IV. THE VEDANGAS IN THE NP. (Chs. 50-57)

The Vedangas are the ‘limbs’ or accessories of the Veda which help the proper understanding, recitation and sacrificial application of the Vedas. They include the following exegetical sciences: shiksha (phonetics), Kalpa (ritual), Vydkarana (grammar), Nirukta (etymology), Chandas (metrics) and Jyotisha (astronomy).51 52 These are compared to the following limbs of the Veda: the nose, the hands, the mouth, the ears, the feet and the eyes.

The traditional list of VedaAgas assigns the first place to Shiksha or instruction given for the correct pronunciation, accentuation, etc. of the Vedic text. Its oldest mention is found in the Taittiriya Upanifad (1.2) and the oldest text dealing with them are the Prdtiidkhyas.

The NP. deals with not only the rules of correct pronunciations of (Vedic and classical) Sanskrit but also with the science of music — vocal and instrumental. The importance of this section of the NP. becomes obvious when we find AP. summarising the Pdniniya Shiksha practically in Panini’s words.69

According toNarada, Svara (accent) is important in Shiksha. In chanting RK, Gdthds and Sdma-mantras, the Svardntara per-, taining to RK (Arcika) is one, to Gathas (Gathika) is two, while that related to Sama-mantras (Sdmika) is three. The Arcikasvara is used in chanting Kapha, Taittiriya, flgveda and Sama Veda Sarilhitds. The Rgveda may be chanted in Gdthika and Sdmika Svaras as well.6

In the Va Amaya (every day speech) the pronunciation is from (1) the chest (uras), (2) the throat (kanfha), and the head (liras) These three are known as Savanas.

The Svaras, low (nica), medium (madhya) and high (Ucca) have their sources from uras, kanfha and Hras respectively, and the seven notes (sapta-svaras) in the Sdmaveda also are produced from these. The Arcika svaras are classified as Uddtta, AnudHtta and Svarita.5 From physical (pdrthiva) point of view, the svara is classified as ucca, madhyama and sanghdta. Out of seven Svaras, the third, the first and the sixth (bus fa) are used by Ahvarakas, the four svaras from second to the fifth by Taittiriyas, all the seven svaras by Samavedins and the second and the first svaras by Tandins, Satapathas and the Vajasaneyins.

Although one is tempted to compare this section of the NP. with Narada’s SaAgita Makaranda, the latter being later in date (11th. cent, a.d.) cannot be the source of the NP. The NP., however, quotes verses from 50.44 ff from an older work with the words: bhavanti cdtra Slokdh.

The Svara-mandala consists of seven svaras, three grdmas (gamut), twentyone Murchanas (melodies) and fortynine tanas (protracted tunes). The seven svaras65 are: shadja (Sa), Rsabha (Rs), Gandhara (Ga), Madhyama (Ma), Paflcama (Pa), Dhaivata (Dha) and Nisada (Ni). They are regarded as originating from the throat (kanfha), head (liras), nose (nasika), chest (uras), conjointly from chest, head and throat, forehead and the last from all these combined (sarva-sandhija) respectively. These correspond to the cry of a peacock (Мауйга), a bull (Go), a goat (Aja) a heron (Kraunca), a cuckoo in spring (pusparsddhdranakdle kokila), a horse (Aiva) and an elephant (KuHjara). They were first sung by Agni, Brahma, Soma, 53 54 55

Vishnu, Narada, and (the last two by) Tumburu respectively. The Safia pleases gods, jfcabha sages, Gandhdra manes (pitrs), Madhyama Gandharvas, Райсата gods, sages and pitrs, Nishdda Yaksas and Dhaivata all living beings (bhQtas). Strangely enough castes are associated with these svaras. For example, Райсата, Madhyama and Satfja are supposed to have been presided over by Brahmanas. The importance of these svaras (of sdman) for sustenance of all beings is emphasised by Narada.65

The three Grdmas are shadja, Madhyama and Gandhara and they are supposed to have been produced respectively by Bhurloka (the earth), Bhuvar-loka (the firmament) and conjointly from Svarloka and Abhra (heaven and clouds). Grdma- ragas are due to the special position of Svaras (NP. I.50.32a-34a.)

