Explanation: Bhartrhari || On Syntax and Meaning

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Bhartrhari: On Syntax and Meaning (from Vakyapadiya)

Based on the excerpt in G. N. Devy (Ed.), Indian Literary Criticism: Theory and Interpretation (pp. 20-25).

Introduction to Bhartrhari and His Ideas

Bhartrhari, a prominent Indian philosopher of language from around the 5th century CE, presented a sophisticated and holistic understanding of how language functions, particularly concerning the relationship between sentence structure (syntax) and meaning. His seminal work, the Vakyapadiya, delves into the nature of language as an indivisible entity that manifests meaning through structured expression. The excerpt discussed here emphasizes his view that the sentence is the primary unit of meaning, and understanding arises from a holistic grasp rather than a mere aggregation of individual word meanings.

The Primacy of the Sentence (Vakya)

For Bhartrhari, the sentence (वाक्य, *vakya*) is not simply a collection of individual words strung together according to grammatical rules. Instead, it is the fundamental and indivisible unit of linguistic meaning. He argues that we first comprehend the meaning of a sentence as a unified whole, and only through subsequent analysis can we identify the constituent words and their individual contributions within that holistic framework.

He uses analogies to illustrate this point:

• Painting Analogy: Just as we perceive a painting as a complete image before focusing on individual brushstrokes or colors, we understand a sentence as a unified meaning before dissecting it into words.
• Music Analogy: Similar to how we experience a melody as a whole before isolating individual notes, we grasp the meaning of a sentence as a complete thought before analyzing its component words.

This holistic view contrasts with the idea that meaning is built up linearly from the meanings of individual words combined through syntactic rules. Bhartrhari suggests that the relationship between words in a sentence is transformative, creating a meaning that transcends the sum of its individual parts. The syntactic structure plays a crucial role in shaping this emergent meaning.

The Concept of Sphota: The Burst of Meaning

Central to Bhartrhari's philosophy is the concept of *sphota* (स्फोट). This term can be understood as the indivisible, holistic, and eternal entity that underlies and manifests as the meaningful utterance. It is the linguistic universal, the essential form of meaning that "bursts forth" (स्फुट्, sphut - from which sphota is derived) when a sentence is uttered or comprehended.

There are different levels of sphota discussed in the Vakyapadiya, but at the level of the sentence (vakya-sphota), it represents the primary bearer of meaning. The vakya-sphota is not the physical sound of the sentence (dhvani), nor is it merely the collection of words. Instead, it is the instantaneous, intellectual intuition or flash of understanding that arises in the mind of the listener upon hearing a complete sentence.

The physical utterance (dhvani) is seen as a means to evoke or manifest the non-physical sphota in the listener's consciousness. While dhvani is sequential and temporal, unfolding in time as the sentence is spoken, the sphota itself is considered non-sequential and timeless. It is the immediate grasp of the complete meaning.

Bhartrhari uses the analogy of a rotating torch to explain this:

• Rotating Torch Analogy: When a torch is quickly rotated in a circle, we perceive a continuous circle of light, even though it's just a rapid succession of individual points of light. Similarly, the sequential utterance of words gives rise to the perception of a unified meaning (sphota).

The Role of the Individual Word (Pada)

While Bhartrhari emphasizes the primacy of the sentence and the holistic nature of sphota, he does not disregard the existence or function of individual words (पद, *pada*). However, he argues that the meaning of a word is not fixed or independent but is always determined by the context of the sentence in which it appears.

According to Bhartrhari, individual words are abstractions derived through analysis of sentences. We learn the potential meanings of words by observing their occurrences in various sentential contexts and through a process of abstraction and generalization. The inherent potential meanings of a word become specific and actualized only within the syntactic and semantic environment of a particular sentence.

He highlights the phenomenon of polysemy (a word having multiple meanings) to support this view:

Consider the English word "bank." It can refer to the side of a river or a financial institution. Its specific meaning is determined by the sentence in which it is used: "I sat by the river bank" versus "I went to the bank to deposit money."

The sentence, as the primary unit of meaning, provides the necessary framework for disambiguating the potential meanings of individual words and understanding their specific contribution to the overall sphota.

Sequential Expression (Dhvani) and Holistic Understanding (Sphota)

Bhartrhari addresses the apparent paradox of how we understand a sentence holistically and instantaneously (sphota) when the linguistic expression (dhvani) unfolds sequentially in time, word by word.

