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Sanskrit Comparison, 1
Adam Andrae
Paige Snyder
Scott Kushik
Professor Lawson
ELIT2055-D
Team Report
Sanskrit Comparison
Sunday, March 11, 2012
Sanskrit Comparison, 2
Sanskrit Comparison
Sanskrit as it is seen in our modern time weaves in words from languages over 5000
years old. To find out the common features shared by the Sanskrit language and some of the
traditional Indo-European languages, many scholars have researched its migration hypotheses.
This idea assumes that the original speakers of what became Sanskrit arrived in what is
currently India and Pakistan from the north-west some time during the early second millennium
BC. There is evidence of this assumption. For example, it is shown in the close relation of the
Indo-Iranian tongue’s with the languages of Baltic and Slavic. Also the vocabulary exchange
with the non-Indo-European languages, as well as the type of the attested Indo-European
words for flora a fauna (Abhyankar, K. 1986).
The earliest and attested Sanskrit writings are the Hindu texts of the Rig-Veda. These
texts date all the way back to the mid-to-late second millennium BC. Unfortunately, there are
no written records from such an early time that survived. However, scholars are very sure that
the oral transmissions of these writings are reliable. They were ceremonial literature whose
correct pronunciation was very important to its religious strategy (Abhyankar, K. 1986). From
the Rig-Veda until the fourth century BC, the formation of Sanskrit language can be witnessed
in other Vedic text, such as the Samaveda, Yajurveda, Atharvaveda, Brahmanas, and the
Upanishads. During the fourth century BC, the prestige of this language, the use for a sacred
purpose, and the importance that came with the correct enunciation all warranted the
powerful conservative forces that resisted the common processes of linguistic change.
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However, there is an understandable, five-level language development of Vedic from the
Rigveda, Upanishads and early Sutras languages.
Panini (an ancient, yet trusted Indian Sanskrit grammarian)’s, Aṣṭādhyāyī is the oldest
surviving Sanskrit grammar. It is basically a prescriptive grammar. The actual word “Sanskrit”
was not thought to be a specific language all on its own, but instead, a method of speaking
(Abhyankar, K. 1986). This can be closely related as to the English language in our terms of
slang words. “Slang” is not in essence a language on its own, but instead it is a method or type
of speaking that is woven into our everyday dialogue. The slang terms may sound different or
be a different word all together, but all in all have the same meaning as the corresponding
English word.
Sanskrit can be found in many different geographical areas around the world. A
common misconception is that it is only spoken in India. This is not true. Sanskrit is even
spoken in the United States because major religions trace their hymns, verses, and texts back to
Sanskrit. It was a very formal language that was mostly spoken by priests, which is why
Christian, Buddhism, Hinduism, and New Age music still derive some ideas from this
(Thinkingallowed.com, 2006). These groups are found in every corner of the world, making the
geographical area worldwide.
As Sanskrit can be traced in sources from many geographical areas, it can also be traced
to tons of different and diverse social groups. As previously mentioned, it is very common for
religious groups to have an essence of Sanskrit in their works of text, song, and literature.
Among these religious social groups include but are not limited to Christian groups, Buddhism,
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Hinduism groups, and artists composing New Age Music (Abhyankar, K. 1986). Before the New
Testament era there were many foreign invasions in India which introduced many foreign
languages to these religions, and New Age Music extended this even further by taking a
religious stand point while composing.
Two of the major Sanskrit authors that are well known were Asvaghosa and Bhasa, who
created works from the early centuries in AD. Bhasa lived in the 3rd century in AD. Although
not much is known about this wonderful dramatist, an Indian scholar named
Mahamahopadhyaya Ganapati Sastrigal, rediscovered a total of thirteen plays that he wrote in
1912 (iloveindia, 2012). The most remembered and referred to play of Bhasa was titled
“Svapnavasavadatta” or “ Vision of Vasavadatta”. It is a story of a king who faces a marriage
issue.
