Wikner Sanskrit Intro PDF

?

A Practical

Sanskrit
Introductory
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Preface
This course of fteen lessons is intended to lift the English-speaking student who
knows nothing of Sanskrit, to the level where he can intelligently apply MonierWilliams' dictionary1 and the Dhatu-Pat.ha2 to the study of the scriptures.
The rst ve lessons cover the pronunciation of the basic Sanskrit alphabet,
together with its written form in both Devanagar and transliterated Roman:
ash cards are included as an aid. The notes on pronunciation are largely
descriptive, based on mouth position and eort, with similar English (Received
Pronunciation) sounds oered where possible. The next four lessons describe
vowel embellishments to the consonants, the principles of conjunct consonants,
and additions to and variations in the Devanagar alphabet. Lessons ten and
eleven present sandhi in grid form and explain their principles in sound. The
next three lessons penetrate Monier-Williams' dictionary through its four levels
of alphabetical order, and suggest strategies for nding dicult words. The
last lesson shows the extraction of the artha from the Dhatu-Pat.ha, and the
application of this and the dictionary to the study of the scriptures.
In addition to the primary course, the rst eleven lessons include a `B' section
which introduces the student to the principles of sentence structure in this fully
inected language. Six declension paradigms and class-1 conjugation in the
present tense are used with a minimal vocabulary of nineteen words. In the `B'
part of lessons ten and eleven the principles of compound words are introduced.
The course aims at a practical understanding of the basic principles, at getting

a `feel' for the language, and not a learning of rules by rote. To this end, each
lesson concludes with exercises for the student to put that understanding into
practice: answers to the exercises are presented in an appendix.
::::::::::::::::::::::::::::::::::::::
1 Monier-Williams
Sanskrit-English Dictionary is currently published by

both Motilal Banarsidass in India and Oxford University Press in
England: although the two are printed from the same plates, the latter
is far superior in the quality of printing, paper, and binding| and this
is reected in its much higher price.
2 The edition of the Dhatupatha referred to in these notes is that edited
.
by J.L.Shastri and published by Motilal Banarsidass: it is a small book
and quite inexpensive.
iv
A Practical Sanskrit Introductory

The pronunciation oered in these lessons is optimised for the English-speaking
student to understand the underlying principles of sandhi (sound changes).
There are several variations in the pronunciation of some of the Sanskrit sounds,
that have been handed down over generations. None of these traditions are
wrong, although this may confuse the mind trained to think in terms of
opposites, of right and wrong. Consider the English spoken in Britain and
America for example: they are certainly dierent, but neither is wrong.
Where there is a variation in the form of a character (e.g. A or A ), these lessons
standardize on the form that is most commonly used in currently available
printed editions of the Bhagavad Gta and Upanis.ads. The common
variations are illustrated in the ninth lesson.
::::::::::::::::::::::::::::::::::::::
In the English-speaking world there is currently little appreciation of the value

of studying formal grammar: as a result it has become unpopular, and many
schools have ceased to teach it. In view of this situation, an appendix of basic
English grammatical terms is included.
::::::::::::::::::::::::::::::::::::::
Readers are invited to point out errors in the course, and oer suggestions for
its improvement.
Charles Wikner.
[email protected]
June, 1996.
Contents
Preface
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Contents
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Invocation
Lesson 1
A.1.
A.2.
A.3.
A.4.
A.5.
A.6.
A.7.
A.8.
A.1.
A.2.
A.3.
A.4.
A.1.
A.2.
A.3.
A.4.
A.5.
A.6.
ix
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
B.1.
B.2.
B.3.
B.4.
The Concept of Dhatu

Introduction to Verbs
Exercises
Flash Cards
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The Five Mouth Positions

B.1. More on Verbs
The Twenty-Five Stops: ka to ma B.2. Exercises
Pronunciation of the Stops
Devanagar Alphabet
Lesson 3
21
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
31
A.1. Devanagar Alphabet
Lesson 5
13
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
The Four Semi-Vowels: ya ra la va B.1. More on Verbs

The Three Sibilants: sa s.a sa
B.2. Introduction to nouns
The Final Consonant: ha
B.3. Exercises
Summary of the Consonants
The Alphabetical Order
Devanagar Alphabet
Lesson 4
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Vowel Measures
Sanskrit Pronunciation
The Three Primary Vowels: a i u
The Other Simple Vowels: r. l.
The Compound Vowels: e ai o au
Summary of All Vowels
The Sixteen Sakti: am. ah.
Practicing the Alphabet
Lesson 2
iii
B.1. Summary of Verbs

B.2. More on Noun Cases
B.3. Exercises
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
A.1. Devanagar Alphabet
B.1. More on Noun Cases

B.2. Exercises
37
vi
Lesson 6
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
A.1. Vowels after Consonants

A.2. History of Vowel Embellishment
Lesson 7
A.1.
A.2.
A.3.
A.4.
A.5.
A.6.
A.1.
A.2.
A.3.
A.4.
Conjunct Consonants
Special Conjuncts ks.a and j~na
Pronunciation of ks.a
Pronunciation of j~na
List of Conjunct Consonants
A.1.
A.2.
A.3.
A.4.
Savarn.a
Nasal Substitution for Anusvara

Devanagar Numerals
B.1.
B.2.
B.3.
B.4.
B.5.
More Noun Declensions

Adjectives
Adverbs
Vocabulary Summary
Exercises
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Vowels Accents
B.1. Types of Words
Variations in Devanagar Alphabet B.2. Use of iti
Variations in Sam.yoga
B.3. Exercises
Revision
Lesson 10
A.1.
A.2.
A.3.
A.4.
A.5.
B.1. Verbal Prexes

B.2. Exercises
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Special Symbols
Lesson 9
Sentence Structure: English and Sanskrit

Noun Gender
Summary of Case Information
Exercises
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Halanta Consonants
Lesson 8
B.1.
B.2.
B.3.
B.4.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Introduction to Sandhi
Gun.a and Vr. ddhi
Vowel Sandhi
Exceptions to Vowel Sandhi
45
B.1. Introduction to Compound Words

B.2. Joining Words in Writing
B.3. Exercises
53
63
71
77
Samprasaran.a
Lesson 11
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
A.1. Visarga Sandhi

A.2. Consonant Sandhi Grid
A.3. Internal Sandhi
B.1.
B.2.
B.3.
B.4.
B.5.
Dvandva Samasa
Tatpurus.a Samasa
Avyaybhava Samasa
Bahuvrhi Samasa
Exercises
85
Contents
Lesson 12
1.
2.
3.
4.
5.
91
97
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
103
:::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
109
Tracing a Word to its Dhatu

Dhatu Entry Information
Numbered Entries
Misleading Words
Dicult Words
Dictionary Practice
Lesson 15
1.
2.
3.
4.
5.
6.
7.
8.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Words beginning with SaStructure of Devanagar level

Structure within non-Dhatu entries
References and Abbreviations
Special Symbols
Signicance of Hyphen and Caret Symbols
Supplement to the Dictionary
Dictionary Practice
Lesson 14
1.
2.
3.
4.
5.
6.
::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::::
Monier-Williams Dictionary
Alphabet and Transliteration
Fundamental Structure
Page Heading Words
Dictionary Practice
Lesson 13
1.
2.
3.
4.
5.
6.
7.
8.
vii
Introduction to Dhatu-Pat.ha
The Contents Page
The Text Body
The Index
Dhatu Spelling Changes
Illustrations of Dhatu-Pat.ha Use
Study of the Scriptures
Study Practice
Appendix 1: Suggestions for Further Study

Appendix 2: Answers to Exercises
:::::::::::::::::::::::::::::::::
121
::::::::::::::::::::::::::::::::::::::::::
123
Appendix 3: English Grammatical Terms

Sanskrit Glossary and Index
:::::::::::::::::::::::::::::::::::
135
::::::::::::::::::::::::::::::::::::::::::::::::
141
viii
ix
INVOCATION
te!a.j!a.a~v+
; na.!a.vaDa.à.tama~tu+!
Translations:
Eective may our study prove!
May our study be thorough and fruitful.
Let what we are studying be invigorating.
May our study be vigorous and eective.
Let our study be brilliant.
May our study be full of light.
(Invocation to Daks.inamurti Upanis.ad, A.M.Sastry)

(Invocation to Kat.ha Upanis.ad , Swam Sarvananda)
(Invocation to Kat.ha UUpanis.ad , Swam Gambhrananda)
(Invocation to Taittirya 2.1, Swam Sarvananda)
(Invocation to Taittirya 2.1, Swam Gambhrananda)
(First Lessons in Sanskrit, Judith Tyberg)
::::::::::::::::::
::::::::
::
::::::::::
:::::::::::::::::::::
:::::::::::::::::::::::::::
:pa.da.an+{ tea.ja.a~v+
; na.E+ A.D a.a.tam,+ A:~tu+{
neuter nominative singular of adjective tejasvin.

tejasvin | mw 454c mfn. brilliant, splendid, bright, energetic.
Pan.ini: ba.hulM C*ndas+{ 5| 2| 122{ In the Veda the ax -vin is variously introduced
in the sense of matup (`belonging to this', èxisting in this').]
tejas | sharp (edge of a knife) point or top of ame or ray, glow, glare, splendour, brilliance,
light,
ptij |re
mw 446a to be or become sharp.
Dh.P. |
a.ta.j+ Bva.a.a.d:ga.N+ Aa.tmanea.pa.d sea.f,|
ana.Za.ane+|
nisana | mw 561a n. sharpening, whetting observing, perceiving.
Comment: Tejas is a name given to the subtle element of re, having qualities of heat and light.
With reference to our study of Sanskrit, this may be understood as the heat that burns o the
dross of ignorance and allows the light of understanding to shine through.
na.E+| genitive dual of personal pronoun Ì', giving the meaning òf us both (student and teacher)',
or simply òur',
A.D a.a.tam,+| neuter nominative singular of adhtam. (The past passive participle used in the sense
of an abstract noun.)
adhtap|mw 22c mfn. attained, studied, read well-read, learned.
adhi- i, to turn the mind towards, observe, understand.
adhi
prex expressing above, over and above, besides.
pi ||tomwgo,20b
walk to ow to blow to advance, spread, get about to go to or towards, come
. . . to succeed, to arrive at, reach, obtain . . . to undertake anything to be employed in,
go on with, continue in any condition or relation . . .
Dh.P. | Ik, Ada.a.d:ga.N+ Aa.tmanea.pa.d A
ana.f,| sma=*Ne+|
smaran.a | mw 1272b n. the act of causing to remember, reminding, calling to mind.
Dh.P. | Iz, Ada.a.d:ga.N+ :pa=smEa.pa.d A
ana.f,| A.Dyayane+|
adhyayana | mw 22c n. reading, studying, especially the Veda s.
Dh.P. | Iz, Ada.a.d:ga.N+ :pa=smEa.pa.d A
ana.f,| ga.ta.E+|
gati | mw 347c f. going, moving, gait, deportment, motion in general.
p
A:~tu+| rst person singular imperative of as (to be), i.e. `let it be', `may it be', or simply `be!'
pas | mw 117a to be, live, exist, be present, take place, happen.
Dh.P. | A:s+ Ada.a.d:ga.N+ :pa=smEa.pa.d sea.f,| Bua.a.v+|
bhu | mw 760c f. the act of arising or becoming.
Treating adhtam as a neuter noun and tejasvi its complement, this gives a rather plodding
translation of `Let our study be bright'. Using poetic licence to convey the sense of the whole,
rather than the literal word-by-word translation, we have:
tea.ja.a~v+|
;
\May the Light Shine upon our Studies."

y
The light of understanding/knowledge/truth.
Lesson 1.A
Sanskrit is written in devanagar script. The word devanagar means the `city
(nagar) of immortals (deva)'. There are no capital letters. In Sanskrit, each letter
represents one, and only one, sound. In English, the letter à' for example, may
indicate many sounds (e.g. fat, fate, fare, far), but not so in Sanskrit.
The alphabet is systematically arranged according to the structure of the mouth.
It is essential to use the correct mouth position and not to merely imitate an
approximation of the sound. Without this, the development of the alphabet and
the euphonic combinations that occur in continuous speech, will not be understood.
There are two fundamental divisions to the alphabet: the vowel (svara) and the
consonant (vya~njana). The word svara literally means sound, tone, accent and
vya~njana an adornment or decoration (to the sound), manifesting (as a stop in the
sound).
1.A.1 Vowel Measures

Vowels can be short (hrasva) or long (drgha) or prolonged (pluta). The short
vowels are held for one measure (matra), the long vowels for two measures, and the
prolonged for three or more measures.
This system of enumeration (one, two, many, where many means more than two)
manifests throughout the grammar, and indeed throughout the systems of thought
expressed in Sanskrit, for it reects the natural evolution of creation.
The prolonged measure occurs in Vedic Sanskrit but is rare in Classical Sanskrit the
prolonged measure (as a full breath) is useful in practising the vowels. The prolonged
measure in both transliterated Roman script and devanagar is indicated by the
short vowel followed by the numeral 3. (You may also see it as the long vowel
followed by 3.)
1.A.2 Sanskrit Pronunciation

The pronunciation of Sanskrit is very simple: you open the mouth wide and move
the tongue and lips as necessary: the tongue and lips are almost pure muscle and
have little inertia or resistance to movement. By contrast, the pronunciation of
English requires much eort, for we barely open the mouth (which means that all
sounds are indistinct or blurred), and then instead of simply moving the tongue
we move the whole jaw | and what a great weight that is to move about. Having
become well practised in speaking with a moving jaw, it does require some attention
to break that habit and speak with a moving tongue.
The biggest single factor in practising the re ned sounds of Sanskrit, is to open
the mouth! For English, the mouth opens to a mere slit of about 6-mm (a pencil
thickness) for Sanskrit this needs to increase fourfold | literally! Try this out for
yourself: with the mouth opened to a slit, sound a prolonged a3 and slowly open
the mouth wide and listen to the change in the quality, to the richness and fulness
that emerges. The mouth needs to open a lot more than you think | so don't
think! | use a measure, like two ngers.
1.A.3 The Three Primary Vowels: a i u

The sounding of a3 is simplicity itself: with body and mind relaxed but alert, open
the throat and mouth wide, and with tongue relaxed, breathe out and simply desire
that the vocal cords vibrate. What could be more natural than that?
This sound is central to all the vowel sounds indeed, the whole alphabet is simply
an embellishment of this sound.
As a very rough guide, the short a sounds similar to the vowel in `but' and de nitely
not `bat' likewise the long a is similar to the vowel in `harm' and not `ham'. In
producing the short a there is a slight tensioning in the throat that tension should
not be there for the long a or the prolonged a3. In spite of this dierence between
a and a, they are treated as though the same in the rules of sandhi (euphonic
combination) of the grammar.
To sound i3, open the mouth as for a3 and raise the back of the tongue (the tip
should be relaxed behind the bottom front teeth). In producing this sound it will
be noticed that there is a slight constriction or tensioning in the throat as compared
with the relaxed throat when sounding a3.
To sound u3, allow the lips to form a small circular opening of the mouth (so that
the moistened back of a pencil just slips in and out, lling the opening) there should
be no tension in the lips or face muscles, so pout rather than purse the lips. There
will be a similar tension in the throat as for i3.
The short i sounds similar to the vowel in `pink' and not `pin', and the long like
`peep' or `seat' the short u is similar to the vowel in `put' or `soot', and the long u
like `boot' or `suit'.
Lesson 1.A
1.A.4 The Other Simple Vowels: r. l.
To get to the correct pronunciation of r. 3, begin by sounding a prolonged i3 and

slowly raise the tip of the tongue so that it pointing to the top of the head,
approaching but not touching the roof of the mouth. Do not try to hold the back of
the tongue in the i3 position, nor try to move it out of that position: simply have
no concern with what is happening at the back of the tongue, just attend to the tip
of the tongue and listen. Repeat the exercise a few times until comfortable with the
sound of r. 3, then practise directly sounding r. 3 for a full breath.
Similarly for l.3, start sounding with a prolonged i3 and slowly raise the tip of
the tongue to behind the upper front teeth without touching them. Continue the
exercise as for .r3.
These vowels appear to have vanished from popular speech, and the memory of how
to pronounce them has faded. The pan.d.it of today tends to pronounce r. as if it were
ri, and .r even more improbably as r similarly l. and l. tend to be pronounced as lri
and lr. This accounts for the transliteration scheme found in the dictionary. In fact
the vocalic r. is still present in Eastern European languages and you may come across
surnames like Przybylski it is also present in English in some pronunciations of the
word ìnteresting' as ìnt r sting' or ìntr.sting', or indeed in the American `pr.dy' for
`pretty'.
0
The long l. is not used in the standard grammar, and l. occurs only in one verb (kl.p,
to manage, to be well ordered or regulated).
In practice, when either of these vowels is followed by a consonant whose mouth
position requires that the tip of the tongue be at a lower position, a vestigial i will
emerge due to the bunching of the muscle at the back of the tongue when moving
the tip downwards, for example r. k tends to produce .r ik, but a word like Kr. s.n.a
should produce no i sound at all.
1.A.5 The Compound Vowels: e ai o au

a
u
i
r.
l.
Let's examine what we have so far. We began with a and

from this developed u and i to give the three primary
vowels, and then the i gave rise to r. and l. . These
ve basic vowels, each having its own unique mouth
position, de ne the ve mouth positions used for the
whole alphabet.
Further vowels are derived by combining the a sound with i and u to form the four
compound vowels (sandhyaks.ara).
e
a
The e sound arises when a is sounded through the i

mouth position. Remember that a has a relaxed throat
and tongue, while i has the back of the tongue raised and
the throat tense: so relaxing the throat while retaining
the back of the tongue raised will produce e.
The vowel e sounds similar to that in `fair' or èight'.
ai
a
The ai sound arises when e is further combined with a

as it were. Now the only dierence between e and a is
the raised back of the tongue, so to move from e towards
the a sound, we need to drop the back of the tongue to
a position half way between that used for i and e and
the relaxed position used for a.
The ai sounds similar to the vowel in àisle' or `pie' there should be no glide or slide
in the sound from a to i.
o
a
In a manner similar to the arising of e, when a is sounded

through the u mouth position, i.e. with the lips in the
position for u but the throat relaxed for sounding a, the
sound o naturally arises.
The vowel o should sound between àwe' and òwe' (or between the vowel sounds in
`corn' and `cone') the ideal is that point where the sound could be taken as either
of the two English sounds.
au
a
And nally, the au sound arises when a is combined

with o, so that the position of the lips is roughly half
way between that used for u and a, and the throat is
relaxed.
The au sounds similar to the vowel in `down' or `hound' but without the glide from
a to u.
Lesson 1.A
1.A.6 Summary of All Vowels

au
ai
a
u
e
i
Combining the previous ve sketches illustrates the

central role played by the a sound.
Note that all these vowel sounds may be sounded
continuously for a full breath: there is no glide from
one sound to another. Also note that the four sounds
e ai o au, being an addition of two sounds as it were,
are naturally long (drgha) and may also be prolonged
(pluta), but have no short measure.
r.
l.
Vowel
Throat
Tongue
Lips
Eng. Approx.
a
a
tense
relaxed
wide open
but, not bat
relaxed
relaxed
wide open
harm, not ham
tense
raised back
wide open
pink / peep
relaxed
raised back
wide open
fair or eight
relaxed
half-raised back
wide open
aisle or `pie'
tense
relaxed
small circle
put / boot
relaxed
relaxed
small circle
between owe awe
relaxed
relaxed
large circle
down or hound
r.
tense
half-raised back,
tip vertical
wide open
(acre)
l.
tense
half-raised back,
tip upper teeth
wide open
(table)
i/
e
ai
u/u
o
au
The English approximations are only a very rough guide, especially considering
the wide variety of accents around the world. Rather follow the instructions given
earlier, or oral guidance given in person.
1.A.7 The Sixteen sakti: am. ah.
To these fourteen vowels are added the anusvara and visarga to form what are
called the sixteen matr. ka or sakti (powers or energies). The anusvara (m.) is
an àfter sound', a nasal sound following a vowel. It is sounded through the nose
only, and should be independent of mouth position. Later on we shall consider
how it may be substituted by a nasal consonant depending on the following letter.
The visarga (h.), or visarjanya, is an unvoiced breath following a vowel, and is
breathed through the mouth position of that vowel. Some traditions append an echo
of the vowel after the breath, so that ah. may be sounded as ah.a, etc.
Strictly speaking, the anusvara and visarga are not part of the alphabet inasmuch
as they arise only through the rules of sandhi (euphonic combination). Since these
both arise after a vowel we shall precede them with a when sounding the sixteen
sakti, which form the start of the alphabetical order, i.e.:
a a i u u .r r. l. l. e ai o au am. ah.
In the transliteration scheme shown above, the lines and dots, called `diacritical
marks', are used because the Sanskrit alphabet has more letters than the English
alphabet. Diacritics are combined with Roman letters to represent new sounds, for
example the macron (horizontal bar above the letter) is used to indicate the long
(drgha) version of the vowel.
1.A.8 Practising the Alphabet

One way of memorizing the script is by writing it: look at the form of the letter,
sound it, and then write it. In this exercise it is important to associate the sound
with the form. When you write the letter, write the whole letter without referring
back to the original. If, half way through, you forget how to continue the letter, then
start again: and do not continue with that half-completed letter. Remember that
the exercise is not simply to copy the original form, but to associate a sound with
a whole form, so do not practise half letters. When the shape has become familiar
then time can be spent re ning the proportions of the letter.
Another method of practising the alphabet is to use ash cards with the devanagar
letter on one side and the transliterated Roman letter on the other (in case you forget
you can turn over). These cards can also be used in the other direction: from the
transliterated Roman letter, see if you can visualize the devanagar form. In fact,
there needs to be a three way association, namely between both the written forms
and the sound, so that any one of these associates with the other two.
Lesson 1.A
The ideal way of becoming familiar with these sounds and letters is to spend 15{20
minutes each day on the written exercise, and one minute at a time 15{20 times
throughout the day with the ash cards.
22
2.5mm
Pens with nibs pre-ground to the correct angle are not generally
available, so start with an inexpensive calligraphy fountain pen
(Schaeer, Platignum, etc.) and le the end of the nib to 22 as
shown. File across the nib (in the sketch, into the paper) and
nally remove the sharp edges by `writing' on 1000-grit water
paper on a rm at surface.
You will nd that a broad nib ( 2.5mm) is best for practising
the forms of the letters, and a much narrower nib ( 0.6mm) for
normal writing. As a very rough guide the nib width should be
1
8 of the overall height of the A character, and the thickness of
the nib about 16 of the width.
Here are the rst six devanagar characters to practise. They are the short (hrasva)
and long (drgha) measures of the three primary vowels.
The transliteration of the rst row is a a, the second i , and the third u u.
A A+
I
o
IR
Lesson 1.B
Note: Until you are familiar with the pronunciation of the consonants (given in
the next lesson), do not attempt to pronounce the Sanskrit words included in the
text: this will save the unnecessary labour of unlearning the incorrect pronunciation.
1.B.1 The Concept of Dhatu

A dhatu is a rudimentary verbal element from which words are derived: it is the
nucleus to which other word fragments are added to form a whole word.
Consider the English verb `to stand'. Pre xes may be added to this to form
further verbs, such as `misunderstand', or suxes may be added to form nouns and
adjectives, such as `standard' indeed, a host of words may be derived from `stand',
such as constant, constitution, stagnant, instant, static, estate, extant, ecstatic, etc.
But a dhatu or root is even more fundamental than a verb. The dhatu itself is
not found in general speech or writing, and may be likened to the universal idea of
a verbal activity, which diverges into many speci c meanings, each of which is an
aspect of that common universal idea.
To appreciate how `stand' changes to `state' for example, it would be necessary to
study its etymological derivation from the Latin, and ultimately from its Proto-IndoEuropean (pie) root sta, meaning `to stand, stand fast'. From this pie root sta
are derived other simple English verbs, such as stay, stow, stack, stem, stammer.
The situation is a lot simpler in Sanskrit, for these fundamental roots are included
in the language itself, and its grammar fully describes the development of words
from the dhatu to its fully inected form as found in sentences.
The pie root sta is allied to the Sanskrit dhatu stha, which has the sense of
`cessation or absence of movement', and thus the simple verb derived from the
dhatu stha may be translated as `to stand'. Monier-Williams' dictionary gives
several dozen English words that may be used in translating the verb: to stand,
stay, remain, continue, be intent upon, make a practice of, keep on, persevere,
endure, last, adhere to, stand still, stay quiet, remain stationary, stop, halt, wait,
tarry, linger, hesitate, rely on, con de in, desist, be left alone, etc. | all these express
some sense of `cessation or absence of movement', which is the sense of the meaning
of the dhatu stha given in the Dhatu-Pat.ha (lit. `recitation of roots'), which is
a list of roots (about 2000 of them) giving grammatical information about their
inection, together with a concise sense of their universal meaning.
Lesson 1.B
1.B.2 Introduction to Verbs
A dhatu (indicated with a surd or root symbol ` ' before it) develops to form a
stem (anga
_ ), and to the stem is added a personal ending (tin-vibhakti
_
) to form a
complete verb (kriya). For example:
dhatu (root) p stha sense of `cessation or absence of movement'

anga
_
(stem) tis.t.ha to stand
kriya (verb) tis.t.hati he/she/it stands
As in English, there are three persons (purus.a): the rst person (prathamapurus.a), middle person (madhyama-purus.a), last person (uttama-purus.a).
The word uttama derives from ud- (up) and -tama (superlative sux) to mean
best, uppermost, or highest, so that uttama-purus.a can also mean Supreme Spirit
however, in a series of place or time or order, as we have here, it means `last'. In
Sanskrit the personal ending of the verb changes according to purus.a, to give the
singular (eka-vacana) forms:
prathama-purus.a
madhyama-purus.a
uttama-purus.a
tis.t.hati
tis.t.hasi
tis.t.hami
he/she/it stands
you stand
I stand
Note that the order is the reverse of that used in English.

