Crash course on reading Sanskrit Heritage Corpus
To whom is this course adressed ?
This course is adressed to an English-speaking beginner.
There is no prerequiste. In particular, it does not require
familiarity with the devanāgarī writing system, which will be progressively
acquired. We only assume some acquaintance with basic notions of linguistics.
What is Sanskrit ?
Sanskrit was the learned language of Ancient India, frozen twenty-five
centuries ago by a genious linguist named Pāṇini.
Pāṇini managed to model a high-register form of the vernacular language
of his time as a functional generative grammar. This allows to derive
formally a correct enunciation of the language as a structure expressing
the communication intent of a speaker. From this structure may be
extracted both the phonetic utterance and its meaning, expressed as a
dependency graph between participants.
This grammar, refined by a lineage of further linguists, is precise enough
to serve as a blueprint of computational linguistics software, such as
the tools which will be demonstrated in this session.
Methodology
We are going to read a text with the help of the Sanskrit Heritage software.
In doing so, we will learn the basic sentence structure of Sanskrit,
we will recognize the morphological structure of the words of the vocabulary,
and we will be able to consult their meaning in the dictionary "Sanskrit
Heritage", which will also provide the semiotic indications allowing
to understand the text in the Indian tradition.
It is also possible to look-up meanings in the English Monier-Williams
dictionary, although this will reduce the functionalities.
The course uses hypertext technology. The page you are reading in
this moment with your Internet browser gives the instructions on
reading the text and its interpretation. By clicking on its links
other windows will appear, allowing you to access the
software features.
First reading : Vikramacarita
Our text is taken from a work called Vikramacarita, which has no precise
author or date. It's a collection of tales about an ancient king,
Vikramāditya,
the Sun King of Indian tradition, actually more the myth
of the magnanimous king than a precise historical figure.
Some indications on this work can be consulted by clicking
on the link in the previous paragraph. But don't get lost in the
forest of hypertext links in the dictionary, close its window,
and come back here for our read.
This text, taken from the 24th section of the Vikramacarita, follows the version
of the Sanskrit Chrestomathie by Nadine Stchoupak, published in the collection of
the Institute of Indian Civilization published by the Librairie d'Amérique
and Orient Adrien Maisonneuve, Paris, 1977.
We will first read the text analyzed by our tools, sentence after sentence.
To do this, click on the following link to open a new window (right click).
How Śālivāhana solved the mystery of the strange inheritance.
You have in front of you in the new window the list of the 39 sentences which
constitute our extract. They are presented in romanized characters according to
the IAST standard. Each Sanskrit phoneme is noted by a Roman character
possibly provided with diacritics. It allows you to easily read the
Sanskrit,
which is written as it is pronounced. This is an obvious advantage over English,
whose prononciation has diverged over time and location. On the other hand,
English writing presents the utterance as segmented into individual words,
and liaison is implicit, whereas Sanskrit records the unsegmented phonetic
utterance, and thus word boundaries have to be guessed. This is where our
software will help you.
The protocol to follow for each of the sentences is as follows:
first, read
aloud
the sentence as it is written in
romanized notation, and repeat it until it becomes fluid.
Then click on the link. Keep in parallel the two windows of your
browser, that of the course explaining the content of the other, which contains
the Sanskrit text, with hypertext links giving the grammatical information.
Now click on sentence 1.
The page that appears first gives the sentence in writing
devanāgarī (blue).
In a second phase of the course, we will learn to read this
writing, which is syllabic writing. Each character represents
on the one hand the sequence of consonants of the syllable by a ligature, and on the other hand
its vowel with a diacritical mark. The initial vowels have their own sign.
Ignore the "Unique Solution" and "UoH Analysis Mode" indications for now.
Then appears the analysis of the sentence, cut into a series of words.
The words appear in rectangular colored boxes,
aligned with the sentence written in romanization. We see in the analysis of
the first sentence 4 colors of boxes. Red boxes contain verbal forms.
Purple boxes are language tools, like
adverbs, prepositions, conjunctions. Blue boxes contain
nouns or adjectives. Yellow ones contain word themes
to form compound words.
A compound word is represented by a yellow box followed by a
blue box. So here the sentence possesses 7 segments, each in its box, but
only 6 words, the two segments
purandara and
purī forming the compound word "purandara-purī".
Notice that they are glued together in the devanāgarī writing of the sentence.
This indication is important for the correctness of prosody.
The fragment "purandarapurī" is a non-breaking chunk of writing, a compound word
not admitting a pause between its segments. However, you can resume
your breath between the segment "purandara" and the segment "purī" on which
you put the accent, because here the meaning of the compound is a specialization
from the word "purī", city, by its name Purandara. Practice speaking
aloud.
By clicking on a box, we get the
lemma of the word, giving its stem
as a link in the lexicon, and the variations allowing the production
of the specific form of the word. So the first word is indicated
as the base form "vikramāditya" in the genitive masculine singular.
It therefore indicates the possessor of the meaning of the following word,
which is
rājye, locative form of the stem
"rājya" (kingdom) in the locative. The first two words therefore
form the adverbial clause "in the kingdom of Vikramāditya".
By clicking on the link of the "vikramāditya" stem you access the
corresponding entry dictionary which gives different indications on the
king Vikramāditya.
When you access the dictionary, you can go back to the analyzed sentence
by the previous page link of your browser. The pop-up window
giving the lemma of a word can be closed by clicking on the cross sign ✘
or by clicking on another box.
Let us continue reading. The next word is the compound
"purandara-purī", which denotes the city of Purandarapurī, capital city of
King Vikramāditya in Mālava, also called
Ujjayinī,
etymologically "Victory", an agent noun of verb "ut-ji" (to win).
Ujjayinī is modern Ujjain, where one can still see, in a pavilion near the
sacred lake, a figuration of
Vikramāditya
and
the presumed
remains of his throne.
The original throne, in the golden legend of Vikramacarita,
was carried by 32 magical statues. When the king sat there,
he would magically become infinitely magnanimous. Centuries later
when the king
Bhoja wanted to sit on it, each of the statues
in turn came alive and told a legend about Vikramāditya's greatness of soul.
The set of 32 stories constitutes the Vikramacarita, of which we read
an excerpt from the 24th.
The following word, "
nāma", mauve,
is a clitic particle meaning "by name",
and qualifying the following word
nagarī, which means
"city" or "capital".
Note that the name of the writing "devanagarī" is a compound "deva-nagarī"
meaning "(writing) of the divine city".
The sequence of words "purandarapurī nāma nagarī" thus forms the noun phrase
"the city named Purandarapurī", and the nominative case of "nagarī" indicates
that it is the subject of the sentence. The sentence ends with the red verbal form
samabhūt,
which is a past tense form of the verbal root
"bhū_1" (to be), preceded by the particle "sam".
Click on the red box to reveal its lemma.
You can access the verb "saṃbhū" in two clicks
from there: by clicking on "bhū_1" you get the entry
from the root "bhū_1" in the lexicon. If you have chosen the Heritage
dictionary, this entry carries the list of all
prepositions that can be used with this verbal root:
(ati, anu, abhi, ā, āvis, ut, tiras, parā, pari, pra, bahis, vi, sam).
The last one is "sam", and by clicking on it one accesses the verb "saṃbhū",
to exist. If you have instead chosen the Monier-Williams dictionary, this kind
of navigation is not available, and one has to search the entry "saṃbhū"
using the Index search.
