Vedic Language and Classical Sanskrit

The Indus Valley Civilisation used thousands of seals with symbols which have not been properly understood so far.Most of these symbols were later used all over India and abroad on pottery,copper plates,rocks ,textiles,furniture , metalwork products etc. But the fundamental principle underlying these symbols escaped the attention of scholars and researchers so far.This led to many strange conclusions about their readings. In this paper we are explaining the basic principle of the symbols and their purpose. We are not surprised to find that vedic
“mangala/mangalatraya/ ashTamangala / agni/ kaala/raja/ laabha/varsha/sabha/siva/subha/srii” are the underlying words employed in most of the inscriptions. These symbols agree with the Rg vedic concept of agni/fire worship and the archeological evidence of presence of vedic fire altars in IVC sites.Worship of agni(sun,fire,king,priest) led to the use of these symbols by other contemporary civilisations also.
The Ashtamangala(asta-mangala>house of king ; cf.Heb.LMLK;Bethlehem/beth-melech;king’s sacrifice;bull’s sacrifice) is a set of Eight Auspicious Signs used in religions like  Hinduism,Jainism, and Buddhism. In the Hindu tradition, the Ashtamangala may be used during certain occasions like pujas,weddings,coronation of kings etc.  They have been depicted in decorative motifs on pottery ,temples,royal palaces, houses and cultural artifacts.This paper explores the Harappan ashTa mangala rationale in vedic literature,rituals and sacrifices,temple architecture etc.

These are slides I used to teach students the Ishavasya Upanishad. One can easily understand the whole Upanishad with Shankara Bhashya after studying the slides thoroughly. Like my students, hope the readers will also understand this Upanishad clearly. Thank you.

In 1995, Maharishi Mahesh Yogi revealed the source, course, and goal of existence, from the level of the unbounded consciousness to the level of manifest creation, in the form of his Apaurusheya Bhāshya – the Uncreated Commentary. The root of material existence sprouts from the unmanifest, like the root of a tree sprouts from a banyan seed. The process of creation coming to life is an eternal phenomenon, which sequentially unfolds, emerging structure from the wakeful silent state of pure consciousness. The organizing structures of the Saṁhita – the togetherness of the knower, Rishi, knowing, Devatā, and the known, Chhandas, are a natural occurrence on the levels of divine awareness to the human physiology, and all material creation to all of the Cosmos. The disclosure of this knowledge, Maharishi’s Apaurusheya Bhashya, is the discovery of the evolution of human life and all of creation.

According to the  prevalent history of Bharata varsha as told by western scholars the Indus valley civilisation belonged to the
Dravida/Munda people and the vedic people(Aryans) reached India around 1900 BCE only . But in reality the Indus civilisation is vedic and the vedic people were in the Indus Valley at least from 6000BCE as seen from the excavations.
If an unknown script can explain the known myth and known history of a nation,what more proof is required to show that the script belongs to the same people.The script of Egypt explains
their myth and history.The script of Sumer,Akkad or Elam does the same.So it is natural for the Indus script to denote the myth
and history of the Hindu/Sindhu / Sarasvati/ vindu/vipra/sura/ bhuusura/bhudeva/bharata/kuru/pancala/Somaka  people.Hence we shall try to understand a bit of Indian history through the Indus script.We shall presently see  evidences pointing to the existence of the Aryans in the Indus Valley several millennia prior to the so called Aryan
arrival in the Indus valley.

In the last  articles we have looked into the writing of the Harappans in the early Ravi/Kot Diji phases and concluded that they are the same vedic people of the mature Harappan phase;we have  compared an inscribed  Ravi sherd showing  presence of the Pancalas/ Bharatas in the Indus valley before 3300BCE and a Taxila coin showing their presence in Taxila around 200 BCE confirming the continuity of the vedic civilisation in the Indus Valley from the early Harappan days;we have seen how an indus seal
portray the story of Ahalya described in later literature;
we have explored the universal idea of the mount of the dead Concept In The  Worship Of The Sun God .
One of the reasons for the hesitation of scholars  to accept
the Indus valley civilisation as vedic is that the Rg veda has
several passages referring to Asva-the horse and the veda
itself states that its horse has 34 ribs whereas modern horse
usually has 36 ribs.
In the last article we have gone into the issue of the vedic
horse and the number of its ribs. Interestingly many of the Harappan Inscriptions refer to the Asvamedha itself as we will see in the present article.There was no horse,but they are speaking of asvamedhas!

