Paniniya Shiksha

अथ शिक्षां प्रवक्ष्यामि पाणिनीयं मतं यथा । शास्त्रानुपूर्वं तद्विद्याद्यथोक्तं लोकवेदयोः ॥ १ ॥

atha śikṣāṃ pravakṣyāmi pāṇinīyaṃ mataṃ yathā | śāstrānupūrvaṃ tadvidyādyathoktaṃ lokavedayoḥ || 1 ||

Now I shall expound Shiksha according to the view of Panini. One should know it as set out in order in the discipline, as it is stated for both worldly and Vedic speech.

प्रसिद्धमपि शब्दार्थमविज्ञातमबुद्धिभिः । पुनर्व्यक्तीकरिष्यामि वाच उच्चारणे विधिम् ॥ २ ॥

prasiddhamapi śabdārthamavijñātamabuddhibhiḥ | punarvyaktīkariṣyāmi vāca uccāraṇe vidhim || 2 ||

Though the meaning of speech is well known, it is not understood by the undiscerning. I shall therefore make plain once more the rules for the utterance of speech.

त्रिषष्टिश्चतुःषष्टिर्वा वर्णाः शम्भुमते मताः । प्राकृते संस्कृते चापि स्वयं प्रोक्ताः स्वयंभुवा ॥ ३ ॥

triṣaṣṭiścatuḥṣaṣṭirvā varṇāḥ śambhumate matāḥ | prākṛte saṃskṛte cāpi svayaṃ proktāḥ svayaṃbhuvā || 3 ||

Sixty-three or sixty-four are the phonemes held in the view of Shambhu, in Prakrit and in Sanskrit alike, declared by the Self-existent himself.

स्वरा विंशतिरेकश्च स्पर्शानां पञ्चविंशतिः । यादयश्च स्मृता ह्यष्टौ चत्वारश्च यमाः स्मृताः ॥ ४ ॥

svarā viṃśatirekaśca sparśānāṃ pañcaviṃśatiḥ | yādayaśca smṛtā hyaṣṭau catvāraśca yamāḥ smṛtāḥ || 4 ||

Twenty-one are the vowels, twenty-five the stop consonants; eight are reckoned beginning with ya, and four are the yamas.

अनुस्वारो विसर्गश्च „एक „एपौ चापि पराश्रितौ ।। दुःस्पृष्टश्चेति विज्ञेयो ऌकारः प्लुत एव च ॥ ५ ॥

anusvāro visargaśca „eka „epau cāpi parāśritau || duḥspṛṣṭaśceti vijñeyo ḷkāraḥ pluta eva ca || 5 ||

The anusvara and the visarga, and the two dependent sounds ka and pa; the indistinctly articulated l-vowel, and the prolated vowel too, are to be known.

आत्मा बुद्ध्या समेत्यार्थान्मनो युङ्क्ते विवक्षया । मनः कायाग्निमाहन्ति स प्रेरयति मारुतम् ॥ ६ ॥

ātmā buddhyā sametyārthānmano yuṅkte vivakṣayā | manaḥ kāyāgnimāhanti sa prerayati mārutam || 6 ||

The self, having grasped objects through the intellect, engages the mind with the intention to speak. The mind strikes the bodily fire, and that impels the breath.

मारुतस्तूरसि चरन्मन्द्रं जनयति स्वरम् । प्रातःसवनयोगं तं छन्दो गायत्रमाश्रितम् ॥ ७ ॥

mārutastūrasi caranmandraṃ janayati svaram | prātaḥsavanayogaṃ taṃ chando gāyatramāśritam || 7 ||

The breath, moving in the chest, produces the low register. That is joined to the morning pressing and rests on the Gayatri metre.

कण्ठे माध्यन्दिनयुगं मध्यमं त्रैष्टुभानुगम् । तारं तार्तीयसवनं शीर्षण्यं जागतानुगम् ॥ ८ ॥

kaṇṭhe mādhyandinayugaṃ madhyamaṃ traiṣṭubhānugam | tāraṃ tārtīyasavanaṃ śīrṣaṇyaṃ jāgatānugam || 8 ||

In the throat is the middle register, belonging to the midday pressing and following the Trishtubh; the high register is the third pressing, seated in the head, following the Jagati.

