 Welcome. I welcome you all to this lecture in the course, Samasa in Panini and Grammar. And this is the first course on Samasa. We begin our lecture with the recitation of the Mangala Charana. In this course, we have concentrated on the Tattpurusha Samasa. Tattpurusha Samasa is one of the major types of Samasa in Sanskrit. Avyaibhava, Tattpurusha, Vahuvrihi and Dvandva are those four major types stated in the Grammar of Panini in that particular order. Tattpurusha Samasa is one of the most important because by far it is the most productive of the Samasas. It also has got many varieties in comparison with the other types of Samasas. Also the number of sutras composed by Panini in order to explain various features of Tattpurusha Samasa are too many in comparison with the other types of Samasas. The derivation of the Tattpurusha Samasa output can be summed up in the following manner. We have X and Y both independent and separate entities and they both have different independent meanings, also word forms and also the accent. They are however interrelated in terms of meaning. Now the speakers of Sanskrit decide to merge them together and bring out one output in the form of X, Y. This is one output, one unit. One unit in terms of meaning, in terms of the word form and also in terms of the accent. Now when this X, Y becomes part of the sentence, it becomes interrelated with the other external constituents of the sentence. Now this interrelation is possible of this unit only through its head which is Y. So Y assumes the position of the head. This is the speciality of the Tattpurusha Samasa. When X is interrelated with any other external constituent of the sentence without going through Y, such an example of a Samasa is considered as an exception and also is noted as a Samarthasamasa in the tradition. We also studied several varieties of Tattpurusha Samasa. We started with Vibhakti Tattpurusha. Then we studied Karma Dharaya. Along with it we studied the Vigoo. Then we studied Pradi Samasa and before that we studied Ekadeshi Samasa as well as Nai Samasa. Then Pradi Samasa and then Gati Samasa and now we are studying Upapada Tattpurusha Samasa. This is one of the most productive types or subtypes of the Tattpurusha Samasa. Upapada Samasa is stated by the Sutra Upapadam I think 2219. This Sutra has got two words Upapadam and I think. So Upapadam is one slash one which refers to the word designated as Upapada by 3192 Tattroppapadam Saptamistham. Now Upapada is assigned the term Upasarjanam because it is in Prathama by the Sutra Prathama Nirdhishtam Samasa Upasarjanam. And then Upasarjanam Purvam is another Sutra which ensures that this Upapada occupies the initial position in the Samasa Purva Nipata. The word ating is also there in the Sutra which is in one one and this means which is not a thing which is not a thinganta. Now the words continued in the Sutra are Supsah Sopha, Samarthapada Vidhi also. Now the meaning of the Sutra so far is that any Subanta whose Pratipadikas are designated as Upapada is compounded with any other interrelated word which is not a thinganta. So the questions arise here namely what is the need of the word ating in the Sutra? What is achieved by this particular negation? Because when we make not a thinganta a condition for this particular Sutra to appear in the Sutra, what is achieved by this particular negation? Because when we make not a thinganta a condition for this particular Sutra to apply, the only other available option through this negation is that of a Subanta. And Subanta option is available to us anyway because of the continuation of the word sup. So we are forced to think that in this particular Sutra the basic condition of sup and sahasupa does not apply. Rather sup and sah only will apply. So the output generated by this particular Sutra would be of the following type. If we have Purvapada with a Pratipadika plus Su then in this Purvapada finally the Suprati is going to get deleted and the Pratipadika is going to remain and the second member of this compound is of the nature of Dhatu plus Krithu. And so now this Dhatu plus Krithu remains and so now we have the samasa form of this kind namely a Pratipadika and Dhatu plus Krithu. This will be the finally generated compound output structure. We have studied some Sutras which state certain Krith suffixes which are part of the Upapada samasa because these suffixes are stated assuming the Upapadas and the examples generated are that of the Upapada samasa. Now the next Sutra that