Shabda Prayogoni Pagdandi Par

Here's a comprehensive summary of the provided Jain text, "Shabda Prayogoni Pagdandi Par" by H.C. Bhayani, based on the extracted pages:

Overall Focus:

The text delves into the linguistic evolution and usage of various interjections, demonstrative pronouns, and descriptive terms in Gujarati, tracing their origins back to Sanskrit and Prakrit. It highlights phonetic changes, semantic shifts, and common usage patterns. The latter part of the text provides a detailed physical description of Lord Mahavir, based on Jain scriptures.

Key Linguistic Observations and Evolutions:

• "Olu, Pelu, Ali, Alya!" (Page 1):

  • "Olu" & "Pelu": These words, meaning "that" and "this" respectively (or "former" and "latter" in some contexts), are traced to Prakrit demonstratives like araha and para, and later arahilla, parilla. The evolution involves phonetic changes like the metathesis of 'r-h' to 'h-r', vocalic changes, and the loss of 'h'. Eventually, these evolved into "olu," "pelu" in modern Gujarati.
  • "Ali" & "Alya!": These are affectionate or attention-grabbing vocatives, particularly used for addressing someone close. "Ali" evolved from "eli," which itself likely came from the demonstrative "e" (meaning "this" or "here"). "Alya!" is a more emphatic form. They are used to call someone near or to draw their attention, similar to modern English "Hey!" or "Hullo!" The text notes their use in addressing wives, potentially due to the prohibition of speaking a spouse's name.

• "Hau" (Page 2):

  • This interjection signifies "yes," "enough," or "it is sufficient." Its origin is traced to Sanskrit sam + khalu ("yes, indeed"). Through Prakrit aam + hu and Gujarati haun, haun, it evolved into its current form.

• "Haay!" (Page 2):

  • Primarily an exclamation of sorrow or grief ("Alas!"). It can be used in its simple form or reduplicated ("Haay! Haay!").
  • Over time, it also developed nominal meanings related to worry, anxiety, and deep-seated sorrow ("Haay lagi gai," "Haayvoy," "Haay-varal").
  • The author suggests its origin from the combination of lamentations ha! and he!, leading to "ha he!", then "haae," and finally "haay." This is supported by its presence in Hindi as well.

• "E!" and "Erama!" (Page 2):

  • These are demonstrative pronouns used for calling out or drawing attention. The text suggests that the demonstrative pronoun "e" (meaning "that" or "this" from a distance, and also used for calling) and the vocative "e" might share the same origin, possibly from Sanskrit eshah.
  • The "-y" in "ey" used as an alternative to "e" might stem from the Sanskrit emphatic particle hi.

• "O" (Page 3):

  • This is a vocative demonstrative pronoun, similar to "O" in English. Its origin is traced to Sanskrit oshah, oahu, and later oh, o.
  • The author disputes a connection to Sanskrit exclamations, suggesting the Gujarati evolution involves the insertion of 'h' before the initial vowel rather than the loss of an initial 'h'.

• "Hey!" and "Haiyya!" (Page 3):

  • These are exclamations of joy, surprise, or joyous surprise. "Haiyya!" is considered a more intense form.
  • The author speculates their origin from the Sanskrit exclamation "hihi" used in theatrical contexts (like by clowns), which evolved through phonetic changes like hihi -> hihi -> hei -> hey. Similarly, heiya -> haiyya. The final "ya" in "haiyya" might originate from an exclamation of joy or wonder.

• "Haan" (meaning "Enough") (Page 3):

  • This usage of "haan" signifies "enough" (Sanskrit alam). An example is given of social etiquette where one should politely refuse more food even if they desire it, by saying "haan" softly. The saying "haan haan dadyat, hoon hoon dadyat, na dadyat simhaganjanā" illustrates this principle of polite refusal.

• "Hn," "Hun" (Page 4):

  • These are interjections used when calling someone nearby, or as affirmations while listening to someone speak.
  • "Hn" is typically produced with an open mouth, while "Hun" is with a closed mouth.
  • The origin is linked to Sanskrit aam. The "u" sound in "Hun" is attributed to the influence of the back of the tongue and the throat, and the nasalization.
  • The term "hunkaaro" (an affirmation or response) is linked to "hunkaar," which has connotations of pride. The author suggests "hunkaaro" is used to avoid this association.
  • The text provides a beautiful example from Bilvamangala's "Krishnakarnamrita," where Yashoda narrates the story of Rama and Sita to baby Krishna, and Krishna responds with "Hun." This is later echoed in a poem attributed to Surdas.