सोदीर्णो मूर्ध्न्यभिहतो वक्त्रमापद्य मारुतः । वर्णाञ्जनयते तेषां विभागः पञ्चधा स्मृतः ॥ ९ ॥

sodīrṇo mūrdhnyabhihato vaktramāpadya mārutaḥ | varṇāñjanayate teṣāṃ vibhāgaḥ pañcadhā smṛtaḥ || 9 ||

That breath, risen and striking against the head, reaches the mouth and produces the phonemes. Their classification is held to be fivefold.

स्वरतः कालतः स्थानात्प्रयत्नानुप्रदानतः । इति वर्णविदः प्राहुर्निपुणं तन्निबोधत ॥ १० ॥

svarataḥ kālataḥ sthānātprayatnānupradānataḥ | iti varṇavidaḥ prāhurnipuṇaṃ tannibodhata || 10 ||

By accent, by duration, by place of articulation, by effort and by the manner of breath — so those who know the phonemes declare. Attend to it closely.

उदात्तश्चानुदात्तश्च स्वरितश्च स्वरास्त्रयः । ह्रस्वो दीर्घः प्लुत इति कालतो नियमा अचि ॥ ११ ॥

udāttaścānudāttaśca svaritaśca svarāstrayaḥ | hrasvo dīrghaḥ pluta iti kālato niyamā aci || 11 ||

Udatta, anudatta and svarita are the three accents; short, long and prolated are the rules by duration for the vowels.

उदात्ते निषादगान्धारावनुदात्त ऋषभधैवतौ । स्वरितप्रभवा ह्येते षड्जमध्यमपञ्चमाः ॥ १२ ॥

udātte niṣādagāndhārāvanudātta ṛṣabhadhaivatau | svaritaprabhavā hyete ṣaḍjamadhyamapañcamāḥ || 12 ||

In the udatta are nishada and gandhara, in the anudatta rishabha and dhaivata; from the svarita arise shadja, madhyama and panchama.

अष्टौ स्थानानि वर्णानामुरः कण्ठः शिरस्तथा । जिह्वामूलं च दन्ताश्च नासिकोष्ठौ च तालु च ॥ १३ ॥

aṣṭau sthānāni varṇānāmuraḥ kaṇṭhaḥ śirastathā | jihvāmūlaṃ ca dantāśca nāsikoṣṭhau ca tālu ca || 13 ||

Eight are the places of articulation of the phonemes: the chest, the throat, the head, the root of the tongue, the teeth, the nose, the lips and the palate.

ओभावश्च विवृत्तिश्च शषसा रेफ एव च । जिह्वामूलमुपध्मा च गतिरष्टविधोष्मणः ॥ १४ ॥

obhāvaśca vivṛttiśca śaṣasā repha eva ca | jihvāmūlamupadhmā ca gatiraṣṭavidhoṣmaṇaḥ || 14 ||

The o-sound, hiatus, sha, sha and sa, and ra; the root of the tongue and the upadhmaniya — the going of the spirant is of eight kinds.

यद्योभावप्रसन्धानमुकारादि परं पदम् । स्वरान्तं तादृशं विद्याद्यदन्यद्व्यक्तमूष्मणः ॥ १५ ॥

yadyobhāvaprasandhānamukārādi paraṃ padam | svarāntaṃ tādṛśaṃ vidyādyadanyadvyaktamūṣmaṇaḥ || 15 ||

If the following word begins with u and there is the joining called obhava, one should know it to end in a vowel; what is otherwise is the manifest form of the spirant.

हकारं पञ्चमैर्युक्तमन्तःस्थाभिश्च संयुतम् । उरस्यं तं विजानीयात्कण्ठ्यमाहुरसंयुतम् ॥ १६ ॥

hakāraṃ pañcamairyuktamantaḥsthābhiśca saṃyutam | urasyaṃ taṃ vijānīyātkaṇṭhyamāhurasaṃyutam || 16 ||

The sound ha, when joined with the fifth consonants and with the semivowels, is to be known as chest-born; unjoined, they call it throat-born.

