As mentioned in the previous part, Vakyapadiya, without doubt, is a seminal work on: Grammar; the philosophy of language; and philosophy related subjects. It is regarded as the most significant work appearing after the long and the hoary tradition of Tri-Muni or Muni-traya – the revered trio (Trimurti) of sages – Panini (Astadhyayi), Katyayana (Vrttika), and Patanjali (Mahabhashya). Vakyapadiya represents the culmination of several traditions; but is, basically, rooted in the Vedic tradition. Following Patanjali, Bhartrhari regards Grammar as the most important Vedanga (branch of the Vedas).
Vakyapadiya is certainly the most widely cited text on the subject of ‘philosophy of Grammar’, not only by the various traditional Schools of Sanskrit Grammar, but also among modern scholars of linguistic studies. The distinguished scholar Harold Coward, in the preface to his work on Bhartrhari (1971) writes:
Although Bhartrhari lived in India many centuries ago, his writing has a universal appeal that spans the years and bridges the gulf between East and West. This very timelessness in conjunction with universality strongly suggests that Bhartrhari as a Grammarian, metaphysician, and poet has come close to revealing the fundamental nature of consciousness itself.
The title Vakyapadiya, in general, could be described as a treatise on sentences and words, their meanings; and, their mutual relationship. The text discusses in great depth, the subjects related to Vakya (sentence); Pada (word) and meaning (Artha); together with their grammatical as well as philosophical implications. It is said; the text is, therefore, celebrated by the name Vakyapadiya – (Sabda-Artha-Sambandiyam prakaranam Vakyapadiyam) and (Vakya-pade adhikrtya krtah granthah Vakyapadiyam)
Since Bhartrhari’s Vakyapadiya follows in spirit the rules governing words (sabda-anushasanam) as in the Samgraha of Vyadi, it is also known as Agama Samgraha (compendium of Agama), as received from tradition.
And again, since the text Vakyapadiya is made up of three Khanda-s (Cantos or Chapters or segments) it is also known by the name Trikandi comprising Brahma-khanda (or Agama-samucchaya- aggregation of traditions); Vakya-khanda (discussion on sentence); and, Pada-khanda (prakirna or Prakīrṇaka –miscellaneous).
It is said; under the Trikandi structure, each Khanda was named after the most significant word in the first Karika (statement) of that Khanda: First Khanda: Brahma Kanda (Anadi-nidhana Brahma); Second khanda: Vakya Kanda (ākhyātaṃ); and, Third Khanda: Pada Kanda (dvidhā kaiś cit padaṃ)
Though the Vakyapadiya, in the present period, is largely accepted as a text comprising three Khanda-s or Cantos or sections, there were very involved discussions during the middle and the later periods on the question whether what is known as Vakyapadiya is a single text or whether it is, in fact, two texts put together. It was argued by some that the first Khanda (Brahma-khanda) and the second Khanda (Vakya-khanda) alone constituted what is Vakyapadiya. To support that argument, it was pointed out that the explanatory Notes (Tika or Vritti) prepared by Bhartrhari himself covered only the first two Khanda-s related to the key theories of Sabda Brahman and the Sphota.
According to this line of argument, the third segment (Khanda), the Pada-khanda or Prakirnaka, dealing with words (Pada) and having a large number of verses spread over several sub-sections is to be treated as a separate work (Vakyapadiya-Prakirnakayoh karta Maha-bhashya-tripadaya vyakyatah).
At the same time, there have also been several learned articles written by scholars arguing that though the Vakyapadiya could be said to have two parts – ( the first part comprising the First and the Second Khandas; with the Third Khanda forming the latter part ) – it is , in fact , a single text. It is pointed out that Bhartrhari himself mentions (VP II, 488) that in the third chapter he would be discussing in detail the topics which were briefly mentioned in the earlier two chapters*. The third Khanda, Prakirnaka-prakasha, in fact, ends with the statement – iti bhartṛharikṛtaṃ vākyapadīyam samāptam – that concludes the Vakyapadiya written by Bhartrhari.
(*vartmanām atra keṣām cid vastumātram udāhṛtam / kāṇḍe trtīye nyakṣena bhaviṣyati vicāraṇā / VP II, 488)
It is now generally accepted that though Vakyapadiya is composed of two distinct parts, it essentially is a single text having three Cantos (Trikandi).
