 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. We have been studying for some time now the process of speech production. This is an extremely important part of the course and that is why we have studied it in some detail, some aspects we have studied in some detail. It can be studied further in some more detail but that we will reserve for the advanced course. Right now we have seen the process of speech production and the internal process and then we also saw the external or the physical biological process which leads to the actual production of the speech symbols which are also audible. Now in this lecture we shall look at the features of sounds which also we have studied earlier but right now we will take individual sounds and note down their features. As far as the information that we have gathered in the previous lecture, notably the place of articulation, the effort of articulation, the length and also the accent. So let us look at individual sounds and see what features they have. We will also see what is the purpose of recording down these features. Now we will also base ourselves upon the traditional sound inventory that we have seen. To recap, we have studied this source Paninian Shikha and the verses We also noted down these eight stages of speech production and all of them we have studied so far. Atma-Buddhya-Sametyaarthan being the first stage, Mano-Yungte-Vivaksaya being the second and it is these two which are cognitive in nature and then starts the physical production of the speech Manakkaya-Agnimahanti the third Saprerayati-Marutam the fourth Marutas-Turasi-Charan-Mandram-Janayati-Svaram the fifth Sodhirna-Murdhyapyato the sixth Vaktram-Apadymarutah the seventh Varanan-Janayati the eighth one. These are the stages of speech production mentioned in the Paninian Shikha that we have studied. Now, we also noted down in the earlier lecture that these sounds that are produced in this process can be classified into two straight groups based on the length that is required to produce them. The first group can be called the group of vowels and the second one the consonants. We also noted that the vowels require minimum one matra, matra is the measurement to measure the time span required to produce a particular sound. Now, the vowels require minimum one matra and they can be also pronounced using two and three matras and the consonants they require only half a matra that is the basic difference between the consonants and vowels and therefore these two groups can straight away be made and now we will study these two groups and the members of these two groups the sounds that are classified under vowels and under consonants individually and see what features they have. First, let us study the vowels. The important point to note here is that it is about all the sounds but also about vowels that these are individual sounds which do not convey any meaning by themselves per se, generally. Generally, this does not happen a, o, etc. individually they do not convey any meaning but they are definitely part of a group of sounds which conveys meaning. It is only these sounds which are used in Sanskrit to convey meaning. A Sanskrit speaker can pronounce much more amount of sounds no doubt about it but it is only these sounds which are used to convey some meaning. It is only these sounds which are meaning bearing speech units used for communication in the social arena of course and it is proven by contrastive measures and we shall study this aspect as well in the advanced level course how this is studied and how the Sanskrit grammarians studied this contrastive aspect. Another important point to note here is that in this lecture we are going to present only the description used in the Panemian grammar. This is what we did also in the last lecture. We do not compare it with the description done by modern scholars. The modern scholars had much more advanced technology with them to study and compare different sounds and their features. So they have come up with much more advanced system and we can study this aspect in an advanced level course on the Panemian grammar later on. However, we confine ourselves to the information that we get from the Panemian sources because and it is important to do this because it is on the basis of these sources that the grammatical system is constructed. The method of substitution that is employed in the Panemian grammar goes deeper up to the sounds and substitutes the sounds and for that it uses these features as an important criterion and that is the reason why it is important for us to study these features we shall compare with them and present the grammatical representation etc later on. So, let us now look at each vowel. So, let us look at vowel er. Vowel er has 18 varieties. There are 18 sounds and they are shown in the second bullet how the number 18 is arrived at. So, there are three varieties as far as the length of the vowel is concerned rasva short vowel dirga long vowel and pluta prolated rasva one matra dirga two matras and pluta takes three matras. Multiplied by the accent the pitch or tone udatta anudatta and swarita multiplied by the nasalized version namely anunasika and niranunasika and so you have three multiplied by three multiplied by two 18 varieties of er in some script. So, there are six varieties of rasva length er six varieties of dirga length also pronounced as a and six varieties of luta which are er the sthana the place of articulation using which this er is pronounced is called kantha or villain. The abhentara prayatna is vivruta and there is also samvruta prayatna but we will talk about it now. So, this six rasva varieties have samvruta as abhentara prayatna whereas the 12 varieties namely so six dirga and six pluta they have vivruta as abhentara prayatna. There is an important point to note here that the entire rule base of the ashta dhyayi the panayan grammar is trained in such a way that it does not know this difference it treats them as non-different that means the six varieties of rasva er they are also trained to have vivruta as its abhentara prayatna and not samvruta only the last sutra in the ashta dhyayi 8468 states this difference namely that rasva er has samvruta abhentara which is not known to the rest of the text as per 8.2.1 this is a very clever design clever device on the part of panini to do in his own grammar for various purposes which we shall see later on this is an extremely important thing to remember about er let us go to e now e also like er has 18 varieties 3 of the length rasva dirga pluta rasva short dirga long and pluta correlated multiplied by accent udharta anudharta and swarita multiplied by anunasika and niranunasika so 3 multiplied by 3 multiplied by 2 that is 18 there are 6 varieties of rasva rasva e 6 of dirga e and 6 of pluta e the place of articulation or sthana for all these 18 varieties is talu or palet and the abhentara prayatna for all these 18 varieties is vivruta then let us go to u similarly u also has 18 varieties 3 related to the length rasva dirga pluta multiplied by accent udharta anudharta swarita multiplied by the nasalized version anunasika and niranunasika so 3 multiplied by 3 multiplied by 2 once again are 18 there are 6 varieties