कण्ठ्यावहाविचुयशास्तालव्या ओष्ठजावुपू । स्युर्मूर्धन्या ऋटुरषा दन्त्या ऌतुलसाः स्मृताः ॥ १७ ॥

kaṇṭhyāvahāvicuyaśāstālavyā oṣṭhajāvupū | syurmūrdhanyā ṛṭuraṣā dantyā ḷtulasāḥ smṛtāḥ || 17 ||

A, ha and visarga are of the throat; i, cu-class, ya and sha are palatal; u and pa-class are lip-born; ri, ta-class, ra and sha are retroflex; l, ta-class, la and sa are held to be dental.

जिह्वामूले तु कु„ए प्रोक्तो दन्त्योष्ठ्यो वः स्मृतो बुधैः । ए ऐ तु कण्ठतालव्या ओ औ कण्ठोष्ठजौ स्मृतौ ॥ १८ ॥

jihvāmūle tu ku„e prokto dantyoṣṭhyo vaḥ smṛto budhaiḥ | e ai tu kaṇṭhatālavyā o au kaṇṭhoṣṭhajau smṛtau || 18 ||

At the root of the tongue the ku-class is declared; va is held by the wise to be dento-labial; e and ai are of throat and palate, o and au are held to be of throat and lips.

अर्धमात्रा तु कण्ठ्यस्य ऐकारैकारयोर्भवेत् । एकारौकारयोर्मात्रा तयोर्विवृतसंवृतम् ॥ १९ ॥

ardhamātrā tu kaṇṭhyasya aikāraikārayorbhavet | ekāraukārayormātrā tayorvivṛtasaṃvṛtam || 19 ||

For ai and au there is half a measure of the throat portion; for e and o there is a full measure. Between them lie the open and the closed articulation.

संवृतं मात्रिकं ज्ञेयं विवृतं तु द्विमात्रिकम् । घोषा वा संवृताः सर्वे अघोषा विवृताः स्मृताः ॥ २० ॥

saṃvṛtaṃ mātrikaṃ jñeyaṃ vivṛtaṃ tu dvimātrikam | ghoṣā vā saṃvṛtāḥ sarve aghoṣā vivṛtāḥ smṛtāḥ || 20 ||

The closed is to be known as of one measure, the open as of two. The voiced are said to be closed, the voiceless open.

स्वराणामूष्मणां चैव विवृतं करणं स्मृतम् । तेभ्योऽपि विवृतावेङौ ताभ्यामैचौ तथैव च ॥ २१ ॥

svarāṇāmūṣmaṇāṃ caiva vivṛtaṃ karaṇaṃ smṛtam | tebhyo'pi vivṛtāveṅau tābhyāmaicau tathaiva ca || 21 ||

For the vowels and the spirants the articulation is held to be open. More open than these are e and o, and more open still are ai and au.

अनुस्वारयमानां च नासिका स्थानमुच्यते । अयोगवाहा विज्ञेया आश्रयस्थानभागिनः ॥ २२ ॥

anusvārayamānāṃ ca nāsikā sthānamucyate | ayogavāhā vijñeyā āśrayasthānabhāginaḥ || 22 ||

For the anusvara and the yamas the nose is said to be the place. The ayogavahas are to be known as sharing the place of what they depend on.

अलाबुवीणानिर्घोषो दन्त्यमूल्यस्वराननु । अनुस्वारस्तु कर्तव्यो नित्यं ह्रोः शषसेषु च ॥ २३ ॥

alābuvīṇānirghoṣo dantyamūlyasvarānanu | anusvārastu kartavyo nityaṃ hroḥ śaṣaseṣu ca || 23 ||

Resonant like the note of a gourd lute, following a vowel at the root of the teeth — so the anusvara is to be made, always before ha, sha, sha and sa.

अनुस्वारे विवृत्त्यां तु विरामे चाक्षरद्वये । द्विरोष्ठ्यौ तु विगृह्णीयाद्यत्रोकारवकारयोः ॥ २४ ॥

anusvāre vivṛttyāṃ tu virāme cākṣaradvaye | dviroṣṭhyau tu vigṛhṇīyādyatrokāravakārayoḥ || 24 ||

In the anusvara, in hiatus, at a pause and between two syllables — where u and va occur, the two labials are to be kept apart.

