Katantra Vyakaran

Here's a comprehensive summary of the provided text on Katantra Vyakaran, drawing from the insights of Dr. Bhagirath Prasad Tripathi 'Vagish' Shastri:

I. Introduction to Sanskrit Grammar and the Place of Katantra Vyakaran:

• Ancient Tradition: India has a long-standing tradition of linguistic analysis (Shabdānushāsan) for interpreting Vedic texts, encompassing Prātiśākhyas, Niruktas, and Vyakaranas. Niruktas emphasize the necessity of grammar knowledge, indicating grammar's antiquity.
• Loss and Survival of Grammars: Many early grammars, though mentioned, have been lost due to their contextual nature. However, the Mahesha tradition, originating from Mahesh (Shiva), and possibly the Mahendra tradition (from Indra's guru Brihaspati), remain alive.
• Two Traditions of Shabdānushāsan:
  • Matrikā Pāṭha-rūp (Detailed): An extensive approach.
  • Pratyāhāra-rūp (Concise): A condensed approach using Pratyāhāras (sound groupings). Most contemporary grammars follow the latter.
• The Mahendra Tradition and its Evolution: According to the Taittiriya Samhita, gods prayed to Indra for linguistic explanation. Brihaspati initiated this tradition, which was so extensive that even after a thousand years of teaching to Indra, it remained incomplete, as mentioned by Patanjali in his Mahābhāṣya.
• Jain Grammars and the Mahendra Tradition:
  • Haribhadra Suri (8th century) identified Jainendra Vyakaran (by Devanandi Pujyapada) as the Aiṇḍra Vyakaran.
  • Rajarshi (18th century) in his 'Bhagavat Vādini' stated that Bhagavān Mahāvīra composed Aiṇḍra Vyakaran, supporting it with arguments.
  • While Jainendra Vyakaran shares principles with earlier grammars and has a commentary by Pujyapada on Panini's work, the claim that it is Aiṇḍra Vyakaran is questioned, possibly due to the "Indra" in its name. Devanandi Acharya, also known as Jineṇdra Buddhi, is credited with its creation.
• Panini's Contribution: Due to the extensive nature of the Mahendra tradition, Mahāmuni Panini created a concise Shabdānushāsan based on the Mahesha tradition using Pratyāhāras. Panini's Ashtadhyayi also incorporates many sutras from earlier grammars, acknowledging their authors.
• Jain and Buddhist Grammars: Though considered non-Vedic, they partly follow the Mahendra tradition and acknowledge Panini's importance. This led to the inclusion of Panini's Pratyāhāra sequence in some later grammars.

II. The Naming of Katantra Vyakaran:

• Post-Panini Grammar: The currently available Katantra Vyakaran is a later Shabdānushāsan, drawing from the detailed Mahendra tradition rather than Panini's concise Pratyāhāra method.
• Various Interpretations of the Name: Scholars have diverse theories about its origin, but it's generally agreed to be a condensation of a larger text (Mahātantra).
  • Durgasimha: Refers to it as a "Laghu Tantra" (short treatise) or "Kutsi Tantra" (possibly meaning refined or important treatise).
  • Others suggest connections to Kartikeya, Katyayana, Kashakritsna, or Hemachandra's Kalapa Tantra.
  • The Agni Purana and Vayu Purana link it to Kumara-Skanda.
• The "Kā-" Prefix and "Tantra": The name is formed by adding the word "Tantra" to the syllable "Kā," leading to various interpretations of its source.
• Origin from a Larger Tantra: The notion of Katantra being a condensation of a larger text was prevalent among commentators of the 10th century.
• Other Names and Their Explanations:
  • Kaumāra Tantra: Attributed to Sarvavarman, who created it under the command of Bhagavata Kumara Kartikeya. However, Kartikeya is more known as a master of Choraśāstra than Vyakaraṇaśāstra. "Kumara" itself has multiple meanings.
  • Kaumāra Tantra (another meaning): Said to be derived from Kumari-Sarasvati.
  • Kalāpaka Tantra: Linked to the tradition of Tivishti, where the teachings were imparted amidst peacock feathers. Jain monks' use of peacock-feather fans (pīchhī) and their teachings also leads to this association.