The Uru-Bhanga and Karna-Bhara, by Bhasa, are the only known tragic Sanskrit plays of
ancient India (”Bhasa” 2011). The hero in Uru-Bhanga is shown repenting his past as he is lying
with his thighs crushed and awaiting death (”Bhasa” 2011). His relationships with his family are
shown with abundant pathos (”Bhasa” 2011). Early plays in India strictly have sad endings
which were inspired by Natya Shastra (”Bhasa” 2011). These plays are also generally shorter
compared to later playwrights (”Bhasa” 2011). Although Bhasa is on the side of the heroes in
the epics, he treated the hero’s opponents with much sympathy as well (”Bhasa” 2011).
Asvaghosa on the other hand was an Indian philosopher-poet (“Asvaghosa” 2012). He is
believed to be the first Sanskrit dramatist (“Asvaghosa” 2012). He was the most famous in a
group of Buddhist court writers (“Asvaghosa” 2012). Most of the literature prior to Asvaghosa
was composed in Buddhist Hybrid Sanskrit and Asvaghosa wrote in Classical Sanskrit
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(“Asvaghosa” 2012). Asvaghosa wrote a play called Buddhacharita which is an epic poem about
the life of Gautama Buddha (“Asvaghosa” 2012). The poem has 28 cantos (“Asvaghosa” 2012).
Today the first 14 cantos are in complete Sanskrit, however the rest are incomplete because
the text was corrupt (“Asvaghosa” 2012). Both of these writers had very important effects on
society today and when they were alive.
The Buddhacharita by Asvaghosa and the Urubhanga by Bhasa are works based
on religion and religious aspects of the Middle East. The works are written in different styles
and genres but they speak fundamentally to the same teachings of Buddha and how to live life
to the fullest and most holy. The main points when analyzing texts are separated into three
groups: Genre, Theme, and Meanings. The following will explain these three central points in
analyzing texts in reference to the two works and authors mentioned earlier.
Genre as defined by dictionary.com is “A class or category of artistic endeavor having a
particular form, content, technique, or the like.” The genre of the Urubhanga is epic poetry. In
reference to dictionary.com epic poetry is “poetry celebrating the deeds of some hero.” The
form of epic poetry was originally spoken in primarily oral cultures. The verse is often written in
Dactylic Hexameter. About.com references that: “Dactylic Hexameter is a very important meter
in Greek and Latin poetry. It is especially associated with epic poetry and so is referred to as
"heroic". The very words "dactylic hexameter" often stands for epic poetry. The short version of
what dactylic hexameter means is that it is a line of poetry composed of 6 (hexa-) feet, each
made up of dactyls.”
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The Buddhacharita by Asvaghosa was written in a genre called “Kavya,” or as it is called
in English, “Court Poetry” (Clay Sanskrit Library). Kavya refers to the Sanskrit literary style used
by Indian court poets flourishing from the first half of the seventh century AD. This literary style
is characterized by abundant usage of figures of speech, metaphors, similes, and hyperbole to
create its emotional effects. The end result is a short lyrical work, court epic, narrative or
dramatic work. "Kavya" can refer to the style or the completed body of literature. Asvaghosa (c.
80-150 AD), a philosopher and poet considered the father of Sanskrit drama, is attributed with
first using the word. (Wikipedia) It covers 28 chapters about Buddha from birth to death and is
based on information that was autobiographical and about Buddha that was known at the time.
Theme is the second category to look at when analyzing texts. Theme as defined by
dictionary.com is “A subject of discourse, discussion, meditation, or composition.” in other
words; theme is the main topic of the work that is being analyzed. The Urubhanga has a central
theme that is usually common to most epics and that is Hubris. There is of course (being
Buddhist) another central theme that shrouds itself in the story and that is to live well and
rightly in order to attain internal peace and harmony in whatever paths life may take.
Duryodhana is the main character and in the beginning seems to already be dead. Two men
recount an epic battle in which Duryodhana has the opportunity to kill his foe but does not, and
as a result from a cheap blow, Duryodhana’s thighs are broken. Through struggles like his
parents being blind, and not being able to have his son sit on his lap, he recounts that war is
futile and unnecessary. At the end, Duryodhana gets to see his son named King. This ending
shows hope and promise even though the main character dies. The Buddhacharita has two
central themes as well. It is written about the life of Buddha. It however is not just about
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Buddha but how his teachings and the way he lived his life can translate to a follower in order
to also follow in the same footsteps to live a harmonious life and to have balance and peace.