व्याघ्री यथा हरेत्पुत्रान्दंष्ट्राभ्यां न च पीडयेत् । भीता पतनभेदाभ्यां तद्वद्वर्णान्प्रयोजयेत् ॥ २५ ॥

vyāghrī yathā haretputrāndaṃṣṭrābhyāṃ na ca pīḍayet | bhītā patanabhedābhyāṃ tadvadvarṇānprayojayet || 25 ||

As a tigress carries her cubs in her fangs and does not wound them, fearing to drop them or to pierce them — so should one handle the phonemes.

यथा सौराष्ट्रिका नारी तक्रँ इत्यभिभाषते । एवं रङ्गाः प्रयोक्तव्याः खे अराँ इव खेदया ॥ २६ ॥

yathā saurāṣṭrikā nārī takram̐ ityabhibhāṣate | evaṃ raṅgāḥ prayoktavyāḥ khe arām̐ iva khedayā || 26 ||

As a woman of Saurashtra says "takram" — so are the nasalised sounds to be used, as "khe aran" with a drawn softness.

रङ्गवर्णान् प्रयुञ्जीरन्नो ग्रसेत्पूर्वमक्षरम् । दीर्घस्वरं प्रयुञ्जीयात्पश्चान्नासिक्यमाचरेत् ॥ २७ ॥

raṅgavarṇān prayuñjīranno grasetpūrvamakṣaram | dīrghasvaraṃ prayuñjīyātpaścānnāsikyamācaret || 27 ||

When using nasalised sounds one should not swallow the preceding syllable. One should pronounce the long vowel first, and make the nasal after it.

हृदये चैकमात्रस्त्वर्द्धमात्रस्तु मूर्धनि । नासिकायां तथार्द्धं च रङ्गस्यैवं द्विमात्रता ॥ २८ ॥

hṛdaye caikamātrastvarddhamātrastu mūrdhani | nāsikāyāṃ tathārddhaṃ ca raṅgasyaivaṃ dvimātratā || 28 ||

One measure in the heart, half a measure in the head, and half in the nose as well — thus the nasalised sound has two measures.

हृदयादुत्करे तिष्ठन्कांस्येन समनुस्वरन् । मार्दवं च द्विमात्रं च जघन्वाँ इति निदर्शनम् ॥ २९ ॥

hṛdayādutkare tiṣṭhankāṃsyena samanusvaran | mārdavaṃ ca dvimātraṃ ca jaghanvām̐ iti nidarśanam || 29 ||

Rising from the heart, resonating like bronze, soft and of two measures — "jaghanvan" is the illustration given.

मध्ये तु कम्पयेत्कम्पमुभौ पार्श्वौ समौ भवेत् । सरङ्गं कम्पयेत्कम्पं रथीवेति निदर्शनम् ॥ ३० ॥

madhye tu kampayetkampamubhau pārśvau samau bhavet | saraṅgaṃ kampayetkampaṃ rathīveti nidarśanam || 30 ||

In the middle one should make the tremor, and both sides should be even. One should make the tremor with nasalisation — "rathi" is the illustration.

एवं रंगाः प्रयोक्तव्या नाव्यक्ता न च पीडिताः । सम्यग्वर्णप्रयोगेण ब्रह्मलोके महीयते ॥ ३१ ॥

evaṃ raṃgāḥ prayoktavyā nāvyaktā na ca pīḍitāḥ | samyagvarṇaprayogeṇa brahmaloke mahīyate || 31 ||

Thus are the nasalised sounds to be used, neither indistinct nor forced. By the right use of the phonemes one is honoured in the world of Brahman.

गीती शीघ्री शिरःकम्पी तथा लिखितपाठकः । अनर्थज्ञोऽल्पकण्ठश्च षडेते पाठकाधमाः ॥ ३२ ॥

gītī śīghrī śiraḥkampī tathā likhitapāṭhakaḥ | anarthajño'lpakaṇṭhaśca ṣaḍete pāṭhakādhamāḥ || 32 ||

The singer, the hurried, the head-shaker, the one who reads from writing, the one who does not know the meaning, and the weak-voiced — these six are the worst of reciters.