Murchands (melodies) are classified as pertaining to gods, manes (pitrs) and sages. Those pertaining to gods are:

2. ViSvabhrta, 3. Gandra, 4. Hema, 5. Kapardini, 6. Maitri, and 7. Barhati. The Murchanas of sages are: 1. Uttara- mandra in sha<jja, 2. Abhiruhata in Rsabha; 3. ASvakranta in Gandhara 4. Sauvlra in Madhyama, 5. Hrsika in Paiicama, 6. Uttara in Dhaivata and 7. Rajanl in Nisada.

Gandharvas sing the Murchanas of gods, Yaksas use those of Pitrs and men, those of sages (NP. 1.50.35-41).

It is for proper Vedic studies that the NP. seems to have discussed the science of music in Shiksha. Some of the instructions to students are interesting. Good teeth being essential, he recommends the twigs of Mango, Bilva, Apamarga (Achyranthes aspera) etc. for brushing the teeth. He advises the use of 7rt- phald powder mixed with salt for good digestions and clear pronunciation. He advises to inhale (sandal?) smoke and take in ghee. The student should recite the first seven Mantras in Mandra and then in his usual tone.56 57

In spite of this discussion, he confesses that even expert musicians like him, Tumburu, ViSvavasu and Gandharvas have a limited knowledge of Sik^a58 59 and what he stated is only a pointer (difi-mdtra) in the matter.69

Narada described only two instruments — Vind (a lute) and Venn (a flute). A Lute is either wooden (Daraul) or human (Gdtravati) and the latter is to be used in singing Samans.60

Narada gives the correspondence between the notes of the flute and those of Saman. The Madhyama of a Venn (flute) is the first Svara of Saman. Thus the 2nd, 3rd, 4th, 5th, 6th and 7th svaras of Saman are the Gandhara, Rsabha, shadja, Dhaivata, Nisada, and Paficama svaras on the flute61 respectively.

Unexpectedly here are two verses on chandas. The one gives the characteristics of Aryd (a mdtrd-vrtta with 12, 18, 12 and 15 mdtrds per foot) and the rest Vipula (1.50.199-200).

This oldest tract of Sutra literature deals with the (Vedic) ritual and was classified as Srauta, Grhya and Dharma Sutras according to the subject matter. The Kalpa in the NP. is divided into (1) Veda, (2) Samhitd, (3) Ahgirasa, (4) Sdnti and (5) Nakfatra. The Veda Kalpa deals with performance of rituals with chanting of mantras from the fjigveda. Sarfihitd Kalpa describes the deities, metres (chandas) and rshis of the mantras; Ahgirasa Kalpa deals with the six specific acts (karmas) pertaining to sorcery (abhicara). Sdnti Kalpa, as the name suggests, describes the rites to ward off calamities caused by gods (divya), beings on the earth (bhaumika) and from the sky (dntarikfa). Nakfatra Kalpa deals with planets and stars (1.51.1-8). The NP. ascribes these Kalpas for every branch of the Veda though in ancient times they formed the part of the Corona VyQhas of the Atharva Veda.

The NP. describes the domestic rites and rituals under Nakfatra Kalpa whrein we are given the purification of the plot of ground, placing of fire upon the altar (Vedi), arrangement of sacrificial materials, Ganeia worship, propitiation of planets and pitrkalpa i.e. performance of Srdddha (NP.I.51.9 ff). The NP. draws heavily from the Yaj. smrti ch. I in this chapter.

60. The details of recital of Samans given from verse 79 ff. show that Gdtravati lute stands for human body or voice.

Vydkarana or the science of grammar was developed for understanding the Veda and the earliest specimens of which are found in stray observations in the Ara^yakas, the Unddi- sdtras (on formation of nouns from roots) and Phish-sutras (dealing with accents), Panini’s Affddhydyi being the only representative of such exegetical works. Out of the encyclopaedic Puranas, AP. gives the most exhaustive treatment of Sk. grammar in 11 chapters (chs. 349-359). It is an epitome of Kumara vydkarana.62 GP. devotes two chapters (chs. 203-204) which show that Katantra’s grammar was its basis.63

According to Narada, grammar is the mouth of the Veda (NP. 1.52-1) and it discusses the following topics: (1) the seven case-endings, (2) Declension of nouns (in three genders), (3) Kdraka (cases), (4) Samhitds or Sandhis, (5) taddhita (nominal formation), (6) compounds (Samasa), (7) Tiii Vibhakti (conjugation of verbs).

