 Welcome. I welcome you all to this lecture in the course, Samas in Paninian Grammar. We begin with the Mangala Charana. In this lecture, we shall study the cognitive explanation of the production or generation of the Samasa. We study the source called Paninian Shiksha which describes the process of speech production according to the Paninian Grammar. The source of Paninian Shiksha is the following. In these verses, taken from the Paninian Shiksha, following eight stages of speech production can be noted down. And they are first, Atma-Buddhya-Sametyaarthaan. Second, Mano-Yunkte-Vivaksaya. Third, Manakayagni-Mahanti. Fourth, Saprera-Yati-Marutam. Fifth, Marutas-Turasi-Charan-Mandram-Janayati-Svaram. Sixth, Sodhirna-Murdhivihata. Seventh, Vaktramapadyamaratah. And eighth, Varnan-Janayate. These are the eight stages of speech production as stated by the Paninian Shiksha which we saw earlier. Amongst these, the first two, namely Atma-Buddhya-Sametyaarthaan and Mano-Yunkte-Vivaksaya. Atma-Buddhya-Sametyaarthaan and Mano-Yunkte-Vivaksaya. These two initial stages, they describe the cognitive part of this process of speech production. And the third stage onwards, namely, Manakayagni-Mahanti onwards up to Varnan-Janayate is the physical process of speech production. And the final output of this particular process of speech production is described in the eighth stage which says Varnan-Janayate. The audible speech sounds are produced through the oral cavity. So, Atma-Buddhya-Sametyaarthaan, the cognitive stage at one end and Varnan-Janayate, the production of the audible speech at the outer other end. In these two ends, the process of speech production is described. So, we can say that Atma-Buddhya-Sametyaarthaan is the causal state of the process of speech production and Varnan-Janayate is the effect of this particular entire process. So, let us study this first very crucial, very important stage in little bit of detail. This stage is Atma-Buddhya-Sametyaarthaan. In this particular part of the shloka, there are four words, Atma-Buddhya-Sametya and Arthaan. Atma is soul, atman and the essential feature of this is that it is cetana, it is animate. The second word is buddhya, which is the instrumental singular of buddhi, which is an intellect. So, buddhya means by the intellect. The next word is Sametya, this is a compound of sum plus r plus e after having collected together sum plus r and e and the suffix lep. So, Sametya means having made to go together, literally, or having collected. Artha is meaning and Arthaan is the acquisitive diva of Artha, literally means to the meanings. So, having put all these meanings together, we get the meaning of this particular statement, namely soul, having collected the meanings together, starts the next process. So, in this stage, it is assumed that there is a soul and this soul collects the meanings together by the intellect. So, this soul has got intellect as the most effective instrument and with the help of this particular instrument, the soul collects the meanings together. Obviously, in order to communicate something and then obviously, starts the physical process after the vivakasha comes in the next stage and then finally, the audible speech is produced. This entire process together with the concept of compositionality can be shown in the form of a diagram in this particular manner. This is obviously speech production from the point of view of a speaker. So, we are talking about the speech in terms of Sanskrit language, which is produced by a speaker and this can also be generalized to any language with modifications with respect to certain details. So, this is the cognitive apparatus and cognitive stage. This cognitive apparatus consists of two elements. One is Artha kasha and the other one is Shabda kasha. This Artha kasha consists of three kinds of Arthas. One are the lexical meaning, then the second one is the relational meaning and obviously, the meaning that is arrived at because of the co-occurrence of several meanings. So, this is all part of Artha kasha. The lexical meaning is further classified under two headings, verbal meaning, action meaning and nominal meaning. The relational meaning is once again classified into two groups broadly, the relationship of verb and noun and the relationship of noun and noun. Now, this Artha kasha is what is referred to in the line that we studied earlier. So, these are the meanings that are chosen out of the lexicon and also the lexicon of the relational meanings. And so we have lexical meaning and relational meaning in place. This is Artha kasha that is ready now. Now, this also assumes the selection of Shabdas in Shabda kasha in correspondence with this Artha kasha. So, in the Shabda kasha, the lexical items get selected. So, in correspondence with the verbal meaning, the verbal lexical item will get selected in correspondence with the nominal meaning, the nominal lexical item gets selected. As far as the relational meaning is concerned, in correspondence with the verb noun meaning relation, the relations suffixes, the words which indicate those relations, namely the verb noun relations are selected. And in order to express the in correspondence with the noun noun meaning, the noun noun relational suffixes are selected. And obviously, the co-occurrence which generates the additional meanings also is corresponded with the co-occurrence of the words placed in combination with one another. So, this is the stage of Arshabda kasha and Artha kasha. Artha kasha is the primary stage on the basis of which Shabda kasha comes into play and then the cognitive stage is complete which then gives rise to the physical process of speech production. And then this cognitive apparatus produces the audible speech of this kind and this speech also has got correspondence with the three items that we noted down in both Shabda kasha and Artha kasha. So, the lexical items which are infinite in nature, they are depicted through the blue lines over here and they are also referred to as R1, R2 and R3. They always occupy