One of the later commentators pays his respects to Bhartrhari the author of Vakyapadiya and Mahabhashya by cleverly playing upon ‘Hari’ in his name. He says: I submit my reverence to Hari the author of Tripadi (commentary on Mahabhashya) who took three steps in the form of Trikandi (Vakyapadiya) that covered the three worlds; and who is the Lord of Sri the embodiment of all knowledge
Trailokya-gamini yena Trikandi Tripadi-krita/tasmai samastha –vidya-sri kanthaya/ Haraye namah//
While the length of text differs slightly according to different published editions, it could generally be said that the first Khanda (Brahma-khanda) consists about 156 karikas (comments, in metrical verse form); the second (Vakya-khanda) consists about 485 karikas; and, the third khanda (Pada-khanda), the biggest of all, consists about 1325 karikas. The entire book, thus, could be said to have about 1966 Karikas, or comments, in metrical form.
[According to the edition of Vakyapadiya published by Wilhelm Rau in 1977, the first and the second chapters have 183 and 490 verses, respectively. The third chapter, which is divided into 14 sections, has 1325 verses. Thus the text runs up to 1998 Karikas. According to Sri K. A. Subramania Iyer and others, the three Khanda-s together contain 1860 Karikas.]
Astaka– Eight topics
The main features of the Vakyapadiya could, broadly, be grouped under three heads: Prakriya (the word formation process); Parishkara (the analysis and clearly enunciating the concept); and, Darshana (philosophy). Thus, though Vakyapadiya is basically about Vyakarana (Grammar) and its philosophy, it is accorded the status of Agama (traditional text) – pratyak caitanye sannivesita vak.
Though the first two khanda-s cover subjects such as grammar as also philosophy of grammar and linguistics, Bhartrhari seems to focus, here, on two types each of the linguistic units (words-Sabda) and meanings (Artha); and four types of their relations (Sambandha). Thus, the book is said to discuss eight kinds of topics.
The verses 24-26* of the first Khanda indicate that Vakyapadiya deals with eight subjects (Astaka); two kinds of meanings – one by analysis, and the other , natural as fixed by convention; two kinds of words – one explained by grammar, and the other by its context; two kinds of relations – one by the cause and effect relation between expressions and meanings, and the other by its appropriateness to express the meaning ; and, two kinds of objectives – one that is spiritual, and the other whichhas the ability to understand the meaning.
*Apoddhārapadārthā ye ye cārthāḥ sthitalakṣaṇāḥ /
anvākhyeyāś ca ye śabdā ye cāpi pratipādakāḥ // 1.24 //
kāryakāraṇabhāvena yogyabhāvena ca sthitāḥ /
dharme ye pratyaye cāṅgaṃ saṃbandhāḥ sādhvasādhuṣu // 1.25 //
te liṅgaiś ca svaśabdaiś ca śāstre ‘sminn upavarṇitāḥ /
smṛtyartham anugamyante ke cid eva yathāgamam // 1.26 //
Hence, the commentators Vrsabha and Helaraja describe Vakyapadiya as padartha-astaka-vichara-para– the text concerned with discussions on eight kinds of subjects. Each of these topics discussed in their respective chapters are grouped under:
Sabda: Anvakhyeya (linguistic units- sentences and words- to be explained) and Pratipadaka (linguistic units which serve to convey the former– stems, suffixes etc)
Artha: Apoddhara-padartha (meanings derived or extracted); and Sthita-lakshana (meanings fixed by convention)
Sambandha: Karta-karana-bhava (relations established through cause-effect); and Yogya-bhava (relations that exist between linguistic units and meanings, and their capability to express a certain desired meaning);
Objective: Pratyayanga (comprehension of meaning); and, Pratyaya-dharmanga (acquisition of merit)
Importance of Tradition
After citing the eight topics (VP: 1.24-26), Bhartrhari talks about the importance of tradition; and the necessity of relying on the inherited knowledge in regard to acquisition of spiritual merit. And, that includes the hoary tradition of Grammar which decides upon the correctness (sadhutva) and incorrectness (a-sadhutva) in the use of language.
[While asserting the value of traditional interpretations, Bhartrhari criticizes other commentators like Vaiji, Saubhava and Haryaka for vainly pursuing ‘dry-logic’ (Shushka-tarka) without much thinking or introspection –vaiji-saubhava-haryakṣaiḥ śuṣka-tarkānusāribhiḥ– VP.2.484]-
Bhartrhari assures (VP I. 27 – 43) that he will present, through direct statements and indirect indications, only the subjects that have already been accepted in the traditional Grammar (kecid eva yathāgamam) . Thus, he clarifies, his explanations (smrtyartham) would be in accordance with the accepted traditions of the Grammar.
