What is the Mechanism of Pronunciation?
The Pratishakhyas give detailed guide-lines in this regard. The वाजसनेयी प्रातिसाक्ष begins with the mechanism of generation of vibration that creates sound. Since these are written in Sutra style, it has to be learnt from competent teachers. This subject is discussed here briefly. According to the Vajasaneyi Pratishakhya (Chapter 1- Sutras 6 to 9), “वायुः खात्। शव्दस्तत्। सङ्करोपहितः। स सङ्घातादीन् वाक्।”. This has been explained in other texts like Kriyaa Saara, Shabda Nivandhana and Naamaartha Kalpa Sutra etc., as follows: The word शव्दः is a scientific equation called साङ्केतिक in Vedic times (विन्दुवातग्न्यम्वराणां तस्मात् साङ्केतिकाः स्मृताः). Literally it means that four different parameters are responsible for generation of sound. These, according to Shabda Nivandhana, are: तत्र शकार विन्दुः बकार वायुः दकार अग्निः विसर्गाश्चाकाशः. To put it in a mathematical format: शब्दः = श + ब् + द + ः
is the Vedic equation for sound, which has a deep scientific connotation as described below:
शब्दः = श + ब् + द + ः
For any force to act; there must be a ground or a base. Without this base, no force will ever be perceptible. In the left hand side of the equation for sound, the letter “sha” represents this base universally. According to क्रिया सार, this is called the शब्द केन्द्र – the base for generation of sound. When other parameters affect this base, different sounds are produced based on the magnitude of such effect. All motion with reference to a base can be divided into two categories; viz., motion away from the center of the base (उत्क्षेपण or प्रसारण) or motion around it (गमन). The first category of motions is possible only through heat transfer, while the second type of motion is possible through gravitational interaction that stabilizes the orbits. Heat transfer is done in three different ways:
- Conduction (निर्भुज – meaning dispersion – प्रसारण – from higher concentration to lower concentration uniformly in all direction like the flower of a kadamba tree – कदम्ब कोरक न्याय). Thus, unlike light, sound overcomes obstacles and spreads in all directions.
- Radiation (प्रतृण्ण – meaning complete separation from the base – उत्क्षेपण), and
- Convection or diffusion (उभयमन्तरेण – meaning an intermediate stage where the heat is transferred from one particle to the next particle).
The first category of heat transfer is called agni and is universally symbolized by the letter ब् . Heat transfer is basically a function of the strong nuclear interaction (अन्तर्याम सम्बन्ध) that is mediated by the 8 gluons (अग्निश्च जातवेदाश्च ……एते अष्टौ वसवः क्षितः – तैत्तिरीय आरण्यक). The magnitude of agni can vary leading to further reaction and generation of sound of different wave lengths.
The conduction by agni disperses the next particle, which in turn acts in two ways: passing on the momentum to the next particle (वेग) and pushing back to retain its own position due to inertia (स्थितिस्थापक संस्कार). This leads to abrupt density fluctuations inside the particle, which changes the interaction from a stable state to a chaotic state activating gravitational interaction (वात or वायु) to stabilize it. This creates the vibration as each particle pushes the next particle passing on the momentum and returns to its earlier position – pushing the initial particle back in the process. ऋग्वेद (1-165-15) describes gravitational interaction as a composite of 7 forces in four groups. तैत्तिरीय आरण्यक describes these 7 in two groups of inter-body and intra-body (आवहादि सप्तवायवः). They interact in 11 different ways (पभ्राजमानादि एकादशः). The gravitational interaction (Vaata or vayu) is universally symbolized by the letter ‘da’. The magnitude of vayu can vary leading to further reaction and generation of sound of different wave lengths.