NP.’s presentation of grammar is popular and not scientific. He only gives examples and does not bother about Panini’s rules.64 It is possible that this section was written after Panini was made popular by Bhartrhari’s Vdkyapadiya, in the 7th cent. a.d.

Nirukta gives the etymology of Vedic words. The NP. considers it to be the ear of the Veda (Srotranga). It classifies Vedic roots into five categories, viz. those with Varridgama (addition of a syllable), vamavipaiyaya (Metathesis), varna-vikdra (change in the syllable), Varna-ndfa (Haplology), Sarhyoga '(joining of letters) and he gives harhsa, sirhha, gQdhotmd, prpodara and bhramara as the instances of these respectively (NP.I.53.1-5). As noted above, on p. 21 NP. further points out the difference in the declension and conjugation of Vedic and classical Sk. as in Pariini’s Vaidiki Prakriya. The roots are divided in ten groups (ganas) like bhvddi, adddi and the groups have 1006, 73, 22, 140, 32, 157, 25, 10, 52, 136, roots respectively. These are again classified according to their padas (e.g. Parasmaipada) and accents (e.g. Uddtta, Anuddtta, Svarita) (NP.53.16-76).

64. NP. 1.53.91-95 for Avyaylbhava compounds. But verses 2-24 are a versified form of the Sdtras of Pipini quoted in Kdraka Ргакагацю of the Siddhdnta Kaumudi.

As all words are Siddha (derived), the study of their original form (Prakrti), the morphology (Pratyaya), the augment (Agama) should be undertaken (NP.1.53.70-86).

As compared with Yaska’s work, NP. gives only a concise popular presentation containing a few illustrations. But the other two encyclopaedic Puranas (AP. a GP.) have not treated this topic at all.

Unfortunately no work of Vedic antiquity on Jyotisa proper has come down to us, except the references in the Samhitds and Brdhmanas (especially of the Yajurveda).®5

Out of Puranas, AP. (some twenty chapters from 12Iff) and GP. chapters 58-62 deal with Astronomy. GP. like NP. states that this science was composed by god Brahma in 4,00,000 verses® — a figure popular with Purana-writers. The treatment of this science in the NP. is more scientific and exhaustive. This science has three branches — Ganita (Astronomical calculations), Jdtaka (Horoscopy) and Sarhhitd (Astrology, omens, etc.).

Ganita deals with (1) arithmetical operations (Parikarma), (2) calculation of the motions of planets, (3) place, direction, times of the grahas, (4) lunar and solar eclipses, (5) the time of the rising and setting of the sun, (6) the elevation of lunar cusps and (7) conjunction of planets. 7

The arithmetical operations in the NP. are the same as in Bhaskaracarya’s Lildvati. This is not to suggest that the NP. is the borrower even though three verses in the Lildvati (47, 48, 135) are found in the NP. (54.28, 29, 45).

The astronomical portion from the NP. except (4), (5), (6), and (7) is the same as in the SUrya-Siddhdnta. Though 186 verses of this portion are common to the NP. and the SUrya Siddhdnta, both the works might be independent borrowers from a common source. 65 66 67

The Jdtaka portion of the NP. (ch. 55) and Varaha- mihira’s Brhajjdtaka are practically identical in contents though textually the verses cannot be so claimed.

But the Sarhhitd portion in the NP. (ch. 56) is a digest of the Narada Sarhhitd and the fact that in the 755 verses of the NP. we find about 300 quotations from the Narada Sarhhitd shows how the NP. is indebted to the Narada Sarhhitd, though the possibility of a common source cannot be ruled out.68

Literature comprising the Vedanga on metrics is meagre. The AP. gives a detailed summary of the chandas idstra in chs. 328-335.

As compared with AP. andGP. NP.’s treatment of metrics in 21 verses is brief (Kincillakjtand). Naturally, it is merely an outline of the Vedic and classical metres, (including the syllabic (Varna) and the mdtrd varieties. He explains the eight syllabic feet (ganas) and the variation of laghu and guru syllables (short and long), in them. He also explains the Sarna (evenfooted), Ardha-sama and Vishama types of metres and the 26 classes of chandas depending on the number of syllables from one to twenty six per pdda (feet) of a regular metre. A metre in which the pdda exceeds 26 syllables is called a Dantfaka having names like Canda, Vr?ti, etc. (1.57.1-10).

It is by a variation in the distribution of laghu (short) and guru (long) syllables that a great variety of new, subordinate metres takes place (1.57.14-21).

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