Physical Description of Lord Mahavir (Pages 6-8):

This section details the physical attributes of Tirthankar Mahavir, drawing from the Jain Agam text "Aupapātik Sūtra" and its commentary by Abhayadevasūri. Key features described include:

• Complexion and Aura: Radiant face, fragrance of lotus in his breath, excellent physique, pure and flawless skin free from dirt, sweat, or blemishes.
• Head and Hair: Elevated, umbrella-shaped forehead with dense, compact hair. The hair was pure white, soft, fine, smooth, lustrous, fragrant, well-formed, and black like antimony, sapphire, or shīmāla fruit. The skin near the roots of the hair had the color of a pomegranate blossom or gold, and was clean and well-moistened.
• Face: The forehead was without scars, polished, beautiful, and semicircular. The face was like the full moon, serene. Ears were close-fitting and proportionate. Cheeks were full and fleshy. Eyebrows were dark like swarms of bees or clouds, lustrous, long, and slightly curved like bows. Eyes were like fully bloomed lotuses, with dark pupils and long eyelashes on a white background.
• Nose: Aquiline, straight, and elevated like Garuda's.
• Lips: Full, like coral or the bimba fruit.
• Teeth: A series of white, pure teeth, like the full moon, conch shells, milk foam, kund flowers, water droplets, or lotus stalks. They were unbroken, perfectly aligned, well-formed, smooth, and appeared as a single row despite their number.
• Palate and Tongue: Red like gold heated in fire.
• Beard: Sparse, fine, and beautiful.
• Chin: Full, well-shaped, and ample like a tiger's.
• Neck: Four fingers in width, proportionate, and like a conch shell.
• Shoulders: Broad and proportionate like those of a buffalo, boar, lion, tiger, bull, or elephant.
• Arms: Strong like sacrificial posts, well-formed, with well-joined joints of muscles, and circular like city gates.
• Forearms: Like the bodies of great serpents.
• Hands: Red-palmed, strong, fleshy, soft, and well-marked.
• Fingers: Perfectly rounded and soft.
• Nails: Slightly red, thin, clean, smooth, and beautiful.
• Palm Lines: Marked with auspicious symbols like clockwise swirls, sun, moon, conch, and chakra.
• Chest: Bright like a golden slab, even, strong, broad, and marked with the auspicious Śrīvatsa symbol.
• Torso: Not showing the rib cage, golden in hue, pure, and free from disease marks.
• Sides: Slightly bent, proportionate, beautiful, and full.
• Body Hair (Romavali): Straight, even, fine, compact, black, lustrous, beautiful, and soft.
• Navel: Deep, with spirals like the eddies of the Ganges, and opened like lotuses by sunrays.
• Waist: Compact, like a pestle, a mirror handle, the hilt of a golden sword, or a vajra (thunderbolt), and slender.
• Hips: Circular like those of a horse or lion.
• Genital Area: Undisguised, pure, and ample like that of a pure-bred horse.
• Gait: Majestic like an elephant's, powerful, and graceful.
• Shanks: Like an elephant's trunk.
• Ankles: Like cymbals, fleshy, and therefore well-hidden.
• Calves: Round and progressively fuller, like those of a deer, or shaped like reeds or knots of thread.
• Toes: Progressively shorter, with slight space between them, and well-formed.
• Toenails: Elevated, thin, red, and smooth.
• Soles of Feet: Soft, delicate, and tender like red lotus petals, and marked with auspicious symbols like mountains, cities, crocodiles, oceans, and chakras.
• Body Radiance: Like smokeless fire, lightning, or the rays of the young sun.
• Laksanas: Lord Mahavir possessed eight thousand (or perhaps 800?) masculine attributes (Purushalakshanas).

In essence, the book provides a fascinating linguistic journey through the evolution of common Gujarati words and offers a detailed, idealized physical portrait of Lord Mahavir as described in Jain tradition.