His commentator Vrsabha explains that by the term yathāgamam, Bhartrhari meant that he did not invent (utprekshya) these eight topics, but was handing them down (smrtyartham) as tradition (agama or paddathi).
Bhartrhari urges all to adhere to Dharma which is an eternal principle. A righteous and wise person must always act in accordance with Dharma, even if the texts perish and even if there are no longer any authors left.
astaṃ yāteṣu vādeṣu kartṛṣv anyeṣv asatsv api /
śrutismṛtyuditaṃ dharmaṃ loko na vyativartate // VP. 1.149 //
Sources of Valid knowledge
After enumerating the eight topics and the importance of following the tradition, Bhartrhari discusses about the relations between the three major sources of valid knowledge (Pramana): (i) direct perception (Pratyaksha); inference (Anumana); and, tradition or traditional texts (Agama or Sabda).
Here, he draws attention to to the fact that perception, at times, could be erroneous because of weakness or improper functioning of sensory organs. As regards inference, he points out that inference, by itself, is an inadequate of source reliable of knowledge (Pramana). He argues that inference alone, without the steadying influence of the scriptures is an improper Pramana. Vakyapadiya (1.34), remarks : ‘whatever is inferred with great effort through clever reasoning can easily be put aside a much more clever reasoning or argument (kuśalair anumātṛbhiḥ)’.
And he then asserts, the traditional knowledge (Agama) which consists of the revealed (Sruti) or remembered (Smrti) scriptures cannot be set aside by inference, since they are more dependable than inference.
According to Bhartrhari, it is not justifiable to replace scriptures (Sabda) with inference, particularly in non- empirical matters. He also says that philosophical views (Vada) cannot be independent of the scriptures. In this context, Bhartrhari mentions, the role of Vyakarana (Grammar) is very important, as it helps to safeguard the correct transmission of the scriptural knowledge, and to assist the aspirant in realizing the truth of the revealed knowledge (Sruti).
[For more on valid knowledge in Indian thought – please click here]
The treatment of the subjects in the Vakyapadiya is indeed refreshing. It adopts an open approach; and is prepared to review and validate different perspectives on a given issue. Throughout Vakyapadiya, both the viewpoints – supporting and opposing – on a subject are discussed. Sometimes the viewpoints are just enumerated. And, sometimes Bhartrhari adds a comment to the one that is more acceptable of the two. There are also instances where he develops his own view by reconciling or synthesizing two apparently conflicting views. He, at times, steers a middle course between two extreme positions. In certain ways, Bhartrhari surely is different from most authors of his time who had fallen into the habit of either totally condemning the opposite School or staunchly upholding one’s own system at any cost. (For more, please read Bhartrhari’s perspectivism by Jan E .M. Houben)
Bhartrhari was adopting the approach of Anekāntavāda which, essentially, is a principle that encourages acceptance of multiple or plural views on a given subject. The Buddha too, earlier, had said that merely judging the issue from individual (separate) stand points of view would lead to wrong conclusions; it would be prudent to approach each issue from more than one point of view (aneka-amsika).
With such a rather ‘aloof ‘or rational approach, Bhartrhari demonstrates his faith that things appear differently from different points of view.
That does not mean that Bhartrhari does not assert his own position. He is quite candid and assured of his own position. For instance; he opens the Vakyapadiya with a series of well defined statements which he plans to elaborate and defend later in work.
The first two Khandas are closely related. In these two Books, the topics (prakarana) concerning sentence and words are arranged under three broad sections, as: (i) the nature of these constituents, and their mutual relations; (ii) their contents; (iii) meaningful linguistic units and their mutual relations; the nature of creation; the relationship of Brahman, world, language, the individual soul (Jîva); and, the manifestation and comprehension of the meanings of words and sentences.
In first two Chapters, Bhartrhari shows his remarkable understanding of the psychology of communication, which is not restricted by mere structure of words. Bhartrhari is among the few who have systematically investigated Thought and Language and their interrelationship. According to him, consciousness and thought are intertwined; speech or the spoken language is an outer expression of the inward thought process; and, language is the base of all human activity.
According to this view, there are two levels of language: the inner speech and the articulated sound. The former he called Sphota, the latter Nada, ‘sound’, ‘noise’. The former is more real; and, it is the cause of the latter.
