Kamat's Potpourri

Amma's Column: An Unique Workshop on Konkani Songs

Tue, 30 Jun 2009 00:00:00 CST

A three day workshop to teach traditional lullabies and nursery rhymes in Konkani was organized in Bangalore recently.

As is known, Konkani people are spread out in all the five states, south of Vindhyas, viz Maharashtra, Karnataka, Goa, Kerala and Tamilnadu. They had to flee from Goa to escape forcible conversion to Christianity by the repressive Portuguese in the 17th century. But they proudly guarded their religion, customs, rituals and most importantly their language all these five centuries. A minority language (except in Goa, a very small state,where it is a state language), in all the states, it is greatly influenced by the regional languages, but has retained its identity. Majority of Konkanis reside in Karnataka, more than 25 lakhs, as per latest census figures, out of about five million of Konkani speaking population world over.

Konkani has remained a spoken language throughout. Traditional and folk songs are fast disappearing due to globalization and all- dominating English language. English has spread as "spoken language" in many metropolitan homes, replacing the ancient Konkani. This has caused lot of concern to some lovers of Konkani language,literature and traditions. Occasionally some institutions organize workshops to teach surviving traditional Konkani songs. The Mangalore based "Konkani bhas ani Sanskriti Pratishthan" (estd 1985) is frequently organizing poet-meets, seminars and workshops to create awareness about fast diminishing mother tongue. The workshop (Karyashala) for teaching children's songs, was such an unique attempt.

The workshop was organized at Kashimath in Malleshwaram between 25th and 27th June 2009. Thirty two participants, most of them housewives from seven districts of Karnataka, attended the workshop enthusiastically. They were eager to learn ancient lullabies and nursery rhymes their grand old ancestors sang while massaging, bathing, feeding and putting to sleep the young ones. The resource person was Chitra Shirali from Dharwad, a well known Konkani radio artiste and writer, assisted ably by Nandita Moodabidri. They taught twenty odd long forgotten lullabies, rhymes and kid-songs. P. Dayananda Pai, a known philanthropist sponsored the program. The radio and television broadcast the news. It proposed to bring out and broadcast the well-knitted program some time in future.

Basti Vaman Shenoy, founder of "Konkani Bhas ani Sanskriti Parishthan" has one more feather in his cap by organizing this program for housewives. A homely and close-to-heart program, it will live forever through the voice of those women who have participated, who are sure to sing and teach them to kids in their respective homes. An attempt is being made to bring out these lullabies and nursery rhymes in cassette and CD form.

Amma's Column: Romance of the Ravake (Blouse)

Sat, 27 Jun 2009 00:00:00 CST

After reading my article Story of Saree on our website, some friends asked, "How could you skip the blouse, that inseparable companion of the Saree?" Yes, this elegant and close out-fit of majority of Indian women can enhance the beauty of a Saree with matching color, cut or embroidery. An un-matching blouse may mar it. Hence Saree-connoisseurs are very particular about a befitting blouse. At times stitching charges of a matching blouse is twice the cost of the piece of cloth! After all, the piece of cloth required for a blouse is less than a meter.

There are hundreds of blouse patterns and every year new ones are added to the list, depending on choice of the wearer and designer. It was so in ancient India as well region-wise, when blouses were all hand stitched! A Sankrit subhashita (epigram), compares a lyric or poem to a blouse. "A verse should not be too revealing like the blouse of an Andhra damsel or too much covered as the one of the Gujarati girl. It should be like the choli of a Maharashtrain maiden which is neither too shallow (bare) nor cryptic (fully covered)." This suggests that the lyrical quality of a poem should be suggestive.

The metaphor is graceful enough! Maharashtraian choli and Kannada kuppasa or ravake are similar. Tight and short enough to cover the bosom part and convenient to lift both arms to carry the heavy head-load, without being provocative. These are designed artistically, as per the occasion.

