Vyakarana — Sanskrit Grammar

व्याकरण — the mouth of the Veda

Panini · Katyayana · Patanjali

Vyakarana (व्याकरण, "analysis, separation") is the Vedanga of grammar. Its task is to take the continuous stream of speech, break it down into its smallest meaningful parts — roots, stems, suffixes and endings — and state the rules by which those parts combine into correct words and sentences. In the traditional image of the Veda as a body, Vyakarana is the mouth, and it has often been described as the chief of the Vedangas. Patanjali lists the purposes of studying grammar as the preservation of the Veda (raksha), the ability to adapt mantras correctly in ritual (uha), scriptural injunction (agama), economy of learning (laghu) and the removal of doubt (asandeha).

Panini and the Ashtadhyayi

The central text of Vyakarana is the Ashtadhyayi ("eight chapters") of Panini. Panini is associated with Shalatura in Gandhara, in the north-west of the subcontinent, and is usually dated to around the fifth or fourth century BCE. He mentions earlier grammarians such as Apishali, Shakatayana and Gargya, so he was the culmination of a tradition rather than its founder; but his work so completely superseded the others that their grammars are lost.

The Ashtadhyayi consists of about 4,000 sutras (3,959 in the standard recension), divided into eight chapters of four quarters each. In a remarkably compact form it describes the Sanskrit of Panini's day, with additional rules for Vedic usage. It works together with several auxiliary lists: the Shiva Sutras (the inventory of sounds), the Dhatupatha (a list of about 2,000 verbal roots arranged in ten classes) and the Ganapatha (lists of words that undergo the same operation).

How the grammar works

Panini's grammar is generative: starting from roots and suffixes, its rules apply one after another to produce every correct form. To make this possible within a few thousand short sutras, Panini used devices that have fascinated modern linguists and computer scientists:

The linguist Leonard Bloomfield called Panini's grammar "one of the greatest monuments of human intelligence", and the notation used to define programming languages has been compared to Panini's rule format; it is sometimes called Panini–Backus form.

Katyayana and Patanjali

Panini's work became the subject of an extensive commentarial tradition. Two figures stand out, and together with Panini they are honoured as the trimuni, the "three sages" of grammar.

SageDate (approx.)WorkContribution
Paninic. 5th–4th century BCEAshtadhyayiComposed the grammar of nearly 4,000 sutras
Katyayanac. 3rd century BCEVarttikasCritical notes that examine, supplement and correct Panini's rules
Patanjalic. 2nd century BCEMahabhashyaThe "Great Commentary" defending and explaining Panini and Katyayana

Katyayana wrote varttikas, short critical notes on a large number of Panini's rules, pointing out where rules overreach or fall short and proposing additions — partly reflecting changes in the language since Panini's time. Patanjali, in his Mahabhashya ("Great Commentary"), discusses Katyayana's notes in a lively dialogue form, defending Panini where possible and accepting corrections where necessary. The Mahabhashya is also a major work of philosophy of language and a valuable source on the society of its time. In the tradition, where the three sages disagree, the view of the later one is followed.

The later tradition

Grammar remained a living discipline for two millennia. Bhartrihari's Vakyapadiya (around the fifth century CE) developed a profound philosophy of language centred on the sphota, the meaning-bearing unit of speech. The Kashika of Jayaditya and Vamana (seventh century) is a complete running commentary on the Ashtadhyayi. In the seventeenth century Bhattoji Dikshita rearranged Panini's rules by topic in the Siddhanta Kaumudi, which, with its simplified versions such as the Laghu Siddhanta Kaumudi, remains the standard way Sanskrit grammar is taught in traditional schools. Non-Paninian grammars also arose, such as the Katantra and the Buddhist Chandra grammar.

Why Vyakarana matters

For the Vedic tradition, grammar safeguards meaning: a single changed ending can turn a subject into an object. By fixing the forms of classical Sanskrit, Panini's grammar also gave India a stable shared language of learning for more than two thousand years, in which philosophy, science, law, medicine and literature were written. Many modern Indian languages draw on Paninian concepts in their own grammatical traditions. Vyakarana works hand in hand with Shiksha, which governs the sounds that grammar combines, and with Nirukta, which explains the meanings of words that grammar alone cannot derive.

Frequently asked questions

What is Vyakarana?

Vyakarana is the Vedanga of grammar: the analysis of words into roots, stems, suffixes and endings, and the rules by which they combine into correct forms and sentences. The word means "analysis" or "separation". It is traditionally called the mouth of the Veda and is often regarded as the most important of the Vedangas.

Who wrote the Ashtadhyayi and how many sutras does it have?

The Ashtadhyayi was composed by Panini, who probably lived in the north-west of the subcontinent around the 5th or 4th century BCE. It contains about 4,000 sutras (3,959 in the standard text) arranged in eight chapters (adhyayas) of four quarters (padas) each.

Who are the three sages (trimuni) of Sanskrit grammar?

Panini, author of the Ashtadhyayi; Katyayana, author of the Varttikas, critical notes on Panini’s rules; and Patanjali, author of the Mahabhashya, the great commentary on both. Together they are honoured as the trimuni, and where they differ the view of the later sage is generally accepted.

What are the Shiva Sutras (Maheshvara Sutras)?

They are 14 short lines that list the sounds of Sanskrit in a special order, each ending with a marker consonant. Using them, Panini can refer to any group of sounds with a two-letter abbreviation called a pratyahara, such as ac for all vowels and hal for all consonants. Tradition holds that they came from the sound of Shiva’s drum.

The other Vedangas