The à Âiva÷sà «tras, technically aká¹£ara÷samÃÂmnÃÂya, variously called ', pratyÃÂhÃÂra÷sà «trÃÂá¹Âi, vará¹Âa÷samÃÂmnÃÂya, etc., refer to a set of fourteen aphorisms devised as an arrangement of the sounds of Sanskrit for the purposes of grammatical exposition as carried out by the grammarian PÃÂá¹Âini in the Aá¹£á¹ÂÃÂdhyÃÂyë.
PÃÂá¹Âini himself uses the term aká¹£ara÷samÃÂmnÃÂya whereas the colloquial term "Shiva sutra" is a later development, as per claims by Nandikeà Âvara in his KÃÂà ÂikÃÂ, that the god à Âiva sounded his drum fourteen times to reveal these sounds to PÃÂá¹Âini. They were either composed by PÃÂá¹Âini to accompany his ' or predate him.
Each verse consists of a group of basic Sanskrit phonemes (i.e. open syllables consisting either of initial vowels or consonants followed by the basic vowel "a") followed by a single 'dummy letter', or anubandha, conventionally rendered in upper case and named by PÃÂá¹Âini.
The following table shows the Shiva Sutras in DevanÃÂgarë Script and their transliteration into the well-used transliteration scheme of Indic characters by Latin scripts viz. ISO 15919, ITRANS, and IPA.
This allows PÃÂá¹Âini to refer to groups of phonemes with ', which consist of a phoneme-letter and an anubandha (and often the vowel a to aid pronunciation) and signify all of the intervening phonemes. PratyÃÂhÃÂras are thus single syllables, but they can be declined (see Aá¹£á¹ÂÃÂdhyÃÂyë 6.1.77 below). Hence the pratyÃÂhÃÂra aL refers to all phonemes (because it consists of the first phoneme of the first verse (a) and the last anubandha of the last verse (L)); aC refers to vowels (i.e., all of the phonemes before the anubandha C: i.e. a i u Ṡḷ e o ai au); haL to consonants, and so on.
Note that some pratyÃÂhÃÂras are ambiguous. The anubandha á¹ occurs twice in the list, which means that you can assign two different meanings to pratyÃÂhÃÂra aá¹ (including or excluding á¹Â, etc.); in fact, both of these meanings are used in the Aá¹£á¹ÂÃÂdhyÃÂyë. On the other hand, the pratyÃÂhÃÂra haL is always used in the meaning "all consonants"âÂÂPÃÂá¹Âini never uses pratyÃÂhÃÂras to refer to sets consisting of a single phoneme.
From these 14 verses, a total of 280 pratyÃÂhÃÂras can be formed: 14*3 + 13*2 + 12*2 + 11*2 + 10*4 + 9*1 + 8*5 + 7*2 + 6*3 + 5*5 + 4*8 + 3*2 + 2*3 +1*1, minus 14 (as PÃÂá¹Âini does not use single element pratyÃÂhÃÂras) minus 11 (as there are 11 duplicate sets due to h appearing twice); the second multiplier in each term represents the number of phonemes in each. But PÃÂá¹Âini uses only 41 (with a 42nd introduced by later grammarians, raá¹Â=r l) pratyÃÂhÃÂras in the Aá¹£á¹ÂÃÂdhyÃÂyë.
The Aká¹£arasamÃÂmnÃÂya puts phonemes with a similar manner of articulation together (so sibilants in 13 à Âa á¹£a sa R, nasals in 7 ñ m á¹ á¹ n M). Economy is a major principle of their organization, and it is debated whether PÃÂá¹Âini deliberately encoded phonological patterns in them (as they were treated in traditional phonetic texts called PrÃÂtià Âakyas) or simply grouped together phonemes which he needed to refer to in the Aá¹£á¹ÂÃÂdhyÃÂyë and which only secondarily reflect phonological patterns. PÃÂá¹Âini does not use the Aká¹£arasamÃÂmnÃÂya to refer to homorganic stops, but rather the anubandha U: to refer to the palatals c ch j jh he uses cU.
As an example, consider Aá¹£á¹ÂÃÂdhyÃÂyë 6.1.77: ':
Hence this rule replaces a vowel with its corresponding semivowel when followed by any vowel, and that is why ' together with ' makes '. To apply this rule correctly we must be aware of some of the other rules of the grammar, such as:
Also, rules can be debarred by other rules:
Despite the possible combinations seen above, here are the 41 pratyÃÂhÃÂras in actual use by PÃÂá¹Âini: