INTRODUCTION TO

SSSAAASSSKKKTTT

Pait Sr Rama Ramanuja Achari

srimatham.com

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INTRODUCTION TO

SANSKRIT

By Pandit Sr Rama Ramanuja Achari

The Purpose of this course

To know the mystical origin of Sanskrit.

To get acquainted with the Sanskrit language and to develop a friendship with it.

To learn to read Sanskrit texts with the correct pronunciation.

To become fully conversant with the most commonly used Yogic, philosophic, and theological terms.

To become familiar with the ocean of Sanskrit literature

The Focus

1. Sanskrit as a Sacred Language a medium of expressing the Divine. 2. Sanskrit as a technical language expressing the names of the yoga postures 3. Sanskrit as a Liturgical Language the basis of ritual, mantra, kirtan, bhajan

The Sanskrit Language Modern Linguistic Background

anskrit is a member of the Indo-European group of languages to which most of the languages of Europe belong. Included in this group are Latin, Greek, English, Welsh, German, Russian, Lithuanian etc. All of these languages have evolved from a single parent

dialect. Sanskrit is the oldest recorded Indo-European language. The only other Indo-European language that can claim the same antiquity as Sanskrit is the Hittite Language records of which date back to 2000 to 3000 years BCE. Sanskrit strictly speaking belongs to the Indo-Aryan branch of the Indo-European languages, the most important of which is Persian. The oldest form of Persian is the Avestan language which was recorded in cuneiform inscriptions by the Achaemenian Kings. The earliest Indo-Aryan speakers are known as Aryans from the Sanskrit arya and the Avestan (Ancient Persian) airya both meaning noble. The earliest archaeological records of the Indo-Aryans comes from the ancient Mitann kingdom in Northern Mesopotamia (Modern Iraq). Steles from about 2000 BCE have been found bearing Sanskritic names of kings and the names of various Vedic deities such as Indra and Varuna.

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3 Origins of the Vedic Civilisation

here is much speculation about the origins of Sanskrit and the Vedic civilisation. In the 19th Century Western scholars advanced the theory that the Indo-Aryans were tribes that originated in Europe and moved down to conquer India and displaced the original

Dravidian inhabitants of North India. It was presumed that the Indus valley civilisation of the Mohenjodaro and Harrapa city sites dating back to 3000 years BCE were Dravidian cities. There are some major problems with this invasion model:

1. The Aryans were supposed to have entered and conquered India about 1500 1000 BCE. The Indus Valley civilisation perished in about 1700 BCE.

2. There is no archaeological evidence whatsoever to support the theory that the cities were destroyed by the effects of a war.

3. There is no mention anywhere in the Vedic literature of a homeland anywhere outside of India. All the geographical features mentioned in the Vedas relate only to Northern India.

4. There is no record or tradition among the Dravidian peoples of ever being displaced by invaders or having their homeland anywhere outside of Southern India.

Modern archeology has established that the Indus Valley civilisation was indeed a Vedic civilisation practising a way of life described in the Vedas themselves. Many scholars today would consider that Sanskrit is in fact the original language from which all the other Indo-European languages are derived.

Mystical Origins of Sanskrit

he word Sanskrit or Samskrta means polished, or perfected. It is considered (as most ancient languages were) to be the language of the gods. It is the most perfect of all languages to act as a medium for expressing that Ultimate Truth which is by definition

inexpressible. According to the Spiritual tradition, the letters and sounds of the Sanskrit language were emitted by the damar drum, during the great Cosmic Dance of Lord Siva. These formed into what is known as the Mahevara Stras and these sound forms are the basis of the Sanskrit language.

Sound

ound is understood to be a disturbance or wave produced by an object vibrating in a material medium, usually air, in which one molecule when it collides with another transmits a sound. The capacity of the human ear to receive sound vibrations is limited to sounds from 16 to

20,000 complete vibrations per second. Below 16 only discontinuous pulsations are perceived and above 20,000 nothing at all is heard.