In forming the stem (anga
_ ), the dhatu
does not necessarily undergo as great a
p
p
change as with stha, for example vad remains clearly recognizable in the form
vadati `he/she/it speaks'.
Some words, such as adverbs and conjunctions, do not have endings these are called
indeclinables (avyaya). An example of this is ca (ànd') which is placed after the
last word of the series it links (or after each word in the series).
With this limited vocabulary, simple sentences may be constructed:
vadami
I speak or I am speaking.
tis.t.hati vadami ca He stands and I speak.
tis.t.hasi vadasi ca You stand and you speak, or You stand and speak.
10
1.B.3 Exercises
A wealth of information is presented in these notes, but it is not at all necessary
to learn all this or the Sanskrit technical terms: indeed, it is preferable not to
learn them. The practical way to become familiar with the basics of Sanskrit is
through practice: all the theory that is provided is simply so that the practice may
be intelligent, and lead to understanding.
With this aim in mind, at the end of each lesson a few simple exercises are presented.
(a) Practise sounding the sixteen mat.rka in their correct order, and writing them
in Roman script.
(b) Practise writing and recognizing the rst six vowels in devanagar.
(c) Look up the verb `stand' in a good English dictionary and observe its wide
range of meanings.
(d) Translate the following sentences into English:
1. tis.t.hasi vadami ca
4. tis.t.hami vadati ca
2. tis.t.hati vadasi ca
5. vadasi tis.t.hami ca
2. You stand and he speaks
5. I stand and he speaks
3. You speak and I stand
6. I speak and you stand
3. vadami tis.t.hasi ca
6. tis.t.hami vadami ca
(e) Translate the following sentences into Sanskrit:
1. He stands and I speak
4. You speak and he stands
1.B.4 Flash Cards

The next sheet has the ash cards for the rst six vowels. Cut these out and start
using them. Flash cards for the rest of the alphabet will be provided at appropriate
places in the course. It would be useful to keep the ash cards in a box (for example
a cigarette box): there will be a total of forty-nine cards for the alphabet, and a
further ten for the numerals.
Lesson 1.B
11
IR
A A+ I
o
in
case you
do not have access
to a double-sided printer,
please glue this sheet to the
next before cutting, making
use of the registration
marks bottom and
top of each
page.
12
u u
a
a
+
Lesson 2.A
The mouth positions (sthana) used by the vowels (svara) are also used by the
consonants (vya~njana). Within these ve mouth positions the consonants are
further classi ed according to inner (abhyantara-) and outer (bahya-) methods of
articulation or eort (prayatna).
Like the vowels, there are more consonants in Sanskrit than in English, and thus
diacritical marks are used with the Roman consonants to represent further sounds.
2.A.1 The Five Mouth Positions

The ve mouth positions are considered from within the oral cavity itself. The
back of the mouth as it narrows to form the throat, is called the guttural position
(kan.t.hya): this is associated with the vowel a. Moving towards the front of the
mouth, next is the palatal position (talavya) used by the vowel i this is followed
by the cerebral position (murdhanya) used by .r, and the teeth (dantya) used by
l., and nally the two lips (os.t.hya) used by u. The compound vowels make use of
two mouth positions: e and ai use both guttural and palatal (kan.t.hatalavya), and
o and au use guttural and labial (kan.t.hos.t.hya).
kan.t.hya talavya murdhanya dantya os.t.hya

guttural
palatal
cerebral
dental
labial
.r
l.
2.A.2 The Twenty-Five Stops: ka to ma

The rst twenty- ve consonants are calls stops (sparsa) because the complete
contact (sp.rs.t.a) in the mouth fully stops the breath (and hence the sound) through
the mouth. These are arranged in ve sets (varga) according to mouth position
and named after the rst letter in the group, for example the ve in the guttural
column (ka-varga) are stops at the back of the mouth, and the labials (pa-varga)
are stops at the lips.
The a is added for the sake of pronunciation only: being stops, they need a sound
(i.e. a vowel) to stop (or start). The same principle is used in English, for example
the consonants `b-c-d' are pronounced `bee-cee-dee'. In fact, the word `consonant'
itself is derived from the the Latin cum (together with) and sonare (to sound).
14

guttural
palatal
cerebral
dental
labial
ka
kha
ga
gha
na
_
ca
cha
ja
jha
n~a
t.a
t.ha
d.a
d.ha
n.a
ta
tha
da
dha
na
pa
pha
ba
bha
ma
The table is also arranged horizontally by rows: the rst, for example, comprises
ka, ca, t.a, ta, and pa.
The rst, third and fth rows are pronounced with little breath (alpapran.a), and
the second and fourth rows with much breath (mahapran.a).
The last three rows are voiced (ghos.a), i.e. the vocal cords vibrate in producing the
consonant, whereas the rst two rows are unvoiced (aghos.a).
The consonants in the fth row are nasalized (anunasika), the others not.
In terms of alphabetical order, these follow after the sixteen matr. ka in order from
ka-varga through pa-varga, i.e.:
. . . am. ah. ka kha ga gha na
_ ca cha . . . pa pha ba bha ma . . .
2.A.3 Pronunciation of the Stops

While the previous section (2.A.2) describes the sounds authoritatively, the following
notes may assist with rst-time pronunciation.
The unvoiced (aghos.a) stops have an explosive quality to them, whereas the voiced
(ghos.a) stops have a gentler quality to them as though releasing the stop more
slowly: this can be observed by listening to the dierence between ka and ga when
`sounded' without the following a.
The nasal (anunasika) consonants continue to sound through the nose when the
breath through the mouth has been stopped by the tongue or lips.
The aspiration (pran.a) gives the native English speaker the most problems. In
English there is a tendency to pronounce some consonants slightly aspirated before
Lesson 2.A
15
a long vowel, and this may be used to illustrate the dierence between for example,
pa and pha: attend to the `p' breath when pronouncing the two English words
`pick' and `peek' | hold the nger tips close to the mouth to feel the dierence.
This dierence needs to be greatly increased to distinguish between the alpapran.a
and mahapran.a consonants, but the common error is to use so much breath that a
vestigial vowel is inserted, particularly for the ghos.a consonants for example, bha
can be incorrectly pronounced as `baha'.
Because English pronunciation is acquired by imitating indistinct sounds which are
not precisely described, problems occur with the centre three mouth positions. One
eect is that `d' and `t' are pronounced somewhere between the dental (dantya) and
cerebral (murdhanya) positions another eect is that many speakers do not use
the palatal (talavya) position for the stops, so that ca is pronounced as `tsha', and
ja as `dza'. It may help to consider the palatal stops as a modi cation or softening
of the gutturals so that ca is a softer ka, ja a softer ga, and so on.
Some English consonants are similar to those in Sanskrit, and may be used to give
a very rough guide to the Sanskrit pronunciation, however, as mentioned earlier,
English does not distinguish between dental (dantya) and cerebral (murdhanya).
k | kiss, kiln, back

kh | bunkhouse (`bung-khouse')
g | good, give, bug
gh | loghouse (`log-ghouse')
n_ | sing, long, tongue
t./t | tub, tap, cart

t.h/th | anthill (àn-thill')
d./d | day, dog, god
d.h/dh | redhead (`red-dhead')
n./n | gentle, hand, gain
c | cello, chair, church

ch | coach-horse (`coa-chhorse')
j | just, jolly, joy
jh | hedgehog (`hej-jhog')
n~ | enjoy, canyon, pinch
p | pick, pat, tap

ph | uphill (ùp-phill')
b | be, cab, imbibe
bh | clubhouse (`club-bhouse')
m | amble, mumble
When in doubt, the previous section has the authoritative description.

There is a tradition that pronounces pha as `fa', i.e. makes use of both the teeth and
lips (dantos.t.hya): the rules of sound and grammar will be easier to understand if
pronounced purely with the lips (os.t.hya).
16
2.A.4 Devanagar Alphabet

The previous lesson gave the rst six devanagar characters, here are all sixteen
letters of the matr. ka to practise. The Roman transliteration of the four rows is:
a a i

u u r.
r.
l. l. e ai
o au am. ah.
A A+ I IR
o
O Oe
Ae+ AE+ AM AH
Lesson 2.B
2.B.1 More on Verbs
As well as the division into purus.a (person), the verbs are divided into number
(vacana): in English there is singular and plural, while in Sanskrit there is singular
(eka-vacana), dual (dvi-vacana), and plural (bahu-vacana).
The personal endings are used to indicate both person and number, for example:
eka-vacana
prathama- tis.t.hati
purus.a he/she/it stands
dvi-vacana
bahu-vacana
tis.t.hatah.
tis.t.hanti
they (two) stand
madhyama- tis.t.hasi
tis.t.hathah.
purus.a you (sing.) stand you (two) stand
uttama- tis.t.hami
purus.a I stand
tis.t.havah.
we (two) stand
they (pl.) stand
tis.t.hatha
you (pl.) stand
tis.t.hamah.
we (pl.) stand
Note that when the subject is dual, the dual form of the verb must be used.
A dhatu belongs to one of ten classes (gan.a) this classi cation is according to
variations in the formation of the stem (anga
_ ) from the dhatu. The verbs used to
form simple sentences in this section are all from the rst class (bhvadi-gan.a).
As in English, a verb may express time (past, present, future tense) and mood
(indicative, imperative, benedictive, conditional, etc.): English makes extensive use
of auxiliaries (might, ought, should, had, etc.) to express these, whereas in Sanskrit
these are all included in the form of the verb itself. There are ten tense/mood
classi cations in Sanskrit: these are called lakara or l-axes because their technical
names all begin with the letter l. The conjugations given here are all in the present
indicative (simple present tense) called lat..
18
2.B.2 Exercises
(a) Practise sounding the sixteen matr. ka in their correct order.
(b) Practise reading and writing the sixteen mat.rka in Roman script and
devanagar.
(c) Translate the following sentences into English:
1. tis.t.hanti vadatah. ca
2. tis.t.hathah. vadavah. ca
3. vadamah. tis.t.hatah. ca
4. tis.t.hasi vadathah. ca
5. tis.t.hatha vadathah. ca
6. vadatah. tis.t.hamah. ca
7. tis.t.hati vadanti ca
8. tis.t.hasi vadavah. ca
(d) Translate the following sentences into Sanskrit:
1. We (two) stand and you (pl.) speak
2. You (two) speak and they (pl.) stand
3. You (two) stand and speak
4. They (pl.) stand and I speak
5. He stands and you (pl.) speak
6. They (two) speak and he stands
7. We (pl.) stand and you (two) speak
8. You (pl.) speak and you (sing.) stand
Oe Ae+ AE+ AM AH
O
Lesson 2.B
19
20
ah. am. au o ai
.l
.l
.r
.r
+
Lesson 3.A
The sound or letter ka is called kakara (`ka-action') the sound or letter ga is called
gakara, and so on. This applies to all the sounds/letters, including the vowels
(e.g. akara), except for ra which is traditionally called repha (`snarl' or `burr') or
simply ra, but not rakara. The anusvara and visarga (or visarjanya), which
only arise through the rules of sandhi (euphonic combination) and are thus not
strictly part of the alphabet, are always referred to by their own name and have no
-kara name.
We shall now consider the nal eight consonants (vya~njana).
3.A.1 The Four Semi-Vowels: ya ra la va

A semivowel (antah.stha) arises when one of the basic vowels moves to the a sound:
i moving to a gives rise to the sound ya, similarly, r. moving to a produces ra,
l. to a produces la, and u to a produces va. As a moving to a will not produce
a new sound, there are only four semivowels. These are considered to be between
vowels and consonants, and so are called antah.stha (`stand between'), and are
naturally voiced (ghos.a). They are formed by slight contact (s.atsp.rs.t.a), and thus
allow a restricted ow of air through the mouth.
kan.t.hya talava murdhanya dantya os.t.hya

guttural
palatal
cerebral
dental
labial
ya
ra
la
va
The rst three of these, ya ra and la, are similar to the English sounds in `yum',
`rum', and `luck', but do pay attention to the mouth position. The derivation of
the last semivowel (antah.stha), although transliterated as va, produces a sound
akin to the English `wa': this latter pronunciation accords with the grammatical
tradition and makes the rules of sandhi (euphonic combination) easier to grasp.
Other traditions pronounce this as the English `va', in which case its mouth position,
making use of both teeth and lips is called dantos.t.ya.
In the alphabetical order, these follow after the twenty- ve stops, i.e. :
. . . pa pha ba bha ma ya ra la va
...
22
3.A.2 The Three Sibilants: sa s.a sa
A sibilant (hissing sound) is called us.man (`heated'). They are considered to

be s.advivr. ta (slightly open) or ardhaspr. s.t.a (half-contact), which allows a
restricted (hissing) ow of breath through the mouth. The sibilants are aspirated
(mahapran.a) and unvoiced (aghos.a).

guttural
palatal
cerebral
dental
labial
sa
s.a
sa
The sa sounds like the sibilant in the English words `seek' and `kiss', s.a like the
`sh' in `ship' or `wish', and sa like the sibilant in the German ìch'. These sound
analogies are given as a very rough guide: the description given above, and the
mouth position in particular, are to be taken as authoritative.
In theory, there are two more sibilants, called the jihvamulya and upadhmanya,
which are described as a `half-visarga' before ka/kha and pa/pha respectively.
These are so very rare that for all practical purposes they can be ignored.
In the alphabetical order these follow the semivowels, i.e. :
. . . ya ra la va
sa s.a sa . . .
3.A.3 The Final Consonant: ha

This aspirate (sometimes considered a sibilant) is also called us.man (`heated'),
with similar qualities. It is generally pronounced as unvoiced (aghos.a), however,
according to the grammatical tradition it is voiced (ghos.a).
In the alphabetical order this follows the sibilants and is the last letter of the
alphabet:
. . . sa s.a sa ha.
Lesson 3.A
23
3.A.4 Summary of the Consonants

The de nitive qualities of the consonants are given in tabular form:
kan.t.hyatalavyamurdhanyadantyaos.t.hya
guttural palatal cerebral dental labial
ka
kha
ga
gha
na
_
ha
ca
cha
ja
jha
n~a
ya
sa
t.a
t.ha
d.a
d.ha
n.a
ra
s.a
Qualities
ta pa unvoicedunaspirated full contact

tha pha unvoiced aspirated full contact
da ba voiced unaspirated full contact
dha bha voiced aspirated full contact
na ma voiced unaspirated full contact nasal
la va voiced unaspiratedslight contact
sa
unvoiced aspirated slightly open
voiced aspirated slightly open
3.A.5 The Alphabetical Order

Having now considered the whole alphabet in sound and Roman transliteration, it
would be useful to start becoming familiar with the alphabetical order. The order
is best memorized in groups as shown below:
a a i u u r. r. l. l. e ai o au am. ah.
ka kha ga gha na
_
ca cha ja jha n~a
t.a t.ha d.a d.ha n.a
ta tha da dha na
pa pha ba bha ma
ya ra la va
sa s.a sa
ha
24

Here are the rst ten consonants in devanagar script. Each symbol includes the
sound a for example, the rst symbol is ka and not just k. Note the similarity
between the forms of i and jha.
The transliteration of the two rows of devanagar characters is:
ka kha ga gha na
_
ca cha ja jha n~a
k K+ g+ .G+ z
c+ C j+ J V+
The loop on the kha and ga is written as follows:
e write the down-stroke with the curl at the end,

f then change direction to start the loop,
g complete the loop, and for kha, continue the stroke,
h this portion of the symbol is written without lifting the pen!
Lesson 3.B
3.B.1 More on Verbs
The personal endings of verbs given thus far are called parasmai-pada (àn
expression for another') because the fruit, or result of the action, is transmitted to
another. These are the normal endings for an active transitive verb. The atmanepada (àn expression for oneself') personal endings used in the active form of the
verb (called the middle voice) imply an action whose fruit reverts to oneself: this
does not mean reexive. By way of illustration, the sentence \I married her" would
be expressed in atmane-pada or parasmai-pada when spoken by the husband or
priest respectively.
Some verbs are conjugated in one pada only, some in both, and some partly in one
and partly in another. The division is not at all de nite, and has come to be a matter
of conventional usage nevertheless many verbs do retain the formal distinction
between parasmai-pada (active voice) and atmane-pada (middle voice).
parasmai-pada
ekadvivacana vacana
bahuvacana
atmane-pada
ekadvivacana vacana
bahuvacana
prathama- nayati nayatah nayanti nayate nayete nayante

.
purus.a
madhyama- nayasi nayathah nayatha nayase nayethe nayadhve
.
purus.a
uttamanayami nayavah. nayamah. naye nayavahe nayamahe
purus.a
These are the only two forms of personal endings to verbs that will be used in this
course. When verbs are presented for use in the exercises, they will be presented in
the form:
p n nayate he leads.
where the dhatu is followed by the eka-vacana prathama-purus.a form, and the
English translation of that form.
Many of the verbs in this course may be conjugated in either pada, but within the
limits of the simple sentences in the exercises, please use the pada given: in the
case of dhatu n for example, use the atmane-pada endings.
26
3.B.2 Introduction to Nouns

A noun, like the verb, has its ultimate origin in a dhatu (root) axes to the dhatu
form the noun-stem (pratipadika) which will have a particular grammatical gender
(linga
_ ): masculine (pum.-linga
_ ), feminine (str-linga
_ ), and neuter (napum.sakalinga
_ ). To the pratipadika form are added case-endings (sup-vibhakti) which
indicate the relationship of the noun to the verb.
There are seven such grammatical relationships and, like the verb, each of these has
a singular (eka-vacana), dual (dvi-vacana), and plural (bahu-vacana) form. The
rst (prathama) of these is the nominative or naming case, and usually names the
subject of a simple sentence or the agent (initiator or instigator of the action) of the
verb the second (dvitya) case ending generally indicates the immediate destination
of the action expressed by the verb, i.e. the direct object of the sentence.
The word nara (the pratipadika form, as listed in Monier-Williams' dictionary)
means `man', and with its sup-vibhakti endings appears as:
eka-vacana dvi-vacana bahu-vacana

prathama
narah.
narau
narah.
dvitya
naram
narau
naran
Other nouns that take this form of declension are asva `horse', and vr. ks.a `tree'.
Where `tis.t.hanti' is translated as `they (pl.) stand', the pronoun `they' is implied
in the verb and it is not necessary to add an explicit Sanskrit pronoun. When the
subject of the sentence is explicitly stated, for example `the men (pl.) stand', then
the implied pronoun falls away, and this is translated as `narah. tis.t.hanti'.
For verbs having a sense of motion (such as go, walk, run), the destination is
expressed in dvitya. There are some verbs (such as n) which have both a direct
object and a destination, in which case both are expressed in dvitya.
narah. asvam v.rks.am nayate
the man leads the horse to the tree.

Since the noun endings de ne the relationship to the verb, the word order is not
important (as contrasted with English where it is), and allows the poet for example,
to juggle the word order to t the rules of scansion. Normally however, the verb is
found at the end of the sentence, and the subject precedes the object and destination,
as in the above example.
Lesson 3.B
27
3.B.3 Exercises
(a) Practise sounding the alphabetical order as summarized in 3.A.5.
(b) Practise pronouncing the rst ten consonants (vya~njana), as well as reading
and writing them in Roman script and devanagar.
1. asvah. naram nayate
2. narah. asvau ca tis.t.hanti
3. asvau naram vr. ks.an nayete
4. asvah. tis.t.hati ca narah. vadati ca

5. narah. asvah. ca nayete
6. narau vr. ks.an nayamahe

1. The man leads the horse,
2. The (two) horses lead the man,
3. The men (pl.) are speaking and leading,
4. The horse leads the man to the tree,
5. The tree and the horse are standing,
6. The men (pl.) lead the horses (pl.).
28
This page is intentionally blank: there aren't many of them, so enjoy the rest while you can!
c+ C j+ J V+
k K+ g+ .G+ z
Lesson 3.B
29
30
n_ a gha ga kha ka
n~a jha ja cha ca

+
Lesson 4.A
Here are the next ten consonants in devanagar script. Each symbol includes the
sound a for example, the rst symbol is t.a and not just t. .
Note the dierences between d.a na
_ and i gha and dha and d.ha and da.
The transliteration of the two rows of devanagar characters is:
t.a t.ha d.a d.ha n.a

ta tha da dha na
f F q Q :N+
t+ T+ d .D+ n+
Note the form of the letters in relation to the 31 and 23 ruled lines. There may be
a tendency to limit letters such as :N+ and t+ to the halfway point: this is a carry
over from the Roman alphabet where it is appropriate, for example with `P' and `h'.
As we shall see later, in devanagar the top horizontal bar is extended to join the
letters in a word, and this gives a bias of `blackness' at the top of the letters: this is
visually compensated for by using the 31 and 23 lines to òpen' the form of the letter.
Lesson 4.B
4.B.1 Summary of Verbs
The tin-vibhakti
_
(personal endings of verbs) are grouped into three's, which means
that one vibhakti consists of the three vacana forms. Thus three vibhakti cover
one entire pada. It would be useful to practise sounding the full conjugation of
dhatu n, with a pause between each vibhakti and a longer pause between each
pada. Thus the pattern is:
nayati-nayatah.-nayanti (pause) nayasi-nayathah.-nayatha (pause) nayaminayavah.-nayamah. (longer pause) nayate-nayete-nayante (pause) nayasenayethe-nayadhve (pause) naye-nayavahe-nayamahe.
As with practising the alphabet, it is far more eective to sound this once, ten times
a day, than ten times once a day.
For your convenience a reference sheet with the full conjugation of dhatu n is given
below: this also has a list of all the verbs that will be used in the simple sentence
exercises.
parasmai-pada
ekadvivacana vacana
bahuvacana
atmane-pada
ekadvivacana vacana
bahuvacana
prathama- nayati nayatah nayanti nayate nayete nayante

.
purus.a
madhyama- nayasi nayathah nayatha nayase nayethe nayadhve
.
purus.a
uttamanayami nayavah. nayamah. naye nayavahe nayamahe
purus.a
p gam
p n
p labh
p vad
p vah
p stha
gacchati
nayate
labhate
vadati
vahati
tis.t.hati
he goes.
he leads.
he takes.
he speaks.
he carries.
he stands.
Lesson 4.B
33
4.B.2 More on Nouns Cases

The third (tr. tya) case ending indicates the ìnstrument' in relation to the verb:
it is that `by means of which' the action is accomplished. For example, `he goes
home by car', `he cuts the wood with an axe': note that here `with' has the sense
of `by means of', but in English it may also be used in the sense of accompaniment,
for example, `he goes home with an axe', but this does not convey the sense of
instrumentality.
The fourth (caturth) case ending indicates the indirect object, the recipient or
bene ciary or purpose of the action. For example, `he gives the food to the dog',
`he makes a kennel for the dog', `he works for money'.
The fth (pa~ncam) case ending indicates the place from which the action begins.
For example, `he walks from the river', `he falls from the tree'. It may also express
cause or motive: òut of anger he strikes the boy'.

prathama narah.
narau
narah.
dvitya
naram
narau
naran
tr. tya
naren.a? narabhyam naraih.
caturth
naraya
narabhyam narebhyah.
pa~ncam
narat
narabhyam narebhyah.
?
the generic ending is -ena, but this changes to -en.a due to internal sandhi. This
will be given more fully in a later lesson (11.A.3), but for the time being accept that
this change occurs after `r' or `s.' in the same word, thus asvena but v.rks.en.a.
34
4.B.3 Exercises
(b) Practise sounding the full conjugation of dhatu n as given in 4.B.1.
(c) Practise reading and writing the next ten consonants (vya~njana), in Roman
script and devanagar.
1. asvah. naram vr. ks.am vahati
2. narah. vr. ks.am asvena gacchati
3. vr. ks.an asvat labhadhve
4. asvah. vr. ks.am naraya vahati

5. narah. asvah. ca vr. ks.at gacchatah.
6. asvam vr. ks.at naraya nayate

1. He goes by horse,
2. You (two) are leading the horse for the man,
3. They (pl.) carry the trees (pl.) with horses,
4. We (pl.) go from the tree to the horses,
5. We (two) take the tree from the man by horse,
6. The horses (pl.) carry the man from the trees (pl.).
t+ T+ d .D+ n+
f F q Q :N+
Lesson 4.B
35
36
.na d.ha d.a t.ha t.a
na dha da tha ta
+
Lesson 5.A
Here is the rest of the alphabet in devanagar script. Each symbol includes the
sound a for example, the rst symbol is pa and not just p.
Note the dierences between ba and va ya and tha pa and s.a la and l. bha ma
and sa and kha with ra and va.
The transliteration of the three rows of devanagar characters is:
pa pha ba bha ma
ya ra la va
sa s.a sa ha
:p+ :P b+ B+ m+
y+ = l v+
.Z+ .S+ s+ .h
Lesson 5.B
5.B.1 More on Nouns Cases
Unlike the other case endings, the sixth (s.as.t.h) indicates a relationship to a word
other than the verb, i.e. to another noun in the sentence. This is usually rendered in
English by the preposition òf' or with an apostrophe, for example, `he talks to the
son of John', `he drives John's car'. In both these examples John has no relation to
the action of the verb: indeed John may be absent, even deceased. This case ending
generally indicates a relationship of source or possession, for example, `John's book'
may refer to the book that John purchased, or to the book that he wrote. The word
in s.as.t.h is usually placed immediately before the word to which it is related.
The seventh (saptam) case ending indicates the place or time where or when the
action takes place, and may be rendered in English by the prepositions ìn', òn',
àt', àmong', etc., for example, `he stands on the table', ìt is hot in summer'. A
word with saptam case ending is often the rst in the sentence, setting the scene
as it were.
Strictly speaking, Sanskrit has just seven case endings, however many publications
give an eighth, sambodhana, which is used for addressing or calling, for example,
Òh Lord, hear my prayers', `John, where are you?'. In fact this is simply a special
use of the prathama ( rst) case ending.
The strictly correct way of tabling the declension of nara is:
eka-vacana
prathama
narah.
sambodhana prathama he nara
dvitya
naram
tr. tya
naren.a
caturth
naraya
pa~ncam
narat
s.as.t.h
narasya
saptam
nare
dvi-vacana
narau
he narau
narau
narabhyam
narabhyam
narabhyam
narayoh.
narayoh.
bahu-vacana
narah.
he narah.
naran
naraih.
narebhyah.
narebhyah.
naran.am
nares.u
Lesson 5.B
39
The vocative particle `he' is traditionally sounded in the paradigm it is optional in

a sentence and may be translated as Òh'. Publications that list sambodhana as
an eighth case ending, place that row at the bottom of the table, labelling it simply
`sambodhana' and omit the vocative particle he.
The sandhi change of n to n. that occurs in eka-vacana tr. tya, also occurs in
bahu-vacana s.as.t.h, thus asvanam but vr. ks.an.am.
The vibhakti of the nouns are, like the verbs, grouped into three's, so that the
prathama vibhakti refers to the forms of all three vacana. In practising sounding
the full declension of the noun, use the `correct' table given above, i.e.:
narah. - narau - narah. (pause) he nara - he narau - he narah. (pause) naram narau - naran (pause) etc.
5.B.2 Exercises
(b) Practise sounding the full declension of nara as given in 5.B.1.
(c) Practise reading and writing the last thirteen consonants (vya~njana), in
Roman script and devanagar.
1. nara asve tis.t.hasi
2. naran.am asvah. tis.t.hanti
3. narah. vr. ks.am asvat labhate

4. v.rks.es.u narasya asvah. tis.t.hanti
5. asvau vr. ks.an naraya vahatah.
6. naram v.rks.at asvaih. labhate
7. asvah. naram vr. ks.at gacchati

8. asve tis.t.hati ca vadati ca
Continued overleaf . . .
40

1. He is standing on (two) horses,
2. The man and horse stand among the trees (pl.),
3. The trees (pl.) of the (two) men are standing,
4. The man's horse carries the man from the trees(pl.),
5. The (two) horses carry the man to the tree,
6. Oh horse, you are carrying the tree for the man,
7. He takes the man's horses (pl.) from the tree,
8. You (two) are carrying the man from the tree to the horse.
y+ = l v+ .Z+
:p+ :P b+ B+ m+
Lesson 5.B
41
42
ma bha ba pha pa
sa va la ra ya
+
43
:S+ s+ .h
Lesson 5.B
44
ha sa s.a
+
Lesson 6.A
The symbols for the consonants inherently include a following a vowel, for example
b+ (ba) is the symbol for the the consonant b together with a following short (hrasva)
a. Thus the word bala (strength) is written ba.l. Note that the characters are written
left to right, like the Roman, and that the horizontal line links the letters together.
6.A.1 Vowels after Consonants

The short vowel a ( A ) is never written unless it begins a word for example abala
(weakness) is written Aba.l. (The à-' pre x to a noun usually means negation,
rather like the English ùn-'.)
All the vowel forms given earlier, occur only at the beginning of a word. Where the
vowel following the consonant is other than a, this is indicated by an embellishment
on the consonant itself. The written form thus resembles the oral form, maintaining
the principle that a consonant can only be sounded together with a vowel. The
forms indicating the various following vowels are:
b+
ba
ba.+
ba
a.b+
bi
ba.+
b
bu+
bu
bU+
bu
bx+
br.
bX+
br.
bw+
bl.
bW+
bl.
be+
be
bE+
bai
ba.e+
bo
ba.E+
bau
These vowel signs are used with all consonants (ka through ha), but note these
exceptions:
ru
ru
.
hr.
46
Where the embellishment is above the letter itself (with or without the addition of
a following vertical bar), namely for i e o ai au, these should link to the character
where it joins the top horizontal bar, and where the character meets the bar more
than once, to the rightmost junction. For example:
ak
ki
:Ne+
n.e
These syllables are connected together to form words: they are literally connected
by the horizontal bar. For example:
devanagar
matr. ka
vadami
veda
gta
guru
.devana.aga= *+
ma.a.txak*:+
va.da. am+
vea.d
ga.a.ta.+
gua
6.A.2 History of Vowel Embellishment

It bothers some students that, in a script read from left to right, there should be
the seeming anomaly that ki ( ak ) for example, is written back to front as it were,
with the i-sign before the consonant.
Originally the embellishment for i after a consonant had no down stroke at all, so
that ki ke kai were written as:
ki i
ke j
kai k
However, as personality tends to intrude into handwriting, it could prove dicult

to distinguish between ki and ke, especially if the àg' was written somewhere
between the two positions.
To solve this problem, the downstroke was added for ki.
Whether this is true or not, is debatable, but it does make a nice story !
Lesson 6.B
6.B.1 Sentence Structure: English and Sanskrit
In English speech or writing, the order of words shows their connection or relationship to the whole sentence. For example, in the simple sentence,
desire limits the mind,
the information as to which is the limiter and which the limited, is given by the
position of the words in relation to the verb. This is an important point:
in a sentence, a word's physical position (in time or space),
reects its subtle position (the relationship or part that it plays).
Now, a word may be placed before or after the verb | but these are the only two
possibilities, before or after, and thus can indicate only two relationships, namely
subject and object. The subject comes before an active verb, and the object after
it. (The order is reversed for a passive verb, e.g. the mind is limited by desire.)
In order to show the relationship in a more complete sentence, such as,
desire limits the mind by attachment,
we make use of a phrase containing a preposition (in our example `by') to indicate
the relationship of the word àttachment' to the activity of limiting.
But notice the operation of the preposition | `pre-position' | it is an element which
is placed before (`pre-') to give `position' to the word, that is, to indicate its
relationship to the activity. Using prepositional phrases we can thus enlarge our
sentence, as for example,
in the waking state desire limits the mind from the universal to the particular by attachment.
Now we can split up this sentence into its core subject-verb-object, and a number
of related phrases:
in the waking state desire limits the mind from the universal to the particular by attachment .
48
We may now shue these components around in any order and still retain the
meaning: in doing so, we may well lose some clarity, or we may even sound poetic,
for example:
from the universal to the particular desire limits the mind in the waking state by attachment .
The problem with these prepositional phrases is that it is not at all clear whether
they are related to the the activity of the whole sentence (i.e. to the verb), or are
merely qualifying one of the nouns. For example, the intention was to indicate
that the mind suers limitation/restriction/reduction from its natural open state of
universality to the con ned state when identi ed with the particular, however, other
interpretations are possible: the phrases from the universal to the particular in the rst
of the two split up sentences may be construed as qualifying the word `mind' and
thus be understood as a range of separate minds `from gods to dogs' in the second
of these split up sentences these phrases could be viewed as qualifying the word
`desire' and mean a range of desires `from the general to the personal'.
The phrases can thus be re-arranged to produce all sorts of misunderstandings, so let
us be clear that the intended meaning of the other two phrases is that àttachment'
is the instrument/means/method by which the mind is limited, and that the `waking
state' is the circumstance where/when the limitation takes place.
In an inected language (one that uses case endings) the relationship to the verb is
shown by a sux appended to the word our sentence would thus become something
like:
waking state IN desire SUBJECT limits VERB mind OBJECT universal FROM particular TO attachment BY .
There are two points to note here: rstly, the subject and object also have endings
to show their relationship and secondly, the word endings indicate the relationship
to the verb by de nition. All the words in the sentence are quite independent of their
position (order or arrangement) which is one limitation in a non-inected language
like English but more importantly, the relationship to the verb is precisely de ned,
and thus minimizes the possibility of misunderstanding.
In Sanskrit there are seven case endings: the sixth indicates a relation to another
noun in the sentence, and the other case endings indicate the relationship to the
verb.
Lesson 6.B
49
It matters not whether we give these case endings names or numbers, provided that
the relationship is clearly de ned. Using the Sanskrit numerical system, our sentence
becomes:
waking state 7 desire 1 limits VERB mind 2 universal 5 particular 4 attachment 3 .
In fact Sanskrit uses both names and numbers for these relationships: it names the
relationships (subtle) when de ning them, and numbers the actual phonic sux
endings (physical), and then associates the two according to circumstance for
example, when a verb changes from active to passive:
desire 1 limits ACTIVE mind 2
(desire limits the mind)
mind 1 limits PASSIVE desire 3
(the mind is limited by desire).
The ax to the verb indicates tense, mood, person, and number, as well as voice.
In English, the words marked with `1' in these two sentences are both called the
subject of the sentence this accords with the Sanskrit prathama-vibhakti ( rst
case ending). However, in Sanskrit the agent (kart.r) is the initiator, having the
power to bring about the action: with an active verb the kartr. is expressed in
prathama, but with a passive verb kartr. is expressed by tr. tya similarly the
karman (that most directly aimed at by the kart.r) is expressed in dvitya and
prathama respectively. Thus kartr. and karman name the relationship, whereas
prathama (and English `subject') etc. merely indicate that relationship. Like the
vibhakti adorning a word, so the clothing of a stage actor indicates his role: the
crown is not the king, but is worn by the actor playing the role of king.
English is also sensitive to pauses between phrases, and these too can change the
relationship and the whole meaning of the sentence. For example:
Scripture says desire limits the mind,
Scripture, says desire, limits the mind.
The basic punctuation marks in English are the comma, semicolon, colon, and full
stop, which indicate pauses of increasing length.
A fully inected language like Sanskrit, being inherently clearer, has no need of
these embellishments Sanskrit uses only two punctuation marks, the virama (| )
and purn.avirama ({ ) to indicate respectively the halfway point and end of a stanza
of verse. In prose they are used to indicate the end of a sentence and the end of a
paragraph respectively.
50
6.B.2 Noun Gender

