 वल्क्म, अई वल्क्म यो आल तो दिस लेक्चर लेक्चर सन्दि इन पानिन्यान गर्मार. वी अर at a stage in this course, where we have studied one of the very important part of Sandhis, नेम लिए अच सन्दि, अर दवाविल सन्दि. And now we are going to study the next crucial very important Sandhi, which is Hall Sandhi. सन्दि as a topic can be divided into only these two. The other two, namely, विसर्गर and स्वादि, they are designed to focus on specific aspects and specific sounds. प्रक्रति भावि is of course, as stated earlier, not a sandhi. But because it is related to the sandhi, it is also included generally in the traditional curriculum along with the other sandhi sub chapters. And therefore, in the traditional curriculum, the term पन्च सन्दि प्रक्रना is used. Let us begin studying Hall Sandhi or Consonant Sandhi. So what is a Hall Sandhi? Hall Sandhi is Sandhi taking place of a Hall or a Consonant. The Sandhi that takes place of a Hall or Consonant is invariably also a Hall. We have already seen that Hall means a Consonant. Now in case of at sandhi, in some instances the substituent was an atch, above all, and the substitute was a Hall or a Consonant, like in Yand Sandhi. Similarly, there is no variety of Dhristhanika Ekadesha in Hall Sandhi, which was there in Aach Sandhi. The basics of Hall Sandhi can be stated on this slide, where input is X plus Y, both of them are consonants. Y is the right hand environment and then the rule applies and the output generated is Z plus Y, where Z is the substitute of X and Z is a Consonant and this Z replaces the one substituent namely X. Before proceeding to study the specifics of Hall Sandhi, it is important once again to take a look at the concept of Sandhi once again. What are the features of Sandhi? Sandhi is a Vikara or a Vikruti as against prakriti, the term that is used in the Paninian grammatical tradition. Vikara or Vikruti in the form of modification as against two Consonants that remain in their own form when come into close contact. So, remaining in their own form is also known as prakriti and modification is therefore a Vikruti or a Vikara. What is Hall Sandhi input of? So, operations where sentential combinations are input like compound, samasa or taddhita. So, examples given here are paddhati and satchit of the samasa or the compound. Similarly, taddhita, chinmaya and tanmatra, these are also the taddhita pratyayas. So, Hall Sandhi is an input of such combinations also in the form of sentential combinations. Generally, after the Hall Sandhi operations happen, the sentence finally gets generated and is used in the process of communication. The operational rules, namely the vidhisutras, they apply when the conditions or environments of those rules come into being in the process of derivation of the sentence. Generally, the conditions for each rule are believed to be exclusive. But in some cases, they are stated in such a way that they overlap. This brings two or more rules into contact with each other. This contact is primarily of the nature of conflict because both the sutras have an overlapping scope of application. This is how in the Hall Sandhi, rules get interrelated. Interrelation of rules is a very important feature also of Hall Sandhi. The technical terminology that we shall be using while dealing with the Hall Sandhi is the following. Karyan or karyi, which is an element which undergoes a particular operation. Nimitta is a condition or environment in which the operations happen and karya is the operation. So, karyi, nimitta and karya, this is a set of terms. Correspondingly, we also have the other set of terms, sthanin or sthani, sthana and also adesha. Sthanin is an element which has scope of application. Sthanin is to be replaced. Sthanin is the scope of application, scope in the form of meaning as well as combination of verbal elements. And adesha is substitution. We also have sthanivatbhava, playing a very crucial role just as in at Sandhi, so also in Hall Sandhi. The questions that can be asked over here are can the consonant substitute be considered as its substituent consonant? Can two consonants substitute be considered as its substituent? So, we shall see that in Hall Sandhi something unique happens. There is one substituent and there are two substitutes. Can both these substitutes be considered as the substituent? That is the question. And the answer is sometimes yes in a limited set of environments. So, sthanivatbhava does prevail as far as Hall Sandhi is concerned. And then such an assumption can become an input for application of another rule. This is possible in case of Hall Sandhi with several exceptions. We also have uddeshya vidhayabhava, playing a crucial role. Udeshya vidhayabhava plays an important role as far as the structure of the rule is concerned. Udeshya is something that is known with respect to which an operation is stated by a particular rule. Namely, the conditions are the environments which pre-exist. Vidhayabhava on the other hand is an operation stated by the rule something