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VIMARŚA
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As for the distinction between vowel and musical note, Abhinavagupta has
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made a remarkable contribution in the conception of the autonomy of musical
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note; this will be dealt with under the definition of svara in our text.
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16. In language vyañjana, consonant ( lit. the act or instrument of mani-
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festation ) is the phonetic unit that brings about specificity, but it can be
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pronounced only with the help of vowel, otherwise it is impotent or ineffective.
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Hence svara has been identified here with the śakti (supreme energy or power)
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that lends the state of Siva to vyanjana (cf. Gandharva Tantra, IX. 17 and
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Garland of Letters, p. 260). The underlying idea is that Siva obtains His state
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only from the association with Sakti, otherwise it is like Sava (a dead body).
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Sakti is identified with ikāra ( the vowel 'i' ). ( cf. citation from Saktikāgama in
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Sabdakalpadruma Pt. V, p. 5)
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17. Svarūpa (lit. own form) means the phonetic form of word and
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sentence without reference to meaning. The whole world being a manifestation
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of dhvani (sound), the very form of word and sentence without reference to
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meaning, delineates or 'paints' the world because this form itself is a stage of
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manifestation that in itself is the basis of further manifestation.
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18. The sentence is the basic semantic unit, the 'word' becomes meaningful
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when it forms part of a sentence. This is the point of view of grammar ( vyākaraņa )
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which is mentioned here.
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19. Pada is defined by Pāṇini (Aṣṭā I, 4.14) as that which combines the
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suffix sup or tin (nominal or verbal suffixes), it is not just a combination of
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syllables.
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20, 21. Kāraka is not co-extensive with 'case'. It is instrumental in bringing
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about the action denoted by verb (Monier Williams), Kāraka is the hetu or
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nimitta (cause) of kriyā (action). There are six Kārakas according to Pāņini,
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viz. kartṛ, karman, karaṇa, sampradāna, apādāna and adhikaraṇa. The sambandha
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(genitive case) is not accepted to be a Kāraka, because 'it ordinarily expresses
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the relation of two nouns to each other, but not the relation of a noun and a
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verb.' ( Monier Williams )
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The sentence is formed with padas that have sup or tin suffixes combined
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with nouns and verbs respectively, standing, in turn, for kāraka and kriyā.
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22. Mahāvākya has four primary connotations as follows -
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(a) An aggregation of sentences where the apprehension of the meaning of
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the individual components (sentences) leads to the apprehension of the total
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meaning of the aggregate, just as in the aggregate of five components in the
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nyāya-vākya used for inference. This is the view of nyāya.
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(b) An aggregate of sentences where one sentence is primary and the others
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are secondary. This is the view of Mimāmsā.
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(c) A sentence that expresses deep philosophical meaning. This is the view
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of Vedanta where sentences like tattvamasi (thou art That) aham brahmasmi (I
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am brahman ) etc. are accepted as mahā-vākyas.
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(d) A simple aggregate of sentences as in Rāmāyaņa, Mahābhārata or any
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literary composition.
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