The nouns considered thus far are all masculine (pum.-linga
_ ) the paradigms below
are for the neuter (napum.saka-linga
_ ) noun phala `fruit', and the feminine (strlinga
_ ) noun bala `girl'.
eka-vacana
phalam
he phala
phalam
phalena
phalaya
phalat
phalasya
phale
dvi-vacana bahu-vacana
prathama
phale
phalani
sambodhana prathama
he phale
he phalani
dvitya
phale
phalani
tr. tya
phalabhyam phalaih.
caturth
phalabhyam phalebhyah.
pa~ncam
phalabhyam phalebhyah.
s.as.t.h
phalayoh.
phalanam
saptam
phalayoh.
phales.u
prathama
bala
bale
balah.
sambodhana prathama he bale
he bale
he balah.
dvitya
balam
bale
balah.
t.rtya
balaya
balabhyam balabhih.
caturth
balayai
balabhyam balabhyah.
pa~ncam
balayah.
balabhyam balabhyah.
s.as.t.h
balayah.
balayoh.
balanam
saptam
balayam balayoh.
balasu
Note that, due to internal sandhi, the napum.saka-linga
_ bahu-vacana forms of
prathama and dvitya will also change from -ani to -an.i if preceded by `r' or `s.'.
There is another sandhi rule applicable within a word, that applies here: the
saptam bahu-vacana ending -su changes to -s.u following any vowel except a
or a | thus -s.u is the most common form, but in the declension of bala it remains
as -su. This sandhi rule will be described more fully in a later lesson. (11.A.3).
nominative
vocative
accusative
instrumental
dative
ablative
genitive
locative
prathama
sambodhana
dvitya
tr. tya
caturth
pa~ncam
s.as.t.h
saptam
2.
3.
4.
5.
6.
7.
1.
Latinate
name
Sanskrit
case
By whom/what?
Whom? What?
Who? What?
Answers
question
the means by which action accomplished.
indicates immediate destination of action.
calling/addressing.
names the agent/subject of the verb.
Relation to Verb
genitive
When? Where?
place/time where/when action takes place.
Of whom? Whose? relation of source/possession/etc.

relation is not to verb.
From whom/what? place from which action begins

also cause/motive.
indirect object To/for whom/what? recipient, bene ciary, purpose of action.
direct object
subject
English
grammar
Lesson 6.B
51
6.B.3 Summary of Case Information
52
6.B.4 Exercises
(a) Practise reading and writing all the letters of the alphabet.
(b) Practise sounding the full declension of bala and phala.
1. bala asvam v.rks.am phalaya nayate
2. asvah. naram ca balam ca vr. ks.am vahati
3. narasya asvah. phalam balayah. labhate
4. narau vr. ks.an.am phalani asvam labhete

5. balah. naran phalani asvena nayante
6. bale vr. ks.es.u tis.t.hatah. vadatah. ca
7. v.rks.au gacchami ca phalani labhe

8. narah. phale vr. ks.at balayai vahati
9. bale phalani narasya v.rks.at labhete
10. bala narah. ca vr. ks.am asvam vahatah.

1. The man stands and the girl speaks.
2. You (two) lead the horse and I take the fruit.
3. The man and the girl go among the trees by horse.
4. We (two) take the man and the girl from the tree to the horse.
5. The man goes to the trees (pl.) by horse for fruit (pl.).
6. The girl takes the fruit (two) from the tree for the horses (pl.).
7. The horse carries the tree to the girl for the man.
8. The man leads the horse by means of fruit.
9. The horse carries the fruit (pl.) to the girls for the man.
10. The girls (two) stand on the horse and take the fruit (s.) from the tree.
Lesson 7.A
We have examined how to write a consonant that is followed by any vowel, now we
consider how to write a consonant that is followed by no vowel at all.
7.A.1 Halanta Consonants

The adjective halanta is derived from hal (a technical term referring to any
consonant), and anta (ènd'), so halanta means ènding in a consonant'. Thus the
letter pa for example, without its following a sound, namely p, is called `halanta
pa'. In the devanagar script this is written as a short stroke ( , ) called virama
(`stop'), below and to the right of the consonant. For example:
halanta pa :p,+
halanta ka k,
halanta t.a f,
This is the form used when a word ends in a consonant, however the virama should
(ideally) not be used within a word. Where a word uses a non- nal halanta letter,
for example the s in svara, it forms a consonant cluster, or conjunct consonant, and
a dierent method is used.
7.A.2 Conjunct Consonants

A conjunct consonant (sam.yoga, literally `yoked together') comprises two or more
consonants with nothing separating them in particular there is no vowel between
them.
At a rst glance through these sam.yoga, familiarity with them may seem like a
daunting task, but fortunately you don't have to learn them. It is the general
principles that are important: once you understand the principles, you can discard
the notes. Simply read through the general principles and use the illustrative
examples to understand the principle. Thereafter it is just a matter of applying
the principles, and you will nd that, in practice, it is a lot simpler than it looks.
The symbols may be written continuously in the usual order from left to right
with the rightmost vertical stroke dropped from all but the last letter:
t,+ + m+ tm+
tma
:N,+ + y+ :Ny+
n.ya
n,+ + t,+ + y+ nty+
ntya
54
Or they may be written one above the other, in which case they are read from
top to bottom:
m,+ + n+ +
mna
b,+ + v+ .
bva
:S,+ + f :
s.t.a
This arrangement can be useful where the rst letter has no vertical stroke on
the right:
.d, + g+ .
dga
f, + f
t.t.a
nka
_
z, + k
Left to right and vertical arrangements may appear in the same compound:
s,+ + n,+ + y+ +
snya
:S,+ + F, + y+ :+
s.t.hya
nkya
_
z, + k, + y+
Most symbols retain their familiar shape in compounds, but some are modi ed:
.d, + .d .
dda
.d, + D+
ddha
k, + m+
kma
When symbols are modi ed, it is often only in combination with other particular
symbols, for example:
t,+ + t+ +
tta
.h, + n+
hna
.d, + y+
dya
f, + y+
t.ya
hma
.h, + m+ .!
Lesson 7.A
55
The symbol k (ka) may be compressed to K , or even further to M , for example:

k, + k "
kka
k, + t+ #
kta
The symbol .Z+ is often written as B or C in combination, for example:
S or
or T or
.Z,+ + v+ $+ or
Zv+
sva
.Z,+ + c+ %+
Zc+
sca
The same group of symbols can be found in dierent forms:

V,+ + c+ &+
or Vc+ n~ca
k, + t,+ + v+ '
or #tv+ ktva
:p,+ + l :)
or pl pla
c,+ + c+ *+
or cc+ cca
l, + l +
or ,l lla
While there may be dierent conventions and styles for making compounds, there
are no obvious absolute rules. Ideas that familiar forms are right and others wrong
should be avoided: both proportions and angles of the symbols may be varied.
The symbol ra changes form in compounds. It always appears in a vertical
arrangement and is read in the sequence top to bottom. When ra comes at the
beginning of a compound it takes the form of a hook above the line (the same as
above the drgha ): it is attached above the rightmost vertical of a compound. For
example:
=, + :p+ :pR+
rpa
rdhva
This form is also used when ra is the only consonant before the vowels .r and l.,
=, + D,+ + va.+ Dva.R+
i.e.:
=, + - -R
=, + . .R
rr.
rl.
56

When ra is nal in a compound, it is represented by a small diagonal stroke:
:p,+ + = :pr+
pra
.d, + = d/
dra
t.ra
t,+ + = 1+ tra (note the truncation of the t+ )
This form is retained when ra appears in the middle of a cluster of consonants:
g,+ + = + y+ g/y+ grya
f, + = f0
m,+ + =, + y+ }/y+
mrya
7.A.3 Special Conjunct Consonants ks.a and j~na
Normally the symbols for a sam.yoga are constructed from their component symbols
and are quite obvious to see, and their construction reects their pronunciation.
However, there are two which are quite dierent from their component parts:
ks.a
.j,+ + V+ :]+ j~
na
Although these two sam.yoga may be separated into their component parts when,
k, + :S+ 3+
for example, the alphabetical order is required in looking up a word in the dictionary,
the symbols being so dierent from their components, reect their sounds which are
somewhat dierent from their components.
A practical method of approaching the pronunciation of these two sounds is oered
next.
7.A.4 Pronunciation of ks.a
The idea may be novel, but it is quite straightforward to pronounce halanta s.a
prolonged: try it. Now, sound halanta ka through the sound of halanta s.a |
i.e. the prolonged halanta s.a begins with halanta ka the important point is that
the tip of the tongue is in the murdhanya position throughout. Before sounding
the halanta ka the breath is fully cut o by the back of the tongue in the kan.t.hya
position as for the normal pronunciation of ka the dierence for ks.a is that the tip
of the tongue is raised to the murdhanya position before sounding the halanta
Lesson 7.A
57
ka. This means that halanta ks.a may by sounded repeatedly without moving the
tip of the tongue from the murdhanya position. (This sound is reminiscent of
ten-year-olds playing cops and robbers!)
Although the ks.a is originally formed by halanta ka joining with a following s.a
(i.e. k + s.a ks.a), and may be thus separated when, for example, the alphabetical
order is required in looking up a word in the dictionary, the pronunciation, as
reected in the changed symbol, is in practice ( ks. ) + s. + a.
7.A.5 Pronunciation of j~na

The pronunciation of this is similar to the French `J' as in `Jean-Jacques', or as in
the `z' sound in the English words `mirage', `rouge', `measure', or `vision' but in all
cases it is sounded through the talavya mouth position, and is strongly nasalized.
As a practical method of approaching this sound, begin by sounding the English
`hiss' and holding the sibilant | this sibilant is much like the Sanskrit halanta sa.
Now sound the English `his', again holding the sibilant: note that the dierence
between these sibilants is that the vocal cords vibrate for `his' and not for `hiss'.
Now with the tongue in the talavya position, sound a prolonged halanta sa.
And then repeat the sound but allowing the vocal cords to vibrate | with some
imagination, this is beginning to sound like a prolonged halanta ja, which is of
course, impossible to sound. Now repeat this voiced sound allowing it to be strongly
nasalized. This is about as close as one can get to describing the sound of halanta
j~na.
There are two common errors in sounding j~na. Firstly, the halanta j~na tends to
be followed by an additional nasal consonant before the vowel (i.e. j~n + n~ + a) the
halanta j~na is a single sound. Secondly, the nasalization is often carried over into
the vowel: to correct this, practise sounding aj~na, attending to both a sounds,
which should be the same.
Although the j~na is originally formed by halanta ja joining with a following n~a
(i.e. j + n~a j~na), and may be thus separated when, for example, the alphabetical
order is required in looking up a word in the dictionary, the pronunciation, as
reected in the changed symbol, is in practice ( n~j ) + a.
58
7.A.6 List of Conjunct Consonants

The following is a standard list of conjunct consonants, arranged in alphabetical
order: simply read through the list and you will nd that most of the symbols are
easily recognizable.
" kka
#K+ kkha #c+ kca
#N+ kn.a
# kta
#+ ktya
#0 ktra
#0+ ktrya
' ktva
5 kna
5+ knya
kma
6 kya
kr kra
6
r krya
7 kla
8 kva
8+ kvya
3+ ks.a
3m+ ks.ma 3y+ ks.ya
3v+ ks.va
Ky+ khya
K9+ khra
gy+ gya
g/+ gra
g/y+ grya
:+ ghna
:+ ghnya
.Gm+ ghma
.Gy+ ghya
.Gr+ ghra
nka
_
; nkta
_
< nktya
_
nkya
_
= nks
_ .a
> nks
_ . va
? nkha
_
@ nkhya
_
B nga
_
C ngya
_
H ngha
_
I nghya
_
H9 nghra
_
J n_ na
_
L nna
_
M nma
_
O nya
_
*+ cca
cC ccha
cC0 cchra
Q+ c~na
cm+ cma
cy+ cya
T chya
C0 chra
Y+ jja
.jJ jjha
:]+ j~na
:]y+ j~nya
.$m+ jma
.$y+ jya
.j9+ jra
.$v+ jva
&+ n~ca
&m+ n~cma
&]+ n~cya
VC n~cha ^+ n~ja
^+ n~jya
t.t.a
t.ya
o9 d.ghra
_ t.hya
F0 t.hra
` d.ga
i d.gya
o d.gha
q d.d.ha
{ d.ma
| d.ya
} d.hya
Q0 d.hra
:Nf n.t.a
:NF n.t.ha
:Nq n.d.a
:N| n.d.ya :Nq0 n.d.ra
:NQ n.d.ha
:NN+ n.n.a
:Nm+ n.ma :Ny+ n.ya
:Nv+ n.va
tk tka
tkr tkra
+ tta
y+ ttya
9+ ttra
v+ ttva
tT+ ttha
+ tna
]+ tnya
tp+ tpa
tpr+ tpra
tm+ tma
t}y+ tmya
ty+ tya
1+ tra
1y+ trya
tv+ tva
ts+ tsa
t+ tsna
t+ tsnya Ty+ thya
. dga
.9 dgra
. dgha
.9 dghra
. dda
. ddya
ddha
ddhya dna
dba
dbha
dbhya dma
dya
d/ dra
/ drya
dva
dvya
+ dhnya
Dm+ dhma Dy+ dhya
.+ dhna
:N|
0 . n.d.rya
Lesson 7.A
59
Dr+ dhra
Dry+ dhrya Dv+ dhva
nt+ nta
nty+ ntya
n&+ ntra
nd nda
nd/ ndra
nD+ ndha
nDr+ ndhra
+ nna
np+ npa
npr+ npra
nm+ nma
ny+ nya
n/+ nra
ns+ nsa
:+ pta
:]+ ptya
.+ pna
:pp+ ppa
:pm+ pma
:py+ pya
:pr+ pra
:) pla
:pv+ pva
:ps+ psa
:p~v+ psva
bG+ bgha
bj+ bja
b.d bda
bD+ bdha
.+ bna
. bba
b.B+ bbha
b.By+ bbhya
b.y+ bya
b./+ bra
. bva
+ bhna
By+ bhya
Br+ bhra
Bv+ bhva
+ mna
}p+ mpa
}pr+ mpra
}b+ mba
}B+ mbha
mm+ mma
}y+ mya
}/+ mra
mla
}v+ mva
yy+ yya
yv+ yva
,k lka
,p+ lpa
,m+ lma
,y+ lya
+ lla
,v+ lva
,h lha
+ vna
v.y+ vya
v./+ vra
vva
%+ "sca
%y+ "scya
+ "sna
.Zy+ "sya
+ "sra
y+ "srya
"sla
$+ "sva
$.+ "svya
.ZZ+ "s"sa
: s.t.a
: s.t.ya
:0 s.t.ra
:
0 . s.t.rya : s.t.va
: s.t.ha
:SN+ s.n.a
:SNy+ s.n.ya
:Sp+ s.pa
:Spr+ s.pra
:Sm+ s.ma
:Sy+ s.ya
:Sv+ s.va
~k ska
~K+ skha
~t+ sta
~ty+ stya ~&+ stra
~tv+ stva
~T+ stha
+ sna
+ snya
~p+ spa
~P spha
sm+ sma
s}y+ smya
~y+ sya
~+ sra
~v+ sva
ss+ ssa
. hn.a
hna
.! hma
. hya
hra
hla
hva
The table does not cover all possible combinations of consonants, but, on the other
hand, it does contain many that are quite rare and which you may never come across
in print. So, having worked through the table, you may be con dent that you will
be able to decipher any sam.yoga that you may meet.
Just as a matter of interest, the greatest number of conjunct consonants in a real
word is ve: the usual example quoted for this is k*:a.tR+ (kartsnya).
Lesson 7.B
7.B.1 Verbal Prexes
The English verb `to tend' derives from the pie root ten, to stretch: when a pre x
is appended to it, its meaning alters. For example (with pre x meanings given):
attend
(at-, towards, to, at)
contend
(con-, with, together, wholly)
distend
(dis-, apart, away)
extend
(ex-, out of, very)
intend
(in-, towards, in)
portend
(por-, before, instead of)
pretend
(pre-, instead of, before)
subtend
(sub-, under)
Assuming that the meaning of these verbs is already understood (more or less), then
a grasp of their etymological derivation from the root and pre xes should contribute
to enlarging that understanding. Again, given the meanings of these verbs, it can
be appreciated that that the pre xes are instrumental in modifying the original
root to give its particular meaning, but the converse is not necessarily so: given
the meanings of the root and pre xes only, it may prove dicult to arrive at the
meanings of the particular verbs.
The situation is Sanskrit is similar: the meaning of a pre xed verb (as a compound)
needs to be looked up in the dictionary, which will also give its component parts of
pre x(es) and dhatu, which may then be separately looked up. Other words may
be derived from that pre xed verb, and they carry the sense of this compound as
though it were a separate dhatu this is also the case in English, as for example, the
derivation of attention, attentive, attendance, attendant, from the verb àttend'.
A pre x, when appended to a verb, is called an upasarga in Sanskrit grammar.
The grammarians list just twenty-two of these in alphabetical order they are:
Lesson 7.B
61
atiadhianuapaapiabhiavaaudupadurdusninirnisparaparipraprativisamsu-
beyond, over, across, past, surpassing, to excess

over, above, upon, on, onto
after, along, like, towards, following
away, o, from, forth
over, on, close, proximate
to, towards, into, against, near, opposite
down, o, away, from
towards, to, near, into, at, from, back, return, (reversing)
up, upwards, out, above
towards, near, to, next to, less, down, under
bad, dicult, hard
bad, dicult, hard
down, in, on, under, into
away, out, forth
away, out, forth
back, backwards, away, forth, to a distance
around, about
before, forward, forth, onward, fore
against, towards, to, at near, back, again, return, (reversing)
apart, asunder, away, out, implying separation or dispersion
with, together, along with, conjoined with
good, excellent, well
The above list is included here for reference only, and should not be learned however,
a familiarity with the Sanskrit forms will be useful.
An upasarga may simply emphasize the original sense of the dhatu, but usually
modi es the sense sometimes the changes is so great as to make the sense of the
original dhatu quite unrecognizable, for example:
dhatu hr. to take away
pra-hr. to hit
a-hr. to eat
sam-h.r to destroy
vi-hr. to roam
pari-hr. to abandon
62
7.B.2 Exercises
(b) By now the alphabet should be familiar: practise writing all the characters of
the alphabet with particular attention to their proportions (see the note at the
end of 4.A.1).
(c) Write out a fair copy of the devanagar sentences given in (e) below.
(d) Look up the words àttend' etc. given 7.B.1, in a good English dictionary, to
see how their meanings link to the given etymology.
(e) Write the following sentences in Roman transliteration:
1. ba.a.l*.am,+ vxa a.a.t,+ na=~y+ A:am,+ va.ha.v+H{
2. na=H
ba.a.l*.+ c+ a.ta.t+H va.dt+H c+{
3. A:+H
vxa a~y+ :P*.le ba.a.l*.aBy+H l*Ba.te+{
4. ba.a.l*.aya.+H
A:+H :P*.l*.a. an+ na=*ay+ va.h a.t+{
5. na=*+H
vxa a~y+ :P*.l*m,+ ba.a.l*.ayE+ l*Bante+{
6. na=~y+
ba.a.l*.+ A:a.an,+ vxa a.an,+ naya.te+{
(f) Now translate the sentences in (e) into English.

(g) Translate the following sentences into Sanskrit using Roman transliteration:
1. You (pl.) carry the fruit (pl.) from the tree by horse.
2. The girl's horses (two) take the fruit (pl.) to the man.
3. You (two) lead the horse to the fruit (pl.) of the tree.
4. The man takes the tree from the horse for the girl.
5. The girl and the horse go among the trees (pl.) for fruit (pl.).
6. The horses (pl.) carry the trees (pl.) for the men (pl.).
(h) Now write your answers to (g) in devanagar.
Lesson 8.A
8.A.1 Special Symbols
The following symbols are not strictly part of the alphabet, but constitute special
symbols such as punctuation:
| This punctuation mark is used at the end of a half-verse or sentence.
{ This marks the end of a verse or paragraph.
Y The elision of an A at the beginning of a word due to the rules of sandhi, is
indicated with this symbol called avagraha: it is not sounded. For example,
te+Y.a.p+ for te+ Aa.p+ is pronounced tea.a.p+ in transliteration it is represented by an
apostrophe or prime mark, i.e. te pi.
This symbol, called candrabindu (lit. `moon-dot'), placed above a vowel
indicates that the vowel itself is nasalized for example, A< is A sounded
through both nose and mouth together. Contrast this with AM , where the
anusvara, which is just the bindu (`dot') above the vowel, is a nasal sound
following after the vowel. The antah.stha y l and v may also be nasalized.
This symbol indicates a compulsory anusvara (i.e. before an us.man or
repha) in the Vedas, and is traditionally pronounced as a soft gna ( gn+ ).
You may also nd it written as g,M+.
The mystical symbol Om
~ pronounced Aea3**:m,+ and called the pran.ava sabda.
An abbreviation is indicated by this sign, the rest of the word being provided
from the context.
This symbol is rare it is pronounced like a half visarga, and is called
jihvamulya when before k or kh, and upadhmanya when before p or
ph. (See section 3.A.2.)
0
<
>
?
@
^
8.A.2 Savarn.a
Those sounds which are pronounced in the same mouth position and with the same
eort within the mouth itself (i.e. the measure of contact or openness | see section
3.A.4) are called savarn.a (`same group'). This means that the ka-varga sounds
(k, kh, g, gh, and n_ | see section 2.A.2) are savarn.a, likewise ca-varga through
to pa-varga each form a savarn.a group of ve sounds.
For grammatical purposes, and are also declared to be savarn.a, even though
their mouth positions dier.
64
8.A.3 Nasal Substitution for Anusvara

The anusvara (see section 1.A.7) arises through the rules of sandhi: primarily it
is the replacement for a nal m before a consonant. There are two traditions for
pronouncing the anusvara: one tradition always pronounces it as an anusvara (a
z, -like sound in Northern India, and m,+ -like further South) the other tradition
substitutes the nasal that is savarn.a with the following consonant, i.e. if the
following consonant is a sparsa (one of the twenty- ve from k to m+) then the
anusvara is sounded as the nasal of the same mouth position as the following
letter | thus sMak*:p+ is pronounced sa*.p+, and sMa:]a.+ as saV]a.+, and so on.
The second tradition is much like the pronunciation of `n' in English: sound the
words `wink', `winch', and `wind' | prolonging the nasal if necessary | and note
that the mouth position is determined by the following letter.
Before ya la or va the anusvara may optionally be sounded as a nasalized version
of that letter, for example sMaya.eag+ may be pronounced as say< ya.eag+.
Monier-Williams, in his dictionary, follows the tradition of substituting the savarn.a
nasal before a sparsa (the twenty- ve from ka to ma), but not before an antah.stha.
It would be useful (for these lessons at least) to practise that method.
8.A.4 Devanagar Numerals

The numbers one to ten respectively are expressed in Sanskrit as eka dva tri catur
pa~ncan s.as. saptan as.t.an navan dasan. The numeralss use the familiar order of
signi cance, so that 1234 is written as 1234.
Here are the ten numerals in devanagar script, ordered 0 to 9:
0 1 2 3 4
5 6 7 8 9
Lesson 8.B
8.B.1 More Noun Declensions
The pratipadika form of nouns may end in letters other than those considered
thus far: the table on the next page includes the three declension previously covered
and adds agni ( re, pum.-linga
_ ending in -i), guru (teacher, pum.-linga
_ ending in
-u), and nad (str-linga
_ ending in -). These declensions need not be practised,
but it would be useful to spend some time observing the dierences between the
declensions.
The sandhi rule changing n to n. following r or s. follows through all declensions in
tr. tya eka-vacana and s.as.t.h bahu-vacana.
8.B.2 Adjectives
An adjective (vises.an.a) quali es a noun: it is dependent the noun as an attribute.
This dependence manifests in the grammar, requiring the vises.an.a to agree with
the noun in gender, case and number. Thus using alpa (small), we could have:
alpah. narah. alpam naram alpat narat vahanti
The small men (pl.) carry the small man from the small man.
In Monier-Williams' dictionary a vises.an.a is listed in the form:
alpa, mf(#a)n. small

sundara, mf(#$)n. handsome, beautiful, attractive
where `mfn.' stands form `masculine-feminine-neuter', i.e. it may be declined in all

three genders (as required by a vises.an.a), and the `(#a)' and `(#$)' inserted after the
`f' of `mfn.' indicates the str-linga
_ form in declension thus alpa declines like bala,
and sundar like nad, in the feminine. For example:
alpa sundar bala tis.t.hati
The small beautiful girl stands.

As may be seen from the above examples, the vises.an.a precedes the noun which it
quali es.
66
Declension Paradigms
Masculine in -a
narah.
he nara
naram
naren.a
naraya
narayat
narasya
nare
narau
he narau
narau
narabhyam
narabhyam
narabhyam
narayoh.
narayoh.
narah.
he narah.
naran
naraih.
narebhyah.
narebhyah.
naran.am
nares.u
Neuter in -a
phalam
he phala
phalam
phalena
phalaya
phalat
phalasya
phale
Masculine in -i
agnih.
he agne
agnim
agnina
agnaye
agneh.
agneh.
agnau
agn
he agn
agn
agnibhyam
agnibhyam
agnibhyam
agnyoh.
agnyoh.
agnayah.
he agnayah.
agnn
agnibhih.
agnibhyah.
agnibhyah.
agnnam
agnis.u
guru
he guru
guru
gurubhyam
gurubhyam
gurubhyam
gurvoh.
gurvoh.
guravah.
he guravah.
gurun
gurubhih.
gurubhyah.
gurubhyah.
gurun.am
gurus.u
phalani
he phalani
phalani
phalaih.
phalebhyah.
phalebhyah.
phalanam
phales.u
Feminine in -a
bala
he bale
balam
balaya
balayai
balayah.
balayah.
balayam
Masculine in -u
guruh.
he guro
gurum
gurun.a
gurave
guroh.
guroh.
gurau
phale
he phale
phale
phalabhyam
phalabhyam
phalabhyam
phalayoh.
phalayoh.
bale
he bale
bale
balabhyam
balabhyam
balabhyam
balayoh.
balayoh.
balah.
he balah.
balah.
balabhih.
balabhyah.
balabhyah.
balanam
balasu
Feminine in -
nad
he nadi
nadm
nadya
nadyai
nadyah.
nadyah.
nadyam
nadyau
he nadyau
nadyau
nadbhyam
nadbhyam
nadbhyam
nadyoh.
nadyoh.
nadyah.
he nadyah.
nadh.
nadbhih.
nadbhyah.
nadbhyah.
nadnam
nads.u
Lesson 8.B
67
8.B.3 Adverbs
An adverb (kriya-vises.an.a) quali es a verb: it is indeclinable (avyaya). It is
usually found immediately before the verb for example, using the adverb sghram
(quickly):
narah. sghram gacchati

the man goes quickly.
8.B.4 Vocabulary Summary

The following is a complete list of all the vocabulary used in this course:
kriya p gam,+ gacC a.t+ he goes

p na.+ naya.te+ he leads
p l*B,+ l*Ba.te+ he takes
p va.d, va.d a.t+ he speaks
p va.h va.h a.t+ he carries
,
p ~Ta.+ a.ta. a.t+ he stands
naman
vises.an.a
m. re
A:+ m. horse
gua m. teacher
na.d+ f. river
na= m. man
:P*.l n. fruit
ba.a.l*.+ f. girl
vxa + m. tree
A;/agn+
/
Ap+
suand:=
avyaya
mf(#a)n. small
mf(#$)n. beautiful, handsome
ind. thus (lesson 9.B.2)

c+ ind. and
.Za.aGram,+ ind. quickly
I* a.t+
68
8.B.5 Exercises
(b) Practise reading and writing the ten numerals in devanagar.
(c) Write the following sentences in Roman transliteration:
ba.a.l*.+ A;/agnam,
/ + suand:=*a.t,+ na=*a.t,+ gacC a.t+| 1{
na=H Apam,+ vxa am,+ ba.a.l*.am,+ A:gnaye+ .Za.aGram,+ l*Ba.te+| 2{
suand:= *+ ba.a.l*.+ Apam,+ A:am,+ na.dam,+ naya.te+| 3{
na=*E+ suand:=*a.a.N+ :P*.l*.a. an+ Apa.a.t,+ vxa a.a.t,+ l*Bea.te+| 4{
gua=*v+H Apam,+ suand:=m,+ A:am,+ na!E+ nayante+| 5{
Ap+H vxa +H suand:=e A:gna.E+ a.ta. a.t+| 6{
(d) Now translate the sentences in (c) into English.