we are studying here is Gaposhtak 328. Now this Sutra has got the word Gapoho which is 6 slash 2 which should be 5 slash 2 which means immediately after the verbal roots ga to sing and pa to drink. The next word is Taku 1 slash 1 Tak means the suffix a. Markar te in it triggers the addition of feminine suffix nhip to the compound and the marker ke triggers the deletion of a at the end of the Dhatu. Karmani 7 slash 1 is also continued when the Upapada is having the relation of karma with the action denoted by the verbal root that is the meaning. Anupasaraga also continues when the Upapada is not an Upasaraga. Words continued are Dhatoho from 3191 and this means immediately after a verbal root. Pratyayaha 311. Tathropa padam saptami stham 3192. Also Kradating 3193. Kartharikrat which states that the meaning of the suffix is Kartha. There is a statement on the Sutra. Surasi dvoho pipathe rithivaktavyam. So when the verbal root pa pipati is taken for compounding it is compounded only with the two Upapadas Sura and Shidhu. For the verbal root pa this suffix is added only when Sura and Shidhu are the Upapadas. Sura and Shidhu both mean liquor. So now the meaning of the sutra is the following. The suffix tak is added in the sense of a Kartha to the verbal roots ga and pa when the Upapada is related to the action denoted by the verbal roots in the relation of karma. Sura and Shidhu for the verbal root pa and when the proverb is not an Upapada. I repeat the suffix tak is added in the sense of a Kartha to the verbal roots ga and pa when the Upapada is related to the action denoted by the verbal roots in the relation of karma namely Sura and Shidhu for the verbal root pa and when the proverb is not an Upapada. So we note that this is an exception of the suffix ka because the verbal roots are ending in a and then there is no upasarga stated as the condition an upasarge. Obviously atu upasarge kaha has got scope of application over here. And in such a case the suffix tak is stated which therefore acts as an exception. So now we have the meaning one who sings the Samma. So Samma Gayati that is the Laukika Vigraha Samma Gayati. So Samman plus Am plus Ga plus Taku this is the Laukika Vigraha. Samman is related with the action of singing denoted by the verbal root ka as karma. So there is semantic relatedness and so we have the Samasa taking place. Samman plus Am plus Ga plus Taku is the Laukika Vigraha. So Samasa Saudnia takes place and then Pratipadika Saudnia takes place. And then Supodhatu Pratipadika applies and deletes Am. And so we have Samman plus 0 plus Ga plus Er. In Takta and Ker they both are deleted by Sasyalupaha. So we have Samman plus 0 plus Ga plus Er. Now because there is a marker Ker the final long A is deleted in Ga and so we get the next step Samman plus 0 plus Ga plus Er. And then finally we join these together and we get the word Samma Ga. This means the same thing as the Laukika Vigraha and Laukika Vigraha namely one who sings the Samma, Samma Gayati. This is the finally derived compound output. Now in order to show the purpose of the marker T, we continue the derivation process further. And now because of this marker T, the feminine suffix Ngip is triggered. So we have Samma Ga plus Ngip. Ngip means E and per they both are markers. So they are deleted by Sasyalupaha. So we have Samma Ga plus E and then Yasiya teacher 64148 applies and then the final Er in Samma Ga is deleted. So we have Samma Ga plus E and as a result finally we get Samma Gi as the feminine form. Similarly one who sings Shakra, Shakram Gayati. In order to express this we get the compound Shakra Ga and the feminine form Shakra Gi. This is about the verbal root Ga where the suffix Tuk is added. Now let us look at the example where the verbal root Pa is involved. When the meaning is one who drinks liquor. We have the Laukika Vigraha Sura Pibati and then Sura plus Am plus Pa plus Tuk is the Laukika Vigraha. Sura is related to the action of drinking denoted by the verbal root Pa in the sense of karma. That is the interrelation. So Samasa takes place. The Laukika Vigraha takes place. Samasa Saudnia happens. Then Pratipadika Saudnia happens. And then suppose Pratipadika Yoho applies and the suffix Am gets deleted. So we have Sura plus Zero plus Pa plus Er. And then because of the marker Ke the long vowel A in Pa gets deleted. So we have Sura plus Pa Er and finally the compound output derived is Sura Pa. This is the finally derived compound output. Now we continue the derivation in