 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. In this second course, we focus on the in this second course, we focus on the three types of samasas namely avyai bhava, bhavvrihi and dvandva in that particular sequence. Before studying each of these types of samasas in Sanskrit, we studied the general theoretical background of compounding. We studied the samartha theory. This theory is stated by Panini in his own grammar ashtadhyayi in the sutra samarthahapada vidhi. This theory is later elaborately explained in the commentatorial tradition of the Paninian Grammar. Notable amongst them is the Vyakarana Mahabhashya composed by Patanjali in the 2nd century CE. There is in fact a separate chapter devoted only to this particular sutra which is traditionally known as samartha-nigra. We refer to this particular text and we studied the important points stated therein and we said that the word samartha is explained by Patanjali in four ways. Samprekshitarthah, sambaddharthah, sanghatarthah and samsrishtharthah. And then Patanjali has said that vyapeksha and ekarthi bhava are the two types of the state of being samartha. And vyapeksha is explained by sambaddharthah and samprekshitarthah where two meanings are tied together or they are seen together. However they do retain their independent status and ekarthi bhava kind of state of being samartha is explained by sanghatarthah and samsrishtharthah where two meanings as well as words are going together in fact they are merging into one unit. Patanjali has also given explanation of these which we have studied before. The paninian grammatical tradition has also explained the word samartha as samaha-arthah which we have also studied before. The theory of compounding we said is based on the theory of karaka which brings about the sentential meaning of four. As we said that sentence is the input for the process of compounding because the interrelated pathas they are capable of expressing the interrelated meanings only when they are part of a sentence, when there is a sentential context. And so sentence is the input and after the process is over the output generated is in the form of a nominal root or a pratipadika and this pratipadika further becomes an input for the sentence. We then studied the process of derivation of the compound or the samasa. In this process we also studied the concept of nitya samasa and also anitya samasa or vikalpika samasa. In this context we also studied laukika vigraha and alaukika vigraha. Laukika vigraha is the dissolution of the compound using the words that are used in the usage by the speakers. Alaukika vigraha corresponds to the laukika vigraha but it is the technical representation of the laukika vigraha in grammatical terms and we said that it is here that the process of compounding begins. And then we keep on doing the further processing which involves the purvapada nirdharana which involves the addition of the samasanta pratyaya as well as the purvapada karya as well as the uttara pada karya and then some morphological operations as well as the phonological operations. And then the varnakarya happens and then the formal output in the form of a pratipatika is ready. We also said that we also have accent which is a very very important feature of panini and grammar and it is this accent which also plays an important role in the process of compounding. We generally apply the rules of accent towards the end of the process and it is this particular topic that we shall be dealing with in the present lecture. The svara karya, the operations related to the accent, it is to be noted that the compositionality in panini and grammar functions at three levels. There are bigger units which are made up of smaller units and the bigger units can be further made to be smaller units and further bigger units can be constructed. Now this compositionality functions at three levels namely artha, shabdha and svara. The important feature of this compositionality is that the compositionality at all these three levels has one to one correspondence with each other. What it means is that one unit of artha corresponds with one unit of shabdha and svara. Similarly division of artha in that one unit corresponds to the division in shabdha as well as svara and so also generation which is in correspondence. This is a very fundamental feature of accent in panini and grammar as well as compositionality. So vakyasvara is achieved by adding the padasvaras together. If we have one vakyas or vakyapas then it is composed of some padas. These padas are having some meaning. The vakyas also has some meaning namely vakyartha. So vakyartha one corresponds with vakyartha one which corresponds with vakyasvara one. Now vakyartha is made up of three padarthas. Padartha one plus padartha two plus padartha three. This corresponds with the vakyar being made up of three padas, padha one, padha two and padha three. Similarly in svara vakyasvara one is made up of padasvara one plus padasvara two plus padasvara three. Now the padarthas they are made up of the prakrityartha and the pratyayarthas. So padartha one is made up of prakrityartha one plus pratyayartha one. Padartha two is made up of prakrityartha two plus pratyayartha two. And padartha three is made up of prakrityartha three plus pratyayartha three. In correspondence with this padha one is made up of prakriti one plus pratyayar one. Padartha two is made up of prakrity two plus pratyaya two. Padartha three is made up