Forms of Sound

Sound exists in four forms these are: 1. para transcendent 2. payant conceptualized 3. madhyama subliminal 4. vaikhar acoustic

In normal states of consciousness human beings hear only the vaikhar level of sounds, whereas yogis in higher states of consciousness perceive the other levels of sound.

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4 The Stages of Manifestation of Sound

n Indian Metaphysics there is an intimate and inseparable link between the external objective universe known as the brahma and the internal subjective universe known as pia. Whenever we speak of stages of manifestation of the external

cosmos we refer to corresponding stages within the individual and visa-versa. Sound exists as abda-brahman in the unmanifest stage and gradually through successive stages manifests itself as audible sound and speech. Speech begins with Nda which is transcendental sound emanating from abda-brahman and resembles the sound of a deep bell and is perceptible to perfect Yogis only. The Nda manifests as Bind (a concentrated point of energy). This is also known as the anusvara (:) which is twofold the abda-brahman or Sound-Brahman and the Bht the becoming (related to each other as the name and the bearer of the name); and then from this Bind proceed the two kinds of verbal sounds which are the svara (vowels) and the vyajana (consonants). In Mldhra Cakra this abda-brahman takes the form of Kualin akti. Within the Mldhra Cakra the fourteen vowels [a, , i, , u, , , , l, l, e, ai, o, au,] gradually emerge from their latent condition known as Para. They proceed along the subtle channels within the astral body, with the Kualin akti., to the navel plexus known as the manipura cakra where they transform into the condition known as Payant (radiant) in which they are slightly differentiated. They then rise to the heart plexus known as the anhata cakra where the phase of differentiation is known as Madhyama. Finally they reach the throat plexus known as the viuddha cakra where they become manifest sound or uttered sound (voice - svara) known as Vaikhari. The first uttered sound arising is the aspirate or Visarga [:] which is the sound vibration representing the emanation (srh ) of the universe and of speech; its counterpart, the anusvara or Bind [] represents the withdrawal (sahra or laya ) of speech and creation. The anusvara is also called sun (srya), and the visarga moon (soma), and the short sounds a, i, u, , l, e, o, a are considered to be the sun-beams and the long sounds , , , , l, ai, au, are the moon-beams and as such are connected with day and night and with the Nis or subtle psychic channels in the astral body called Pigala and a.

The Alphabet and Mantras

antra is defined as a specific sound combination which leads the reciter to higher states of consciousness. Mantras are the sound forms of the deities and are a part of the totality of the sonic emanation of akti, namely nda which is sound when still in the form of light. The Tantrika tradition perceives the essential power of

language in the letters themselves. The Mimamsa school of philosophy, considers the letters of the alphabet to be autonomously empowered by their very presence in the Veda. In the Tantric teaching the letters are purposefully empowered by the deity and the deitys own power (akti). Letters are the source of all mantras and thus they are reverentially praised, worshipped and meditated upon (by the spiritual practitioner) by means of both their names and their forms (each letter has a deity associated with it these deities are known as mtkas or mothers and are all emanations of the Divine Mother). The letters of the alphabet when treated in this way have the ability to bestow great prosperity (on the practitioner) and promote the dawning of wisdom and enlightenment; when used in mantras they merge into each other. According to Sonic Theology everything that exists and has a form / structure (rpa) has a name / process (nma). These two aspects are inseparable and are in fact interdependent. Form is created by name and name arises from form. Although the forms of the mantras are divine and eternal, yet mantras are thus conceived to be produced by letters.

