The vedic stressing of the is described to us in detail by the Indian grammairien Pāṇini; the such Indo-European , the Sanskrit of the origins used a Pitch and not a tonic Accent. It was also the Latin case in , Greek old, lette and still in Lituanien, etc the accent vedic made it possible to oppose minimal pair : thus súkr̥ta , “well done” ~ sukr̥tá , “benefit” (the accent is generally noted by an acute on the intonée vowel). All the words were not necessarily accentuated (the verb, for example, is often dull; all depends in fact on sound mode, its time and its place in the Phrase).
Note: all the words Sanskrits are quoted according to the traditional transcription.
This accent, noted with precision in the old texts vedic, seems to have disappeared at the time of Patañjali; it notable that the languages current néo-Indians do not have, except for the pañjābī, is kept besides any trace of such an accent, and either did not develop a tonic accent (whereas Latin, the Greek, and the Baltic Langues transformed, while popularizing itself, their accent thus). This pitch was simply to consist of a rise in the voice on one of the Syllabe S of the mot.
Pāṇini however describes in details a system which one cannot ensure that it corresponds to that of the origins, using three registers and of the modulations; it either always does not correspond to those used nowadays, which are very variable and depend on the texts recited as well as schools of recitation. It should be known that all the recitations of Veda are not intonées. This system of recitation is connected with the reading taǧwīd ( tajwîd ) of the Coran, i.e. a reading far from usual diction, applied, near to the song and the Litanie.
Basic concepts
- the Syllabe intonée is named udātta (“high”); it is marked in transcription by an acute accent and comes to a conclusion about a high register; all the others tonèmes result from the udātta;
- the dull syllables are known as anudātta (“nonhigh”) and come to a conclusion about an average register; the transcription does not note them; the anudātta is not marked;
- the syllable which follows the udātta , is called svarita (“resonant”); it is modulated haut→moyen; the transcription marks the syllable svarita by a grave accent.
tonal Sandhi
Let us tons, while following itself, can change (with the manner, for example, of tons Mandarin: a third tone following another third tone becomes in this language a second tone. As follows: 給我 gěi wǒ , “for me”, is marked géi wǒ ). In addition, the modifications undergone by the phonemes of the word in contact with those of the others (“Sandhi”) can also involve tonal transformations. In the recitation saṃhitā (“bound recitation”, in opposition to a word for word recitation, said padapāṭha ), the modifications do not stop in extreme cases of the words.
The principal modifications are the following ones (note: has represents any syllable, Y all sounding consonant, I all sounding vowel, has any vowel):
- fundamental tonal modifications:
- udātta + anudātta → udātta + svarita (Á+A → Á+À): sandhi tonal describes higher, it is the regular of syllable post-tonic and dull transformation into svarita ; one names this syllable svarita śuddha (“ svarita simple”), or “ svarita Enclitique ” in Occident; there does not exist, in transcription, of specific symbol making it possible to distinguish the enclitic svarita from the others svarita : the Grave accent mark the two types (in this article, the Double grave accent will allow the need to distinguish both),
- anudātta + udātta or svarita → will sannatara + udātta or svarita (A+Á/À → A+Á/À): a syllable anudātta preceding a udātta (or a svarita ) is indicated by the term of will sannatara (“weaker”); it is marked on a low register but remains regarded as a anudātta ; in a detailed transcription, one underlines the vowel will sannatara ; this sandhi overrides the precedent: that is to say succession Á+A+Á; this one does not pass to Á+À+Á but to Á+A+Á,
