Chaturdash Swar Sthapanvad Sthalam

Here's a comprehensive summary of the Jain text "Chaturdash Swar Sthapanvad Sthalam" by Vinaysagar, based on the provided pages:

Book Title: Chaturdash Swar Sthapanvad Sthalam Author: Vinaysagar (commentary on the work of Shri Shrivallabhopadhyaya) Publisher: ZZ_Anusandhan Catalog Link: https://jainqq.org/explore/229386/1

Core Subject: The text is a scholarly discussion, a shastra charcha or debate, about the number of vowels (swara) in Sanskrit grammar. Specifically, it addresses the argument presented by Shri Shrivallabhopadhyaya, who, based on the Sarasvat Vyakarana and other texts, establishes that there are fourteen (14) vowels.

Author's Introduction (Vinaysagar): Vinaysagar, the author of this commentary (or likely the compiler/editor of this particular treatise), notes that engaging in intellectual discussions on complex topics of grammar, logic, and other scriptures has been a daily practice for scholars. He refers to a previous introduction he wrote for Shri Shrivallabhopadhyaya's Matrika Shlokamala in Anusandhan issue 26, and also for Arjinstava and Haimanamamala Shilochanch, for more detailed biographical information about Shri Shrivallabhopadhyaya.

Shrivallabhopadhyaya's Provenance: Based on discussions, it is confirmed that Shri Vallabh belonged to Rajasthan. The author points to a specific style of linguistic expression in Shri Vallabh's writing, such as "Aida bi bhaida, vadai bhai kanau," when explaining the difference between 'a' and 'ā', as indicative of the education he received. This suggests a purely Rajasthani dialect influence, confirming his origin from Rajasthan.

The Argument for Fourteen Vowels:

The work begins by posing five key questions to the opposing side (the prativadi) to establish the position that there are indeed fourteen vowels:

1. What is a swara? Is it a synonym for shabda (word)?
2. If it's a synonym, is it a synonym originating from the nose (nasika)?
3. Or is it an indicator of the nishada, etc., as described in the science of vowels (swarashastra)?
4. Does it indicate the udatta, etc. (intonations)?
5. Or is it a representation of the names a, i, u, etc., that convey a specific function?

The text then proceeds to provide solutions and counter-arguments for each of these questions:

• Question 1 (Synonym for shabda): This is rejected because the word swara can refer to the varied sounds of different beings (gods, humans, animals, birds) which are diverse and can be pleasant or unpleasant.
• Question 2 (Originating from the nose): This is also rejected. Nasal sounds are possible in three-sensed and five-sensed beings. In humans, they can be pleasant or unpleasant. The science of swarodayashastra (science of nasal vowels) itself describes various nasal vowels, making this interpretation too narrow.
• Question 3 (Indicator of nishada, etc.): This is rejected as it refers to the seven musical notes (saptaswara) of musicology (Ni, Ri, Ga, Sa, Ma, Dha, Pa), which are produced from strings and throats.
• Question 4 (Indicator of udatta, etc.): This is rejected as it relates to the three intonations: udatta, anudatta, and swarita, which are attributes of sounds, not the vowels themselves.
• Question 5 (Names conveying specific function): This is the crucial point. The text acknowledges that other traditions, like the Jyotisha Shastra (astrology), accept sixteen vowels (as per Narapati Dinacharya). However, the core argument is that in grammar, particularly the Sarasvat Vyakarana, fourteen vowels are established.

Establishment of Fourteen Vowels based on Sarasvat Vyakarana:

Shrivallabhopadhyaya, in line with the Sarasvat Vyakarana, establishes the fourteen vowels as: a, ā, i, ī, u, ū, ṛ, ṝ, l, ļ, e, ai, o, au.

To support this, the text cites various authoritative grammatical and lexicographical works, including:

• Panini's Grammar (Panini Vyakarana): Used to establish the elongation (dirghata) of 'l'.
• Kalapa Grammar (Kalapak Vyakarana)
• Siddha-Hema Grammar (Siddha-Hema Vyakarana)
• Kavya Kalpalata
• Anekarthasangraha
• Vishvaprakash
• Varna Nighantu
• Panini Shiksha

The text emphasizes the importance of the Sarasvat Vyakarana in this context and refutes the views of scholars like Ramachandra and Vasudeva who might propose a different number of vowels (e.g., 16 or 21).