By two backtracking of your browser you will return to the analysis page of
the sentence.
In order to understand morphological lemmas, it is necessary to become familiar
with a certain
number of abbreviations of a linguistic nature. The list of (French) abbreviations
of the system is available as a
pdf document.
We see for example that "aor." means "aoriste", i.e. English "aorist".
Don't worry about the terminology of this past tense, called aorist by
linguists, by analogy with the nomenclature of ancient Greek. The aorist
is not a very common tense in classical Sanskrit, we will see little of it
in this course.
The usual times of the past are the imperfect, a general preterite,
often imperfective, and the perfect, time of a bygone past, with a perfective
aspect.
The indication "[1]" following "aor." indicates the formation paradigm
of the aorist, of which there are 7 varieties. It may be ignored.
The rest of the lemma of
samabhūt
tells us that the form is in the active voice,
in the 3rd person singular. Which is consistent with the lemma of its
subject
nagarī with nominative singular.
Actually, the agent of the action
is indicated by the subject in the nominative, and it must agree in number
and in person with the verbal form.
There are 3 genders in Sanskrit, masculine, feminine and neuter. Gender in
Sanskrit is arbitrary,
except for the referents of persons
or animals, where sex determines gender. Neutral is the kind of
abstract nouns.
We have used the terminology "nominative" which is familiar to all
who have notions of Latin. For students unfamiliar with the concept
of declension, it suffices to know that the substantive words are classified
in 7 cases, called nominative, accusative, instrumental, dative, ablative,
genitive, locative and vocative. The case is used to designate the syntactic
function of the word.
For example, the nominative is used to designate the subject of the verb,
and the accusative its direct object complement. In French or English,
these roles are implicit from
their position in the sentence, while in Sanskrit they are explicitly
encoded in the word, as a suffix characteristic of the case. The advantage is
that the word order is free to a great extent. This allows to reveal
the information provided by the sentence more flexibly, to do
stylistic effects and conforming to the meter for rhythmic poetry.
We will gradually come back to these grammatical notions, let's close
this linguistic parenthesis and get back to the text.
So now we get the meaning of the entire sentence:
"In the kingdom of Vikramāditya was the city of Puraṃdara, its capital".
We can now continue reading, by clicking on the button
marked "Continue reading" in the sentence analysis page, which
brings us back to the summary page of the text, where you can now go to the
next sentence.
Don't forget to say
aloud the sentence you just finished to
understand, by adapting the prosody to the syntactic structure. Then read
aloud the new sentence.
In the second sentence we recognize the colors of the first.
Similarly to it, its verb is at the end of the sentence, here
asti, form of the frequent verb "as_1", to be,
in the 3rd person singular: (it) is.
Its subject is the previous word
vanik,
merchant. It is himself
preceded by
kaścit
which is an indefinite qualifier "some", playing
the role of our indefinite article "a/an". The previous word is a compound
adjective
mahā-dhanikaḥ, formed of
dhanikaḥ, "rich", with nominative singular,
preceded by the bare stem
mahā
of the adjective "mahat" (big). The meaning is therefore "very rich".
The first word of the sentence,
tatra,
is the adverb of location "there" which connects to the preceding sentence.
So we get the meaning "There lives a very rich merchant".
This right to left analysis of the sentence is the standard method.
We look for the verb at the end, easy to recognize since it
is red, and we go up the sentence in search of its actants.
So far we have had intransitive verbs, which have only one actant, their
subject, in the nominative case. Transitive verbs have two actants,
the agent of the action and its goal, or direct object complement, which is
declined in the accusative in active voice.
But, in the passive, which is in fact much more frequent,
the subject is the goal, but the agent is in the instrumental,
as we will see shortly.
Note that the written form of this sentence has only three chunks.
The last one indeed coalesces the three words
kaścit,
vanik and
asti,
by performing a phonetic smoothing: the final mute "t" of "kaścit"
becomes the corresponding voiced consonant "d", on contact with the initial
semi-vowel "v" of "vanik".
This phonetic smoothing, called "sandhi" (junction), is the generalization of
the inter-word liaison.
We can see that writing is taken seriously
as a faithful representation of oral utterance.
Hence the ease of pronouncing this written form without ambiguity.
On the other hand, we pay for this advantage by the difficulty of
decipher this oral enunciation as a series of words.
This difficulty is combined
for non-Indians with the deciphering of the Devanāgarī script, specially
when glueing two words, the first of which ending with a consonant,
and the second starting with a consonant too, because the two syllables
in contact collapse into one,
and the resulting ligature conceals the border of the two words.
Fortunately, our software overcomes the difficulty, by automatically performing
decryption. You will gradually learn to discern on your own
these glueings, and to undo them. For this, it is essential to pronounce aloud,
first in word-by-word fashion, then in continuous speech.
It is time to clarify the notion of a word, which is ambiguous in English.
It is essential to distinguish the inflected word, by declension or conjugation,
as it appears in the sentence, from its
stem which is referenced
in dictionaries.
In the following, we will use the Sanskrit "pada" (step) to designate the
inflected word. Our software performs the "padapāṭha", etymologically the
step-by-step path of the enunciation, by undoing the sandhi links between his
constituent padas.
Let's continue reading with the 3rd sentence. A new color appears,
sky blue, which indicates a pronoun, here "tad" (personal "he/she/it"
or demonstrative "this") declined in the genitive
tasya (of this).
The verb is the same as in the previous sentence, "as_1" (to be) but now
plural "
santi " (are).
Dictionary lookup tells us that "catur" means number "four", and
"putra" means "son", hence the nominal phrase
catvāraḥ putrāḥ,
"four sons", subject of the sentence, which therefore means "He has four sons".
In the following sentence, we find this same nominal phrase , but now in the
accusative case:
caturaḥ putrān.
It is followed by the absolutive form
āhūya from the verb "āhū" (to summon),
of which it forms the object complement:
"having summoned the four sons". This absolutive clause shares its agent
with the main verb of the sentence:
avādīt (he
says). It is preceded by the temporal adverb
maraṇa-samaye,
compound word in the locative expressing
"on the verge of death". The subject of the sentence is the nominal phrase
made up of 4 words in the nominative:
vṛddhaḥ sa vaṇik vyādhitaḥ
(old, this merchant fell ill).
At the beginning of the sentence, we find the adverb
tataḥ,
which indicates the temporal sequence (then), followed by a nominal group in the locative
mahati kāle gacchati
(a long time having passed). We therefore translate the
sentence with "Many years passed, and the old merchant fell ill;
at the time of his death, having summoned his four sons, he said to them:"
This sentence has the following characteristic structure of story telling.
First of all,
we situate the action by a series of clauses in the absolute locative. Next,
a series of absolutive clauses describes the sequence of actions in the story,
terminated by the main clause which alone carries a verb declined in the person
of the agent: "having done action 1, ..., having done action N, he did action".
In the English translation, we replace the sequence of absolutives by the
sequence of actions, with forms conjugated in the time of the main clause:
"he did action 1, ..., he did action N, he did the main action".
Two difficulties are to be noted. The first is the ambiguity
of the pada
kāle, visible by clicking on its blue box.
Indeed it may be a form of the substantive "kāla_1" (time), or a form
of the adjective "kāla_2" (black). The two meanings being very common, only the
context allows them to be disambiguated. The second is that "gacchati" is
a very common form (but irregular) of the present tense of the root "gam"
(to go): "he goes".