- svarita + anudātta (+ anudātta …) → svarita + pracaya (+ pracaya …) (À+A → À+Â): all the syllables anudātta according to a svarita become pracaya ; they are marked on a register located between the registers means and high, without modulation (register known as ekaśruti , “monotonous”); the transcription does not note the pracaya (in this article, one will do it by means of the circumflexe one),
- svarita nonenclitic + udātta or svarita nonenclitic → kampa + udātta or svarita (À+Á/À → Ã+Á/À) : this modification is optional; the syllable kampa (“tremor”) is modulated with the manner of a Trémolo (one can note the kampa , in this article, by the Tilde),
- modification of the prosodic structure (ÍY+à → Yà): when a word has a udātta and a svarita the following, it can arrive, if the vowel lends itself to it, that the syllable udātta disappears by Consonification. In this case, the svarita remains alone: súvàr (“light, prosperity”) can be marked svàr , the group /- úv-/passer by with /-v-/;
- modifications due to the meetings between vowels: the Sanskrit has a great number of rules fixing the meetings of vowels in order to eliminate the Hiatus, by the Consonification of the Sounding S vocalized, the Crase or the Aphérèse mainly (see also Sandhi of the Sanskrit for more details); when the touched vowels are intonées, the modifications are the following ones:
- consonnification of sounding: sounding vocalized udātta or svarita + vowel udātta → consonant + svarita (Í/Ì+a → Yà); the svarita obtained is known as “independent” and will kṣaipra (“fast”); thus; hí + anyé → hyànyé ,
- filth:
- in the same word: vowel udātta + vowel anudātta → vowel contracts udātta (- á- + - → has - ā́-) or vowel anudātta + vowel udātta → vowel contracts udātta (- has + - á- → - ā́-) ,
- between two words (optional rule): vowel udātta + vowel anudātta → vowel contracts svarita (- á + has → - ā̀-) ; such a svarita is independent and praśliṣṭa (“coalescent”),
- apheresis: /é/or/ó/+ /a/ →/è/or/ò/; one speaks about an independent svarita abhinihita (“contiguous”).
All these rules are connected so as to give to the recitation in saṃhitā (dependant recitation) the following canonical structures:
- A + Á + Ȁ + Â + Â… : will sannatara + udātta + svarita śuddha + pracaya + pracaya … (to the next syllable not anudātta ), or
- A + With + Â + Â… : will sannatara + svarita “independent” + pracaya + pracaya … (to the next syllable not anudātta ).
Illustration by example
tonal Realization of a Stanza ( R̥g Veda , VIII, 100,11)Note: to improve the legibility of a text particularly charged in Diacritic, one noted the long vowels by the Latin letter followed of rather than by means of the superscribed macron, except, of course, for /e/, /o/, /ai/ and /au/, which are always long. Let us recall that in this article the pitches and their alternatives are noted as follows: Á for l'udātta, has for l'anudātta, A for l'anudātta sannatara,  for l'anudātta pracaya, With for the independent svarita , Ȁ for the svarita śuddha , and à for the svarita kampa .
It is advisable to proceed by order. The anudātta will sannatara , for example, having precedence of the svarita śuddha , one will place these in first, knowing that no will sannatara cannot become svarita śuddha . It quickly was seen, the texts vedic can be recited in various ways in order to ensure a perfect training of the phonemes: the recitations padapāṭha and saṃhitā are most current, among a plethora of others. According to the method of recitation, the placement of let us tons will be very différent.
Padapāṭha
In the recitation padapāṭha (“word for word”), let us tons them do not influence themselves through the limit of the words, which are not adapted either according to the rules of sandhi external (details with the article Sanskrit#sandhi).
