" OM vs AUM – Which is Correct? " --- Arsha Bodha - Swami Tadatmananda

[Nagaraj Paturi]

https://youtu.be/ayHMr7sc9m8

" The division of OM into A-U-M originated in the ancient Mandukya Upanishad where the three letters represent three states of experience – waking, dream, and sleep. But rules of Sanskrit grammar require the letters A and U to combine into the letter O. So, which is correct? "

" According to the rules of sandhi (euphonic combination), the letter a followed by u must combine to form o. They can never remain side by side. For this reason, to say that om has three letters, aum, is incorrect. The Mandukya Upanishad's represented OM as A-U-M for symbolic purposes, not for pronunciation or writing. Sanskrit vowels are generally short (hasra) or long (dirgha). But the o of om is prolated, that means it's extra long, it is three units (pluta) in duration. So, om is properly pronounced with an extra long o, om. "

[Shashi Joshi]

In IAST or ITRANS notation using Roman letters:

   aum = औम् 

   om = ओम्

From that point of view, 'aum' in incorrect spelling, and it should be spelled just 'om' to avoid confusion

Thanks,

~ Shashi

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[Nagaraj Paturi]

aum = औम्  

aum is the correct Roman transliteration  for the wrong pronunciation of ॐ as  औम्  

om = ओम् is the correct Roman transliteration  for the correct pronunciation of ॐ as  औम्  

The pronunciation presently wrongly being spread  is अउम्‌ , even अऊम्‌ , or even अऊ..........म्‌ 

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Nagaraj Paturi

 

Hyderabad, Telangana, INDIA.

Senior Director, IndicA

BoS, MIT School of Vedic Sciences, Pune, Maharashtra

BoS Kavikulaguru Kalidasa Sanskrit University, Ramtek, Maharashtra

BoS Veda Vijnana Gurukula, Bengaluru.

Member, Advisory Council, Veda Vijnana Shodha Samsthanam, Bengaluru

BoS Rashtram School of Public Leadership

Editor-in-Chief, International Journal of Studies in Public Leadership

Former Senior Professor of Cultural Studies, 

FLAME School of Communication and FLAME School of  Liberal Education, 

Hyderabad, Telangana, INDIA.

 

 

 

[Nagaraj Paturi]

I do not know whether there are any traditional sources or documentation of traditional practice supporting this instruction by this modern day guru:

https://youtu.be/nBFyrKYI6TU

[Shashi Joshi]

अउम्‌  !!!

true true, just like my name is श्अश्ई 

back to the basics ! :) :)

in the next post youtube video of Jaggi, at 6:44 he is saying it was all 'aam' (aamra) before, and different region gave different expression to aamra

aamra -> aam, om, ameen, amen, omen, amma,etc

well, all debates stop when aamra arrives, as it has in india, the season is upon us.

Thanks,

~ Shashi

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[Surajit Dasgupta]

Nagaraj ji,

Combining your explanation with the standards of International Phonetic Association, can the vowel part of "ॐ" be referred to as a diphthong?

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[Nagaraj Paturi]

Ai Ou written in Devanagari as ऐ औ could be examples for diphthong. 

My explanation for the correct pronunciation of "ॐ is not that it is aum or oum. So my explanation does not imply that "ॐ is a diphthong. 

Jaggi ji is the one who is saying that "ॐ should be pronounced as aum or even aaum or aauum .

It is that wrong explanation which may imply that "ॐ is a diphthong. 

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[Harry Spier]

Does anyone know when the special ॐ symbol started appearing in manuscripts. 

Harry Spier

[Surajit Dasgupta]

No, ॐ certainly is not a diphthong. I said the "VOWEL PART OF". But I get from your reply that the vowel part of ॐ is not a diphthong either. Now, since the vowel part is not "a combination of two vowel sounds or vowel letters" — OED definition of a diphthong — could you please elaborate on its ideal articulation?

I referred to the pronunciation section of the Wikipedia article on "Om". It reads: "When occurring within spoken Classical Sanskrit, the syllable is subject to the normal rules of sandhi in Sanskrit grammar, with the additional peculiarity that the initial o of "Om" is the guṇa vowel grade of u, not the vṛddhi grade, and is therefore pronounced as a monophthong with a long vowel ([oː]), ie. ōm not aum." The citations given in support of this assertion are:

1. Pāṇini's Aṣṭādhyāyī 6.1.95

2. William Dwight Whitney's Sanskrit Grammar: Including both the Classical Language, and the older Dialects, of Veda and Brahmana; Cambridge, Massachusetts: Harvard University Press. pp. 12, 27–28

Is the above correct?

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[Nagaraj Paturi]

Dear Sri Surajit Dasgupta ji,

If a vowel in its articulation has a simultaneous combined effect of articulatory efforts of two different vowels

Or if the articulatory effort for a vowel can be viewed as the  simultaneous combined effect of articulatory efforts of two different vowels, it is still a monophthong, not a diphthong.

If a vowel's articulation involves the articulatory efforts of two different vowels in immediate sequence, one after the other so that the two vowel sounds are heard distinctly but in immediate sequence one after the other, then the vowel is a diphthong. 

The vowel part of the pronunciation of ॐ is like any other ओ only. Pronunciation of ओ has  the  simultaneous combined effect of articulatory efforts of two different vowels अ and  उ . That is why it is a monophthong. 

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[Nagaraj Paturi]

The shorter version of ए and ओ in south Indian languages shows that  ओ is an elongated form of an independent vowel , i.e., the short o . 

But nevertheless, whether in short or the long versions , it involves the simultaneous kanthya glottal  and oshThya labial efforts . 

