September 8, 2011
Invariance, MDASHF i@M
“tamaso ma jotir gamaya” is a sanskrit phrase I ofetn recited. I learned this in high school. It literally means from tama towards jyoti, let my progress be. tama is used to mean darkness. Notice that the gamaya or gamaja which means movement therfore progress, can also be written as gamas. The ga is the only word that means this movement. It is also to be found in gati = state of motion etc. So the masa or mas is a often found word form. Now ta possibly means darkness and there is a mas there too. tamas.
so tamas ma jotir gamas, from a state of darkness we must move to a state of light. the gamas is written as gamaya, gamaja, gamaca etc. This mas form occurs plentily in Japanese word formations, viz it is the formal form of Japanese sentences today. “watashi wa ikimasu” in a day-to-day usage where the ikimasu is spoken fast this masu is rendered mas, in other words from it’s casual form mas the formal form masu is taken which is prominent in two sounds the M and the S, of sanskrit origin.
We can immediately recognize that the G or Ga sound is nothing but teh K or Ka sound given Ka is a softer form of Ga. SO Gamas >> Ka masu or Ki masu or iki masu with the meaning “movement” in both sanskrit and Japanese.
let us continue to analyze popular Japanese words.
“ame ga futuru” or “ame ga furu (puru) ” rain is falling. (it’s raining)
Me Ga puru (ma) su ] Japanese.
Me Ga puru chi (with little adjustment) Me Gha padu chi ] Odia
(the adjustment is natural, soft tone is rendered heavy and the r <> d alternation and sa/ca alternation)
in Hindi “Me Gha ba ra se” or “Me Gha pa ra se” (note the pa as a soft tone of ba)
also the base or main letters are all the same, you can check the similarity of the sound for yourself
You can check this favorite Japanese phrase
Do jo yo ro sh ku o’ne ga i masu
while I can give hypothetical constructs for Odia and hindi for the above that match almost exactly in present day usage the above is close to
(hindi) daya barash, naman karta (offer your kindness, I honor your soul)
(odia) daya barash/parash, namu chi/chhanti (offer your kindness, I offer my honor as well)
In poetic usage of odia, “onegai” is “namai” or “namajapai”, “namakahai” (odia) which in the loss of the prominence of the ma sound becomes closer to onegai (na-kahi >> negai)
For brevity I am not mentioning here the detailed meaning of how several words are connected here (nembutsu, nemiwa, nemimasu, namae, namiba, naman etc but refer to the closing of eye with honor or tiredness etc, will perhaps append my discussion on this at the end***)
Here I am tempted to make this remark: “Sanskruta is the formal form of variations of various languages such as Japanese, Odia and Hindi..)
Note also that there is a word in Odia/Hindi which is exactly same as Onega: aneka which means “a lot many”. Particles/prepositions and lost parts complete a language and no language is completely knowable (hint their speakers are dead and there is not enough clue saved for every question)
Now let us move to the next word: “tsu kuri masu” compare it with the Sanskrut: “at su kru mas” which means “do” in Japanese and “do that/this” in sanskrit. Because in sanskrit “at” is this/that.
Note that Kr / Kru is a generator in sanskrit, ie it generates more words than just the above.
Now let us move to our next word: “deki masu” I have given earlier detailed evidence how the Japanese particle “de” is actually the particle re in Odia and also “dwara”/”dei” which has the meaning in/at/by in both languages. If we recognize that the Ki or K refers to the generator KR as in “kriya=work/action/act/ doing” then “deki” refers to the ability of doing something in reference to the link of the particle “de”.
“nihongo hanashi koto wa deki masu?” Are you able to speak Japanese? SO “de ki mas” is “dwara kru mas” in sanskrit which has the exact same meaning in an elaborate way.
Now the alternations [Japanese] sa <> Ja/za (ya) [ Hindi, Odia both, in hindi kariye, jaiye, kahiye]
<> ca (as in cai latte) [in Odia perhps in other languages too]
SO different alternations of this ending is in formal usage in different languages.
In Kriya (in Japanese kurisu, kurimasu, in hindi kariye) “i” is the shorthand for uwhich is used only for very short time, therefore picked an “i” but is actually a contribution of Hindi. SO my formula is KrJa or KruJa, with degradation Ja became ya, but also KruSa, KruSu (Kurusu, kuru masu)
“de” (of Japanese) is shorthand for “dei” (of Odia) and “dwara” (of both Odia and hindi and many other languages)
I haven’t been able to relate the word “asobi masu” which refers to “playing”.
But check this out “asunde masu”, this means “living” I live in Japan “watashi wa Nihon de asundemasu”
My hypothesis is “asun” refers to “asan” of sanskrit origin = mat/place/a place to sit/ a place to live therefore. (In Odia it would become “asan ta maya” >> “mun bharata re asana ta maya” or mun bharata re asanda mas” but this is not how it is said although it has a base there, fo scolastic understanding, you can say “mun bharata re asan’dita” = “watashi wa bhrata de asunde masu”)
Note that above, asunde, de is again the re or “by” particle. (mun bharata re asan re masa)
Note that our alternations give us “masu” <> maju <> matu <> maya etc, in hindi “majna”, in Odia “matiba”,”mati gala”, in hindi “maj gaye, majiye”. It’s the same verb forms in Japanese used widely today for every formal situation.