the left hand side position with reference to the plus sign. Then we have the relational suffixes which are shown by green lines and termed as T1, R stands for root, T stands for termination suffix. So, T1, T2 and T3, these are finite in numbers. And then we have the co-occurrence which is also expressed through finite elements and these are the two plus signs shown in a different color. So, these are the elements and once the cognitive apparatus through Shabda kasha and Artha kasha plays an important role and this process is ready the audible speech gets produced. This is from the point of view of the speaker. Such a produced speech which is audible now generates an effect in the cognitive apparatus of the hearer. And this is the diagram which shows the process of speech production from the hearer's point of view. So, the speech is audible right now and this audible speech goes back to the Shabda kasha. So, the R1, R2 and R3 these three Rs which are in finite correspond to the Shabda kasha which is of lexical items verbal as well as nominal in the cognitive apparatus. And the finite terminations they go to the relation suffixes in the Shabda kasha which is corresponded with the Artha kasha. And obviously the two plus signs which indicate the combination of this particular speech they also are associated with the co-occurrence which is part of the Shabda kasha. Now, once this Shabda kasha in the cognitive apparatus is arisen then this Shabda kasha leads to the Artha kasha to come into a shape in the form of the lexical meaning corresponding with the lexical items in the Shabda kasha. Relational meaning in the in correspondence with the relation suffixes in the Shabda kasha. And of course the additional meaning that comes into being because of the co-occurrence of the meaning which is directly proportionate and corresponding to the co-occurrence of the verbal elements in the Shabda kasha. And then this is where the process of speech production as far as hearer's point of view can be ideally said to be complete. So, this Artha kasha in this case becomes the end point and the audible speech becomes the starting point. In another way we can say that the audible speech becomes the cause and the Artha kasha and its arising becomes the effect of this particular process. The correlation of Artha kasha and Shabda kasha in popularly known terms can be shown in the following manner. So, Artha Sangraha is part of the Artha kasha and Vakya is what corresponds to it as far as Shabda kasha is concerned. Artha Vigraha is part of the Artha kasha corresponding to it is Padha which is part of the Shabda kasha. And Artha Graha both these correspond to Prakriti and Pratyayya. This is the correlation of Artha kasha and Shabda kasha. Here are the examples of this particular correlation. Artha Sangraha is the part of the Artha kasha where Rama goes to a village is an Artha is a meaning and this is one unit shown by the brackets. Then this bracket is further divided which is called Artha Vigraha. And then we have doer Rama as a unit of the Artha object village another unit of the Artha and the action of going in the present tense whose agent is third person singular is another Artha. So, this is the Artha Vigraha and then finally, we get the Artha Graha in terms of Rama village object action of going present tense agent third person and singular. All these are the parts of the Artha Graha parts of the Artha kasha. Correspondingly, we have the sentence corresponding to Rama goes to a village Ramogramam Gacchati. Then corresponding to this Artha Vigraha, we have the padhas Ramaha, Gramam and Gacchati. And corresponding to the Artha Graha, we have Prakriti Pratyayas namely Rama Su, Gramam, Gama and Ti. So, this is how the correlation can be explained correlation between the Artha kasha and the Shabdha kasha with a particular example. The sentence such the sentence produced thus can be shown in the form of an equation in this particular manner. So, we have RP plus PT and then there are these three numbers 1 to 3. Then we have RP plus PT 4 to 21 and then of course, we have RV plus OS plus VT 1 to 18. This is the very basic skeleton of the sentence. This is the sentence structure of Sanskrit where R stands for root, P small stands for Pratipradika which is a nominal root, T capital stands for termination, V small stands for a verbal root namely Dhatu, OS stands for other suffix. So, here we have RP that is a root in the form of a Pratipradika, PT the termination that is added to a Pratipradika and this has to be the first three elements out of 21. This is part of the first word plus RP that is a Pratipradika plus PT the termination added to a Pratipradika and this is numbered from 4 to 21 and then we should have RV that is verbal root plus another suffix plus the verbal termination any of the 18 termination 1 to 18. So, this is part of one structure. Same thing can be said with reference to 1A where the order is changed. So, the same elements within the brackets can be placed in different locations. However, the overall interrelation between the brackets remains intact. So, we can have RV plus OS plus VT 1 to 18 in this location which was occupied by something else earlier and then the rest up follows. So, this is one structure of Sanskrit sentence. The second structure is RP plus PT and now we have only two words in this sentence and the second word obviously is RV plus OS and this OS has to be year plus VT and only 9 to 18 suffixes are allowed over here. And this can be further explained in 2A as the order that is changed namely RV plus OS that is year and plus VT that is 9 to 18 and RP plus PT namely 4 to 6. This is the general skeleton of the Sanskrit sentence structure. This can be rewritten using several other elements in the following manner. We can also have further derivations involving the Pratipadika root and we can have RP which is made up of RV plus K. So, verbal root plus a suffix called K that is gradant plus PT as usual and RP which is made up of RP plus TA termination A. And then we