order to show the purpose of the marker T which triggers the addition of the feminine suffix Neep. Neep is E and then we so have Sura Pa plus E because this is E. So we get Sura Pa plus E and so we get the form Sura Pa, feminine form. Similarly we can have Siddhum Pibati, Siddhu Pa and then Siddhu Pa. These are the examples of Upapada Samasa at the end of which the suffix T is added. The next sutra is Harate Anadhyamane Achu. This is 329. Harate Anadhyamane Achu. 329. There are three paddas over here. Harate is five slash one of Harati which is a mention of the verbal root Ruh. Harate means immediately after the verbal root Ruh. Anadhyamane is seven slash one of Anadhyamane meaning in the sense of not picking up. Udhyamanam utkse panam. So Anadhyamane means not picking up. Ach is one slash one of Ach. Ach means suffix E. Now the Markaracha triggers the operation that marks the final vowel accent. Chitaha. The words continued are Dhatoho 3191 which means immediately after a verbal root. Pratyayaha 311. Tattrapapadam saptamistham 3192. Kridatin 3193. Kartarikritu 3467. And this says that the meaning of the suffix Takesh karta. Karmani also is continued when the Upapada is having the relation of karma with the action denoted by the verbal root that is the meaning. So now the meaning of the overall sutra is that the suffix Ach is added after a verbal root when the Upapada is related to the action of accepting as karma and then this suffix means karta. So now if we have the meaning one who accepts a part. Here the verbal root Ruh is used but it is not used in the sense of picking up. Anudhyamane is there. So now after this verbal root Ruh the suffix Ach is added. So the laukika vigraha is aumsham harati. Aumsham harati. In this aumshah is related with the action of accepting as karma. Aumshah as karma. So there is semantic relatedness because of which then the samasa happens. Now we have aumshah plus aum plus Ruh plus Ach as the laukika vigraha. So harati and anudhyamane adds the suffix Ach. Upapada I think prescribes the Upapada samasa. And so now aumshah plus aum plus Ruh plus Ach is the laukika vigraha. Then samasa saudhnya takes place. Then pratipadika saudhnya takes place. And then supadhatu pratipadika yoho applies and aum gets deleted. Chur gets deleted because of tasil opah. So now we have aumshah plus 0 plus Ruh plus Ruh. Now because of the suffix An, Ruh has got Ruh which becomes R now. Because the Guna substitution takes place by the sutra sarvadhatu kartathatu kayoho. So we have aumshah plus 0 plus har plus Ruh. And finally we combine these two together and we get the form aumshahara. Aumshahara refers to the same meaning as the laukika vigraha aumsham harati. But this is a nitya samasa. And har in this sense cannot be used independently. You cannot say aumshahsya haraha. That is not possible. Now similarly one who accepts wealth. When this meaning is to be conveyed, we have the compound input riktham harati. And the compound output is rikthahara rikthahara. So when we have aumsham harati, the meaning is aumsham swikaroti ittadha. Natu adhasthitasya urdvam nayati. It does not pick it up and take it upwards. That is not the meaning intended. The intended meaning is aumsham swikaroti. Accepts. And that is why the given input is one who accepts a part. That is aumsham harati. And so aumshahara. That is the finally derived output. Now there is one more statement found in the tradition which is adding some more words in this section of the suffix ach. The statement is the following. So far the suffix ach was stated after the verbal root hara-ru. After the verbal root ru. Now in this statement it is also stated after the verbal root graha. In this section of the suffix ach the verbal root graha is to be added when shakti etc are the upapada. Which means when shakti etc are the upapadas the suffix ach is added to the verbal root graha. So if we have the meaning one who holds the power then we add the suffix ach after the verbal root graha and we get the form shakti graha. Then we have the meaning one who holds the plow then we add the suffix ach after the verbal root graha and we get the compound output langala graha. Then we have the meaning one who holds the goad and the compound output is ankushak graha by adding the suffix ach to the verbal root graha. Then we have the meaning one who holds the stick. And the finally derived compound output is yashti graha when we add the suffix ach after the verbal root graha. Then if we have the input one who holds