(e) Translate the following sentences into Sanskrit using Roman transliteration:
1. The man's teacher goes to the river by horse.
2. The girl carries the small fruit to the man's teacher.
3. The teacher of the girl stands in the small river.
4. The girl of the teacher stands on the handsome horse.
5. The beautiful girl leads the man to the small teacher quickly.
6. The teacher stands among the beautiful fruit of the small tree.
(f) Now write your answers to (e) in devanagar.
5 6 7 8 9
0 1 2 3 4
Lesson 8.B
69
70
5
+
Lesson 9.A
The next three sections may be considered as informational only they are provided
for completeness.
9.A.1 Vowels Accents

Accent is the sounding of a vowel at a higher or lower pitch or tone (svara). There
are three tones: raised (udatta), not raised (anudatta), and a combination of the
two or moving tone (svarita). These are only marked in the Veda, for example:
s!a.tyM+ :]a.!anamànantM+ b./a.!`
The anudatta is indicated by a horizontal bar under the vowel, and svarita by the
vertical bar above the vowel, while udatta is unmarked. (Although in grammatical
treatises it may be indicated as a small u above the vowel, for example n'+ ).
In classical Sanskrit texts, the accent is not marked.
Where these are marked in the dictionary in Roman transliteration, the udatta and
svarita will be indicated by the acute and grave accent marks respectively. Thus
the above example in transliteration would be:
satyam. j~nanamanantam. brahma

English has a stress accent system (e.g. listen to the `to' syllable in `photograph'
and `photographer'), but there is no stress system in Sanskrit (indeed there should
be no stress at all in the study of Sanskrit!) Sanskrit is either sounded with the
pitch accent described above, or in ekasruti, a neutral accentless tone.
9.A.2 Variations in Devanagar Alphabet

Just as there are variations in the Roman alphabet (e.g. a and a), so there are
variations in devanagar: some of the less obvious ones are illustrated below:
A
E
H
This is an alternate form of A, and just as one has derivatives of the

familiar form as A+ Ae+ AE+, so one has A+ Ae+ AE+.
This is a variation of the form O.
This is another form of , similarly I for %.
An alternative form of J.
72
J
L
N
G
F
gM,+
L
\h
Another variant of J, but far less common.

Obviously the same as l.
A radically dierent form of :N+.
An alternative form of :]+ (j~na).
This is a variation of the form for + (ks.a).
Another form of the Vedic anusvara > (see 8.A.1).
Vedic form of q.
Vedic form of Q.
The following are variations in the numerals:
1 =1=1
6 =6=6
4 =4=4
8 =8=8
5 =2 =5=5
9 =0 =9=9
9.A.3 Variations in Sam.yoga
As was mentioned in Lesson 7, there are no hard and fast rules governing the
formation of a sam.yoga however, there are a few that are sometimes not obvious:
D
O
P
Q
This is a quite common form of .dx (dr. ).

A variation of ' (hna).
An alternative of ( (hla).
Another form of ) (hva).
9.A.4 Revision
The next page has a summary of the information about the alphabet, and the
following page is a reference sheet of the character shapes of the alphabet.
This would be a good time to lightly revise all the notes about the alphabet, starting
from Lesson 1: now that you are more familiar with the alphabet, you may nd that
much of the information now is clearer.
Lesson 9.A
73
.Za.a.
k*:N
ta.a.l*.v.y+
}|
mUaDRany+
Aea.+
.d:nty+ k*:NF*.ta.a.l*.v.y+
{ z }| { z }| { z }| { z }| { z }| {
k*:NF*.ea.+
}|
A:nua~va.a=
a.vasagR+
A A+ I IR o
O Oe Ae+ AE+ AM AH
a #a i #$ u u# .r #r. l. #l. e ai o au am. ah.
t+
ta.+
a.t+
t a.+
exceptions:
tu+
tU+
tx+
tX+
tw+
tW+
R

R
R
R
te+
tE+
ta.e+
ta.E+
tM+
t+H
Alphabetical Order
v.yaan+
k*:N
ta.a.l*.v.y+
mUaDRany+
.d:nty+
Aea.+
c+
t+
:p+
K+
T+
:P
g+
.j+
.d
b+
.G+
D+
B+
V+
:N+
n+
m+
y+
v+
.Z+
:S+
s+
8
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
<
~pxa.
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
:
IR *Sa.t~pxa.
8
>
<
IR *Sa.a*vxa.t+
{z
>
:
}
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
8
>
>
Apa.pra.a.N+
>
>
<
ba.a.+ :praya.*+ >

>
>
>
:
ma.ha.pra.a.N+
.Ga.ea.S+
A.Ga.ea.S+
~pa.ZR+
A:nuana.a.asak

A:nt+H:~T+
9
>
=
>
.h
AaByanta= :praya.*+
9
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
>
=
*:Sman,+
74
A
k
K+
g+
.G+
z
I
c+
C
j+
.J
V+
y+
.h .Z+

f
F
q
Q
:N+
=
:S+

t+
T+
d
.D+
n+
l
s+
o
:p+
:P
b+
B+
m+
v+
Lesson 9.A
75
9.B.1 Types of Words

Sanskrit grammarians traditionally describe four types of words: kriya (verb),
naman (noun), upasarga (verbal pre x), and nipata (particle). The naman
and kriya have the fundamental notions of `being' and `becoming' respectively.
The kriya type includes the basic kriya (verbs derived from a dhatu) and the
nama-dhatu (verbs derived from nouns), which conjugate according purus.a
vacana and lakara, as well as the verbal quali er (kriya-vises.an.a) which is
indeclinable (avyaya).
The naman type includes the basic naman (common noun etymologically derived
from a dhatu), the sam.j~na (proper noun, personal name or technical term whose
meaning cannot be etymologically determined), the sarva-naman (pronoun), and
the nominal quali er or adjective (vises.an.a): all these decline according to linga
_ ,
vacana and vibhakti.
The upasarga (verbal pre x) has been discussed in 7.B.1, and the nipata (particle)
is a catch-all for the remaining types of word. The nipata are avyaya (indeclinable),
and although they are separate words they are not used by themselves: words of
this class are ca (and) and he (vocative particle).
9.B.2 Use of iti

The nipata iti means `thus': it lays stress on what precedes it, typically referring
to something that has been said it is the Sanskrit equivalent of inverted commas.
For example:
asvena gacchami iti vadati
\I am going by horse," he says.

There is no system of indirect or reported speech in Sanskrit, so the above may
equally be translated as: He says that he is going by horse.
Note that iti grammatically isolates the phrase or sentence before it, from what
follows: in the above example, the tr. tya vibhakti of asvena is not related to the
kriya vadati, even if the word `gacchami' were omitted. This isolating function
of iti may also be used to separate a de nition from the word being de ned, or a
grammatical rule from an example of its application, and so on.
76
9.B.3 Exercises
(a) Practise sounding the alphabetical order (which should be familiar by now)
following it through the diagram on page 73 once familiar with the relationship
of the alphabetical order to the diagram, thereafter practice sounding the order
while following the alphabet chart on page 74. Associating the sound/letter
with its position on the chart provides a visual `short-cut' to where a
sound/letter is in relation to the alphabetical order as a whole: this will prove
to be a very useful trick when using the dictionary.
(b) Write out the alphabet once per day, in the form given in the chart on page 74
(ideally .h should be on a line by itself).
(c) Write the following sentences in Roman transliteration:
na=H :P*.l*.a. an+ l*Ba.te+ I* a.t+ ba.a.le va.dt+H| 1{
.he gua=*e+ ba.a.le nayase+ I* a.t+ Ap+H na=H va.d a.t+| 2{
A:+H vxa a~y+ :P*.l*.a. an+ ba.a.l*.ayE+ va.h a.t+| 3{
:P*.l*m,+ vxa a.aya.a.t,+ A:ean+ na=*ay+ va.ht+H| 4{
vxa am,+ Apa.E+ A:gna.+ A:E+H .Za.aGram,+ va.ha.,am+| 5{
na.d+ Apam,+ vxa am,+ suand:= *am,+ ba.a.l*.am,+ va.h a.t+| 6{
(d) Now translate the sentences in (c) into English.

(e) Translate the following sentences into Sanskrit using Roman transliteration:
1. \I am taking the fruit (pl.) to the horse," the girl says to the teacher.
2. The man says to the girl that he is carrying the tree to the river.
3. You (pl.) are quickly taking the girl's fruit (two) to the man.
4. We (two) take the fruit (pl.) from the girl's tree.
5. The man and girl go to the handsome teacher by river.
6. The beautiful girl leads the horse to the small trees (pl.) for fruit (pl.).
(f) Now write your answers to (e) in devanagar.
Lesson 10.A
10.A.1 Introduction to Sandhi
Sandhi (`placing together') is the principle of sounds coming together naturally
and harmoniously, which is to say without awkwardness or tongue-twisting. This is
the principle behind the nasal substitution for the anusvara that was considered
earlier, and for the various pronunciations of the English letter `n' mentioned in that
section (8.A.3).
Sandhi applies to other consonants besides nasals: for example, consider the English
phrase `cats and dogs', which is pronounced as `cats and dogz'. Why should that
be? Looking at it doesn't help you need to sound it. Have you heard why it is
so? Well, try swapping the sibilants around: `catz and dogs'. Dicult, isn't it? So
there is an English sandhi rule that a sibilant preceded by an unvoiced consonant
is unvoiced, and preceded by a voiced consonant it is voiced (ghos.a). It is quite
natural, and for the ease of pronunciation.
Sandhi applies to vowels too: consider how \he is" becomes \he's". When
sounded | and that's the key | you will hear that both vowels have the same sound:
certainly one has a short measure, and the other a long measure, but the sound is
the same. So, when a long IR meets a short I, they are both replaced by a long IR .
(The apostrophe functions somewhat like the avagraha (Y), inasmuch as it is not
sounded.)
Sandhi applies whenever two sounds come together | and this is the point: it is
sounds coming together. In the written form, the letters are symbols representing
the sounds: in Sanskrit the notation changes when the sound changes, and thus it
has an inherently phonetic script the English script does not do this, and this is
one of the reasons that foreigners mutter darkly about English spelling! The rules
of sandhi only make sense in sound and not in writing: thus it is important, when
reading the written word, to sound it aloud (or in the mind at least), and to hear
that sound.
The rules of sandhi apply within a word as it is being developed from its elemental
components to its fully inected form: this is called internal sandhi, internal to an
individual word. The rules also apply between words as they come together to form
a sentence: this is called external sandhi, external to the individual words. The
rules of internal and external sandhi are largely the same, but each has its own
eld of special cases and exceptions. We shall examine external sandhi broadly and
78
only lightly touch on internal sandhi as it aects the declension of formed words.
In these notes, the breve ( % ) above the vowel indicates a short measure only, and
the macron ( # ) long measure only combined ( %# ) they indicate a long or short
vowel. Also V stands for any vowel, unless explicitly restricted.
10.A.2 Gun.a and Vr. ddhi
The grammatical terms gun.a (`secondary form') and vr. ddhi (ìncrease') can be
considered as degrees of strengthening of the three primary vowels. Pan.ini de nes
gun.a as the three vowels A O and Ae+, and vr. ddhi as A+ Oe and AE+, and also gives
the means for deriving the strengthened forms of the other two simple vowels and
.
simple vowel
gun.a form
vr. ddhi form
a
a
a
a
a
a
1
e
ai
u
o
au
.r
ar
ar
l. 2
al
al 3
The breve () and macron () diacritical marks, used together () indicate a
long or short measure of the vowel.
2 In the grammatical formation of words, the d
rgha measure does not occur.
3 The vrddhi form of , namely Aa.l,, does not arise in the grammar.
.
1
A useful way of considering gun.a, is the strengthening of the ve simple vowels

by the addition of a single measure of A (so as to leave A itself unchanged), and
v.rddhi as the strengthening of the gun.a by the addition of a further measure of
A. This process has been described in Section 1.A.5.
10.A.3 Vowel Sandhi

Vowel sandhi, as you would expect, arises when a word ending in a vowel is followed
by a word beginning with a vowel, in the same sentence or line of poetry: a vowel nal
is not changed before a consonant or in pausa, for example, at the end of a sentence.
There are only six principles that cover all cases: it is not necessary to learn these,
but what is important is to understand them, and that means to work through
each principle | in sound | and understand that they are simply statements of the
obvious.
Lesson 10.A
79
1. When one of the ve simple vowels (hrasva, short or drgha, long) meet a
vowel of the same kind (hrasva or drgha), they are both replaced by the
drgha measure of that vowel.
a +
+
u +
r. +
a

u
r.
)a
)
)u
) r.
Note that is not shown here. It was mentioned earlier that the drgha
measure of - is not used in the grammar (Section 1.A.4) and that and
are savarn.a (Section 8.A.2), so that when meets or , the result is %.
2. When A (hrasva or drgha) is followed by one of the ve simple vowels other
than A (hrasva or drgha), gun.a replaces both.
a + ) e
a + u ) o
a + r. ) ar
a + l. ) al
3. When A (hrasva or drgha) is followed by a gun.a or vr. ddhi sound, the
vr. ddhi sound replaces both.
a + e ) ai
a + o ) au
a + ai ) ai
a + au ) au
4. When a simple vowel (hrasva or drgha) other than a is followed by a dierent
vowel, the rst vowel is replaced by the antah.stha of the same mouth position:
+ V ) yV
u + V ) vV
r. + V ) rV
.l + V ) lV where V stands for any dierent vowel.
80
5. When a compound vowel (e ai o au) is followed by another vowel, it splits

into its component parts (a or a, and i or u) and the second of those parts
is replaced by the antah.stha of the same mouth position. The antah.stha
may then optionally be elided: generally it is only retained when the preceding
vowel was au.
e + V ) a + i + V ) ayV ) a V
ai + V ) a + i + V ) ayV ) a V
o + V ) a + u + V ) avV ) a V
au + V ) a + u + V ) avV
where V stands for any vowel.
6. As a quite non-obvious exception to the above rule, and overriding it, when O
or Ae+ are followed by hrasva A, the A is elided and replaced by an avagraha.
e+a)e
o+a)o
All the information on vowel sandhi may be conveniently displayed in tabular

form | called a sandhi grid | which, though useful in its own way, is no substitute
for understanding the principles in sound.
-a1
-a-a-e-e-o-o-ar-2
-ar-al-ai-ai-au-au-
-
-ya-ya---yu-yu-yr. -2
-yr.
-yl.-ye-yai-yo-yau-
-u
-va-va-vi-v-u-u-vr. -2
-vr.
-vl.-ve-vai-vo-vau-
-r.
-ra-ra-ri-r-ru-ru-r.
-r.
-r.
-re-rai-ro-rau-
Final Vowel
-l.
-la-la-li-l-lu-lu-r.
-r.
-r.
-le-lai-lo-lau-
-e
-e -a a-a i-a -a u-a u-a r. -a r.
-a l.-a e-a ai-a o-a au0
-ai
-a a-a a-a i-a -a i-a u-a r. -a r.
-a l.-a e-a ai-a o-a au-
-o
-o -a a-a -a -a u-a u-a r. -a r.
-a l.-a e-a ai-a o-a au0
-au
-ava-ava-avi-av-avu-avu-avr. -avr.
-avr.
-ave-avai-avo-avau-
Following
Vowel
aaiuur. r.
l.eaioau-
Lesson 10.A
81
The breve ( ) above the vowel indicates a short measure only, and the macron ( )
long measure only combined ( ) they indicate a long or short vowel.
2 Optionally, the basic vowel may be replaced by its hrasva equivalent, and the r
.
retained, for example: maha + r. s.i ) mahars.i or mahar. s.i.
Note: l. does not occur as a word nal, and neither r. nor l. as a word initial, but they
are included in the table for completeness.
One thing that the table does illustrate, is that resolving a given sandhi into its
components is not at all straightforward: for example, while it is clear that -a + aproduces -a-, the grid cannot determine from -a- whether either (or both) of the
original a's were long or not.
10.A.4 Exceptions to Vowel Sandhi

There are some exceptions, called pragr. hya (`to be taken separately'), where
sandhi rules do not operate. For external sandhi these are:
a. Particles consisting of a single vowel, or ending in Ae+: these are usually
interjections or exclamations, rather like the English Àh' and Òh'.
b. The terminations of duals (whether nouns, pronouns, or verbs) ending in
drgha IR , . or O.
c. Prolonged (pluta) vowels.
10.A.5 Samprasaran.a
Samprasaran.a is the process whereby an antah.sthah. is replaced by the simple

vowel of the same mouth position (and the following vowel is elided). This is the
complement to rule 4 in 10.A.3. Examples of this are ij-ya derived from dhatu yaj,
sup-ta from dhatu svap, uc-atha from dhatu vac, and p.rcch-ati from dhatu
prach.
A similar process occurs in English when a nal `y' is replaced by ì' before adding
another sux, as for example, easy and easily, beauty and beautiful, holy and
holiness.
Lesson 10.B
10.B.1 Introduction to Compound Words
The dhatu (root) is the basic form of a word denoting verbal activity: in order to
form a noun (naman) or adjective (vises.an.a) etc., this activity needs to `freeze',
as it were, to make it into an object that is manifest and knowable. This ` xing' of
the meaning is accomplished by the addition of a sux (pratyaya) the process in
English is similar for example, from the verb àttend' given in 8.B.1, are derived:
attendant one who attends,
attendance the action of attending,
attention
the quality of attending,
attentive
having the quality of attending,
attentiveness the state of having the quality of attending.
As shown by the last word in this list, these suxes may be concatenated and
further pre xes may be added, as for example, ìnattentiveness'. Words thus ` xed'
by a sux (pratyaya) may be joined together to form a compound word, as in the
following English examples:
bedroom
reside
headache
screwdriver
blackbird
gingerbread
housekeeping sightseeing
breakfast
greenback
newspaper
songwriter
daydream
haircut
paperback
sunrise
dressmaker
handwriting
rattlesnake
wheelbarrow
The compound word may simply be a conveniently brief way of expressing a longer
phrase (e.g. gravestone : stone marking a grave), or express a speci c idea related
to its parts (e.g. reman), or may have a meaning quite dierent from its parts
(e.g. pigtail : a plait of hair hanging down from the back of the head &from its
resemblance to the tail of a pig]).
When a compound is not yet fully accepted in English writing (e.g. where it may
cause one to stumble when reading it), it is hyphenated, as:
bread-winner full-grown
light-weight
roof-garden
break-down
ginger-beer
old-fashioned single-minded
double-decker heart-shaped
pony-tail
store-room
far-fetched
hot-house
red-hot
whole-hearted
re-y
lamp-post
right-handed
world-wide
Lesson 10.B
83
In devanagar, a compound word (samasa) is always written without a break, but

in transliteration these are often shown hyphenated, for example:
prathama- ( rst) purus.a person = rst person.

A samasa is formed by simply placing the pratipadika (stem) forms together and
applying the sandhi rules at the junction. One exception to this should be noted:
if the pratipadika ends in -an, then the n is dropped, for example:
atman (self) + j~nana (knowledge) ) atmaj~nana, self-knowledge.
In declining the compound word, the vibhakti ending is added to the end of the
:pra.Tam+ :pua*:S+
compound as a whole, i.e. only the last member appears to decline, while earlier
members retain their pratipadika form.
Sanskrit makes extensive use of the samasa, very extensive use indeed so much so,
that it is unusual to nd a sentence without a samasa. This makes expressions in
Sanskrit at once concise and precise.
Although a samasa may comprise many words, all the principles are covered in
considering the joining of just two words (call them À' and `B') a more complex
samasa is simply a case where A and/or B is itself a samasa. If the principal (more
important) word of the compound is underlined, then the four classes of samasa
may be indicated as:
AB dvandva (meaning À and B')
AB tatpurus.a (A is in some case relationship to B)
AB avyaybhava (forms indeclinable (avyaya) functioning as an adverb)
AB bahuvrhi (serves as an adjective qualifying an external principal)
Other types of samasa are subdivisions, or special cases, of these four main classes.
There are few exceptions to the above: words such as atmane-pada and parasmaipada where the case-ax of the rst word is not dropped, are called a-luk samasa.
10.B.2 Joining Words in Writing

Sanskrit is spoken without any break between words, and the written form reects
this: after the operation of sandhi, words are joined together in writing except after
words ending in a vowel, anusvara or visarga. For example:
na=*an,+ Apean+ A:ean+ gacCa.,am+
) na=*ana.peana.aean+
gacCa.,am+
Ideally, the virama ( , ) may only be used at the end of a sentence.
84
10.B.3 Exercises
(a) Practise sounding the alphabetical order while following the consonants on the
alphabet chart on page 74.
(b) Write out the alphabet chart on page 74 once per day from memory.
(c) Join the following word pairs using vowel sandhi: this exercise is most usefully
done in sound alone, i.e. by repeatedly pronouncing the word pairs aloud very
swiftly, and then writing down what is heard: the results may afterwards be
checked against the rules or the sandhi grid.
Do remember that the purpose of the exercises is a practical understanding:
one learns from mistakes, not from right answers!
1.
a.v+
16.
.deva.+
2.
sa.ty+
+ Aanand
17.
a.va.SNa.e+
3.
sa.aDu+
+ IR *Z+
18.
:pa=m+
4.
k*:tRx+
+ *k*:a=
19.
n+
5.
A:0+
+ O*v+
20.
a.pa.tx+
6.
BU+
+ Aa.a.d
21.
:pa.E+
7.
Aanand
22.
maDu+
+ Aaca.ayR+
8.
k*:a.p+
+ Ind1
23.
ma.h+
+ Ind1
9.
ma.h+
+ *.a.S+
24.
k*:tRx+
+ Aanand
25.
k*:+
26.
n+
+ A:/an+
+ O*ta.d,
+ Aanand
+ Aanand
+ A:kH
.h:=e
11.
.Za.a.ant+
;
12.
na.d+
+ IR *Z+
27.
a.Za.v+
13.
ma.h+
+ IR a=
28.
gua
14.
ma.aya.+
+ O*v+
29.
:pa=m+
15.
.h:~te+
+ A;/a~t+
30.
:pra. a.t+
+ A:mxa.tam,+
+ Aa.tman,+
+ I* a.t+
10.
+ AT+
+ Aa~y+
+ Iyam,+
+ O*v+
+ Aea.d:nam,+
+ Ok*:tvam,+
+ IR a=
+ Ok*.m,+
Lesson 11.A
11.A.1 Visarga Sandhi
This is most conveniently presented directly in tabular form:
Final Vowel
-as -as Vs1 Vr2
Next Initial Sound
-o -a
-o
-o
-as
-as.
-as
-ah.
-ah.
0
-a
-a
-a
-a
-as
-as.
-as
-ah.
-ah.
Vr
-Vr
-V3
-Vr
-Vs
-Vs.
-Vs
-Vh.
-Vh.
Vr
-Vr
-V3
-Vr
-Vs
-Vs.
-Vs
-Vh.
-Vh.
a-
any vowel other than a
r-
any other ghos.a vya~njana

c/cht./t.ht/thany other aghos.a vya~njana
avasana (e.g.{ )
1 -Vs = any vowel except a or
a before the nal s.
2 -Vr = any vowel before the nal r.
A =, followed by another =, is elided, and a preceding

A I or o lengthened.
Note: The words s+H or O*S+H followed by hrasva A becomes sa.e+Y or O*Sa.e+Y
before any other letter the visarga is dropped.
3
The table is simple enough. Basically a nal s or r becomes r before a voiced

(ghos.a) sound (which includes the vowels, of course) the exceptions to this are:
1. -as before a ghos.a consonant becomes -o the -s is dropped before
a vowel, unless that vowel is hrasva A in which case @A:s,++A@
becomes @Ae+Y@.
2. where the nal is -r and the following word begins with r- (a
disallowed combination), the rst r is dropped, and the preceding
vowel, if a i or u, is lengthened.
And the nal s or r becomes a visarga before an unvoiced (aghos.a) sound (whether
a consonant or a pause in sound) the exception to this, is that before c/ch t./t.h or
t/th, it is replaced with a sibilant (s s. or s) of the same mouth position as that of
the following consonant.
One very important point to note about this table, is the last row: an avasana is
a pause or stop in speech, as for example at the end of a sentence or line of poetry.
86
This also applies when a sentence is split up into its independent words (padani) by
removing the external sandhi, a process called sandhi vigraha. The immediate
relevance is that the declension of nouns and conjugation of verbs is given in the
form of independent words, which means that sandhi rules applicable to a following
avasana have already been applied. So, when the word is used in a sentence, this
sandhi must be removed: where the word is given in the tables with a nal visarga,
this should be replaces with an s.
11.A.2 Consonant Sandhi

As a rule, a word may begin with any vowel or consonant except h. m. n_ n~ n. r. l. ,
and may end (before an avasana or pause) one of eight consonants k t. t p n_ n m
or h., or with any vowel except r. and l.. The sandhi of words ending with a visarga
(h.) were discussed in 11.A.1 this table covers the remaining consonants.
The rst four of the nal consonants are the alpapran.a aghos.a sparsa (except c)
and the remaining three are nasals. As with the visarga sandhi, this table is split
according to the following sound being ghos.a or aghos.a.
The nal aghos.a (k t. t and p) are basically replaced with the ghos.a alpapran.a
consonant of the same mouth position when the following sound is ghos.a, and
remain unchanged when followed by an aghos.a sound but note that a nal -t
changes to the mouth position of a following talavya or murdhanya sound (both
ghos.a and aghos.a), and observe its special changes before l- h- and s- (in the last
case the substitute replaces the following s- as well). Before an h- (which is ghos.a)
these four are replaced by their ghos.a equivalents, and the h- is replaced by the
mahapran.a equivalent of that ghos.a substitute (e.g. @k, .h@ ) @gG+@).
The kan.t.hya nasal remains unchanged, while the dantya nasal (like the -t) changes
to the mouth position of a following talavya or murdhanya ghos.a sound, and to
an anusvara and sibilant of the following mouth position of a following talavya,
murdhanya or dantya aghos.a also note the special changes before l- and s-. A
nal -m changes to anusvara before any consonant (see 8.A.3 for pronunciation of
the anusvara).
There are no sandhi changes when a vowel meets a consonant, with two exceptions:
when a word ends in a short vowel and the following word begins with ch-, then a c
is inserted secondly, when a word ends in -n_ or -n preceded by a short vowel, and
the following word begins with a vowel, then the nasal is doubled, i.e.:

-V ch- ) -Vcch-
) -V n_ n_ V
n V-V_
) -Vnn

V V-Vn
Lesson 11.A
87
Final Consonant (before avasana)
-k
-t.
-t
-p
-n_ -n -m Next Sound
-g
-d.
-d
-b -n_ 1 -n1 -m any vowel
-g
-d.
-d
-b
-n_ -n -m. g/gh-g
-d.
-j
-b
-n_ -~n -m. j/jh-g
-d.
-d.
-b
-n_ -n. -m. d./d.h-g
-d.
-d
-b
-n_ -n -m. d/dh-g
-d.
-d
-b
-n_ -n -m. b/bh-n_
-n.
-n
-m -n_ -n -m. n/m-g
-d.
-d
-b
-n_ -n -m. y/r/v-g
-d.
-l
-b
-n_ -l< 2 -m. l-ggh- -d.d.h- -ddh- -bbh- -n_ -n -m. h-k
-t.
-t
-p
-n_ -n -m. k/kh-k
-t.
-c
-p
-n_ -m.s -m. c/ch-k
-t.
-t.
-p
-n_ -m.s. -m. t./t.h-k
-t.
-t
-p
-n_ -m.s -m. t/th-k
-t.
-t
-p
-n_ -n -m. p/ph-k
-t.
-cch-p
-n_ -~n3 -m. s-k
-t.
-t
-p
-n_ -n -m. s./sThe nasal doubles to -_nn_ or -nn if the preceding vowel is short.
This is a nasalized l, i.e. @n,+ l@ becomes @.<l@.
3 -~
ns- may also become -~nch-.
1
2
11.A.3 Internal Sandhi
The two most common rules of internal sandhi, and which aect the spelling of
vibhakti endings in particular, are:
s
following k r i u u .r r. e ai o or au
is replaced by even if there is an intervening m. or h.
s.
unless it is the nal letter or followed by r.
following s. r r. or r.
is replaced by even if k kh g gh n_ , p ph b bh m, y v h or m. intervene
n.
when followed by a vowel, m v y or n (which last becomes n.).
Lesson 11.B
The following detailed notes may be used for reference: they need not be studied.
11.B.1 Dvandva Samasa

The dvandva (lit. `couple') samasa is a copulative compound in which the
members, if not compounded, would be in the same case (vibhakti) and connected
by the conjunction c+ (and). There are two types of dvandva:
Itaretara | the members are considered separately the gender of the compound is
the gender of the last member the number is the sum of the members. For example:
ramah. ca kr. s.n.ah. ca ) ramakr. s.n.au (note the dual) = R#ama and Kr. s.n.a.
Samahara | the members are taken collectively as a unit it is always neuter
singular. Pairs of opposites are often put in this form, for example:
sukham ca duh.kham ca ) sukhaduh.kham (note the singular)

= pleasure and pain.
11.B.2 Tatpurus.a Samasa
The tat-purus.a (lit. `his man') samasa is a determinative compound in which the
rst member depends on (i.e. has a case relationship to), or modi es, the second.
There are several types:
Tatpurus.a | also called vyadhikaran.a-tatpurus.a, is characterised as having
dierent case endings if the compound is dissolved, i.e. the members are dierent
objects. The compound may be further classi ed according to the case relationship
(dvitya through saptam) of the rst member to the second. For example:
vr. ks.amulam ( vr. ks.asya mulam (s.as.t.hi-tatpurus.a)

= root of a tree, tree-root.
Karmadharaya | this is a descriptive determinative compound, also called

samanadhikaran.a-tatpurus.a, and is characterised as having the same case ending
if the compound is dissolved, i.e. the members refer to the same object for example:
purn.acandrah. ( purn.ah. (full) candrah. (moon) = full-moon.