Here, this interpretation was not retained, because the verb "gam", transitive,
asks for an additional object to indicate where the subject is going.
There is no nearby noun in the accusative to fulfill this function, but
the locative form of this present participle (going) agrees with the phrase
"
mahati kāle" (long time) to mean "passed".
Here the ambiguity is not apparent, because we have chosen to put
gacchati in a blue box,
as a nominal form, rather than in a red box that would suit
the verbal form "he goes". We see here that we have simplified your
task, but that when you are faced with an un-analyzed text, all kinds of
ambiguities are likely to lead you astray. Our method allows to acquire
first the understanding of the sentence, partially disambiguated, in order to be
familiar with the syntactic turns of Sanskrit, before leaving you
faced with the combinatorial complexity of raw sentences that are non-analyzed
and even non-segmented in individual words.
Let's move on to sentence 5. Remember to always say it out loud.
We first see a new color, with two green boxes
which indicate, first an interjection
bhoḥ, which corresponds to our
"hey", then a vocative
putrāḥ,
in the same form as the nominative plural
of the word "putra" already encountered. Here we must expect an interjection
of the father addressing his children, such as the
avādīt from the previous sentence.
We leave the impersonal style of the story to switch to dialogue mode:
the father is now the speaker of the sentence, and he addresses his children
with "Hey, (my) sons". Then we find the personal pronoun
mayi of the
first person (the speaker), in the singular locative. It qualifies the next
word,
mṛte, locative form of "mṛta" (dead),
and we recognize our friend the absolute locative, giving the context
"at my death" for the rest of the sentence.
This "mṛta" is a past participle of the root "mṛ", to die, like our
adjective "dead" as a matter of fact.
This "at my death" is very exactly "me dead".
Here you must be wondering how to pronounce this letter "ṛ". Well, this is
a vowel, vowel form of the sound "r" which must be pronounced rolled.
Actually, at the strong vowel degree (like "e" is for "i" and "o" is for "u"),
we find "ar", pronounced like a silent "e" followed by a rolled "r".
This therefore suggests pronouncing "mṛta" like the beginning of "murder".
This verbal root goes back to the oldest branches of the tree of
Indo-European languages, and we find it in Latin mortus, which gives
muerta in Spanish and mort in French. These etymological considerations are
important, because they help to acquire the vocabulary of a language
from the same linguistic family as one's mother tongue.
In fact this vowel "ṛ" is the phoneme of Sanskrit with the most variations
according to the speaker. The name of the divine hero Kṛṣṇa is pronounced in
India Krishna or Kroushna depending on the region. Let's take the opportunity
to visualize the
"great incantation"
mahāmantra:
hare k.r.s.na hare k.r.s.na k.r.s.na k.r.s.na hare hare |
hare raama hare raama raama raama hare hare ||.
Surprise: all boxes are green, this is an invocation
of Viṣṇu alias Hari, of which Kṛṣṇa and Rāma are two incarnations (avatāra).
We notice in passing that "
hare" is the vocative of
"hari".
After this interlude, let us close the window of the mantra that has just
opened, and let us come back to sentence 5. The two blue padas
in the genitive plural, recognizable by their final "ām", that is to say
"
bhavatām caturṇām",
mean "of you four", the word "bhavat_2" being
the polite form of "you" in the third person, similar to English "Sir".
These genitives qualify
avasthānam, form of the neutral word "avasthāna"
which can be translated by social situation or goods.
The mauve pada
ekatra is a locative adverb
built on "eka" (one), meaning "in one place". For "bhavati" which follows,
as above we have the choice between the personal form "is"
or the present participle "being". In the first choice, we would have two
sentences (red "bhavati" ending the first sentence); in the second choice,
which is the one in our analysis, we have a participial clause subordinate
to the main clause: "the estate of the four of you remaining undivided".
The main clause has for verb the last pada, red
bhaviṣyati,
which is in the future tense of the verb "bhū_1" of which we have already seen
several forms.
Let us note in passing that "bhū_1" is the verb "to be" in the dynamic sense
of becoming, while "as_1" that we saw above with
asti
and
santi is the verb "to be" in the static sense
of existing. The subject of "bhaviṣyati"
precedes it, it is
vādaḥ,
nominative singular of "vāda", which means "debate, dispute".
The rest of the sentence is a sequence of grammatical words.
The conjunction
vā
marks disjunction, the particle "
na"
is negation, the sequence
vā na vā means
"yes or no", which is generally translated by "maybe".
The particle
hi is
our "really", and the adverb "
paścā" corresponds
to "later".
We now understand the sentence :
"Dear sons, on my death, if your estate remains undivided, later
there may ensue disputes".
Let's move on to sentence 6. The verb is
asmi,
the form of "as_1" at the first person.
Its subject is
kṛtavān, a past active participle
of the very common root "kṛ_1" (to do).
The phrase "kṛtavān asmi" (I am having done)
is a somewhat solemn way of saying "I am the one who made", that
we will replace in English by "I carried out".
What the merchant did, the object or purpose of the action, is given
to the previous pada
vibhāgam,
form in the accusative of the word "vibhāga", the share.
The above pada is the compound
jyeṣṭha-anukramam, where
"jyeṣṭha" is the elder and "anukrama" is an enumeration. It agrees with
sharing, and the full nominal group therefore means
"sharing by order of seniority", the aim of the father's action.
The two preceding padas have already been encountered in the previous sentence,
they mean "of you four", and in good English we will translate
by "sharing between you four". The initial clause is formed, as in
the previous examples, by the present participle "jīvat" in the nominative
jīvan (alive), preceded by its subject
aham, first person pronoun, "I". which gives
"me alive". The negation particle
na is here
combined with the particle
iva ("actually")
to mean "barely", "just".
This sentence is linked to the previous one by the discourse connective
tarhi ,
which means "therefore". We can now translate the entire sentence:
"That's why, still alive, I effected the sharing between you four
by seniority rank".
We can clearly see in this example the advantage of reading Sanskrit "backwards",
in order to understand the predicate (the verb with its possible direct object)
before its subject.
In translation, we re-establish the sacrosanct subject-verb-object English order.
But Sanskrit does not strictly obey the order
subject-object-verb that we have seen so far. Indeed, the case variations
provide for the semantic role of the concepts brought into play in the sentence,
and its syntax is relatively free.
The important thing is to see the predicate, verb or participle,
and then recognize its arguments and complements.
Our software does the work for us,
puts in evidence the action expressed by the verb with its blaring red
color, which governs the rest of the actants, colored blue,
and circumstantial adverbs and other conjunctions, colored purple.
The vocatives are distinguished in green, because
strictly speaking they are not part of the sentence, they are
interjections not participating in its logical structure.
Until now, we have carried out the morphological analysis of padas
from verbal roots or nominal or pronominal stems.
So we saw that
asti,
asmi,
santi
were conjugated forms of the root "as_1" (to be).
The software also allows us to generate
mechanically all these forms starting from their roots. For example,
let's click on the red box
asmi
of the current sentence, to find out
its lemma: [as_1] {pr. [2] ac. sg. 1}. The root "as_1" is a link on
the corresponding entry in the lexicon, where we read:
"√ अस् as_1 v. [
2] pr. (asti)".
The number
2 indicates the conjugation class
in the present tense of this root. It is
itself a hypertext link taht returns to you all the conjugated forms of the
root. Click on it.
