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DDK HistoryF.p65 - CSIR

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8.7] STAMP OF THE UPPER CLASS 283<br />

to the grammarian to say, make me such and such a word. Thus, in<br />

Sanskrit, a material object in general is padartha, which literally<br />

signifies ‘ word-meaning’; semantic idealism is therefore ingrained in<br />

the idiom, as it was in the mind of the chief proponent of Sanskrit, the<br />

brahmin.<br />

The later vedas and upanisads are full of word-mysticism. Floridity<br />

became increasingly a characteristic of Sanskrit so that the use of twisted<br />

construction, intricate compounds, innumerable synonyms,<br />

overexaggeration make it more and more difficult to obtain the precise<br />

meaning from a Sanskrit document. Magnificent eulogies regularly fail<br />

to mention the name of the king to whom the panegyric is addressed, let<br />

alone the particular feat being praised. Technical literature suffers most<br />

from this victory of form over meaning though Sanskrit did help reduce<br />

it to concise — though incomprehensible — mnemonic formulae.<br />

Modern Latin names have been invented for plants to make their<br />

identification precise. Sanskrit terminology is anything but precise. The<br />

Sanskrit plant-name ananta (‘ without end’) is used in medical<br />

treatises of no less than fourteen different species, from a foot-high<br />

leguminous shrub to a Rubiaceous tree. This not only betrays local<br />

variation, influence of local usages and language (which really<br />

maintained the vigour of Sanskrit), but shows how Indian science<br />

degenerated into secret disciplines. Most of the fourteen plants are in<br />

use to this day. Every Ayurvedic physician maintains that his is THE real<br />

ananta, the next man (who treats- the same disease by a totally different<br />

ananta plant) an ignorant quack.<br />

At its best, Sanskrit literature is exquisite, with an intricate pattern<br />

of beauty. Even at its best, it does not give the depth, simplicity of<br />

expression, the grandeur of spirit, the real greatness of humanity that<br />

one .finds in the Pali Dhammapada, the Divina Commedia, or<br />

Pilgrim’s Progress. It is the literature of and for a class, not a people.<br />

The language suffered from its long, monopolistic association with<br />

a class that had no direct interest in technique, manual operations, trade<br />

agreements, contracts, or surveys. The class did have leisure enough<br />

to write their tenuous ideas in a tortuous manner above the reach of<br />

the common herd, and to unravel them from such writings. Prose<br />

virtually disappeared from high literary Sanskrit. Words that survived in

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