 Welcome. I welcome you all to this course, Samasa in Panimian Grammar. This is the first course and I also welcome you to this lecture. We begin the lecture by the recitation of the Mangala Charana. So far in this course we have studied the theory of compounding as stated in the Panimian Grammar, the core of the Panimian Grammar namely the Ashtadhyayi and also the Panimian Grammatical Tradition which has commented on the text of Ashtadhyayi. We studied the passages from the great Yakarana Mahabhasya of Patanjali which allowed us to better understand the theory of compounding as stated in the Panimian Grammar. We studied the concepts like Samartha and then the two-fold Samartha namely Vyapeksha as well as Ekarthibhava. We also studied the four interpretations offered by Patanjali which he divided into two groups himself, the group of two explaining Vyapeksha and the other group of two interpretations explaining Ekarthibhava. We said that the Karaka theory is the base of the Samartha theory. We also said that it is the sentence which is the input for the process of compounding and the nominal root or the Pratipadika is the output of the process of compounding. We also said that this output in the form of a Pratipadika again becomes an input for a sentence. We also said that compound and sentence they are similar in terms of the input. The input for the sentence derivation is the Padas and the input for the sentence derivation is also the interrelated Padas which are part of the sentence. We then studied various processes involved in the derivation of the compound. We noted down those processes. We also noted down the sequence in which those apply. We said that the semantic conditioning is the primary stage of the process of compounding at the cognitive level in the Artha Kasha and also in the Shabda Kasha. After this primary semantic condition which is stated also by the Sutra, Vani Niz Sutra 211 Samarthaha Padavidhi. We go to the other rule which talks about the name of the process which is Samasa stated by the Sutra Prakkadarath Samasaha 213. Then we also studied the necessary condition for the process of compounding namely Sahasupa and we said that for compounding in Sanskrit we necessarily require a Subanta which is interrelated to another Subanta only. So a compound is possible in Sanskrit or a compound is used in Sanskrit by the speakers of Sanskrit in such a manner that its constituents are always both of them Subanthas, Sup, Sah, Supa. And the speakers of Sanskrit have never compounded a Subanta and a Tinganta and a Tinganta and a Tinganta as a by default theory. There are exceptions of this kind which are treated as exceptions to the general by default rule of a Subanta getting compounded with another interrelated Subanta as a basic by default theory. We then also stated and studied the stage where the Sub gets deleted, Sub look. Then we also studied the Samasanta Pratyaya, then the Purvapada Karya, etc. Now let us proceed further and try to understand some more rules of compounding in Panini and Grammar in this particular lecture. We deal with Varna Karya in this lecture. These are the operations that are based on individual sounds in the environment of compounding. This is what is Varna Karya and notable amongst them are the three Karyas, Sandhi Karya, Shatva Karya and also Anatva Karya. Shatva and Anatva are generally referred to as cerebralization, Shatva and Anatva more than Karya, where Shatva and Anatva both of them are produced from more than as the place of articulation in the oral cavity as far as the Panimian grammatical tradition is concerned. These operations, namely any Sandhi and also Shatva and Anatva substitutes, they are done towards the end of the derivation process and the outputs of these operations generally do not become inputs to any other further operations. This is the peculiarity and that is why Shatva and Anatva particularly are stated in the section in the Ashtadhyayi which is not visible to the most of the part of the Ashtadhyayi. Shatva and Anatva are the operations stated in 8.3 and 8.4 respectively and part of the Sandhi is also stated in 8.2 and 8.3 and these rules by a clever mechanism are declared to be non-existent for all the 29 fathers before. So from 1.1 up to 8.1 the 29 sections do not see the remaining last 3 sections of the Ashtadhyayi 8.2, 8.3 and 8.4 and we have spoken more about this in the other course introduction to Panimian grammar. So these are the Varanakaryas which are stated towards the end of the Ashtadhyayi mostly. Let us study them one by one. First let us study the Sandhi Karya which happens in the environment of the Samasa. In the Samasa Samhita is obligatory. In the sentence it is dependent on the desire of the speaker. A speaker may want to do Samhita that means a speaker