माधुर्यमक्षरव्यक्तिः पदच्छेदस्तु सुस्वरः । धैर्यं लयसमर्थं च षडेते पाठकाः गुणाः ॥ ३३ ॥

mādhuryamakṣaravyaktiḥ padacchedastu susvaraḥ | dhairyaṃ layasamarthaṃ ca ṣaḍete pāṭhakāḥ guṇāḥ || 33 ||

Sweetness, distinctness of syllable, separation of words, good accent, steadiness, and command of tempo — these six are the qualities of a reciter.

शङ्कितं भीतिमुद्घृष्टमव्यक्तमनुनासिकम् । काकस्वरं शिरसि गतं तथा स्थानविवजिर्तम् ॥ ३४ ॥

śaṅkitaṃ bhītimudghṛṣṭamavyaktamanunāsikam | kākasvaraṃ śirasi gataṃ tathā sthānavivajirtam || 34 ||

Hesitant, fearful, rasping, indistinct, over-nasal, crow-voiced, gone into the head, and displaced from its proper articulation —

उपांशु दष्टं त्वरितं निरस्तं विलम्बितं गद्गदितं प्रगीतम् । निष्पीडितं ग्रस्तपदाक्षरं च वदेन्न दीनं न तु सानुनास्यम् ॥ ३५ ॥

upāṃśu daṣṭaṃ tvaritaṃ nirastaṃ vilambitaṃ gadgaditaṃ pragītam | niṣpīḍitaṃ grastapadākṣaraṃ ca vadenna dīnaṃ na tu sānunāsyam || 35 ||

muttered, bitten off, hurried, thrown away, dragged, faltering, sung, squeezed, with words and syllables swallowed — one should not recite thus, neither feebly nor with excess nasality.

प्रातः पठेन्नित्यमुरःस्थितेन स्वरेण शार्दूलरुतोपमेन । मध्यन्दिने कण्ठगतेन चैव चक्राह्वसङ्कूजितसन्निभेन ॥ ३६ ॥

prātaḥ paṭhennityamuraḥsthitena svareṇa śārdūlarutopamena | madhyandine kaṇṭhagatena caiva cakrāhvasaṅkūjitasannibhena || 36 ||

In the morning one should always recite with the voice seated in the chest, like the roar of a tiger; at midday with the voice in the throat, like the call of the chakravaka bird;

तारं तु विद्यात्सवनं तृतीयं शिरोगतं तच्च सदा प्रयोज्यम् । मयूरहंसान्यभृतस्वराणां तुल्येन नादेन शिरःस्थितेन ॥ ३७ ॥

tāraṃ tu vidyātsavanaṃ tṛtīyaṃ śirogataṃ tacca sadā prayojyam | mayūrahaṃsānyabhṛtasvarāṇāṃ tulyena nādena śiraḥsthitena || 37 ||

and one should know the third pressing as the high register, seated in the head — that is always to be used, with a resonance like the voice of the peacock, the swan or the cuckoo, seated in the head.

अचोऽस्पृष्टा यणस्त्वीषन्नेमस्पृषष्टाः शलः स्मृताः । शेषाः स्पृष्टा हलः प्रोक्ता निबोधानुप्रदानतः ॥ ३८ ॥

aco'spṛṣṭā yaṇastvīṣannemaspṛṣaṣṭāḥ śalaḥ smṛtāḥ | śeṣāḥ spṛṣṭā halaḥ proktā nibodhānupradānataḥ || 38 ||

The vowels are unobstructed; the semivowels are slightly touched; the sibilants are half-touched; the remaining consonants are declared to be fully touched. Now learn them by the manner of breath.

अमोनुनासिका नह्रौ नादिनो हझषः स्मृताः । ईषन्नादा यमो ङश्च श्वासिनस्तु खफादयः ॥ ३९ ॥

amonunāsikā nahrau nādino hajhaṣaḥ smṛtāḥ | īṣannādā yamo ṅaśca śvāsinastu khaphādayaḥ || 39 ||

The nasals are nasalised; ha and the voiced consonants are held to be with voice; the yamas and na have slight voice; kha, pha and the rest are with breath.

ईषच्छ्वासांश्चरो विद्याद्गोर्धामैतत्प्रचक्षते । दाक्षीपुत्रः पाणिनिना येनेदं व्यापितं भुवि ॥ ४० ॥

īṣacchvāsāṃścaro vidyādgordhāmaitatpracakṣate | dākṣīputraḥ pāṇininā yenedaṃ vyāpitaṃ bhuvi || 40 ||

One should know those with slight breath; this is what they call the doctrine handed down. It was Panini, son of Dakshi, by whom this was spread over the earth.