For my one letter meanings R gives cooking or kitchen.
Ryo ku, Ra ku, Ryo su, ra su (Japanese)
Ra soi (hindi for cooking) Ro sei (Odia for cooking) Ro sa gruha (Odia for kitchen)
Note Ras, rus = juice may have a link here.
verb “tell” (sore) ka hanashi masu (Japanese for tell that)
ka ha ni (se) maya [ a situation describing focussed in story, in Hindi]
“Ka ha na” is hindi and ‘ka hi ba/wa” is Odia for “ha na shi wa” which is the action of telling / speaking etc. Note the na is missing from Odia because it is used only for the sense of story telling “kahani” which is used as a noun but only in non-formal situations used as a verb “ka ha nei wa”. SO in a “big piture” the Odia and Japanese are exactly same with the difference in meaning taken off by different use of verb, noun and particles.
Note that the japanese “iu” for “say” comes from the above with addition of all admissible forms of the usage of these words. (eg in Odia kahu = let him say, in Japanese iu, say or I let you say)
Now “ka ha na su” in Japanese has become “ka ha n tu” which is exactly same with a natural T/S alternation.
It is not without a basis that I have grown extremely confident that Japaese and Odia are the exact same language. But then in the practical world they are two different languages. It’s like movies, two brothers left separated and not recognizing eah other.
Now “Ryo su kuri su” is like “ra soi kari ye” with the S/Y alternation. SO Hindi is also exactly like Japanese. It is because of an inherent nature present in all these languages and we hyothesize it to be sanskrut.
The T/S alternation of Japanese/Odia/Sanskrit occur because these characters occur adjacent to each other, eg Tsukuba, matsuri (Japanese), Matsya (Odia/sans) and batsalya (Odia/sanskrit).
Once they occur together either character has a probability of being taken while the other is left out.
(2011 Japanese) kurisu/kuri tsu/kuri masu(?) >> karan tsu >> ka ra n tu (2011 Odia)
Note that the above alternations were possible because aprt from a S/T alternation there was also a m/n alternation. The m/n occur most prominently in Sanskrit thereby alternating into each other. Note also that that the m/n, s/t alternations are adjcent in teh English alphabet.
SO the most important observations/discoveryI have made reg. language is the m/n s/t alternations apart from the other alternations I mentioned, and these mentioned in this sentence are the ones that has altered the “masu” formal form of the Japanese into the “anta” formal forms of Odia language. They are equivalents and make formalism and honorifics. One difference is while “masu” eg in “ai masu” refers to both objects and persons, the “anta” as a formal form and honorifics applies only to persons and not objects. The objects take the s/c alternation. In formal form the s/z or s/j alternations from Japanese to Odia is applicable to persons only (if subject in a sentence is refered the object takes less importance and the subject dictates the formal form ending in z/j in Odia, eg “gadi=vehicle rahuchi=being parked/stopped”, “gadi rahuji” but NOt “gadi rahanti” unless ofcourse in rhetorics and casual forms the latter is possible”. But when the “gadi rahuji” is used it’s inherently refering to a person somewhere even if not explicitly spoken or refered to )
Now interesting things:
Skanda purana can now be seen as sukanda or sukanta = sukha anta purana. Purana is basically a mythical scripture/plot. sukha = happiness which has perhaps become suka or suki in Japanese, to like,to be glad, to be happy therefore. anta is translated as end/ending but as you just saw it’s a much robust and formal linguistic tool which is an alternation of “mas” or “masu” as in “ansu”/”antu”
So skanda >> sukanta >> suki masu, denotes happiness. also I have told you masu was maya an act of involvement/focussed etc. SO “suki maya” means/refers to a way to happiness. SO I guess this purana describes various ways to happiness of those time, and indeed it describes a phrase “guru brahma guru bishnu…” Guru or a noble teacher is to be honored like a God.
Now Purana may be alternated to Parbana given how it can be spoken as puroana which along with parba refers to a celebration. SO skanda purana ?? “suka mata parba” = views about happiness and social celebrations.
This is not any less interesting if I tell you this can be translated as “suki masuri” or “suki matsuri” given masu, maya, mata, are all cognates and variants of eah other with near meanings.
Matsuri in Japanese is celebration. It can be seen as “mat” in Sanskrit, a way of involvement, here for pleasure. (“mata” as in “unmata”) So “mada” is also involvement in pleasure, maja, maya. “mada” or “mad” is translated as liqour or wine in various Indian languages. Tanmaya is one who is bodily focussed, tan = body and maya = focussed/involved etc.
Now madasJa <> matasYa = matsya = fish. SO fish is a food which goes with liqour. In ancient times that was probably a very popular way of pleasure. (I have done this in Japan over years, whenever there was celebration there was fish and there was wine, everywhere, a great way to celebrate indeed)
I will append here more (what is ohayo gozaimas etc, but this is 4/5 pages still in my note) time for a little relaxation, don’t you think??