 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. Right now we are studying the process of speech production described in the Paninian grammatical tradition and we are studying an important source called Paniniya Shiksha in which this process of speech production is described in the following manner. We studied this source and we noted down the eight stages of the process of speech production. They are first, Atma-Buddhya Samitya Arthaan, second, Mano-Yunkte-Vivaksaya, third, Manah-Kaya-Agnima-Hanti, fourth, Saperayati-Marutam, fifth, Marutastu-Rasicharan-Mandram-Janayati-Svaram, sixth, Sodhirna-Murdhya-Vihata, seventh, Vaktramapady-Marutah and eighth, Varanan-Janayati. Amongst them the first two, Atma-Buddhya Samitya Arthaan and Mano-Yunkte-Vivaksaya, they have been studied in the previous lectures. Now we shall study all the remaining stages. These two stages were studied in detail because they form the core of this entire process of speech production. In fact, the very first stage is also considered to be the cause of this entire process and therefore it is justified for us to spend little more time to understand what these stages actually are. Now the remaining six stages mentioned on this slide, they are actual physical or biological process of speech production. That is the description of the biological and physical process. So we shall study that one by one. Remember that we have already studied these two and the description in these two stages remains in the background as a backbone. So given that these stages are fulfilled now, the process of speech production moves ahead in the third stage, which is Manakaya-Gnima-Hanti. What is this? So Manaha is 1 slash 1 of Manas, Kaya-Gnim is 2 slash 1 of Kaya-Gni and Ahanti is 3 p slash 1 of Ah plus Han to strike. Kaya-Gni consists of two words, Kaya and Agni. Kaya means body, Agni means heat and Kaya-Gni together means the bodily heat. So now what this means is that the mind strikes the bodily heat. So the mind is enjoined with the Vibhaksha, the desire to speak now and now this such a mind will strike the bodily heat. Now the mind enjoined with the Vibhaksha takes the next step and strikes the bodily heat. The point is that if the mind is enjoined with the Vibhaksha then this happens. But if the mind is not enjoined with the Vibhaksha but still the meaning is collected now this process may not happen or should not happen. So once the mind is enjoined with the Vibhaksha once it is decided that the collected meaning is to be expressed then so far the process of speech production which remains unmanifest starts becoming manifest, starts becoming physical, starts becoming biological. So this is the direct effect of the process of the speech production described so far in the cognitive apparatus. The description so far can be considered as preparation for the physical or actual expression of that prepared state. That state will be called the cause whereas now on this will be the effect in terms of the physical production. Similarly that stage will be directly proportional to this physical or biological state our stage the amount of clarity that exists within the earlier cognitive state described before will be proportional to the clarity that exists in this physical state or stage in the process of speech production. Now next, Saperayati Marutham. This kayaagni now Saha is a pronoun one slash one of the Sanskrit pronoun tad meaning he referring here to the kayaagni also referred to in the previous line on the previous stage whereas kayaagni means the bodily heat. Prerayati is 3 p slash 1 of pra as a proverb with eerie as the verbal rule and prerayati means propels and marutham is just 2 slash 1 of marutha meaning the wind. So what it means eventually is that the bodily heat propels the wind. This wind is the breath that is inhaled and it is propelled in the lungs that is the location obviously propelled up. So the first stage in the physical part of the process of speech production is the previous third stage where the mind strikes the bodily heat whereas this bodily heat in its turn propels the wind that is the breath that is inhaled and this propulsion happens in the lungs. So lungs is the location for this. Now marutas turasi charan, mandram janayatis varam. This line consists of following words marutaha is 1 slash 1 meaning the wind, tu is an indeclinable meaning but urasi is 7 slash 1 of uras meaning chest. So urasi means in the chest, charan is 1 slash 1 meaning moving, mandram is 2 slash 1 of mandra meaning base tone, janayati is 3 p slash 1 of jani meaning generates and svaram which is 2 slash 1 of svaram meaning sound. All this put together the line means the wind thus propelled by the kayaagani the bodily heat moving in the chest generates the base tone sound. This is the beginning of the production of speech sound in this process of speech production. So this base tone sound produced in the chest marks the beginning of the further speech sound signals being produced in the oral cavity. So this is the stage which is happening in the chest where a base tone sound is produced using the breath that is inhaled. After this, sodhirno murdhyay hataha this stage happens. In this line, there are following words sahah which is the 1 slash 1 of the pranam tadhi. Now here it indicates maruthaha the wind. udhirnaha 1 slash 1 of udhirna meaning propelled up murdhni is 7 slash 1 of murdhan meaning the roof and avihatha 1 slash 1 of avihatha meaning struck. What this means is the wind after having generated a base tone sound in the chest is propelled further up up the wind pipe and then it strikes the roof of the wind pipe which is linked to the oral cavity. And then vaktram apadhy maruthaha vaktram is 2 slash 1 to the mouth vaktram means mouth apadhyya is derived by adding the suffix here to the verbal root padha with the proverb a which means having reached maruthaha is 1 slash 1 meaning the wind. So this stage means this line means having reached the mouth or the oral cavity inside the mouth. In the previous stage, this wind is propelled further up by the kayagni and then it touches the roof of the wind pipe and from there on it enters the oral cavity from the wind pipe. This is the next stage and finally the last stage namely varnan janayate varnan is 2 slash 3 of varnan meaning the sounds and janayate is 3 p slash 1 of jani which means to generate. So janayate means generates. So in this final stage, the final speech production is completed is described. This stage says that the sounds are generated and this is where the process of speech production comes to an end and the produced sounds they enter the ears of the listener, hearer and then they generate the meaning and convey the signal convey the meaning load the speaker had put in those sound signals. So generates the speech sounds that seems to be the literal meaning of these words who generates it is the marutaha which generates and obviously it is the atma who generates thus going through this particular process the speech sounds. This is what is the process of speech production in a nutshell. To summarize this entire process, we can say that the first two stages are internal cognitive stages atma buddhya samet tyarthan as well as mano yungte vibhaksaya and they can be called as the cause