Volume 2 contains the last four prakaraṇas (chapters): kāraka (meanings of each case ending), kṛdanta (participles, and nouns made with a kṛt suffix), samāsa (compound words) and taddhita (nouns made with a taddhita suffix), in addition to a comparative table between Hari-nāmāmṛta-vyākaraṇam, Aṣṭādhyāyī and Siddhānta-kaumudī.

In this discourse, Prabhat Rainjan Sarkar (1922-1990), a spiritual teacher (also known as Shrii Shrii Anandamurti) and social philosopher, describes how the languages of India evolved from pre-historic times to the present. P.R. Sarkar had a vast knowledge of languages and their grammars and spoke many languages fluently. I was present in India in 1988 when he gave a demonstration of speaking in an Indian language the way it was spoken about 20,000 years ago. This spoken discourse was given in Kolkata on 25 September 1990. -- Richard Gauthier, Department of Chemistry and Physics, Santa Rosa Junior College, Santa Rosa, California, USA, 13 September, 2020.

In this PDF the traditional Ṛgveda Padapāṭha is shown as transliterated text with accents marking the udātta and independent svarita.

agním | īḷe | puráḥ-hitam / yajñásya | devám | r̥tvíjam || hótāram | ratna-dhā́tamam ||1.1.1||
samānī́ | vaḥ | ā́-kūtiḥ / samānā́ | hŕ̥dayāni | vaḥ || samānám | astu | vaḥ | mánaḥ / yáthā | vaḥ | sú-saha | ásati ||10.191.4||

The original data entry of the Devanāgarī text of the Padapāṭha was done by the members of the Sansknet Project. Proofreading (see following reference), correction and conversion of the Devanāgarī to transliteration with accents marking the udātta and the independent svarita was done by me (Detlef Eichler).

Hymns of the Rig Veda in the Samhita and Pada Texts, Max Müller, Second Edition (Two Volumes) (1877).

The original Padapāṭha does not show (1) the end of an internal pāda and (2) the end of a half-line (ardharca, hemistich). In this edition I have added "/" at the end of an internal pāda and a double daṇḍa (||) at the end of a half-line.

Galita padas which are dropped in the traditional Padapāṭha are shown within left and right parentheses. The first galita padas of the Padapāṭha (índra | ā́ | yāhi)  are seen in RV 1.3.5: (índra | ā́ | yāhi) | dhiyā́ | iṣitáḥ / vípra-jūtaḥ | sutá-vataḥ || úpa | bráhmāṇi | vāghátaḥ ||1.3.5||

The 31st passage (anuvāka)  of the first chapter (praśna) of the Taittirīya Āraṇyaka deals with the rite Vaiśravaṇa yajna. There are some textual problems. So also, are some contradictions in the ritualistic interpretations. This paper, originally presented in the 16th World Sanskrit Conference held in Bangkok, Thailand, deals with these issues.
Besides, the identity of Vaiśravaṇa is discussed. Very often he is identified with Kubera. It seems that Vaiśravaṇa has a non-Vedic  non-Aryan origin. Originally he appears to be spirit or globin lying concealed in the hollows and clefts of the earth. Gradually he became comparatively a benevolent spirit. And he attained the status of the leadership of Guhyaka-s and Yakṣa-s, the lordship of treasures, and the guardianship of the Northern  Direction.
Various sources like different Vedic texts, epics and lexicons are discussed for analysing the identity of Vaiśravaṇa.

फ़ारसी व्याकरण _ प्रारम्भिक फ़ारसी व्याकरण
Elementary Persian Grammar in Hindi

originally the is written is English, with the name of "Elementary Persian Grammar in Hindi " by Prof. Dr. Rajendra Kumar, Prof. in the Department of Persian, University of Delhi.

I have translated the book into Hindi, with the name of "प्रारम्भिक फ़ारसी व्याकरण" in the year 2014

Tr. by CHANDRAGUPTA BHARTIYA

A word-by-word explanation of the translation of the so-called creation hymn of Rigveda. The translation is very different from traditional ones.