We know from Kalhana's Rajatarangini that half-sleeved blouse-pattern was one of the fashionable wear, introduced in Kashmir by King Harsha in 11th century CE. No doubt it appealed to graceful and elegant Kashmiris.

Innumerable blouse-fashions are appearing these days, with thread-bare backs and name sake chest covers, some feel they are more exposing and provocative. Anyway, as long as saree continues as national female attire in India the blouse will continue to be its "bosom friend"!

See Also: * Ancient Brassieres * Indian Attire Through the Centuries * Research the varieties and designs of blouses of India in our picture archive

Amma's Column: Story of Bharata II (Jadabharata)

Sun, 21 Jun 2009 00:00:00 CST

Previously: The Story of Bharata

In his third rebirth, Bharata was born as a son of Angirasa, a brahmin and his second wife. Unlike his siblings, Bharata had no liking for study or any manual work. He sat motionless all the time, without speaking and earned the sobriquet of "Jadabharata".

But Bharata remembered his two previous rebirths and did not want another cycle of rebirths. Hence he kept away from all earthly activities. When time came for upanayana or the sacred thread ceremony, he could not utter or repeat a single word of the Gayatri Mantra in spite of immense efforts of his father. Poor father died of sheer frustration and his wife committed Sati. Boy Jadabharata become an orphan. He hardly spoke earlier and now observed total silence. But he meditated all the time, kept away from earthly temptations and silence helped him.

Thinking him idiot and dumb, his step-brothers divided their father's property among themselves. They started treating Bharata as a servant. Even their wives made him do all the house-hold work and served him only leftovers. They used to find fault with him for everything. He used to bear the ill-treatment patiently and would go out, sit under a tree near the highway, and return home when everything had cooled down.

One day while he was sitting under the tree after a lot of screaming and scolding at home, a royal palanquin arrived. Three bearers were carrying it and were very much tired. Seeing a well built youngster idling under the tree, the king who was in the palanquin ordered Bharata to join the bearer's team. Bharata obliged. But this job was new to him and he could not keep even pace with trained bovis (carriers). There was imbalance and the palanquin started swinging. The king got angry. "You lazy slug! I will punish you if you do not behave yourself!" -- he shouted.

Bharata smiled and broke his silence. "Oh! King! These harsh words have no meaning. I am not a mere palanquin-bearer and thou, a mere ruler. These things pertain only to the body and not to the soul! Who is the king, and who is the servant? The position may change after a while. But the quality of Atman (The soul) would never change. Such being the case, whom are you going to punish? It is my body which you may punish. But presently I am enjoying great bliss and do not care for mortal agony."

The king was taken aback. Here was a sage in the guise of dud! He got down from the palanquin and fell at the feet of Bharata. "Oh great Soul (Mahatma)! Who are you? From your sacred thread I guess you are a Brahmin." I am never afraid of warriors or their weapons. But I am scared of Brahmins and their wisdom. Oh, Mighty One! Please instruct me", he pleaded.

Sitting by the roadside tree, Bharata started speaking about futility of worldly pleasures and bliss of spiritual enlightenment for hours. The king forgot himself and all his duties which he thought were most important. He went back a completely changed person. Bharata also went back to his people and never spoke again. Finally came his end. At the hour of death he was a free soul and he knew he would not have the agony of rebirth.

Amma's Column: Liberated Man

Sat, 20 Jun 2009 00:00:00 CST

Hindu Religion: The Liberated Man

In Hinduism the highest ideal, the goal of life, has been held to be the attainment of total freedom even in this life, from the clutches of ignorance and all its products: egotism, hatred, craving and sorrow. This total freedom is attained by the transformation and expansion of consciousness and the final realization of the oneness of the Self with Brahman. This is a state to be attained not after death but right here in this world while one is alive. A man who has attained this state is called a Jivanmukta -liberated in life. Shankaracharya in his famous work "Vivekacudamani", speaks about such a blessed man in the following terms;