The basic idea here seems to be that the word is initially conceived as a unity in the mind of the speaker. Thus, the inward form of the word is its thought (intent), while the articulated sound is its outward form. And, both originate from the speaker’s mind as thought process which later finds words to express itself; and, that verbalized thought is put out through series of word-sounds with the aid of various body-parts and the breath. Bhartrhari employs a range of terms- such as Nada, Dhvani, Prakata-dhvani, Vaikrata-dhvani etc – in order to indicate the audible spoken word. He also talks, in detail, about the levels of language (we shall talk of this level in fair detail in the later parts).
Thus, a spoken word is but a transformation of a subtle form of un-vocalized thought which originated in the mind of the speaker in a much more subtle form. The inner most impulse is the knower, the person himself, who transforms Vivartate), in stages, to reveal himself.
The first Khanda (Brahma-khanda) 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 Sabda (word) which conveys the meaning (Artha) .
The text explains the real word (Sabda-Sphota) as the intent of the speaker, and that which is unerringly grasped by the listener. And, that is not the same as Nada (non-linguistic sound or that which expresses) or Dhvani (intonation) which acts 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.
Thus, Dhvani and Nada are‘external substances’ covering a meaningful content. In other words, they are the outer garments or the cover of the real word (Sphota).
[Amazingly, in the later periods, the concepts of Nada and Dhwani underwent a thorough change. The terms Nada and Dhwani acquired totally different connotations. Nada in Tantra as also in the theories of Indian music was elevated to the mystical concept of a very high order as Nada Brahman. Similarly, in the medieval Indian aesthetics (Kavya-Alamkara), the term Dhwani implied the subtle essence or the Rasa evoked by a poem or a gesture in a play or in dance. Anandavardhana regarded Dhwani as the soul of poetry- Kayyasya Atma. ]
Bhartrhari paid considerable attention to the whole sentence and the discussion of word-meaning rather than to constituents of a sentence.
The argument put forth here is that the sentence is an indivisible unit of communication; and, its meaning is grasped in a flash (sphota) through Prathibha (intuition). The complete and true meaning of a sentence is achieved only by means of such ‘intuitive perception’ (Vakya–Sphota). That according to Bhartrhari is the true and complete communication.
[In the later parts of this series we shall talk in a little detail about the levels of language and the concept of Sphota.]
The focus of the second Khanda (Vakya-khanda) is on the nature of relation between sentence and its meaningful constituents (words). The discussions here might be called as the study of linguistics. But, in the course of its elaborate treatment the text covers several other topics dealing with the relationship between the Brahman, world, language, and the individual soul (Jiva).
The largest of the three Chapters is the third Khanda, which is divided into fourteen sub-sections (samuddesha-s) or collection of discussions on various grammatical topics in the context of Patanjali’s Mahabhashya. Most of the topics of this Khanda were discussed by Patanjali in his Mahabhashya in one context or another; but, not in a systematic manner. Bhartrhari, in this Khanda, organizes and presents the issues in the form of cogent discussions. He also brings in the arguments from other systems such as Mlmamsa to widen the scope of the discussions.
(1) Jati-samuddesa (concerning universal or genre ) ; (2) Dravya-samuddesa (about substance); (3) Sambandha-samuddesa ( on the concept of mutual relations); (4) Bhuyodravya-samuddesa [again concerning substance); (5) Gunas-amuddesa (on quality); (6) Dik-samuddesa (of direction); (7) Sadhana-samuddesa (about participant producing an action); (8) Kriya-samuddesa (of action) ; (9) Kala-samuddesa (on concepts of time and tense); (10) Purusha-samuddesa (on the notion of grammatical person); (11) Samkhya-samuddesa (concerning numbers); (12) Upagraha-samuddesa (on distinctions between active and middle affixes); (13) Linga-samuddesa (about genders); , and (14) Vrtti-samuddesa [about complex formations , such as compounds, secondary nouns etc.)
Of these fourteen sections, some are small in size, while some like the section on complex formations and on participants producing an action etc. are fairly large.
With the aid of these Samuddesha-s , the third Khanda of Vakyapadiya goes into questions concerning the aspects of Pada (word), such as: the nature of word; its true–spontaneous meaning; role of the verbs, nouns , particles and suffixes in a sentence; the problems involved in deriving the meaning of individual word and sentence by artificial splitting them; and so on.