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5 Creation of the Universe by Sonic Vibration

According to the Tantras the Universal Creation is caused by the means of sonic vibration. This process of creation or projection consists of 6 stages according to lakshm Tantra

1. vara The first stage of sound which is Absolute Transcendental sound (abda brahman) unmanifest and of course inaudible. This pure sonic vibration which has 4 stages of polarisation from the supremely subtle to the gross vibrations which we can hear. These four stages are known as para transcendental, payant mentally visualised, madhyama internally audible and vaikhar uttered sound. 2. Kla The second stage as accompanied by the manifestation of Absolute Time which has 5 aspects.

nivtt externalisation pratiha existence vidya understanding nt tranquility ntyatta beyond tranquility

3. tattva Under the influence of time as the catalyst the sonic vibrations form into the dormant sound forms of all created beings. 4. mantra In this stage the 51 letters of the alphabet (mtkas ) appear, forming the source of all words. The phonetic words then awaken or clothe the dormant sonic forms previously created. 5. pda In this stage the 4 levels of consciousness waking (jgrat), sleep (svapna), dreaming (suupti) and transcendental consciousness (turya) become differentiated. 6. bhuvana This is the last stage of the emanation of the gross material creation which is a mixture of the sonic and the material creation subjected to the four states of consciousness.

There is another paradigm of evolution represented by Pure Sound;

1. The first unmanifest stage called parama tattvam. The Supreme Absolute Brahman is in an unmanifest form. This Supreme Being entertains a will to create, so It manifests Itself as akti, (energy) also called my or the Root Cause (kraa bindu).

2. The second stage evolution of indistinct sound possessing light (nda) also known as the payant phase.

3. In the third stage from nda evolves par bind which is the primary stage of creation, in which the entire universe in its potential is concentrated in one point - an intermediate phase between indistinct sound and audible sound.

4. In the fourth stage from par bind evolves the adha bind from which audible sound is evolved creating the phonetic sounds of the alphabet and the bjas (seed mantra), these basic sound vibrations are the fundamental constituents of matter.

Brahman having a mass of superfluous energy transforms itself into the form of Agn and Soma representing the long and the short vowels. This Agn called Light (praka) or Knowledge (jna) and Soma is called Joy (ahlda or nanda ). The combination of long and short vowels is given the name of agnisoma or the pumn and they are considered as the forms of the highest Brahman. From these short and long vowels originated all the letters of the alphabet and the creative elements. This energy of the Brahman in the form of the pumn presides over Primordial matter and is filled with the desire to create more things thus It earns the name puruevara. At the end of the period of manifestation of the universe everything returns to its basic constituents and is reabsorbed into the Original Brahman and nothing remains except His Form of Consciousness, Existence and Bliss ( saccidnanda ).

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The Devangar Alphabet The 52 letters (akaras) are collectively known as Mtkas, each of which has an iconic

representation in the form of a Goddess.

A-kra Dev The Vowels Svara

Sun - Srya /Agni, Male, [Dissolution] pigala channel

< o < anusvara a i u l e o a

Moon - Candra/Soma, Female, [Creation] a channel

a @ q aq visarga l ai au

The Consonants Vyajana Regular Aspirated Regular Aspirated Nasal

Velar ka ka Ka kha ga ga Ga gha f[ a Palatal ca ca C cha ja ja Ja jha {a a Retroflex w a W ha f a F ha ,a a Dental ta ta Ta tha d da Da dha na na Labial pa pa pa pha ba ba Ba bha ma ma Semi-vowels ya ya r ra la la va va Sibilants za a sa sa xa a h ha Special \ a $a ja A ka

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Kahora (hard) vyajana Mr (soft) vyajana

ka ka KA kha ga ga Ga gha f[ a ca ca C cha ja ja Ja jha {a a w a W ha f a F ha ,a a ta ta Ta tha d da Da dha na na pa pa pa pha ba ba Ba bha ma ma la la va va sa sa xa a za a h ha A ka $a ja

Special Markers

. virm comma, comes at the end of the

first line of a verse. avagraha replaces an initial a In diacritics it

is represented by an apostrophe ()

halanta indicates absence of final a see note below.

.. Full stop or end of verse or passage 0 Abbreviation in diacritics represented by a o

Markers for Vedic Chanting

_ anudtta (low pitch) = svarita (raised pitch) +

nigdha (double raised)

Normally every Devangar letter is accompanied by an a eg ka ka, ga ga, ca ca, ta ta etc. But when the halanta is applied the pronunciation changes ka ak, ga ag, ca ac, ta at etc. Occasional it may be dropped, in which case this is indicated by the use of the halanta in Devangari. In diacritics it is simply left off.