The Buddhacharita is similar in theme and series of events to Thomas Merton’s “The Seven
Story Mountain.” it looks at Siddhartha as a normal man with temptations, the fall into despair,
and then the Awakening of the mind and soul or enlightenment.
Meaning in reference to the texts has to do with the underlying messages that they are
trying to convey or teach inside the work. Since the texts date back thousands of years, it is
generally understood that they started out as oral. The act of oral traditions where told by
Bards or storytellers to children, adults, and large groups of the general populous in order to
help strengthen core values dealing with the cultural norms and folkways. These moral codes
and ways to act appropriately in society were usually conveyed by actions of elders and also
through oral traditions. The Urubhanga being a deviation from the epic “Mahabarata” touches
on every day emotions one might face. Anger, vengeance, jealousy, and foolishness surround
the oral tale. The end of the epic in play form as on stage does not have a clear ending but it is
left open to something positive and the possibility of a better future for the surviving
characters. The Buddhacharita is about teachings from experiences surrounding Buddha. They
are similar to the Bible in the sense that it tries to teach the reader or listener how to be a good
person and how to follow truly in the path of Buddhism. It tries to show how to be a good
person in the context of the society so that when told orally, the story is never the same though
some aspects are, but is instead tailored to the audience, be it soldiers, men and women, and
children. There are three basic principles that the Buddhacharita tries to teach. Nothing is lost
in the universe is the first point. For example, if a leaf on a tree dies, it is not lost because it
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becomes soil for more to grow. The second point is everything changes. If one believes in
evolution, everything changes and evolves just like man evolved from Apes. The third point is
the law of cause and effect. A quote will explain this:
"The kind of seed sown will produce that kind of fruit.
Those who do good will reap good results.
Those who do evil will reap evil results.
If you carefully plant a good seed,
you will joyfully gather good fruit."
Dhammapada (The Basic Teaching of Buddha)
The Hindu and Buddhist religions are similar to others in that they have a central figure
or figures; they teach an idea of good and bad, right and wrong, action and consequence.
Religion is used in society to help teach good nature, values, and upstanding behavior. When
children are growing up, they often have several heart to heart talks with a member of their
family. If it is a boy, usually the father. They may talk about their job, a girlfriend, sex, love, or
being a man. The father takes on the role of the Bard by quite possibly conveying a moral or
point in the form of a story, for example “When I was your age...” or “I knew ... in High school...
and he/she...” The Buddhacharita by Asvaghosa and the Urubhanga by Bhasa have different
meanings to people in this time period, but the real heart felt messages remain the same and
the act of living rightly never really changes so drastically that it will not be recognized now. The
characters and situations may be more modernized, the ideas surrounding the morals may
change or be slightly different but similar to the Bible, it has not changed much in the past
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several hundred years. The Urubhanga is an epic and so are the Iliad and the Odyssey. Modern
films have been made such as “Troy” to keep these stories alive and they are still studied in
most high schools in America. The idea of being a good person, not being cocky or arrogant,
doing the right thing, and living in harmony and peace are ideas that will really never change
and have not really changed. The definitions of what makes a good person may change, but the
goal to achieve said position will never change.