A man is said to be free even in this life when he is established in illumination. His bliss is unending. He almost forgets this world of appearance. Even though his mind is filled with Brahman he is fully awake, free from the ignorance of waking life; fully conscious but free from any craving. For him the sorrows of the world are over. Although possessing a human body he remains united with the Infinite. Such a man is said to be free even in this life. Good and evil seem to exist, persons and objects appear to be distinct from one another, nevertheless, he has come to realize that there is no difference between mankind and the supreme Reality, for he knows that all is one in Brahman; he makes no distinctions. That is how we recognize the man who is free. Men may honour him, men may insult him, but his feelings remain the same; just as rivers flow into the ocean but the ocean is not disturbed, so sense objects flow into his mind but he feels no reaction, for he lives in the consciousness of the one Reality. Such a man is free indeed, even in this life.

Amma's Column: Guru Shripadaraya

Fri, 12 Jun 2009 00:00:00 CST

Guru Shripadaraya (C1400 to 1480 CE)

If Puranaradasa is considered as father of Carnatic Music, Shripadaraya (a.k.a. Sripadacharya and Dhruvaraja) is called father of Haridasa Movement. After Saint Madhvacharya's philosophy of Dwaita or dualism, gained grounds in Karnataka, the philosophy of Bhakti or devotional way of surrendering to God got a tremendous boost and Haridasa (Servant of God) movement started by Shripadaraya lasted for nearly five centuries.

Shripadaraya was born in Karnataka (Abburu in Chennapattana Taluka, Bangalore Rural District). He was spotted by the visiting pontiff of a Vaishnava Matha of Srirangam (in Tamilnadu) and taken to Tamilnadu along with his parents. He received all the education in Sanskrit and succeeded his Guru when the latter passed away. Pontiffs are supposed to undertake frequent travels. During such a travel he came to Mulbagal (Kolar District), liked the place and established a Matha.

Shripadaraya was keen on spreading the message of Madhvacharaya in spoken language. Previous attempt of Shivasaranas of spreading Basaveswara's teachings in simple Kannada and homely way was before him. Earlier life in Tamilnadu had made him familiar with singing of devotional songs in temples while performing puja rituals. All learning, treatises and religious texts were in Sanskrit, which were above the reach of common people. He started composing songs in Kannada, which could be sung by one and all. With Ranga Vitthala (incarnation of Vishnu) as his logo, Shripadaraya composed songs, which could be rendered by housewives and others while managing household chores in homely Kannada.

He introduced five ways of visualizing God. These are sweet (madhura), friendly (sakhya), tender or affectionate (vatsalya) servant like (dasya) and quietness (shanta). Shripadaraya popularized all these bhavas or feelings in simple verses. Purandaradasa and other Haridasas adopted this intimate and varied format of addressing directly God almighty. Lullabies, cradle-songs, chore songs, poured out with plenty of anecdotes from Bhagavata Purana. In a popular song "Adapogona baro Ranga" (come Ranga, let us play), Shripadaraya invites boy Krishna for games on the banks of Yamuna river. Childrens'games are mentioned along with roles Krishna played in the life theatre of the times. In another song he exclaims, "some get delight in building houses, some in making money, some in the company of women and some with their progeny. Let me have the pleasure of recollecting you, all the time Ranga Vithala!"

As pontiff of a Matha he had hold over masses. He was popular in Vijayanagara court. But he sent his close disciple Vyasaraya, who became the royal preceptor. Himself being a recluse and confirmed Vaishnava devotee spent his life composing works in Sanskrit and Kannada. He left a tradition of poetic expression of self- introspection, detachment in worldly ways and musical tones of bhakti (devotion), in appealing format.