of this entire process of speech production. Remaining ones starting from manakaya aganima hanti onwards up to varnan janayate they are the physical or the biological stages involving various physical and biological entities like the wind gained through breath, bodily heat, chest, roof of the wind pipe and oral cavity etc. One thing to be noted over here is that throughout this physical or biological process the internal cognitive process holds itself together. That is the backbone of this entire physical process. That is in fact the cause of this physical process. Clarity in that stage the cognitive stage causes clarity in direct proportion in the physical speech production. Confusion in that stage may cause confusion in direct proportion in the physical speech production of that particular individual. However one needs to take care at the level of cognition to have clarity which will then get reflected in the speech signals that are produced. So if one wants to improve one's speech one should pay attention primarily to the level of the cognition in which the meanings get collected. If that becomes clear then things will fall in place they will ensue and clarity will be visible also in the auditory part of the speech. Now we can also show this entire process diagrammatically in this particular fashion. Here is the arthakasha and shabdakasha the internal world of the speaker which consists of atma having collected the arthas through the buddhi and then and joining the mind through by vivakasha and then the mind strikes the kayaagani which then propels the maruta in the uras and then it is propelled further in the vaktra the face or the oral cavity wherein there is some processing done on it and then it generates the sound. But remember all this process that happens in the vaktra or the face or the oral cavity they that is all programmed at this level and all these stages they are the intermediary stages they are simply carrying forward the programming that happened at this level to this external most stage of the oral cavity which then generates the sound and this is your audible sound. So this is the diagrammatically representation of what is arthakasha. There are several items which are part of the arthakasha and this arthakasha is part of the intellect. Similarly the same intellectual space is also divided into shabdakasha there is arthakasha and there is shabdakasha and there are some links between these two. There are these links between arthakasha and shabdakasha and they play a crucial role an important role and it is these arthakasha parts and the parts of the shabdakasha then which are also linked to the objects in the world primarily through the arthakasha. So objects which are part of arthakasha they are also linked to the objects in the external world and then the words and meanings are associated with the objects in the external world together. The shabdakasha and the arthakasha that exists in the intellect they are also interrelated with the objects in the external world but remember that we are dealing primarily when we deal with the process of speech production with this internal shabdakasha and arthakasha and not these external they cannot be processed they have to be processed in this fashion they have to be processed as shabdakasha and arthakasha. The process of speech production and the cognitive stage and vivaksha also involves the sentence formation the sentence that gets formed as pramogramam gachhati. So here you have grammar, grammar and gum as part of the shabdakasha which is linked with the arthakasha then gets formed in the manner of a sentence right in the shabdakasha expressing the arthakasha which can be once again described in this particular manner. So when the atma collects the meaning through buddhi he collects the root meanings and the termination meanings and then this propels the vivaksha in which the group of roots and terminations which are part of the shabdakasha are also made part of and then finally the manas and kayaagani etc they are also made part of this particular process and finally it comes to the level of vaktra where the series of words or sentences they get produced. So this is the auditory perception this is not the auditory perception the intellectual and the cognitive plane works over here as the cause in this particular manner similarly the concept of compatibility congruity or yogita also plays an important role in the shabdakasha as well as arthakasha. So for example the word pakshi is linked with uddi namely to fly and manava which means a human being is not linked directly with uddi or to fly. So when we say we fly we know that we are not actually flying when we say I am flying tomorrow to New Delhi we know that I am not actually flying like a bird. So then what is meant here is that I am going to sit in a plane which is inanimate but it can be flown using some kind of fuel. So in fact that action is going to happen and what I am referring to when I utter the sentence I am going to fly tomorrow to New Delhi is particularly this reference that I am going to sit in a plane which is going to fly which is going to be run by an individual which we are going to call as the action of flying. Similarly the arthakasha and the shabdakasha also consist of the polysemous words and meanings which are expressed by different words. For example hari he shashakam bhakshayati in this sentence hari he is a polysemous word because hari stands for a god or a monkey and also a lion whereas shashaka means a rabbit and bhakshayati means to eat. So hari in as part of the shabdakasha is linked to several items in the arthakasha which creates confusion which creates ambiguity and there are mechanisms suggested in the literature the traditional literature as well which indicate the ways in which this ambiguity can be resolved with the way in which the disambiguity is achieved. So polysemous words are indeed part of the shabdakasha linked to various parts of the arthakasha. So the sentence hari he shashakam bhakshayati which means a lion eats a rabbit that is clear as far as the arthakasha of the individual is concerned which undergoes this particular process described just now. So to summarize we can say that this process of speech production described now involves the cognitive process and the physical process and the cognitive process plays a very important role that of a cause of the effect in the form of the physical process. This is what we tried to explain in this lecture also through the diagrammatic representation. Now coming to the close of this lecture we recite as is our practice the Mangalacharana today it is taken from a very important work of Bhattu Jidikshita called Vaya Karana Maton Majjana Karika. And this Mangalacharana is I repeat this is from Vaya Karana Maton Majjana Karika. And we end today's lecture with the five sutras today taken from 4.2. They are Tenaraktam Raghat Laksharocanath Thak Nakshatrenayukthakalaha Lubavisheshre and I repeat Tenaraktam Raghat Laksharocanath Thak Nakshatrenayukthakalaha Lubavisheshre and Soudnyayam Sravanasvathabhyam. And now we shall study some specific terminology which describes the features of sounds that are thus produced in the process of speech production in the next lecture. Thank you for your attention.