% User Configuration Option -- One column or Two column output.
%\def\maketwocolumn{YES}% Uncomment this for 2-column printing
%\def\makelandscape{YES}% Uncomment this for landscape format
\pagestyle{empty}
\def\dvyu{\char149\kRn{-0.3}\sBs{-0.25}{\char0}\kRn{0.3}}%special ligature
\def\dvya{\char149}%special ligature
\def\u#1{\underline{\rule[-0.5em]{0em}{1em}#1}}  %sannatara mark
\def\s#1{#1\kRn{-0.12}\rule[0.8em]{0.1em}{0.5em}}%svarita mark
%\def\`{\kRn{-1.5} \rule[-0.5em]{0.5em}{0.1em}\kRn{-0.2}}% alt.sannatara
% \def\'{\kRn{-0.12}\rule[0.8em]{0.1em}{0.5em}} %alt. svarita
\def\`{\kRn{-1.5} \rule[-0.5em]{0.5em}{0.1em}\kRn{0.2}}% alt.sannatara
\def\'{\kRn{-0.12}\rule[0.8em]{0.1em}{0.5em}} %alt. svarita
\def\kp{ 1\`\' } %kampa short
\def\Kp{ 3\`\' } % kampa long

\documentstyle{article}
\input idevn.tex% TeX macros that ease ITRANS devanagari font usage
%-----
% ITRANS song book....prepend this header to print out songs,
% using TeX (either Devnac or Devnag font)
% >>>>>>>> Need ITRANS 4.0 <<<<<<<<<
%-----

\newcommand{\SC}{\stepcounter{scounter}\arabic{scounter}}
\newcounter{scounter}
%\newcommand{\addline}{\medskip\hrule\medskip}
% Edit this if needed, default should be ok for most users.

\ifx\undefined\maketwocolumn
% --- One column output
    \let\usedvng=\largedvng% 17pt devanagari font
%     \let\usedvng=\Hugedvng% 17pt devanagari font

    \let\smallcmr=\eightrm
    \let\titlefont=\tenrm
\else
% --- Two column output
    \let\usedvng=\normaldvng% 10pt devanagri font 

    \let\smallcmr=\sixrm
    \let\titlefont=\eightrm
\fi

% font options (normaldvng, largedvng, etc):
% sizes: normal < large < Large < LARGE < huge < Huge

%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%%
% if needed, redefine "space" to allow each input line to be broken into
% multiple output lines (\let =~ is the default, which enforces line rule)
% That has to done in the idevn.tex file, or add this command after
% \startsong in your input file:
% {\global\let =\ }% Comment this out for: 1 input line --> 1 output line
% (you cannot uncomment the command here, it has to appear after \startsong)
%-----
% Uncomment one of the following paragraphs:
%    First one is for Frans Velthuis's font.
%    Second one uses the font that is bundled with the ITRANS package.
% ONLY one of these should be uncommented at any one time.............

% ** Frans's font....(Metafont) (Uncomment the following TWO lines.)
#indianifm=sdvng.ifm  % ITRANS command Here s means Sanskrit mode, so halanta is default!
#indianfont=\fransdvng

%-----OR--------

% ** Devnac font (PostScript) (Uncomment the following TWO lines.)
% #indianifm=dvnc.ifm  % ITRANS command
% #indianfont=\postdvng

#useshortmarkers % this allows use of ## (beginindian) and  ## (endindian)
% -----------------------------------------------------------------
% Page Settings
\ifx\undefined\makelandscape
    % Use Portrait Size Page
    \portraitpage 
    % use a slightly wider page
    \addtolength{\textwidth}{0.25in}
\else
    % Use Landscape Size Page
    \landscapepage 
\fi

% -----------------------------------------------------------------
% The idevn.tex file is now included with ITRANS 4.0, but it has
% a new method of specifying the songtitle (using printtitle).
% For backward compatibility, need to define songtitle.
\def\songtitle#1#2#3#4{%
    \film{#1}\singer{#2}\lyrics{#3}\music{#4}\printtitle}

% -----------------------------------------------------------------
\font\titled=dvng10 scaled\magstep1
\raggedright    % since the words are long, this reduces the long
% gaps that appear when TeX justifies the lines.
%\parskip 3 pt   % to slightly increase the space between the shlokas.

\parindent 0pt
\begin{document}
% from startsong command:
\def\-{{\englfont -}}%
\def\.{{\englfont .}}%
\usedvng % use whatever font the user wants...default normaldvng
\englfont % usedvng makes default font indian, restore english font
% end from startsong command
%
\ifx\undefined\maketwocolumn
    \relax
\else
    \twocolumn[\centerline{##\titled ##}\bigskip]
\fi
%\hrule height0.4pt
% ----------------------- End of ishdr.itx ------------------------