Debate on "Ubhaaye Swarah" (Both are Vowels):

A significant portion of the text delves into the interpretation of the Sarasvat Vyakarana sutra "Ubhaaye Swarah" (Both are vowels).

• The opposing view might suggest that this sutra, along with "A, i, u, ṛ, l samānāh" (A, i, u, ṛ, l are similar) and "E, ai, o, au sandhyaksharāṇi" (E, ai, o, au are combined vowels), implies only nine vowels (five from the first sutra and four from the second).
• The text strongly refutes this, arguing that the commentary on "Ubhaaye Swarah" explicitly states that a, i, u, ṛ, l (five) and e, ai, o, au (four) together are considered vowels. It criticizes the interpretation that only nine vowels are indicated, as the term "nava" (nine) is not explicitly mentioned.
• The argument is made that if only nine vowels were accepted, grammatical rules for vowel sandhi (swara sandhi) would not apply to longer vowels or certain combinations, leading to practical problems in word formation and usage.
• The text argues that the sutra "Hrasva-dīrgha-pluta-bhedāḥ savarṇāḥ" (Vowels are similar by virtue of being short, long, or protracted) and the concept of savarna (similar class) are crucial. It explains that the inclusion of "long" (dirgha) in this sutra, along with the principle of ekadesha vikṛtaṁ ananyavad bhavati (a part changed, remains the same) and varṇa grahaṇe jāti grahaṇam (taking a letter implies taking its species), establishes the similarity between short and long vowels.
• The text asserts that the Sarasvat Vyakarana establishes ten samāna (similar) vowels based on the sutra "A, i, u, ṛ, l samānāh" and that the elongation of 'l' is also recognized in this tradition, despite some contrary views.
• It further explains the meaning of "Ubhaaye Swarah" as referring to both short and long forms of vowels, and also the combination of the five basic vowels (a, i, u, ṛ, l) and the four combined vowels (e, ai, o, au). The term "ubhaaye" is interpreted to encompass these two categories twice, or through repetition and ekashesh (a single remaining word), to signify these dual groupings.

Justification for the Inclusion of 'l' and 'l̥':

The text addresses potential doubts about the inclusion of 'l' and 'l̥' in the fourteen vowels.

• It acknowledges that 'l' primarily appears in the root kṛp (to be able). However, it argues that the acceptance of 'l' in vowel discussions is based on the principle of anukaraṇa (imitation) and the general acceptance of vowel forms that might not be common in everyday usage but are grammatically significant.
• Examples are given where 'l' might be used in specific contexts or imitations.
• The text also cites Panini's Sutras and the Sarasvat Vyakarana itself to demonstrate the grammatical utility of 'l' in certain processes and its role in phonetic rules, thus justifying its inclusion as a vowel.
• It specifically refutes the claim by Ramachandra that 'l' is not long, asserting that its elongation is recognized.
• The Kalapa, Siddha-Hema, and Kavya Kalpalata grammars are cited as supporting the inclusion of fourteen vowels.

Other Scholarly Views:

• The text briefly mentions the twenty-one vowels proposed by the Panini Shiksha, explaining their breakdown. However, it reiterates that for grammatical purposes, particularly for vowel sandhi, only fourteen vowels are practically used and accepted.
• It dismisses the views of some commentators of the Sarasvat Vyakarana (like Vasudeva) who might suggest five samāna and nine vowels, calling it contradictory to earlier grammars and the principles established by Sarasvati himself.

Conclusion:

The work firmly concludes, based on the comprehensive analysis of various scriptures and grammatical traditions, that there are indeed fourteen vowels. This conclusion is presented as being in accordance with the Sarasvat Vyakarana and widely accepted by scholars.

Colophon: The colophon provides details about the author of the original work (Shrivallabhopadhyaya), his guru (Upadhyaya Gyanvimal), and his lineage within the Kharataragachchha under the reign of Shri Jinraj Suri (who became the head of the gachchha in 1674 CE). This places the composition of the work after 1674 CE. The prashasti (eulogy) at the end further reinforces the adherence to the Sarasvat tradition and the fourteen-vowel count.