As I demonstrate, the hymn has been completely misunderstood by previous translators.

The hymn has nothing to do with the origin or creation of the Universe. It is in fact, simply a prayer to God.

The history of Ancient India is summarised with reference to its Value-based approach. The curriculum planning, syllabus, methods of teaching and uniform for each Gurukula are also studied. The ancient Universities and famous people who studied there , continued the tradition as Vice chancellors, Guru and administrators are listed. Published by D C Books in 2012 on Amazon. Here uploaded for Educationists and Academicians for their Research. Also for future generation of Educational Institutions.

A következő Példázat egy Vaccsha nevű vándoraszkéta történetét beszéli el, aki mindenáron valamilyen frappáns filozófiai elméletet várt a híres Gótama szerzetestől, amelynek segítségével választ találhat az őt kínzó kérdésekre.

A fordítás rövidített változata 1994-ben jelent meg, in: India bölcsessége. Szöveggyűjtemény India legendakincséből, vallási és filozófiai irodalmából. Budapest: Gandhi Alapítvány – TKBF.

This is a paper written in Kannada language, one of the vernaculars in the Indian subcontinent. It is basically a list of commentaries on Śrīmad-Bhagavadgītā. Attempt is made to gather some details regarding the important commentaries, and sub-commentaries composed in Sanskrit, and other familiar Indian languages. Sample readings are also shown in the case of a couple of phrases from the Gītā. The paper limits itself to the works of the Indian authors.

The story of the boy Sunahsepa, like we find it given in the Aitareya Brahmana with a view on the version found in Ramayana 1. 61 + 62. The complete prayer of Sunasepa to the Gods is given.
This story is an integral part of the Rajasuya Ritual, which will be discussed in the coming volume 3 of "The Branches of the Rig - Veda - Different Traditions in Vedic Period", where it will be discussed, how the Hotr Priest recites this story.
The astronomical aspects of this story will be discussed in the coming publication
"The Mahavratya Ritual - Worship of Rudra"

The 3 volume discusses the great public rituals: Vajapeya, Rajasuya, Horse Sacrifice and the Building of the Funeral Monument.

Used texts:
Veda
Brahmana: Taittiriya, Aitareya, Satapatha, Jaiminiya, Sankhayana
Samhita: Taittiriya, Kathaka, Maitrayani
Aranayaka: Taittiriya
Srautasutra: Baudhayana, Varaha, Manava, Apastamba, Katyayana, Latyayana, Asvalayana, Bharadvaja
Grhasutra: Asvalayana, Sankhayana
Mahabharata

350pages

The present article Environmental Vision In Sanskrit Religious Scriptures reflects upon the pivotal role of our epics-Ramayana and Mahabharata, Puranas and Samaritigranthas in ecology and conservation. Our ancient Hindu scriptures have been written in Sanskrit language as it is considered the oldest language in human history. These scriptures of the Hindu religion have given a detailed description of trees, plants, wildlife and brought out the importance of these Nature objects for people. We get the message for preservation of environment and ecological balance from these religious literatures. These scriptures are our most precious heritage, literature which is truly Eco-centric. 1 They are the best source of human ideals which are said to be revealed to Indian seers. Their ideas and thoughts are also perceived to be wholesome and respectable since time immemorial. The subject matter contained herein is theoretical and practical which reflects the thinking of Indian seers. The oldest epics in the world history of literature are the Ramayana and Mahabharata. They have been a perennial source of spiritual, cultural and artistic inspiration, not only to the people of India, but also to the people all over the world. They have many vivid descriptions of Nature, forests, trees, plants and gardens. The people of Ramayana and Mahabharata worshipped rivers, lakes, forests, trees, air and Nature and developed their relationship with animals as their friends. Let us examine, what environment they created and passed over to us! Our seers loved to live in forests and they used to rear trees as their own. They considered that the trees absorb carbon dioxide and emit oxygen (pranavayu) and they are the lifeline (Pran) of all living beings. The destruction of banyan, peepal, mango and tulsi was prohibited. Man lived in harmony with Nature (Prakriti) and there was hardly any action to disturb the environment. Both the Epics encouraged afforestation and condemned the deforestation. The Mahabharata states that " even if there is only one tree full of flowers and fruits in the village, that place becomes worthy of worship and respect. " 2 Ramayana and Mahabharata are blessed with the rich greenery of nature where rivers are full of neat and clean water and the breeze is pure, nourishing, and healthy. Planting trees and digging ponds 1 Falguni P. Desai: Ecological Ethics in Vedic Metaphysics An Effectual Method To Indoctrinate