may want to put together the words from the Shaptakasha in the Samhita mode or the speaker may not want to put all those words in the Samhita mode. The speaker wants to take as much gap as possible between the two symbols in the form of the sounds and then they are not in Samhita. And obviously then there is no Sandhi requirement over there. But in the Samasa Samhita is obligatory and so Sandhi is also obligatory in the Samasa. This is a by default position that Sandhi will have to be made. There is no other choice. And if that is the case as a by default position obviously the few exceptions are noted down in the Panimyan grammar on this very backdrop. By the mention of optionality in the Sutra Panimi has noted down a few exceptions. But the by default position is that Sandhi is obligatory in the Samasa. So we have a famous verse which says Samhita ekapade nitya nitya dhatupasargayoh nityasamase vaaketu saavibaksam apeksate. What this means is that Samhita is obligatory within one padha also in between the verbal root and the proverb dhatupasargayoh. And is also obligatory within a compound. In the sentence it expects the desire of the speaker. So the highlighted words are Samhita is also obligatory within a compound. So we will have to do the Sandhis in the Samasa. This is extremely important. Without Sandhi operations carried out the Samasa output would not be considered as the final output of the process of compounding. Let us take an example. If we have the meaning one who has immeasurable luster and if this meaning is to be expressed in the following form. Amita, Abha, Yasya, Saha. Then the speaker desires to compound these elements and produce one unit of word as well as meaning. So then Amita, Abha, Yasya, Saha which is the Laukika Vigraha is converted into an Alawika Vigraha in the following manner. Amita, Amita plus Su plus Abha plus Su. And this is the Alawika Vigraha and then it assumes the status of a Samasa and therefore these two square brackets. We denote this particular fact and there are these two constituents Abha plus Su as well as Amita plus Su. Amita, Abha, Yasya, Saha. In this case we apply Supodhatup Pratipadi Kajoho and then we delete this Su. There is no Samasanta Pratyaya which is applicable over here. So we don't add any Samasanta Pratyaya. It is not compulsory that Samasanta Pratyaya is added in each and every compound that is not mandatory. There is no rule based system which suggests addition of a Samasanta Pratyaya in this case so we don't add the Samasanta Pratyaya. So we have Amita plus Su plus Abha plus Su we delete the Su. Supodhatup Pratipadi Kajoho. Then we are at this stage where Amita is substituted by Amita. And this is where we apply the Purva Padakarya namely Umvadbhava because Amita and Abha they are coreferential. They are referring to one and the same entity, referent. And therefore there is the relationship of coreferentiality between them, Samanadhi Karanya and both of them are in the feminine gender. Amita is part of the Purva Padakarya, Abha is part of the Uttara Padakarya and in the environment of this Uttara Padakarya, now this Amita which is in feminine gender is taken back to its root form which is Amita. This is the Umvadbhava operation that happens over here. So we have Amita plus Zero plus Abha plus Zero. This happens because of the Sutra. Surya Pumbhat Vashita Pumska Danoong Samanadhi Karanya Surya Apuranya Priyadishu. And then we have Amita plus Zero plus Abha plus Zero and now because this is a Bahubrihi compound as is clear from this kind of Lauki Kavigraha, Amita, Abha, yes, yes, Abha. So neither Amita nor Abha are the heads. It is this Abha which is acting as the head and this Abha is out of the compound. Abha is not figuring anywhere in this particular compound. So this is a Bahubrihi compound and a Bahubrihi compound is always such that both of its constituents become subordinate. So this Abha is also subordinate and in such a case Gosthriya Rupa Sarjanasya is a Sutra that applies here and substitutes this Abha by a Rasva and so we get Abha over here. So Amita plus Abha and now we can say that this is the final output of the compound but unless and until we do the Sandhi we won't be able to say that this is the final output. So this A over here at the end of this Purva Pada and A at the beginning of this Uttara Pada they are the conditions for the application of Akash Sabarani Virga 61101. So this Sutra is applied over here and we get Amita Abha as the final output. Now we can say that this is the final output of the process of compounding. Amita and Abha are not the final output of the process of compounding because we didn't do any Sandhi over here. Once we do the Sandhi and get Amita Abha then this is what is the compound output. So Sandhi is obligatory. We have no