III. The Author and Time of Katantra Vyakaran:

• Author: Sharvavarman (Vararuci): Bhavasena, in his 'Katantra Rūpamālā,' identifies Shri Sharvavarman as the author, also known as Vararuci. He is said to have condensed the Aiṇḍra Vyakaran to create Katantra. Durgasimha suggests Vararuci wrote the Kr̥danta part of Katantra, distinguishing him from the Vārtikakāra Katyayana and placing him later. Vararuci also authored 'Prākr̥ta Prakāśa' and was also known as Śrutidhara.
• Dating of Sharvavarman:
  • The assertion that Sharvavarman lived after the Mahābhāṣyakāra is contested.
  • According to 'Kathāsaritsāgara,' Gaṇāḍhya and Sarvavarman were renowned scholars in the court of the Prakrit-loving king Satavahana. This king's son, Dopaṇi, did not know Sanskrit.
  • Satavahana's name might be derived from riding seven horses or having seven horses. His other name is believed to be 'Śaktivāhana.'
  • Historical evidence points to Andhra kings expanding their kingdom and adopting the title 'Satavahana.' Sātakarni II was the sixth Satavahana king and was also named 'Dopaṇi.' The seventh Satavahana king was named Hala.
  • Guṇāḍhya and Sharvavarman were in the court of King Hala, during whose reign Katantra Vyakaran was composed. King Hala's reign is placed in the 1st century CE (20-24 CE).
  • King Shūdraka, a contemporary of Hala, mentions Katantra Vyakaran in his 'Padmaprabhṛta.'
  • The Mahābhāṣyakāra Patanjali, a contemporary of King Pushyamitra, lived in the 2nd century BCE. This confirms Sharvavarman as significantly later than Patanjali.
  • However, Yudhishthira Mimamsaka considers Sharvavarman to be even earlier than Satavahana.
• Authorship: Jain or Non-Jain?
  • Scholars are divided. Somadeva considers Sharvavarman non-Jain, while Bhavasena Vidya (12th-13th century) and Hemachandra consider him Jain.
  • The first sutra, 'siddho varṇasamāmnāyaḥ,' with the word 'siddha,' is seen as evidence of Jain authorship.
  • Most of its commentators were also Jain, and its popularity was higher among Jains. Internal analysis of the grammar also suggests Jain authorship.

IV. Commentaries and Vṛttis on Katantra Vyakaran:

• Purpose of the Grammar: According to the author, it was written for the "quick understanding" (śīghrabodha) of common people who were less intelligent, lazy, worldly, or merchants. This explains its brevity, simplicity, and memorability.
• Popularity and Influence: Its popularity made it useful for Buddhists and also spread to Tibet. Currently, its prevalence is mainly in Bengal.
• Numerous Commentaries: A table lists numerous commentaries and Vṛttis, indicating its significant impact and importance in its time, influencing scholars of Sanskrit.
• Influence on Other Grammars:
  • Katantra is believed to have significantly influenced Shakṭāyana Vyakaran, even though Shakṭāyana adopted the Pratyāhāra style.
  • Hemachandrācharya was also influenced by Shakṭāyana, and thus indirectly by Katantra. Hemachandra himself called it Kalāpaka Tantra.
  • Later grammarians were also influenced by Katantra.

V. Characteristics of Katantra Vyakaran:

• Concise and Simple: Compared to other grammars, it is shorter and simpler.
• Fewer Sutras: It has approximately 1400 sutras, compared to Panini's 4111.
• Integrated Sections:
  • It does not have a separate section for nominals (Saṁjñā); they are described within the Sandhi section.
  • Other essential aspects like Taddhita, Kr̥danta, and Tiṅanta are treated concisely.
• Unique Verb Naming: Its Tiṅanta section names temporal verbs uniquely, a feature also adopted by Hemachandrācharya.
• Special Feature: The phenomenon of an anusvāra appearing in a pause (virāma) is a notable characteristic.
• Need for a Scientific Edition: There is a strong need for a scientifically edited edition of the work.

VI. A Brief Overview of Jain Grammars (Table 1):

The text includes a table providing a concise overview of various Jain grammars, their approximate dates, authors, and key features, including the number of sutras and commentaries. This section highlights the rich tradition of Jain linguistic scholarship.

In essence, the text by Dr. Bhagirath Prasad Tripathi provides a scholarly exploration of Katantra Vyakaran, placing it within the broader history of Sanskrit grammar. It delves into its origins, naming conventions, authorship debates, its simplification of earlier traditions, its own influence, and its distinguishing characteristics, emphasizing its accessibility and enduring impact.