Shiksha

Shiksha literally means "instruction, lesson, study, knowledge, learning, study of skill, training in an art". It was one of six fields of supplemental studies, others being grammar (Vyakarana), prosody (Chandas), ritual (Kalpa), etymology (Nirukta) and astrology (Jyotisha, calculating favorable time for rituals). ==History==

Shiksha, states Hartmut Scharfe, was the first branch of linguistics to develop as an independent Vedic field of study among the Vedangas. The earliest Brahmanas – a layer of text within the Vedas, include some terms of art in the Vedic phonetics, such as Varna and Avasana. The Shiksha field was likely well developed by the time Aranyakas and Upanishads layer of the Vedas were being composed. ==Discussion==

The Shiksha field of Vedic studies arranged the Sanskrit alphabet in a rational order, state Wilke and Moebus, each mapped to the anatomical nature of human sounds, from the back to the front – throat (at the very back), palate, palatal ridge, teeth and lips. The letters of the Sanskrit alphabet were further organized by the Vedic scholars into a magic square, making symmetrical and resonant alternate readings of the letters possible, such as top to bottom in addition to left to right. Further, the Shiksha scholars added Mudra (hand signs) to go with each sound, thereby providing a visual confirmation and an alternate means to check the reading integrity by the audience, in addition to the audible means. These Mudras continue to be part of the classical Indian dance tradition. This interplay of the gesture and sound in Sanskrit recital, state Wilke and Moebus, is similar to the gesture of a conductor and the sound produced by music players in any classical orchestra. In Sanskrit, the posture of the performer is an added dimension to those of pronunciation and gesture, together these empowered muscular memory with acoustic memory in the Hindu tradition of remembering and transmitting Sanskrit texts from one generation to the next, state Wilke and Moebus. The methodical phonetic procedure developed by Shiksha helped preserve the Vedas without the slightest variants in the most faithful way possible. It made the Vedas and embedded Principal Upanishads the canonical scriptures of Hinduism. The rules and symmetric of Siksa helped the student to master enormous volumes of knowledge, and use the embedded codes and rules to self check his memory. However, state Wilke and Moebus, the Shiksha methodology has been not just highly technical, it has strong aesthetic "sensuous, emotive" dimension, which foster thinking and intellectual skills in a participatory fashion. The reciter's mind and body are engaged, making language and sound as an emotional performance. The study of phonetics functioned to transform a Vedic text, which traditionally was composed as language-music, into a musical performance. Individual sounds in the Sanskrit have independent personalities, and the reciter helps develop their character and their timbre, state Wilke and Moebus. Naradiya Siksa, a phonetics treatise on the Sama Veda explains this aspects of phonology with various similes, such as, {{Quote| Just as a tigress takes her cubs tightly in her teeth without hurting them, whilst fearing that she might drop them and injure them, so one should approach the individual syllables. Pratishakhyas Pratisakhyas are the oldest Shiksha textbooks of each branch of the Vedas. Later Shiksha texts are more specialized and systematic, and often titled with suffix "Shiksha", such as the Naradiya-Shiksha, Vyasa-Shiksha, Pari-Shiksha and Sarvasammata-Shiksha. The Pratishakhyas, which evolved from the more ancient Vedic Texts padapathas ('''') around 800 BCE, deal with the manner in which the Vedas are to be enunciated. There are separate Pratishakhyas for each Veda. They complement the books called Shiksha written by various authorities. Several Pratishakhyas have survived into the modern era, and these texts refine the structure of sound at different levels of nuance, some adding many more letters to the basic set in the Sanskrit alphabet: • Rigveda-Pratishakya: 47 letters • Paniniya-Shiksha: 63 or 64 letters organizes the stop consonant sounds into a 5x5 varga or square: The alphabet is designed such that the difference between sounds is preserved whether you recite it horizontally or vertically. It was extended and completed with fricatives and sibilants, semi-vowels, and vowels, and was eventually codified into the Brahmi alphabet, which is one of the most systematic sound-to-writing mappings. Scholar Frits Staal has commented, "Like Mendelejev’s Periodic System of Elements, the varga system was the result of centuries of analysis. In the course of that development the basic concepts of phonology were discovered and defined. The Varga system and the Pratishakshyas, contributions of the Shiksha texts, are elaborate systems which deal with the generation and classification of sound. Other Shiksha texts In addition, several Shiksha texts exist, most of them in metrical verse form but a few in sutra form. The following list contains some of these surviving texts: Amoghanandini Shiksha, Apisali Shiksha (in sutra form), Aranya Shiksha, Atreya Shiksha, Avasananirnyaya Shiksha, Bharadvaja Shiksha, Chandra Shiksha of Chandragomin (sutra form), Charayaniya Shiksha, Galadrka Shiksha, Kalanirnya Shiksha, Katyayani Shiksha, Kaundinya Shiksha, Keshavi Shiksha, Kramakarika Shiksha, Kramasandhaana Shiksha, Laghumoghanandini Shiksha, Lakshmikanta Shiksha, Lomashi Shiksha, Madhyandina Shiksha, Mandavya Shiksha, Mallasharmakrta Shiksha, Manasvaara Shiksha, Manduki Shiksha, Naradiya Shiksha, Paniniya Shiksha (versified), Paniniya Shiksha (in sutra form), Paniniya Shiksha (with accents), Parashari Shiksha, Padyaatmika Keshavi Shiksha, Pari Shiksha, Pratishakhyapradipa Shiksha, Sarvasammata Shiksha, Shaishiriya Shiksha, Shamaana Shiksha, Shambhu Shiksha, Shodashashloki Shiksha, Shikshasamgraha, Siddhanta Shiksha, Svaraankusha Shiksha, Svarashtaka Shiksha, Svaravyanjana Shiksha, Vasishtha Shiksha, Varnaratnapradipa Shiksha, Vyaali Shiksha, Vyasa Shiksha, Yajnavalkya Shiksha Although many of these Shiksha texts are attached to specific Vedic schools, others are late texts. ==Sound and alphabet==