This is a paper written in simple Sanskrit on Peace-chants (śāntimantras) from the holy Vedas. śānti = peace, mantra=vedic prayer. śāntimantra means a hymn from the Veda which invokes peace, or contains a prayer for peace. According to Vedic philosophy peace is attained by removal of causes of disquiet, internal and external. Recital with devotion and faith, of the Vedic hymns that invoke peace, is known as śāntipāṭhaḥ.
A variety of hymns are considered as śāntimantras. When and where these hymns are brought to practical application is specified in scriptures, different books. Traditional study of Upaniṣads begin and end with a śāntimantra.
Recital of śāntimantra (like any other vedic hymn) ends with the thrice utterance of the word śānti preceded by OM - "Oṃ śāntiḥ śāntiḥ śāntiḥ". That has deep significance. Description of, and discussion on these aspects of the peace-chants from the Vedas form the content of this paper.

Sanskrit grammatical treatise of Jīva Gosvāmī (c. 1570). Translated by Matsya Avatāra. English editor and collaborator: Charles A. Filion (Gaurapada Dāsa). This treatise supersedes Bhaṭṭoji Dīkṣita’s Siddhānta-kaumudī in many respects. The translation of the text is followed by the translation of three scholarly commentaries. Matsya’s many explanations, tables and examples are clear and easy to follow. Jīva Gosvāmī’s treatise is devotional in nature: it uses devotional names as grammatical terms. Studying Hari-nāmāmṛta-vyākaraṇam is the best and most pleasurable way to become a Sanskrit scholar.
Volume 1 contains the first three prakaraṇas (chapters): saṁjñā-sandhi (terminology, and phonetic combinations), nāma (noun declension) and ākhyāta (verb conjugation).

A fresh and original translation from Sanskrit of the dashrajnya hymn (hymn 7.18 of Rig Veda) describing this defining battle between Aryan king Sudas and his Aryan as well as non-Aryan foes. The decisive battle led to the uprooting of many tribes from the Sapta Sindhu area.

Many existing beliefs are shown to be merely due to misunderstandings. Further, it is shown that the existing translations fall well short of the true meaning.
For example, no Matsya tribe was involved in this battle.

One of the reasons for the hesitation of scholars  to accept
the Indus valley civilisation as vedic is that the Rg veda has
several passages referring to Asva-the horse and the veda
itself states that its horse has 34 ribs whereas modern horse
usually has 36 ribs.
According to the  prevalent history of Bharata varsha as told by western scholars the Indus valley civilisation belonged to the
Dravida/Munda people and the vedic people(Aryans) reached India around 1900 BCE only . But in reality the Indus civilisation is vedic and the vedic people were in the Indus Valley at least from 6000BCE as seen from the excavations.
If an unknown script can explain the known myth and known history of a nation,what more proof is required to show that the script belongs to the same people.The script of Egypt explains
their myth and history.The script of Sumer,Akkad or Elam does the same.So it is natural for the Indus script to denote the myth
and history of the Hindu/Sindhu / Sarasvati/ vindu/vipra/sura/ bhuusura/bhudeva/bharata/kuru/pancala/Somaka  people.Hence we shall try to understand a bit of Indian history through the Indus script.We shall presently see  evidences pointing to the existence of the Aryans in the Indus Valley several millennia prior to the so called Aryan
arrival in the Indus valley.

In the last  articles we have looked into the writing of the Harappans in the early Ravi/Kot Diji phases and concluded that they are the same vedic people of the mature Harappan phase;we have  compared an inscribed  Ravi sherd showing  presence of the Pancalas/ Bharatas in the Indus valley before 3300BCE and a Taxila coin showing their presence in Taxila around 200 BCE confirming the continuity of the vedic civilisation in the Indus Valley from the early Harappan days;we have seen how an indus seal
portray the story of Ahalya described in later literature;
we have explored the universal idea of the mount of the dead Concept In The  Worship Of The Sun God .
In this article we are going to look into the issue of the vedic
horse and the number of its ribs. This is the asvamedha
of the Indus script.All of us will now realise how many vedic horses we are riding daily!