The first array, giving forms of the present tense in the active voice, gives us
the forms "asti", "asmi" and "santi" in the expected locations.
We notice between the singular and the plural the existence of specific forms
for the subject in the dual, when there are exactly two agents.
We will ignore these rare forms in this first lesson.
Now go back in your browser page to return to
the page of the current corpus, and let's move on to sentence 7.
We are a little taken aback, because we look in vain for the red box,
this sentence does not contain a verb.
Indeed, it is a nominal predication,
the predicate being here the past participle of the verb "ni-kṣip".
By clicking on
"kṣip" in its lemma, we find its definition as "lancer" in Heritage,
or its English equivalent "to toss", in Monier-Williams. But in Heritage,
you have an extra information in the list
"pf. (
adhi, ava, ā, ut, ni, pra, prati, vi, sam)",
which indicates all prepositions that can be used with this root, as a list of
links. Clicking on
"
ni" we arrive at the special meaning of "nikṣip",
"to deposit".
The form
nikṣiptāḥ is therefore the predicate "deposited".
And its subject precedes it,
it is the nominal group
catvāraḥ bhāgāḥ,
that is, four parts. A locative clause indicates where these four shares
have been deposited,
adhaḥ, meaning "under".
Under what? As usual, under what precedes,
"
adhaḥ" is a clitic preposition, or rather
post-position, in the general spirit of giving a notion preceded by its argument.
What precedes is here the nominal phrase
caturṇām pādānām, which designates a
four-feet item, that is to say a bed. What bed? The one indicated by the
previous word in the genitive
mañcakasya.
Its stem is "mañcaka", which here denotes the terrace of the house.
Everything is preceded by
ofthe locative adverb
atra (here, thus).
We put everything in its place, and we understand:
"Thus under the bed of the terrace four parts were deposited."
But often it is more natural to put the passive phrase back to the active voice,
with a verb conjugated in the past tense replacing the participle:
"Thus I placed the four parts under the bed on the terrace."
Sentence 8 is not a problem.
The verb
gṛhṇīdhvam
is an imperative form of the root "grah", to take
(which you recognize as related to the English "to grab").
The noun is a compound word "jyeṣṭha-kaniṣṭha-krama" in the instrumental
giving the adverb "by order of elder to younger", similar to "jyeṣṭha-anukramam"
already met. Which gives: "Take (your share) by order of seniority."
Sentence 9 bears a new color, orange. The morphological process
involved is the formation of compound verbs, from auxiliary verbs
"kṛ_1", "as_1" and "bhū_1", by prefixing them with a special form of a
noun, usually terminated by "ī", to denote the verbs to do, to be
or to become the notion denoted by this substantive. Linguists talk
of inchoative verbs. A typical example
bhasmīkṛ,
to reduce to cinders, constructed from substantive
bhasman (cinders) with auxiliary verb "kṛ_1".
In our text the noun is "aṅga_1", which means portion.
The compound verb is therefore "aṅgīkṛ", to share in parts,
and
aṅgīkritam is its past passive participle,
meaning "sharing done". The pronoun
taiḥ
("by these") refers to the choices made by the sons. Using an active twist,
one obtains: "Thus, (your) choices will have carried out the sharing".
Sentence 10 is again a nominal passive sentence, a very common turn of speech
in Sanskrit.
The past participle "sthita" from the root "sthā_1"
(to remain, to stay) in the nominative plural
sthitāḥ
has for subject the group
catvāraḥ bhrātaraḥ
of the four brothers. We note in passing the resemblance between the word "bhrātṛ"
(in the form "
bhrātā") and
English "brother". Like the daughter "
duhitā",
etymologically "she who milks (the family cow)" is very close
of "daughter".
The story continues in the third person, with
tataḥ (then) which connects
with the previous episode by an absolutive clause giving the
new circumstances: "him having gone to the afterlife". The main clause
can be renderes as "the four brothers let a month pass". Obtaining:
"When he died, the four brothers let a month pass."
The next sentence literally means
"Then, of their wives mutually the quarrel arose",
and in better English, active voice:
"Then their wives quarreled with each other."
The form
teṣām of the personal pronoun "their"
must evoke in you, by its final
"-ām", the genitive plural already encountered with
bhavatām,
caturṇām,
pādānām,
and now
strīṇām.
But the pronouns (as well as the substantive
feminine "strī" (woman), have particular frozen forms that are needed
to be learnt by heart, because they will be frequently encountered.
It is therefore time to look at the
entry
of the 3rd person personal pronoun in the dictionary and study its neuter ("tad"),
masculine ("sa") and feminine ("sā") forms by clicking on the corresponding gender,
respectively on the red links
n.,
m. and
f.
Sentence 12 is an interrogative, preceded by the interrogative pronoun
kim
("what", in the neutral; the masculine stem is "ka", and the feminine one
"kā"). Here it translates to "why".
The verb is "kṛ_1" (to do), already encountered, but
now conjugated in the passive voice, and having for subject
kolāhalaḥ, an onomatopoeia
meaning a din, in the nominative. We therefore have an exhortation:
"Why is there so much noise here?" which expresses the irritation of the husbands.
Sentence 13 is built on the now well-known model: a clause in the
absolute locative built on a present participle, followed by a
passive proposition built on a past participle.
The particle
eva,
obtained by welding the preposition "ā-" (expressing a movement towards the locutor)
and the particle
iva already encountered,
is an intensifier signifying
"even, again, precisely". The pronoun form
asmat
is the ablative of the personal pronoun
of 1st person ("aham" in the nominative singular, "I"), meaning "of us".
It qualifies the sharing "vibhāga".
The nominal phrase
pitrā jīvatā eva
in the instrumental ("father being still alive") is the agent of the principal
clause in the passive voice
vibhāgaḥ kṛtaḥ ("sharing done").
The adverb of time
pūrvam indicates the
past ("previously"). We can now reorder the components of
the sentence in an active turn, like:
"Formerly, our father being still of this world,
he effected the sharing between us four."
In this sentence, we remark again the similarity between
"pitṛ", father, and the cognates Latin "pater", French "père",
English "father", German Vater.
It will also be noted that the segments
jīvatā
and
eva
are glued by sandhi in the fragment "jīvataiva" from the original text.
More complex is the form "jīvanneva" obtained in sentence 6 by sandhi
of "
jīvan" and "
eva",
with duplication of the nasal "n" in the presence of a vowel, when it itself
follows the vowel "a".
We can clearly see here the comfort that brings us
our segmentation software, which can recognize this thorny case.
Sentence 14 has a structure very characteristic of the story-telling style. it
describes the succession of two actions performed by the same agent.
The first action has a verbal form rendered by an absolutive, which
is an invariable form of its verb. This absolutive clause precedes the main
clause, which describes the second action with a conjugated verbal form.
We follow the method from right to left as usual, from the red box
tiṣṭhāma.
By looking at its lemma, we see that it is an imperative of the
first person plural of the root "sthā_1" (stay), here
complemented by the instrumental
sukhena
from "sukha" (happiness) to express the meaning "let's be happy".
It's about being happy as
vibhaktāḥ ,
"those who have shared (the heritage)". The resemblance
with "vibhāga", the sharing, which we saw above, is not by chance.
"vibhakta" is the past participle of the verb "vibhaj" (to share), of which
the noun "vibhāga" names the action.
Going up the sentence, we find the absolutive clause, ended
by the absolutive form
gṛhītvā from the root "grah".