Dvigu | this samasa has the same sense as the karmadharaya, but has a word
denoting direction or a numeral as its rst member for example:
Lesson 11.B
89
eka-vacana, singular (lit. one - speaking, from p vac, to speak)

&also dvi- (two), bahu- (many), giving `dual' and `plural']
Upapada | this compound has a dhatu derivative as its second member for
Ok*:vacan+
example:
kumbha-kara ( kumbham (pot) + p kr. (to do, act, make) = potter

(similarly a-kara etc.).
Na~n-tatpurus.a | a compound with a negative particle (na-, an-, or a-) as its
rst member, giving a negative or privative sense for example:
a-j~nanam ( a- (negation or absence) + j~nanam (knowledge) = ignorance.
11.B.3 Avyaybhava Samasa

The avyaybhava (lit. àn unchanging nature') samasa is indeclinable (avyaya)
and functions as an adverb. The rst member is an indeclinable (preposition or
adverbial pre x), and the last a noun (naman), and the whole takes the form of
the neuter singular for example:
sakrodham ( sa- (the sense is accompaniment) + krodha (anger)

= with anger, angrily.
yathasraddham ( yatha- (the sense is proportion) + sraddha (faith)

= according to (one's) faith.
11.B.4 Bahuvrhi Samasa

The bahuvrhi (lit. `much rice') samasa is a descriptive compound forming an
adjective (vises.an.a) agreeing with a noun (expressed or understood) for example:
padmaks.a ( padma (lotus) + aks.a (eye)
= whose eyes are (like) lotuses, lotus-eyed.
The dierence between the tatpurus.a and the bahuvrhi is that the former
remains a noun, while the latter becomes an adjective. In the Vedic Sanskrit the
determinative and descriptive compounds were distinguished by accents (see 9.A.1):
raja-putra ( =*a.jan,+ (king) + putra (son)
= the son of the king, the king's son (tatpurus.a).
raja-putra = whose son is a king (bahuvrhi) .
90
11.B.5 Exercises
(a) Practise sounding the alphabetical order while following the consonants on the
alphabet chart on page 74.
(b) Write out the alphabet chart on page 74 once per day from memory.
(c) Write the following sentences in devanagar, applying sandhi rules as
necessary | and it will be necessary quite often! | and then translate them
into English.
For example:
narah. asvah. ca alpan vr. ks.an labhete

na=*e+Ya3a.a.pa.anvxa a.a.<l*Bea.te+
The man and horse take the small trees.
1. narau alpam vr. ks.am agnim asvat vahatah.

2. bala asvam naram ca vr. ks.at labhate
3. phalani asvam vahati iti guruh. balah. vadati
4. guru alpam naram vr. ks.ayat sghram gacchatah.

5. narah. vr. ks.am agnim balayai asvena vahati
6. bala asvam alpam nadm vr. ks.at nayate
7. narah. vr. ks.an phalebhyah. asvena gacchati
8. guruh. agnim narat gacchati iti alpa bala vadati

9. bala alpah. asvah. ca agnim narat gacchatah.
10. alpebhyah. phalebhyah. sundares.u vr. ks.es.u gacchavah.
Lesson 12
From here forward the lessons will no longer be divided into parts À' and `B', there
will, however, be exercises related to the dictionary or Dhatu-Pat.ha at the end of
each lesson.
12.1
Monier-Williams Dictionary
In the dictionary, words are listed in their pratipadika (stem) form, i.e. without the
vibhakti endings that they gather in actual use therefore in seeking the meaning
of words found in Sanskrit writings, the rst part of the word will be found in the
dictionary, and the last syllable or two forming the vibhakti ending needs to be
omitted. There will be an element of guesswork in this because only the six most
common noun declensions have been given: forty declensions are necessary to cover
all possibilities, and as many again for exceptions.
The dictionary often marks the accents of vowels in transliteration: the udatta is
marked with the acute accent (") and the svarita with the grave accent (() | this is
illustrated in section 9.A.1. There is an interesting section on the subject of accents
on page
of the dictionary introduction, beginning with the fourth paragraph
\Then a third improvement . . . ". The rest of the lengthy Preface and Introduction
need not be read however, do note that the dictionary was completed at the end
of the Nineteenth Century, and thus there is some Victorian coyness in translating
sexual terms, which are sometimes given in Latin rather than English.
xviii
This dictionary is either very simple to use, or very dicult: the dierence lies in
understanding the founding principles of the dictionary, and appreciating the devices
that Monier-Williams has employed in order to make it simple to use.
In this lesson the broad structure of the dictionary is explained, and subsequent
lessons will cover the details.
12.2
Alphabet and Transliteration
Some of the devanagar characters used in the dictionary dier from the standard
followed in these lessons, and some transliterations dier from the generally accepted
standard. The alphabet used in the dictionary, in both devanagar and transliterated Roman characters, is presented below in the standard format, from which one
may deduce the standard alphabetical order (which of course, the dictionary does
use).
92
A A+
I IR
H I
o .
O Oe
Aea. AEa.
AM
AH
a a i u u r.i r. lr.i lr. e o ai au am./an ah.

k
K+
g+
.G+
z
ka
kha
ga
gha
na
_
c+
C
.j+
4
V+
y+
.Z+
.h
ca
cha
ja
jha
n~a
ya
s_ a
t.a
F t.ha
q d.a
Q d.ha
N n.a
= ra
:S+ sha
f
t+
T+
.d
D+
n+
l
s+
ta
tha
da
dha
na
la
sa
pa
:P pha
b+ ba
B+ bha
m+ ma
v+ va
:p+
ha
Observe the devanagar characters used for A and its derivatives in the sixteen
sakti, and the consonants J and :N+ observe also the transliteration for .r r. l. l.,
the anusvara, s and s.. These are also shown on page
(facing page 1) of the
dictionary.
xxxvi
Monier-Williams distinguishes between a `true' anusvara (n) which is inherent in

the word from its dhatu and is found in such words as AM :s+ (ansa) and a.hM:s+ (hinsa),
and the `substitute' anusvara (m.) which arises through the operation of the rules
of grammar, as for example sam,+ + sa.a= ) sMasa.a= (sam.sara). This distinction is
peculiar to Monier-Williams (the standard is to use m. throughout), and may be
ignored: simply treat m. and n as synonymous with the anusvara.
12.3
Fundamental Structure
The dictionary is arranged on etymological principles, and it is this that makes it

such a powerful tool. The two main advantages of this arrangement are, rstly,
that cognate words derived from the same dhatu are gathered together, and this
facilitates a broad understanding of the word, together with its applications and
uses secondly, it becomes a trivial matter to trace the word back to its dhatu, thus
allowing a penetrating insight into the very essence of the word. This combination,
giving both breadth and depth to the understanding of a word, is immensely valuable
in the penetrating study of the scriptures.
Lesson 12
93
Besides the etymological arrangement, the dictionary is also ordered alphabetically,

as one would expect of a dictionary. The seeming conict between these two is
resolved quite simply: the main etymological structure is ordered alphabetically
in devanagar script, and the sub-structure of derived words is listed under the
devanagar entry in transliterated Roman script the derived words are themselves
listed alphabetically, but their order is independent of the outer structure using
devanagar script. For example, the entries could be listed as follows:
a.ba=*a.l
a.ba.l,
Bila
Bilasa
Bilma
Bilmin
Billa
Bilva
Bilvaka
Bilvakya
Bilvala
a.ba.l*.a.l
a.ba.5a.l*nT+
a.ba.5a.l*.Z+
a.ba.hN+
Comments on the list:

The entries in devanagar script are listed in alphabetical
order and ignore any intervening words in transliterated

Roman script.
Similarly, the words in Roman script are themselves listed
alphabetically, and are all derived from the previous word
in devanagar script (a.ba.l, in this case).
The list also demonstrates the two levels of alphabetical
order: without these levels, the words a.ba.l*.a.l a.ba.a.l*nT+
a.ba.a.l*.Z+ in devanagar script should be between Bilasa and
Bilma.
Do not proceed any further with this lesson

until this principle of the independence of the
two levels of alphabetical order is clear.
The reason for this instruction is that the dictionary uses
four levels of alphabetical order, and not just two.
Now open your dictionary at page 732.

A word of caution: the dictionary contains a wealth of information | do be alert to
attention being captured by some interesting item. At this stage the purpose is not
to nd word meanings, but to understand how to use this tool called a dictionary.
Look down the rst column, and observe that each entry begins with an indented
word in devanagar or bold Roman script, and that each entry comprises just one
paragraph.
The entries in this column should be the same as the list given above: con rm this.
Now look at the next page: at the bottom of the rst column is the entry buaD,+ in
large devanagar type. Such an entry indicates a major dhatu.
The words derived from this dhatu include Buddha (middle of second column),
and Buddhaka and Buddhi (middle of third column). Continuing through these
94
derived words on the next page, observe the change of the rst vowel from Buto Bo- (e.g. Bodha), and on the following page to Bau- (e.g. Bauddha), before
the next word in devanagar script (bua.6+). There are two points to appreciate
here: rstly, remembering the two levels of alphabetical order, note that there
can be several pages between devanagar entry words and secondly, note the
strengthening of the dhatu vowel of the entry words from Bu- through Bo- to
Bau- | at this stage just note that they are the gun.a and vr. ddhi forms | the
signi cance of this will be explained later.
Now return to page 733, to the entry Buddha in the middle of column two. Three
inches (75 mm) below this is -kapalin in bold type: nd this. This means that
-kapalin is appended to the entry word Buddha so as to form the samasa
Buddhakapalin. Similarly, following -kapalin, the next word in bold type is
-kalpa, forming the samasa Buddhakalpa.
The rest of the column has several more such words in bold type and each beginning
with a hyphen (and the hyphen is not irrelevant, but more of that later): observe
that these words or listed in alphabetical order. This is the third level of alphabetical
order: samasa beginning with the entry word (which may be in Roman type
or devanagar) are listed within the body of the paragraph for that entry in
alphabetical order.
This third level may be viewed as an extension of the second level, where the leading
hyphen is mentally replaced by the entry word. Continuing at this level, note that
in the third column (about three inches (80 mm) down) is Buddhac gama: the caret
( c ) above the vowel indicates that it is long (drgha) | it conveys more information
in fact, as will be explained later.
Buddhagama and subsequent samasa are spelled out in full because, due to the
rules of vowel sandhi, the nal a of buddha is changed: thus, in strict alphabetical
order, Buddhagama (with drgha a) follows after the previous samasa -sena,
i.e. Buddhasena (with hrasva a). Work through these samasa until satis ed
that they are in fact in alphabetical order.
The next entry word is Buddhaka, which returns to the second level of alphabetical
order: the point to note here, is that a samasa like Buddhagama is before it, and
thus out of sequence as far as the second level in concerned. Thus these samasa
sub-entries are truly a third level of alphabetical order.
Return to the second column, and nd the fourth samasa entry -kshetra (about
2 21 inches (60 mm) from the bottom). The next line contains the word (in feint italic
type) -pari_sodhaka , and similarly in the line below that, is -vara-locana . These form
Lesson 12
95
further samasa when appended to -ks.etra, i.e. Buddhiks.etrapari_sodhaka and

Buddhiks.etravaralocana. Note that these two sub-sub-entries listed under the
sub-entry -ks.etra, are also in alphabetical order: this is the fourth (and last!) level
of alphabetical ordering.
12.4
Page Heading Words
The words in the top margin of each page, given in both devanagar and Roman
transliterated forms, indicate respectively the rst and last entry words to be found
on that page. Do make use of these rather than the body of the text as you scan
through the pages looking up a word: but don't rely on them totally, for they can
sometimes be misleading in that they do not indicate at which of the four levels of
alphabetical order they occur.
Examine the words at the top of page 732 for example, and note that the rst
(birala) is in devanagar script in the text, and the last (bjin) is in transliterated
Roman: these words are at dierent levels in the hierarchy of alphabetical orders.
Again, on the next page the heading words are at the second and third levels and
turning over the page, the words at the top of page 735 are both at the second
level but are in reverse alphabetical order, being derive from dierent words in the
devanagar script: had one been looking for bua}Ba.+ (the rst entry in the second
column), the heading words would have been quite misleading. When you suspect
that you have been misled by the page heading words, turn a few pages backwards
(towards A) and follow the devanagar entries in the body of the dictionary.
This situation does not happen often and so one forgets about it, but be aware that
it can happen.
At this stage you could start to make use of the dictionary if there are words that
you particularly want to look up, but for the moment leave aside words beginning
with s+ (sa).
96
12.5
Dictionary Practice
Look up the words in the following list in the dictionary. The words in the list will
all be found at the start of an entry (like buddhi) and not buried in the text the
words may be in devanagar or transliterated in the dictionary.
The exercise is to nd the word in the dictionary and not to examine the meaning
of the word, so simply nd the word and note the page and column in the form:
buddhi 733b (i.e. page 733, second (=b) column).
When you are more familiar with the dictionary, it should take no longer to nd a
word in the Sanskrit dictionary than it does in the English dictionary, say fteen
seconds.
Common errors of rst-time users are:
(1) Confusing the English and Sanskrit alphabetical orders,
(2) Forgetting that à' and à' for example, are two separate letters,
(3) Not seeing what is actually there, both in the list of words and in the
dictionary: watch those diacritics!
(4) Failing to use the page heading words,
(5) Misunderstanding the structure of the devanagar and transliterated
entries,
(6) Wasting time by reading interesting but irrelevant entries.
You have been warned: but go ahead and fall at on your face anyway!
But then do observe what tripped you up.
1. atman
8. brahman
2. hetu
9. guru
3. yoga
10. rajas
17. sarra
4. prakr. ti
11. citta
18. bhakti
12. r. s.i
13. vis.n.u
19. ananta
5. j~nana
6. ananda
7. vyakaran.a
14. hr. daya
15. purus.a
16. manas
20. kr. s.n.a
Lesson 13
13.1
Words Beginning with Sa-
The pre x sam- (àltogether', expressing conjunction, union, completeness) is very

common, and thus there are many words beginning with it since the nal -m is
often replaced with the anusvara, diculties may arise if the rules for pronouncing
the anusvara are not thoroughly practised.
In looking up words containing the anusvara it is essential to sound the word,
replacing the anusvara with its savarn.a nasal where applicable, and then look
up the word in the standard alphabetical order with that substituted nasal. For
example, in the word sMa.pra.dan+ the anusvara is sounded as the savarn.a m,+ and is
then found in the dictionary where one would expect to nd sa}pra.dan+ similarly for
sMak*:p+, look up sa*.p+ for sMa:]a.+, saV]a.+ and for sMa. +.D+, sa.anD+
; etc.
There are two points to bear in mind here: rstly, the tradition followed by MonierWilliams makes this nasal substitution only before a sparsa (the twenty- ve from
ka to ma) and secondly, one needs to make the same nasal substitution for the
anusvara for the words in the dictionary, i.e. sound them!
Do remember that in the dictionary the anusvara before an antah.stha is not
substituted with a nasal: for example, the anusvara in sMa.va.a= is not substituted
and therefore, in the dictionary order where the anusvara appears before the
consonants, sMa.va.a= will be before saga= which in turn will be before sMak*:p+, the
last being in the dictionary order of sa*.p+.
As an illustration of the importance of sounding the words, examine the third column
of page 1125 of the dictionary: the last three words given in devanagar script are
sMak*:a.l , sau , and sMaku*.c,+ | and that is the alphabetical order in sound!
This principle applies wherever the anusvara occurs, and not only to words
beginning with sam-. For example, in column two of page 124 is the entry Ah:m,+
in devanagar, and derived from it (and hence transliterated) is the next entry
word aham. (note the anusvara): the samasa formed with aham. | (-yati, -yu,
-vadin etc.) are listed in alphabetical order | but note that the sparsa (-karan.a,
-kartavya, etc.) are listed after the antah.stha and us.man. Again, the anusvara
is sounded with its replacement savarn.a nasal to give Ah:*=*N+ (and, of course, z
follows the anusvara in the alphabetical order).
98
13.2
Structure of Devanagar Level
The outermost layer of the dictionary, namely the entries in devanagar script,
should ideally only contain dhatu, but in practice it includes those words whose
form has changed radically (e.g. by samprasaran.a), or have a pre x added, or
whose dhatu is not known.
Turn to page 733 of the dictionary and examine the devanagar entries in the rst
column. The last word in this column is in large devanagar type, indicating a
major dhatu: the entry for this word begins with its transliterated form, followed
by \ cl. i " which stands for `class-1'. There are ten classes of dhatu (i.e. ten ways
of conjugating verbs), but this, together with the other information given in the
dhatu entry, will be explained in the next lesson. At this stage, simply be aware
that a devanagar entry, followed by its transliterated form and a class number, is
a dhatu.
Returning to the top of the rst column, the rst entry is ba.aB,+, which is a dhatu,
and is followed by ba.aBa.ts+ which is not a dhatu, but the entry shows that it is
derived from the dhatu badh. For the next three words, no etymology is given,
which means that the dhatu is not known (to Monier-Williams anyway) and may be
foreign words absorbed into Sanskrit. The word buak, is onomatopoeic (i.e. it sounds
like the thing signi ed). This is followed by buak whose etymology is not known,
the dhatu bua.8, , and bua.8*.s+ whose root is not known. The next dhatu bua9, is also
given the alternative reading vung
_ the similarity in both sound and form of b+ and
v+ allows this to happen. The next two entries are dhatu note that bua.f, is given as
both class-1 and -10, and buaq, is class-6. These are followed by the onomatopoeic
buaq*.buaq, the personal name bua.a.dl, and the dhatu bua.d,. The next word, bua:, gives
references to columns two and three: common words like this are often listed in the
devanagar with a cross-reference given to their etymological entry position. This
is followed by the onomatopoeic bua;u*d, and nally the dhatu buaD,+.
That was a pretty mixed bag of words, but does illustrate the many types of entries
listed in devanagar, except for those beginning with a pre x which form the bulk
of the words listed in devanagar. Page 672 of the dictionary is representative of
this type of entry: the second column begins with :pra. a.tasuac,+ and in transliteration is
p
conveniently split into the pre x and dhatu as prati- suc the next entry :pra. a.tasMaca=,
p
has two pre xes prati-sam- car, and half-way down the column is :pra. a.tasama.a.a.dZ,+
p
having three pre xes prati-sam-a- dis. The transliteration shows the etymology
of the word, and allows each element to be separately examined in the dictionary.
Lesson 13
13.3
99
Structure within non-Dhatu Entries
The entries for naman (nouns), vises.an.a (adjectives), and avyaya (indeclinables,
typically kriya-vises.an.a adverbs), are listed in their pratipadika form, followed
by a description indicating their meaning.
The rst division of naman is into linga
_ (gender), and this is shown in the dictionary
by `m.', `f.' or `n.' (masculine, feminine, neuter). The vises.an.a, in bringing a quality
to a naman, must have the same linga
_ as that naman, and must therefore be able
to take any form of the three linga
_ , and are thus indicated in the dictionary as
`mfn.'
Examine the entry for Buddha in the second column of page 733: it begins with
`mfn.', indicating a vises.an.a however, six lines down is `m. a wise or learned man',
so Buddha can also be a masculine naman and further down (just before the bold
type -kapalin) is `n. knowledge', thus the word Buddha can also be a neuter noun.
Thus the same pratipadika form may be a vises.an.a or a naman, so if the heading
word indicates `mfn.' one may yet nd `m.' etc. buried in the text for that word. The
converse does not apply: had the entry been `Buddha, m. a wise man', there will
be no `mfn.' buried in the text | this reects the overall structure of the dictionary
in tapering down from the general to the particular, from a quality (vises.an.a) to
the speci c (naman).
A fuller illustration of this principle is shown under the entry .daGR+ near the bottom
of the third column of page 481:
1st line: mf(#a)n. long, lofty, tall . . .
vises.an.a form
5th line: (am ) ind. long, for a long time . . . avyaya form
7th line: m. a long vowel . . .
pum.-linga
_ naman
12th line: (a ) f. an oblong tank . . .
str-linga
_ naman
14th line: n. a species of grass . . .
napum.saka-linga
_ naman.
This is the general order followed in the dictionary within the text for an entry word.
Return to page 733, and lightly read through the text for the word Buddha: the
information provided about Gautama Buddha (the founder of Buddhism) is typical
of the encyclop*dic scope of the dictionary.
Now lightly read through the text for the word Buddhi in the third column. Here,
as a bonus, you are given an insight into the mythology of India, where the gods and
their consorts are the personi cation of universal forces: from Daks.a (the Creative
Force) arises Buddhi (Intelligence), which, guided by Dharma (Law), produces
Bodha (Knowledge).
100
13.4
References and Abbreviations
On page
of the Introduction is the List of Works and Authors that MonierWilliams has consulted in compiling the dictionary: look for a few works that you
know to see how it is abbreviated in the body of the dictionary, for example, Bhag.
for Bhagavad-gta and MBh. for MahaBharata.
xxxiii
The next page of the dictionary has a list of symbols that are used: read through and
understand these. The last four symbols are not very clear, but will be elucidated
in the next section.
The following page of the dictionary lists the abbreviations that are used.
Make it a discipline to look up the references (when appropriate) and abbreviations
(always) when you are not sure what it stands for | this way you will very soon
become familiar with them.
13.5
Special Symbols @ and a b c d
The little circle (@) is a standard abbreviation symbol in the devanagar script to
denote either the rst or last part of a word that has to be supplied from the context.
Monier-Williams also uses this symbol to abbreviate English words in order to save
space. As an illustration of its use, if the word `conscious' is under discussion, rather
than repeat the word in full, the abbreviation con or even c may be used similarly
ly would mean consciously, and ness, consciousness.
The caret symbols a b c d denote a joining of vowels, short or long. These are used in
the transliterated script for samasa (compound words), and very helpfully indicate
the length of the nal and initial vowels at the point of union, so that the words
may readily be looked up separately:
a denotes the joining of two short vowels, as a + a ) a,
c denotes the joining of a short with a long vowel, as a + a ) ac ,
b denotes the joining of a long with a short vowel, as a + a ) ab ,
d denotes the joining of two long vowels, as a + a ) ad .
These are also used when the rules of sandhi change the vowel sound,
e.g. a + i ) ea , a + u ) oc etc.
13.6
Signicance of Hyphen and Caret Symbols
Turning again to page 733 column two, nd the samasa listed under Buddha
beginning with -kapalin and -kalpa: the hyphen not only indicates that the word
Lesson 13
101
is appended to Buddha (see section 12.3), but that kapalin and kalpa are words
that may be separately looked up in the dictionary, and this is why the next samasa,
-kaya-varn.a-parinis.patty-abhinirhara is itself hyphenated (each element, kaya
and varn.a for example, may usually be separately found in the dictionary).
Where the samasa is printed in full, as in Buddhac gama, which stands for
Buddha-agama, this use of the caret symbol allows the second word of the samasa
to be correctly determined as beginning with a drgha a, so that agama can be
separately looked up. Similarly, the samasa printed as Buddha
a d.uka stands for
Buddha-ed.uka and not Buddha-aid.uka (which are the two possibilities listed in
the vowel sandhi grid of 10.A.3): the reasoning here is that, although O and Oe are
both long vowels, the `weaker' of the two vowels in terms of gun.a and vr. ddhi (see
section 10.A.2), is given the thin stroke in the caret symbol.
13.7
Supplement to Dictionary
If a word is not found in the main dictionary, look for it in the supplement of
Additions and Corrections beginning on page 1308.
13.8
Dictionary Practice
Look up the words in the following list in the dictionary: the words may be at any
of the four levels of alphabetical order, and they may be printed in devanagar or
transliterated Roman or both, and hyphenated appropriately.
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
A:nvaya.v.ya. a.ta=e k
lGuasa<va.ta.+
a.va.va.a.h:k*:a.l
sMa~kx*:t+
k*:5a.l*yuag+
mUa.Q
sMagamama.a.N+
a.a0ayaDamR+
ba.a.l*>*.paDxak,
Baga.va.@L*.a.ta.+
11.
12.
13.
14.
15.
16.
17.
18.
19.
20.
mana.eaBa.va.Za.asan+
a.va.veak
sMaya.eag+
Dya.anaya.eag+
A.Dya.a=*ea.p+
=a:*a.tx+
a.h:=*NyagaBR+
:pUa.vRa.pa a.pa.a.d
?e *cCja.a. a.t+
A:gxa.ha.t+
102
Lesson 14
Tracing a Word to its Dhatu
14.1
Since the dictionary is essentially etymologically arranged, it is quite straightforward

to trace a word to its dhatu. This is best illustrated by example: nd the word
Vy-a~njana in the third column of page 1029.
Vy-a~njana, mfn. manifesting, indicating . . . m. a consonant . . .
n. decoration, ornament manifestation, indication . . . speci cation a

mark, badge, sign, token . . . a consonant.
Since this entry is not in devanagar, follow the entry words backwards (towards
A ) until an entry given in devanagar (the outermost level of alphabetical order).
In the middle of the second column is:
vy- a~nj . . . to anoint thoroughly to decorate, adorn, beautify to

cause to appear, manifest, display
v.ya/,+
This is the kriya from which the naman vya~njana derives. The next step in
analysing this word is to look up the two component parts of this verb, namely vyand dhatu a~nj. In the second column of page 1028 is found:
v.y,+
vy, in comp. before vowels for 3.vi
Here is an example of vowel sandhi used in forming a word. In the third column of
page 949 is the entry:
3.vi, ind. . . . used as a pre x to verbs and nouns . . . to express
`division', `distinction', `distribution', àrrangement' . . .
a.v+
Compare this with the sense of the upasarga vi- given in 7.B.1. The dhatu of
vya~njana is given in the rst column of page 11:
a~nj, . . . to decorate . . . to celebrate . . . to cause to appear, make
clear . . .
A:/,+
Compare all this information with the description of vya~njana given at the start
of the rst lesson. Now that may appear to be a very owery description of what
104
is simply a consonant, but in this complicated hi-tech age the profundity of simple
things is often overlooked: the ability to form a range of consonants is what separates
man from animal. A dog may be able to howl a perfect prolonged u3 , but can it
embellish that to say `Who could fool you?'. Without adorning the vowel sounds
with consonants there would be no language: without language there would be no
mathematics or science, no history or philosophy, no culture or civilisation | all this
rich diversity is founded on the simplicity of vowels and consonants. Indeed, many
scriptures speak of the creative power of speech, and that creation itself is spoken
into existence.
14.2
Dhatu Entry Information
Turn again to the dhatu budh at the bottom of the rst column of page 733.
That the dhatu is printed in large devanagar means that it is a major dhatu
this is followed by the numeral `1', which indicates that there is another entry
budh, which may or may not be another dhatu (in fact it is a vises.an.a listed
in the rst column on the next page). Next, `cl.i. P.A# .' indicates that the dhatu
conjugates according to class-1 rules in both parasmai-pada and atmane-pada
this is followed by the Dhatu-Pat.ha reference `(Dh#atup. ,11)'. The following
two words, which are printed in feint italic, `bodhati, te ', show the lat. (present
indicative) prathama purus.a eka-vacana forms, i.e. bodhati and bodhate for
parasmai-pada and atmane-pada respectively.
Next there is `cl.4. A# .' which means that it may also be found as a class 4 atmanepada verb `( ,63)' is a Dhatu-Pat.ha reference next `budhyate ' shows the lat.
conjugation as a class-4 verb. The èp. also P. ti ' means that in the epics it
may also be found conjugated in (class-4) parasmai-pada, where the form will be
buddhyati. (Observe, just as a matter of interest, that the dhatu vowel remains
unchanged when conjugated as a class-4 verb, but in the class-1 conjugation the
vowel has the gun.a form some other classes use the vr. ddhi form.)
xxi
xxvi
The next eight lines show conjugations of this dhatu for other lakara (tenses and
moods) etc., before starting the English translations `to wake' etc. (Again, simply
note that some of the forms have the rst syllable `re-duplicated' (e.g. bubodha)
or pre xed with à' (e.g. abudhram).)
Within the English translation section, passive forms of the verb are given, as also
derivative verb forms. The last four lines show associated verbs in several other
Indo-European languages.
Lesson 14
105
Some dhatu entries give much less information, such as ba.aB,+ near the top of the
p
rst column, whilst others give more information, such as kx 1. kr. at the end of
page 300, but the overall format is similar.
14.3
Numbered Entries
Words having the same spelling may have quite dierent etymologies having
dierent derivations, their meanings will be quite dierent: in such cases, where
entries have the same spelling, Monier-Williams numbers these 1,2,3, and so on.
For example, turning to the second column on page 32, nd the two consecutive
entries for A:nua. aca.t+ |
1. anu-cita, mfn. ( 1. ci ), set or placed along or . . .