E.g. hsa = hasa hsa = has In North India the final a is dropped as a matter of course thus resulting in the following pronunciations:

iv for iva, kan for ka, rm for rma, gae for gaea, yog for yoga, san for asana, jn for jna.

In South India the final a is always retained as per the rules of Sanskrit grammar.

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Consonants combined with vowels

a i u e ai o au a a Initial

vowels a @ q o aq M medial vowel

forms a i I u U & e q o aq M k ka kaa ika kaI kau kaU ka] kae kaq kao kaaq kaM ka

kh Ka Kaa iKa KaI Kau KaU Ka] Kae Kqa Kao Kaaq KaM Ka g ga gaa iga gaI gau gaU ga] gae gaq gao gaaq gaM ga

gh Ga Gaa iGa GaI Gau GaU Ga] Gae Gaq Gao Gaaq GaM Ga f[ c ca caa ica caI cau caU ca] cae cqa cao caaq cMa ca

ch C Ca iC CI Cu CU C] Ce Cq Co Caq CM C j ja jaa ija jaI jau jaU ja] jae jaq jao jaaq jaM ja

jh Ja Jaa iJa JaI Jau JaU Ja] Jae Jaq Jao Jaaq JaM Ja {a w wa iw wI wu wU we wq wo waq wM w h W Wa iW WI Wu WU We Wq Wo Waq WM W f fa if fI fu fU fe fq fo faq fM f h F Fa iF FI Fu FU Fe Fq Fo Faq FM F ,a ,aa i,a ,aI ,au ,aU ,a] ,ae ,aq ,ao ,aaq ,aM ,a t ta taa ita taI tau taU ta] tae taq tao taaq taM ta

th Ta Taa iTa TaI Tau TaU Ta] Tea Tqa Tao Taaq TaM Ta d d da id dI du dU d] de dq do daq dM d

dh Da Daa iDa DaI Dau DaU Da] Dae Daq Dao Daaq DaM Da n na naa ina naI nau naU na] nae naq nao naaq naM na p pa paa ipa paI pau paU pa] pae paq pao paaq paM pa

ph pa paa ipa paI pau paU pa] pae paq pao paaq paM pa

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b ba baa iba baI bau baU ba] bae baq bao baaq baM ba bh Ba Baa iBa BaI Bau BaU Ba] BAe Baq Bao Baaq BaM BA m ma maa ima maI mau maU ma] mae maq mao maaq maM ma y ya yaa iya yaI yau yaU yae yaq yao yaaq yaM ya r r ra ir rI re rq ro raq rM r l la laa ila laI lau laU lea lqa lao laaq laM la \ \a i\ \I \u \U \e \q \o \aq \M \ v va vaa iva vaI vau vaU va] vae vaq vao vaaq vaM va za zaa iza zaI zau zaU za] zae zaq zao zaaq zaM za xa xaa ixa xaI xau xaU xa] xae xaq xao xaaq xaM xa s sa saa isa saI sau saU sa] sae saq sao saaq saM sa h h ha ih hI hu hU h& he hq ho haq hM h

ja $a $aa i$a $aI $au $aU $ae $aq $ao $aaq $aM $a k A Aa iA AI Au AU A Ae Aq Ao Aaq AM A

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Pronunciation Practice of Vowels & Consonants aka aki ak ake akai ako akau aka ak akha akh akh akhe akhai akho akhau aka akha aga ag agu age agai ago agau aga aga agha agh aghu aghe aghai agho aghau agha agha aca ac ac ace acai aco acau aca aca acha ach ach ache achai acho achau acha acha aja aj aj aje ajai ajo ajau aja aja ajha ajh ajhu ajhe ajhai ajho ajhau aja aja ata at at ate atai ato atau ata ata atha ath ath athe athai atho athau atha ata ada ad ad ade adai ado adau ada ada adha adh adh adhe adhai adho adhau adha adha aa a a ae aai ao aau aa aa aha ah ahu ahe ahai aho ahau aha aha aa a a ae aai ao aau aa aa aha ahi ahu ahe ahai aho ahau aha aha aa ai au ae aai ao aau aa aa apa ap ap ape apai apo apau apa apa apha aph aph aphe aphai apho aphau apha apha aba abi abu abe abai abo abau aba aba abha abh abhu abhe abhai abho abhau abha abha ama ami am ame amai amo amau ama ama ana an an ane anai ano anau ana ana aya ayi ay aye ayai ayo ayau aya aya ara ar ar are arai aro arau ara ara ala al al ale alai alo alau ala ala ava av av ave avai avo avau ava ava aa a a ae aai ao aau aa aa asa as as ase asai aso asau asa asa aa a a ae aai ao aau aa aa aha ah ah ahe ahai aho ahau aha aha aja aj aj aje ajai ajo ajau aja aja aka ak ak ake akai ako akau aka aka

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11 ak ak ak ake ako akau ak ak akh akh akh akhe akho akhau ak akh ag ag agu age ago agau ag ag agh agh aghu aghe agho aghau agh agh ac ac ac ace aco acau ac ac ach ach ach ache acho achau ach ach aj aj aj aje ajo ajau aj aj ajh ajh ajhu ajhe ajho ajhau aj aj at at at ate ato atau at at ath ath ath athe atho athau ath at ad ad ad ade ado adau ad ad adh adh adh adhe adho adhau adh adh a a a ae ao aau a a ah ah ahu ahe aho ahau ah ah a a a ae ao aau a a ah ahi ahu ahe aho ahau ah ah a ai au ae ao aau a a ap ap ap ape apo apau ap ap aph aph aph aphe apho aphau aph aph ab abi abu abe abo abau ab ab abh abh abhu abhe abho abhau abh abh am ami am ame amo amau am am an an an ane ano anau an an ay ayi ay aye ayo ayau ay ay ar ar ar are aro arau ar ar al al al ale alo alau al al av av av ave avo avau av av a a a ae ao aau a a as as as ase aso asau as as a a a ae ao aau a a ah ah ah ahe aho ahau ah ah aj aj aj aje ajo ajau aj aj ak ak ak ake ako akau ak ak

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Reading Practice # 1 differentiation between a & & 1 nar man vta wind 2 eka one nma name 3 nava new day compassion 4 aha rogue sana posture 5 d give gth verse 6 jay victory yath as, like 7 ap water tt father 8 pac cook sad always 9 pat fall, fly kr form, shape

10 tat that s rule 11 para separate, other cpa bow 12 daa ten tad then 13 vada say dr wife 14 cala move hope 15 tala below bdh obstacle 16 idam this tath thus 17 vaa control lat creeper 18 tava your param supreme 19 vaca say my illusion 20 has laugh mt mother 21 vara groom jna know 22 sama equal athav otherwise 23 gata gone ekad one day 24 dala branch j permission 25 mara death bham OK 26 evam thus ys effort 27 iha here dhma home 28 atha now pd foot 29 hata killed makaka mosquito

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13 30 tapa austerity km desire 31 katama which ? yad when 32 ata from now on kath story 33 eva even bl girl 34 japa recitation jlam net 35 ka who? kad? when 36 paha read ds servant 37 ara arrow bl boy 38 chalam trick tvat as long as 39 tata then dnam charity 40 enam him, her, it bhg portion 41 hala plough p noose 42 ghaa pot ph lesson 43 jana people ml garland 44 ita from here pla protector 45 dalam branch pa water 46 paka side, wing jta birth 47 kara hand ka space 48 phalam fruit y income 49 itara other rjan king 50 vanam forest s sit 51 hana kill dva bush-fire 52 yava barley l hall 53 uras chest d seize 54 ubha both ppa sin 55 laya dissolution hs laughter 56 sat truth kh branch 57 mama my lbh benefit 58 mada pride rm delightful 59 ya he hr food