choice or no choice of optionality between Amita plus Abha and Amita Abha. Amita Abha is the only output of this particular compounding process. Sandhi Karya is obligatory in the Samasa. Samhita, Nitya and so Sandhi is also Nitya. This is how the word Amita Abha is derived. And Amita Abha is a very popular word and popular name in modern India and rightly so. Similarly, if we have another meaning, master or lord of the group, Ganeshya Isaha. And so the Alawaki Kapigraha of this would be Gana plus Ganesh and Isha plus Su. And obviously Gana will have the Purva Pada status. So Gana plus Ganesh is the Purva Pada and Isha plus Su is the Uttarapada. And there is no Samasanta Pratyaya added over here because there is no such condition for addition. Then we apply Supo Dhatup Pratipatika Yoho and we delete the Sups. So we get Gana plus Zero and Isha plus Zero. And this is the Samasa at the beginning of the Alawaki Kapigraha itself. So all this is Samasa. So these Sups are parts of the Pratipatika because Samasa is Pratipatika. And so then two four seventy-four applies and the Sups get deleted. So we get Gana plus Isha. So Adgunaha has the scope of application and it does apply 6187 and converts this Gana plus Isha as Gana E Isha and finally Ganesh. So Gana E Isha and Ganesh, this is the final output of the compound. Gana plus Isha cannot remain as it is without getting the Sandhi substitution as the final output of the compound. That is not possible. In the Samasa Sandhi is obligatory. Samhita is obligatory and so is Sandhi obligatory. So we get Ganesha as the final output of the process of compounding over here. And as we know that there are several words also in modern Indian languages which follow the same pattern like Ganesha. We also have words like Ganesha, Suresh, Ramesh, Rajesh, Rakesh, Dinesh and so on and so forth. So many such words are there and they are derived in the similar fashion. And unless and until the Sandhi is done the final output is not declared to be the final output. So final output must have the Sandhi operation done. This is another example where we have the meaning namely who should be concentrated upon by the wise. So he is wise and upasya is who should be concentrated upon. So upasya has got the verbal root asa with the privarvar upasarga upa. Asa literally means to sit but upasa means to worship or to concentrate. And upasya is the krte pratyayya which means karma and that is the reason why upasya is meant here as who should be concentrated upon. So the alagika vigraha is sudhi plus bis plus upasya plus su. At this stage this attains the status of a compound samasa. This is the alagika vigraha. And then immediately we apply supodhatup pratyapati kayoho. There is no samasanta pratyaya added. Sudhi plus bis occupies the initial position. Then we apply supodhatup pratyapati kayoho and both the soaps are deleted. So we have sudhi plus zero plus upasya plus zero. And then straight away this long e comes immediately before this who which is the subject matter of a scope of eco yadanchi 6177. And therefore this e gets substituted by here and so we have sudhi upasya and finally sudhi upasya. This is the final compound output and there is no choice between this and sudhi plus upasya. We cannot keep it as sudhi upasya. That is not possible. Samhita is nitya in samasa and so is sandhi also nitya as per as the final samasa output is concerned. Sudhi upasya is the compound output. Let us now look at the varanakarya shatva in this case. Shatva is stated in 8.3. Now retroflex is by default negated at the beginning of the padha. That is the sutra in 8.3. But as exceptions in some of the compounds in order to denote special meaning outputs, shatva is noticed and stated by the paninian rules. For example if we have the meaning one who bathes in a river, natyamsna taha if that is the meaning. And if there is something additional that is to be conveyed because to bathe in a flowing river is not an easy job. One needs quite a lot of skill to do that and therefore natyamsna taha although literally means one who bathes in the river, later on takes the shape of a word denoting something who is skilled. So here we have nadi plus ghi, nadi plus ghi plus nakha plus su as alayuki kavigraha and then this attains the status of a compound at this stage and so this is the samasa now and therefore it becomes a prathipadika. Now this su and this ghi they become part of the prathipadika. So 2471 applies and by the application of this supo dhatup prathipadika yoho we delete both the subs and so we have nadi plus zero plus nata plus zero and then of course we have nadi is nata and this is the output, nadi is nata. Now in the similar derivation if an additional meaning output is to be denoted namely skill that means one who bathes in the river skillfully. The