A:nua. aca.t+ 2. an-ucita, mfn. improper, wrong, unusual strange . . .
A:nua. aca.t+
Note the numerals and the dierent derivations indicated in the transliterated forms.
p
The rst is derived from 1. ci, which in turn indicates that there is more than one
dhatu ci (in fact there are three) the second is derived from p uc, which is found
by looking up ucita on page 172c.
Further down the column are two entries for anucchindat which have dierent
derivations from the same dhatu. Note that the numerals appear before the
transliterated form, both here and in A:nua. aca.t+ above. Also note that these words do
not have consecutive entries: indeed they may be separated by several pages, as we
shall see shortly.
In the next column, observe that there are two entries for A:nua:]a.+, which both have
the same etymological derivation, but the rst is a verb and the second a noun.
Turning to page 662, nd the entry for pratipan.a in the middle of the second
column, where it is given as {1. -pan.a m. (for 2. see s.v.) |now nd the meaning of
`s.v.' in the list of abbreviations on page
(two pages before page 1). The entry
for pratipan.a that we are now examining is at the third level of alphabetical order,
and we now need to nd it at the outermost (devanagar) alphabetical order: this
is at the bottom of the second column on page 667. Here Monier-Williams gives a
clear reference to where we have just come from: where the numbered entries are
widely spaced ( ve pages in this case), he usually, but not always, gives pointers to
where the other entry may be found.
xxxv
Be aware that the numbered entries inform you that there are at least two entries
with the same spelling: for example, there are ve entries for cit on pages 394{5,
106
and a sixth on page 398. It would be a useful exercise to nd them.

Be warned that this numbering system is not perfect: for example, :pra:]a.+ is indicated
as a verb in the rst column of page 659, and as a noun in the second column, but
these are not numbered. Again, in the third column of page 401 are two entries for
cea.t,+ , but neither of refer to cet in 397c, which in turn does not refer to the other two.
Although there are these inconsistencies, there are fortunately very few of them.
14.4
Misleading Words
Because of the etymological foundation of the dictionary and its four levels of
alphabetical order, some words may not be straightforward to nd. We shall examine
three such words here.
As.t.anga
_ | Turn to page 116: according to the heading words we should nd
as.t.anga
_ here. If we look down the second column there are three entries for as.t.a,
and in the next column as.t.a, but there is no as.t.anga
_ , not even at the third level
of samasa. However, for reasons best known to himself, Monier-Williams has here
decided to have a separate entry word for samasa where the adjoining word starts
with à': as.t.anga
_ is on the third line of the rst column of page 117.
Vicara | Turn to page 950: again, according to the heading words we should nd
vicara in the middle of the second column. All the samasa listed on this page are
derived from a.v+ on the previous page. The trick here is to escape out of the current
level of alphabetical order to the next higher level: searching backward for the entry
word under which these samasa are listed, we come to a.v+ on the previous page.
This is the outermost (devanagar) level | now remain at that level and search
for vicara. The next devanagar entry is a.vMa.Z+ on 953b, and the page ends with
a.vak*:l : continue forward at the devanagar level, looking for a.vaca.a= . This will
p
be found near the bottom of 958c where it simply refers to vi- car, and thus the
entry word is found near the bottom of 958b.
Sattva | This will be found listed as sa<v+ in 1138b, where it gives a cross-reference
to page 1135 column 2: and indeed there it is listed as Sat-tva. However, if the
word had not been found on page 1138, you would not have found it on this page,
not according to the heading words which indicate that it is on the previous page.
It is in fact listed at the third level in 1134c where it simply gives `see below' | this
means scan forward over entry words (at level-1 or -2) for the entry.
These examples illustrate that the page heading words are a useful guide to get
within ten pages or so of the target word, but that they can also mislead. This
Lesson 14
107
confusion arises because the page heading words may refer to any of the rst three
levels of alphabetical order: if the word sought is not quickly found on the expected
page, then examine the heading words a few pages before and after. If the word is
still not found, then examine entries at the next level of alphabetical order, until
nally at the outermost devanagar level.
14.5
Di cult Words
Some words, because of their etymological development, are just plain dicult to
nd. When you have exhausted all the tricks that you know with the dictionary
(see sections 12.5, 13.7, and 14.4), then consider the following:
(a) If it is a short word (one or two syllables) then it may not be listed in the
dictionary at all: the declension of pronouns, for example, is irregular
and the only recourse is to lists of paradigms.
(b) If it has three or more syllables, treat it as a samasa and use the sandhi
rules to split it into parts at every syllable | this process may seem rather
laborious, but it does get there if the word is listed in the dictionary. This
detective work is illustrated with two words:
Yatatman | The word is not found as a samasa under y+ or ya.t,+ , and there
is no entry word Yata. So let's split the word at a: we could have yata-atman,
yata-atman, yata-atman, or yata-atman. The rst two don't help because we
have already found that there is no entry word Yata | but there is an entry word
ya.t+ .
Don't get excited: it is a guess and could be wrong. Nevertheless, following

this clue to page 845 we nd Yatac tman in the third column | who would have
guessed that it came from dhatu yam?
Svadhyaya | Having worked our way to the devanagar level of alphabetical

order, we nd the closest entry is ~va.aDa.an+, but reading the text for that entry we
nd `svaa dhyaya, see p 1277, col.2.' And indeed there we nd two entries: the rst
as a noun and the second as a verb.
Alternatively we could have tried splitting the word ourselves, working from the left
again, to produce su-adhyaya, su-adhyaya, sva-dhyaya, sva-adhyaya, svaadhyaya, sva-adhyaya, or sva-adhyaya. Having found nothing useful under su+
( ve entries) or sU+ (four entries) or ~va.+, we would have arrived at ~v+ and thus nd
the entries in 1277b.
However, this is not the end of the story: we want to nd the dhatu from which
108
this word derives, but cannot nd adhyaya on page 23 where we would expect it.
So we do the same trick again, starting from the left, giving a-dhyaya: but nothing
suitable is found under A (six entries), nor is the entry word dhyaya found. So we
proceed to the next syllable: adhi-aya, adh-aya, adhya-aya, adhya-aya, adhyaaya, and adhya-aya. Again we nd nothing helpful under A +.D+ (two entries), but
under A.Da.+ we nd the entry word Adhy-aya! Having found the word, we return
p
to the devanagar level (A.Da.+ ), and there the dhatu is given as .
14.6
Dictionary Practice
Look up the following words in the dictionary and trace their etymology as shown
in 14.1 (as an aid, the English equivalent is also given):
1.
2.
3.
4.
5.
6.
(fearlessness)
:pUa.NR+ (abundance)
:pra.tya.a.ha= (withdrawal)
A:ca.a.pa.y+ (steadiness)
aca0ak*.mRa.a.va.d, (skilled in painting)
na.a. a.tama.a. ana.ta.+ (not too much pride)
A:Bay+
Lesson 15
15.1
Introduction to Dhatu-Pat.ha
A word standing alone expresses a universal: in a sentence it refers to a particular,

and its meaning is restricted according to the context. A word is thus given many
meanings in the dictionary: the particular meaning is selected according to the
context in which it is used.
Nouns, which name things, `freeze' an aspect of the activity of a dhatu whereas
verbs, which express the activity of a sentence, derive directly from the dhatu. A
dhatu is therefore the most universal element of all words and the Dhatu-Pat.ha
is a dhatu dictionary, as it were: it provides a sense of the underlying meaning of
the dhatu | usually in just one word!
The Dhatu-Pat.ha (lit. `Recitation of Roots') also encodes a wealth of grammatical
information about the conjugation of verbs and the formation of nouns derived from
each dhatu: much of this information will not be used at this stage of the study.
This lesson is concerned with extracting the artha, or `meaning', of each dhatu
from the Dhatu-Pat.ha, and its application in the study of the scriptures.
15.2
The Contents Page
This lists the ten gan.a, or classes of dhatu conjugation. Each gan.a is named
after the rst dhatu in its section: for example, the rst is Bva.a.a.d:ga.N+ , which word
p
is formed from bhu-adi-gan.a, the class beginning with bhu, where adi means
`beginning with'.
The eleventh class, k*:NqW *.a.a.d:ga.N+ , is a class of dhatu derived from nouns, i.e. names
that have come to be used as verbs. As an example of this class in the dictionary,
see 2. Payasya in 586a, where `Nom.' is the abbreviation for `Nominal Verb'. (Note:
`Nominal' is the adjectival form of `noun', and here means `derived from a noun'.)
The immediate utility of this page is that it connects the dictionary classi cation,
e.g. cl.1, with that used in the Index, i.e. Bva.+@.
Note that this publication makes use of alternate character forms to those we have
been using in this course (see section 9.A.2) and since the page numbers are also in
devanagar, note the numeral forms used (especially for 8 and 9).
110
15.3
The Text Body
Turn to the rst page of the body of the Dhatu-Pat.ha: after the heading the rest
of the page, and subsequent pages, are divided into two columns. In the lefthand
column the rst entry is:
BU+
sa<a.aya.am,+|
This is the rst dhatu (bhu) together with its artha, or `meaning', (sattayam).
Following this are a few lines of technical information which may be ignored, and
the next entry is:
O:D+
vxa:*E+|
and so on. Note the layout which gives the dhatu and artha in two columns: there
may be more than one dhatu in the rst column, and the artha may spread over
more than one line. For example, a little lower down is the entry:
na.a.Tx+ , na.aDx+
ya.aXa.ea.pa.ta.a.pEaaya.R+ YY.Za.+HSu+|
giving both dhatu the same artha.

In the Dhatu-Pat.ha each dhatu usually has an extra syllable appended to the end
of it, and sometimes one appended before it: for example, the above four appear
in the dictionary as BU+ O:D,+ na.a.T,+ and na.aD,+ . These extra syllables are called
anubandha (lit. `bound along with'), and encode further grammatical information
which is not now required: our interest at this stage is in the basic dhatu and its
artha.
The artha is generally expressed in saptam vibhakti, which may be translated
as ìn the sense of'. For example, the dhatu edh (to prosper, increase, become
happy grow strong { mw231c) is used ìn the sense of v.rddhi (growth, success,
fortune, etc. | mw1011a)'. Thus all words derived from this dhatu have this sense
of expansive good fortune | a sense that may be overlooked in some of the English
words oered in translation.
Where the artha is a single word, the eka-vacana form is used when two words
(formed into a samasa), the dvi-vacana form and when three or more words, the
bahu-vacana form. When the artha has two or more words, the compound formed
is an itaretara dvandva samasa (see 11.B.1), forming a simple list of words which,
not compounded, would be expressed in the same vibhakti and be joined together
with c+ (and). In this type of samasa only the last word of the compound takes a
vibhakti ending the others remain in their pratipadika form.
Lesson 15
111
To get back to the pratipadika form as listed in the dictionary, use the following:
(a) eka-vacana endings have six forms:
for an ending in -e, read -a,
for an ending in -ayam, read -a,
for an ending in -yam, read -i,
for an ending in -au, read -i,
for an ending in -i, remove -i (i.e. ends in halanta vya~njana),
for an ending in -uvi, read -u,
(b) dvi-vacana samasa end in -yoh., which is removed,
(c) bahu-vacana samasa end in s.u,
for those ending in -es.u, read -a,
in other cases simply remove the -s.u.
The itaretara dvandva samasa will generally not be found in the dictionary as
one would expect to nd a samasa listed, instead the words will need to be looked
up separately. This is straightforward enough: simply start at the left and nd the
word in the dictionary that uses most syllables assume that is the rst word, and
then repeat the process with the following syllables | but do remember that sandhi
rules apply at the junction of words.
Some entries in the Dhatu-Pat.ha dier from the common format of dhatu and
artha illustrated above. For example, when the artha is given as two separate
words, both in saptam vibhakti, then the rst of the pair is a vises.an.a. The last
entry on the rst page is of this type:
[a.d
Av.ya.\e .Za.b.de|
Here the dhatu hrad (to delight or refresh { mw1307c) is used ìn the sense
of unmanifest (avyakta { mw111b) sound (sabda { mw1052b)'. The quality of
happiness and refreshment referred to, is thus that which comes from within, from
the stillness of unmanifest sound, and not that happiness and refreshment that
comes from without, i.e. through the senses | here we have a subtlety of meaning
that is not at all obvious from the English translation.
112
The interpretation of other variations in the format is described:

(a) When the dhatu is followed by c+ ( = and, also), then this has
the same artha as the previous dhatu.
(b) When the artha is given as a word followed by c+ , then the
artha for that dhatu is that word together with the artha of
the previous dhatu.
(c) When the artha is followed by na.eacya.te+ , it means that this artha
is not given elsewhere in the Dhatu-Pat.ha.
(na.eacya.te+ = n+ - o*cya.te+ = not spoken, i.e. not mentioned elsewhere.)
(d) When the artha is followed I*tyeake (= I* a.t+ - Oke = thus in one)
or I*tyanye+ (= I* a.t+ - A:nye+ = thus in another), this refers to artha
given in dierent versions of the Dhatu-Pat.ha as handed down,
and are comments by the compiler of this edition.
(e) Where the artha is given as a samasa ending in ATa.R+H
(prathama bahu-vacana of ATR+ bahu-vacana because the
artha applies to several dhatu), then ` ATa.R+H ' may be translated
as `for the purpose of', i.e. expressing motive.
For example, dhatu kr*:T,+ has the artha a.hM:sa.a.Ta.R+H ( a.hM:sa.+ = injury,
harm { mw1297c), and may be construed as `for the sake of
(causing) injury', or `with the aim of harming'.
(f) Some entries have an unusual format, enclosed by purn.avirama
({ ) and may have the order of dhatu and artha reversed: these
dhatu have a special meaning when they are ,ama.t,+ causatives
(treated as having an I*t,+ m,+ which prevents the normal
lengthening of A in the causative).
15.4
The Index
In the body of the Dhatu-Pat.ha the dhatu are grouped together according to
common grammatical features of their development into words. This ordering is not
at all helpful in seeking the entry for the dhatu. Fortunately the Dhatu-Pat.ha
includes an index listing the dhatu in alphabetical order and indicating where each
dhatu is listed in the body. The index also provides more grammatical information,
some of which is helpful in nding the correct dhatu.
Lesson 15
113
The index starts on page 53: each page is divided into two columns, so that a dhatu
together with its grammatical information is listed on one line, in fact, one row of
tabulated data, six columns wide. These columns, from left to right, provide the
following information:
(a) The dhatu together with its anubandha: the index is ordered
alphabetically according to this column.
(b) The gan.a to which the dhatu belongs: this column has just the
rst syllable of the gan.a, which is shown in full on the contents
page.
(c) The bhas.a (= speech synonymous with pada used in this
course), which may be atmane-bhas.a, parasmai-bhas.a, or
ubhayato-bhas.a (= both, i.e. atmane and parasmai ).
(d) Whether the dhatu is sea.f, (= s+ - I*f,, accepts augment I in its
expansion), or A ana.f, (= A:n,+ - I*f,, does not do so): this may be
ignored at this stage.
(e) The page number on which the dhatu together with its artha
may be found.
(f) The column on that page where it may be found.
The rst entry of the index shows that the dhatu A:k (with its anubandha)
belongs to Bva.a.a.d:ga.N+ , is :pa=smE+ - Ba.a.Sa.+, and may be found on page 17 column 1, as:
A:k , A:g+
ku*: a.fl*.aya.M+ ga.ta.E+|
Note that the index has two entries for dhatu A:k, with dierent anubandha
vowels (i.e. A:k and Aak ), whereas the dictionary lists only one dhatu A:k,.
Where the dhatu has more than one entry in the index, do make use of the
information given in the dictionary immediately after the dhatu heading word:
this information gives the class (gan.a) and bhas.a of the dhatu (see (b) and
(c) above) for example, `cl. 1 A# .' means class 1 (bhvadi-gan.a) and atmanebhas.a `cl. 4 P.' means divadi-gan.a parasmai-bhas.a, etc. (the table of contents
in the Dhatu-Pat.ha gives the order of the gan.a). Where the dictionary gives both
bhas.a, as `P. A# .', this is the equivalent of ubhayato-bhas.a in the Dhatu-Pat.ha.
At the end of the index, on page 99, is an Addendum listing entries that had been
omitted from the main index.
114
15.5
Dhatu Spelling Changes
The spelling of the dhatu may dier from that given in the dictionary:
(a) An initial s,+ may be spelt here with an initial :S,+.
p
p
E.g. sUa0+ ,asa.v,+ listed as a.Sa.vu+ o*.pa. ana.Sa.d, sa.d, as :Sa.dw.
(b) An initial n,+ may be spelt here with an initial :N,+.
p
p
E.g. na.a.d na.d, listed as :Na.d na.a.l na.a.l, as :Na.a.l.
(c) When the dhatu has a nal I as an anubandha, it may require
the insertion of a nasal after the vowel of the dhatu.
p
p
E.g. Aanand nand, listed as qu ] na.a.d mua.Nq*k mua.Nq, as mua.aq .
These spelling changes may also be combined, as in anand+
the Dhatu-Pat.ha as a.Na.a.d .
p anand, which is listed in
(Those seeking the technical reasons behind these changes should consult the
commentaries to Pan.ini 6.1.64, 6.1.65, and 7.1.58 respectively.)
15.6
Illustrations of Dhatu-Pat.ha Use
The dhatu for each word of the previous exercise of Dictionary Practice (section
14.6) will be used as a practical demonstration in the use of the Dhatu-Pat.ha: the
dhatu is located in the index, then its artha found in the body, and nally the
artha is examined in the dictionary.
(1)
mw758a
p Ba.+ 1.bh, cl.3. P. . . . to fear, be afraid of
Dh.P. Index: ,aV+ ] Ba.+ .ju+@ :p+@ A@ 26 1

Dh.P. Body: ,aVaBa.+ Baye+|
p
mw747a Bay+ bhaya n. ( bh ) fear, alarm, dread . . .
Notes: This dhatu has its anubandha syllable placed in front of it: in the
index this is enclosed in square brackets so that the dhatu Ba.+ may be found
in alphabetical order. The class (juhotyadi-gan.a) and bhas.a agree with the
information provided in the dictionary, so the dhatu entry ,aVaBa.+ is sought in
the Dhatu-Pat.ha body in the rst column of page 26: it is the second entry.
The notes in section 15.3 may be used to `remove' the vibhakti from the artha
(although this declension should be familiar), and the remaining word in its
pratipadika form is looked up in the dictionary. In this case the given artha
is itself derived from the dhatu being examined, and thus provides no further
insight into the sense of the dhatu than that provided by the dictionary entry.
Lesson 15
(2)
mw648a
115
p :pX+ pr, cl.9 P. . . . to ll . . . to sate, cherish, nourish

.
Dh.P. Index: :pX+ ^

r *:+@ :p+@ se+@ 39 1
Dh.P. Body: :pX+ :pa.a.l*na.pUa=*Naya.e+H |
mw623a Palana mf(#$)n. guarding, nourishing . . . n. the act of guarding,
protecting, nourishing, defending . . .
mw642a Puran.a mf(#$)n. lling, completing, satisfying . . . m. `completer' . . .
n. the act of lling or lling up.
Notes: The index has three entries for dhatu :pX+ , so the class (kryadi-gan.a)
and bhas.a information from the dictionary is used to select the correct one.
The dhatu with its artha are in fact at the top of the second column of
page 39: there are a number of such errors, so beware! The vibhakti ending
of the artha is the dvi-vacana form (see section 15.3), so we can expect to
look up two words in the dictionary. As nouns (which is the sense here), both
words end in `-na' (with or without sandhi changes) | this is a common neuter
sux usually meaning `the act of . . . ', and is given as such in the dictionary
translation.
The artha palana adds the sense of `nourishing' to the ` lling up' of puran.a
(which itself derives from the dhatu pr. ). This gives a bene cial aspect to the
dhatu: it is not to ll to the point of bloatedness, nor is it to ll with rubbish,
but the sense is of generous abundance.
p
# . . . . to take, bear, carry
(3) mw1302a .` 1.hr.i, cl.1. P.A
Dh.P. Index: .`V,+ Bva.+@ o@ A@ 20 1
Dh.P. Body: .`V,+ .h:=*Ne+|
mw1289a Haran.a mf(#a or #$)n. carrying, holding, containing . . . n. the act of
carrying or bringing or fetching.
Notes: The gan.a and bhas.a are used to select the dhatu entry.
p k*.}p,+ kamp, cl.1.A# . . . . to tremble, shake.
(4) mw252b
Dh.P. Index: k*:a.p+ Bva.+@ A+@ se+@ 8 2
Dh.P. Body: k*:a.p+ ca.l*ne+|
mw391b Calana, mf(#a)n. moving, movable, tremulous . . . n. shaking motion,
shaking, trembling.
Notes: If the dhatu is not found at its expected place in the alphabetical order
in the index, nor in the Addendum, then check for applicable dhatu spelling
changes (see section 15.5): the third rule applies here.
(5a) mw395b
p aca.t,+ 4.cit, cl.1 . . . to perceive, x the mid upon, attend to . . .
Dh.P. Index:
aca.ta.+ Bva.+@ :p+@ se+@ 2 1
116

Dh.P. Body: aca.ta.+ saV]a.ane+|
mw1133c Sam
. -j~nana mf(#$)n. producing harmony . . . n. unanimity, harmony
with . . . consciousness . . . right perception
Notes: Again, the gan.a is used to select the entry in the index.
Observe the aspect of harmony and unity provided by the artha: there is no
passion or ulterior motive in the perception or attention of the dhatu cit.
(5b) mw300c
p kx 1.kri . . . cl.2. P. . . . to do, make, perform, accomplish.

.
Dh.P Index: qu ] kx*.V,+ t+@ o@ A@ 38 2

Dh.P. Body: qu*kx*.V,+ k*.=*Ne+|
mw254a Karan.a mf(#a)n. doing, making, eecting, causing . . . m. a helper,
companion . . . n. the act of making, doing, producing, eecting, . . .
Notes: The dictionary entry for this dhatu is quite lengthy: reading through
the rst column of page 301, it also gives `cl.1. P.' and `cl.5. P.' as well as `cl.8
(this is the usual formation in the Br#ahman.as, S#utras, and in classical Sanskrit)'.
The Dhatu-Pat.ha does not list a class 2 dhatu kx , hence the return to
the dictionary for more information. In practice the cl.5 dhatu should also
be examined, but its artha a.hM:sa.aya.am,+ , meaning ìn the sense of injury' is
inappropriate to the original word that led us to the dhatu in the rst place.
(5c)
mw963b
p a.va.d, 1.vid, cl.2. P. . . . to know, understand, perceive, learn . . .
Dh.P. Index: a.va.d A@ :p+@ se+@ 25 1

Dh.P. Body: a.va.d :]a.ane+|
mw426a J~nana n. knowing, becoming acquainted with, knowledge . . .
Notes: The gan.a and bhas.a given in the dictionary are used to choose among
the ve entries in the index for dhatu a.va.d, .
p
# . . . . to think, believe, imagine.
(6) mw783a man,+ man, cl.8.4. A
Dh.P. Index: man+ a.d@ A+@ A@ 29 2 and manu+ t+@ A+@ se+@ 38 2
Dh.P. Body: man+ :]a.ane+| and manu+ Ava.ba.eaDane+|
mw426a J~nana n. knowing, becoming acquainted with, knowledge . . .
mw101b Ava-bodhana, n. informing, teaching, instruction.
Notes: Since the dictionary gives two classes for this dhatu and both are
listed in the index, the artha for both need to be examined. In fact, given
the original word that led to the dhatu, and which was to do with pride, both
artha seem applicable: one to the opinion held in the mind, and the other to
the expression of that opinion in word or deed (thus informing others).
Lesson 15
15.7
117
Study of the Scriptures
Since most scriptures are available in translation, it would be a pointless exercise to

apply the dictionary and Dhatu-Pat.ha to merely con rm the translation in fact,
all translations are signi cantly awed by two factors: the rst is the translator's
level of understanding of the subject (in respect of the scriptures that means spiritual
understanding) and his ability to express that understanding in another language
secondly, the student (the reader of the translation) has his own limited associations
with the words in his native tongue. These sources of error and misunderstanding are
minimized by studying the scriptures in the original language, and, through tracing
the etymology of each word to its nest, most universal source, thereby overcoming
the limitations that the individual has with particular words and ideas.
The translations are helpful in selecting a passage for study, and to con rm that the
correct word is being traced through the dictionary. After this preparatory work
with the dictionary and Dhatu-Pat.ha, the passage is considered in relation to the
section of scripture in which it occurs, in relation to the scripture as a whole, in
relation to the entire Veda: the mind is thus turned towards the spiritual world,
and slowly trained to view all of life in terms of that spiritual world. It does take
practice before realising that the scriptural texts can only be understood through
contemplation and meditation.
As an illustration of this method of study, let us examine a verse from the Bhagavad
Gta: Chapter 10 Verse 33 is selected simply because it has some words and concepts
introduced in this course. It is an extract from Sr Kr. s.n.a's response to Arjuna's
asking for details of His Glory and powers the rst line of the verse is:
A:a=*a.Na.amak*:a=*e+Y.;asm+
/ / /
n H sa.ama.a.asak*.~y+ c+|
Of letters I am the letter A I am the copulative of compound words.

