 Welcome, welcome, I welcome you all to this lecture in the course Sandhi in Paninian grammar. In this lecture we continue studying Hal Sandhi, Hal Sandhi is the Sandhi that replaces a Hal, Hal is a consonant, there are two types of Hal Sandhi that we have been studying so far. So first one is Ekasthanika Ekadesha which means that there is one substituent which is replaced by one substitute and the second one is Ekasthanika Dvyadesha where there is one substituent which is replaced by two substitutes Ekasthani and Dviadesha. We have already studied several instances of Ekasthanika Ekadesha. Right now we are studying Ekasthanika Dvyadesha where there is one substituent which is replaced by two substitutes and this can be shown diagrammatically in this particular manner. You have A plus B and this is the substitute A X. So A plus B is the environment and this is in Samhita mode. So when B follows A is substituted by A X, it could also be X X. So A is the one substituent and the substitutes are these two and that is the reason why this is Ekasthanika Dvyadesha. We say that there are three instances of Ekasthanika Dvyadesha, Dvirvachana Sandhi, Agama Sandhi and also Satvānusvara Sandhi. We have already studied Dvirvachana Sandhi and Agama Sandhi. What remains to be seen is the Satvānusvara Sandhi and this is done now at the end of Hal Sandhi primarily because this has got some sutras which also are used in the next chapter that is Visarga Sandhi. So now let us study Satvānusvara Sandhi in detail. What is the concept? What does Satvānusvara Sandhi mean? It means the Sandhi in the form of Satvānusvara which are the substitutes and R is the substituent. So in place of R, S and Anusvara they come in as the output. Although there is Anunasika together with S also as an optional output that is very rarely seen and that is why that is not mentioned separately. We focus only on Satvānusvara Sandhi whose examples are found in abundance in several texts in Sanskrit. For example we have in the Shrimad Bhagavad Gita in the second chapter we have this particular verse. So here we have this particular Satvānusvara Sandhi, we also have this Satvānusvara Sandhi. Also we have this particular type of Sandhi. So we must remember over here that the substituent is R and the two substitutes in place of this R are S and Anusvara and that is how this is Ekasthanika Divyādesha. Here are the sutras that we are going to study in order to study this particular Sandhi. Samaha Suti 835, Atrāda Nāsikā Purvasya Tuva 832, Anunāsikā Paro Nusvara 834, Vamākhayyampare 836 and finally Nāshchavya Prasan 837. Let us first study Samaha Suti 835. This particular sutra has got two padas, Samaha and Suti. Samaha is 6 slash 1 of sum, sum is a preverb and upasarga. So in this case 6 slash 1 means in place of, so in place of sum. Suti is 7 slash 1 of sut, sut means augments, the marker T indicates that this is to be added before. So sutti means immediately before sut. Ru is 1 slash 1 of ru, sound ra and so this ru is the substitute. So this sutra means immediately before the augments sut that is substitute sum and then by the application of other Paribhāsā sutras, namely alunthyaśya, the exact substitute and is ma. So substitute ma in sum by ru, that is the meaning of this particular sutra. I repeat immediately before the augments sut, substitute sum by ru. So here is the example where this particular sutra Samaha Suti is applied. So we are deriving the word samskruta where we have the verbal root kru preceded by the preverb sum and this indicates that the meaning of this kru now is not just to do but to embellish, bhūshana. And we have the augments added over here in this particular meaning, samparibhyāṁ karotau bhūshane. Or in some other cases, sampari upe bhhyā, karotau bhūshane. So sum plus kru plus th and at the next stage we have sum plus skru plus th and now because there is this sut, we substitute this ma by ru. So the next stage is saru plus skru plus th, saru plus skru plus th. In this ru we have u as the marker by 132 and 139 deletes it and so we get sar plus skru plus th as the stage derived until now. So the point is by the sutra samaha suti ma is substituted by ru. We will derive the word samskrta eventually with the help of the understanding of the other two sutras that we are going to study now. First one is atra-anunāsika-purvasya-tuvā, a-3-2. And here there are five padas, atra, which means here, which means in this section of ru substitution, anunāsika-ha is one slash one of anunāsika, anunāsika is nasal sound and so anunāsika-ha is the substitute, purvasya is six slash one of purva that means in place of the previous sound, tu means but and wa means optionally. So all these meanings put together, the meaning of the sutra is but in this