Finally, there must be a medium to transmit the vibration. This is universally symbolized by the letter ‘ ः ’, or विसर्ग. Though these four factors lead to generation of sound, only the middle two parameters are variables. Since different forces do not couple (ग्रन्थिवन्धन सम्बन्ध), but co-exist (सहावस्थान सम्बन्ध), these two factors with their 11+8 = 19 divisions co-exist. The medium has 16 vala vyuhas. Their total interaction leads to 19 x 16 = 304 (चतुरुत्तर त्रिशत) types of sounds, out of which only 12 types are within human audible range. Of these twelve, according to Naamaartha Kalpa Sutra, the least in magnitude is called “sphota” and the highest in magnitude is called “Mahaghanarava”. Others are intermediate.
According to the Pratishakhyas, when a person feels a need for communicating something, then only he speaks (creates vocal sounds). Whenever such a need is felt, the mind is the first to be activated. This releases energy that leads to expansion of the air within the body so that it moves upwards (मनः कायाग्निमाहन्ति स प्रेरयति मारुतम्). This air, while coming out of the vocal chords, vibrates them leading to release of sound. If the air comes out directly through the nose, it is called “श्वास”. If it comes out through the mouth, it is called “नाद”. The final letter that is uttered varies according to the following factors:
- Position of the vocal chords while producing sound – normal (विवृत) or strained (संवृत),
- The efforts put in within the mouth or outside it ( वाह्य and आभ्यन्तर प्रयत्न),
- The place of articulation (स्थान),
- The organ of articulation (करण),
- The time taken for articulation (मात्रा or काल),
- The specific accent (उदात्त, अनुदात्त, स्वरित, प्रचेत),
- Perceptible nature of the sound (देवता), and
- Class of interaction with other sounds (जाति) etc.,
The Science of pronunciation
वाजसनेयी प्रातिसाक्ष (8-25) calls these letters of the alphabet Brahma Rashi. Thus, the script is called Brahmi script. The script also follows the above characteristics that distinguish each alphabet from others. For example, when the vocal chords are in their natural relaxed position while producing sound, the sound that is produced with least effort and least time is called ‘अ’. Hence this or its variations is the first letter in all languages of the world. Since all other letter sounds are generated only after some modification to the above state, they can be said to be a derivative of ‘अ’.
- While pronouncing ‘अ’, the lips form a circular shape which is wide open. The script for ‘अ’ in Brahmi and the meaning assigned to it has been devised keeping these factors in mind. To symbolize its centrality, one vertical line with half an expanding shape has been assigned as its script. Thus, in all languages, we find one vertical line and either full or part of a circle is used in writing its equivalent letter. Since no letter can be pronounced before it, it gives a negative connotation whenever it is placed before a word. On its own, it connotes infiniteness and its equivalent.
- While uttering ‘अ’, if the throat is choked a bit while allowing the sound to come out through the lips, it sounds like ‘क’. If further pressure is applied, the air, instead of coming out straight, takes curved paths touching the teeth (दन्त्य), lower portion of the root of upper teeth (मुर्द्धा) and palate (तालु) generating sounds of ख, ग and घ respectively. Thus, the script symbolizing क has the vertical line of अ and a horizontal bar in its middle symbolizing its check or confinement. Since it connotes confinement, it represents Brahma, who was first born confined in a lotus. For that reason, all letters starting with क connote confinement in some aspect. While uttering ख, since the throat is further contracted, it requires more force to eject it from mouth. For this reason, the horizontal bar of ख is pushed up and the meaning changes to expansion. Thus, ख connotes space (Aakaash), which always expands to accommodate everything. While uttering ग, more force is needed and the trajectory of air inside mouth shows a vertical climb up and then coming down. This is reflected in the script for ग. For this reason, ग connotes motion.
- While uttering प, the lips first close and then open. Thus, the script representing प is opposite that of ख. The closing creates a box like structure that is generally used for protecting valuables. Thus, प connotes protection (पा रक्षणे). The letter म is uttered like प – lips first closing and then opening, but with nasal sound. Hence the script representing म is a half circle and a full circle or its variants. All other letters of the Brahmi script have been derived like this. Hence it has Vedic origin. No other language or script in the world can be explained in such a scientific manner.