of rasva rasva u 6 varieties of dirga u called u and 6 varieties of pluta u the place of articulation used for the pronunciation of this sound is lips osthau abhentara prayatna for u is vivruta then we go to ru once again this sound also has 18 varieties 3 related to the length rasva dirga and pluta multiplied by 3 accents udharta anudharta and swarita multiplied by 2 nasalized and unnasalized versions 3 multiplied by 3 multiplied by 2 18 varieties there are 6 varieties of rasva 6 varieties of dirga and 6 varieties of pluta the place of articulation for this sound is murtan or roof of the oral cavity abhentara prayatna is obviously vivruta there is something more that we need to know about ru nowadays the pronunciation corresponding to this written symbol is not made as per the description made in the texts categorically there are regional variations that are found so for example this sound is pronounced in some region as re and also transliterated by writing r i whereas in some other region the same sound is pronounced as ru and also transliterated as r u the original Sanskrit pronunciation is lost however there is description using which this can be reconstructed but that we shall study later on let us now take a look at lu unlike the sounds that we have seen so far the vowels this is peculiar because it has only 12 varieties as far as the length is concerned there is no dirga length available only rasva and pluta are available multiplied by udharta anudharta swarita multiplied by ananasika and niranasika varieties and we get the 12 varieties there are 6 rasva lu and 6 pluta lu the place of articulation of this sound is danta tooth or teeth and the abhentara prayatna the internal effort of articulation is vivruta there is something to note about this also this is a very peculiar vowel it does not have a long variety its pronunciation is lost from the time of the vyakarana mahabharsha of patanjali 150 bce but the tradition of paninyan grammar has still retained this vowel only a handful of words in samskrit have retained this vowel in the written form and obviously the pronunciation is influenced once again by the regionalis regional pronunciation so this is pronounced as li in some regions and lu in some other regions also transliterated as a li in some regions and lu in some other regions then we go to a this also has 12 varieties not 18 and in this case now the rasva variety is absent there are only dirga and pluta varieties as far as the length is concerned plus the three multiplied by the three accent varieties multiplied by the nasalized varieties so 2 multiplied by 3 multiplied by 2 there are 12 varieties of this so there are 6 dirga and 6 pluta the place of articulation in this case is twofold kandhatalu vellam as well as palette and the abhintara praetna is vivruta the next sound vowel is i this again has 12 varieties dirga and pluta in terms of length and then udatta anudatta svarita as far as accent is concerned anunasika and niranunasika as far as nasalized version is concerned so you have 2 multiplied by 3 multiplied by 2 that is the 12 12 varieties there are 6 dirga varieties i and 6 pluta varieties i the place of articulation for this sound is once again kandhatalu vellam and palette both both together and the abhintara praetna for i is vivruta next we go to o this also has 12 varieties in terms of length only dirga and pluta rasva is absent accent is threefold udatta anudatta svarita multiplied by anunasika and niranunasika the nasalized variety that means 2 multiplied by 3 multiplied by 2 and we have 12 varieties of o in some square there are 6 dirga varieties o and 6 pluta o the place of articulation for this sound is once again kandhatalu svarita the vellam as well as the lips and the abhintara praetna is vivruta next we go to o o has got 12 varieties again once again the rasva variety is absent only dirga and pluta varieties multiplied by udatta anudatta svarita multiplied by anunasika and niranunasika so 2 multiplied by 3 multiplied by 2 and we have 12 varieties of o 6 varieties of dirga o and 6 varieties of pluta o the place of articulation is thana which is kandha and osthau as is the case with o the vellam as well as the lips the abhintara praetna for o is vivruta this is how individual vowels can be described to summarize according to this description there are in all 132 vowel varieties in samskrit only 9 are mentioned in the initial enunciation which we also studied in the course of this lecture so these 9 are mentioned in the praktahara sutra so what is the correlation between these 9 and the actual 132 vowels so a e o and ru they all have 18 varieties and therefore 72 and the remaining 5 lu a i o and au they have 12 varieties each lu does not have the long variety and the remaining 4 a i o and au they do not have a short variety so each of them has 5 each of them has 12 varieties and therefore 60 so 72 plus 60 132 vowels what is the correlation between the 9 that are actually mentioned in the praktahara sutra and the 132 that can be arrived at by the description provided in the panangian grammatical tradition as we studied here in this lecture what is the correlation are these 9 representatives of these 132 this obviously we shall study at the end of this treatment of this topic so the concept of savarana will be introduced which will also deal with this topic and address this question the concept of savarana will clarify that these 9 sounds do represent these 132 all the 18 sounds as far as a e o and ru are concerned can be called savarana of each other and all the 12 varieties of each of the remaining 5 vowels lu a i o and au can also be called savarana of each other also to be translated as homogeneous with each other why on what basis this we shall study little later. Now amongst these if we have to specify only 6 varieties related to a particular length what do we do what is the device is there a way in panangian grammar where only 6 varieties can be referred to yes we shall study this also when we clarify the concept of savarana the next important point is what is the function of these features the features that we have studied with respect to individual sounds what is the function the function is that these features act as parameters in selecting a particular substitute from amongst many if the case arises in place of a particular substituent having certain kinds of features which is directed by which is stated by the meta rule sthane antaratamaha 1150 we shall study this also when we look at this process in a nutshell later on now before closing let us study the mangala charana as is our practice this mangala charana is taken from a celebrated text called vayakarna bhushanasara written by a scholar called count of hatt the mangala charana is shri laxmi ramanam naumi gauri ramanarupinam spotarupam yathasarvam jagadetat vivarthate i repeat shri laxmi ramanam naumi gauri ramanarupinam spotarupam yathasarvam jagadetat vivarthate and let us end today's lecture with the five sutras taken from four three they are yushma dasma do ranyatarasyaam khaincha tasmin nani cha yushma ka asma kau now we shall study the remaining sounds in the next lecture and study the features that they have thank you for your attention