also have PT which is what was there earlier plus RV and there are 2000 verbal roots approximately. So, from 1 to 2000 plus OS plus VT and 1A shows the change of location of these elements otherwise it is all the more same. Similarly, we can write the second sentence structure in this particular format RP plus PT 4 to 6 and then RV plus OS plus VT 9 to 18 and we can also change the order of the words. This is how the sentence structure can be rewritten. There is one more sentence structure which can also be written in this particular manner. In the rewritten sentence structure what we note is that the root Pratipadika is further derivable and right now we show that this root Pratipadika is derived from a verbal root and this root Pratipadika is derived from a nominal root that is another Pratipadika after we add a particular suffix to it. Now, what is the status of a samasa in all this sentence structure? If we go back to the rewritten sentence structure we can say that samasa can come over here where you have RP plus I am sorry. So, we can say that samasa can come here where you have RP which is derived from two such RP plus TAs. RP plus TA and RP plus TB and that will give you one RP to which you add another termination to make a further and same thing can apply in all locations. This is what is the status of samasa in this particular rewritten sentence structure. We can in a nutshell say that samasa is like a sentence. Samasa is not a sentence it is like a sentence. Why it is like a sentence? Because the meaning is like artha sangraha, the collection of meanings, the combination of the padarthas and also the padarthas are the inputs of samasa and padarthas are an input to the vakyartha. Similarly, in a sentence padarthas are the input so also in samasa padarthas are the input. And of course the word form root that is the pratipadika that is the output where the samasa is different than a sentence. Now when we dissolve a samasa we do artha vigraha and then we go to the stage of the padarthas which are interrelated. So invariably when we do the artha vigraha we obviously go to the padarthas which are part of the sentence. Now this artha vigraha is also referred to as vyasa. Vyasa is derived by adding the suffix a to the verbal root asa with the preverb v indicating the separation or the segregation. Remember the word samasa is also derived from the verbal root asa with the suffix a with the preverb sam which indicates the collective throwing whereas v asa indicates the throwing which is separate which is independent. That is what is vigraha and that is what is vyasa and that is what is opposed to what is known as samasa. So we observe here that the decision to combine certain meaning elements to form one sentence meaning is taken by the speaker of the particular language. Now this decision and the combination of certain meanings this is all part of the artha kasha. Corresponding to this artha kasha the decision to combine certain verbal elements to form one sentence corresponding to the sentence meaning is further taken by the same speaker. This is part of the shabdakasha all these verbal elements. According to this decision of the speaker certain meaning elements and corresponding verbal elements remain interconnected. Such interconnected meaning elements are further merged into each other and one unit is formed as per the decision of the speaker which is also part of the artha kasha. And then such corresponding interconnected verbal elements remember earlier we had interconnected meanings as far as artha kasha is concerned now we have interconnected verbal elements which are part of the shabdakasha. So such corresponding interconnected verbal elements are further merged into each other and one unit is formed as per the decision of the speaker this is part of the shabdakasha. Samasa and samasa artha meaning of the samasa are linked to vakya and vakya artha in the respective parts of artha kasha as well as shabdakasha. To conclude we can say that the cognitive stage acts as the cause for the audible speech units to be produced collectively and the process of samasa. By default meaning and verbal form of the samasa are linked to the vakya and vakya artha in the shabdakasha and the respective vakya artha in the artha kasha. We also can posit concepts samasa and sangraha as one pair in contrast with vyas and vigraha as another pair. We already know the word samasa we already know the word vyas we already know the word vigraha what we discovered is the word sangraha corresponding to vigraha. So vigraha means the separated grasping literally separated cognition and sangraha means collected cognition or collective cognition. Vyas means the separated throwing out that is pronunciation samasa is integrated or collective pronunciation. Samasa and vyas refer to the verbal part of the process of speech production whereas sangraha and vigraha highlight the cognitive part in the process of speech production which captures both meaning as well as the verbal elements. It is extremely important that we note down these terms samasa and sangraha vyas and vigraha. Samasa and vigraha are very much interlinked and we have been studying the vigraha or the resolution of samasa right from the school days in India. We also come across the term vyas in the grammatical literature in contrast to samasa. We must note the concept of sangraha in this particular manner which is in contrast with vigraha. This also has got an interlinkage with the general notion of grahyatva and grahakattva as far as the word and the meaning are concerned. Samasa's son stated by Bharatri Hari in his magnum opus vakya padiyya where he says grahyatvam grahakattvam ca dveshakti tejaso yatha tathaiva sarvasabdhanam eteprthak avasthite. But we shall talk about this later on. Right now we conclude this lecture by saying that samasa and sangraha and vyas and vigraha are the terms which can be positive. In contrast with one another. These are the texts that we are referring and we shall be referring. Thank you for your patience.