#indian %Invoke indian font
##      %back to english font, use ## markers for Indian font.
\begin{center}
##\LARGEdvng svaramaJNjarii##\\
svaramaJNjarii\footnote{Send corrections to Avinash Sathaye sohum@ms.uky.edu\\
Some portion is not translated yet, but the
the specific portion does not seem so important for the rules
of accents. It is more general and is about the grammar rules related
to accents, is usually useless for a specific document.\ \ \-\-Avinash.}\\
##arthaat.h ashhTavikR^ityupetaa##\\
##|| sa.nhitaa\-padapaaThavimarshasahitaa vaidikasvarapaddhatiH || ##\\
##(lekhakaH \- ve\. shaa\. saM\. giirvaaNabhuushhaNa tryaMbaka balava.nta abhya.nkara, bii\. e\. ##[## sa.nskR^ita aa.c\.##]## puNe\.)##\\
##|| prathamaguchchhaH \- svaraprakriyaatmakaH || ## 
\end{center}

##maN^galam.h## (Invocation:) \begin{verse} ##
naanaanaamadharaM loke lokaanaamabhayaMkaram.h | \\
sadaashivasvaruupaM taM tryaMbakaM praNamaamyaham.h || 1|| ##
\end{verse}
\medskip
Translation :
I bow before the three-eyed God Shiva with auspicious features who has many different names and
protects the people of the worlds.

\medskip

## svaramahattvam.h ## (Importance of the accents)  

\begin{verse}##
shriirvai svarashcha vedaanaamarthabodhaH sukhaM svaraat.h |\\
shuddhapaaThaH svaraadeva svaraGYo labhate param.h || 2||\\
## \end{verse}
\medskip
Translation:
Accents are the precious features of the Vedas, it is easy to know the meaning through the
accents, also the expert in the accents acquires the proper intonation of the Vedas through 
their use.
\medskip

## gra.nthaprayojanam.h ## (Purpose of this book.)

\begin{verse}##
svaraGYaanapraveshaaya dvijaanaaM vedapaaThinaam.h |\\
tryaMbakiiyaamimaaM vaxye vaidikasvarapaddhatim.h || 3||\\
bhagavaan paaNinirvetti svarashaastramahaarNavam |\\
uDupaM matkR^itirbhuuyaat tarituM taM sudustaram || 4||\\
susuuxmavishhayasyaasya shaastriiyapratipaadane |\\
na tathaasti kR^ito yatno yathaa baalaavabodhane || 5||\\
## \end{verse}
\medskip
Translation:
I will describe my (##tryaMbakiiya##) system of accents to introduce the Vedic students
to the science of the accents. Lord Panini knows the whole ocean of this science, let my 
work serve as a boat to cross this difficult ocean! (To date) no effort like this has been 
made to make the technical discussion of this subtle subject accessible to a layman.
\medskip

## svaritavaaN^mayam ## (Accented literature)

\begin{verse}##
saMhitaaH sarvavedaanaaM braahmaNaM taittiriiyakam |\\
saaraNyakaM shatapathaM vaaN^mayaM svaritaM smR^itam || 6||\\
bhinnaani svarachihnaani yadi shaakhaasu kaasuchit | \\
samaanaivaasti sarveshhaaM vedaanaaM svarapaddhatiH || 7||\\
## \end{verse} 
\medskip
Translation:
The list of books which use the accent-system consists of all Vedas, Taittiriiya BraahmaNa and 
AraNyaka and Shatapatha. In different branches, the notational system may be varied, but the
accent system is uniformly the same!
\medskip

## svarabhedaaH ## (Different Accents) 

\begin{verse}##
udaattashchaanudaattashcha vastutashcha dvidhaaH svaraaH |\\
svaritaH prachayashchaaste.anudaattaH sthaanabhedataH || 8||\\
udaattamuchcha ityaahurniicha ityanudaattakam |\\
samaahaarastayorjaatyasvaritashcha nigadyate || 9||\\
## \end{verse} 
\medskip
Translation:
Their are mainly two accents Udaatta ( Acute ) and Anudaatta (Grave). Others called 
Svarita (Circumflex) and Pracahya  are in reality Anudaatta in special positions.
Udaatta is described as ``high'' and Anudaatta as ``low''. Their combination  
(in one syllable) is described as Jaatyasvarita (Independent Svarita ).
\medskip

## svarakramaH ## (List of Accents) 

\begin{verse}##
anudaatta\-udaattashcha\-svaritaH prachayaH kramaat |\\
udaattaaditare sarve nihataa iti sa.nsmR^itaaH || 10||\\
## \end{verse} 
\medskip
Translation:
Anudaatta, Udaatta, Svarita and Prachaya is the list of accents. All except Udaatta are known 
as Nihata (lowered at the end).
\medskip

