 Welcome, I welcome you all to this lecture in the course Sandhi in Panimian grammar. So far we have studied parts of the process of speech production and we continue to study this process in this lecture as well. We have studied this source, Panimian Shiksha and the verses therein and they are and we said that the process described in these verses can be shown in the form of a diagram in this particular manner in which Atma with Buddhhi collects the meaning and then enjoys the mind with Vivaksha and then the next process happens and the mind strikes the Kayagni which propels the Maruta up which comes in the chest or Urus and then it is thrown up in the oral cavity from which it is thrown out and then the audible speech is generated. This particular process described in the verses that we studied can be stated to have these eight stages. The first two Atma-Buddhya-Samet-Tyarthan and Mano-Yumte-Vivakshaya they are marked in red ink in this particular scheme on this slide primarily to mark the difference from the rest of the stages. The first two stages are primarily the cognitive stages and the rest of them they are the physical stages of the speech production and we shall study them one by one. The third step is Manakayagni Mahanti. Before that in the first two stages we have seen that the Atma collects the meaning and through the intellect and then enjoins the mind with the desire to speak. After this is done the mind becomes operational and then this particular stage comes into being Manakayagni Mahanti. Now in this particular sentence we have three words the first one is Manaha which is in one one Kayagni into one and Ahanti is the verb the verbal root is Hana together with the proverb A which means to strike. Kayagni is the Agni the heat in the Kay that is the body. So Kayagni is the bodily heat. So in this particular stage the mind strikes the bodily heat taken together with the previous steps the mind enjoined with the Vivaksha takes the next step and strikes the bodily heat. This is the third stage of the process of speech production. Let us proceed this is the fourth stage of the process Saperayati Marutam and here also there are three words Saha in one one and this Saha is a pronoun it refers to the Kayagni mentioned in the previous sentence namely the bodily heat. Prayayati is the third person singular of Purplus eeri meaning to propel and Prayati means propels. Maruta is wind Marutam is to one of Maruta. What this means is that the bodily heat which was struck by the mind as described in the previous sentence that bodily heat propels the wind. Now this wind is in the form of the breath that is inhaled and it is propelled in the lungs. So this is the next important stage in the process of speech production. Now the next fifth stage is described in this line Marutas to Rasi Charan Mandram Janayatis Varam. This has got the following words Marutah one one the wind two is but Urasi seven one of Urasi means chest Urasi means in the chest Charan is one one of Charat meaning moving Mandram is to one of Mandra meaning base stone and Janayati is three per third person singular of the present tense of the verbal root Jani to generate Janayati means generates Swara Swarai Swaram is the two one of Swara meaning the sound. This line means that the wind thus propelled moving in the chest generates the base stone sound. This is the beginning of the production of speech sound. This is very important and this Marutah the wind thus propelled by the bodily heat this wind moves in the chest and generates a base stone sound. After this comes the next stage namely Sodhirna Murdhnavi Hatha. This sentence has got four words Saha once again this Saha which means he refers to the Marutah which was mentioned earlier the wind Udhirnaha is propelled up Murdhni is the seven one of Murdhan meaning the roof so Murdhni meaning in the roof Abhihatha is struck one one of Abhihatha. What this means is that the wind after having generated a base stone sound in the chest is propelled further up up the wind pipe and from there it strikes the roof of the wind pipe. I repeat the wind after having generated a base stone sound is propelled further up up the wind pipe and it strikes the roof of the wind pipe. Then we have the next stage Vaktram Apadhyam Arutah. Vaktram is to one of Vaktra mouth Apadhyam is the form derived from the verbal root Pada with the proverb A. Apadhyam means having reached. Marutah is the wind. Then having reached the mouth from that roof of the wind pipe this wind enters the oral cavity which is inside the mouth. This is where wind enters the oral cavity and then finally in this particular oral cavity there is tongue which shapes this particular flow of the wind and then together with various places of articulation where the tongue moves the sounds are generated. Varnaan janayate. Varnaan is to three of Varna the sounds and janayate is the third person singular of the present tense of the verbal root jani which means generates. So the sounds get generated. So the atma generates the sounds and through the wind which generates the speech sounds but it is the atma which has kick started this process and thus it generates the speech sounds through this particular process. This is the process described in the Paniniya Shiksha. If we summarize this entire process we can say that the first two stages are the internal cognitive stages and they can be called the cause of the remaining stages. The remaining ones are the physical or biological stages involving various physical or biological entities like the wind, the bodily heat, the chest, roof of the wind pipe and oral cavity etc. One thing to be noted over here is that throughout this physical or biological process the internal cognitive process holds itself together. This internal cognitive process is the backbone of this entire process. In fact as we said earlier that is the cause of this effect in the form of the audible speech. What this entails is that clarity in that stage causes clarity in direct proportion in the physical speech production and confusion in that stage the stage of the cognitive process may cause confusion in direct proportion in the physical speech production. Let us look at the diagram once again. It is this atma which collects the meanings together with the Vuddhi and then enjoins the mind with the Vibhaksha. This is what is described also as Arthakasha and Shabdakasha together which plays an important role, the role of the program of what is going to come out in the form of the audible speech. So this is bracketed to indicate that this is the cognitive stage and from here onwards the mind strikes the bodily heat which propels the wind and then the wind comes in the chest and moves around and creates the sound, base tone sound from where this sound is this wind is further propelled into the oral cavity and there it is processed and shaped and thrown out with some pressure which generates the sound. This is how the process can be described diagrammatically. Let us look at the process once again with the help of these diagrams. So it is in the intellect a human being an atman first of all collects the artha in the Arthakasha. So this is the semantic space, this is the Arthakasha and as you can see these circles they stand for the arthas various arthas and these arrows indicate the linkage between