1. placement of the udātta :
- devíːm | váːcam | ajanayanta | deváːḥ | táːm | viśváːruːpaːḥ | paśávaḥ | vadanti ||
- sáː | naḥ | mandráː | íṣam | úːrjam | dúhaːnaː | dhenúḥ | váːk | asmáːn | úpa | sú-stutaː | áː | etu ||
- sáː | naḥ | mandráː | íṣam | úːrjam | dúhaːnaː | dhenúḥ | váːk | asmáːn | úpa | sú-stutaː | áː | etu ||
2. placement of the anudātta will sannatara :
- de̱víːm | váːcam | ajanayanta | de̱váːḥ | táːm | vi̱śváːruːpaːḥ | pa̱śávaḥ | vadanti ||
- sáː | naḥ | ma̱ndráː | íṣam | úːrjam | dúhaːnaː | dhe̱núḥ | váːk | a̱smáːn | úpa | sú-stutaː | áː | etu ||
- sáː | naḥ | ma̱ndráː | íṣam | úːrjam | dúhaːnaː | dhe̱núḥ | váːk | a̱smáːn | úpa | sú-stutaː | áː | etu ||
3. placement of the svarita śuddha :
- de̱víːm | váːcȁm | ajanayanta | de̱váːḥ | táːm | vi̱śváːrȕːpaːḥ | pa̱śávȁḥ | vadanti ||
- sáː | naḥ | ma̱ndráː | íṣȁm | úːrjȁm | dúhȁːnaː | dhe̱núḥ | váːk | a̱smáːn | úpȁ | sú-stȕtaː | áː | etu ||
- sáː | naḥ | ma̱ndráː | íṣȁm | úːrjȁm | dúhȁːnaː | dhe̱núḥ | váːk | a̱smáːn | úpȁ | sú-stȕtaː | áː | etu ||
4. placement of the anudātta pracaya :
- de̱víːm | váːcȁm | ajanayanta | de̱váːḥ | táːm | vi̱śváːrȕːpâːḥ | pa̱śávȁḥ | vadanti ||
- sáː | naḥ | ma̱ndráː | íṣȁm | úːrjȁm | dúhȁːnâː | dhe̱núḥ | váːk | a̱smáːn | úpȁ | sú-stȕtâː | áː | etu ||
- sáː | naḥ | ma̱ndráː | íṣȁm | úːrjȁm | dúhȁːnâː | dhe̱núḥ | váːk | a̱smáːn | úpȁ | sú-stȕtâː | áː | etu ||
Saṃhitā
This reading is more complex: the rules of external Sandhi apply (thus /m/ final become will anusvāra in front of the phonemes which require it, paśávaḥ becomes paśávo in front of a word with initial sound, the hiatuses are solved by filth, apheresis, etc); same manner, the tonal sandhi does not stop any more in extreme cases of the words. With final, the text (without accents) becomes the following:
- devīṃ vācam ajanayanta devās tāṃ viśvārūpāḥ paśavo vadanti |
- sā No mandreṣam ūrjaṃ duhānā dhenur vāg asmān upa suṣṭutaitu ||
1. placement of the udātta :
- devíːṃ váːcam ajanayanta deváːs táːṃ viśváːruːpaːḥ paśávo vadanti |
- sáː No mandréṣam úːrjam dúhaːnaː dhenúr váːg asmáːn úpa súṣṭutaítu ||
- sáː No mandréṣam úːrjam dúhaːnaː dhenúr váːg asmáːn úpa súṣṭutaítu ||
- mandrá + íṣam → mandréṣam : no the particular rule, filth of two udātta giving a syllable udātta;
- súṣṭutaː + áː → súṣṭutáː : regulate 2.2.1;
- súṣṭutáː + etu → súṣṭutaítu : regulate 2.2.1; rule 2.2.2 could have applied and give a svarita; it is however optional.
2. placement of the anudātta will sannatara :
- de̱víːṃ váːcam ajanayanta de̱váːs táːṃ vi̱śváːruːpaːḥ pa̱śávo vadanti |
- sáː No ma̱ndréṣa̱m úːrja̱m dúhaːnaː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítu ||
- sáː No ma̱ndréṣa̱m úːrja̱m dúhaːnaː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítu ||
3. placement of the svarita śuddha :
- de̱víːṃ váːcȁm ajanayanta de̱váːs táːṃ vi̱śváːrȕːpaːḥ pa̱śávȍ vadanti |
- sáː nȍ ma̱ndréṣa̱m úːrja̱m dúhȁːnaː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítȕ ||
- sáː nȍ ma̱ndréṣa̱m úːrja̱m dúhȁːnaː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítȕ ||
4. placement of the anudātta pracaya :
- de̱víːṃ váːcȁm âjânâyântâ de̱váːs táːṃ vi̱śváːrȕːpâːḥ pa̱śávȍ vâdântî |
- sáː nȍ ma̱ndréṣa̱m úːrja̱m dúhȁːnâː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítȕ ||
- sáː nȍ ma̱ndréṣa̱m úːrja̱m dúhȁːnâː dhe̱núr váːg a̱smáːn úpa̱ súṣṭu̱taítȕ ||
The text does not have an independent svarita , therefore not of kampa . Its translation is the following one: “The gods generated the goddess of the Word, and all the being alive speak it. That this cow, which mugit nicely and gives of its milk of the fortifying drinkings, just as the word when she is well said, comes to us. ”
The recitation of the R̥g Veda by the Brahmane S tamouls as practiced nowadays is very close to such a system.
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