At rst glance, this statement does not appear to be at all profound or have
any spiritual associations whatsoever, but nonetheless we pursue it through the
dictionary and Dhatu-Pat.ha to see what may be discovered.
Removing the sandhi from this line, we have:
A:a=*a.Na.am,+ A:k*:a=H A
;/asm+
/ /
n H sa.ama.a.asak*.~y+ c+|
| s.as.t.h bahu-vacana of A: a= .
mw3b A: a= a-kshara mfn. imperishable . . . n. a syllable, letter, vowel, sound, word.
mw1a A 3.a a pre x having a negative or privative or contrary sense.
A:a=*a.Na.am,+
118
mw327a Ks.ara mfn. melting away, perishable m. a cloud n. water the body.
p
mw327a a=, ks.ar, cl.1. P. to ow, stream, glide to melt away, wane, perish . . .
Dh.P. a= Bva.+@ :p+@ se+@ 18 2| a= sa|a.l*ne+|

mw1132a Sam
. -calana n. moving about, agitation, trembling, shaking.
| prathama eka-vacana of A:k*:a= .

mw1a A -kara m. the letter or sound a. (see beginning of Lesson 3.A).
p
mw274b k*:a= 1.kara mf(#$)n. 1.kr.i . . . making, doing, working . . . m. (ifc.) an act,
action the term used in designating a letter or sound or indeclinable word . . .
p
mw300c kx 1.kr.i . . . cl.2. P. . . . to do, make, perform, accomplish
Dh.P. qu ] kx*.V,+ t+@ o@ A@ 38 2| qu*kx*.V,+ k*.=*Ne+|
mw254a Karan.a mf(#$)n. doing, making, eecting, causing . . . m. a helper, companion . . . n. the act of making, doing, producing, eecting . . .
A:k*:a=H
| eka-vacana uttama-purus.a lat. (present indicative) of as = Ì am'.

p
mw117a A:s,+ 1.as cl.2. P. to be, live, exist, be present. . .
Dh.P. A:s+ A@ :p+@ se+@ 25 1| A:s+ Bua.a.v+|
mw760c 2.Bhu mfn. becoming, being, existing . . . f. the act of becoming or arising
the place of being, space, world or universe.
A
;/asm+
//
| prathama eka-vacana of }n} .

mw503b }M } n. a couple, male and female . . . m. a copulative compound (or any
compound in which the members if uncompounded would be in the same case and
connected by the conjunction ànd').
mw503b } original stem of dvi.
mw504c a} two.
}n}H
| s.as.t.h eka-vacana of sa.ama.a.,asak .

mw1206b sa.ama.a.,asak mf(#$)n. (from sam-asa ), comprehensive, concise, succinct,
brief relating to or belonging to a compound word m. or n. a compound word,
Bhag.
mw1152a sam,+ 2.sam ind. (connected with 7.sa and 2.sama ), with, together with,
along with, altogether.
mw1152a sam+ 2.sama mf(#a)n. even, smooth . . . same, equal, similar like, equivalent,
like to or identical or homogeneous with . . .
mw1111b s+ 7.sa ind. expressing `junction', `conjunction' . . . `similarity', èquality'
. . . `having the same'.
mw159c 1.Asa m. seat.
p
mw159c Aas,+ 2.as to sit quietly, abide, remain.
Dh.P. Aas+ A@ A+@ se+@ 23 1| Aas+ o*.pa.vea.Zane+|
sa.ama.a.asak*.~y+
Lesson 15
mw207a
119
Upa-vesana n. the act of sitting down, a seat the being devoted to or
engaged in.
c+ | avyaya c+ .
mw380a
c+
2. ca ind. and, both, also, moreover, as well as . . .
Reections: The following personal reections are oered as illustrative of this

process of study: they are neither right nor wrong, neither good nor bad they
are simply what were presented to the mind in considering the passage.
In all languages the rst letter of the alphabet is A. The primacy of its position
at the head of the alphabet reects its role as the source of the whole alphabet.
In Sanskrit this is easy to demonstrate: the gure given in 1.A.6 summarizes the
core role of A in forming all the vowels and from the ve mouth positions of these
vowels, are derived all the consonants. All words are formed from sound, and all
sounds are derived from A they are all but a modi ed form of that A , which is
their source and support.
In responding to Arjuna's question, K.rs.n.a gives many examples of being the
foremost of several classes, and here the illustration is being the A of letters. Here
the allusion is also to Consciousness as being the underlying Source and Support of
p
the manifest creation ( asa bhuvi, ìn this world').
The sounds of the alphabet are imperishable (aks.ara): they may be manifest, they
may change, they may be unmanifest, but are not subject to absolute destruction.
If the sounds of the alphabet are imperishable, how then does one describe their
source and support, the ever-present A ? This may be understood as referring to
the immutable Consciousness underlying the whole creation.
The mark of the dvandva samasa is that there is an equality between the
joined elements, and each retain its individuality (see 11.B.1). Giving this as the
foremost of the samasa | where there is no dierence in importance between the
elements | places the emphasis on that which links them together. By analogy it
is Consciousness that underlies the ever-changing variety of creation, holding it all
together as one, yet allowing the elements to retain their individuality.
By way of illustration, the attention at the moment is on the words on this page,
on their signi cance and meaning. But what of the letters which form the words?
Or the ink that forms the letters? And what about the paper that holds the ink in
place? The plain white paper, which is taken for granted, is like Consciousness and
all the words, which are deemed important and interesting, are like creation.
120
Study Practice
15.8
As a practice in using the dictionary and Dhatu-Pat.ha in studying the scriptures,

the other half of this verse from the Bhagavad Gta is oered, together with its
grammatical division down to the pratipadika level.
Examine each word in the dictionary, tracing it to its dhatu where possible, then
nd the artha in the Dhatu-Pat.ha, and examine those words in the dictionary.
Having done this mechanical work, consider the passage in a universal or spiritual
sense, and write down what is presented to the mind. There are no right or wrong
answers here, so do not look for clever results: the exercise is one of stretching the
mind to larger issues than those that daily life normally oers. There is no rush
with this part of the exercise: let the scripture come to mind over a period of a week
or so, and then write down your understanding in clear readable English. As with
all exercise, a little performed regularly has the greatest bene t in the long term.
A
h:mea.va.aay+H k*:a.l*.e+ Da.a.ta.a.hM
a.vaa.ta.eamua.K+H{
I am verily Time inexhaustible I am the Dispenser facing everywhere.
Removing the sandhi from this line, we have:

A
h:m,+ O
*v+ A:ay+H k*:a.lH Da.a.ta.+ A
h:m,+
a.vaa.ta.eamua.K+H{
prathama eka-vacana of personal pronoun Ì'.

avyaya = verily, indeed.
prathama eka-vacana of aks.aya = inexhaustible.
prathama eka-vacana of k*:a.l = time.
Ah:m,+ |
O*v+ |
A: ay+H |
k*:a.lH |
Note: from the information given in the dictionary, it is not possible to select which
of the entries in the Dhatu-Pat.ha index is the correct one: one needs to examine
the artha for the three possibilities and compare that with the meaning given in
the dictionary. (The last entry is the most appropriate.)
Da.a.ta.+ | prathama eka-vacana of dhatr. = dispenser.
a.vaa.ta.eamua.K+H | prathama eka-vacana of vi
svatomukha = facing everywhere.
Note: the verb A;/asm+
/ / used in the rst line of this verse, is implied here.
Suggestions for Further Study

There are many reasons for studying Sanskrit, from comparative linguistics to
liberation, from poetry to philosophy, from simple chanting to mythology. Whatever
the reason, the next obvious step is further study of the grammar.
A personal bias needs to be declared here: my interest in Sanskrit lies in studying
the scriptures, therefore translating from English into Sanskrit is irrelevant, and the
building of a vocabulary detracts from the penetration of the scriptures (because
of the limited worldly associations with familiar words). Furthermore, the range of
grammar needs to be very wide: from the full etymology of each word (including
the signi cance of each ax) to the gurative use in the most sublime writings.
There are a wide range of books on Sanskrit grammar available, ranging from the
introductory level to academic tomes: the majority of these approach the subject
as they would any other foreign language, i.e. with a view to translation, rather
than treating the study as a means to penetrate writings which express ideas and
concepts foreign to the Western mind-set.
Despite the above quali cations, the general reader will nd the rst ve books in
the list useful to further study of the grammar:
(a) The Geeta, The Gospel of the Lord Shri Krishna, translated by Shri Purohit
Swami, Faber and Faber: 80 pages, paperback.
In clear easy-to-read language, rather than a literal translation: a delightful
book, though expensive for its size. This translation provides a simple way of
getting the context of a verse being studied, and is also useful in selecting a
verse of interest to study. The verses are not numbered: it is worth the eort
to work through the book numbering the verses in pencil, as well as putting the
Chapter number in the top outer margin of each page.
(b) The Bhagavad-Gita, translated by Winthrop Sargeant, SUNY: 739 pages,
paperback.
The G#$t#a is written with simple and straightforward grammar, which, together
with its magni cent philosophy and wealth of practical advice, makes it an ideal
work with which to begin. This translation is especially suited to the Sanskrit
student, as it expresses the grammar of the text as well as giving a word-by-word
translation.
122
(c) Sanskrit Manual, A Quick-reference Guide to the Phonology and Grammar

of Classical Sanskrit, George S. Bucknell, Motilal Banarsidass: 254 pages,
hardcover.
As the title implies, it is a reference work containing many tables of noun
declension and verb conjugation, with indices linking noun- and verb-endings
and verb stems to the paradigm tables. A useful tool to determine the
pratipadika forms of nouns, tense etc. of verbs, from inected words.
(d) Teach Yourself Sanskrit, Michael Coulson, Hodder and Stoughton: 493 pages,
paperback.
This covers the grammar of Classical Sanskrit in some detail. Each chapter has
translation exercises into and out of Sanskrit, with answers given at the back of
the book. As a `part-time' student studying alone, this is a `hard' book because
of its style, depth, and large vocabulary. It is useful as a semi-reference book
when examining a particular concept in depth: the next book is a lot easier for
general study.
(e) A Rapid Sanskrit Method, George L. Hart, Motilal Banarsidass: 208 pages,
paperback.
Divided into thirty lessons, each introducing one or two topics, this book gives
a broad understanding of the language without getting bogged down in details
and exceptions. Each lesson has translation exercises, in both directions, but
answers are not provided.
(f) Laghukaumud#$ of Varadar#aja, translated by James R. Ballantyne, Motilal
Banarsidass: 451 pages, hardcover or paperback.
This contains approximately one third of the sutra s of Pan.ini 's A.s.tadhyay
gathered together thematically to exhaustively explain word formations in
Classical Sanskrit the text and commentary are in devanagar with English
translation. This is an exacting work and not to be tackled lightly, but is
essential study to penetrate to the full spiritual signi cance of words.
For further scriptural study, the Bhagavad G#$t#a with S"am.kara's commentary in
translation by A.M.Sastry is published by Samata Books the major Upanis.ads
are published with word-by-word translations of Sw#am#$ S"arv#ananda etc., by Sri
Ramakrishna Math or with S"am.kara's commentary by Advaita Ashrama (Eight
Principal Upanis.ads, and Chh#andogya, by Sw#am#$ Gambh#$r#ananda Br.had#aran.yaka
by Sw#am#$ Madhav#ananda).
Answers to Exercises
Answers: Lesson 1
1.B.3.d.1. You stand and I speak.
2. He stands and you speak.
3. I speak and you stand.
4. I stand and he speaks.

5. You speak and I stand.
6. I stand and speak.
1.B.3.e.1. tis.t.hati vadami ca

2. tis.t.hasi vadati ca
3. vadasi tis.t.hami ca
4. vadasi tis.t.hati ca
5. tis.t.hami vadati ca
6. vadami tis.t.hasi ca
Answers: Lesson 2
2.B.2.c.1. They (pl.) stand and they (two) speak.
2. You (two) stand and we (two) speak.
3. We (pl.) speak and they (two) stand.
4. You (s.) stand and you (two) speak.
5. You (pl.) stand and you (two) speak.
6. They (two) speak and we (pl.) stand.
7. He stands and they (pl.) speak.
8. You (s.) stand and we (two) speak.
2.B.2.d.1. tis.t.havah. vadatha ca
2. vadathah. tis.t.hanti ca
3. tis.t.hathah. vadathah. ca
4. tis.t.hanti vadami ca
5. tis.t.hati vadatha ca
6. vadatah. tis.t.hati ca
7. tis.t.hamah. vadathah. ca
8. vadatha tis.t.hasi ca
124
Answers: Lesson 3
3.B.3.c.1. The horse leads the man.
2. The man and horses (two) are standing.
3. The horses (two) lead the man to the trees (pl.).
4. The horse stands and the man speaks.
5. The man and the horse are leading.
6. We (pl.) lead the men (two) to the trees (pl.).
3.B.3.d.1. narah. asvam nayate
2. asvau naram nayete
3. narah. vadanti nayante ca
4. asvah. naram v.rks.am nayate
5. vr. ks.ah. asvah ca tis.t.hatah.
6. narah. asvan nayante
Answers: Lesson 4
4.B.3.d.1. The horse carries the man to the tree.
2. The man goes to the tree by horse.
3. You (pl.) take the trees (pl.) from the horse.
4. The horse carries the tree for the man.
5. The man and the horse go from the tree.
6. He leads the horse from the tree for the man.
4.B.3.e.1. asvena gacchati
2. asvam naraya nayethe
3. vr. ks.an asvaih. vahanti
4. asvan vr. ks.at gacchamah.
5. v.rks.am narat asvena labhavahe
6. asvah naram vr. ks.ebhyah. vahanti
Answers: Lesson 5
5.B.2.d.1. O man, you are standing on the horse.
2. The horses (pl.) of the men (pl.) are standing.
3. The man takes the tree from the horse.
4. The man's horses (pl.) are standing among the trees (pl.).
5. The horses (two) carry the trees (pl.) for the man.
6. He takes the man from the tree by horse.
7. The horse goes to the man from the tree.
8. He stands on the horse and speaks.
5.B.2.e.1. asvayoh. tis.t.hati
2. vr. ks.es.u narah. asvah. ca tis.t.hatah.
3. narayoh. vr. ks.ah. tis.t.hanti
4. narasya asvah. naram vr. ks.ebhyah. vahati
5. asvau naram vr. ks.am vahatah.
6. (he) asva v.rks.am naraya vahasi
7. narasya asvan vr. ks.at labhate
8. naram asvam v.rks.at vahathah.
Answers: Lesson 6
6.B.3.c.1. The girl leads the horse to the tree for fruit.
2. The horse carries the man and the girl to the tree.
3. The man's horse takes the fruit from the girl.
4. The men (two) take the fruit (pl.) of the trees (pl.) to the horse.
5. The girls (pl.) lead the men (pl.) to the fruit (pl.) by horse.
6. The girls (two) stand among the trees and speak.
7. I go to the trees (two) and take the fruit (pl.).
8. The man carries the fruit (two) from the tree for the girl.
9. The girls (two) take the fruit (pl.) from the man's tree.
10. The girl and the man carry the tree to the horse.
125
126
6.B.3.d.1. narah. tis.t.hati ca bala vadati

2. asvam nayethe ca phalam labhe
3. narah. bala ca v.rks.es.u asvabhyam gacchatah. (assume two horses).
4. naram balam ca asvam vr. ks.at labhavahe
5. narah. vr. ks.an asvena phalebhyah. gacchati
6. bala phale vr. ks.at asvebhyah. labhate
7. asvah. vr. ks.am balam naraya vahati
8. narah. asvam phalena nayate
9. asvah. phalani balah. naraya vahati
10. bale asve tis.t.hatah. ca phalam v.rks.at labhete
Answers: Lesson 7
7.B.2.e.1. balam vr. ks.at narasya asvam vahavah.

2. narah. bala ca tis.t.hatah. vadatah. ca
3. asvah. vr. ks.asya phale balabhyah. labhate
4. balayah. asvah. phalani naraya vahati
5. narah. v.rks.asya phalam balayai labhante
6. narasya bala asvan vr. ks.an nayate
7.B.2.f.1. We (two) carry the girl from the tree to the man's horse.
2. The man and the girl stand and talk.
3. The horse takes the tree's fruit (two) from/for the girls (pl.).
4. The girl's horse carries the fruit (pl.) for the man.
5. The man takes the fruit (s.) of the tree for the girl.
6. The man's girl leads the horses (pl.) to the trees (pl.).
7.B.2.g.1. phalani vr. ks.at asvena vahatha

2. balayah. asvau phalani naram labhete
3. asvam v.rks.asya phalani nayethe
4. narah. vr. ks.am asvat balayai labhate
5. bala asvah. ca vr. ks.es.u phalebhyah. gacchatah.
6. asvah. vr. ks.an narebhyah. vahanti
7.B.2.h.
:P*.l*.a. an+ vxa a.a.t,+ A:ean+ va.hT+| 1{

ba.a.l*.aya.+H A:a.E+ :P*.l*.a. an+ na=m,+ l*Bea.te+| 2{
A:am,+ vxa a~y+ :P*.l*.a. an+ nayea.Te+| 3{
na=H vxa am,+ A:a.a.t,+ ba.a.l*.ayE+ l*Ba.te+| 4{
ba.a.l*.+ A:+H c+ vxa ea.Su+ :P*.le*By+H gacCt+H| 5{
A:+H vxa a.an,+ na=e By+H va.h;
ant+| 6{
Answers: Lesson 8
8.B.5.c.1. bala agnim sundarat narat gacchati
2. narah. alpam v.rks.am balam agnaye sghram labhate
3. sundar bala alpam asvam nadm nayate
4. narau sundaran.i phalani alpat vr. ks.at labhete
5. guravah. alpam sundaram asvam nadyau nayante
6. alpah. vr. ks.ah. sundare agnau tis.t.hati
8.B.5.d.1. The girl goes to the re from the handsome man.
2. The man quickly takes the small tree to the girl for re.
3. The beautiful girl leads the small horse to the river.
4. The men (two) take the beautiful fruit from the small tree.
5. The teachers (pl.) lead the small beautiful horse to the rivers (two).
6. The small tree stands in the beautiful re.
8.B.5.e.1. narasya guruh. nadm asvena gacchati
2. bala alpam phalam narasya gurum vahati
3. balayah. guruh. alpayam nadyam tis.t.hati
4. guroh. bala sundare asve tis.t.hati
5. sundar bala naram alpam gurum sghram nayate
6. guruh. alpasya vr. ks.asya sundares.u phales.u tis.t.hati
127
128
8.B.5.f.

na=~y+ guaH na.dam,+ A:ean+ gacC a.t+| 1{
ba.a.l*.+ Apam,+ :P*.l*m,+ na=~y+ gua*.m,+ va.h a.t+| 2{
ba.a.l*.aya.+H guaH Apa.aya.am,+ na!am,+ a.ta. a.t+| 3{
gua=*e+H ba.a.l*.+ suand:=e A:e+ a.ta. a.t+| 4{
suand:= *+ ba.a.l*.+ na=m,+ Apam,+ gua*.m,+ .Za.aGram,+ naya.te+| 5{
guaH Apa~y+ vxa a~y+ suand:=e *Su+ :P*.le*.Su+ a.ta. a.t+| 6{
Answers: Lesson 9
9.B.5.c.1. narah. phalani labhate iti bale vadatah.
2. he guro bale nayase iti alpah. narah. vadati
3. asvah. vr. ks.asya phalani balayai vahati
4. phalam vr. ks.ayat asvena naraya vahatah.
5. vr. ks.am alpau agn asvaih. sghram vahami
6. nad alpam vr. ks.am sundarm balam vahati
9.B.5.d.1. \The man is taking the fruit (pl.)," the girls (two) say.
2. \O teacher, you are leading the (two) girls," the small man says.
3. The horse carries the fruit (pl.) of the tree for the girl.
4. They (two) carry the fruit (s.) from the tree by horse for the man.
5. I quickly carry the tree to the small res (two) by horse (pl.).
6. The river carries the small tree to the beautiful girl.
9.B.5.e.1. phalani asvam labhe iti bala gurum vadati
2. vr. ks.am nadm vahami iti narah. balam vadati
3. balayah. phale naram sghram labhadhve
4. phalani balayah. v.rks.at labhavahe
5. narah. bala ca sundaram gurum nadya gacchatah.
6. sundar bala asvam alpan vr. ks.an phalebhyah. nayate
9.B.5.f.
129
:P*.l*.a. an+ A:am,+ l*Be+ I* a.t+ ba.a.l*.+ gua*.m,+ va.d a.t+| 1{

vxa am,+ na.dam,+ va.ha.,am+ I* a.t+ na=H ba.a.l*.am,+ va.d a.t+| 2{
ba.a.l*.aya.+H :P*.le na=m,+ .Za.aGram,+ l*BaDve+| 3{
:P*.l*.a. an+ ba.a.l*.aya.+H vxa a.a.t,+ l*Ba.a.va.he| 4{
na=H ba.a.l*.+ c+ suand:=m,+ gua*.m,+ na!+ gacCt+H| 5{
suand:= *+ ba.a.l*.+ A:am,+ Apa.an,+ vxa a.an,+ :P*.le*By+H naya.te+| 6{
Answers: Lesson 10
1. v.ya/an+
16. .dev.ya.anand
2. sa.tya.anand
17. a.va.SN+
3. sa.aDva.a.Z+
18. :pa=ma.a.tman,+
4. k*:tRXak*:a=
19. nea. a.t+
5. A:0Ea.v+
20. a.pa0a.anand
6. Bva.a.a.d
21. :pa.a.vakH
7. AanandE ta.d,
22. maDva.aca.ayR+
8. k*:pa.and1
23. ma.he:nd1
9. ma.ha.SR+ or ma.ha.S+
24. k*.0a.Ranand
Aa~y+
10. .h:=e Y.T+
25. ke*.yam,+
11. .Za.antyamxa.tam,+
26. nEa.v+
12. na.da.Z+
27. a.Za.va.Ea.d:nam,+
13. ma.he:a=
28. gua.veRak*:tvam,+
14. ma.ayEa.v+
29. :pa=meaa=
15. .h:~te+Y.a~t+
;/
30. :pra.tyeak*.m,+
130
Answers: Lesson 11
1. na=*a.va.pM+ vxa ama.agnamaa.
;/
a}*ht+H
The men (two) carry the small tree to the re from the horse.
2. ba.a.l*.aM+ na=M c+ vxa a.a.~*Ba.te+
The girl takes the horse and the man from the tree.
3. :P*.l*.anyaM+ va.hta.a. a.t+ gua*:ba.Ra.l*.+ va.d a.t+
\I carry the fruit (pl.) to the horse," the teacher says to the girls (pl.).
4. gua> ApM+ na=M vxa a.aya.acC aGrM+ gacCt+H (see 10.A.4.b)
The teachers (two) go quickly to the small man from the tree.
5. na=*e+ vxa ama.;agnM
/ + ba.a.l*.aya.+ A:ean+ va.h a.t+
The man carries the tree to the re for the girl by horse.
6. ba.a.l*.aama.pa.M+ na.dM+ vxa a.aaya.te+
The girl leads the horse to the small river from the tree.
7. na=*e+ vxa a.anP*.le*Bya.e+Yean+ gacC a.t+
The man goes to the trees (pl.) for fruit (pl.) by horse.
8. gua*.=*;/agnM
/+ na=*a.@*cCta.a.tya.pa.+ ba.a.l*.+ va.d a.t+
\The teacher is going to the re from the man," the small girl says.
9. ba.a.l*.a.pa.e+Ya3a.a.agnM
;/ + na=*a.@*cCt+H
The girl and the small horse go to the re from the man.
10. ApeaBy+H :P*.le*By+H suand:=e *Su+ vxa ea.Su+ gacCa.v+H (no sandhi)
We (two) are going among the beautiful trees for small fruit (pl.).
Answers: Lesson 12
The words are given in the form found in the dictionary:

1.
2.
3.
4.
5.
6.
7.
135a
Hetu 1303c
ya.eag+ 856b
Pra-k.riti 654a
J~nana 426a
A-nanda 139c
Vy-akaran.a 1035c
Aa.tman,+
8. b.1a.:n,+ 737c
9. gua 359b
10. Rajas 863b
11. Citta 395c
12. *.a.S+ 226c
13. a.va.SNu+ 999a
14. hr. idaya 1302c
15. :pua*:S+ 637a

16. Manas 783c
17. .Za= *a= 1057c
18. Bhakti 743a
19. A:nant+ 25a
20. kx*:SN+ 306b
or Kr. ishn.a 308a
131
Answers: Lesson 13
-vyatireka 46b
2. lGu+ -sattva -ta 894b
3. Vi-vaha -kala 987b
4. Sam.-skr. ita 1120c
5. k*:5a.l -yuga 262a
6. Mud.ha 825b
7. Sam.-gama -man.i 1128c
8. Kshatriya -dharma 325b
9. ba.a.l -rupa -dhr.ik 729b
10. Bhagavad -gta 744a
1.
A:nvay+
11. Mano -bhava -_sasana 785b

12. Vi-veka 987c
13. Sam.-yoga 1112b
14. Dhyana -yoga 521a

15. Adhy-aropa 23b
_
16. Sraddhat
r. i 1095c
17. Hiran.ya -garbha 1299c
-paksha -pada 643c

19. Mleccha -jati 837c
20. A-gr. ihta 1309a
18.
:pUa.vR+
Answers: Lesson 14
1. mw60c A:Bay+ a-bhaya, mf(#a)n. . . . n. absence or removal of fear.
mw1a A 3.a . . . having a negative or privative or contrary sense
p
mw747a Bay+ bhaya n.( bh ) fear, alarm, dread . . .
mw758a Ba.+ 1.bh, cl.3. P. . . . to fear, be afraid of . . .
2. mw642a Purn.a, mfn. . . . n. fulness, plenty, abundance
p
mw641a :pUa= pura, ( pr., Caus.) . . .
mw648a :pX+ pr., cl.9. P. . . . to ll . . . to sate, cherish, nourish . . .
3. mw677b Praty-ahara m. drawing back . . . abstraction
p
mw677b :praya.a.` praty-a- hr.i P. -harati to withdraw
mw663c Praty, in comp. before vowels for prati above
mw661b :pra. a.t+ 1.prati, ind. (as a pre x . . . towards, back . . .
mw126a A+ 4.a (as a pre x . . . near, near to, towards . . .
mw1302a .` 1.hr.i, cl.1. P.A# . . . . harati . . . to take, bear, carry.
Note: It is not the second dhatu .` because of its meaning in translation
this is con rmed by the conjugational form harati given at 677b.
132
4. mw8c A-capalya, am, n. freedom from unsteadiness.

mw1a A 3.a . . . having a negative or privative or contrary sense.
mw393a Capalya, n. . . . agitation, unsteadiness, ckleness
mw393a ca.a.pa.l capala, n. (from capo ) mobility . . . unsteadiness.
p
mw388b ca.pa.l capala, mf(#a)n. ( kamp . . . ) shaking, trembling
# . . . . to tremble, shake
mw252b k*.}p,+ kamp, cl.1. A
5. mw396b Citra-karman . . . o rma-vid, mfn. skilled in the art of
painting . . .
Note: See 10.B.1 on page 83: . . . if the pratipadika ends in -an,
then the n is dropped . . .
mw396b Citra-karman n. any extraordinary act . . . painting . . .
mw396a Citra, mf(#a)n. conspicuous, excellent, distinguished . . .
mw395b aca.t,+ 4.cit, cl.1. . . . to perceive, x the mind upon, attend to . . .
p
mw258b k*.mRan,+ karman, a, n. . . . kr.i . . . act, action, performance . . .
mw300c kx 1.kr.i . . . cl.2.P. . . . to do, make, perform, accomplish . . .
Note: It is not the second dhatu kx on 304a because its meaning given
in translation is not appropriate to that given for karman.
mw963c 2.Vid, mfn. knowing, understanding, a knower
mw963b a.va.d, 1.vid, cl.2. P. . . . to know, understand, perceive, learn . . .
Note: This has a more appropriate meaning than 4.Vid on page 965a,
or its dhatu a.va.d, 3.vid on 964c.
6. mw523b Naa ti . . . -manin . . . (o ni-ta, f., Bhag.)
Naa ti . . . -manin, mfn. not too proud or arrogant.
Naa ti (for na + ati . . . ), not very much, not too.
mw523a n+ 2.na ind. not, no, nor, neither . . .
mw12b Ati . . . pre x . . . excessive, extraordinary, intense, too . . .
mw810b ma.a. anak manika, manita, 1.2.manin. See p 809, cols. 2 and 3.
mw809b Mani -ta f. (ifc.) fancying that one possesses, imaginary . . .
Mani, in comp. forp 1.manin.
mw809c 1.Manin mfn (fr. man or fr. 1.mana ) . . . haughty, proud . . .
p
mw809a ma.an+ 1.mana, m. ( man ) opinion . . . self-conceit, pride . . .
mw783a man,+ man, cl.8.4. A# . . . . to think, believe, imagine.
133
Answers: Lesson 15
mw124b
Ah:m,+
mw232b
O*v+
nom. sg. Ì'.
ind. just so, indeed, truly, really.
mw3b A: ay+ a-kshaya mf(#a)n. exempt from decay, undecaying.

mw1a A 3.a . . . having a negative or privative or contrary sense.
mw328a 3. kshaya m. loss, waste, wane, dimunition, destruction, decay.
p
mw328a 5a + 4.kshi cl.1. P. to destroy, corrupt, ruin, kill, injure.
Dh.P. 5a +
Bva.+@ :p+@ A@ 5 2| 5a + aye+|
mw278a k*:a.l 2.kala m. ( 3.kal to calculate or enumerate) . . . time (in general).

p
mw260a k*:l, 3.kal . . . P. (rarely A# ) . . . to impel, incite, urge on . . .
Note: Of the four entries for k*:l , the rst may be eliminated because it is
atmane-pada, and for the others the artha must be examined. The last is selected
as being most suited to the dhatu meaning given in the original word k*:a.l .
Dh.P. k*:l cu+@ :p+@ se+@ 42 2| k*:l ea.pe+|

Dh.P. k*:l cu+@ o@ se+@ 45 1| k*:l Aa~va.a.d:ne+|
Dh.P. k*:l cu+@ o@ se+@ 48 1| k*:l ga.ta.E+ saane+ c+|
mw329a Kshepe m. a throw, cast . . . moving to and fro, sending, dismissing . . .
delay, procrastination . . . insult, invective, abuse.
mw162a A-svadana n. the act of eating, tasting, enjoying.
mw347a Gati f. going, moving, gait . . . movement in general.
mw1128b Sam
. -khyana n. becoming seen, appearance, reckoning, enumeration,
calculation . . . measurement.
mw514a Dhatr. i m. establisher, founder, creator, bearer, supporter, arranger.
p
mw513b Da.+ 1.dha cl.3. P.A# . to put, place, set . . . direct or x the mind or attention
upon . . . appoint, establish, constitute to make, produce, generate, create, cause.