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Reading Practice # 2 differentiation between i & & @ 1 rati desire cna china 2 ita gone gt song 3 tati row bja seed 4 iti thus hna without 5 ari enemy r lakshmi 6 nati bending dh intellect 7 @ arti pain sma border 8 iva Shiva ll sport 9 talina bed vijaya victory

10 cit consciousness nirasa tasteless 11 tari boat st Sita 12 tta son sakh friend (f) 13 giri mountain mna fish 14 cirt long time ssa lead 15 bali sacrifice nad river 16 arati indifference chita torn 17 cita funeral pyre cra strip 18 nahi no la character,

nature 19 ira head dpa lamp 20 ravi sun nca low 21 sakhi friend @ trtha holy place, ford 22 hita welfare na nest 23 dik direction ntha leader 24 vida learned vra hero 25 his injury bhma terrible 26 nipna a pond near a well v lute

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15 27 tara a runner, sun, ray nr woman 28 nidhi treasure @ tarkita argued 29 udita told, arisen giria Lord Siva 30 dina day pnya potable 31 vin without dhmata wise 32 bhika alms nilna melted 33 nidh treasure anka army 34 vidhi injunction aniyata irresistible 35 siha lion ibik palanquin 36 ahisa non-injury idnm today 37 rahita without bli childish 38 niyata certain anh indifference 39 tait lightening udc north 40 sahita proper, good, with tala coolness 41 savidha of the same kind nraja lotus 42 vihaga bird sna seated 43 vihita done, enjoined ania incessant 44 gilita devoured dpana excitement 45 nimia moment anila air 46 mahia buffalo vkaa seeing 47 rati a ceremony itiha tradition 48 parigata surrounded srin Balarama 49 anivra irresistible svana sewing 50 nidhana destruction van large snake 51 iu child tala cool 52 ibik palanquin man intelligence 53 manasija god of love jv livelihood 54 cidbhsa Self, pseudo-

knowledge jvita living

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Reading Practice # 3 differentiation between u & & 1 tu but p flower 2 bahu much or dra far 3 ghu proclaim dta messenger 4 gup hide dhli dust 5 gua quality pti putrid 6 budh know mla Basis/root 7 taru tree bhta elemental 8 pura city spa soup 9 puta purified bht becoming

10 pu thrive @ prva east 11 br tell kp well 12 dhur burden pj worship 13 bh arm @ mrt form 14 atula immeasurable l loot 15 pum male amni these 16 manu Manu asya envy 17 bau Boy/student npur anklet 18 sura god vidhura bewildered 19 guru guru bhr Abundance 20 kula family praka inhalation 21 mun sage ct mango tree 22 sukara easy to do myra peacock 23 sukha happiness bhtala earth 24 as life @ prvaja elder sibling 25 madh honey @ cram powder 26 marut wind bhgola globe

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17 27 pur previously @ mrkha fool 28 mukha face vibht occult powers 29 bluka sand bhm earth 30 sudh nectar maka mouse 31 yuga aeon, age @ pra complete 32 dukha sorrow vadh newly wed wife 33 puru person sc needle 34 hanu the jaw

anubh experience

35 mudira lover scana indication 36 @ suvara gold bhmik composition 37 nipua expert bhmipa king 38 c flattery skara boar 39 pula thrill bhaa decoration 40 auka garments ayuj uneven 41 pun again anutp remorse 42 @ durlabha hard to obtain vibudha learned 43 mar desert kula confuse 44 bakula a flower bhujaga snake 45 yuvaka young man cru beautiful 46 aucim impure kusumam flower 47 bua chaff @ durgam hard to attain 48 bahudh manifold adhra half-done 49 bhuja arm sula well-behaved 50 pher jackal adhun today 51 niyuj engage bahuja well-learned 52 anugam follow mumuku one desirous of

liberation 53 babhuk hunger madhupa bee 54 sugama accessible anukrin imitative 55 jnu knee durcr wicked person