The action is therefore to seize, and the agent is the "we" of the main clause.
Seize what? The object awaits us, it is the compound
vibhāga-dravyam in the accusative.
The neuter substantive "dravya" is the substance of the first component,
sharing. It is therefore the matter of inheritance. It is qualified
by the initial compound
tat-mañca-adhaḥ-sthitam
formed on the past participle "sthita" from "sthā_1", so it is "what is under this bed".
We therefore get literally "having taken ... let's be happy", which
may be rendered as a conjunction:
"Let us take the inheritance that lies under the bed, and after sharing it
let us rejoice ".
The next sentence begins with a transition to story mode. The particle
iti ends the speech of the previous sentence,
which then serves as an argument to the absolutive
uktvā which follows, to
introduce the sentence with an absolutive clause: "having thus spoken".
Then the following purple
yāvat
indicates a pair of co-relative clauses, the second starting
at
tāvat, co-relative of
yāvat. Here co-relative means that the two
pronouns co-denote, in this case expressing a logical implication.
The sequence
yāvat A
tāvat B
suggests that as soon as action A is completed,
action B will occur. Here action A is for the brothers to dig under the bed,
with a conjugated form of the root "khan" (to dig) which evokes cognate English
"channel". Action B is a nominal judgment, whose
predicate is
nirgatāni,
plural of the neuter past participle "nirgata"
from the root "gam" preceded by the preverb "nis-", here in the sense of
appearing.
What things have appeared?
tāmra-sampuṭāni:
copper chests.
How many?
catvāri, four.
Where did they appear from?
adhaḥ, from below.
Below what?
caturṇām pādānām, the four-footed bed.
With the genitive expected by
adhaḥ, as already
seen.
This four-footer may intrigue you, if you are not an Indian native.
I translate it as "bed" in English,
but in fact it is a platform where one can sit, that is to say
sit cross-leg Indian style, have a meal, possibly lie down and
take a nap. It consists of 4 sturdy wooden legs, carrying a frame
stretched with wide strips of hemp fabric, forming a bed base. In the recent past,
it was still commonly seen as furniture for dabhas, the traditional
country inns for catering travelers. The Hindi word for them is charpad!
Let us weep over Westernizing modernization, which is replacing the
traditional charpads by ugly plastic chairs.
In the end, we rewind, and we unwind in contemporary English:
"After these words, they dug under the bed to reveal
four copper chests".
Let's go on.
Sentence 16 begins with
teṣām madhye:
"from them in the middle". Here "them"
are the chests which have just appeared and are the current topic.
Then there is a locative clause
ekasmin sampuṭe "in a chest".
Here our attention is drawn to the three purple segments, which are
variants of
ekasmin:
ekatra is "once" and
anyatra is "another time".
And in each of the four chests we are told what's inside,
in the nominative:
mṛttikā earth,
aṅgārāḥ coals,
asthīni bones,
palālaḥ straw.
We understand the construction, and we regurgitate:
"One of these chests contains earth, another contains coal,
another bones, yet another straw".
We notice the "contains" which translates the
asti implied main clause
reduced to the content of each of the chests:
mṛttikā is soil, but also means
implicitly "soil exists".
Our "contains" is necessary, because English requires a verb
in each sentence, and even its subject, even fictitious, as in "it rains",
while Sanskrit has no such restrictions.
Going to sentence 17, the red
procuḥ
jumps out at us.
It is a form of the root "vac" (to speak) in the perfect tense,
prefixed with the preposition "pra-" which is generally an intensifier,
here meaning "they declared". "They" are of course the four brothers,
te catvāraḥ ,
qualified over
vismayam gatāḥ,
literally "gone in astonishment".
The two forms
paraḥ param
echo to say adverbially "each other".
Everything is preceded by the absolutive clause governed by
dṛṣṭva, "having seen".
Having seen what?
etat catuṣṭayam,
this four-tuple (of chests). We recognize
in
catuṣṭayam a derivative of "catur",
four, with a "-taya" suffix which
can follow any number to denote the corresponding -tuple:
"dvitaya" is a pair, "tritaya" a triad, and so on.
We also notice that these two words are linked by sandhi with the "-t"
end of "etat" assimilated to the initial "c" of the following word.
In the end, we translate:
"At the sight of the contents of these four chests, the four (brothers),
flabbergasted, said to each other:".
Sentence 18 is therefore their exclamation, which begins with the interjection
(green as a vocative)
aho similar to our "oh".
The sentence is here again predicative,
governed by the past participle
kṛtaḥ
(done), qualifying
vibhāgaḥ the share.
The mauve pada
samyak is an adverb meaning
correctly, properly. The
pitrā
which precedes it is the instrumental of "pitṛ", which thus takes the role
of the agent of this passive sentence.
Indeed, while the subject (in the nominative) plays the role of the agent
of a verb in the active voice, this is not so in the passive voice,
where the agent is expressed in the instrumental, the nominative designating
now the goal, here the sharing. The pronoun
asmat
is the ablative form of the personal pronoun "we", to mean "our".
We recap: "Oh! Our father did the sharing fairly."
Sentence 19 is an interrogative in the passive, built on the root
"jñā_1" (knowledge), whose agent in the instrumental is the interrogative pronoun
kim: "How to understand this sharing?"
You have reached the middle of our story, at its climax.
You built confidence, these passive constructions
are now familiar to you, and you can rely on the computer tools
to progress. Above all, you have not been put off by
the acquisition of vocabulary, the richness of the declensions, or
the difficulty of
reading devanāgarī in continuous recitation, the segmenter-cum-tagger
chewed up the work for you. Our method has saved you from the unrewarding
drudgery of having to learn by heart the litanies of declension or conjugation
who put off Latin students so much, and who for Sanskrit would be
colossal, with 8 cases, 3 genders, 3 numbers, and countless verbal forms.
Judge of it on the root
grah: its forms run by the tens of thousands,
each of which may also be prefixed by no less than 12
combinations of preverbs, leading to bizarre forms such as
upasaṃjagṛbhuṣībhyām that you
will never meet in texts, while very soon you will recognize the present
gṛhṇāti he grabs,
gṛhṇanti they grab,
gṛhītaḥ seized, as well as to the normal degree
form
grahaḥ which is the grasper.
Thus naming for instance the crocodile, but also the ladle,
and sensory faculties such as smell or sight, in their role of sensors.
In astrology, it is the role of celestial influence devolved to the Sun,
the Moon, the five planets, the eclipse demon and the comet.
These nine cosmic influences,
navagrahāḥ
(compound formed on "nava", the number nine),
are carved on the lintel of the entrance to the sanctuaries.
By the traditional method, based on colossal memorization,
it would have taken you months of hard work to read these few lines of text,
while in less than an hour you have managed to grasp its meaning and
on the way to familiarize yourself with the structure of the Sanskrit sentence.
If you persevere in your effort, not only will you soon understand
the enigma of sharing this bizarre inheritance, but you will easily acquire
sufficient vocabulary to get by with simple texts. Courage!
We continue our reading with the 20th sentence.
We find the
iti uktvā already encountered,
"having thus spoken".
Notice that in the original text the sandhi welded the two vowels "i"
and "u" to "yu". More generally, the final "i", "u" or "ṛ" changes on contact
of a different initial vowel, and becomes the corresponding semi-vowel,
respectively "y", "v" or "r".