In the last Book, Bhartrhari , among other things, makes a grammatical analysis to show that a sentence expresses a particular action or process, which is directly denoted by its main word, a verb, He says , the function of most nouns is to show what means or accessories the action or process requires. As regards the analysis of a sentence by breaking into parts, he insists, it is artificial; but, it might help to explain an indivisible word. Further, he says, the analysis of individual words abstracted from an indivisible sentence is unreal; as unreal as the stem and suffix similarly abstracted from an individual word.
Philosophy of language
The philosophy of language that Bhartrhari presents covers both the factual and the intuitive levels of language.
As regards the factual aspects, Vakyapadiya, presents an analytical study (parishkara) of various aspects and process ( prakriya ) of language (sound, sense, relation between sound and sense, and the purpose); its nature , modes and possibilities of communication (sentence and words); meaning of sentence and meaning of words, and their compatibility; how it is learnt; how languages relate to the world; whether it can be a valid source of knowledge; and, logical aspect of language based on the components (syllable) that go to form a word (stems and suffixes; meanings of the stems and suffixes; causes, and knowledge of the correct meaning of words) and other related subjects.
The discussions related to Grammar, Vakyapadiya also covers certain interesting issues that were not dealt in the earlier grammatical text. For instance; there are discussions here about: the distinction between Sabda (word) and Dhvani (sound); the question whether Sabda (word) signifies the general or the particular; and, what constitutes a meaningful-unit of language?
As regards the philosophical aspects of language, Bhartrhari in his Vakyapadiya asserts the faith that by using correct speech (Sadhu) composed of apt linguistic units (words – Sabda) a human being can reach the limits of his conventional and spiritual capabilities. It enables, according to him, meditations centred on language: Vak-yoga or Sabda-purva yoga. For him, Grammar in its pristine form represents the efficient means to realise Brahman. Bhartrhari states that ‘the purification of the word is the means to the attainment of Supreme Self – ‘one, who knows the highest essence (paramo rasaḥ) of speech, attains the Brahman’ (1.12). Ultimately, he says, speech is Brahman.
At the commencement of Vakyapadiya, Bhartrhari declares that Sabda–tattva (Word-principle) is Brahman, the ultimate truth which is beyond space or time. It is: ‘the beginning-less and endless One; the imperishable (Akshara) of which the essential nature is Sabda, which transforms (vivartate) itself into speech, as words and as their meanings and into objects; and , from which proceeds the creation of the universe’.
(Anadi-nidhanam Brahma sabda-tattvam yad-aksharam / vivartate artha-bhavena prakriya jagato yatah – VP. 1.1)
[For Bhartrhari, Sabda Brahman (supreme word principle) is One (ekam eva) and is the highest Reality–Para Brahman. This marks his departure from Vedanta, where the supreme consciousness, Para Brahman, is beyond language. The theistic traditions that came later also rejected the ultimate supremacy of Sabda Brahman. They, instead, chose to idealize the qualified Brahman with most adorable attributes. ]
Bhartrhari states that the essence of Brahman is the natures of Sabda (word). And, Sabda is identical with its meaning (Artha). According to Bhartrhari, the Sabda (word) expresses itself; and at the same time it also puts forth the meaning suggested by it. That is to say; Sabda is self-expressive; it is at once the subject and the object as well.
Further, Bhartrhari explains, though the word and word-consciousness (Logos- Shabda tattva – the ‘Word principle’, which he identifies with Brahman the Absolute) is unitary in its nature, it manifests itself in the diverse form of words that make possible the speech with its infinite varieties of expressions.
Thus, Sabda according to Bhartrhari is not merely the cause of the universe but also is the sum and substance of it. This is the central theme of Vakyapadiya.
That fundamental idea is carried forward later in the text:
An absolute beginning of language is untenable. Language is continuous and co-terminus with the human or any sentient being. There is no awareness in this world without its being intertwined with language. All cognitive awareness appears as if it is interpenetrated with language. (VP. 1.123)
If the language impregnated nature went away from it, then a cognition would not manifest (any object), for that (language impregnated nature) is the distinguishing nature of our cognitive awareness. (VP. 1.124)
(Translation of B.M Matilal- The Word and The World. India’s contribution to the Study of Language – 1990)
Levels of Language
Bhartrhari in his Vakyapadiya explores language at two levels. The first deals with linguistic relationships from the point of view of everyday usage; and, the second with the same relationships from the point of view of ultimate reality.
At the empirical level, Bhartrhari is concerned with the process of communicating meaning. He talks about word-meanings and their relationships as in everyday conversation.