retroflex is used and we get the output nadi-snata. Nadi-snata means one who bathes in a river skillfully. Similarly nsnata and nsnata, nsnata is a skilled person and we have the sutra, nina-di-bhyam, snata-ehe, kaushalee 8389 denoting this additional and specific meaning for the retroflex. The retroflex that is sure in place of sir denotes this particular additional meaning in the compound. Similarly the nattva varnakarya also is of the same kind. So retroflex n is substituted at the end of the derivation of the compound. This is also stated at the end of the astadhyayi, the grammar of panini in 8.4. This operation also reflects the overall semantic difference that is caused by the difference in the linkage of the meanings through different meaning bearing units. For example, here we have two word forms. The first one means the act of creation and here we have nir plus su plus ma plus ana and then we have su added to it. So ma plus ana is the kradanta pratipatika and su is added to it and then of course in the compound process we delete the soaps. So we have nir plus zero plus ma plus ana plus zero. So this attains the status of a compound and therefore these soaps are deleted. So we have nir plus ma plus ana and now in this case 8.4.29 applies kritya chaha and that substitutes this n by ana and so we have nir ma ana and then sandhi happens and we get the form nir ma ana which means the act of creation and now if we compare this with the right hand side derivation nir ma ana is the output and the meaning is from whom ego has gone away. Now here we have nir plus su, ma ana plus su and the samasa saudhnya happens. So we have su as part of the pratipatika. So by supodhatup pratipatika yoho we delete both the soaps. So now we have nir plus zero plus ma ana plus zero and so we have nir ma ana and finally we get the output nir ma ana this na does not change into ana and we have the word nir ma ana. Now compare and contrast these two nir ma ana as against nir ma ana and the meaning is changed. Here the meaning is the act of creation where nir is a proverb of the verbal root ma and here nir is not a proverb with verbal root ma this is a word ma ana which means ego and nir is related to the action of going, gone away. So nir gatah nir gatah ma ana ha yas maatsaha that is the meaning. So nir is related with gatah and nir is not related with ma ana and therefore nir cannot be called as an upasarga of ma ana and therefore this na is not changed to ana. So nir ma ana which is a bhavrihi compound and nir ma ana which is a takpurasah compound and the retroflex gives us this difference of meaning when it is ana it means the act of creation and when it is nir ma ana it means one from whom ego has gone away. This is how Varanakarya tells us about the difference of meaning this happens only at the end and this is not an input of something else. Also we have Varanakarya as uttara pada rasva we saw this in Amitabha this is an operation that takes place on the final sound of the uttara pada this operation is that of shortening along vowel at the end of the uttara pada is shortened with specific environments in place like neuter gender as well as uttara pada being subordinate this is stated by the sutra raspo na pum sakhe prati padikasya 1, 2, 47 So here is an example if we have a meaning a family which protects the wealth shri am pati so we have shri plus am and pa plus vich and then we have shri plus pa and shri plus pr and so now we get the form shri pr so in this case the uttara pada pa has become shortened and we get the form shri pr similarly we have ghostriya rupa sarjanasya another sutra talking about the uttara pada rasva so 1, 2, 48 is the sutra and this means that the feminine suffix and the word go which are part of a subordinate word are shortened this rule operates in a specific environment of a compound where meanings of both the purpa pada as well as uttara pada become subordinate to some other meaning which lies out of the compound Bahubrihi compound is therefore an example we have already seen amitabha and this is what it is and we note now that the word abha has got a at the end and this is shortened because this abha is also upasar janas or subordinate to the meaning which is out of the compound so this a is shortened and we get abha and finally we get amitabha to summarize operations based on individual sounds are done at a later stage or at the end of the process of the derivation of the compound they are used to denote specific meaning inputs as well and they are used to denote also the distinct meaning outputs nirmana versus nirmana they give the final shape of the word form of the compound denoting one merged meaning realizing aika padya and also aikarthya these are the traditional texts referred to thank you for your patience