See Also: * Bhakti -- The Path of Devotion * Haridas Literature * Saint Purandaradas * A Rendering of Ada Pogona Baro Ranga by devotees of Kadatoka village near Honavar

Amma's Column: Harapanahalli Bheemavva (1823-1902)

Fri, 5 Jun 2009 00:00:00 CST

Visitors to Kamat Potpourri are familiar with Haridasa movement Karnataka boasts of. Bhakti or devotion is the way of liberation as taught by this movement. Purandaradasa and Kanakadasa are the greatest among them. Haridasa means servant of God. (and the poet-saints of this tradition and worshipers of Vishnu composed verses in simple and popular style which could be sung by one and all. These verses suited different situations. This movement continued for more than 500 years. Giriamma and Bheemavva are important women composers of devotional songs, who lived in 18th and 19th centuries of Common Era respectively. Their achievement is extraordinary because both were illiterates with no schooling in modern sense of the term.

Bheemavva was born in 1823 in Narayanakere village (now submerged in the Tungabhadra river) of Hospet town of Bellary district. Her parents were Raghunath Acharya and Rangamma who were Yajurvedi Brhamins and belonged to Raghavendra Matha. Many legends are connected with her childhood, like a serpent visiting her cradle, a scorpion hiding in her head ornament, which she herself pointed out to her shocked guardians and her kidnapping by a soldier. The latter became blind suddenly and restored the child back to her parents after which he regained his sight.

There was religious and pious atmosphere all round. Songs and song-stories were sung while carrying out daily chores. Bhajan (group singing) was common. Harikatha (called one-man theater) was a combination of acting, singing , narration, at times dancing to the accompaniment of music which was extremely popular. Undertaken by accomplished artists, it contributed a lot towards spreading moral, ethical, religious and spiritual message among masses. The themes were from epics, puranas and life of saints. All these modes of popular education must have influenced the imaginative mind of Bheemavva.

She was married at the age of eleven to a 45 year old thrice-widowed Muniyappa of Harapanahalli. She was named Krishnabai by her husband's household. They had one son and one daughter. Bheemavva became a widow at the age of 36. As was the custom, she was tonsured and suffered all the austerities thrust on the brhamin widows of the time. It was during this period that her creative mind started working. She composed more than two hundred devotional songs, big and small. Several of them composed and sung on the spur of the moment are lost. But many are preserved in the family records. These have seen light of the day in book form, published by Mysore University in 1984, edited by Dr. T.N.Nagaratna (Harapanahalli Bheemavvana Haadugalu)

The 145 available songs consist of a two-lined, three stanza ones to a song-story of 193 verses.

Bheemavva wrote arati songs, welfare songs, chore-songs, marriage songs and songs suitable for all occasions. Her songs provide many vignettes of social life of the period. Songs while offering naivedya mention good number of prevalent sweets and savories. While describing bridal attire of deities, a list of contemporary ornaments from head to toe are figured, which bring to mind a well dressed and ornamented female of Mysore School Tradition of Painting. She chose "Bheemesha Krishna" as logo for all songs testifying her devotion to both the deities, Shiva, Krishna and her own name Bheema.

The popular theme of stealing saree of gopis by boy Krishna (gopikavastrapaharana) has provided a good occasion for Bheemavva, to list the colourful saris of her times. The astounding number comes to more than seventy with equal number of colours and designs woven with golden thread and artistic designs. These must have been cynosure to eyes of the folks. Bheemavva also mentions places like Uppadi, Silari, Ladlapur, Konrad which were famous sari weaving centers. All have disappeared except those of Banaras, Chanderi and Paithani. The last two were revived by ceaseless efforts of Kamaladevi . Paithani saris had five styles of designs in Bheemavva's time.

She has shown ingenuity in recreating characters like Draupadi, Satyabhama etc., written in simple spoken North-Karnataka Kannada, she had adopted meters, which could help her songs, small and big renders musically and with ease.

Bheemavva breathed her last at Hosur on the banks of Tungabhadra in December 1902.

Amma's Column: Hindu Manners, Customs, and Ceremonies

Fri, 29 May 2009 00:00:00 CST

Hindu Manners, Customs, and Ceremonies

Abbe Dubois (1770-1840 CE) was a French missionary and spent 30 years in South India, converting thousands to Christianity. He lived with the poorest and has left a first hand account of their living conditions in his book "Hindu Manners, Customs and Ceremonies". This extract is from the chapter on Hindu Arts and Manufactures.