that is made known only by the rule statement. And given uddeshya and the modification or the substitute takes place, this is what is Sandhi. The Sandhi in the Hall Sandhi section is governed by this adhikara samhitayam. The word samhitayam that occurs in 82108. So the question is, what is samhitah? We saw that in Acha Sandhi samhitayam was also an adhikara. So samhitayam governs the entire Acha Sandhi section. Similarly, Hall Sandhi is also governed by samhitayam adhikara. So what is samhitah? Samhitah is a technical term defined by Panini in his ashtadhyayi as Parasandhikarsasamhitah 14109. This is a saudnya sutra which has got two words, parah and sandhikarsah both in one slash one. Parah is high. Sannikarsah is proximity. High proximity of sounds or verbal elements is termed samhitah. This is what is the definition of samhitah given by Panini. High proximity of sounds or verbal elements. What is this high proximity? Now if we look at the meaning of samhitah given in the vayakarana siddhantaka mudhi, it rephrases parah sannikarsah as varananaam ati shayitah sannidhi. The extreme proximity of sounds is termed samhitah. Now what is this extreme proximity? That is the next question. And we come to know this from the kashika vritti that parah yas sannikarsah varananaam ardhamatra kaalabh vyavadhanam sir samhitah saudnya bhavati. So the extreme proximity which amounts to the gap of only half a mantra between the sounds is termed samhitah. So extreme proximity is two sounds which are to be uttered one after another in such a way that there exists only a gap of half a mantra time between them. This is what is extreme proximity. Only a gap of half a mantra between two sounds. This is what is extreme proximity. This is explained in the text of the kashika vritti composed around 700 CE. Now if we look at the later paninian grammatical tradition and we have an important text called brhatshabdendu shekhara. On this slide it is referred to in abbreviation B.S.S. Then there is further explanation of this atishaitas sannidhi or pras sannikarsah. What it means is परक ग्रहने तु तत समर थ्यात अर्दमात्र कालाती रिक्त कालव व्यवाय अबहाव रुप सन्निकर्षस्य ग्रहना नदोषहा So what this means is no problem remains once we interpret the word atishaita in the following way. By force of the utterance of the word परर, the proximity of the form of absence of the gap more than half a matra time is intended to be termed samhita. I repeat by force of the utterance of the word परर, the proximity of the form of absence of the gap more than half a matra time. is intended to be termed samhita. And this proximity is sometimes with an earlier sound and mostly with the latter sound. What it means is when two sounds are uttered, they are uttered with the minimum gap in between. It is this gap which helps clear and distinct comprehension of these two sounds. This gap is unavoidable. Not to have more gap than this natural one is what is described as high or extreme proximity. I repeat not to have more gap than this. The one that is natural is what is described as high or extreme proximity. Which is what is described to result in samhita. Let us look at the word samhita in light of the explanation that we have studied so far. The word samhita is derived by the verbal root dha together with the proverb sam by adding the suffix t and the feminine a. So sam dha and t. t in the sense of karma can also be in the sense of bhava. Now dhadhatairi hi hi substitutes dha by hi. So we have some hi t and then we add the feminine suffix a and we get the form samhita. Which means something being collectively put together or held together or the action of collectively holding or putting something together. This is the literal meaning of the word samhita which matches with the explanation of the word samhita given by panini and explained in the later paninian grammatical tradition. What is this something that is being held together? The sounds which convey one meaning unit generally and sounds which are in high or extreme proximity having not more than half a mantra gap in between two sounds which is unavoidable and which is necessary for the distinct comprehension of two sounds. What about absence of samhita? When sounds are being put together as combinations there exists a state where there is no samhita. One may take more gap in between sounds. So combinations which are not in high or extreme proximity might have the absence of samhita. Such sounds such combinations are uttered in proximity but not in a high degree of proximity. They are uttered with more gap than what is naturally required for distinct comprehension of sounds. This can be called as opposed to samhita where some indicates being together. Appahita where upper indicates distinct far away something being distinctly held or put together or vyavahita something which is held together with some hindrances in terms of additional time gap in between. Now we come to the term samhita-yam which is the adhikara governing the whole sandhi. Samhita-yam