Skip to content
Browse articles

Prepositions in Aśvaghoṣa

By Satyavrat Verma

Vol. 6 · No. 1-2April-July 1977pp. 51–56English

Summary

Satya Vrat’s essay studies the use of prepositions (upasargas) in the works of the Buddhist poet‑philosopher Aśvaghoṣa, author of the Buddhacarita and Saundarananda. The article opens by reviewing the old debate about whether Sanskrit prepositions have independent meaning or simply modify verbal roots. Drawing examples from Aśvaghoṣa’s poems, the author shows that prepositions can limit the sense of a root, strengthen it or introduce novelty. He examines compounds such as ā + √ṛ, ā + √viś, prati + √bhū and sam + √dhā to illustrate how meaning changes when upasargas are added. The paper notes that some roots in Aśvaghoṣa’s verses are never used without specific prepositions, indicating that the composite meanings became lexicalised. Vrat then classifies Aśvaghoṣa’s prepositional usage into three categories: (1) prepositions that leave the primitive sense unchanged but add refinement; (2) those that intensify or multiply the basic meaning; and (3) those that invert or negate the root. He discusses, for example, how prepositions like sam‑ and pra‑ can denote completion or forward motion, while vi‑ and dur‑ can imply separation or negativity. Sanskrit verses with diacritics are cited to demonstrate the variety of senses that arise when the same root is combined with different prepositions. The essay concludes by suggesting that Aśvaghoṣa’s creative employment of prepositions gives his poetry linguistic richness and allows him to express subtle philosophical ideas within the constraints of metre and morphology.

AI-generated summary, automatically checked against the article text.

Conclusion

The article concludes that Aśvaghoṣa’s sophisticated use of upasargas shows how Sanskrit prepositions are far from semantically void. In his hands, prepositions function as nuanced modifiers that shape meaning, contribute to poetic imagery and convey philosophical distinctions. Satya Vrat argues that this nuanced usage reflects both the flexibility of the Sanskrit language and Aśvaghoṣa’s skill as a poet, and he encourages further study of prepositions in other classical works.

Key passages

Chosen by AI from the article's text. Each one is checked word for word against the text before it is shown.

  • “Whether prepositions are invested with any meanings of (heir own or they merely indicate the meanings latent in the roots is an old controversy dating back to the pre-YSska era.”
  • “The conclusion is irresistible that Sanskrit prepostions are not altogether void of meanings and not unoften they lend them to the roots they join.”
  • “Upasargas in the works of Asvaghosa do not follow this set pattern nor are they always found to adhere to any norm.”

Works cited in this article

  1. Raghuvarhsa
  2. Buddhacarita
  3. Saundarananda

Discussed in this article

People

Texts & works

AI guide

Discuss this record

Ask about the article, its topics, issue context, selected passages, or reading strategy.

Start with the record

I can unpack the summary, turn it into study questions, explain a selected passage, or compare it with the other articles in this issue.

Original PDF

Inline viewer

Checking source PDF

The viewer will load here if the archive file is reachable.

Same author

More by Satyavrat Verma

All articles →
Sambodhi

वाल्मीकि‑रामायण में पर्यायवाची शब्द (Synonyms in Valmiki’s Ramayana)

By Satyavrat Verma

2019
Sambodhi

Nayacandra Siiri : A Literary Prodigy

By Satyavrat Verma

2019
Sambodhi

लिङ्गपुराण का योगदर्शन

By Satyavrat Verma

Dec-18
Sambodhi

Gaddalikapravahah

By Satyavrat Verma

2017

Continue reading

Related articles

Sambodhi

Rajas and Karman

By Nagin J Shah

April-July 1977