An advantage resulting from the caste system is the hereditary continuation of families and that purity of descent which is a peculiarity of the Hindus, and which consists in never mixing the blood of one family or caste with that of another. Marriages are confined to parties belonging to the same family, or at any rate the same caste. In India, at any rate, there can be no room for the reproach, so often deserved in European countries, that families have deteriorated by alliances with persons of low or unknown extraction. A Hindu of high caste can, without citing his title or producing his genealogical tree, trace his descent back for more than two thousand years without fear of contradiction. He can also, without any other passport than that of his high caste, and in spite of his poverty, present himself anywhere; and he would be more courted for a marriage alliance than any richer man of less pure descent. Nevertheless, it is not to be denied that there are some districts where the people are not quite so particular about their marriages, though such laxity is blamed and held up to shame as an outrage on propriety, while those guilty of it take very good care to conceal it as much as possible from the public.

Further, one would be justified in asserting that it is to caste distinctions that India owes the preservation of her arts and industries. For the same reason she would have reached a high standard of perfection in them had not the avarice of her rulers prevented it. It was chiefly to attain this object that the Egyptians were divided into castes, and that their laws assigned the particular place which each individual should occupy in the commonwealth. Their lawgivers no doubt considered that by this means all arts and industries would continue to improve from generation to generation, for men must needs do well that which they have always been in the habit of seeing done and which they have been constantly practicing from their youth.

This perfection in arts and manufactures would undoubtedly have been attained by so industrious a people as the Hindus, if, as I have before remarked, the cupidity of their rulers had not acted as a check. As a matter of fact, no sooner has an artisan gained the reputation of excelling in his craft than he is at once carried off by order of the sovereign, taken to the palace, and there confined for the rest of his life, forced to toil without remission and with little or no reward. Under these circumstances, which are common to all parts of India under the government of native princes, it is hardly surprising that every art and industry is extinguished and all healthy competition deadened. This is the chief and almost the only reason why progress in the arts has been so slow among the Hindus, and why in this respect they are now far behind other nations who did not become civilized for many centuries after themselves.

Their workmen certainly lack neither industry nor skill. In the European settlements, where they are paid according to their merit, many native artisans are to be met with whose work would do credit to the best artisans of the West. Moreover they feel no necessity to use the many European tools, whose nomenclature alone requires special study. One or two axes, as many saws and planes, all of them so rudely fashioned that a European workman would be able to do nothing with them. These are almost the only instruments that are to be seen in the hands of Hindu carpenters. The working materials of a journeyman goldsmith usually comprise a tiny anvil, a crucible, two or three small hammers, and as many files. With such simple tools the patient Hindu, thanks to his industry, can produce specimens of work which are often not to be distinguished from those imported at great expense from foreign countries. To what a standard of excellence would these men have attained if they had been from the earliest times subjected to good masters!

Amma's Column: Gandhian 'Khaddar' Srinivas Pai

Sun, 24 May 2009 00:00:00 CST

During India's freedom struggle many a spirited youth gave up their studies or lucrative jobs realizing the call of the nation. Many of them went to jail and were politically active. After independence, most of them availed the benefits and fruits of freedom, holding high political posts, availing pension and perks.

A good number of nationalists took up Gandhiji's constructive programs like rural upliftment, removal of untouchability, promotion of Hindi and swadeshi or propagation of khadi (Khaddar) or hand woven cloth, which was to lessen rural unemployment. Men, women and grown up children could spin and provide thread to make home spun cloth. Kadabettu Srinivas Pai chose the medium of khaddar for his social service. He was so much involved in the work, that his initial "K" stood for Khaddar !!

He came to be known as Khaddar Srinivas Pai.