छन्दः पादौ तु वेदस्य हस्तौ कल्पोऽथ पठ्यते । ज्योतिषामयनं चक्षुर्निरुक्तं श्रोत्रमुच्यते ॥ ४१ ॥

chandaḥ pādau tu vedasya hastau kalpo'tha paṭhyate | jyotiṣāmayanaṃ cakṣurniruktaṃ śrotramucyate || 41 ||

Chandas is called the feet of the Veda, and Kalpa its hands; the course of the lights, Jyotisha, is its eye, and Nirukta is said to be its ear.

शिक्षा घ्राणं तु वेदस्य मुखं व्याकरणं स्मृतम् । तस्मात्साङ्गमधीत्येव ब्रह्मलोके महीयते ॥ ४२ ॥

śikṣā ghrāṇaṃ tu vedasya mukhaṃ vyākaraṇaṃ smṛtam | tasmātsāṅgamadhītyeva brahmaloke mahīyate || 42 ||

Shiksha is the nose of the Veda, and Vyakarana is held to be its mouth. Therefore, having studied it together with its limbs, one is honoured in the world of Brahman.

उदात्तमाख्याति वृषोऽङ्गुळीनां प्रदेशिनीमूलनिविष्टमूर्धा । उपान्तमध्ये स्वरितं ध्रुतं च कनिष्ठकायामुदात्तमेव ॥ ४३ ॥

udāttamākhyāti vṛṣo'ṅguḷīnāṃ pradeśinīmūlaniviṣṭamūrdhā | upāntamadhye svaritaṃ dhrutaṃ ca kaniṣṭhakāyāmudāttameva || 43 ||

The thumb declares the udatta, its tip set at the base of the forefinger; the svarita and the prolated fall between the tip and the middle, and on the little finger is the udatta itself.

Note: Describes accent shown on the joints of the hand; the exact finger-to-accent mapping varies between recitation schools.

उदात्तं प्रदेशिनीं विद्यात्प्रचयं मध्यतोङ्गुलिम् । निहतं तु कनिष्ठिक्यां स्वरितोपकनिष्ठिकाम् ॥ ४४ ॥

udāttaṃ pradeśinīṃ vidyātpracayaṃ madhyatoṅgulim | nihataṃ tu kaniṣṭhikyāṃ svaritopakaniṣṭhikām || 44 ||

One should know the udatta on the forefinger, the pracaya on the middle finger, the nihata on the little finger, and the svarita on the finger next to the little one.

Note: Same hand-gesture system as 9.43 — mapping varies by school.

अन्तोदात्तमाद्युदात्तमुदात्तमनुदात्तं नीचस्वरितम् । मध्योदात्तं स्वरितं द्व्युदात्तं त्र्युदात्तमिति नवपदशय्या ॥ ४५ ॥

antodāttamādyudāttamudāttamanudāttaṃ nīcasvaritam | madhyodāttaṃ svaritaṃ dvyudāttaṃ tryudāttamiti navapadaśayyā || 45 ||

Final-udatta, initial-udatta, udatta, anudatta, low-svarita, middle-udatta, svarita, twice-udatta, thrice-udatta — such is the ninefold arrangement of words.

अग्निः सोमः प्र वो वीर्यं हविषां स्वर्बृहस्पतिरिन्द्राबृहस्पती अग्निरित्यन्तोदात्तं सोम इत्यादयुदात्तम् । प्रेत्युदात्तं व इत्यनुदात्तं वीर्यं नीचस्वरितम् ॥ ४६ ॥

agniḥ somaḥ pra vo vīryaṃ haviṣāṃ svarbṛhaspatirindrābṛhaspatī agnirityantodāttaṃ soma ityādayudāttam | pretyudāttaṃ va ityanudāttaṃ vīryaṃ nīcasvaritam || 46 ||

agnih, somah, pra vo viryam, havisham, svah, brihaspatih, indrabrihaspati — "agnih" is final-udatta, "soma" is initial-udatta, "pra" is udatta, "vah" is anudatta, "viryam" is low-svarita.

