings in the Vedic Sanskrit language 5 Oral transmission EditProdigious energy was expended by ancient Indian culture in ensuring that these texts were transmitted from generation to generation with inordinate fidelity 1 6 Many forms of recitation or pathas were designed to aid accuracy in recitation and the transmission of the Vedas and other knowledge texts from one generation to the next All hymns in each Veda were recited in this way for example all 1 028 hymns with 10 600 verses of the Rigveda was preserved in this way Each text was recited in a number of ways to ensure that the different methods of recitation acted as a cross check on the other Pierre Sylvain Filliozat summarizes this as follows 7 Samhita patha continuous recitation of Sanskrit words bound by the phonetic rules of euphonic combination Pada patha a recitation marked by a conscious pause after every word and after any special grammatical codes embedded inside the text this method suppresses euphonic combination and restores each word in its original intended form Krama patha a step by step recitation where euphonically combined words are paired successively and sequentially and then recited for example a hymn word1 word2 word3 word4 would be recited as word1word2 word2word3 word3word4 this method to verify accuracy is credited to Vedic sages Gargya and Sakalya in the Hindu tradition and mentioned by the ancient Sanskrit grammarian Paṇini dated to pre Buddhism period Krama patha modified the same step by step recitation as above but without euphonic combinations or free form of each word this method to verify accuracy is credited to Vedic sages Babhravya and Galava in the Hindu tradition and is also mentioned by the ancient Sanskrit grammarian Panini Jata paṭha dhvaja paṭha and ghana paṭha are methods of recitation of a text and its oral transmission that developed after 5th century BCE that is after the start of Buddhism and Jainism these methods use more complicated rules of combination and were less used These extraordinary retention techniques guaranteed the most perfect canon not just in terms of unaltered word order but also in terms of sound 8 That these methods have been effective is testified to by the preservation of the most ancient Indian religious text the Ṛgveda c 1500 BCE 7 Example of a text with nine words in different patas is set out below Name Example Remarksjaṭa జటജഠ 1 2 2 1 1 2 2 3 3 2 2 3 3 4 4 3 3 4 4 5 5 4 4 5 5 6 6 5 5 6 6 7 7 6 6 7 7 8 8 7 7 8 8 9 9 8 8 9 9 9 9 I 1 I 2 I 2 I 1 I 1 I 2mala మ ల മ ല 1 2 2 1 1 2 2 3 3 2 2 3 3 4 4 3 3 4 4 5 5 4 4 5 5 6 6 5 5 6 6 7 7 6 6 7 7 8 8 7 7 8 8 9 9 8 8 9 9 9 9 I 1 I 2 I 2 I 1 I 1 I 2sikha శ ఖ ശ ഖ 1 2 2 1 1 2 3 2 3 3 2 2 3 4 3 4 4 3 3 4 5 4 5 5 4 4 5 6 5 6 6 5 5 6 7 6 7 7 6 6 7 8 7 8 8 7 7 8 9 8 9 9 8 8 9 9 9 9 I 1 I 2 I 2 I 1 I 1 I 2 I 3rekha ర ఖ ര ഖ 1 2 2 1 1 2 2 3 4 4 3 2 2 3 3 4 5 6 6 5 4 3 3 4 4 5 6 7 8 8 7 6 5 4 4 5 5 6 7 8 9 9 8 7 6 5 5 6 6 7 8 9 9 8 7 6 6 7 7 8 9 9 8 7 7 8 8 9 9 8 8 9 9 9 9 I I I I I I I I 1dhvaja ధ వజ ധ വജ 1 2 8 9 2 3 7 8 3 4 6 7 4 5 5 6 5 6 4 5 6 7 3 4 7 8 2 3 8 9 1 2 9 1 I I 1 N I 1 N Idaṇḍa ద డ ദണ ഡ 1 2 2 1 1 2 2 3 3 2 1 1 2 2 3 3 4 4 3 2 1 1 2 2 3 3 2 2 3 3 4 4 3 2 2 3 3 4 4 5 5 4 3 2 2 3 3 4 4 3 3 4 4 5 5 4 3 3 4 4 5 5 6 6 5 4 3 3 4 4 5 5 4 4 5 5 6 6 5 4 4 5 5 6 6 7 7 6 5 4 4 5 5 6 6 5 5 6 6 7 7 6 5 5 6 6 7 7 8 8 7 6 5 5 6 6 7 7 6 6 7 7 8 8 7 6 6 7 7 8 8 9 9 8 7 6 6 7 7 8 8 7 7 8 8 9 9 8 7 7 8 8 9 9 9 8 7 7 8 8 9 9 8 8 9 9 9 8 8 9 9 9 8 8 9 9 9 9 9 9 9 9 I 1 I 2 I 2 I 1 I 1 I 2 I 2 I 3 I 3 I 2 I 1 I 1 I 2 I 2 I 3 I 3 I 4 I 4 I 3 I 2 I 1 I 1 I 2ratha రధരഥ 1 2 5 6 2 1 6 5 1 2 5 6 2 3 6 7 3 2 1 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 3 2 1 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 7 7 6 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 7 7 8 8 7 6 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 7 7 8 8 9 9 8 7 6 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 7 7 8 8 9 9 9 8 7 6 5 4 3 2 1 9 8 7 6 5 1 2 5 6 2 3 6 7 3 4 7 8 4 5 8 9 5 6 9 6 7 7 8 8 9 9 I I 1 I 4 I 5 I 1 1 I 5 I items One Index FOR J 1 I J J 1 J 4 J 5 One Index LOOPGhana ఘన ഘന 1 2 2 1 1 2 3 3 2 1 1 2 3 2 3 3 2 2 3 4 4 3 2 2 3 4 3 4 4 3 3 4 5 5 4 3 3 4 5 4 5 5 4 4 5 6 6 5 4 4 5 6 5 6 6 5 5 6 7 7 6 5 5 6 7 6 7 7 6 6 7 8 8 7 6 6 7 8 7 8 8 7 7 8 9 9 8 7 7 8 9 8 9 9 8 8 9 9 8 8 9 9 9 9 9 9 I 1 I 2 I 2 I 1 I 1 I 2 I 3 I 3 I 2 I 1 I 1 I 2 I 3Divine sound EditThe insistence on preserving pronunciation and accent as accurately as possible is related to the belief that the potency of the mantras lies in their sound when pronounced The shakhas thus have the purpose of preserving knowledge of uttering divine sound originally cognized by the rishis Portions of the Vedantic literature elucidate the use of sound as a spiritual tool They assert that the entire cosmic