of prakriti three plus pratyayar three and in correspondence with this padhasvara one is made up of prakriti swara one and pratyaya swara one. Padasvara 2 is made up of Prakriti svara 2 plus Pratyayasvara 2 and Padasvara 3 is made up of Prakriti svara 3 plus Pratyayasvara 3. Now when Padasvara is shown to be made up of Prakriti svara and Pratyayasvara, we have used blue color for the plus sign. This blue color indicates that this addition is what is ultimately exclusively the Pada level existence and in arriving at the Vakyasvara and explaining the Vakyasvara, we have used the red color for the plus signs indicating that this is that additional meaning, this is that co-occurrence meaning which is exclusively considered to be the existence of the Vakya at all the three levels, be it Vakyaaratha, be it Vakya, be it Vakya svara. Right now we are focused on svara so we say these things about svara. Vakya svara is made up of Padasvara and Padasvara is made up of Prakriti svara and Pratyayasvara. Let us take some examples. So here we have a sentence which is set one and in this set we have six sentences. Gramam gacchati ramaha shalam gacchati ramaha and gramam gacchati mohanaha shalam gacchati mohanaha shalam pashchati ramaha and gramam pashchati mohanaha and there are certain signs, certain marks over the letters as well as under the letters. For example, in the first sentence gramam gacchati ramaha we see a vertical bar on top of this mum and a horizontal bar below ra. Now it is important to remember that according to the rules of Panimian grammar there are accents which are also derived rule-based and that we shall explain in a while. What is important over here is that these accents they are the sentential accents and they are composed of the accents of the respective Padas as these three sentences are constructed out of the three Padas and these three Padas making one sentence corresponds with the three Padas making one Vaakyartha which is linked to one Vaakya. Now if we look at the prakriti pratyayasvara which is part of these sentences we see that gramam has got a particular accent. Gramam also has got an accent ramah shala mohanaha and drisha all of them they have got particular accent. These are all the prakriti's used in these six sentences whereas am, a, ti and sir are the pratyayas which are used in these six sentences. Now there is a certain accent marking scheme that is followed over here which is generally followed in the Rigvedic accent marking scheme. There are three major accents Udattha, Anudattha and Svarita. Udattha is marked with no sign. Anudattha is marked with a horizontal bar below and Svarita is marked with a vertical bar on top of the letter. Each and every word consists of at least one udattha and then the remaining vowels they become anudattha. Udattha, anudattha and Svarita these are the features of only vowels and they are not the features of consonants. Now when one vowel becomes udattha the remaining vowels become anudattha. Now the anudattha which precedes an udattha is marked with a horizontal bar below that letter and an anudattha which follows an udattha is marked with a vertical bar on top of the letter. So for example in Gramma which is a Pratipadika we see that this is unmarked, grah is unmarked and therefore this can be an udattha. Now ma is marked with a vertical bar on top so this is actually an anudattha but because it follows an udattha therefore it is marked with a vertical bar on top. In Gramma there is only one vowel and it is not marked with any of the signs and therefore we can safely say that Gramma has got one udattha. In Ramma there is ma which is not marked therefore we can say that this ma is udattha. Obviously this ra is anudattha and therefore it is shown with a horizontal bar below. In shala shah is shown without any sign so this is an udattha and so this a is an anudattha but because it follows an udattha so it is marked with a vertical bar on top which is an indication of aswarita. Now in Mohana the final a is considered to be udattha and therefore both the previous vowels they are marked with the horizontal bar below it indicating that they are anudatthas. Dhrisha once again has got one udattha which is obviously unmarked. In am, o and t they are all anudatthas and therefore they are marked with the horizontal bar below them. So is unmarked but because it is a consonant it does not have the feature of accent. Now these are the prakriti pratyayaswaras and we have explained each prakriti and pratyayas and its accent in detail. Now when we join these prakritis and these pratyayas we get the padhas and in the process the accents of the prakriti and the accents of the pratyayas they also get joined together and then they evolve the swara or the accent of the padha which is of this particular kind. So grammar plus am and here we have the swara sandhi taking place where a and a is merged into a by the sutra amipurvaha and now because both of them are anudattha so the resultant a is also shown to be anudattha but because it is following an udattha in a, gra therefore it is again shown as swarita. In gamma plus a plus t a and t they both are anudatthas obviously the udattha retains itself and in the form gachchati g is udattha whereas the remaining both are anudattha. Now this anudattha which comes immediately after an udattha is marked with a vertical bar on top indicating that it is a swarita even though this t is not marked by any other sign this is