Using Veda, Taittirya Samhita and Brahmana, Satapatha Brahmana, Maitrayani, Kathaka and Kapistala Katha Samhita, Aitareya Brahmana, Kausitaki Brahmana and Jaiminiya Brahmana, Asvalayana, Latyayana, Astamba, Sankhayana and Katyayana Srautasutra. Further Saunaka; Brhaddevata and Caranvyuha Sutra.
362 pages.. the volume 1 stopps with the Initiatory Rituals before the Soma worship, including Pravargya Ritual. The great public rituals will be discussed in Volume 2. (Domestic Rituals will be discussed in Volumes 3 + 4,  Sanskrit grammar and language in Volume 5.

The origins of Brāhmī script have been mired in controversy for over a century since the Semitic model was first proposed by Albrecht Weber in 1856. Although Aramaic has remained the leading candidate for the source of Brāhmī, no scholar has adequately explained a letter by letter derivation, nor accounted for the marked differences between Aramaic, Kharoṣṭhī and Brāhmī scripts. As a result, the debate is far from settled. In this article I attempt to finally answer the vexed questions that have plagued scholars for over a century, regarding the exact origins of Brāhmī, through a comparative letter by letter analysis with other Semitic origin scripts. I argue that Brāhmī was not derived from a single script, but instead was a hybrid invention by Indian scholars from Aramaic, Phoenician and Greek letters provided in part by a western Semitic trader.

The article contains all the three parts of the paper read at the 12th World Sanskrit Conference (WSC), Helsinki, Finland. With minor corrections and editing. The complete paper was accepted for publication by the original editors (Asko Parpola, Masato Fujii and Stanley Insler) of Vedic Investigations, Papers of the 12th WSC, but the first two parts of it were omitted later due to the limitation on the number of pages by the publisher (Motilal Banarsidass).

Tantric Agamas, considered to be divine revelation, are in dialogical format. In their monistic philosophy, Abhinavagupta and Ksemaraja exploit this unique aspect of Agamas and apply it to address the nature of the self that is identical with consciousness as well as the supreme divinity, Siva. This theological assumption derives from the linguistic philosophy where consciousness and speech are inseparable. When applied in the context of the mantra speech, this concept provides a theological foundation for explaining the eternal dialogue of Siva and Sakti, where the truth is constantly expressing itself. This understanding contrasts not only with the idea that truth is revealed in a monologue by the transcendent entity, but it also makes the manifestation of the absolute an eternal process. In other words, truth is dynamic, is constantly being revealed, and is always manifest dialogically. Preliminary remarks: Srutis in the Agama literature Within the parameters of a broader discourse of what constitutes Hindu theology, this article addresses the way certain texts, Sruti or revelation in general, are considered authoritative. Even when we bracket the aspect of orthopraxy, Hindu traditions do not rely on a single text, and even when certain texts are considered authoritative, different theologians give different reasons for their validity. The issue here, therefore, is the way textual authority is framed within Hindu systems. A particular focus here is the authority of the Saiva and Skta Agamas. Tantric theologians argue for the validity of the ?gamas based on the premise that these texts are a dialogical emanation of the absolute and therefore are the very absolute in a tangible form. Tantras and Vedas broadly adopt the same cultural presuppositions with regard to the power and efficacy of mantra speech. This is not to argue that both are identical, as on many occasions, they also reflect a cultural shift.  It is thus not reasonable to address the concept of Sruti in the Tantras by isolating the broad parameters outlined in the Vedic tradition.

In this paper I translate and interpret R̥gveda 1.143, which presents a newer and stronger vision of Dīrghatamas. In the arrangement of the surviving Śākalya recension of the R̥V, 1.143 belongs to the Dīrghatamas cycle, a group of 25 hymns traditionally attributed to Dīrghatamas. Vedic scholars have been frustrated about the hymn, and no consensus on its significance and meaning has been reached. It is a laudation of Agni and Apāṃ Napāt. I will show that the intertwining imagery of the hymn gives Agni a unique cosmological significance unparalleled in contemporary sacerdotal poetry.