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Reading Practice # 4 differentiation between e & ai & 1 keli sport gai sings 2 eka one anais slowly 3 ce servant taijas metal 4 tena therefore ekaika one alone 5 ea deer naia nightly 6 cetas mind aireya a wine 7 deva a god gairika chalk 8 cet if bhedai with a variety 9 enas sin bheda difference

10 upeya goal dhenu cow 11 evam thus tejas lustre 12 vaira hostility dainika daily 13 veu flute rasai with essences 14 khelana play aihika of this world 15 nemi rim sacivai by associates 16 kea hair kaila a mountain 17 upeta achieved kaikey a female name 18 ketu ketu @ dhairya endurance 19 leha licking naipua dexterity 20 etad this taila oil 21 tema moisture sairika ploughman 22 vega speed kaitava deceit 23 rekha line aileya a perfume 24 geha home tailika oilman 25 vea attire @ kaivarta fisherman 26 dea country vaisrii fish

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27 nimea moment taitila rhinoceros 28 pea beauty malai impurities 29 tejana sharpening vkaai with glances. 30 khecara sun vaiasa destruction 31 ejana excitement bhujai by arms 32 eaa desire nicais low 33 ahetuka reason vairakara enemy 34 vicetana senseless kenipta an oar 35 kheda pain, sorrow @ karkaai with the marks 36 niedha a ban @ vaivara paleness 37 keari a lion jaitra a medicine 38 lepana smearing sairibha buffalo 39 acirea within a short while upakepa mentioned 40 pecaka owl kevala alone 41 kumeru South Pole kepaa censure 42 upalepa anointing nieka sprinkling 43 vedita informed vel opportunity 44 cetana consciousness yadaiva as soon as 45 kepa throw upek indifference 46 udare in the midst nivedana request 47 vedana feeling kedra a mountain 48 sedha besieging secana pleasing 49 aea completely nmadheya name 50 irea god of water niveda communication 51 kahera poor bhairava Siva 52 kubera a god paica demonic 53 ekad one day kaiabha a demon 54 kepa blame mainka a mountain 55 upsate worship paiinasi a sage

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Reading Practice # 5 differentiation between o & au &

1 kol plum tree kaula a sect 2 doa fault toa content 3 go cow maul crown 4 cora thief auca purity 5 toka child, son auri Vishnu 6 ghora terrible aurasa Self-produced 7 ora thread aupal opal 8 doha milking @ caurya theft 9 yo lass yautaka dowry

10 roa anger kauala welfare 11 roma body hair paurua manly 12 ropa planting kau earth 13 yoga union kauleya well born 14 hor horoscopy paura townsman 15 koa fort dhauta washed 16 glau moon raurava a hell 17 kopa anger kaumra childhood 18 yon womb kaupa Of a well 19 koa covering auka of bulls 20 roda weeping aul owl 21 ola swing bhauma Mars 22 poa nourishment taulika painter 23 lola fickle audaka born of water 24 lobha greed kaura shaving 25 homa fire sacrifice kaueya silk garments 26 gopa milkman gaura white

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21 27 koa corner auadha medicine 28 loka world @ audrya magnanimity 29 & hotra offering nauk boat 30 bhoga pleasure @ aurya prowess 31 ropa accuse kautuka curiosity 32 kobha disturbance aujasika vigorous 33 gopura gateway kauika mongoose 34 toraa banting aukara hoggish 35 gorasa milk yauvana youth 36 apoha removed taula measuring device 37 moda delight caula tonsure 38 loha iron vaua a mantra 39 koa building laukika worldly 40 $ kroa A distance lauhakra blacksmith 41 koara hollow of tree maukuli crow 42 kohala noise bhautika elemental 43 payoda cloud paurava of the purus 44 godhl sunset dauvrika doorkeeper 45 gopla cowboy saudha palace 46 ghoaa proclamation sauvra plum 47 roha height saurabha fragrant 48 kovida expert @ sauhrda friendship 49 obha brilliant joit woman 50 kokila cuckoo upayoam delight 51 ayomala rust darodara dice game 52 modaka a sweet kautuka curiosity 53 payoja lotus akobha unperturbed 54 odhana purging locana seeing