Sphota

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The term sphoTa   is etymologically derived from the root sphuT, which means 'to burst', or become suddenly rent asunder (with a sound)

 The word sphoTa   is explained in two ways 

1. Naagesha BhaTTa defines sphoTa as sphuTati prakaashate'rtho'smaad iti sphoTaH (that, from which the meaning bursts forth, that is, shines forth. In other words, the word

that expresses a meaning, or the process of expressing a meaning through a word is called sphoTa. 
2. SphoTa, according to Maadhava, is that which is manifested or revealed by the phonemes: sphuTyate vyajyate varNairiti sphoTaH.

A UNIQUE CONTRIBUTION OF INDIAN GRAMMARIANS

 Gaurinatha Shastri suggested that the original Greek conception of logos best conveys the meaning of sphoTa: 'The fact that logos stand for an idea as well as a word wonderfully approximates to the concept of sphoTa' [iii]. The concept of

sphoTa

 is the unique contribution of Indian grammarians to the philosophy of language. This is the theory, which explains the working of the speech process. We do not have sufficient evidence, in our hand to establish as to who was the first founder of the sphoTa theory. Haradatta in his PadamaNjari and Naagesha BhaTTa in his sphoTavaada claim that the sphoTaayana was the first founder of the sphoTa doctrine [iv].

VARIOUS VIEWS ON SPHOTA

 VyaaDi, the author of

samgraha 

, might have recorded some discussion about the sphoTa theory; as the distinction between the

praakrta dhvani

 and

vaikrta dhvani

 mentioned in the Vaakya Padeeya is supposed to have been made by him [v]. Some scholars believe that the indirect reference to sphoTa theory is found in the writings of AudumbaraayaNa quoted by Yaaska in his Nirukta [vi]. Here it should be noted that Yaaska did not use the term sphoTa and he seems to have known little about it. AudumbaraayaNa also does not mention the term sphoTa directly. His awareness of sphoTa is speculated on the basis of the sphoTa concept of Bhartrhari. (See my earlier articles in Language in India, 

The Notion of Vaak in Vaakyapadeeya

 and 

Bhartrhari -- the Father of Indian Semantics

.) Some grammarians even claimed that the germs of the sphoTa theory are present in PaaNini's

ASTaadhyaayee 

 [vii], as he mentions the name of

sphoTaayana

. The specific mention of the name

sphoTaayana

, neither sufficiently indicates that PaaNini knew anything similar to the sphoTa theory, nor does it point out that this doctrine originally belonged to the sage sphoTaayana. The Vaartikakaara, Kaatyaayana does not mention the word sphoTa in his Vt. He only established the great principle that shabda is nitya ("eternal, or permanent"), artha is nitya, and their mutual relation i.e. vaacya- vaacaka-bhaava is also nitya [viii]. While explaining upon PaaNinian rule taparastatkaalasya, P.1.1.70, he says that the letters are fixed and the style of vrtti depends upon the speech habits of the speaker. This statement of Kaatyaayana, regarding the nature of word and the difference in tempo takes us near to the sphoTa doctrine.

PATANJALI ON SPHOTA -- THE FLAME AND THE FIRE

 Here it should be admitted that though earlier thinkers talk of the eternal and pervasive character of word, as an element or unit, the clear picture of sphoTa theory is not found before PataNjali. He discuses the idea of sphoTa, under P-1.1.170 (taparastatkaalasya), and P-8.2.18 (krpo ro laH), where the word sphoTa is not applied to the meaning bearing element, but to a permanent aspect of phonemes.  According to PataNjali, sphoTa is not identical with shabda. It is rather a permanent element of shabda, whereas dhvani represents its non-permanent aspect. The sphoTa is not audible like dhvani [ix]. It is manifested by the articulated sounds. The dhvani element of speech may differ in phonetic value with reference to the variation in the utterance of different speakers. Differences in speed of utterance and time distinctions are attributes of dhvani, which can not affect the nature of sphoTa revealed by the sound. When a sound passes from a speaker's lips, sphoTa is revealed instantaneously. But before the listener comprehends anything, dhvani elements manifest the permanent element of shabda. So, sphoTa comes first and manifesting dhvani also continues to exist after the revelation of sphoTa. That is why PataNjali remarks that dhvani-s are actualized and euphemeral elements and attributes of sphoTa [x]. PataNjali points out that the sphoTa, which is revealed by the articulate sounds, can be presented through phonemes only. A phoneme (vowel) which represents sphoTa remains the same in three modes of utterance, i.e. slow, fast and faster, whereas dhvani (articulate sound) differs in different utterances [xi]. It is just like the distance, which remains the same, even if it is covered by various means, which travel slow, fast, and faster. Regarding the unaffected nature of sphoTa, PataNjali gives the analogy of a drumbeat. When a drum is struck, one drumbeat may travel twenty feet, another thirty feet, another forty feet and so on. Though the sounds produced by beating the drum differ, the drumbeat remains the same. SphoTa is precisely of such and such a size, the increase and decrease in step is caused by the difference in the duration of dhvani [xii].  According to PataNjali, sphoTa is a conceptual entity or generic feature of articulated sounds, either in the form of isolated phonemes or a series of phonemes. It is a permanent element of physical sounds which are transitory in nature, and which vary in length, tempo and pitch of the speaker. It is an actualized replica of euphemeral sounds.

BHARTRHARI ON SPHOTA

 In interpreting the doctrine of sphoTa, Bhartrhari follows the tradition handed down by his predecessors like PataNjali and others. While explaining the notion of sphoTa, he not only gives his own view but also gives the views of others (using the quotative markers, kecit and apare) [xiii], without mentioning their names. Traditionally it is believed that they may be MImamsakas and Naiyaayikas.