 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. Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya In this course, we are concentrating on the avyayi bhava, bahuvrihi and dvandva samasas. Before actually studying these three types of samasas, we revisit and study the theory of compounding, which is fundamental and which is universal to all types of compounds in Sanskrit. The theory of compounding is the samartha theory, which is based on the karaka theory. We noted that the word samartha is explained in the Pyakrana Mahabhashya of Patanjali in four ways, out of which two each correspond or explain the samartha of two kinds, namely vyapeksha and ekarthi bhava. Samadhartha and Samprekshitartha samartha is the explanation of the vyapeksha-laksana samarthya and sangatarthya as well as samsrushtartha is the explanation of ekarthi bhava samarthya. So vyapeksha-laksana samarthya forms the base for the process of compounding and then the resultant form is an output in the form of one unit, which is called samasa. And so we can say that sentence, in other words interrelated pathas, they become the input for the process of compounding and a nominal root or the pratipadika becomes the output of the process of compounding. This we have studied before. We also studied the process of compounding and we noted down different stages in this particular process. In the previous lecture, we studied the initial process involving the cognitive stage as well as then the actual compounding where the purva-pada-nirdharana occurs. We have already studied the concepts of nitya-samasa and the anitya-samasa. In this connection, we have also studied the concept of vigraha and sangraha. The vigraha is that of two types we have said. One is laukika vigraha, which is usable in the speech by the speaker. And the alaukika vigraha is the grammatical transformation of this laukika vigraha in terms of the prakriti-pratyaya-pebhaga. So in the alaukika vigraha, we said that the samasa-saudhnya takes place and so then pratipadika-saudhnya takes place. Now we continue studying the process of compounding in Paninian grammar. And so in this particular lecture, we shall study the next two important processes that happen in this particular derivation. The first one that we study is the addition of the samasanta-pratyaya. As is clear, these are pratyayas, suffixes. And as is also clear from the word samasanta, they are added at the end of the samasa and also they are part of the samasa. Anta is a word which is generally used for the final part of a particular whole and therefore the samasanta-pratyaya is part of the samasa. The function of the samasanta-pratyaya is to determine which formal processes the samasa will undergo when it becomes part of the sentence. As we have seen, the output of the process of compounding is a pratipadika and this pratipadika becomes part of the sentence. So the samasanta-pratyaya added at the end of the samasa decides, determines the formal processes. By formal processes we mean the processes that are done on the form of the word. So the samasanta-pratyaya determines which formal processes the samasa will undergo when it becomes part of the sentence. For example, when a samasanta-pratyaya is added, sometimes the ending of the samasa gets changed. The type of ending also gets changed. Also the addition of the suffix which denotes feminine gender that is also determined by this samasanta-pratyaya. Also the accent of the samasa is sometimes determined by the samasanta-pratyaya added. That is why samasanta-pratyaya is extremely important. These samasanta-pratyayas are stated in the section governed by the adhikara sutra samasantaha. This is 5.4.68 of the ashtadhyayi. And this adhikara governs the section from 5.4.68 up to 5.4.160 which is the final sutra of 5.4. So the samasanta-suffixes are stated from 5.4.68 onwards up to the end of 5.4.5.4.160. These samasanta-pratyayas or end of the compound suffixes are stated to all major 4 types of samasas namely the purusha, avyayi bhava, bahuvrihi and dvandva. Out of them we have already studied the samasanta-pratyayas which are added as part of the tadpurusha samasa. In this course we shall study the samasanta-pratyayas which are added as part of the avyayi bhava samasa as well as the bahuvrihi samasa and also the dvandva samasa. These samasanta-pratyayas are also termed as taddhita for specific functions which are common to both samasantas as well as taddhita-pratyayas. Now let us take an example of a samasanta-pratyayas added as part of the avyayi bhava samasa. The meaning conveyed is near the river vipash. Vipash is the name of a river which flows in the northwestern part of the greater India and modern India as well. So if the meaning is near the river vipash, in Sanskrit it would be rendered as vipashaha samipam. So this is the laukika vigraha, vipashaha samipam. Now the word upa in the sense of near or samipa is stated to be compounded with any interrelated subanta, in this case vipashaha. And the sutra avyayam vibhakti samipa samraddhi priddhi arthabhava atyaya asamprati shabdhapradurbhava pashchat yatha anupurvya yavgapady sadrasyasampatti sakalya antavachaneshu. 