Indian Antiquary Vol 47

Author(s): Richard Carnac Temple, Devadatta Ramkrishna Bhandarkar
Publisher: Swati Publications

Page 49

FEBRUARY, 1918]
THE WIDE SOUND OF E AND O
not be regarded as if I gave up my whole case. The latent influence can exist for its limitect operation and yet the final formation (4-7) remain as the dominant factor. 24
To summarize,-my position amounts to this:
I. The wide sound in 37- in Gujarati ( which is also a peculiarity of Maravá ii) comes from
(a) 92-97 in Prakpit, Apabhramsa, and O. W. Rajasthâni; and (6) 35-45 in the same languages, through a subsequent step 4- 7 by
pratisamprasarana (a principle at work in an extensive field). NOTE:(1) In both these cases the अब-अव assume the form अय्-अ (by the lons of the ar ») before taking the form of the wide sound.
(2) अहि-अह which also become vide अ-औ really pass through the -अउ step by the movement of them to the initial syllable of words:
वहिबर्ड
हाल
व्हालडं . ( a ) quot II. The reasons for the above analysis are : (a) 875-33, if they combine, form T-sf (narrow), as shown by the tendency
ever since Pråkrit and Apabhramía periods: they cannot yield the wicle sound
by mere combination as they are: - (6) 374-377 (through T2-T) generate the wide sound, as is manifext to the ear by
actual perception ; (c) This wide sound, which did not start much earlier than the seventeenth century of
the Christian era, and is confined to Gujarati (and Maravadi), is really foreign in its nature, and its advent was helped by the 0. W. RÂjasthani 92-977 (in the 34- T stage) finding a phonal affinity with the Arabic-Persian sound in -:
TTT (TIT), ( a ) UK (W :
* ( sit), Teen ( 43, 44, 4 ); these find, as it were, a phonal kinship with the types represented by -
IMG; (d) This phonal phenomenon is determined by the position and movement of accent ; if
the accent is on the st of the 2-sty, T-, the resulting sound is wide, being and capable of a pronunciation ; if the accent is on -2,3-4
the resulting sound is -51 (narrow), 4-passing first into 3 by samprasarana: (e) The dipthongs T-i in Sanskrit were narrow in sound; the f-31 in Marathi
tadbhavas (e.g. s, TT) are almost similar to the Sanskrit sounds; the
- in Hindi tadbhavas (s, 14), although swinging to the side opposite to the Marathi sound, i.e., inclining towards the wide sound, do not quite come up to the full wide sound in Gujarati and Mârarâci) tadbhavas ;consequently 1-3 would be misleading as symbols for this last-named wide sound, for which 3-1 would be perhaps the best symbols, especially as these
were in vogue at one time in old manuscripts, if my information is correct. I conclude now, but not without acknowledging iny great debt to Dr. Tessitori whose learned labours have helped me in examining this question in all its bearings and enabled me to place my view before him and other scholars interested in this subject, in a spirit of friendly co-operation in the search for knowledge and truth.
34 This may be likened, in a way, to the principle underlying Panini's ritra FutfaTT : (L-1-56). though it adds
and thereby excludes Safety from its operation. I am estare, the purpose of the satra is different. I simply apply the principle in a different way for my purpose. In fact oxclude the axonption, T, i.e., a process similar to it, in this case.