section of ru substitution, the sound previous to the ru is substituted by the nasal variety of that sound optionally. I repeat but in this section of ru, ru substitution, the sound previous to the ru is substituted by the nasal variety of that sound optionally. So here is the example. We were at this stage, sir plus crew plus th, now because this is ru, this sutra says that the vowel that precedes this ru is this r, so now in place of this r is substituted its nasal varieties. So we have san, sir is the substitute, r is the substitute and an or anunāsika r is the substitute. So san, r and screw and th, this will be the output, sir screw th is the input and sir screw th, this is the output. This is the meaning of this particular sutra. Now let us look at the next sutra in the same context. So anunāsika is 5 slash 1 of anunāsika, in this case fifth case means other than the nasal and para is later 1 slash 1 and this is the substitute. So anunāsika is also 1 slash 1 which is also a substitute. The meaning of the sutra is the other option other than the nasal one because there is an option there. So the other option other than the nasal one is the anusvara substitute in place of that sound that is previous to ru substitution. I repeat the other option other than the nasal one anunāsika para is the anusvara substitute in place of the sound that is previous to ru substitution, roho purvasya. So we had come up to this stage, sir plus screw plus th and then there was this anunāsika sa or sa, re screw plus th, this was one substitution, one output and the other output is this, samr screw and th, this is the anusvara, this is the anunāsika, this is the anusvara, this is the second output generated by a3, 4. So we have two outputs over here. Now what happens to this stage anusvara, re, samr, screw and th? From here after we focus only on the anusvara and we focus and take the anusvara ahead. So what happens now to this samr plus screw plus th? So the next part is that we have the sutra visarjaniyasyasah, a3, 34, visarjaniyasyasah. This sutra is also going to be helpful in understanding the visargasandhi. In this sutra there are two padas visarjaniyasyasah and sahah, visarjaniyasyasah is six slash one of visarjaniya, that is in place of the visarjaniya. And sahah is one slash one of sir, that is sound sir, this is the substitute. So in place of visarga comes the substitute sir, this is what the sutra says in a nutshell. The words continued are the following. First we have khari, seven slash one of khar, which means immediately before khar that is class one and two and also shah, shah and sir. So we have the meaning of the sutra immediately before khar, that is immediately before class consonants one and two and shah, shah, sir, the visarjaniya is substituted by sir. So here we have samr, screw and th. Now this r is substituted by a visarga, so sam plus screw plus th and now this visarga is substituted by sir by the application of this particular sutra visarjaniyasyasah. So sams, screw and th. And here there is a vartika which says sampankanam so vaktavyah. So first there is this visarga followed by screw and this vartika says that substitutes sir in place of this visarga because there is an option vashari that also comes into play and so there will be optional derivation where in one option there will be this visarga and in other option there will be sir. The vartika says that no, no there is only one output namely the sir. So sampankanam so vaktavyah. So this visarga is obligatorily substituted by sir. And in this case samovalopameke, this is the vashya statement according to which this sir is deleted optionally. And so once it is deleted you get some screw and th, so you get some skrit as an optional form. Another form would be with two sakaras, some skrit. This is how the word samskrit is derived. Let us now look at the other example and the other sutra that is pomaha khayyampare. This is A3-6. This particular sutra has got three padas, pomaha khayy and ampare. Pomaha is 6 slash 1 of pom which means in place of khayy is 7 slash 1 of khayy that is class consonants 1 and 2 and khayy means immediately before. Ampare is also 7 slash 1 of ampare. Ampare is made up of two constituents am and para and ampare means immediately before. Pom stands for all vowels plus her plus semi-vowels plus class consonant 5. The other word that is continued is ruhu, 1 slash 1 of ruh that is sound ruh which is the substitute. So the meaning of the sutra is this. Substitute ruh or sound ruh in place of pom which comes immediately before a khayy which comes immediately before am. I repeat substitute ruh sound ruh in place of pom at the end of this word pom that is in place of ma which comes immediately before a khayy which this khayy comes