This sentence has the now familiar structure of an absolutive clause
giving the context together with a nominal main clause. But the
absolutive form here does not end in "-tvā" like
uktvā for the root "vac",
but in "-ya" for the verb "upaviś", because this verb is prefixed
with a preverb, here "upa-" meaning "near" or "under". We check in
clicking on the purple box "upaviśya", we see that the verb is "upa-viś_1".
By clicking on "viś_1" we find the dictionary entry of this root,
its meaning (to enter, to settle), and the indication of its conjugation group
[
6]. By clicking on this
6
you visualize the page of its paradigms,
where you will find in the invariable forms section the absolutive
viṣṭvā,
usable for this root stand-alone, but also "-viśya", which should be used when it
is preceded by a preverb, such as "upaviś", hence
upaviśya.
Coming back to the entry "viś_1" (assuming using the Heritage dictionary),
you check that "upa" is in the list of
preverbs that can be used with this root:
(adhi, ā, upa, ni, pra, sam)
and by clicking on "upa" you find the meaning of "upaviś", to sit.
So
upaviśya is "having sat".
Where ?
sabhām, meaning the hall of the city council,
where the assembly is held.
This accusative form has a feminine "sabhā" basis,
as indicated by the long vowel "ā" which ends it.
The genitive pronominal form
tasyāḥ which follows
refers to it; it is followed by the adverb
puratas
(in front), which precisely governs the genitive.
The rest of the sentence consists of three padas in the singular nominative.
Here the predicate is the past participle
niveditaḥ
of the causative of "ni-vid_1", verb meaning "to announce".
And its subject follows it, this time. This illustrates the flexibility of
Sanskrit, where the word order is not completely rigid.
The pronoun form
ayam
is the demonstrative "this", qualifying the noun
vṛttāntaḥ, meaning event. We therefore understand:
"After these words they went to the council, whom they informed of this event".
The following sentence is simple.
The predicate is
jñātaḥ,
participle of the root "jñā_1" (to know). You should pronounce "jñā" like "gnyā",
thinking of cognate "gnosis".
The
na particle of negation
indicates that a thing is not known. Which thing ?
vibhāga-kramaḥ,
the distribution of the inheritance.
Who is the agent? The sentence being passive, the agent is in the instrumental,
it is
sabhyaiḥ, a plural form of "sabhya".
This word is a secondary formation on
"sabhā" with a suffix "-ya" meaning "concerning". We take it all back in
the active voice, to keep our four brothers as the real agents, subjects
of the verb to inform, because in the end if the council is in ignorance,
it is that they did not explain:
"They did not inform the members of the council of the distribution of
the inheritance."
We then have a more complex sentence, with three verbs,
that we shall have to dissect.
It begins with the speech connective
punaḥ,
"however".
Then after
te catvāraḥ bhrātaraḥ
(the four brothers) there is an incise:
yatra yatra nagāre jñātāraḥ
santi (anywhere in town there where
knowledgeable ones), after which is the main proposition
teṣām purataḥ
nivedayanti (they informed), where of course "they"
refers to the four brothers. The sentence ends with their statement, which begins
by the pronoun "adas",
,
in its masculine accusative form
amum.
It is the distant demonstrative "that", contrasting with
ayam already met,
which is the close demonstrative "this"
(masculine
ayam,
neutral
idam,
feminine
iyam).
The forms of these two pronouns, at the different genders, are
varied but very frequent, and should be learned.
The pada
param is "beyond", "after",
but also "yet" and various concessive meanings, depending on the context.
The verb
cakruḥ is the plural 3rd person form
of the root "kṛ_1" in the perfect tense. Substantive
nirṇayam is
the accusative of "nirṇaya", meaning decision. In the end, we can translate:
"Nonetheless, whenever they encountered knowledeable people in the city,
the four brothers told them
that with regard to this matter they themselves had not made a decision".
The following sentence also has two verbs, the first being
akathayan (they were telling).
The object of their story is the pada which precedes, in the accusative,
vibhāga-vṛttāntam, the matter of inheritance.
What preceeds is a series of locatives, past participles and absolutives
explaining the circumstances:
ekadā, one day;
ujjayinīm prati
samāgatāḥ, having traveled together to Ujjain;
rāja-sabhām āgatya,
arrived at the king's audience hall;
rājñā sabhāyāḥ purataḥ,
facing the royal council. So by reverting to active:
"One day they went to Ujjain to the royal audience hall.
In front of the king's council, they told the story of their inheritance".
The rest of the sentence echoes sentence 20:
"After that, even the royal council did not know the distribution of the partition."
We see in this example that a long sentence can in general be divided into
small successive sequences by different impersonal processes,
which are better rendered in English with short sentences with an active voice.
We must be careful not to translate word for word by solemn renderings
which may not be appropriate, as here, to a light lively story.
Sentences 24 and 25 express for the third time the paradoxical situation where
the brothers find themselves, recounting their inheritance without explaining its
distribution :
"Immediately after, arrived at the city of Pratiṣṭhāna
where there was a large crowd, they declared that they did not yet
manage to make up their mind".
The city of Pratiṣṭhāna was the capital of the Sātavāhanās kings,
on the banks of the Godāvarī river. It still exists, it is Paiṭhaṇa, the
modern Paithan, in Maharashtra
(the great Mahārāṣṭra kingdom of the Marathi people).
Here history and myth merge. The Sātavāhana dynasty
from Telugu speaking country Andhra
was founded in 78 by the Indo-Scythian king Śālivāhana, satrap of Ujjain.
This word "satrap" is none other than the Sanskrit "kṣatrapa" (governor),
etymologically "kṣatra-pa", the one who protects the realm.
Later, in the Gupta era in the 4th century, King Candragupta II conquered the
satrapy of Ujjain which he made his capital under the name Puraṃdarapurī, thus evoking
the capital of Indra, king of the gods. He himself adorned his name
with the title "Vikramāditya", i.e. "Heroic Sun", capitalizing on the myth
of the generous king Vikramāditya. We should therefore not look here
for precise historical references, the Sun King Vikramāditya is a king of legend,
and the successive monarchs who took his name over the centuries
aspired to share his fame.
So let us continue our story.
Sentence 26 introduces a new character, Śālivāhana. Here too, there is
telescoping between the historic king Gautamīputra Śātakarṇī, who wore the
title Śālivāhana, and a mythical character who appears in the golden legend
of King Vikramāditya, generally as his rival. His name could also be analyzed
as "śāli-vāhana", a cart to carry rice, or also "who has (the spirit)
Śāli for mount.” The context decides.
We notice in passing one of the difficulties of Sanskrit: there is no
discriminating mark for proper names. Thus "kṛṣṇa" may denote the
divine hero Kṛṣṇa, or the black color. It is the context that decides.
Our current sentence has three clauses. First of all, a
contextual clause in the locative, introducing the character.
The phrase
tasmin samaye means "at that time".
The following pada is a word made up of three segments. First of all,
"kumbha-kāra" is the potter ("pot-maker"), a compound word reduced to its stem,
and therefore likely to form a second compound with "gṛha" (house):
(kumbha-kāra)-gṛhe - in the house
of the potter. Here we see the general shape of a pada consisting of
a number of bare stems, each in a yellow box, followed by a declined pada in a
blue box.
There is no limit in Sanskrit on the number of components
of a compound word, Pāṇini's grammar having given a recursive definition.
