Phonetics and sonic principles have been given maximum importance in the compilation of the mantras that encode the supreme knowledge compiled in the four Vedas. The Saama Veda, in particular, emphasizes the most on the rhythmic patterns of the chanting of the vedic mantras.

Specific symbols are used in the Vedas to represent different accents and amplitudes. The savants note that because of a highly compact symbolic representation, each letter of the vedic-mantras can have as many as eighteen different forms of phonemes associated with its pronunciation. A complete decipheration of this self- sufficient phonetic code has not been possible by the scholars of later times. Some symbols have been decoded to identify the swaras (accents) with the help of the main principles cited in Mahaamuni Patanjali’s

Mahaabhasya. For instance, the vertical and horizontal lines around a syllable of the Veda-script are found to indicate the levels of high (udaatta), medium (anudaatta) or low (swarit) accents.

The scholars of the vedic literature have largely interpreted that the symbolic representation serves the main purpose to help decide a chanting pattern for collective singing of mantras during a yajna, or, to guide designing specific modes of japa for creating specific acoustic effects to meet the desired purposes. It is also found that a single word would have multiple meaning and impact because of the specific context of these symbols in the same or different mantras.

The treatise on the Sanskrit grammar and the vedic literature available to the scholars of our times are too difficult and vast in terms of – (i) identifying the correct and the most logical meaning of a word (in a vedic mantra) from amongst the possible multiple meanings; or (ii) generalizing the principles for such interpretations. Different schools of thoughts have different styles of translations. This sometimes leads to controversies in the interpretation of the meaning and/or identification of the best chanting patterns of the vedic mantras. The book entitled ‘Vedic-Swar Meemaamsaa’ presents critical analysis of the mistakes in deciphering the vedic phonetics incurred in some of the widely used scholastic works on translations (Bhasya) of Vedas.

Few excerpts from the above works are given below in their original forms to indicate the extent of difficulties in the correct interpretation of the Vedic Swaras.

“Saayanaaacaarya’s Rig-Veda Bhaasya is based on a superficial knowledge of the Vedic Swaras.... Most often his interpretations seem to have been blindly copied from the Swar Prakriyaa (rules for identification of accents or phonetic patterns) defined by Bhatt-Bhaaskara in Taittireeya Samhitaa. His independent interpretations are almost 50% erroneous; about 4 to 5 mistake per hymn is common in his work.... For instance, a word ‘dosaa vastah’ in a hymn of the first mandal (part) of the Rig-Veda has been, because of the erring knowledge about the vedic accents (symbols), interpreted by Saayanaacaarya as ‘morning and evening’ instead of ‘fire’.... This mistake appears to have been adopted from the meaning of this word cited by Bhatt Bhaaskar in ‘Taittireeya Samhitaa’–1|5|6|2. Similar meaning of this word is mistaken by Shriniwas Jha in his compilation of ‘Swar Siddhaamta Candrikaa'– 9|2|27. Venkat Madhav’s Laghu Bhaasya, as edited by Dr. Lakshman Swaroopa also contains the same mistake”.

Shri Venkat Madhav is regarded to be one among the most erudite scholars of the vedic swaras. His consistency and in-depth analysis of the symbolic arrangements clearly indicates his excellence in his Brhada Bhaasya of the Rig-Veda.... Still if the compilation or extension of his Laghu Bhaasya contains misinterpretations (like the one cited above) of the vedic swaras then one might wonder whether the available versions of his Laghu Bhaasya is defiled from its original form...?

The book also points out the controversies in the works of some modern scholars. For instance, it mentions – “The patterns for decoding of the vedic swaras as introduced by Shri Pt.Padmanarayana Acharya, Shri Pt.Ghareshwar Shastri, Shri Pt.Satawalekarji and Shri Pt.Vishwa Bandhuji Shastri are not consistent with the original (ancient) Indian Scriptures because, the meaning of several hymns implied according to their definitions and rules go against the basic and true philosophy of the Vedas. Pt.Padmanarayana Acharya and Pt.Vishwa Bandhu Shastri are influenced by the style used in the related (Veda-translation) works of the European scholars. This deviation from the original (Shastric) style makes their works incomplete with respect to the interpretations of the latent meanings. This further deforms the available knowledge of the Vedic Swara Prakriyaa...."

Most of the interpretations and translations of the Vedas available to us today are based on Acharya Saayanaa’s approach. Eminent foreign scholars like Mr.Maxmular, also, despite dedicating over twenty years of diligent search for maximum literature (commentaries) on Vedas, had to largely rely upon Acharya Saayanaa’s work because of the non-availability of the earlier treatises in the original or complete form. The scholars of modern age have used Maxmular as the principal reference for their translations and commentaries of the vaidika mantras. However, in view of the serious criticism of Acharya Saayanaa’s understanding of the vaidika swaras as cited in the above mentioned book, one might be confused about the authenticity of any of the literature on the Vedas that is available (in published or written form) today.

Apart from the arbitrary variations in the styles of various schools of thoughts, the printing mistakes add to the erroneous interpretations. Some earlier (namely, 1st to 5th) editions of the Veda-compilations – published by a printer in Ajmer, under the auspices of the Arya Samaj –are cited in the above mentioned book as examples in this regard. It would therefore not be an exaggeration to infer that – “Access to the most original Bhaasya of the Vedas and a foolproof analysis of the phonetic- symbols used in the vaidika script will not be possible in the present era, unless the spiritual yogis of today invoke deeper acumen like the risis and endeavor realizing the perfect meanings and swaras through the inner intellect”.