[Nagaraj Paturi]

Dear Sri Harry ji,

https://en.wikipedia.org/wiki/Vadathika_Cave_Inscription

has

which is read as

1. Om āsīt sarvvamahīkṣitā manur iva kṣattrasthiter ddeśikaḥ_śrīmān mattagajendrakhelagamanaḥ śrīyajñavarmmā nṛpaḥ |
2. yasyāhūtasahasranettravirahakṣāmā sadaivādhvaraiḥ_paulomī ciram aśrupātamalināṃ dhatte kapolaśriyaṃ ||

3. śrīśārdūlanṛpātmajaḥ parahitaḥ śrīpauruṣaḥ śrūyate|loke candramarīcinirmmalaguṇo yo nantavarmmābhidhaḥ |
4. dṛṣṭādṛṣṭavibhūti kartṛvaradaṃ tenādbhutaṃ kāritaṃ|vimvaṃ bhūtapater guhāśritam idaṃ devyāś ca pāyāj jagaT ||

5. ansāntākṛṣṭaśārṅgapravitatasaśarajyāsphuranmaṇḍalānta_vyaktabhrūbhaṅgalakṣmavyatikaraśavalākhaṇḍavaktrenduvimva |
6. antāyānantavarmmā smarasadṛśavapur jjīvite nispṛhābhiḥ_dṛṣṭa sthitvā mṛgībhiḥ suciram animiśasnigdhamugdhekṣaṇābhi ||

7. atyākṛṣṭāt kuraravirutasparddhinaḥ śārṅgayantrā_2_dvegāviddhaḥ pravitataguṇād īritaḥ sauṣṭhavena |
8. dūraprāpī vimathitagajodbhrāntavājī pravīro_2_vāṇo ristrīvyasanapadavīdeśiko nantanāmna ||

– Vadathika Cave Inscription^[8]

[bk]

Sir does the praṇava have a candra-bindu at the end? i.e. is it om or om̐ ?

Regards

[Nagaraj Paturi]

Is your question related to script or pronunciation ?

Script represents pronunciation. 

So we need to start with pronunciation . 

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[madhav kiran sodum]

Actually the script sir. Since in IAST and even in other South Indian scripts we don't have a special symbol like ॐ. 

Regards

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[Nagaraj Paturi]

Unless we know when and how this representation  ॐ. started , we can't say anything about this. 

This book 

https://archive.org/details/GaneshaVidya

considers chandra bindu as primordial. 

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[Nagaraj Paturi]

From the inscription at https://en.wikipedia.org/wiki/Vadathika_Cave_Inscription

[bk]

Sir here: https://notes.nitinpai.in/Entries/Mangala+Symbols+in+Traditional+Indian+Writing , the author states that ॐ  is a Mangala symbol...

Regards

[Nagaraj Paturi]

He says " The most important of these are: Om (ॐ, ௐ, ༀ) " 

So he does not specifically mention only the representation in the form of  ॐ . He includes ௐ and  ༀ

For him all the different representations of what he calls Om come under this.  

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[Harry Spier]

If its of interest to anyone in this discussion attached is a link to  a manuscript showing the sAma chanting of omkara from the collection of the Samba Diksita family in Gokarna.  It is from the Muktabodha digital library.  The link is below.  It will ask you for a username and password.  username: muktabodha  password: indology123

https://muktalib7.com/DL_CATALOG_ROOT/VEDIC_CATALOG/TEXTS/SAMBADIKSITA/SAMBADIKSITA-PDF/S0024.pdf

[Nagaraj Paturi]

Thanks, Sri Harry ji, 

In fact in 

https://dash.harvard.edu/bitstream/handle/1/17467527/MOOREGERETY-DISSERTATION-2015.pdf?sequence=8&isAllowed=y

  This Whole World Is OM: Song, Soteriology, and the Emergence of the Sacred Syllable

The PhD dissertation by 

Finnian McKean Moore Gerety ,

he argues that 

" music is integral to this history: more than any other group of specialists, Brahmin singers of liturgical song (sāmaveda) fostered OM's emergence by reflecting on the syllable's many and varied uses in Vedic ritual." 

[ Abstract
This study explores the emergence of OM, the Sanskrit mantra and critically ubiquitous "sacred syllable" of South Asian religions. Although OM has remained in active practice in recitation, ritual, and meditation for the last three thousand years, and its importance in Hindu, Buddhist, and Jain traditions is widely acknowledged, the syllable's early development has received little attention from scholars.Drawing on the oldest textual corpus in South Asia, the Vedas, I survey one thousand years of OM's history, from 1000 BCE up through the start of the Common Era. By reconstructing ancient models of recitation and performance, I show that the signal characteristic of OM in the Vedas is its multiformity: with more than twenty archetypal uses in different liturgical contexts and a range of forms (oṃ, om̐, om, o), the syllable pervades the soundscape of sacrifice. I argue that music is integral to this history: more than any other group of specialists, Brahmin singers of liturgical song (sāmaveda) fostered OM's emergence by reflecting on the syllable's many and varied uses in Vedic ritual. Incorporating the syllable as the central feature of an innovative soteriology of song, these singer-theologians constructed OM as the apotheosis of sound and salvation. My study concludes that OM plays a crucial
role in the development of South Asian religions during this period. As the foundations of South Asian religiosity shift, from the ritually oriented traditions of Vedism to the contemplative and renunciatory traditions of Classical Hinduism, OM serves as a sonic realization of the divine, a touchstone of Vedic authority, and a central feature of soteriological doctrines and practices.

iv] 

  

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