Sound Synthesis In Indo European Indo Iranian And Sanskrit

Here's a comprehensive summary of "Sound Synthesis in Indo-European, Indo-Iranian and Sanskrit" by Satya Swarup Misra, based on the provided text:

Book Title: Sound Synthesis in Indo-European, Indo-Iranian and Sanskrit (History of Sanskrit Sandhi) Author: Satya Swarup Misra Publisher: Ashutosh Prakashan Sansthan

Core Argument and Scope: This book presents a detailed historical account of "sandhi" or "sound synthesis" from its origins in Proto-Indo-European (IE), through its development in the Indo-Iranian (IIr) stage, and culminating in its complex manifestations in Sanskrit (Skt). The author aims to provide a full-fledged historical treatment, filling a perceived gap in existing scholarship, which often focused on Panini's grammar or later individual linguists like Whitney and Macdonell without a comprehensive historical perspective.

Key Concepts and Approach:

• Sound Synthesis (Sandhi): The book defines sound synthesis as combinatory sound changes that occur at the contact of sounds. This includes vowel synthesis (contractions, diphthongizations, vowel-to-consonant and consonant-to-vowel changes) and consonant synthesis (assimilations, glides, etc.). The term "synthesis" is used as an equivalent to the Sanskrit term "sandhi" (from IE *som-dh-i, meaning "put together").
• Historical Progression: The central theme is tracing the evolution of sandhi rules and patterns across these three language stages. The author systematically examines how sandhi developed and changed from IE to IIr and then to Skt, highlighting innovations specific to each stage.
• Internal vs. External Sandhi: The book acknowledges the traditional Western classification of sandhi into internal (within a word) and external (between words). It also touches upon the traditional Indian grammatical categories.
• Optionality and Compulsion: A significant aspect of the study is the analysis of when sandhi was optional and when it became compulsory. The author suggests that sandhi initially started as optional, particularly in internal sandhi and compounds, and gradually became more obligatory, especially in internal sandhi and sentence-level sandhi in later stages.
• Specific Sound Changes: The book meticulously details various sound changes, categorizing them into vowel synthesis and consonant synthesis. It provides examples and reconstructions from attested IE languages (like Greek, Latin, Gothic, Hittite) to support its claims.

Key Findings and Content Breakdown:

1. Indo-European Sound Synthesis:

• Sandhi is an inherited feature from Proto-Indo-European.
• External sandhi was likely less developed than internal sandhi in IE and evolved from internal sandhi, compounds, and upasarga-verb combinations.
• Initially, even internal sandhi was optional, evidenced by dialectal variations. Over time, it became compulsory for internal sandhi, while compound sandhi remained optional for a longer period.
• The book divides IE sandhi into vowel synthesis and consonant synthesis.

2. Indo-European Vowel Synthesis:

• Examines combinations of primary vowels with primary vowels (same and different qualities), resulting in long vowels and diphthongs.
• Discusses combinations of primary vowels with secondary vowels (like *i, *u, *r, *l, *m, *n), detailing the formation of diphthongs and vowel-consonant alternations.
• Explores the role of syllabicity in vowel synthesis, noting variations based on syllable weight.

3. Indo-European Consonant Synthesis:

• Focuses on assimilation, with a preference for regressive assimilation (the first consonant assimilating to the second).
• Covers phenomena like voiced/voiceless assimilation, aspirate changes, and the appearance of glides (especially *s).
• Discusses "mobile s" (s-movable) and back-formations from assimilated consonants.

4. Indo-Iranian Sound Synthesis:

• IIr generally inherited IE sandhi but introduced innovations primarily due to phonetic changes of individual sounds (merger of IE vowels) and extensions of sandhi rules.
• Vowel Synthesis Innovations: Simplification of vowel combinations due to the merger of IE *a, *e, *o into IIr *ǎ.
• Consonant Synthesis Innovations:
  • Voicing of voiceless stops and *s before vowels and consonantal secondary vowels (a broader scope than in IE).
  • Specific changes like *s > *š before palatal vowels.
  • Assimilation of nasals (*m, *n) before stops and other consonants.
  • Changes in the treatment of *s, *š, and *r in final positions.

5. Old Indo-Aryan Vowel Synthesis:

• OIA inherited the IIr simplification of vowel sandhi.
• Innovations:
  • Shortening of vowels in specific sandhi contexts (e.g., *ā+i > *e).
  • Elision of vowels in some cases.
  • Analogical extensions of certain sandhi patterns.
  • Discusses the loss of *a after *e, *o in classical Sanskrit, often contrasted with its retention in Vedic.

6. Old Indo-Aryan Consonant Synthesis:

• OIA introduced fresh assimilations and analogical remodellings, often leading to complete assimilation (e.g., *d+*l > *ll).
• Details specific changes involving nasals (*n, *m) and sibilants (*s, *š).
• Explains the reduplication of final nasals.
• Traces the evolution of accusative plural endings and their interaction with sandhi.
• Examines the complex treatment of the proto-sound *h (from various sources including *s and *dh), its assimilation, and its role in creating new sounds or patterns in Sanskrit.
• Discusses how *r and *s/š, after becoming final *ḥ, sometimes followed similar sandhi paths.

7. Exceptional Treatments in OIA Sound Synthesis:

• Prohibition of Sandhi: The author argues that the prohibition of sandhi in certain Sanskrit forms (like specific duals, pronouns, locatives) is an innovation in the Indo-Aryan stage, designed to prevent ambiguity. This prohibition applied to optional external sandhi.
• Apparent Exceptions: Examines forms traditionally considered exceptional, suggesting some might be influenced by Middle Indo-Aryan or require re-analysis.
• Vedic vs. Classical Sandhi: Highlights features of Vedic sandhi that appear exceptional compared to classical Sanskrit, arguing that Vedic sandhi is often more historical, while classical Sanskrit shows more innovations (e.g., in accusative plural endings, loss of *a after *e/*o, and compound formation).

Overall Contribution: Satya Swarup Misra's work provides a meticulous and comprehensive historical reconstruction of sound synthesis across the IE, IIr, and Skt language families. It systematically traces the development and evolution of sandhi rules, offering detailed analyses of specific sound changes, the interplay of optionality and compulsion, and the innovations that mark each linguistic stage. The book serves as a valuable resource for understanding the phonological history and grammatical development of Indo-European languages, with a particular focus on the intricate system of Sanskrit sandhi within its broader historical context.