## udaattamahattvam ## (Importance of Udaatta)

\begin{verse}##
udaatto dhruva eteshhaamudaattaalaMbino.apare |\\
udaatta eka evaasti nishchitashcha pade pade || 11||\\
## \end{verse} 
\medskip
Translation:
Udaatta is central to this system, all others depend on it! Each Pada contains at most one 
Udaatta. 
Note: Pada ##pada## denotes an individual word unit that the saMhitaa ##saMhitaa##
- or the continuous text) is usually broken into. Several padas join to make a paada ##paada##. 
Usually two paadas make up a  R\^{}ichaa ##R^ichaa##,  the basic unit of the suukta ##suukta##.
The version where the padas are listed separately is known as padapaatha ##padapaaTha## and
the accent rules for it are described below. 
\medskip
## vedabhedaadudaattaH ## (variation of the Udaatta symbols)

\begin{verse}##
udrekhita udaatto.asti maitraayaaM kaaThake tathaa |\\
udekaaN^kaanvitaH saamni rekhito.adhaH shate pathe || 12||\\
shaakhaayaaM taittiriiyaayaamR^igvedaatharvavedayoH |\\
tathaa vaajasaneyyaaM cha chihnahiina udaattakaH || 13||\\
## \end{verse} 
\medskip
Translation:
The Udaatta is marked with a superscript bar in MaitraayaNii and KaaThaka. It 
has a superscript 1 in the Saamaveda and in Shatapatha it is underlined. In Taittiriiya,
Rigveda and Atharvaveda as well as Vaajasaneya, it is unmarked.
\medskip
## svarachihnaani ## (The accent symbols)

\begin{verse}##
udaatto.achihnito nityaM prachayashchaapyachihnitaH |\\
udrekhitashcha svarito rekhito.adho.anudaattakaH || 14||\\
koshaadevaavagantavyaM kimudaattaM pade.axaram |\\
udaatte chaikadaa GYaate GYaayante cha padasvaraaH ||  15||\\
## \end{verse} 
\medskip
Translation:
(Except as noted above,) the Udaatta is unmarked and so is the Prachaya. The svarita
has a superscripted bar and Anudaatta is underlined.
Note: This describes the main Rigveda system 
and others when they correspond. 
In general, the notations need to be checked for individual 
books. Unless otherwise stated, the  Rigveda system is described here.

To know which syllable 
is Udaatta, you need to consult appropriate references. Once an Udaatta is recognized, the rest of accents
in a Pada are known.

Note: A syllable means a full letter consisting of a consonant 
combination with the trailing vowel or what constitutes a full letter ##axara##.
\medskip

\medskip
##anudaattaH## (Anudaatta) 

\begin{verse}##
udaattapuurvataH sarve.anudaattaa rekhitaa adhaH |  \- vai\`shvaa\`na\`raH |\\
## \end{verse}
\medskip
Translation:
All Anudaattas before an Udaatta are underlined.
\medskip

##svaritaH## (Svarita)

\begin{verse}##
udaattottaratashchaadyo.anudaattaH svaritasvaraH ||  16|| \- pu\`rohi\'tam |\\
## \end{verse}
\medskip
Translation:
The first Anudaatta after an Udaatta is a Svarita.
\medskip
##prachayaH## (Prachaya)

\begin{verse}##
svaritottarataH sarve.anudaattaaH prachayaaH smR^itaaH | \- i\`maM me\' gaMge yamu\`ne |\\
## \end{verse}
\medskip
Translation:
All Anudaattas (in a string) following a Svarita are known as Prachaya
\medskip

##sannataraH## (Sannatara)

\begin{verse}##
prachayo.anyapadodaattaparaH sannataraH smR^itaH ||  17|| \- sarasvati\` shutu\'dri |\\
## \end{verse}
\medskip
Translation:
A Prachaya (in one Pada) followed by an Udaatta in the next Pada is known as Sannatara.
\medskip

##udaattaH## (Recognition of Udaatta)

\begin{verse}##
praayaH svaritapuurvastho.anudaattottarato.api vaa |\\
udaatto.achihnito nityaM tadyuk chaanihataM padam ||  18|| \- mii\`Dhu\`shhe\' |\\
## \end{verse}
\medskip
Translation:
Generally, an unmarked syllable just before a Svarita or just after an Anudaatta is Udaatta.
The pada with an Udaatta is known as Anihata (not fully lowered).
\medskip

##jaatyaH## (Recognition of the Jaatya) 

\begin{verse}##
nirdishhTaat svaritaadanyaH svarito jaatyanaamakaH |\\
vividhaM chihnito vede sadaivodaattasadR^ishaH ||  19||\\
R^igvede taittiriiyaayaaM sa chaapyudrekhitaH punaH |\\
niichaat paraH padaadau vaa svarito yaH sa jaatyakaH ||  20|| \- vii\`rya\'m | sva\'H |\\
## \end{verse}
\medskip
Translation:
There is a Svarita which arises in a different manner 
( i.e.  without the Udaatta interaction as described above) and its is known as 
Jaatya (Indepndent). It is marked differently in various Vedas and appears similar
to an Udaatta (in intonation). 

In Rigveda and Taittiriiya, it is superscripted with a bar.
Any Svarita which appears right after a Niicha (low - or unchanged Anudaatta) 
or in the beginning of a Pada (must be) a Jaatya Svarita.