At another level, his theory of language deals with the metaphysical aspects of speech; and the ultimate purpose of life – the liberation from the bonds of Prakrti (relative existence).
But, reorganization of two levels of language does not imply dualism. Bhartrhari was essentially a Vedantin who viewed the universe as the emanation of the non-dual Brahman. He recognizes unity in diversity; and remarks: “All difference presupposes a unity; where there is a duality there is an identity pervading it. Otherwise one cannot be related to the other; each would constitute a world by itself”.
According to Bhartrhari, the language we speak is the medium of expression of the ultimate reality communicated through meaning-bearing words. It leads us across the external appearances and diversities to the core of the Reality which is the source and the underlying unity beneath everything. Here, the Real is the luminous Truth which needs to be rediscovered by every speaker and in every speech. The Real breaks forth (sphut) through the medium of speech (Sabda). And, Sabda is not mere means to the Reality, but it is the very Truth and Reality (Shabda-Brahman).
Extracting the precise meaning of a sentence in a text has been one of the concerns of most of Indian Schools of thought. Brihad-devata (a secondary Vedic text of 4-5th century BCE attributed Saunala) mentions about the rules that should generally be followed for interpreting a (Vedic) text. According to Brhad-devata, there are six factors that determine the sense or the import of an expression. They are: the objective to be served by the text (Artha); the relevance of subject matter under discussion (Prakarana); a reference to it in another portion of the text (Linga); aptness or its suitability of relevance (Auchitya); the geographical location (Desha); and, the contextual time (Kala).
Generally, it is the context in which a term is used that brings out the sense that it is trying to express. The context, in each case, is circumscribed by various factors. Elaborate sets of rules or guide-lines were drawn up by each School to identify such ‘context’ in each class of texts. Among the traditional Schools of thought, Mimamsa took special care to lay down the ground rules in that regard. The Mimamsa method is generally followed by the other Schools as well.
According to Mimamsa , there are six means of ascertaining the correct meaning of a text: Sruti direct statement; Linga implication derived from another word or term; Vakya- syntactic connection; Prakarana – context of the situation; Sthana – location; and, Samakhya – meaning derived from etymology .
Mimamsa also laid down six factors for determining the purpose (Artha) of a text are: consistency in the meaning between the introduction and the conclusion; repetition of the main topic; the novelty of the subject matter; the result intended; corroborative and explanatory remarks; and, arguments in favour of the main topic.
Bhartrhari also lists out contextual factors which are similar to those listed in Brihad-devata; but, with slight medications and substituting Vakya for Linga. His list of determinants or indicators to help determine the specific sense in which the words are used by speakers , broadly , cover the major factors such as : the sentence (vakya), the context (prakarana), the purpose (Artha), the propriety (auchitya), the place (Desha) and the time (kala).
According to him, the relation between the word and its meaning can be characterized in several ways: as the relation of capability to express a certain sense (yogyata); as a cause-and-effect relation (karya-karana-bhava) ; and as one of identification or superimposition (adhyasa or adyaropa). Such relations are permanent (nitya) in Grammar.
He pointed out that in many cases of language behaviour, the literal meaning conveyed by the expression is not the intended meaning and the contextual factors play a vital role in determining the intended sense of the passage. It is by gaining a thorough understanding, in each case, of context, the specific and the grammatical factors that determine the intended sense that one would be able to successfully avoid confusions and misrepresentations in reading a text.
Bhartrhari’s list is more elaborate:
1.Samsarga (contact) or Sam-yoga (association): the connection known to exist between two things; 2. Viprayoga (dissociation): the absence of such connection; 3. Sahacarya (companionship): mutual association; 4. Virodhita (opposition): Antonym-opposite in meaning; Artha: the objective or the intended purpose; 6. Prakarana: the context or subject under discussion; 7. Linga: indication from another place; 8. Sabda- syanyasya samnidhih (nearness to another word): similar to Samsarga ; it restricts the meaning to a particular zone; 9. Samarthya (capacity): capacity to express; 10. Auchitya (propriety or aptness): say, whether to take direct meaning or metaphorical meaning; 11. Desha (place) the geographical region to which the text belongs; 12. Kala (time) the period in history in which the text is composed; 13. Vyakti (grammatical gender); and, 14. Svara (accent) the tone and tenor of the text.
Apart from these, abhinaya (gesture) and apadesa (pointing out directly) are also taken as determining the exact meaning of an ambiguous expression.