The poets strove to create monstrous ones, of more than 10 components.
Here the compound
kumbhakāragṛhe,
in the potter's house, is not ambiguous, it is not possible to
parse it as
kumbha-(kāra-gṛhe).
Indeed, the component "-kāra", agent name of the root "kṛ_1",
can only be used as the second member of a compound word "X-kāra",
meaning "the one who makes X".
The initial clause ends with the past participle
sthitaḥ already encountered,
its subject is this famous Śālivāhana, who resides at the potter's place,
and who serves as a subject for the rest of the sentence.
The second clause is governed by the absolutive in -ya
ākarṇya of the nominal verb
"ākarṇa", literally "towards the ear", therefore meaning to lend the ear
or listen. Who is listening? It is he, Śālivāhana. What is he listening to?
amum vṛttam, "that event",
referring to the preceding story,
repeated anaphorically with the pronoun
tam.
The main clause ends with the verb
bhaṇati
(he says).
The preposition
prati (facing)
tells us whom he is adressing:
mahā-janān,
the crowd, etymologically "many people". In total, we understand:
"At that time, Śālivāhana was living at the potter's house;
having listened to this event, he said, addressing the crowd:
The attentive reader notices the change of tense of the verb of the sentence,
now in the present tense. It signals an important articulation of the story,
which until now was in the perfective mode,
with the past tense of the perfect, accompanied
by passive past participles. We were until now remote to the action, we were told
an accomplished past. The passage to the present makes us spectators of an action
in its course, we are "in the movie". This process allows to make lively
the outcome, which will unfold before our eyes. We are on hold.
It is this process that makes us feel the "suspense" of the scenario.
We are eager to know what Śālivāhana has to say to us, we
in the midst of the crowd of curious people from Pratiṣṭhāna.
The next sentence begins with two green vocatives giving the exhortation
"Oh friends". They precede several interrogative sentences, indicated
by the initial interrogative pronoun
kim (what?)
or by the adverb mauve
katham (how?). The locution
kim atra
may be translated as "how so?"
The following pada is in unusual colors. It is a compound adverb, whose
first term is the pink prefix
dus- meaning "bad",
and the second term is
bodhanam,
neutral form of the root agent "budh_1" (understanding)
in a purple box. This morphological compounding process
is called in Sanskrit "avyayībhāva", etymologically "transformed into
invariable ". Here, it allows to forge an adverb meaning "in ignorance".
Conjugated with the static
asti, we get
"to remain in the dark".
Then
kim āścaryam is a nominal query,
"what is this wonder?"
The rest of the sentence is clear, questioning why this sharing
is not understood. The un-understanding agent of
this passive sentence must be in the instrumental, it is the last pada,
bhavadbhiḥ, by you.
That is to say by the brothers, whom Śālivāhana is addressing.
In total: "Dear friends! What is the use of remaining in the dark?
What's this mystery ? How come you don't understand
this sharing of the inheritance? "
The following sentence is short:
taiḥ uktam,
said by them.
Or rather "they said:". We notice the form "ukta" of the past participle
of the root "vac", to speak. There is a phonetic transformation
from the semi-vowel "v" to the vowel "u" in passive forms. One says
that there is
vocalic deployment ,
in Sanskrit
samprasāraṇam.
Click on the
link of "vac" to find its entry in the dictionary, then click
on the
2 declaring its present class,
and familiarize yourself with some common forms:
vakti he speaks,
vacanti
they speak,
ucyate it is said,
voci speak up!
uvāca
he spoke,
uktam said,
vākyaḥ speech,
uktvā
having said.
Of course with an obvious kinship with our "voice", "vocal", etc.
The next sentence is downright familiar, with an interjection
bhoḥ vaṭo which can be rendered as "Hey, buddy!"
It is followed by a sentence with two verbs, coordinated by the
conjunction
ca (and).
These are passive 3rd person singular forms of respectively
the roots "kṛ_1" (to do) and "budh_1" (to know), the latter prefixed
of the preverb "ava" (aside) to mean "to know", and preceded by the negation
na whose effect is
distributed by association with
ca
(neither ... nor). What is the subject
common to these passive actions? It is in nominative, and denotes
the common object of these verbs. It is
āścaryam,
the prodigy, a neutral word.
And the agent of these verbs is in the instrumental, as is fitting:
asmābhiḥ, by us.
"Hey, buddy! We neither performed nor understood this mystery".
Here the brothers address themselves to Śālivāhana,
and continue with the next sentence, which we will now examine.
But first notice that
this coordinated sentence with two verbs cannot be reduced to two
independent sentences, since the common goal is shared.
The 30th sentence is conditional, with a first clause ending in
yadi ,
the conjunction "if". The passive form
jñāyate
evokes the participle
jñātaḥ
(known) already encountered. And as usual, we change the passive
"by you known if" in active "if you know it".
The main verb,
kathaya ,
is the imperative of the root "kath", to tell, whose imperfect
akathayan we already encountered,
with the initial "a-" marking its preterite nature. We also
met the adverbial form
katham , how.
A very common derivative of this verb is the feminine noun
kathā , the story.
It is an important literary genre in Sanskrit. Notice
the title of the section of the corpus that
you are reading: "Kathā / Vikramacarita / 24".
We note at the end of the sentence the particle
iti ,
which closes the speech of the brothers. We finally get:
"If you know, tell us how the inheritance was divided."
An indication of the articulation of the dialogue follows:
śālivāhanenoktam , that our
software analyses as
śālivāhanena uktam ,
i.e. "Śālivāhana answered:"
Notice in passing how the final vowel "a" increased the vowel degree
of the initial vowel "u" of the following word, to give "o" in continuous
recitation. The vowel "i" would have become "e" in a similar fashion.
In the same way the vowel "ṛ" would have deployed into "ar".
Let's move on to sentence 32.
Now is the time for the denouement, Śālivāhana will solve the riddle for us.
The pronoun
ete is the plural of the demonstrative
pronoun "etat", already encountered. Without difficulty, we understand:
"These four are the sons of a rich man."
It continues with sentence 33, which is modeled on sentence 6. Simply the
father speaks at sentence 6 in the 1st person, whereas here Śālivāhana
say the same in the 3rd person, qualifying the father, agent of the action,
by the personal pronoun in the genitive
eteṣām , "their".
Also note that the
asmi (I am) could have been
be adapted in
asti (it is). But it can be
omitted, and the personal sentence becomes a participial sentence with the
same meaning.
Hence: "Their father when still alive shared the inheritance between them
by seniority".
The next sentence begins with "tadyathā", segmented into
tat yathā , which can
translate to "This is how". Next
jyeṣṭhasya ,
"of the elder" ,
followed by a nominal phrase
mṛttikā dattā
whose subject is the feminine
mṛttikā , "soil".
The predicate
dattā ,
feminine form of the past participle
"datta" from the root "dā_1" (to give), is therefore "given". Given by whom?
by the father, agent of the gift, represented by the pronoun
tena to the instrumental,
"by him". The sentence ends with a relative "yā A sā B" expressing
"that which is A is B".
Here A is
samupārjitā bhūmiḥ , the land acquired
together, that is to say the undivided land of the common estate. And B is
sarvā dattā , entirely given.
Here the feminine participle
samupārjitā
can be traced from its lemma as the form of the root "ṛj"
(acquire), provided with the preverbs "upa" (near) and "sam" (together).