Traditionally syllables (not letters) in Sanskrit are called Akshara, meaning "imperishable (entity)": "atoms" of speech, as it were. These aksharas are classified mainly into two types: • Svara (pratyahara ach): Vowel • Vyanjana (pratyahara hal): Consonant Svara aksharas are also known as prana akshara; i.e., they are main sounds in speech, without which speech is not possible. Pāṇini referred to svara as ac pratyahara. Later they became known as ac Akshara. Vyanjana means embellishment, i.e., consonants are used as embellishment in order to yield sonorant vowels. They are also known as Prani akshara; that is, they are like a body to which life (svara) is added. Pāṇini's name for vyanjana was Hal Pratyahara, which were later referred to as Hal akshara. Vyanjana aksharas are divided into three types: • Sparśa: Stop • Antastha: Approximant • Uṣman: Sibilant Sparsa aksharas include syllables from ka to ma; they are 25 in number. Antastha aksharas include syllables ya, ra, la and va. Usman aksharas include śa, ṣa, sa and ha. Vowels Each vowel can be classified into three types based on the duration of pronunciation (morae): • Hrasva: Short vowel, Eka-mātra • Dīrgha: Long vowel, Dvi-mātra • '''''': Prolonged vowel, Tri-mātra (pluti|) We see that each vowel can be pronounced in three ways according to the duration of articulation. The unit of time is a mātra, which is approximately 0.2 seconds. It is approximately 0.2 seconds because 1 prana (1 respiration) is 10 long syllables or approximately 4 seconds and a long syllable is counted as two morae (mātra), thus 4÷(10×2) = 0.2. Each vowel can be further classified into two types based on the manner of pronunciation: : Mukha: Oral (open) : Nāsika: Nasal (all vowels are considered phonemically oral) Each vowel can also be classified into three types, that is, pronounced in three ways, based on accent of articulation. This feature was lost in Classical Sanskrit, but used in reciting Vedic and Upanishadic hymns and mantras. : Udātta: high pitch : Anudātta: low pitch : Svarita: descending pitch (usually follows high pitch) Articulation Generally, in articulatory phonetics, the place of articulation (or point of articulation) of a consonant is the point of contact, where an obstruction occurs in the vocal tract between an active (moving) articulator (typically some part of the tongue) and a passive (stationary) articulator (typically some part of the roof of the mouth). But according to Indian linguistic tradition, there are five passive places of articulation: : '''''': Velar : Tālavya: Palatal : Mūrdhanya: Retroflex : Dantya : Dental : Ōṣṭhya : Labial Apart from that, other articulations are combinations of the above five places: : '''Dant'oṣṭhya''': Labio-dental (E.g.: v) : Kanthatālavya: e.g.: Diphthong e : Kaṇṭhōṣṭhya: labial-velar (E.g.: Diphthong o) There are three active places of articulation: : Jihvāmūla: tongue root, for velar : Jihvāmadhya: tongue body, for palatal : Jihvāgra: tip of tongue, for cerebral and dental : '''''': lower lip, for labial Effort (or manner) of articulation ('''''') is of two types for consonants, : Bāhya Prayatna: External effort :: '''''': Plosive :: '''''': Approximant :: '''''': Fricative : Abhyantara Prayatna: Internal effort :: Alpaprāṇa: Unaspirated :: Mahāprāṇa: Aspirated :: Śvāsa: Unvoiced :: Nāda: Voiced Articulation of consonants Articulation of consonants will be a logical combination of components in the two prayatnas. The below table gives a view upon articulation of consonants. ==See also==