immediately before an am. So we have pom followed by khay followed by am and in this situation this ma is substituted by ruh. So we have pooru plus khay plus am and this u is further processed and is deleted and so we have purr, khay and am. This is the output generated so far of the sutra, pomaha khayyam pare. Let us take an example where we have once again the word pom followed by the word kokila. So the final output generated is this, pomskokila or pomskokila. This is an ananasika, this is anasvar. Now the first stage is pomkokila. Now this ma is substituted by ruh because this ker follows and so we have because ker is part of khay. So this ma is substituted by ruh. So we have purr plus kokila. Then this u is marked as it and dropped by 1, 3, 2 and 9. So we have purr plus kokila. Then atrananasika purvasya tuba is applied and immediately before this ruh there is this vowel u which is then substituted by the nasal variety of u. So we have mo, ruh and then kokila. Optionally this vowel also gets an anasvar on top of it, pom, ruh and kokila. Now the next stage is this one, namely that we substitute this ruh by the visarga. So pom and kokila and pom and kokila. So this ruh is substituted by a visarga. Then this visarga is substituted by sir by the sutra visarjanyasya sahah. So pomskokila and pomskokila and so then finally we get the forms pomskokila and pomskokila. The two finally derived words which are optional outputs of the sutra, pomakhyam pare. The second example of the same sutra is this, pom plus patra and the finally derived output is this, pomsputra or pomsputra. So we have pom plus putra and then this ma comes at the end of the pada followed by per and so this ma is substituted by ruh. So there is this pom and this per which is part of the khay and after that there is u which is part of am. So this is ampar khay which follows and so ma becomes ruh. So we have puru plus putra, puru plus putra. Then this u gets marked as it and then it is deleted. So we get pur plus putra. After that atranonasika purvasyatubah applies and substitutes. This will be by an anonasika. So we have umr and putra and then we have umr and putra. Then this ruh is substituted by avisarga and this ruh is also substituted by avisarga. These forms are optional. And finally this visarga is substituted by sir by the sutra visarjani yasyasaha and so finally we get the forms umsputra or pumsputra. These two are the optional forms. Next we have the sutra nashchavya prasana. This is 837. There are three words in the sutra, three padas, nahachavi and aprasana. So nahah is 6 slash 1 of na which means in place of sound na. Chhavi is 7 slash 1 of chhav which means cha-tha-tha-cha-ta-ta that is immediately before these sounds. The words continued are ampare, 7 slash 1 of amparar which is made up of um and parar and ampare means immediately before. Um stands for all wobbles plus her plus semi-wobbles plus class consonants 5. Ruhu is 1 slash 1 of ruh that is sound ruh and this is the substitute. Padas here is 6 slash 1 of padha which is part of a padha. So the meaning of this sutra is then the following. Immediately before chhavi that is cha-tha-tha-cha-ta-ta which is followed by um that is all wobbles plus her plus semi-wobbles plus consonants 5 in place of na that comes at the end of a padha substitute ruh or sound ruh except in the word prasana. So in the word prasana na comes at the end of the padha and even if this na is followed by chhav which is followed by um this na is not substituted by ruh elsewhere this na or such na will be substituted by ruh. So this is the equation. So this is the padha at the end of which appears this na followed by chhav followed by um and now this na will be substituted by this ruh. So the output generated would be ruh plus chhav plus um and the input was na plus chhav plus um. Here is the example bhavan plus tarati na comes at the end of the padha followed by tarati at the beginning of which appears ta which is part of chhav after ta there is this uh. So this is um prachhav and therefore this na is substituted by ruh. So we have bhavaruh plus tarati. In this case this uh is termed as it and then deleted by 132 and 139. So we get bhavar plus tarati. Now here by the application of the sutra atranunasika purvasyatu vah this vahvel a is substituted by the anunasika variety of a and because this precedes immediately this ruh. So we have bhavar and tarati one option and the other option is this a is substituted by a plus anusvara. And so you have bhavar and tarati. Then this ruh gets substituted by a visarga. So bhavan tarati or this visarga is replacing this ruh. After that by the application of the sutra visarganiyasya sahah this visarga is substituted by sahh like this in this particular step in both bhavan