Born in undivided district of South Kanara, in Kadabettu village in Udupi town in 1892 in a well-to-do family, Srinivas Pai left his college studies to join the freedom movement. He sold his landed property to open a Swadeshi shop which was inaugurated by Gandhiji at Udupi on 25th February 1934. This shop sold khadi cloth for decades. Mr. Pai traveled the entire district of South Kanara visiting hundreds of houses and schools, distributing cotton to spin on hand wheel (Takli). He collected this yarn and gave it to volunteers who would weave dhotis, sarees, and towels.Under Mr.Pai"s personal supervision the cloth was sold and quality maintained.

He himself spun for fixed hours everyday and so did his family members. sutrayajna (collectve spinning) and singining of Gandhi-ashram bhajans was a daily routine.He later opened khadi shops in Mangalore and Karkal. His house in Udupi accommodated National & State level leaders when they passed through. Besides Gandhiji, Sarojini Naidu, Kamaladevi Chattopadhyaya, Benagal Shiv Rao were some of them.

After independence, the congress government selected some selfless workers and provided land, since many had lost their assets in the freedom struggle. Mr. Pai declined the offer and continued with his austere style of living. He did not avail pension for freedom fighters either.

He continued with his other activities of rural upliftment. He is best remembered for erecting a pillar at Vadabhandeshwar beach near Malpe (Udupi) at the spot where Gandhiji's ashes were immersed in the sea on 2nd of December, 1948. He collected chanda for the purpose. For several years community spinning and bhajans were arranged at that holy spot.

He later joined bhoodan movement and traveled with Vinoba Bhave to obtain land for free distribution among poor. Sarvodaya Patre ( vessel of welfare ) was his contribution, wherein he collected money and grain from house to house to feed the poorest. Selling Gandhian and Sarvodaya literature were his other activities.

He married Padmavati, 18 years his junior, who shared his selfless adventures and brought up their nine children, under great constraints. The boys went to Mumbai soon after they completed their matriculation, took up jobs and studied in night colleges. Girls followed suit. They are now highly placed and are involved in one social activity or the other. The eldest daughter Bharati took up the responsibility of the large household, since their father was always on the move. In the days when working women were fewer in small towns, Bharati took up job in Syndicate bank (with one year"s service without salary!).

In his last years K. Srinivas Pai stayed with his children in Mumbai, where he breathed his last in the year 1976.

It is due to scores of selfless workers like Khaddar Srinivas Pai, that rural India received her home-spun strength, in early years of freedom, which brought forth many young workers of sarvodaya and ambarchakra (reformed hand-wheel with more spindles) weaving. It kept khadi movement alive for nearly two decades after independence, which helped self-reliance.

See Also: * The Khadi (Handspun Cotton) Culture * Gandhi Autobiography: The Birth of Khadi * Biographies of Freedom Fighters of India * The Magic of Khadi * Portrait of Mandarke Devanna Pai, Karkala

Amma's Column: Freedom of Worship and Myriad of Gods

Sat, 23 May 2009 00:00:00 CST

The Hindu custom of worshiping innumerable gods, their symbols, trees, animals and stones may appear very strange to followers of other regions. Even those scholars who know that the highest philosophy of monism or adwaita is of one God and merger of the individual self with Him, of one formless God and merger of the individual self with Him, are baffled to see the myriad gods, their symbols, strange idols and at times ghastly modes of worship throughout the country of India.

Self-realization, which should ultimately lead to formless God-realization is a very difficult concept to follow. Hindu ethos paved a pragmatic approach to pray and worship God, the way a devotee would like and visualize Him. "He is what you perceive" ("bhav taso dev"), is the sublime idea that has given full freedom to Hindus of worshiping their favorite deity. For instance Lord Krishna is worshiped as a child (Balagopal), as romantic hero (Radhakrishna or Gopikrishna), as killer of giants like Mura. Hence he is Murari. He is holder of mountain (Giridhar) or finally, Lord of spiritual knowledge (Yogeshwar). So is Shiva a Tandava murty (dancer) Dakshina murty (teacher) or Bhikshatana murty (infatuating beggar). He is seen in varied forms from originator to destroyer of universe. But it is as sustainer of their cosmic form that grateful devotees pray and worship these gods again in innumerable forms!