these arthas. So these arthas are interlinked and several arthas are interlinked some of the arthas are not linked they are stored at such but some arthas get interlinked. It is this interlinkage which is termed as Artha Sandhi and it is this which gets translated into the form of the Sandhi of the Shabdas in the human intellect. The purpose of describing the process of speech production in some detail over here is to highlight the fact that this cognitive process is the cause of the Sandhi the topic of this particular course. So the base of the Sandhi lies well back in the form of the cognitive apparatus although as far as the studies are concerned the studies of Sandhi they primarily focus only on the audible speech and the substitution that is carried out in this particular audible speech of a particular element. We should not forget the fact that this change in the audible speech is not haphazard is not random but it is a programmed change programmed substitution and the program exists in the human intellect. The program exists in the part of the Artha Kasha initially which gets reflected in the corresponding Shabda Kasha and it is this because of which it then gets translated it get it then gets converted into the speech symbols in the way we know them and this and this is why we have studied this process to some length. So this the point to remember over here is that even though you might not see direct correlation of this with the Sandhi there is correlation of this with the Sandhi because it is this which gets corresponded in the form of the Shabda Kasha where words are combined and words are joined together and it is this joining this combination which gives rise to what is known as Sandhi and that is the reason why these are termed as Artha Sandhis which then get converted into the Shabda Sandhis which then converted into the audible speech together with the Sandhi and we shall study the precursors of the prerequisites of the Sandhi to take place in the audible speech as well but this is what one should remember. Now here we are talking about Artha Kasha in which Arthas are linked and also not linked some of them are merely stored some of them are brought out and are linked and even in the structure of the lexicon the Arthas can be interlinked in fact they are interlinked in the form of some hierarchical structure as well. Now this Artha Kasha is correlated with the Shabda Kasha and Shabdas are also arranged in the similar fashion as the Arthas are and it is this process which happens after the collection of the meanings first and then these Artha Kashas these Arthas in the Artha Kashas they have correspondence with the entities in the external world as well. So these Arthas in the Artha Kasha they are also linked with the Shabdas but they are also linked with the external objects as are experienced by the human beings. So the Arthas and the Shabdas they both are interlinked and even the Shabdas then are linked with the objects in the external world. Similarly the process of sentence formation also takes place in the Shabda Kasha as well as the Artha Kasha in which the sentence meaning appears as the cause which generates the sentence in the Shabda Kasha in the form of Gramah, Gramam, Gatsati taking Gramah, Gramah and Gum from the lexicon stored in the mental lexicon may lexicon stored in the intellect to take a relook at the same diagram but with slight difference where we note down the formation of the sentence where we say that Tatma having collected the meanings. Now these meanings are of the form of root meanings and termination meanings and word meanings in the form of the sentence meaning and also the roots and terminations the Shabdas. The root meaning and termination meaning is part of the Artha Kasha and root and termination they are part of the Shabda Kasha. So both of them are collected and then this Atma enjoins the mind with the Vibhaksha which then strikes the bodily heat which then propels the wind upwards and when it reaches the Urus it creates a base tone sound then it is further propelled up and enters the oral cavity and then it is thrown out and then it generates series of words or what is known as sentence and sentences. This is how the sentences get produced but remember the sentence meaning in the form of root meaning and termination meaning is at the base and also the roots and termination in the intellect they are at the base of these audible speech sounds. Similarly the plus signs over here which indicate the combination in the meanings also consist of what is coined as Artha Sandhi which is also in its turn creating the Shabdas Sandhi in the Shabda Kasha which then gets reflected in this entire process and when the sounds are thrown out of the oral cavity and the series of words or sentences are generated they are together with these Sandhis the Sandhis that are already there in these places in these parts of the cognitive process. This is why it is very important to study the cognitive process also when we learn something about Sandhi. Now in this case you can also discuss the mental lexicon in which the words are interlinked. This is an example where the Artha Sandhi takes place where the meanings get interlinked and then there are polysems words in the mental lexicon which then get disambiguated with the help of several other means. So in a nutshell what we can say is that the cognitive stage involves the Artha Kasha interlinked with the Shabda Kasha. The interlinkage brings about the combinations of Arthas as well as Shabdas. Then these combinations involves what is known as Artha Sandhi in the Artha Kasha. So interlinkage or result is called Shabdas Sandhi in the Shabda Kasha. This cognitive Sandhi gets expressed in the form of speech signals. These speech signals are audible and from them the cognitive stage is inferred. The cognitive stage is closely linked with the physical stage. The speech signals are analyzed further and the properties of sounds are noted. Sounds which match with other sounds in terms of features becomes the scope of Sandhi where a particular substitute is selected in place of a particular substitute event and then the Sandhi gets formed. Thus in today's lecture we studied the very important part of the process of speech production and we saw how it is interlinked with the process of Sandhi and we said that the Sandhi which is generally studied only in the form of the change that is brought about in the sounds in combination needs to be probed further and the further detailed and deep processes that define the Sandhi need to be understood and these processes lie in the cognitive apparatus of the human being which are directly reflected in the Sandhi that is seen in the audible speech. We introduced the concepts like cognitive Sandhi, the concepts like Artha Sandhi and then Shabdas Sandhi. All these three they are part of the cognitive process, they are part of the program of the sentence which is part of the cognition and we said that it is these Sandhis which get reflected in the audible speech. So this is the cause and effect relationship and this is what we tried to explain by explaining the process of speech production. Now in the next lecture we shall study the features of these sounds which form the base of the Sandhi that happens in the combination of the sounds. Thank you very much.