All these factors discussed above can be classified under three broad groups: (1) Grammatical construction; (2) Verbal context, and, (3) Non-verbal situational- context.
Bhartrhari emphasizes the importance of contextual factors in determining the meaning of an expression.
According to Bhartrhari, the process of understanding the particular meaning of a word has three aspects: ﬁrst , a word has an intrinsic power to convey one or more meanings (abhidha); second, it is the intention of the speaker which determines the particular meaning to be conveyed (abhisamdhana) ; and , third, the actual application (viniyoga ) of the word and its utterance.
Bhartrhari also states that Meaning in language is dependent on its usage; on the speaker-listener relationship; as also on their capacities to communicate and to comprehend – Sabdabodha (verbal cognition)- what has been expressed (śabdārthaḥ pravibhajyate).
vaktrānyathaiva prakrānto bhinneṣu pratipattṛṣu / svapratyayānukāreṇa śabdārthaḥ pravibhajyate // VP:2.135//
The particular meaning of a word which is commonly used (prasiddhi) is considered by Bhartrhari as its primary meaning. The secondary meaning of a word normally requires a context for its understanding, although sometimes the context may clarify only the primary meaning. Usually, the secondary meaning of a word is implied when a word is used for an object other than it normally denotes, as for example, the metaphorical use of the word
But his commentator Punyaraja dismisses such distinctions of primary and secondary meaning: the content of the speech is nothing but the intention of the speaker (tatparya); and, the classification of the meaning into primary and secondary, etc, is a fictitious analysis; and is meant only for the purpose of teaching the structure of language to ignorant persons.
vakyasya-arthát padarthanám apoddhare prakalpite I sabdantarena sambandhah kasyai kasyopapadyate I! VP.II.269.
upayáh siksamananám Baldnam apalapanah 1 asatye vartmani sthitva tatah satyam saniihate II VP.II.238.
Commentaries on Vakyapadiya
Numerous commentaries have been produced on the Vakyapadiya.
Bhartrhari himself is credited with preparing a detailed explanatory note (Vivarana or Vrtti or Tika) on the first two Khandas (Chapters) of the Vakyapadiya. The Vrtti though, technically, is a commentary, it is often regarded as an integral part or as an appendage of the Vakyapadiya. At times, the name of a certain Harivrshabha is associated with the Vrtti. But, the scholarly interpretation is that ‘Harivrshabha’ could be a variation or reverse order (Hari +Brhat) of Bhartrhari, both the forms meaning: ‘great or powerful Hari’. The scholars generally tend to agree that Bhartrhari is the author of both the Vakyapadia (Trikandi) and the Vrtti. Bhartrhari’s main contribution to philosophy of grammar and philosophy of language is found in the first two Khandas of Vakyapadiya and their Vrtti.
Among the extant commentaries written in the earlier times the prominent ones are said to be the ones written by: Vrshabha or Vrshabhadeva; Helaraja; Punyaraja; and, Nageshabhatta.
The early commentators interpreted Vakyapadiya mainly from the Advaita point of view; and, to a certain extent they were also influenced by Kashmir-Shaiva School. The earliest commentary available to us is that of Vrshabhadeva. And, commentaries prior to that are lost.
The earliest surviving commentary on the Vakyapadiya is the one ascribed to Vrsabhadeva, son of Devayasas and an employee in the court of King Vishnugupta of Kashmir. His time is said to be around 650 CE. At the commencement of his Vakyapadiya-Paddhati, which is a commentary on the first two Khanda-s and the Vrtti, Vrsabhadeva mentions that earlier to him, many scholars had produced lucid commentaries on the Vakyapadiya. But, again, all those commentaries as also Vrsabhadeva’s commentary on the second Khanda are lost. Only his commentary on the first Khanda and on Vrtti has survived.
Helaraja (Ca.980 CE) who comes almost five hundred years after Bhartrhari is identified as the son of Bhutiraja who was a descendent of Laksmana, Minister in the Court of King Muktapida of Kashmir. (Some say that Helaraja was one of the teachers of Abhinavagupta.) Helaraja is said to have written a set of three separate commentaries, one each on the three Khanda-s of the Vakyapadiya (Sabda-prabha; Vakya-pradipa; and, Prakirnaka-prakasha). However, his commentaries on the first and the second Khanda-s are, sadly, lost; and, only the commentary on the third Khanda (Prakirnaka-Khanda) has come down to us.