the javelin the compound output is tomara graha after we add the suffix ach after the verbal root graha. Then we have the meaning one who holds the pot and we have the compound output gata graha or even gati graha by adding the suffix ach to the verbal root graha. Gata and gati then we have the meaning one who holds the bow and the compound output generated is dhanur graha. Then we add the suffix ach after the verbal root graha with the upapada dhanus. Again there is one more statement in the same vein in the tradition to add the suffix ach to the verbal root graha when sutra is the upapada and dhari is the artha. What it means is in the sense of holding add the suffix ach to the verbal root graha when sutra as a word is the upapada. Sutra means either a thread or any rule. I repeat in the sense of holding add the suffix ach to the verbal root graha when sutra is the upapada. So when the meaning is one who holds the thread sutra dharayati in this sense use the word verbal root graha to mean holding and then add the suffix ach. And so you get the form sutra graha as the finally derived compound output sutra graha. Then we have the next sutra via sutra which is 3 to 10. What it means is that the suffix ach is added in the sense of a karta to the verbal root ru when the upapada is related to the action denoted by the verbal root in the relation of karma and which also indicates the age. I repeat the suffix ach is added in the sense of a karta to the verbal root ru when the upapada is related to the action denoted by the verbal root in the relation of karma and also when the compound indicates the age. So now after having applying the rules in order to derive the finally derived compound output we get the examples asti hara ha shua and kavacha hara ha kumaraha. Asti hara and kavacha hara being the compound outputs indicate the age of the person or the animal. So asti hara refers to that stage in the life of a dog where he or she is able to pick up the bone and the stage of the development of kumaraha is indicated by the action when kumaraha is able to pick up the guard, the protection. So kavacha hara ha kumaraha and asti hara ha shua whereas the age is indicated by the compound as a whole. Udyamanam utkshe panam. So this is the meaning intended in this particular sutra as well which was not there in the previous sutra. This is Udyamanam which is also intended in this particular sutra. Similarly we have the next sutra, which means the suffix ach is added in the sense of a karta to the verbal root, when the preverb ah, when the upapada is related to the action denoted by the verbal root in the relation of karma. And when it also indicates the habit or being accustomed to that. Takshi liya. Takshi liya means that swabhavata, which means swabhaviki phala na peksha pravritti, the natural inclination without expecting any result or fruit. Now we have the meaning, one who has a habit of bringing the flowers. Pushpani aharati iti shilam yasyasaha. This is the laukika vigraha. Pushpani aharati. So pushpa is related to aharanam action as karma. So there is semantic relatedness. So the samasa takes place. So we have pushpa plus jasyu, plus arhu plus achya. Now there is samasa saudhnya, upapada I think plays a role. Samasa saudhnya takes place. So the prathipadiya saudhnya takes place and then the sutra supodhatup prathipadiya joha applies and just gets deleted. Chhya is deleted because of tasyalopaha. So we have pushpa plus jiru plus arhu plus achya. Now sarvathatuka ardhatuka joha applies and substitute ru in ru by arh. So we have pushpa plus ahar plus achya and finally we get the form pushpahara. Pushpahara means the same thing as pushpani aharati iti shilam yasyasaha. Similarly we also get the compound output phalaahara which means phalani aharati iti shilam yasyasaha one who has a habit of bringing fruits. To summarize the markers attached to the suffixes stated in this section perform different roles in the derivation of the form at various stages. Some in the internal derivation process bring about some operations block some operations etc. Some trigger the operations like adding the feminine suffix as well as the accent of the compound. Specific meaning conditions denoted only by the compounding process is another highlight of this particular section. We continue studying some more sutras stating the suffixes, kirt suffixes which are part of the upapada compound derivation process in the coming lecture. These are the texts referred to. Thank you very much.