Practice finding the entry for the verb "samupārj" in four clicks from the
blue box of
samupārjitā.
Please note that "upa-" makes sandhi with "ṛj"
as explained above: "ṛ" is expanded to "ar". Finally, we get:
"This is how, regarding the eldest to whom the land was attributed,
the common land is given to him in full."
Now practice recognizing the same structure in the next three
sentences:
"To the second to whom the straw has been assigned, the whole grain is given to him."
"To the third who was given the bones, the whole cattle are given."
"To the fourth to whom the ashes were attributed,
to him all the gold is given."
Note the
iti ending sentence 37, and closing the
indirect speech of Śālivāhana.
The denouement has arrived. We end with:
"Śālivāhana resolved the decision of their partition".
"Themselves having become happy, they returned home."
In this last sentence, we come back to the perfective, with the passive "jagmuḥ",
the story is over and returns to its place in the distant past.
We can now gather our analyzes, and end up with a fluid English translation:
In the kingdom of Vikramāditya was the city of Puraṃdara, its capital.
There lived a very rich merchant.
He had four sons.
Many years passed, and the old merchant fell ill;
at the time of his death, having summoned his four sons, he said to them:
"Dear sons, at my death, if your property remains undivided,
a lot of disputes may follow.
This is why, still alive, I made the division between you four by
birth order.
For this purpose, I placed four parts under the bed of the terrace.
Take your share in order of birth.
So your choices will determine the split. "
When he died, the four brothers let a month pass.
Then their wives quarreled with each other.
"Why is there so much noise here?"
Formerly, our father being still of this world, he made the division between us
four.
Let us take the legacy that lies under the bed and after sharing it
let us rejoice."
After these words, they dug under the bed to reveal four copper chests.
One of these chests contains earth, another contains ashes,
another bones, yet another straw.
At the sight of the contents of these four chests, the four brothers, flabbergasted,
said to each other: "Oh ! Our father did the sharing fairly!
But who can understand this sharing?"
After these words, they went to the city council, where
they communicated the event.
They did not make known to the members of the council the distribution of
inheritance.
However, whenever they encountered knowledgeable people in the city,
the four brothers declared to them
that concerning this affair they themselves had not reached a decision.
One day they went to Ujjain to the royal audience hall.
In front of the royal council, they told the story of their heritage.
After that, even the royal council still did not know
the shares distribution.
Shortly after, arrived at the city of Pratiṣṭhāna
where a large crowd was assembled, they declared that they still had not
not made up their minds.
At that time, Śālivāhana was living in the potter's house;
having listened to this happening, he said, addressing the crowd:
" What's this mystery ?
How come you don't understand this division of inheritance? "
They declared:
“Hey, buddy! we have neither carried out nor understood this
mystery. If you know, tell us how the inheritance was divided."
Śālivāhana replied: “These four are the sons of a rich man.
Their father while still alive divided the inheritance between them by order of birth.
Therefore, regarding the eldest to whom earth was attributed,
the common land is given to him in full.
To the second one to whom the straw has been assigned, all the grain is given.
To the third one given the bones, the whole cattle is given.
To the fourth one to whom the ashes were attributed, all the gold goes."
Śālivāhana thus resolved the decision of their partition.
Themselves reassured, they returned home.
Well done ! You have read your first Sanskrit text.
Let's recap what we have learned.
First of all, the roots encountered:
"as_1" to be, "bhū_1" to become, "kṛ_1" to do, "dā_1" to give, "hū" to call,
"vad" to speak, "rāj_1" to rule, "gam" to go, "mṛ" to die, "sthā_1" to stay,
"khan" to dig, "grah" to take, "jñā_1" to know, "vid_1" to understand,
"kath" to tell, "vṛt_1" to occur, "nī_1" to lead, "bhaj" to distribute,
"kram" to walk, "bhaṇ" to say, "jan" to be born, "ji" to overcome, "ṛj" to acquire.
But also "dhā_1" to install, which prefixed by "ā" and "vi" gives the verb
"vyādhā" to be ill, whose participle is "vyādhita", "sick".
As well as "vṛdh_1" to grow, whose participle "vṛddha" means grown,
aged, old, wise, and even in phonetics "carried to the last vocalic degree".
The corresponding action, the feminine "vṛddhi", is growth.
This is how the
vṛddhi of the vowel "a" is "ā", that
of the vowel "i" is "ai", that
of the vowel "u" is "au", and that of the vowel "ṛ" is "ār".
However, we have only seen a small number of personal conjugated forms
of these verbs, and in all only two active forms in the present tense of
the indicative,
nivedayanti and
bhaṇati, apart from the forms of the verb to be,
asti it is,
asmi I am,
santi they are.
Almost all the sentences are passive, preferably impersonal
by the use of participles and absolutives. This greatly diminishes the
number of forms to remember.
These 25 roots allow you to form hundreds of more precise verbs,
by prefixing them with a preposition.
We thus encountered usage of
ā (towards oneself),
prati (in front of, against),
ni (in),
upa (near),
pra (very, ahead),
anu (along),
ut (up),
ava (apart).
Others are
apa (out of),
nis (without),
dus (bad),
adhi (upon),
ati (very, much),
abhi (towards),
pari (around),
vi (very, bad),
antar (among).
These prepositions used
as preverbs are called in Sanskrit "upasarga".
This word can be analyzed as
the action name of the root "sṛj_1" (to spring) prefixed with "upa" (near),
meaning that the preverb binds the verb, in the sense that it co-denotes with
its forms.
Each root can also admit auxiliary modes of conjugation,
like the causative, the desiderative, the intensive, allowing other
auxiliary senses. In total, a root gives rise to hundreds of thousands of
regular shapes. Regular meaning obeying the rules of
Pāṇini's grammar.
Sanskrit shows here a great flexibility to express with uniform
morphological constructions all kinds of semantic nuances.
We have learned in passing an abundant vocabulary concerning
everyday life :
one, two, three, four, nine, father, son, daughter, elder, younger,
king, governor, merchant, rich, inheritance, sharing, given, house, town,
bed, terrace, old, sick, alive, dead, month, chest, earth, straw,
ashes, bones, cattle, goods, gold, advice, story, debate, crowd, quarrel,
uproar, decision, happiness, happy.
It is sufficient for you to practice composing a few simple sentences
by following the syntactic models of our story. You will have to use
nouns and adjectives to cases other than those encountered, but our software
is ready to help you. Indeed, the definition of the word in the dictionary
gives the admissible genders, and each gender indication is a hypertext link
to the appropriate declension table. Similarly, the verbal roots,
under the indication of the conjugation class of the present system,
allows you to access the table of all its conjugated forms and participles.
No need to learn these tables by heart, which fill up to nausea
grammar treatises: the software is there to help you,
and the most frequent forms you
will soon become familiar with as you read the texts.
In analysis, we have shown how the right to left reading method
allowed to gradually solve the sentence puzzle
by questions and answers. The syntax is structural, in the sense of the
linguist Tesnière, and obeys a logic of situations.
We look at the declension suffix, which indicates the syntactic role,
before worrying about the stem, which gives the lexical semantics.
Think of Lewis Caroll, who made poems that sound good in
English, despite unknown vocabulary:
«
All mimsy were the borogoves, and
the mome raths outgrabe. »
Reading Sanskrit, you passed through the mirror, like Alice.
You start by familiarizing yourself with the syntax, which is universal,
but soon you will know your way through the Indian borogoves!