\medskip
##svaraparivartanam ## (Special transformations of accents) 

\begin{verse}##
nityaM yaatyanudaattattvaM yadanyodaattapuurvataH |\\
svaritaH prachayashchaiva yashcha sannatarastataH ||  21|| \- namo\` hira\'Nyabaahave | pata\'ye namaH |\\
## \end{verse}
\medskip
Translation:
A Prachaya or a Svarita which appears just before an Udaatta becomes an Anudaatta and 
hence is a Sannatara.
\medskip

##svarasandhayaH## (Vowel joins across Padas)

\begin{verse}##
uchchena parabhuutena sandhirnityamudaattakaH |\\
tathaiva puurvabhuutena yadi jaatyo na saMbhavet  ||  22|| \- triiNi\'##+##eka\'H ##=## triiNyeka\'H | naa\`vaa##+##i\'va##=##naa\`veva\' |\\
## \end{verse}
\medskip
Translation:
If an Udaatta or Anudaatta syllable joines with the following Udaatta (vowel), then
the joined syllable becomes Udaatta.
If an Udaatta syllable joins with the following Udaatta or Anudaatta (vowel), then
the joined syllable becomes Udaatta, unless it becomes a Jaatya Svarita (as described below). 
\medskip

##jaatyotpattiH## (Creation of the Jaatya) 

\begin{verse}##
udaattapuurvakaH sandhiryadyudaattaanudaattayoH |\\
sa chaabhinihita\-xaipra\-prashlishhTaatmaka eva chet ||  23||\\
udaattasadR^isho jaatyastadaivotpadyate sadaa |\\
atyuchchaM tasya puurvaardhaM paraardhaM prachayaatmakam ||  24||\\
## \end{verse}
\medskip
Translation:
A join as discussed above becomes a Jaatya if the corresponding join is one of the
three types known as Abhinihita, Kshaipra, or PrashlishhTa described below. the Jaatya 
which is thus created has the first part much higher and the second like a Prachaya and 
generally sounds Udaatta.
\medskip

##jaatyabhedaH## (Classes of Jaatya) 

\begin{verse}##
sa jaatyasvaritashchaasti bhedyo.abhedya iti dvidhaa |\\
abhedyaH padasaMbhuuto bhedyashcha dvipadotthitaH ||  25|| \- raa\`ja\`nya\'H | so\'.akaamayata |\\
## \end{verse}
\medskip
Translation:
This Jaatya is called indivisible, if it arises within a Pada, while it is divisible if it
comes due to joining two Padas. 
\medskip

##xaipraH## (Kshaipra) 

\begin{verse}##
udaattasyaanudaattasya yadaa sa.ndhiryaNaatmakaH |\\
xaipranaamaa tadaa jaatyasvaritaH sarvadaa bhavet ||  26|| \- tri##+##aM\`ba\`ka\`m##=##trya\'mbakam |\\
## \end{verse}
\medskip
Translation:
If an Udaatta and Anudaatta join creats YaN (the consonants y, v, r, l), then the resulting 
Jaatya is known as Kshaipra.
\medskip

\medskip
##prashlishhTaH## (PrashlishhTa) 

\begin{verse}##
sa sa.ndhistu yadaa bhuuyaat hrasvekaaradvayotthitaH |\\
prashlishhTasa.nGYako jaatyaH shaakalyamatato bhavet ||  27|| \- di\`vi##+##i\`va\`  ##=## di\`vii\'va |
## \end{verse}
\medskip
Translation:
If the join comes from two short i, then according to Shaakalya, it is called PrashlishhTa.
\medskip

\medskip
##abhinihitaH## (Abhinihita) 

\begin{verse}##
e\-a\-svaraatmakaH syaachchet sa.ndhiH so.avagrahaanvitaH |\\
tadaabhinihito naama jaatyasvarita uchyate ||  28|| \\
\hfill \- ye##+##aM\`tari\'xe ##=## yeM\'.atari\'xe | yaH##+##a\`smaan##=##yo\'.asmaan |\\
## \end{verse}
\medskip
Translation:
If the join is a combination of e and a resulting in an Avagraha, then it is known as
Abhinihita.
\medskip

\medskip
##kampaH## (Kampa) 

\begin{verse}##
jaatyashcha kampate nityaM jaatyochchau parato yadi |\\
jaatyashchetad hrasvavarNaantastanmadhyaikaaN^kamaalikhet ||  29|| \- a\`psva \kp ntaH |\\
jaatyashcheddiirghavarNaantastanmadhye tryaN^kamaalikhet |\\
udadhorekhitaM kaaryaM sadaitachchaakR^itidvayam ||  30|| \- o\`kye\`\Kp soma\'m |\\
kampo vilikhyate chaivamR^igvedaatharvavedayoH |\\
vividhaM chihnyate.anyatra tatratatraavalokayet ||  31||\\
shaakhaayaaM taittiriiyaayaaM jaatyo jaatyaatparo yadi |\\
adhorekhaM tayormadhye nityamekaaN^kamaalikhet ||  32|| \- vii\`ryaM 1\` vya\'bhajat |\\
## \end{verse}
\medskip
Translation:
Any Jaatya followed by another Jaatya or Udaatta vibrates or acquires a Kampa.
If the Jaatya is a short vowel, then insert a number 1 between them (it and the following
Jaatya or Udaatta) and in case it is long, insert the number 3. These numbers are to be
marked with the superscript bar as well as the underline. In Rigveda and Atharvaveda, 
Kampa is denoted thus. For variations in other books, look therein. In Taittiriiya, 
an underlined 
1 is written between two Jaatya Svaritas.
\medskip