creation began with sound By His utterance came the universe Brihadaranyaka Upanishad 1 2 4 The Vedanta sutras add that ultimate liberation comes from sound as well anavrittih shabdat Katyayana likens speech to the supreme Brahman He uses the Rigvedic verse Four are its horns three its feet two its heads and seven its hands roars loudly the threefold bound bull the great god enters mortals Rig Veda iv 58 3 to assert this claim Katyayana explains that in the verse the four horns are the four kinds of words i e nouns verbs prepositions and particles its three feet mean the three tenses past present and future the two heads imply the eternal and temporary words distinguished as the manifested and the manifester its seven hands are the seven case affixes threefold bound is enclosed in the three organs the chest the throat and the head the metaphor bull vrishabha is used to imply that it gives fruit when used with knowledge loudly roars signifies uttering sound speech or language and in the great god enters mortals entails that the great god speech enters the mortals 9 Thus primal sound is often referred to as Shabda Brahman or word as The Absolute Maitri Upanishad states He who is well versed in the Word Brahman attains to the Supreme Brahman VI 22 10 Mantras or sacred sounds are used to pierce through sensual mental and intellectual levels of existence all lower strata of consciousness for the purpose of purification and spiritual enlightenment By sound vibration one becomes liberated Vedanta sutra 4 22 See also EditBrahma Samhita Interpretations of Vedic Mantras Shrauta SvadhyayaNotes Edita Wayne Howard noted in the preface of his book Veda Recitation in Varanasi The four Vedas Rig Yajur Sama and Atharva are not books in the usual sense though within the past hundred years each veda has appeared in several printed editions They comprise rather tonally accented verses and hypnotic abstruse melodies whose proper realizations demand oral instead of visual transmission They are robbed of their essence when transferred to paper for without the human element the innumerable nuances and fine intonations inseparable and necessary components of all four compilations are lost completely The ultimate authority in Vedic matters is never the printed page but rather the few members who are today keeping the centuries old traditions alive 11 Citations Edit a b Scharfe Ch 13 Memorising the Veda p 240 ff Saraswati Swamini Svatmabodhananda 1 July 2014 Rules of chanting Sanskrit grammar series 2 PDF Bangalore Retrieved 29 August 2018 a href Template Cite book html title Template Cite book cite book a CS1 maint location missing publisher link Krishnananda p 112 Scharfe p 248 a b Ramaswami p 68 Staal p 26 a b Pierre Sylvain Filliozat 2006 Karine Chemla ed History of Science History of Text Springer pp 138 140 ISBN 978 1 4020 2321 7 Wilke Annette and Moebus Oliver Sound and Communication An Aesthetic Cultural History of Sanskrit Hinduism Religion and Society De Gruyter February 1 2007 P 495 ISBN 3 11 018159 2 Cowell and Gough p 209 Cowell and Gough p 220 Howard p ix References EditCowell E B Gough A E 2001 The Sarva Darsana Samgraha or Review of the Different Systems of Hindu Philosophy Trubner s Oriental Series Taylor amp Francis ISBN 978 0 415 24517 3 Filliozat Pierre Sylvain 2004 Ancient Sanskrit Mathematics An Oral Tradition and a Written Literature in Chemla Karine ed History of Science History of Text Boston Series in the Philosophy of Science Dordrecht Springer Netherlands 254 pages pp 137 157 pp 360 375 doi 10 1007 1 4020 2321 9 7 ISBN 978 1 4020 2320 0 Howard Wayne Veda Recitation in Varanasi Motilal Banarsidass ISBN 978 81 208 0071 7 Krishnananda Swami S Bhagyalakshmi Facets of Spirituality Dialogues and Discourses of Swami Krishnananda Motilal Banarsidass 1st edition June 1 1986 ISBN 978 81 208 0093 9 Ramaswami Srivatsa Yoga for the Three Stages of Life Developing Your Practice As an Art Form a Physical Therapy and a Guiding Philosophy Inner Traditions 1ST edition January 1 2001 ISBN 978 0 89281 820 4 Scharfe Hartmut Education in Ancient India 2002 BRILL ISBN 90 04 12556 6 ISBN 978 90 04 12556 8 Staal Frits 1986 The Fidelity of Oral Tradition and the Origins of Science Mededelingen der Koninklijke Nederlandse Akademie von Wetenschappen Afd Letterkunde NS 49 8 Amsterdam North Holland Publishing Company 40 pagesExternal links EditVedic Chanting A perfectly formulated Oral Tradition BBC Story on UN Methods of Chanting Weekly podcast on Vedic Chanting and Vedic Mythology Veda Reciting styles Radio Sai streaming Vedic Chants Vedic Chanting Generation Tool Retrieved from https en wikipedia org w index php title Vedic chant amp oldid 1152768234, wikipedia, wiki, book, books, library,

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