हविषां मध्योदात्तं स्वरिति स्वरितम् । बृहस्पतिरिति द्व्युदात्तमिन्द्राबृहस्पती इति त्र्युदात्तम् ॥ ४७ ॥

haviṣāṃ madhyodāttaṃ svariti svaritam | bṛhaspatiriti dvyudāttamindrābṛhaspatī iti tryudāttam || 47 ||

"havisham" is middle-udatta, "svah" is svarita, "brihaspatih" is twice-udatta, and "indrabrihaspati" is thrice-udatta.

अनुदात्तो हृदि ज्ञेयो मूर्ध्न्युदात्त उदाहृतः । स्वरितः कर्णमूलीयः सर्वास्ये प्रचयः स्मृतः ॥ ४८ ॥

anudātto hṛdi jñeyo mūrdhnyudātta udāhṛtaḥ | svaritaḥ karṇamūlīyaḥ sarvāsye pracayaḥ smṛtaḥ || 48 ||

The anudatta is to be known in the heart, the udatta is said to be in the head, the svarita is at the root of the ear, and the pracaya is held to be in the whole mouth.

चाषस्तु वदते मात्रां द्विमात्रं त्वेव वायसः । शिखी रौति त्रिमात्रं तु नकुलस्त्वर्धमात्रकम् ॥ ४९ ॥

cāṣastu vadate mātrāṃ dvimātraṃ tveva vāyasaḥ | śikhī rauti trimātraṃ tu nakulastvardhamātrakam || 49 ||

The blue jay utters one measure, the crow two measures, the peacock cries three measures, and the mongoose half a measure.

कुतीर्थादागतं दग्धमपवर्णं च भक्षितम् । न तस्य पाठे मोक्षोऽस्ति पापाहेरिव किल्बिषात् ॥ ५० ॥

kutīrthādāgataṃ dagdhamapavarṇaṃ ca bhakṣitam | na tasya pāṭhe mokṣo'sti pāpāheriva kilbiṣāt || 50 ||

Learning that has come from a bad teacher, that is scorched, mispronounced and devoured — for such recitation there is no release, as there is none from the guilt of a venomous snake.

सुतीर्थादगतं व्यक्तं स्वाम्नाय्यं सुव्यवस्थितम् । सुस्वरेण सुवक्त्रेण प्रयुक्तं ब्रह्म राजते ॥ ५१ ॥

sutīrthādagataṃ vyaktaṃ svāmnāyyaṃ suvyavasthitam | susvareṇa suvaktreṇa prayuktaṃ brahma rājate || 51 ||

Come from a good teacher, distinct, rightly handed down, well ordered, uttered with good accent and good articulation — such sacred word shines.

मन्त्रो हीनः स्वरतो वर्णतो वा मिथ्या प्रयुक्तो न तमर्थमाह । स वाग्वज्रो यजमानं हिनस्ति यथेन्द्रशत्रुः स्वरतोपराधात् ॥ ५२ ॥

mantro hīnaḥ svarato varṇato vā mithyā prayukto na tamarthamāha | sa vāgvajro yajamānaṃ hinasti yathendraśatruḥ svaratoparādhāt || 52 ||

A mantra deficient in accent or in phoneme, wrongly employed, does not convey that meaning. That word becomes a thunderbolt and destroys the sacrificer — as "indrashatru" did, through a fault of accent.

अनक्षरं हतायुष्यं विस्वरं व्याधिपीडितम् । अक्षताश्शस्त्ररूपेण वज्रं पतति मस्तके ॥ ५३ ॥

anakṣaraṃ hatāyuṣyaṃ visvaraṃ vyādhipīḍitam | akṣatāśśastrarūpeṇa vajraṃ patati mastake || 53 ||

Recitation without proper syllables destroys life; recitation without accent is afflicted with disease. In the form of a weapon the unbroken syllable falls as a thunderbolt upon the head.

हस्तहीनं तु योऽधीते स्वरवर्णविवर्जितम् । ऋग्यजुःसामभिर्दग्धो वियोनिमधिगच्छति ॥ ५४ ॥

hastahīnaṃ tu yo'dhīte svaravarṇavivarjitam | ṛgyajuḥsāmabhirdagdho viyonimadhigacchati || 54 ||

One who recites without the hand-gestures, devoid of accent and phoneme, is scorched by Rig, Yajus and Saman and goes to a lower birth.