Myriad of Gods

The freedom of individual worship has led to creation of colorful mythology with umpteen number of anecdotes in puranas. But most devotees are aware of the underlying philosophy that God is one but manifests in different forms. The idol of the deity is only a symbol. It is only a means of remembering God. Formless God is inconceivable to the majority of Hindus, who like to worship their individual or family deity, with whom they are too familiar. This underlying belief does not deter the faithful from attending temples and participate in puja and worship rituals like aratis and receive prasad of any number of deities.

A well known Sanskrit verse says : Worshipping the idol is the first step. Repititon of holy name and singing ( japa beads, stotras and bhajans ) are better. Still better is meditation ( dhyana ) and the best or highest state an individual is to realize "I am He" ( soham).

Sanskrit :

Prathama pratima puja
Japastotradi madhyama
Uttama manasi puja
Soham pujottmottama

Ordinary mortals need different symbols in the form of idols. The medium (material ) verbal or mental signified by puja, singing, or meditation could be taken up singly or jointly. All these do help to remember God who otherwise remains a vague concept

Amma's Column: Panini the Unrivalled Grammarian (c. 500 B.C. )

Fri, 22 May 2009 00:00:00 CST

Vyakarna or grammar is most essential to learn any language. Under Indian context it is much more. Grammer was considered as independent science that helped to understand the Vedas and supreme knowledge and was believed to have an spiritual element. All ancient and medieval philosophers (Buddhist, Hindu and Jain), were proficient in the science of grammar. It was a touchstone of erudition. Panini and his work "Ashtadhyayi" (The Eight Chapters), form the basis of Sanskrit and consequently all Indian languages for more than 3000 years.

Panini was born in Salatura village near Ohind (ancient Udabhanda) Gandhar or Kandahar in present day Afghanistan. It was an integral part of India then and Sanskrit was the spoken language in the entire belt. Panani's father was Shalanka and mother was known as Dakshi. Panani must have mastered all the branches of study known in his time and realized the need for a permanent set of grammatical rules (in aphorisms) which helped to absorb ever growing language of Sanskrit. In his times Sanskrit was like English language of later times which is omnipotent and ever growing.

Indian Postange Stamp on Panini

Vedic Sanskrit at his time had become almost archaic and limited to gamut of entire religious literature which was studied and taught in the gurukulas. Spoken Sanskrit prevalent in the huge sub continent needed an essential infrastructure, under which provision was to be made to absorb new words and their proper usage continuously. This permanent arrangement was provided by Panini.

There were grammarians before Panini, who are mentioned by him. Listed among six vedangas or limbs of veda, shiksha or phonetics formed an important part of correct pronunciation and chanting of vedic mantras. Panini's work on shiksha became most popular. He further systematized technical terms and formed rules for their interpretation, nouns in composition, case-relations, made of adding suffixes to roots and nouns and ways of word formation, all in eight chapters.

Ashthadhyi became a standard grammar work but was found very difficult for commoners to study and remember in aphorism forms which were 3996 in number. Several commentaries on it appeared. But Patanjali's Mahabhasya (200 CE) is the most famous. Bhattoji Dikshit ( 1600-1650 CE ) rearranged the entire work for an easier study in his work known as Siddhanta-kaumudi.

It is unfortunate that no details are available about the life and times of this greatest grammarian. Hiuen Tsang, the Chinese scholar-monk who was in India in the seventh century, had seen a big statue erected in Panini"s memory at Saltura, his birth place. He mentions that Panini dedicated his great work to his king who highly appreciated it and announced a prize of one thousand gold coins to those who could recite the entire book. This contributed a good deal for promotion and spread of Asthadhyi. Hiuen Tsang had also noted highly learned Brahmins at that place. According to a story, Panini was killed by a lion.

Befitting death to a lion among grammarians !!