\medskip
##svarito dvividhaH## (Svarita Types) 

\begin{verse}##
evaM cha svaritashchaaste shuddho jaatya iti dvidhaa |\\
udaattaachcha paraH shuddhaH svaruupeNaanudaattakaH ||  33|| \- maano\'.avadhiiH |\\
svaritatvaM chalaM tasya puurvodaattavashaM yataH |\\
niichatvaM cha punargachchhet paratashchedudaattakaH ||  34|| \- maano\` goshhu\' |\\
## \end{verse}
\medskip
Translation:
Svarita is classified as Shuddha (Pure or depenedent) or Jaatya (Independent).
The Pure or dependent Svarita is naturally an Anudaatta occuring after an Udaatta. 
Its property of being a Svarita is thus unstable since it depends on the prior Udaatta. 
Moreover, 
it becomes Niicha (Anudaatta) if it is further followed by an Udaatta.
\medskip

\medskip
##jaatyasvaritaH## (Independent Svarita) 

\begin{verse}##
niichaatparaH padaadau vaa svaruupeNobhayaatmakaH |\\
svayaM cha svarito jaatya uchchatulyashcha kaMpavaan  ||  35|| \- raaja\`nya\'H | kva\' |\\
## \end{verse}
\medskip
Translation:
The Jaatya Svarita is naturally created (as described) in the beginning of a Pada or after
a Niicha (Anudaatta), is similar to an Udaatta in sound and has Kampa (following it).
\medskip

\medskip
##udaattaprachayayorvisheshhaH## (Distinguishing Udaatta and Prachaya) 

\begin{verse}##
udaattaH svaritaatpuurvaH prachayaH svaritaatparaH |\\
prachayo yaati niichatvaM paratashchedudaattakaH ||  36|| \- nama\'ste | dhR^i\`tavra\'to\` varu\'NaH |\\
## \end{verse}
\medskip
Translation:
Udaatta occurs before a Svarita, while Prachaya occurs after it. Prachaya followed by
an Udaatta becomes Niicha.
\medskip

\medskip
##svarochchaaraH## (Pronunciation) 

\begin{verse}##
udaattashchaanudaattashcha svaritashcha trayaH svaraaH |\\
uchchairniichaistathaa tiryak ta uchyante.axaraashrayaaH ||  37||\\
svaraanuchchaarayet spashhTaM naatiduuraM cha taan nayet |\\
svarochchaaraH kathaM kaaryaH shrotavyaM tadgurormukhaat ||  38||\\
## \end{verse}
\medskip
Translation:
The three accents Udaatta, Anudaatta and Svarita can be (roughly) described as High, Low and 
Across (High-low) and are attached to the whole syllables.
The accents should be clearly enunciated and should not be stretched too much (should not
be made too high or too low). The actual method must be learned from the Guru directly!
\medskip

\centerline{##.. svaramaJNjaryaaM dvitiiyaguchchhaH ..##}

\medskip
##kriyaapadasvaraaH##:-\begin{verse}##
aadau vaakyasya paadasya kriyaapadamudaattakam |\\
madhye sahetukaM hantachaneddhikuvidanvitam ||  39||\\
yasmaadaamantritaM vaakye naantarbhavitumarhati |\\
uchchaM kriyaapadaM vaakyaadisthasaMbodhanaatparam ||  40|| \- agne\` naya\' |\\
nirudaattamanaadisthaM mukhyavaakyakriyaapadam |\\
upasargaH padaM bhinnaM chopasarga udaattakaH ||  41|| tryaM\'bakaM yajaamahe | idaM vishhNu\`rvicha\'krame |\\
udaattakaM sadaivaaste gauNavaakyakriyaapadam |\\
kriyaapadapadaaN^gashchedupasargo.anudaattakaH ||  42|| \- ya iishe\' a\`sya | yato\` vishhNu\'rvichakra\`me |\\
yadi taulanikoktishchedaadyavaakyakriyaapadam |\\
udaattakaM bhavedyasmaattadvaakyaM gauNamuchyate ||  43||\\
\hfill  udaa\. a\`johyeko\'ju\`shhamaa\'No.atu\` shete\` jahaa\'tyenaaM bhu\`ktabho\'gaa\`bhajo\'.anyaH || \\
\hfill tayo\'ra\`nyaH pippa\'laM svaa\`dvatti\' ||\\
yadyekakartR^ikaaH santi vaakye cha bahulaaH kriyaaH |\\
vinaadyaamuchchakaaH sheshhaastaabhyo vaakyaM navaM yataH ||  44|| ta\`raNi\`rijja\'yati\` xeti\` pushhya\'ti | \\
## \end{verse}
\medskip
Translation:

\medskip
\medskip
##saMbodhanasvaraaH##:-\begin{verse}##
saMbodhanamanaadisthaM nihataM chedahetukam |\\
vaakyaarambhe cha paadaadau tvaadyavarNa udaattakam ||  45|| \- nama\'ste rudra  | prajaa\'pate\` na tvade\`taanya\`nyo\` |\\
vaakyaarambhasthitaanekasaMbuddhaya udaattakaaH |\\
praayo.anudaattakaM vidyaat saMbodhanavisheshhaNam ||  46|| \- draape\`andha\'saspate\` dari\'drat | pR^ithi\'vi maataH |\\
## \end{verse}
\medskip
Translation:

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##samaasasvaraaH##:-\begin{verse}##
pradhaanaM yatpadaM chaaste samaase tadudaattakam |\\
padadvayaM pradhaanaM chet padadvayamudaattakam ||  47||\\
udaattakaM padaM chaantyaM praayastatpurushhaadishhu | \- i\`ndra\`\-sha\`truH |\\
aamreDitasamaase cha padamaadyamudaattakam ||  48||  dyavidya\'vi |\\
bahuvriihisamaasya puurvaM padamudaattakam |\\
puru\-dvi\-tri\-su\-naJN\-tuvyanvitasyaantyamudaattakam ||  49|| \- vajra\'baahuH | indra\'shatruH | tri\`naabhi\' |\\

## \end{verse}
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Translation:

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##\dvyu daattakaaH##:-\begin{verse}##
praayeNa devataadvandve padadvayamudaattakam | \- dyaavaa\'pR^ithi\`vii |\\
parantu chaavyayadvandve puurvaM padamudaattakam ||  50|| \- saa\`yaMpraa\'taH |\\
yadi shhashhThiivibhaktyaN^gaM samaasaprathamaM padam |\\
udaattakaM tadaa bhuuyaat tatsamaasapadadvayam ||  51||\- bR^iha\`spati\'H | shunaH\` she\'pa\'H | brahma\'Na\`spati\'H |\\
tavai\-pratyayukshabdasyaadishchaanta udaattakaH | \- eta\`vai |\\
naraasha.nso \dvyu daattaH syaattadvadeva shachiipatiH ||  52|| \- shachii\`pati\'H | \\

## \end{verse}
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Translation:

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##upasargasvaraaH##:-\begin{verse}##
vi.nshaterupasargaaNaamuchchaa ekaaxaraa nava |\\
antodaataH smR^ito.abhiiti dashaanye chaadyudaattakaaH ||  53||\\
## \end{verse}
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Translation:

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##sarvadaanudaattakaaH##:-\begin{verse}##
saMbodhanaM tathaa nityaM mukhyavaakyakriyaapadam |\\
yadaa na vaakyapaadaadau tadaa tannirudaattakam  ||  54|| \- i\`maM me\' gaN^ge yamune | ga\`Napa\'tiM havaamahe |\\
sarvanaamnaaM cha ruupaaNi yaani vaikalpikaani tu  |\\
iim\-siim\-yathaa cha vaakyaante nipaataa nirudaattakaaH  ||  54 a || \- yaa ta\` ishhu\'H | visho\' yathaa |\\
udaattakaa nipaateshhu nuunaM hyevaM kilaadayaH |\\
nu\-su\-hiiti padebhyashcha kam shabdo nihataH paraH ||  55||\\
asyeti prathamaadesha udaattaM smaryate padam |\\
anvaadeshe.anudaattaM tadyadi chedvaakyamadhyagam ||  56|| \- ya iishe\' a\`sya dvi\`pada\'H | atho\` ye a\'sya\` satvaa\'naH |\\

## \end{verse}
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Translation:

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\centerline{##.. svaramaJNjaryaaM tR^itiiyo guchchhaH. itaravedasvaraaH ..##}
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##maitraayaNiikaaThakasvaraaH##:-\begin{verse}##
maitraayaNiikaaThakayorudaattastuurdhvarekhitaH |\\
udaatte chaikadaa GYaate GYaayanta itarasvaraaH ||  57|| \\
\hfill te\' devaa\' raa\'trimasR^ijanta | (te de\`vaa raatri\'masR^ijanta |)\\
adho.ardhavakrito jaatyo.anudaattaH parato yadi |\\
achihnitastryaN^kapuurvaH paratashchedudaattakaH ||  58||\\
adhobinduyutashchaaste kaaThake svaritaH punaH |\\
adhaHkiilaaN^kito jaatyaH paratashchedudaattakaH ||  59||\\
## \end{verse}
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Translation:

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##shatapathasvaraaH##:-\begin{verse}##
nuunaM shatapathe bhuuyaat kevalodaattadarshanam |\\
udaattaH syaadadhorekhaaN^kitaH shatapathe sadaa ||  60||\- a\`tha tR^i\`NaiH pa\`ristR^iNaati |\\
krameNa ched bahuudaattaasteshhaamantyastu chihnyate |\\
udaattachihnamaapnoti varNo jaatyaparo.api cha ||  61|| \- sa ta\`po.atapyata | manu\`shhyaH |\\
## \end{verse}
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Translation:

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##saamavedasvaraaH##:-\begin{verse}##
saamavede svaraaH sarve varNoparyaN^kadarshitaaH |\\
ekaaN^kachihnito varNaH saamaveda udaattakaH ||  62||\\
tryaN^kaaN^kito.anudaattashcha svarito \dvya N^kachihnitaH |\\
\dvya N^kaaN^kita udaatto.api parataH svarito na chet ||  63||\\
\dvyu daattapuurvaH svarito rakaara\dvya N^kachihnitaH |\\
ekaaN^kayuktayoraadyashchihnahiino dvitiiyakaH ||  64||\\
yadi dvaabhyaamudaattaabhyaamanudaattaH parastadaa |\\
ukaara\dvya N^kayuk chaadyo dvitiiyaH syaadachihnitaH ||  65||\\
jaatyasvarita evaapi rakaara\dvya N^kachihnitaH |\\
jaatyaatpuurvo.anudaattastu kakaaratryaN^kachihnitaH ||  66||\\
tryaN^kottaro \dvya N^kayukto jaatya uchchaparo yadi |\\
prachayo.achihnitashchaaste saamavede.api sarvadaa ||  67||\\
## \end{verse}
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Translation:

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\centerline{##.. chaturtho guchchhaH . sa.nhitaapadapaaThavimarshaH ..##}

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##padapaaThaH## (On PadapaaTha) \begin{verse}##
paado maanaM sa.nhitaayaaM padaM maanaM padeshhu cha |\\
ekatryaN^kaatmakaH kampaH padapaaThe na chaastyataH ||  68||\\
## \end{verse}
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Translation:
The unit in the SaMhitaa (continuous text) is Paada, while it is Pada in the PadapaaTha.
The Kampa with the numbers 1,3 does not exist in the PadapaaTha, because of this.
\medskip

\medskip
##sa.nhitaapaaThaat padapaaThaH## (Conversion to PadapaaTha) 

\begin{verse}##
adhorekhaaN^kitaan kuryaat svaritaan prachayaanapi |\\
tataH padaani vigR^ihya sarvaaNi cha pR^ithak likhet ||  69||\\
udaattaM cha dhruvaM kR^itvaa likhet pratipadaM svaraan |\\
yadi kashchittatra jaatyastaM yathaiva tathaa likhet ||  70||\\
chhaandasaM yadashuddhaM syaat shuddhaM kR^itvaa tu tallikhet |\\
vaishishhTyaani cha sarvaaNi padapaaThasya darshayet ||  71|| \- (saM\.) shrudhii\` (pa\.) shrudhi\`\\
## \end{verse}
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Translation:
To convert to PadapaaTha from SaMhitaa, put underlines under the Prachaya and the Svarita. 
Then break up the Padas and write them separately. Each Pada should be writeen and marked 
using the central Udaatta. If some Jaatya occurs, it should be marked as such. If anything is
metrically incorrect, it should be restored properly and written down. The various 
special features and terms of the PadapaaTha should be then added.
\medskip

\medskip
##padapaaThaat sa.nhitaapaaThaH## (Conversion to SaMhitaa) 

\begin{verse}##
vaishishhTyaani cha sarvaaNi padapaaThasya lopayet |\\
adhorekhaaN^kitaan kuryaat svaritaan prachayaa.nstathaa ||  72||\\
kuryaachcha padasa.nyogaM sandhishaastraanusaarataH |\\
udaattakaan dhruvaM kR^itvaa rachayet svarapaddhatim ||  73||\\
ekatryaN^kaatmakaM kampaM yogyasthaane samaalikhet |\\
chhandoyogyaM hrsvadiirghaadikaM sarvaM prakalpayet ||  74||\\
## \end{verse}
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Translation:
The special features and terms of the PadapaaTha should be dropped. The Svarita and Prachaya 
should be underlined and then the Padas should be joined according to the Sandhi Rules. By
paying attention to the central Udaattas, the whole marking system of the accents should be 
created. The Kampa marks should be introduced and the short or long vowels adjusted to the
meters.

\medskip

\centerline{## .. paJNchamo guchchhaH . padapaaThiiyavaishishhTyaani ..##}

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##samaasavichaaraH##:-\begin{verse}##
shabdaM saamaasikaM vidyaannityamekapadaatmakam |\\
avagrahaanvitaM kuryaat samaasasya cha vigraham ||  75|| \- bajra\'.abaahuH |\\
naiva dvandvasamaasasya vigrahaH kriyate kadaa |\\
ivena cha samaaso hi sa shabdashcha vigR^ihyate ||  76|| \- mi\`traavaru\'Nau | va\`tsaM.aiva |\\
nishhedhakaM chaaxaraM a na kadaapi viyujyate |\\
pregR^ihyaantasamaasasya vigraheshchetyanantaram ||  77|| \- a\`ha\`staH | su\`daa\`nuu\` iti\' su.adaanuu |\\
## \end{verse}
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Translation:

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##pragR^ihyavichaaraH##:-\begin{verse}##
ii\-uu\-e chaasti pragR^ihyo nityaM dvivachanasya cha |\\
ekaaraantaM dvivachanaM madhyamottamayostathaa ||  78|| \- harii\` iti\' | ma\`maa\`te\` iti\' |\\
asme\-yushhme\-amii\-tve cha pragR^ihyaaH sarvanaamasu |\\
pragR^ihyaantaan sadaa shabdaan iti shabdena darshayet ||  79|| \- a\`sme iti\' | tve iti\' |\\
okaaraantaa cha sambuddhirokaaraanto nipaatakaH |\\
rephaatmakavisargashcheditishabdena yujyate ||  80|| \- kaa\`ro\` iti\' | ushho\` iti\' | puna\`riti\' | a\`ka\`ritya\'ka |\\
saanusvaarashcha diirghashcha itiyukto nipaata u |\\
padapaaThiiya itiyuk shabda ekapadaatmakaH ||  81|| \- uuM\` iti\' | roda\'sii\` iti\' | \\

## \end{verse}
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Translation:

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##pratyayavichaaraH##:-\begin{verse}##
pratyayaastraa\-tara\-tamaa mat\-vat\-bhyaaM\-bhyaH\-su\-bhistathaa |\\
vigR^ihyante yadi syaachched muularuupaM yathaatatham ||  82|| \- pu\`ru\`shha.atraa | go.ama\'tiiH | ra\`shmi.abhi\'H  \\
avagrahaH sadaamadhye dhaaturuupo\-pasargayoH |\\
nahi\-nakyaadayaH shabdaa nityamekapadaatmakaH ||  83|| \- vi.asthi\'taH | na\`hi | naki\'H |\\
## \end{verse}
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Translation:

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##taittiriiyavisheshhaaH##:-\begin{verse}##
visheshhaaH padapaaThiiyaastaittiriiyaa adhastanaaH |\\
mukhyakriyopasargaaNaaM nedishhTa itishabdabhaag ||  84|| \- a\`bhi | samiti\' | na\`maM\`tu\` |\\
yaani vigrahayogyaani saMhitaayaaM padaani cha |\\
avagrahaanvitasteshhaaM vigrahashchetyanantaram ||  85|| \- ma\`he\`ndra iti\' mahaa.ai\`ndra\`H | varma\'bhi\`riti\` varma\'.abhiH |\\
avagrahaat paraM shabdaM bhinnaM matvaa svaraM likhet |\\
iva\-shabdaH padaM bhinnaM dvandvasyaapi cha vigrahaH ||  86||\- anu\'matyaa\` ityanu\'.ama\`tyai\` |\\
## \end{verse}
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Translation:

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\centerline{## .. shhashhTho guchchhaH . vedaarthavichaaraH ..##}

\medskip
## ##:-\begin{verse}##
padaani puurvaM jaaniiyaat padasvaramanantaram |\\
upasargaan kriyaashabdaiH saMyojyaarthaM pradarshayet ||  87||\\
artha\-sthaanavashaannityaM shabdaanaamuchchaniichataa |\\
udaattaanuguNashchaartho darshaniiya iti sthitiH ||  88||\\
sthaanaarthayorabhede tu shabdasya sadR^ishaH svaraH |\\
yadaa na taM svaraM pashyedanyathaarthaM tadaa nayet ||  89||\\
evaM pade samaase vaa yatrodaatto vyavasthitaH |\\
taatparyaM tatra shabdasya sthaapayediti nirNayaH ||  90||\\
andhakaare cha diipena gachchhanna sskhalati kvachit |\\
svaraprakaashitashchaivaM vedaarthe na pramaadyati ||  91||\\
## \end{verse}
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Translation:

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\centerline{## ..upasaMhaaraH .. ##}

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## ##:-\begin{verse}##
abhya.nkarakulotpannastryaMbako baaladehajaH |\\
samiixya saMhitaaH samyak kR^itavaan svaramaJNjariim ||  92||\\
vedaarthasukhabodhaaya shaastriiyapaThaNaaya cha  |\\
tasyaa adhyananaM kaaryaM saarthameva cha vaidikaiH ||  93||\\
bhuu\-shaastra\-vasu\-bhuushaake (1861) shraavaNe kR^ishhNavaishhNave |\\
matpuujyagurupaadaabhyaaM maJNjariiyaM samarpitaa ||  94||\\
mantrashchet svarato hiino vajraM bhuutvaa hinasti saH |\\
sa eva kaamadhug bhuuyaat paThitashchedyathaasvaram ||  95||\\
## \end{verse}
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Translation:

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##|| iti shrii\. bii\. e\. ityupapadasamalaMkR^ita\-giirvaaNabhuushhaNa\-abhya.nkaropaahva
tryaMbakashaastripraNiitasvaramaJNjarii samaaptaa || ##

##
#endindian
\end{document}