हस्तेन वेदं योऽधीते स्वरवर्णर्थसंयुतम् । ऋग्यजुः सामभिः पूतो ब्रह्मलोके महीयते ॥ ५५ ॥

hastena vedaṃ yo'dhīte svaravarṇarthasaṃyutam | ṛgyajuḥ sāmabhiḥ pūto brahmaloke mahīyate || 55 ||

One who recites the Veda with the hand, joined with accent, phoneme and meaning, is purified by Rig, Yajus and Saman and is honoured in the world of Brahman.

शङ्करः शाङ्करीं प्रादाद्दाक्षीपुत्राय धीमते । वाङ्मयेभ्यः समाहृत्य देवीं वाचमिति स्थितिः ॥ ५६ ॥

śaṅkaraḥ śāṅkarīṃ prādāddākṣīputrāya dhīmate | vāṅmayebhyaḥ samāhṛtya devīṃ vācamiti sthitiḥ || 56 ||

Shankara gave the Shankari teaching to the wise son of Dakshi, having gathered it from the whole body of speech — such is the tradition of the divine word.

येनाक्षरसमाम्नायमधिगम्य महेश्वरात् । कृत्स्नं व्याकरणं प्रोक्तं तस्मै पाणिनये नमः ॥ ५७ ॥

yenākṣarasamāmnāyamadhigamya maheśvarāt | kṛtsnaṃ vyākaraṇaṃ proktaṃ tasmai pāṇinaye namaḥ || 57 ||

By whom, having received the catalogue of sounds from Maheshvara, the whole of grammar was declared — to that Panini, salutation.

येन धौता गिरः पुंसां विमर्लः शब्दवारिभिः । तमश्चाज्ञानजं भिन्नं तस्मै पाणिनये नमः ॥ ५८ ॥

yena dhautā giraḥ puṃsāṃ vimarlaḥ śabdavāribhiḥ | tamaścājñānajaṃ bhinnaṃ tasmai pāṇinaye namaḥ || 58 ||

By whom the speech of men was washed clean with the waters of the word, and the darkness born of ignorance was broken — to that Panini, salutation.

अज्ञानान्धस्य लोकस्य ज्ञानाञ्जनशलाकया । चक्षुरुन्मीलितं येन तस्मै पाणिनये नमः ॥ ५९ ॥

ajñānāndhasya lokasya jñānāñjanaśalākayā | cakṣurunmīlitaṃ yena tasmai pāṇinaye namaḥ || 59 ||

By whom the eye of a world blinded by ignorance was opened with the probe dipped in the salve of knowledge — to that Panini, salutation.

त्रिनयनमभिमुखनिःसृतामिमां य इह पठेत्प्रयतस्सदा द्विजः । स भवति धनधान्यपशुपुत्रकीर्तिमान् सुखमतुलं च समश्नुते दिवीति दिवीति ॥ ६० ॥

trinayanamabhimukhaniḥsṛtāmimāṃ ya iha paṭhetprayatassadā dvijaḥ | sa bhavati dhanadhānyapaśuputrakīrtimān sukhamatulaṃ ca samaśnute divīti divīti || 60 ||

The twice-born who, restrained, always recites here this teaching that issued forth from the presence of the three-eyed one, becomes possessed of wealth, grain, cattle, sons and fame, and attains incomparable happiness in heaven.

अथ शिक्षामात्मोदात्तश्च हकारं स्वराणां यथा । गीत्यचोस्पृष्टोदात्तं चाषस्तु शङ्कर एकादश ॥ ६१ ॥

atha śikṣāmātmodāttaśca hakāraṃ svarāṇāṃ yathā | gītyacospṛṣṭodāttaṃ cāṣastu śaṅkara ekādaśa || 61 ||

atha shiksham, atma, udattash cha, hakaram, svaranam, yatha, giti, achospri, shtodattam, chashas tu, shankara — these are the eleven.

Note: A pratika (catchword) index listing the opening words of the eleven khandas, not a sentence. Rendered as the list it is.