Because literature seems to be falling out of interest for young people today, a contest
was organized by the Buddhist Association of Malaysia (“Pen Your Positive Thoughts for
Contest” 2008). The Ven Asvaghosa Buddhist Literature Award was created in 2008 to
encourage young writers to express their views on the social problems affecting society (“Pen
Your Positive Thoughts for Contest” 2008). The contest was divided into three categories: open,
18 and above; new bud, below 18; and special recognition (“Pen Your Positive Thoughts for
Contest” 2008). Although the contest was named after Asvaghosa, the writings are to be
written in Mandarin with topics based on Buddhism (“Pen Your Positive Thoughts for Contest”
2008). Asvaghosa is considered to be the greatest Indian poet (“Asvaghosa” 2012). Like
mentioned in many instances, he was the most famous in a group of Buddhist court writers
(“Asvaghosa” 2012). According to a traditional biography of Asvaghosa, he was originally a
wandering ascetic who was able to defeat everyone in debate (“Asvaghosa” 2012). For example
he set a challenge to Buddhist monks (“Asvaghosa” 2012). If no one met with him for a debate
then they would have to stop beating the wood block, which signaled to people to bring
offerings (“Asvaghosa” 2012). When the time came, no one was there to meet for the debate
so they stopped beating the wood block (“Asvaghosa” 2012). As far as Bhasa goes, his plays are
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still very popular in Kutiyattam (”Bhasa” 2011). The first person to revive Bhasa in modern
Indian theater was a professor of Ancient Indian Drama at the National School of Drama in 1966
(”Bhasa” 2011). Upon the findings of Bhasa’s plays, there was no mentioning of an author
(”Bhasa” 2011). However, after much review many skeptics decided it was Bhasa’s style of
writing and were able to attribute many poems and plays to Bhasa (”Bhasa” 2011). Uru-Bhanga
has become one of his most popular plays today due to their appeal to contemporary tastes
(”Bhasa” 2011). In 2006 a critic and director, Christopher Johnson, says “Bhasa’s play is full of
miracles and adventures. Bhasa is very different from most Sanskrit writers, they are not
conflict based, the way Western theater is. The important thing in that drama is the sentiment
being portrayed. The stories literally lack any conflict (Helbig, Jack 2006).” Johnson is talking
about the play “Balacarita: The Adventures of Young Krishna (Helbig, Jack 2006).” Although
Sanskrit is not a common language, it is still very much alive today.
Although the translations of Svapnavasavadatta are of the most remembered,
Urubhanga by Bhasa is a switch from the epic “Mahabarata” that changes the villain in the
original play to a different form. Instead of being this villain who does nothing but evil acts, he
is shown as a hero with courage and bravery (Urubhanga, 2011). The villains death and the
events that accompany it, is what the play focuses and builds on for its plot.
Asvaghosa was raised in a Brahman atmosphere. He was thought to have helped spread
the word and practices of Buddhism and incorporated it into his works. This commitment to
Buddhism was after a fierce debate with a Budhist scholar. This debate caused him to be such a
committed follower and participant in the religion. This comes from a legend, because there
are no biographies of him written or ever discovered (iloveindia, 2012). He was also a great
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speaker and spoke in great detail about the Buddhist doctrine and the principles it contained.
He could easily explain the tricky concepts of Mahayana Buddhism. His famous works included
Mahayana-Sraddhotpada-Sastra, meaning Awakening of faith, Buddhacharita meaning Life of
Buddha and Mahalankara or The Book of Glory. He also composed Saundarananakavya, a poem
about the conversion of Buddha's half-brother to Buddhism (iloveindia, 2012).
Unfortunately there are limited resources for the works many authors of Sanskrit have
made. Of the published ones, Asvaghosa’s Buddhacharita written “Buddha-Carita” in English
was translated in many different languages. The most known was a Chinese translation that
was done by Dharmarakṣa in the fifth century. Following his translation, it continued to be
translated into Tibetan between the seventh and eighth century. Both these versions contain
twenty-eight chapters and explain the life of Buddha and his entrance into Nirvana. The
Tibetan versions verbal accuracy leads today’s scholars to conclude that it is the most accurate
version from the original Sanskrit.
It is hard to say how these two authors fit into their social setting because of the lack of
biography on them. In the early BC centuries, life was that of religion and the need to prosper
economically. Religion played a major role in day to day life in order to explain ones purpose
on Earth. By composing literary works, these authors were able to relate themselves and their
disciples into religion a lot easier than an individual finding their path by themselves.
The major concerns or goals of these authors were to communicate with their
audiences on a deep note. They wanted to instill the Buddhist principles in their disciples so
they would follow in the footsteps of the Buddhist word, mostly in the form of plays and
poems. The poems that were written had a simple, yet specific message when they were read.
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Compared to a hymn of a Christian church, these authors used a lot of repetition and imagery
(ThinkingAllowed, 2006). The repetition created a “mental shortcut” that allowed the readers
to remember the message clearly and to take the word with them when they were done. It
was easier to apply to everyday life, just as if you were to leave a church service and continue
your day. The imagery in the poems allowed the readers to paint a mental picture of what was
being said. It was even easier in the plays to identify the imagery because they were acted out
by people, therefore, witnessed first-hand.