tarati and bhavan tarati. So finally we get these two optional forms. This is with anunasika sign. This is with anusvara bhavan tarati or bhavan tarati. This is how naschavya prasana applies in this particular example. Let us look at the other example namely bhavan and tikate. Here we have na at the end of the padha followed by this ta which is part of chhav followed by this e which is part of am. So this is amparachhav and amparachhav para na is there. So this na is substituted by ruh. So you have bhavaru plus tikate. This ruh has got u as the marker by 132. So it gets deleted by 139. So we have bhavaru plus tikate as the next step. Then atranunasika purvasyatava applies and substitutes this vowel that precedes this ruh by the nasal of that same vowel. So this is the sign of the nasal. So we have bhavaru plus tikate. Optionally we also have anusvara. So bhavaru tikate. Now this ruh is substituted by visarga over here also over here. Then this visarga is substituted by sir bhavans tikate or bhavans tikate. Then this sir is substituted by sir by the application of the sutra shtunashtuhu. So we have bhavans tikate and bhavans tikate. Finally bhavans tikate and bhavans tikate. These two outputs are generated by the application of various other sutras which come later on later than this particular sutra namely naschhavya prasana. Here is one more example bhavan plus chinoti. Here also na comes at the end followed by this chhav which is part of chhav followed by e which is part of am. So this is amparachhav preceded by this na and so this na now is substituted by ruh. So bhavaru plus chinoti. This u is marked as it and is deleted by 139. So we get bhavaru plus chinoti. Now atrano nasikapurva shthutva applies over here and substitutes this vavala by the nasal variety of a over here and optionally also the same non-nasalized a over here what so is substituted by the anusvara plus this vavala. Then this ruh is substituted by the visargah in both the cases and then this visargah is substituted by sir in both the cases with nasal sign as well as with anusvara. And then finally this sir is substituted by sir by the application of the sutra stohush chonashchuhu. So bhavams and chinoti, bhavams and chinoti and finally you get bhavams chinoti and bhavams chinoti as the finally derived output where lots of other sutras apply after the application of naschavya prasan. All the sutras that apply after naschavya prasan they are serially ordered and they do not violate this particular order. Similarly we have another example bhavan plus chinoti where na comes at the end of this padha followed by chhuh which is the chhav followed by e. So the environment for the application of naschavya prasan is there and so naschavya prasan applies and substitutes this na by ruh bhavaru plus chinoti then bhavara plus chinoti and then now immediately before this ruh you have this vavala which is non-nasal over here is substituted by the nasal variety of it and also with the anusvara. Then this ruh is substituted by a visarga in both the options and then this visarga is substituted by sir in both the options and this sir gets substituted by sir by the application of the sutra stohush chonashchuhu and so we get these two forms optionally finally we have bhavan's chinoti and bhavan's chinoti as two options available. So this particular sutra naschavya prasan applies and generates these two outputs. Similarly we have as we had quoted earlier the sentence part agata sun chuh from the Bhagavad Gita where we have agata sun plus chuh this na occurs at the end of the padha followed by this chuh which is part of chhav followed by this uh which is part of am so amparachhav is here and immediately before that we have na at the end of the padha. So this na gets substituted by ruh becomes ruh and then this ruh gets further processing the vavala that comes immediately before is substituted by the nasal variety of it over here or with an anusvara on top of it over here. Then this ruh is substituted by a visarga in both the cases also here then this visarga is substituted by sir here as well as here and then this sir is substituted by sir by the application of the sutra stohush chonashchuhu in both the cases and so finally we get agata sun chuh or agata sun chuh sun chuh this is the output generated by the sutra nashchhavya prasan. To summarize this is a unique instance of consonant sandhi where one substitute when in this case ruh or ruh is substituted by two substitutes sir as well as anusvara together and optionally visar as well as anunashika together. This brings us closer to the end of the treatment of hull sandhi in the paninian grammar and in the next lecture we take a recap of the hull sandhi that we have studied so far. Thank you for your patience.