Dh.P. qu ] Da.aV,+ .ju+@ o@ A@ 26 2| quDa.aV,+ Da.a=*Na.pa.ea.Sa.Naya.e+H|
mw515a Dharan.a mf(#$)n. holding, bearing, keeping, preserving, maintaining . . .
n. the act of holding, bearing . . . immovable concentration of the mind upon.
mw650b :pa.ea.S+ -n.a mfn. nourishing n. the act of nourishing, keeping, supporting.
mw994c Vi_sva-to-mukha in comp. for vi_sva-tas, mfn. facing all sides, one whose
face is turned everywhere.

mw994c Vi_sva-tas ind. from or on all sides, everywhere, all round, universally . . .
p
mw992b a.va+ mf(#a)n. (probably from 1.vi_s to pervade) all, every, everyone whole,
entire, universal, all-pervading, all-containing, omni-present.
p
mw989a a.va.Z,+ 1.vi_s cl.6. P. to enter, pervade, to be absorbed in . . .
Dh.P. a.va.Z+ tu+@ :p+@ A@ 36 1| a.va.Z+ :pra.vea.Zane+|
134
mw692c Pra-ve_sa-na n. entering, entrance or penetration into . . .

mw819c
mukha n. the mouth, face, countenance . . . opening, aperture,

entrance into or egress out of.
mua.K+
Reections: In the West, time is viewed linearly, as beginning in some remote past
and continuing to some unimaginable future in the East, however, time is viewed
cyclically: the cycle of day and night, the phases of the moon, the rotation of the
seasons, the cycle of birth and death, and so on up to cycles lasting billions of years.
That Time is indestructible is simply an acknowledgement of the fact that these
cycles keep on tirelessly repeating.
In daily life, time is viewed as a subdivision of some convenient cycle (e.g. time of
day), or as a multiple of cycles (e.g. years): this is the measurement or reckoning
aspect. Time is inextricably linked with movement: if there was no movement there
would be no time, for time is a measure of the change of position or state relative
to some more durable `constant'.
In one sense time can be viewed as an eect of movement, as a measure of the
movement in another sense time can be viewed as the cause of movement, as the
underlying constant, relative to which movement takes place. In the light of the
Vedic teaching, the latter view would be more appropriate: thus here Kr. s.n.a
represents the Absolute Unmoving Consciousness within which all movement takes
place.
In the second half of the line, `Providence' may be a better word to use than
`Dispenser': the latter has a sense of purposive action (i.e. seeking a result), whilst
the former is more an impersonal principle. This is more in keeping with the artha
of the dhatu as `nourishing, supporting', rather than the active role of `creator,
arranger' given for dhatr. , and more appropriate to the universal aspect implicit
in visvatomukha. The all-pervading Consciousness thus provides the space,
intelligence, and food for all beings: indeed It provides for their total sustenance
and nourishment, even their very existence.
Taking mukha in the sense of `mouth', it represents a two-way opening through
which food enters, and speech exits taking it in the sense of `face', it may be
interpreted as symbolizing all senses. Thus sarvatomukha could be viewed as the
sum total of all senses, both active and receptive, through which all creation is
nourished and through which Consciousness Itself is nourished.
Or again, sarvatomukha could refer to Consciousness as the Witness, and dhatr.
to the manifest appearance of that Consciousness.
English Grammatical Terms

On the assumption that the reader can speak correct English but is unfamiliar with
formal grammar, the technical terms will not be strictly dened but briey described and
followed by illustrative examples where appropriate. These terms are gathered together
thematically under three headings | Sentence Elements, Parts of Speech, and Finite Verb
Forms | and then followed by an alphabetical list of other common terms that do not t
under these headings.
NB: These notes are about English Grammar: the grammar of Sanskrit is rather
dierent | do not confuse the two. The purpose of these notes is to briey illustrate
the technical terms and concepts of English grammar, which may be used to demonstrate
similar or contrasting concepts in Sanskrit grammar.
1. Sentence Elements
A sentence comprises one or more of ve elements, each of which may comprise one or
more words:
(a) Subject: (S) in English grammar this is considered the main element or focus of the
sentence, and the rest of the sentence (the predicate) is considered to be a statement
about the subject. It expresses the agent of an active verb. For example:
Jack and Jill (S) went up the hill (predicate).
(b) Verb: (V) this expresses the activity of the sentence it agrees with the subject in
person and number. It is the most essential word, and every grammatically complete
sentence must have one explicitly stated: even the subject may be implied, as in the
command `Run!'. For example: The children (S) are playing (V).
(c) Object: There are two types:
(i) Direct Object: (Od ) expresses that which is directly acted upon by the verb
(ii) Indirect Object: (Oi ) is the recipient or beneciary of the activity.
She (S) gave (V) the food (Od ) to the dog (Oi ).
He (S) built (V) the dog (Oi ) a kennel (Od ).
(d) Complement: This completes the sense expressed by the verb. There are two types:
(i) Subject Complement: (Cs ) used with intransitive verbs, or transitive verbs in
the passive voice, expressing an attribute of the subject
(ii) Object Complement: (Co ) used with transitive verbs in the active voice and
expressing an attribute of the direct object of the sentence.
Love (S) is (V) blind (Cs ).
The judge (S) set (V) the prisoner (Od ) free (Co ).
He (S) became (V) a doctor (Cs ).
They (S) elected (V) him (Od ) chairman (Co ).
(e) Adverbial: (A) these express a wide range of meaning (time, place, manner, etc.)
related to the activity of the sentence as a whole. Unlike the other elements, there
may be several of these in one simple sentence.
Again (A) it (S) rained (V) steadily (A) all day (A).
136
2. Parts of Speech
There are nine types of word called Parts of Speech. These are:
(a) Noun: used to name a person or thing. There are two types:
(i) Proper nouns name a person, place, etc., and are usually written with an initial
capital letter: John and Mary went to London on Tuesday.
(ii) Common nouns name general things, both concrete and abstract:
The love of money is the root of all evil.
(b) Pronoun: used instead of a noun to designate a person or thing without naming it:
He kissed her when they met she enjoyed it.
Note: nouns and pronouns are categorized according to number, gender and case.
(c) Adjective: qualies a noun or pronoun:
The happy dog wagged its long tail at the familiar gure.
(d) Article: a name for the three adjectives à', àn', `the':
A boy gave an apple to the teacher.
(e) Preposition: `governs' a following noun or pronoun, expressing its relation to another
noun or pronoun or to the verb:
As the sun rose in the East, the girl stepped from the house into the garden.
(f) Conjunction: connects one word or phrase or sentence, with another:
Jack and Jill wanted to go, but were detained.
(g) Interjection: an exclamation expressing emotion: Alas ! Oh ! Ah ! Ahoy !
(h) Adverb: qualies a verb or adjective or another adverb:
The very tall man spoke quite softly.
(i) Verb: expresses the activity of the sentence:
He built a house. They dig a hole. She was here.
3. Finite Verb Forms
The activity of the sentence is expressed by the verb. There are three types: transitive,
intransitive, and auxiliary.
(a) A verb taking an object is called transitive (the ènergy' of the activity is transferred
to the object, as it were), and one that doesn't is called intransitive. Verbs are
typically one or the other, but may often be used either way:
He beat the drum. I live. The children are playing a game].
(b) The main verb may be accompanied by one or more auxiliary verbs used to express
tense or mood:
I had slept. I will sleep. I must have been sleeping.
(c) The verb is the dynamic part of the sentence, animating the relatively static nouns
etc. As such it is the most exible of the parts and appears in a wide variety of forms
to express its manifold potential. Among these are:
137
(i) Person: the verb form indicating the grammatical person (rst, second, third) of
the subject of the sentence:
I am here. You are there. He is everywhere.
(ii) Number: the verb form indicating the grammatical number (singular, plural) of
the subject of the sentence:
He stands here. They stand there.
Note: the verb agrees with the grammatical subject in person and number.
(iii) Tense: the verb form indicating various times (past, present, future) at which
the action is perceived as taking place:
He stood. He stands. He will stand.
(iv) Aspect: the verb form expressing the activity as:
(a) Inde
nite: the degree of completeness of the action is not specied,
(b) Continuous: the action is not yet complete but still continuing,
(c) Perfect: the action is in a completed or perfect state,
(d) Perfect Continuous: combining the force of the previous two.
These four are shown in order, in the past, present, and future respectively:
He stood. He was standing. He had stood. He had been standing.
He stands. He is standing. He has stood. He has been standing.
He will stand. He will be standing. He will have stood. He will have been standing.
(v) Mood: the verb form indicating an (emotional) quality or manner of the activity,
There are three basic moods:
(a) Indicative: asserts a statement as a fact it may also express a condition or
question: He stands. If he stands . . . Did he stand ?
(b) Imperative: expresses a command, advice, or entreaty:
Go ! Follow the instruction of your teacher. Help me!
(c) Subjunctive: expresses an action, not as a fact, but as a condition, desire,
or purpose: Were he here . . . May you live long. He eats that he may live.
(vi) Voice: the verb form indicating the relation of the subject to the activity as:
(a) Active: e.g. He opened the door.
(b) Passive: e.g. The door was opened by him.
Continued overleaf
138
4. More Grammatical Terms
Ax { a verbal element joined to a word I opened the door when John rang the bell.
to form a new word, for example: heroine, Compare with Complex Sentence.
un happy. See Prex, Sux.
Concord { the agreement between words
Agent { one who instigates or causes or in case, number, gender, and person, and in
performs the activity of the verb the role particular between the grammatical subject
and the verb. E.g.: The window is open.
of the semantic subject of the sentence.
The windows are open. 3.c.ii]
Agreement { see Concord
Conjugation { the change of form of verbs
Apposition { a noun or pronoun is in to express tense, mood, etc. 3]
apposition with another when it refers
to the same person or thing and is Declension { the change of form of
mentioned immediately after it (often oset nouns and pronouns to express dierent
by commas) to identify or describe it. E.g.: grammatical relations. See Case.
John, my neighbour, called to see me. I
Etymology { the facts relating to the
spoke to my neighbour, John.
formation and derivation of words the
Case { one of the forms of a noun or expounding of the elements of a word with
pronoun, which expresses its relation to their modications of form and sense.
some other word, and (loosely) the relation Exclamation { See Interjection 2.g].
itself. English uses two cases: the unmarked
common case, and the genitive case. For Finite Verb { expresses the activity of a
just six pronouns the common case is clause or sentence. 1.b, 2.i, 3]
split into subjective and objective: I/me,
we/us, he/him, she/her, they/them, and Gender { in English, nouns and pronouns
express natural (as opposed to grammatical)
who/whom.
gender, i.e. the masculine gender denotes
Clause { a combination of words having a a male, feminine denotes a female, neuter
subject (stated or implied) and a predicate. denotes neither sex, and common denotes
See also Compound and Complex Sentence. either or both. Examples of this last are: I,
Complex Sentence { a construction doctor, committee.
having more than one clause, one being the Genitive { a grammatical form of a noun or
main clause and the other(s) subordinate pronoun, expressing its relation to another
clause(s) which form sentence element(s) of word as source, possessor, etc.. The form
the main clause. E.g.: Show (S) me (Oi ) usually manifests with an àpostrophe-s',
what (Od ) you (S) did (V)](Od ). Compare e.g. the book's author, the author's book.
with Compound Sentence.
It may generally be rephrased with the
òf', e.g. the author of the book,
Compound Sentence { a construction preposition
the book of the author.
having more than one clause which are
coordinate, i.e. two or more simple sentences Gerund { a non-nite verb form that
linked together with conjunction(s) to form functions as a noun. It usually ends in `-ing'.
one larger complex sentence. E.g.:
E.g.: Writing a textbook is more dicult
John rang the bell. I opened the door.
than teaching orally.
139
Grammar { the rules describing the best Phrase { a group of words which operate
use of language. The two primary areas of
study are morphology and syntax.
In
nitive { A non-nite verb form that
functions as a noun or adjective or adverb
it names the activity in the most general
sense. It is usually preceded by `to'. E.g.:
he likes to read. You need not read this. He
considered the matter to have been settled.
Inection { the change of word form
to express dierent grammatical relations,
including the declension of nouns and
pronouns, the conjugation of verbs, and the
comparison of adjectives and adverbs.
Morphology { the study of word structure,
primarily axes and inection. English
makes little use of this to express grammatical meaning.
Non-
nite Verb { A verb which has been
turned into another Part of Speech it may
express aspect and voice. See Gerund,
Innitive, Participle.
Number { the property in words of
expressing that one (singular), or more
than one (plural) person or thing is spoken
of.
Participle { a non-nite verb form that
functions as an adjective. It participates in
the nature of a verb expressing aspect and
voice, and may take take an object, and in
the nature of an adjective in qualifying a
noun. E.g.: Having heard this he went away.
Person { The three classes of pronouns
and corresponding verb forms denoting the
person speaking (rst person), the audience
addressed (second person), and the rest of
the world (third person). 2.b, 3.c.i]
Phonetics { the science of vocal sounds (especially of a particular language) that deals
with their production and representation.
together as an element of a sentence.

E.g. `turning left' (participial phrase), òn
a hill' (adverbial phrase), `because of'
(prepositional phrase).
Pre
x { a verbal element joined to the
beginning of a word to qualify its meaning,
e.g. im possible, anti septic, hyper sensitive.
Reexive { describes transitive verbs

where the subject and direct object refer to
the same thing or person also pronouns so
used (usually ending in `-self'). E.g. He saw
himself in the mirror.
Semantic { relating to signicance or

meaning. For example, with a passive
verb, the grammatical subject expresses the
semantic object.
Sentence { a combination of words forming
at least one clause. It is meaningful by itself.

See also Complex Sentence.
Simple Sentence { a series of words
in connected speech or writing, forming

the grammatically complete expression of
a single thought. A combination of words
forming only one clause. See also Complex
Sentence.
Sux { a verbal element joined to the end

of a word to form a new word, e.g. shortly,
faultless, friendship, careful.
Syntax { the study of sentence structure,

primarily the conventions of arrangement
by which the connection and relationship of
words are shown.
Verb { See Finite Verb and Non-nite Verb.

Word { a minimal element of speech having
meaning as such. By itself it expresses a

universal concept in a sentence it denotes a
specic thing, attribute, relation, etc.
140
Each entry word is given a simple translation (in single quotes where it is literal)
followed by a brief description, and page reference(s) to where the word may be
more fully described or applied.
A-ghos.a, unvoiced: characteristic of those Avyaya, indeclinable: that class of words
consonants that are uttered with the vocal

cords not vibrating. 14, 73]
Anga
_ , stem: that part of an inected word
that remains unchanged (except for sandhi )
in the process of inection. 9]
An-udatta, `not raised': one of the three
pitches or tones (svara ) of the vowel accent
system of Vedic Sanskrit. 71]
Anunasika, nasal: characteristic of those
sounds uttered through both nose and
mouth. 14, 73]
Anubandha, `bound along with': a letter
or syllable attached to a dhatu and marking
some peculiarity in its inection. 110]
Anusvara, àfter sound': (1) a nasal sound
following a svara. 6] (2) sandhi substitute
for an m before a consonant. 64, 86]
Antah.stha, `stand between': general name
for the semi-vowels ya ra la va. 21, 79]
Artha, `meaning': the word(s) provided in
the Dhatu-Pa.tha as the sense of the meaning
of a dhatu. 109{112]
Ardha-spr. s.t.a, `half-contact': the ìnner
eort' applicable to the us.man consonants
sa .sa sa and ha. 22]
A-luk Samasa: a samasa wherein the rst
word does not lose its vibhakti. 83]
Alpa-pran.a, `little breath': characteristic
of those consonants uttered with minimal
breath. 14{15, 73]
Avagraha, Y : symbol for the elision of
A at the beginning of a word due to
sandhi. 63, 80]
Avasana: cessation of sound, e.g. at the
end of a line of verse. 85, 87]
that do not have vibhakti endings. 9, 75]

Avyaybhava Samasa: an adverbial
compound, the rst word of which is the
more important. 83, 89]
As.t.an, eight: the cardinal number the
gure eight. 64]
Atmane-pada, èxpression for oneself':
verbal voice. 25, 104, 113]
Atmane-bhas.a, èxpression for oneself':
verbal voice, synonymous with atmanepada. 113]
Abhyantara-prayatna, ìnner eort': the
method (within the mouth) of articulating
sounds. 13, 73]
Itaretara Dvandva Samasa: the basic
copulative compound whose number is the
sum of its members. 88]
Iti, `thus': used as inverted commas, or
separating a word from its denition. 75]
Is.at-spr. s.t.a, `slight contact': the ìnner
eort' applicable to the semi-vowels ya ra
la and va. 21, 73]
Is.ad-viv.rta, `slightly open': the ìnner
eort' applicable to the us.man consonants
sa s.a sa and ha. 22, 73]
Uttama-Purus.a, `last person': grammatical person, distinction in verb endings
denoting the agent of the verb ( = English
rst person). 9]
Udatta, `raised': one of the three pitches
or tones (svara ) of the vowel accent system
in Vedic Sanskrit. 71, 91]
Upadhmanya, ^: the rare half visarga
before pa or pha. 22, 63]
142
Upapada Tatpurus.a Samasa: determi- Karman: the immediate object of the
native compound having a dhatu derivative agent, expressed in dvitya with an active
verb, or prathama with a passive verb. 49]
as its nal member. 89]
Upasarga, verbal prex: (1) a prex to Ka-varga, ka-group: the group of stops
verbs to qualify or change its meaning. 60] beginning with ka, i.e. ka kha ga gha
n_ a. 13, 63]
(2) one of the four types of words. 75]
, àction': sux appended to a
Ubhayato-bhas.a, èxpression for both': -kara
Sanskrit
letter/sound to name it, e.g. kaverbal voice, dhatu conjugation in parasmaik
a
ra
.
21]
bha.sa or atmane-bha.sa. 113]
, verb: (1) fully inected form of
Us.man, `heated': general name for the Kriya
verb. 9] (2) one of the four types of
group of four consonants sa, .sa, sa and the
word.
75]
ha. 22, 73]
Kriya-visesana, adverb: an indeclinable
Eka, one: the cardinal number the gure that qualies. a. verb. 67,75]
one. 64]
Ks.a: pronunciation of. 56]
Eka-vacana, òne-speaking': grammatical Gana, `class': there are ten classes of
.
singular number the word sux denoting
dh
a
tu
. 17, 109, 113]
that one person or thing is referred to. See
also dvi-, bahu-vacana. 17, 26]
Gun.a, `quality': the secondary form of
Eka-sruti, `single hearing': the neutral vowels. 78]
sound of Classical Sanskrit, as contrasted Ghos.a, voiced: a characteristic of those
with the tonal accent (svara ) system of consonants that are uttered with the vocal
cords vibrating. 14, 73]
Vedic Sanskrit. 71]
Os.t.hya, labial: the mouth position used Catur, four: the cardinal number the
with the pronunciation of u, pa-varga, and gure four. 64]
va. 13, 23, 73]
Caturth Vibhakti, fourth case: dative
Kan.t.hatalavya, guttural and palatal: ax of nouns and adjectives. 33, 51]
the mouth position associated with the Candrabindu, < `moon-dot': the symbol
pronunciation of e, and ai. 13, 73]
placed above a vowel or ya la or va to
Kan.t.hos.t.hya, guttural and labial: the indicate that the sound is nasalized. 63]
mouth position associated with the pronun- Ca-varga, ca-group: the group of stops
ciation of o, and au. 13, 73]
beginning with ca, i.e. ca cha ja jha
n~a. 13, 63]
Kan.t.hya, guttural: the mouth position
associated with the pronunciation of a, ka- Jihvamulya, ^: a rare half-visarga before
ka or kha. 6, 22, 63]
varga and ha. 13, 23, 73]
Kart.r: the agent of the verb, expressed in J~na: pronunciation of. 57]
prathama with an active verb, or t.rtya with Tatpurus.a Samasa, determinative coma passive verb. 49]
pound: in which the rst word qualies the
Karmadharaya Tatpurus.a Samasa: de- second. 83, 88]
terminative compound which, if dissolved, Talavya, palatal: the mouth position
the members would have the same case associated with the pronunciation of i, cavarga, ya and sa. 13, 23, 73]
ending. 88]
143
_ , neuter: one of the

Tin-Vibhakti
_
, verbal sux: the sux Napum.saka-linga
of the kriya indicating purus.a and vacana. 9, 32]
Tr. tya Vibhakti, third case: instrumental
sux to nouns and adjectives. 33, 51]
Tri, three: the cardinal number the gure
three. 64]
Dantos.t.hya, dental and labial: the mouth
position associated with the pronunciation
of the English `f' and `v'. 15, 21]
Dantya, dental: the mouth position
associated with the pronunciation of .l, tavarga, la and sa. 13, 23, 73]
Dasan, ten: the cardinal number the gure
ten. 64]
Drgha, `long': the long measure, or vowels
having this measure. 1, 5]
Devanagar, `city of immortals': (1) the
name of the Sanskrit script. 1] (2)
variations in symbols. 71] (3) used in
dictionary. 92]
Dva, two: the cardinal number the gure
two. 64]
Dvandva Samasa, copulative compound:
a type of compound in which the words are
of equal importance. 83, 88]
Dvigu Tatpurus.a Samasa: a determinative compound having a numeral or word
denoting direction as its rst member. 88]
Dvitya Vibhakti, second case: accusative
ax to nouns and adjectives. 26, 51]
Dvi-vacana, `two-speaking': grammatical
dual number the word sux denoting that
two persons or things are referred to. See
also eka- bahu-vacana. 17, 26]
Dhatu, root: rudimentary meaningful
verbal element from which words are
derived. 8, 92, 103, 104, 109, 113]
Na~n-Tatpurus.a Samasa: determinative
compound with a negative particle as its
rst member. 89]
three grammatical genders. 26, 50]

Navan, nine: the cardinal number the
gure nine. 64]
Nama-dhatu, nominal verb: a verb
derived from a noun. 75]
Naman, `name': a noun, one of the four
types of word in Sanskrit. 75]
Nipata, particle: one of the four types of
word in Sanskrit. 75]
Pa~ncan, ve: the cardinal number the
gure ve. 64]
Pa~ncam Vibhakti, fth case: ablative
sux to nouns and adjectives. 33,51]
Pada, word: (1) traditionally divided into
four types. 75] (2) general name for
a fully inected word. 86] (3) verbal
voice, see atmane-pada and parasmaipada. 25, 104, 113]
Parasmai-pada, expression for another:
verbal voice. 25, 104, 113]
Parasmai-bhas.a, expression for another:
verbal voice, synonymous with parasmaipada. 113]
Pa-varga, pa-group: the group of stops
beginning with pa, i.e. pa pha ba bha
ma. 13, 63]
Pan.ini: a grammarian (circa 350 bc) whose
work, the As..tadhyay, fully describes the
grammar of Sanskrit in minute detail. No
other language, to this day, has been so
perfectly described. 78, 114]
Pum.-linga
_ , masculine: one of the three
grammatical genders. 26, 50, 65]
Purus.a, `person': grammatical person,
distinction in verbal sux denoting the person or thing spoken of (prathama-purus. a ),
spoken to (madhyama-purus. a ), and the
person speaking (uttama-purus.a ). 9]
Purn.a-virama, ({ ) full stop: indicates the
end of a verse or end of a paragraph. 63]
144
Pran.ava Sabda: a name applied to the Mat.rka: name applied to the rst sixteen
mystical symbol ?. 63]
Pratyaya, sux: general name for any type
of sux. 82]
Prathama-Purus.a, `rst person': grammatical person, distinction in verbal sux
denoting the person or thing spoken of
( = English third person). 9]
Prathama Vibhakti, rst case: (1) nominative sux of nouns and adjectives. 26, 51]
(2) and vocative. 38]
Prayatna, eort: the method of articulating sounds: divided into abhyantara- and
bahya-prayatna. 13]
Pran.a, `breath': see alpa-pran.a and mahapran.a. 14]
Pratipadika, word stem: the stem form
(i.e. without any case ending) of a noun or
adjective, as found in the dictionary. 26, 91]
Pluta, `prolonged': the prolonged measure,
or vowels having this measure. 1, 5]
Bahu-vacana, `many-speaking': the grammatical plural number the word sux
indicating that many (more than two)
persons or things are referred to. See also
ekadvi-vacana. 17, 26]
Bahuvrhi Samasa, a descriptive compound: a compound forming an adjective
qualifying an external noun. 83, 89]
Bahya-prayatna, outer eort: the method
(external to the mouth, i.e. the throat) of
articulating sounds. 13, 73]
Bhas.a, speech: verbal voice, see atmane-,
parasmai-, ubhayato-bhas.a. 113]
Madhyama-Purus.a, `middle person': the
second grammatical person distinction in
verbal sux denoting the person spoken to
( = English second person). 9]
Maha-pran.a, `great breath': a characteristic of those consonants uttered with extra
breath. 14, 73]
sounds of the Sanskrit alphabetical order. 6]

Matra, `measure': the length or duration
for which a vowel is sounded these may be
hrasva drgha or pluta. 1, 2]
Murdhanya, cerebral: the mouth position
associated with the pronunciation of .r, .tavarga, ra and s.a. 13, 23, 73]
Repha: traditional name for ra which,
unlike other sounds, does not use the -kara
sux. 21]
La-kara, l-axes: a common term for the
ten primary tenses and moods of Sanskrit
verbs. 17]
Lat.: a technical term for the present
indicative (simple present tense) one of the
la-kara. 17]
Linga
_ , grammatical gender: there are three
genders, pum.- str- napum.saka-li_nga. 26]
Vacana, 'speaking': grammatical number
the word sux that one, two, or more
persons or things are referred to. See ekadvi- bahu-vacana. 17, 26]
Varga, group: grouping of consonants
according to some common quality, e.g. kavarga, pa-varga. 13, 14]
Vibhakti: common term for the case
endings used for nouns and adjectives (supvibhakti ), as well as the personal endings for
verbs (ti_n-vibhakti ). 32]
Virama, ( , ) stop: indicates a consonant
without a following vowel. 53]
Virama, (| ) stop: indicates the end of a
half-verse or end of a sentence. 63]
Vises.an.a, adjective: it has the same case,
number, and gender as the noun that it
qualies. 65, 75]
Visarga, èmission': unvoiced breath after
a vowel. 6, 73]
Visarjanya, èmitted': unvoiced breath
after a vowel synonymous with visarga. 6, 22, 63]
145
V.rddhi, ìncrease': strengthened form of Samasa, `placed together': a compound
word. 83]
vowels. 78]
Vya~njana, èmbellishment': general name Samahara Dvandva Samasa: copulative
for any consonant. 1, 103]
compound whose members are taken collecas a unit the compound is treated as
Vyadhikaran.a Tatpurus.a Samasa: de- tively
terminative compound which, if dissolved, a neuter singular noun. 88]
the members would have dierent case Samprasaran.a: the process whereby an
endings. 88]
antah.stha is replaced by a simple vowel. 81]
Sakti: name applied to the rst sixteen Sambodhana, calling, addressing: case
sounds of the Sanskrit alphabetical order. 6] ending of nouns and adjectives, variation of
S.as., six: the cardinal number the gure prathama-vibhakti. 38, 51]
six. 64]
Sarva-naman, `name of all': pronoun. 75]
S.as.t.h Vibhakti, sixth case: genitive ax Savarn.a, homophonic: categories of sounds
to nouns and adjectives. 38, 51]
having the same mouth position and ìnner
Sam.yoga, `bound together': a conjunct eort'. 63]
consonant consonants not having a sepa- Sup-vibhakti: case endings used for nouns
rating vowel or pause. 53]
and adjectives. 26]
Sam.j~na, proper noun: personal or place Sthana, `position': the various mouth
name, technical terms whose meanings positions used in uttering vowels and
cannot be etymologically derived. 75]
consonants. 13]
Sandhi, `placed together': the system of Str-linga
_ , feminine: one of the three
euphonic changes that arise when sounds are grammatical genders. 26, 50, 65]
uttered in proximity it is the tendency to
Sparsa, `contact': the general name for the
ease of pronunciation. 77{81, 85{87]
group of 25 stops ka through ma. 13, 73]
Sandhi Vigraha, `separation of sandhi':
removal of the sandhi between words Spr. s.t.a, `contact': the ìnner eort' for the
in a sentence so that the words stand 25 sparsa ka through ma. 13, 73]
separately. 86]
Svara, `sound' or `tone': (1) a general term
Sandhyaks.ara, compound vowel: general for the vowels. 1] (2) a term for the tonal
accents (udatta an-udatta svarita ) of Vedic
name for e ai o au. 4]
Sanskrit. 71]
Saptan, seven: the cardinal number the
Svarita, mixed tone: one of the three
gure seven. 64]
or tones (svara ) of the vowel accent
Saptam Vibhakti, seventh case: locative pitches
system of Vedic Sanskrit. 71, 91]
sux to nouns and adjectives. 38, 51]
Halanta, `consonant-nal': ending in a
Samanadhikaran.a Tatpurus.a Samasa: consonant
without a following vowel. 53]
determinative compound which, if dissolved,
the members would have dierent case Hrasva, `short': the short measure, or
vowels having this measure. 1]
endings. 88]

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The course aims at a practical understanding of the basic principles, at getting

Sanskrit-English Dictionary is currently published by

A Practical Sanskrit Introductory

In the English-speaking world there is currently little appreciation of the value

The Concept of Dhatu

The Five Mouth Positions

A.1. Devanagar Alphabet

The Four Semi-Vowels: ya ra la va B.1. More on Verbs

B.1. Summary of Verbs

A.1. Devanagar Alphabet

B.1. More on Noun Cases

A Practical Sanskrit Introductory

A.1. Vowels after Consonants

Nasal Substitution for Anusvara

More Noun Declensions

B.1. Verbal Prexes

Sentence Structure: English and Sanskrit

B.1. Introduction to Compound Words

A.1. Visarga Sandhi

Tracing a Word to its Dhatu

Words beginning with SaStructure of Devanagar level

Appendix 1: Suggestions for Further Study

Appendix 3: English Grammatical Terms

A Practical Sanskrit Introductory

(Invocation to Daks.inamurti Upanis.ad, A.M.Sastry)

neuter nominative singular of adjective tejasvin.

\May the Light Shine upon our Studies."

The light of understanding/knowledge/truth.

A Practical Sanskrit Introductory

1.A.1 Vowel Measures

1.A.2 Sanskrit Pronunciation

A Practical Sanskrit Introductory

1.A.3 The Three Primary Vowels: a i u

1.A.4 The Other Simple Vowels: r. l.

To get to the correct pronunciation of r. 3, begin by sounding a prolonged i3 and

1.A.5 The Compound Vowels: e ai o au

Let's examine what we have so far. We began with a and

A Practical Sanskrit Introductory

The e sound arises when a is sounded through the i

The vowel e sounds similar to that in `fair' or `eight'.

The ai sound arises when e is further combined with a

In a manner similar to the arising of e, when a is sounded

And nally, the au sound arises when a is combined

1.A.6 Summary of All Vowels

Combining the previous ve sketches illustrates the

but, not bat

harm, not ham

between owe awe

A Practical Sanskrit Introductory

1.A.7 The Sixteen sakti: am. ah.

1.A.8 Practising the Alphabet

1.B.1 The Concept of Dhatu

1.B.2 Introduction to Verbs

dhatu (root) p stha sense of `cessation or absence of movement'

Note that the order is the reverse of that used in English.

A Practical Sanskrit Introductory

2. You stand and he speaks

5. I stand and he speaks