an anudattha as we know and this anudattha is left and marked primarily because it follows previous anudattha which has attained the status of swarita. In Ramaha we don't have to worry too much because sir does not have any swara. In Shalaam the same process applies which applied also in Gramam. In Mohanaha also there is nothing different that is happening and in Drisha plus a plus t same process as in Gachchati happens is happening. This is how the word accent is generated from the prakriti and pratyajya accents and then this padashvara gives rise to the vakyasvara. Now the vakyasvara is made up in this particular manner so we have gramma plus am and it becomes gramam in Gachchati we have gamma plus a plus t and so Gachchati has got the initial vowel being udattha and the remaining vowels are anudattha. Now when we write gramam Gachchati Ramaha together as a sentence we then can write the elements in a particular manner. So gramam Gachchati Ramaha has got grah unmarked indicating that it is udattha this is ma is anudattha but it is following an udattha therefore it becomes a swarita. Gachchati in the history that we know has got only two anudatthas and this is udattha however as a sentential accent when this Gachchati precedes a swanta then it loses all the udattha accents and therefore Gachchati is marked with all the anudattha accents. In fact it will be unmarked indicating that it has got all three anudatthas all of them they follow this swarita and so they are unmarked. But when Gachchati is written at the beginning of the sentence Gachchati Gramam Ramaha the original historical accent of Gachchati over here is retained and this G is shown to be udattha. Same is the case with Gachchati Ramo Gramam and same thing will happen over here as well. Similarly the swarikarya will also happen in Samasa. In Paninyan grammar such compositionality also works in the process of compounding. Accents of constituents are taken into account and in the process of merging only one of them is retained as the accent of the newly merged or newly formed unit. By default the accent of the semantic head should be retained but this is followed loosely. There are several exceptions where the semantic non-head also retains the accent. We have a very general sutra samasasya 61-223 meaning the final vowel in the compound is accented. This is the by default rule this is also the adhikara sutra. It governs the entire 6.2 which means that the accent on compounds is stated in 6.2 in the ashtadhyayi. Let us take an example. So we have Ramaha, Krishnaha, Char. This is the laukika vigraha vaakya and then we transform it into the alaukika vigraha vaakya in this particular manner Ramha plus Su plus Krishna plus Su. Ramha has got an udatta at the end. So Ra is anodatta marked with a horizontal bar below. Krishna is marked with an udatta in the initial position. So this is so second vowel is anodatta which is marked as a swarita. So now this accent continues then we apply the further process and so we derive the samasa form Ramakrishna and now both these accents they go away and a new accent of this newly merged unit is arises and that is because of the general sutra samasa seer which is the final vowel which gets accented. In the bahuvrihi however the purva padha retains its accent. The sutra is bahuvrihau prakritya purva padam 6 to 1 in the ashtadhyayi which means that in the bahuvrihi compound the purva padha remains by its original or earlier accent. In the bahuvrihi compound the accent of the purva padha is retained as the accent of the newly formed bahuvrihi compound. Here is an example meaning one who loves the world priyam vishpam yasyasaha and we have accent marks in the following manner in priyam we have pri having the udatta so this year is anodatta but because it follows an udatta so this anodatta is marked as swarita in vishpam v is udatta and so this vowel is anodatta but because it follows an udatta therefore it is marked as a swarita with a vertical bar on top of the letter. Now we transform this laukika vigraha into the alaukika vigraha vakya so we have priya plus su plus vishpa plus su with the accent marks and then we apply supodhatu prathipadi kayoho and then we get priya plus zero plus vishva plus zero and now since this is a bahuvrihi compound we apply 6 to 1 bahuvrihav prakritya purva padam and so we get the word priyavishva with the initial vowel accented which is what happens in priya so in this case the accent of one of the constituent in this case the first member of the compound is retained to be the accent of the entire compound the newly formed unit in the previous case the accents of both constituents did not were not retained and a new accent of the compound was stated. To summarize the accent is a very important feature noted down by paninian grammar on minute's part of speech the accent compositionality corresponds with that of meaning and the word form the newly derived compound form gets one accent this is one of the constituent accent in many cases but in many cases it is something new indicating the non-compositional nature of the compound. So to summarize once again given xax plus yay as the accent input the outputs could be described as xyax or xyay where a is retained x is retained as well as y is retained but sometimes it so happens that neither x nor y is retained and and a totally different accent in the form of z arises and is there on the compound these are the texts referred to thank you