means in the domain of samhita when samhita is intended to be done by the speaker. Both samhita as well as appahita or vyavahita are dependent on the desire of the speaker. When the speaker has the desire to speak in samhita mode the sounds are called in the samhita mode and they undergo modifications. And such modifications are called sandhi. When the speaker does not have an intention to utter the sounds in the samhita mode obviously the sounds do not undergo modifications and there are no sandhis. This brings us to an important fact namely the relation between samhita and sandhi. So samhita is a pre-condition for sandhi to take place. Samhita can be called a cause for sandhi to take place. It is not a coincidence that both the words samhita and sandhi are derived from the same verbal root. Dhatu that is dha and the same proverb or upasarga namely sam. Sandhi is explained by paninian grammar in accordance with the desire of the speaker to not to do samhita. No sandhi takes place. Such cases are not explained by grammatical rules. Grammatical rules explain sandhi. Which means the desire of the speaker is included. But where there is no sandhi where there is no samhita such cases are not explained by grammatical rules. They are explained by saying that such cases follow only vivaksha and not the grammatical rules. In the derivation process of the sentence which is what is the aim of paninian grammar. First comes the collection of meanings involving their combinations as well. Next comes the collection of words with their combinations in correspondence with the meanings. And the third one is the processing of the words. By application of various rules. And finally the rules dealing with sandhi apply. Thus the stage of applying the sandhi rules comes only at the end. And generally after applying these rules no further process happens. The output of the sandhi process is generally not the input of any other process except the rules dealing with the swirler. But this applies only to the ach sandhi section because swirlers or accents they are stated with reference only to vowels. With respect to hull sandhi even the swirler does not have any role to play in general. So after the application of the rules stating or describing the hull sandhi no further process happens. And then the sentence is ready for usage. It is complete as far as its generation is concerned. What are the types of hull sandhi? The hull sandhi can be said to have two types. Ekasthanika ekadesha and peculiarly Ekasthanika dvyadesha. Ekasthanika ekadesha and Ekasthanika dvyadesha. What is Ekasthanika ekadesha? This is the most frequent type of hull sandhi where there is one substitute which is replaced by one substitute. Ekasthanika ekadesha. This is also of two types. Urbani mittaka ekasthanika ekadesha and Parani mittaka ekasthanika ekadesha. Urbani mittaka ekasthanika ekadesha can be diagrammatically explained in this particular form where we have B followed by A and in the environment of B being immediately before A is replaced by C. So there is Ekasthanika ekadesha and the nimitta is Purva. B is the nimitta which is Purva nimitta and Ekasthanika ekadesha. So B plus A is the input and B plus C is the output. Whereas the Parani mittaka ekasthanika ekadesha is like this. A plus B is the input. In the environment of B A is substituted by C. So A plus B is the input and C plus B is the output. This is Parani mittaka ekasthanika ekadesha. B is the Parani mittaka. Ekasthanika dvyadesha. This is very peculiar where we have one substitute and A which is replaced by two A and X. So we have A plus B as the input. In the environment of B A is replaced by not just A but AX. There are two substitutes which replace the substituent and therefore this is Ekasthanika dvyadesha. And we shall see examples of this. This particular Ekasthanika dvyadesha has examples in the form of augments being added. And the Paranian grammatical tradition believes that augments can also be looked at as substitutes. The instances of Parani mittaka ekasthanika ekadesha are shtutva sandhi and shtutva sandhi. The instances of Parani mittaka ekasthanika ekadesha are very many. Namely shtutva sandhi, shtutva sandhi, anusvara sandhi, varasavarana sandhi, purvasavarana sandhi, ano nasika sandhi, shtva sandhi, jivamuliya sandhi, upadmaniya sandhi, kutva sandhi, jashtva sandhi, shtva sandhi, natva sandhi and some miscellaneous others. Ekasthanika dvyadesha have these three instances. shtva anusvara sandhi, dvirvacana sandhi and agama sandhi. These are the three instances of Ekasthanika dvyadesha. To summarize, we studied the nature of Hal Sandhi in this lecture. We also got introduced to the technical terminology in this regard. We noted the examples of two types of Hal Sandhi. We observed that the Hal Sandhi takes place at the final stage of sentence derivation and its output is visible only to sentential combinations. Next, we study various types of Hal Sandhi together with the examples. Thank you for your patience.