As mentioned, a lot of New Age Music bands have incorporated Sanskrit into their ideas,
melodies, and even lyrics. A band with the easiest relation is the modern band Shanti Shanti,
who have composed numerous works that move its listeners. The Shanti Pata means “Prayer
for peace (‘Narayana Upanishad’).” This is an ancient prayer which is sung today by a band
called ‘Shanti Shanti.’ The title of their song is called ‘Narayana Upanishad,’ which is the formal
name for the hymn. The prayer goes like this “Om Sahananavathu. Saha nou bunakthu. Saha
veeryai kara vahai. Thejasvinaava dhithamasthu. Maa vidwishavahai. Om Santhi santhi santhi
(‘Narayana Upanishad’).” The translation found says, “Om, may He protect us both together;
may He nourish us both together; May we work conjointly with great energy, may our study be
vigorous and effective; May we not mutually dispute (or-May we not have any). Om, let there
be peace in me. Let there be peace in my environment. Let there be Peace in the forces that act
on me (‘Narayana Upanishad’).” However, Shanti Shanti’s version of the song is a different in
Sanskrit as well as in English. The English translation of their version says “The Supreme Being,
Narayana willed creation of all living beings. From Him emerged the breathe of life, Prana. So
too, the mind senses and elements of creation: earth, fire and water also emerged from Him.
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From Narayana emerged Bramha, the Creator. From Narayana emerged Rudra, the Destroyer.
From Narayana emerged Indra, the Ruler of Beings. From Narayana emerged the prjapathis,
twelve Adityas, Rudras and all the vedas. From Narayana alone emerged all forms of wealth. All
beings emerged from Narayana in the beginning. Ultimately, all beings will merge in Narayana
too. Narayana is Eternal (“Narayana Upanishad with meaning-Veda mantra chanting at
Prashanthi Nilayam, Sathya Sai Baba” 2010).” Shanti Shanti’s version is longer but that is the
basics of what it says.
Shanti Shanti’s version of the song is the version most enjoyed. The way the girls sing it
is very calming and enjoyable to listen to. The translation is better than the first one
mentioned. When it’s read, it allows you to think about how grateful you are for life and that
everyone and everything is connected in one way or another. In the first translation, it is prayer
to Narayana to protect two people or groups of people to live in peace (‘Narayana Upanishad’).
While in the other translation, the girls talk about how everything comes from Narayana. It is
also said everything goes back to Narayana eventually. I personally enjoy this version more
because it speaks to me. I feel that it says we are all connected and go back to the same place.
The Sanskrit versions of the songs are not spelt that way, that is just how to sound them out.
Ancient Sanskrit has its own characters.
Looking at the words spelled out in English letters you can see that it is better to
listen to someone, who knows how to speak the language, and chant rather than trying to
chant it yourself. In the chants there are a lot of repetitive words which makes it easier to
understand, for new listeners, what is being said. Shanti Shanti describes itself as “the only
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Sanskrit rock band in the world” (“Singing in Tongues; Sanskrit Band Gets really Old School”).
Even though they say they are a rock band, their music is not like what American rock is. The
story behind them was that they learned how to speak Sanskrit when the two leading sisters of
the band were nine and seven years old. Andrea, the older sister, first picked up one of her
mother’s yoga books, which had Sanskrit to English passages (“Singing in Tongues; Sanskrit
Band Gets really Old School”). The band is made up of family members. Andrea Forman, the
head of the band, performs with her sister, Sara; her brother, Micah; and her father, Robert
(“Singing in Tongues; Sanskrit Band Gets really Old School”). Although the mother, Linda
Forman, is not an active member of the band she is still very much a part of it. She wrote the
book “Dreaming in Real Time, The Shanti Shanti Story.” The book is about the family’s saga and
how they came through their spiritual and personal journeys, such as the challenges they faced
trying to get their gifts to the public (‘The Story’).
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References
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“Bhasa.” Wikipedia.com. Updated 23 Nov. 2012. Web. 27 Feb. 2012
Helbig, Jack. "Sanskrit show Holds Allure for Local Playwright." Daily Herald: 26. ProQuest
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Olivelle, Patrick. "Insights." Clay Sanskrit Library:. New York University Press. Web. 10 Mar.
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<http://en.wikipedia.org/wiki/Urubhanga>.
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