2.1.6. This particular sutra states this particular fact that an avyaya is compounded in the sense of samipa. Upa is that kind of avyaya. In this long sutra the word avyayam is mentioned in the prathama vibhakti and therefore by the sutra prathama dhridhi samosa upasarjanam this avyaya is termed as upasarjana and then by the application of the sutra upasarjanam purvam this avyaya occupies the initial position of the samosa. So our alaukika vigraha corresponding with the alaukika vigraha vipashaha samipam would be upa plus su plus vipash plus ngas. Note that the word is vipash ending in shiva. Now in this case the samasanta suffix prescribing sutra avyayi bhave sharathprabhratibhyaha applies. This is 5.4.107 avyayi bhave sharathprabhratibhyaha. This sutra says that the suffix touch which really means a with the markers t and ch and therefore the suffix being called tith as well as chith. So the suffix touch is prescribed by this particular sutra 5.4.107 after the word sharath etc at the end of the avyayi bhave samasu. By saying sharathprabhratibhyaha or sharath etc panini is assuming a list of words at the beginning of which comes the word sharath. Vipash is a word which is part of this particular list and so we have the suffix touch added after the word vipash and so the next important step in the derivation is upa plus su plus vipash plus ngas plus touch. So touch pratyayah is added at the end of the samasu and also as the part of the samasu which literally means upa plus su plus vipash plus ngas plus uh. Then we delete both the supratyayahs and we have the next step derived namely upa plus zero plus vipash plus zero plus uh. So we have upa plus vipash plus uh. When we join them together we get the form upavipash. This is the finally derived compound form. This is the form of the pratipadika. Remember the pratipadika has got a constant event called vipash which ends in sure a consonant. However now because of the addition of this samasanta pratyayah uh the samasu as well as the pratipadika becomes a vowel ending pratipadika. A pratipadika that ends in uh which is a suffix with the markers ter as well as cheer. Now because of this suffix uh the samasu with vipash being the final constant event becomes now a pratipadika ending in uh. Accordingly the behavior in inflectional morphology is determined. So for example when we derive the forms of upavipash they will be upavipasham and upavipashat and upavipashenuh etc. Had it been ending in the consonant the forms would have been different. So the behavior in inflectional morphology is determined by this samasanta pratyayah uh which comes at the end of the pratipadika output. The same samasanta pratyayah also has another function. Also the final vowel accent is determined by this particular suffix precisely by the marker cheer in it. This is in accordance with the sutra 6.1.163 chitaha. The final vowel accent is also thus determined by the samasanta pratyayah. Let us take another example which is the example of bahuvrihi samasa. This is a peculiar example and we shall study the semantic processes when we study the bahuvrihi samasa in detail. Let us note that the meaning over here to be conveyed is the fight prevailed by grabbing at each other's hair. So some people are fighting by grabbing at each other's hair. Kesheshu, Kesheshu, Grijitva, Hidham Yadham, Pravrattam. This is the laukika vigraha and this gets transformed into the laukika vigraha as kesha plus sup. So Kesheshu, Kesheshu. This particular samasa is prescribed by the sutra tatra tena idamiti sarupay which is a bahuvrihi samasa prescribing sutra tatra tena idamiti sarupay. So now we have kesha plus sup plus kesha plus sup. This is the laukika vigraha. So this unit becomes samasa, then it becomes pratipatika and because it is a samasa, here we add the samasantha pratyaya which is itch, which is stated by the sutra itch karma vyati haare. Now we have kesha plus sup plus kesha plus sup plus itch. Then we drop the sup and so we have kesha plus zero plus kesha plus zero and we get e. In itch chah is a marker and therefore we have only e. Now because of 6, 3, 1, 3, 7, the purva padha is lengthened at the end and so we have kesha kesha e and then the uttara padha loses its final e because of 6, 4, 1, 4, 8. So we have kesha, kesha and e and finally we get the compounded form kesha keshi. Kesha keshi is the compounded output whereas the laukika vigraha is keshe su, keshe su grihitva idam yuddham pravruttam. This is what kesha keshi means. In this samasa we have the samasanta pratyaya itch. The final constituent of this samasa is kesha ending in short e. After adding the samasanta pratyaya