His resolution lies in the idea that the sequential utterance of words acts as a catalyst to evoke the non-sequential sphota in the listener's mind. The listener processes the incoming stream of words, and as the sentence progresses, their understanding gradually converges towards the complete meaning represented by the sphota. The final word of the sentence often triggers the full realization of this holistic understanding.

This process involves the listener's cognitive abilities, including:

• Memory: Retaining the previously heard words.
• Expectation: Anticipating the completion of the sentence and the emergence of a coherent meaning based on grammatical and semantic cues.
• Prior Linguistic Knowledge: Drawing upon their understanding of the language's vocabulary and syntax.

The syntactic structure of the sentence plays a crucial role in guiding this process, providing clues about the relationships between the words and the overall meaning being conveyed. It sets up expectations and helps the listener anticipate the final sphota.

The Significance of Context (Artha) and Listener's Comprehension (Pratibha)

Bhartrhari's theory also emphasizes the crucial role of context (अर्थ, *artha*) and the listener's intuitive understanding (*pratibha*, प्रतिभा). The meaning derived from a sentence is not solely determined by its internal structure and the meanings of its constituen words. It is also significantly influenced by the external context in which the sentence is uttered.

Contextual factors include:

• Speaker's Intention: What the speaker aims to convey.
• Situation: The specific circumstances of the utterance.
• Shared Knowledge: The common ground of understanding between the speaker and the listener.

Consider the sentence "The door is open." Without context, it's a simple statement of fact. However, if said with a raised eyebrow to someone about to leave, it might imply a suggestion to close the door.

Furthermore, Bhartrhari introduces the concept of pratibha, which can be understood as a flash of intuitive insight or a holistic cognitive grasp that enables the listener to comprehend the meaning of a sentence beyond the literal meanings of the words. This pratibha allows for a rapid and often subconscious understanding of the speaker's intended meaning, taking into account the context and the overall situation. It is not merely passive reception but an active process of interpretation and meaning-making that draws upon the listener's linguistic competence and world knowledge.

Implications for Literary Criticism

Bhartrhari's ideas have profound implications for how we approach and interpret literature:

• Holistic Interpretation: His emphasis on the sentence as a holistic unit suggests that when analyzing literary texts, we should first strive to grasp the overall meaning, mood, or theme before focusing on minute details. The entire work can be seen as generating a kind of "literary sphota" – a complete aesthetic experience.
• Contextual Significance of Words: In literature, words are often chosen for their multiple connotations and their ability to contribute to the overall artistic effect. Bhartrhari's theory reminds us that the meaning of a word in a literary context is deeply intertwined with the surrounding words, the narrative or poetic structure, and the broader themes of the work.
• The Reader's Role in Meaning-Making: The concept of pratibha highlights the active role of the reader in constructing meaning. Our individual experiences, cultural background, and literary sensibilities influence how we interpret a text. The "literary sphota" can be a unique experience for each reader.
• Syntax as a Meaning-Bearing Element: The arrangement of words in a sentence (syntax) is not merely a grammatical necessity but a crucial element in conveying meaning and creating specific effects in literature. Poets and writers often manipulate syntax to emphasize certain ideas, create rhythm, or evoke particular emotions.

By understanding Bhartrhari's perspective, we can move beyond a purely word-by-word analysis of literary texts and appreciate the emergent meaning that arises from the interplay of syntax, context, and the reader's interpretive abilities.

Conclusion

Bhartrhari's "On Syntax and Meaning" from the Vakyapadiya offers a rich and complex understanding of language. His emphasis on the sentence as the primary unit of meaning, the concept of sphota as the holistic flash of understanding, and the crucial roles of context and the listener's pratibha provide valuable insights into how we comprehend and create meaning through language. These ideas have had a lasting influence on Indian linguistic and philosophical thought and continue to offer a compelling perspective on the intricacies of language and its interpretation, including the realm of literary criticism.

This explanation is based on the interpretation of Bhartrhari's ideas as presented in G. N. Devy (Ed.), *Indian Literary Criticism: Theory and Interpretation* (Orient Longman, 2002, pp. 20-25). For a more in-depth understanding, refer to translations and commentaries on the Vakyapadiya itself.