And, not much is known about Punyaraja either. His date is surmised as between the 11th and 12th Century. It is said; Punyaraja also hailed from Kashmir; and, was also known by the names Pullharaja or Rajanaka Suravarma. He was said to be disciple of Sasanka-sishya (Sahadeva) who wrote a commentary on Vamana’s Kavya–Alankara-sutra-Vrtti, a text on poetics (Kavya-shastra). Punyaraja, it is said, studied Vakyapadiya under the guidance of his teacher; and later wrote a commentary (Vakya-khanda-Tika) on the second Khanda of Vakyapadiya. Some scholars, notably Dr. Ashok Aklujkar, have argued that this commentary is most probably a shortened version of Vakya-pradipa a commentary by Helaraja on the second Khanda, which is believed to have been lost.
There is also a commentary called Vakyapadiya-prameya- sangraha by an unknown author covering the second chapter of the Vakyapadiya. This actually is an abridgment of the commentary usually ascribed to Punyaraja.
Another commentator Nageshabhatta a well known scholar of the 17th century n his Vaiyakarana Siddhanta Manjusa is said to have commented on the Vakyapadiya .
During the last century there has been a remarkable upsurge in the studies on Vakyapadiya, both in the East and in the West. As Jan E.M. Houben, in the chapter on the Vakyapadiya and its interpretation remarks :
‘ One of the reasons for this must be that the subject matter of the Vakyapadiya is strongly consonant with crucial themes in twentieth century Western thought, in spite of the very different background and elaboration of the issues.’
Significant numbers of scholars have produced outstanding works. Just to name a few that I can quickly recall (Not in any particular order) : K A Subramania Iyer; Gaurinath Sastry; Mulakaluri Srimannarayana Murti; T.R.V. Murty; T K Iyer; Ashok Aklujkar; Jan E .M. Houben ; Harold Coward; K. Raghavan Pillai; Bimal Krishna Matilal; Bishnupada Bhattacharya; K. V. Abhyankar; Rau Wilhelm; Johannes Bronkhorst; Saroja Bhate; Madeleine Biardeau; Hajime Nakamura; K Kunjunni Raja; H.V Dehejia ; Akhiko Akamatasu; P C Chakravathy; Hideyo Ogawa and many others.
We all owe a deep debt of gratitude to these savants.
In the next parts we shall try to know the concept of Sabda Brahman according to Bhartrhari; his theories on errors; his concept of time etc before moving on to Sphota.
Continued in the next Part
References and Sources
- The Philosophy of the Grammarians, Volume 5 – edited by Harold G. Coward, Karl H. Potter, K. Kunjunni Raja
- Bhartṛhari, the Grammarian by Mulakaluri Srimannarayana Murti
- The Study of Vakyapadiya – Dr. K Raghavan Piliai Volume I (Motilal Banarsidas; 1971)
- Being and Meaning: Reality and Language in Bhartṛhari and Heidegger by Sebastian Alackapally
- Sonic Theology: Hinduism and Sacred Sound by Guy L. Beck
- Bhartrhari (ca. 450-510) by Madhav Deshpande
- Bhartrihari by Stephanie Theodorou
- The Sphota Theory of Language: A Philosophical Analysis by Harold G. Coward
- Speech versus Writing” In Derrida and Bhartahari by Harold G. Coward
- Sequence from Patanjali to Post _modernity by V. Ashok.
- The Vedic Conception of Sound in Four Features
- Sphota theory of Bhartrhari
- Word and Sentence, Two Perspectives: Bhartrhari and Wittgenstein edited by Sibajiban Bhattacharyya
- Hermeneutical Essays on Vedāntic Topics by John Geeverghese Arapura
- Culture and Consciousness: Literature Regained by William S. Haney
- Of Many Heroes”: An Indian Essay in Literary Historiography by N. Dev
- The Advaita Vedānta of Brahma-siddhi by Allen Wright Thrasher
- Bhartr̥hari, Philosopher and Grammarian: Proceedings of the First … Edited by Saroja Bhate, Johannes Bronkhorst
- Bhartṛhari – from Wikipedia, the free encyclopedia
- Sri Venkateswara Univrsity Oriental Journal Volumes XXX-XXXi 1987 – 1988
- Studies in the Kāśikāvṛtti: The Section on Pratyāhāras : Critical Edition …edited by Pascale Haag, Vincenzo Vergiani
- Proceedings of the Lecture Series on Våkyapadiya and Indian Philosophy of Languages- (31.1.08 to 2.2.08)