the samasa ends in short e and then its behavior in inflectional morphology is determined accordingly. And also the accent will be determined in accordance with the marker chah which is part of the samasanta pratyaya itch. Now this is how the samasanta pratyaya brings about the formal change in the samasa. This is an extremely important process and the samasanta pratyaya gets added immediately after the unit gets samasa saudhnya in the laukika vigraha. The samasanta pratyayas as we have already said are added in all the remaining three samasas that are focus of this particular study of Ye bhava, Bahubrihi as well as Dhvantva. Now after having studied the samasanta pratyaya in brief and we shall study the samasanta pratyayas added to each of these three types of samasas in detail when we study each type in detail. Now let us study another equally crucial process. We have talked about this earlier but let us shade some more light on this particular important process which is called sub-luk. Look of the sup. Look means deletion and sup is the pratyaya which is added after a pratyavadika to make it a padha. We have already seen what are the sup's. This is a very crucial operation in this derivation of the samasa. In this operation the sup's are deleted. This operation thus acknowledges the sentential base and at the same time removes it from the process so that merging of two units into one pratyavadika becomes smooth. But this process highlights the underlying structural presence. This process is stated by the sutra supodhatup pratyavadika yoho 2.4.71 of the ashtadhyayi. What this sutra means is that in place of sup's which are part of the verbal root that is dhatup and also the nominal root that is pratyavadika is substituted by zero. So this sup is substituted by zero. What it amounts to mean is that the sup is deleted. However even after its deletion it retains its historical status. That means the constituents of the samasa can sometimes still be referred to as the padhas and there may be some operations that happen on them with padha being the condition. We have seen this in the example of Raja Purusha where rajan is the pratyavadika and na gets deleted because of the status of padha that the word rajan still retains even after the deletion of the sup. Let us revisit the same examples that we saw earlier. So we have vipasahasamipam as the laukika vigraha and upa plus su plus vipasha plus ngas is the alaukika vigraha to which is added the samasanta pratyayat touch. So now we have upa plus su plus vipasha plus ngas plus ar at this stage 2471 applies and substitutes zero in place of both the sups namely su and ngas. So we have upa plus zero plus vipasha plus zero as the output of the previous stage plus ar of course. And then we have upa plus vipasha as the finally derived compound output. Similarly in the example of the bahubrihi samasa where a samasanta pratyayat is added we have kesheshu kesheshu grahitva idam yudham pravrttam and we have keshya plus sup and keshya plus sup as the alaukika vigraha to which itch suffix is added. After which supodhatup pratipadika yoho is applied and we get keshya plus zero plus keshya plus zero plus e and so then we get keshakeshi as the finally derived output. Now let us take one more example which indicates the deletion of the sup pratyayat again. This is an example of the avyayi bhava samasa and the meaning is in the soul and the alaukika vigraha is atmani. So we have the alaukika vigraha in the form of adhi plus su plus atman plus nyi and the samasanta pratyayat touch is added and then the sup gets deleted by supodhatup pratipadika yoho. So we have adhi plus zero plus atman plus zero plus e and then we process it further and we get the form adhyatma as the derived output of this process of compounding. Thus we note that the process of sub-look deletion of the sup pratyayat is extremely important in the derivation of the samasa and this is how we explain it and at this point we do operate this sub-look. To summarize the suffix is added at the end of a compound immediately after the process of compounding begins. This suffix is part of the compound and affects the form of the compound in multiple ways. Like ending of the compound, feminine suffix to be added after it as well as accent are the three main functions of this particular samasa and the suffix. Such a suffix is added in all major types of compounds in samskrath. Sub-look reflects a very crucial stage in the derivation of the compound as it acknowledges the sentential base and at the same time removes it for the smooth merging of two units into one pratipadika output. The constituent words retain both the properties that of a pratipadika as well as that of a padha. It is this base which the compound falls back upon for various purposes as shall be clear when we study these three compounds in detail. These are the texts referred to. Thank you very much.