Concept Of Vanmaya

 

Introduction:

Panini’s grammar on Patanjali testimony is a description of bhasa- speech or spoken language , vaidiki- (compositional language of vedic texts.) Bhasa – Vaidiki is Indian conception of language as speech. The second widely used word for language is ‘Vani’, which is derived from van, which means to make sound, to help, to serve. Vani is speech that is desirable and stands in the relationship of purpose to bhasa. The third word for language is ‘vak’(to say, to speak) which means an utterance. So. Language is utterance and a system that has its being in speech/utterance i.e. permitted by speech.

Vanmay

Vak+maya = Vanmaya, a word that means verbal discourse, a concept used to refer to all literature and quite significantly in that it underlines the orality of all compositions in India. In classical literature speech is a cognitive instrument and a mean of all knowledge.

In Sanskrit literary tradition it is believed that human body is a divine lute which is compared to man- made instrument . Human speech is thus divine music and it is said that he who treats this divine lute with respect and care,

“ is listened to when he speaks, the earth is filled with his fame and wherever the learned speak in assemblies, there he will be known (Swami Sarvananda)”

He has also said,

“By speech the Vedas are strung, by speech the meters are made, by speech friends are united, by virtue of speech all being exist and hence all this is speech.”

The ‘Aitareyopanishad’ in the second ‘aranyaka’ accurately describes the inhaled breath (prana) as the physical source of speech, and equates speech with the life principle. And life breath and speech are related to the mind.

There is very intimate determining relationship between speech and mind ,

“Vanamansi,  speech is established in the mind’ – Brahmsutra says,

The Chandogya Upnisad dwells on the interpersonal role of speech,

“Without speech who could explain right and wrong; good, evil, pleasant-unpleasant? Speech explains all.”

The Upnishad concludes,

“Whatever is known is of nature of speech, for speech is known.”

According to Adi Samkara, it is vak together with mana, mind that reveals this jagat, universe.

Sadvedam sarvam jagadavagatam vanmanasayo

The physics and metaphysics of speech co-exist in the concept of Aum.

As the Kathopanishad says,

“This syllable is Brahman; this syllable is also the highest (nirguna)”

Aum is called ‘Sabda Brahman” as it is the only phonetic symbol of Brahman.  It stands for all sounds, all language. This symbolism suggests that, “all this becomes known through i.e. exists in , vak , of which ‘om’ is acronym. Later, Bhartrhari explicitly asserted this,

Thus all ‘vanmaya’ is a statement of ‘all this reality, creation, objects of knowledge.

TYPOLOGIES OF VANMAYA

Several  typologies of vanmaya are available,

APAURUSEYA, PAURUSEYA

This two fold classification separates  vedic compositions (veda, bramanas, aranyakas, upnishadas) from all the rest. It is a knowledge typology.

Apauruseya is discourse of non-contingent knowledge. It is to be noted that this body of compositions serve as ‘pramana’, proof or evidence, for the other compositions.

SRUTI, SMRUTI, KAVYA

This is a typology based in the origins- in how the compositions came into being. Thus ‘Sruti’ literally means heard, and draws attention to the receiver. So these are compositions that were received and heard. When and/or by whom is not known and not pertinent. These are autonomous compositions, autonomous of authorship.

Smruti literally means memory. So, compositions that are products of recall are smruti texts.The  knowledge contained there in was already available or known from other means of knowledge. It may be noted that all smruties are associated with particular composers. Jaimini, Manu, Kautilya, Panini etc. All reasoned texts, darsanas, dharmsastra, vedangs belong here.

Kavya: Kavya means compositions dealing with themes, events and ideas locally realized in the understanding of one individual or individuals. Epics, Puranas, narrative poems and prose narratives belong here.

 

DRSTA, PROKTA, UPAJNATA, KRT, VYAKHYANA

Drasta literally means ‘seen’ or ‘visualized’. In this class Panini includes all mantra compositions which are not claimed to have been composed by an individual nor are claimed to be adaptations of already existing compositions.

Prakta literally means ‘spoken’ or ‘taught’ by someone other than the source. Pra + vkta = prokta. One teaches one’s own composition as well as the compositions of others. Pada and Krama texts of samhitas, puranas, brahmas, upnishadas,and aranyakas belong here.

Upajnata means ‘found’ , ‘systematised’ or reorganized by an individual known thinker. It is an authoritative statement. Panini’s own grammar, Bharat’s ‘Natyasastra belong here.

‘krt’ literally means ‘composed’ Panini mentions imaginative compositions, ‘akhyayikas’ and poetical compositions. ’Kavya’ compositions belong here.

‘Vyakhyana’ means ‘commentary’. Panini suggests that the object of commentary is a composition itself.