 Welcome, I welcome you all to this lecture in the course, Sandhi in Paninian Grammar. In the previous lecture, we started explaining the aims and objectives of the course and we covered some topics and we also discussed about some of the aims and the objectives of this course. In this lecture, we continue explaining certain other contents of this course and we will also deal with some remaining aims and objectives that we set for ourselves in this particular course. So, this lecture is devoted to the continued discussion on the aims and objectives of this particular course. Like previous lecture, here also we take some data for our analysis purpose and for the explanation of the concepts related to Sandhi and for the contents of this particular course. Here is a very famous verse from Srimad Bhagavad Gita which is often quoted when one wants to explain the concept of Karma Yoga in the Srimad Bhagavad Gita and the verse reads like this. And I will read it slowly for you. So, when this verse is to be analyzed and its meaning is to be determined, the first step that any student of Sanskrit does is to separate the padas which are joined together in the form of this particular verse. And even while pronouncing, we do not pronounce the words separately, we pronounce them together together with the euphonic combinations which are the result of the combinations of these words or padas. In this line, there are some words which are combined together and as a result, some euphonic combinations, some changes in the sounds have happened. And while reading this particular line in a flow as part of the verse, we read this entire line together with these euphonic combinations, together with these changes. Similarly, even here, we do the same thing when in a flow, when we recite the verse, when we pronounce the entire line, we do it with the euphonic combinations, the changes that have happened in the sounds because of the combinations, we utter them together. It is a different matter altogether that while pronouncing this entire line and similar lines and sentences, if we keep in our mind, the constituents of these combinations, it makes the reading far more fruitful. That is a separate matter altogether which we shall discuss later on in the course of this lecture. Suffice it to say that if this is the data and if as a first step towards making the meaning of this particular line, we segment the data into its constituents. As a result, we remove the euphonic combinations, we remove the sentential effects and we separate the words and put them in their own form. Otherwise, by breaking the same line into different constituents, one makes different kinds of meanings and very funny meanings as well. In a very funny anecdote, narrated in one of the Marathi stories, a small boy who listens to this particular verse comes home complaining to his parents as to why they are fighting on account of action on and in between the road because he splits the components of the first line in different ways according to the Marathi samskaras, the Marathi combinations. But when we do the segmentation as far as Sanskrit language is concerned, we get the following constituents. This is how the same verse is segmented into its constituents. If we take a look at the verse quoted in the earlier slide and its analysis provided in the next slide, we could see the difference and on this slide, the letters are marked in red to highlight this particular difference. For example, in this string, these are marked in red. What this amounts to say is that this karmanyavadhika raste is segmented into several constituents and these are the points where the segmentation happens. These are the points where letters are split into different parts and these different parts in fact amount to different segments that are present in the language. For example, karmanyavadhika raste, if we take this particular part, then we see that this karmanyavadhika raste is split into karmanyavadhika and avadhika raste, so karmanyavadhika raste and avadhika raste. Similarly, this vadhika raste, this vadhika raste is split into avadhika raste and avadhika raste. Similarly, this avadhika raste is split into avadhika raste and avadhika raste. Then ma phaleshu kadachana, there is nothing, no segmentation, that is why nothing is shown in red ink. Then once again you have ma karma phala hetur goorma. So, here these three red letters, they are segmented into karma phala hetu one, bhuhu second, once again ma over here. Then sangostva karmany, this sangostva, this is split into sangaha astu and akarmany. So, this ngaha and er, this is the result of o and this stu and er is the result of stva. So, sangostva karmany consists of these three constituents, sangaha astu and akarmany. This is how now you have the constituents of this particular verse with you and it is these combinations which have resulted into these segments, they give us further ground for analyzing these data. After doing this, we will then look for the cases of the words, karmany, eva and so on. We will assign respective cases. In fact, we can also say that the information of the cases also helps us segment these combinations into these manners. But after generally assigning the cases, we then proceed further and bring all the similar cases together, look for the verb and then link different cases with the verb and so on and then we get the meaning of the verse. This is how the meaning of the verse gets made in Sanskrit. As you see, the very first step in this entire very important, very crucial process happens to be the segmentation. Segmentation of one single unit into different units. What do we do exactly? We segment the sounds, the sound combinations into individual sounds. So, this ni is segmented into ni and e, two components. This wa, which is one, is segmented into tu, wa and e. This ste is segmented, which is one, is segmented into rah and te, two components. Similarly, karma phala hetur bhur. This is segmented into hetu hu and bhu hu. Bhur ma, this is segmented into bhu hu and ma. Similarly, this sangostva karmany, this is segmented into sangah astu and akarmany. This is how the segmentation happens. Similarly, now, if the right hand side is a given, if this is the starting point, karmani eva, then the same rules that we noted down while segmenting, they also operate and will then convert these two, karmani plus e into karmani, eva plus e into wa, rah plus te into raste, hetu hu plus bhu hu, hetur bhu hu. Hetu bhu hu plus ma into hetur bhur ma, sangah plus astu as sangostu, sangostu plus akarmany, sangostu akarmany. This is how the sentence can be constructed out of the constituents following the same rules that we noted down while segmenting. In both these processes, we noted that we function as part of certain rules as a system. Now, when we do such analysis, in this particular course, we shall be studying when we do this analysis as well as this generation and study it as part of this course, we also aim to study the rules which help both these processes. The rules are stated by Panini in his own grammar and our aim is to understand also the rules along with these phenomena, these combinations. We have also stated that this final product which is in the form of a combination as far as a verse is concerned, this is made up of these constituents and these constituents although are in the form of sounds, they are not randomly created or generated. There happens to be something strong at the back end which can be considered as the cause for this output, this final sentence production or the sound production and that is at the level of cognition which is also described in the process of speech production described in the Paniniya Shiksha. So, the cognitive level is extremely important and we propose to also provide the cognitive explanation of the Sandhi. These Sandhis we say is part of the Shaptakasha which is located in the intellect and as a result in the intellect when this Sandhi or these combinations are made out of the components which are selected for the expression of the meanings which are part of the Arthakasha then the actual process of the speech production happens and such sounds are produced in these combinations. We will also stress the importance of the factor of Vivaksha namely the desire to speak which plays a very crucial role, a very important role in the overall process of speech production but also in the process of doing the Sandhi which happens only at the end as far as the generation is concerned but which happens at the beginning when the segmentation is concerned. We will also deal with the concept of cognitive Sandhi which is very important where in the cognition the Shaptakasha consists of elements which are joined together which results in the actual speech production in a combined manner. We will also talk about such a Sandhi of cognition which is a very novel concept and unexplored and requires some difficult passages to be also deciphered and interpreted. Similarly there is also the Sandhi of meaning which is playing a pivotal role as far as the Sandhi of the sounds is concerned. We argue that the sounds which undergo certain changes in the actual speech and as we have seen while generating the sounds these changes happen only at the final stage. At the finishing stage of the overall verbal form we also note that the cause of all this particular sound production process happens to be cognition as well as the cognition of the meaning and there is also the Sandhi that is happening in the meaning which is the cause for the result in the form of the combination of the sounds which generate this Sandhi. This cause and effect relationship will also be dealt with in this particular course in some detail. Apart from the cognitive explanation coming back to the sounds that are actually produced, we will also look at the derivation of the sentence which also can be explained cognitively in the form of the derivation of the sentence in the Shaptakasha depending on the Arthakasha as well. The derivation of the sentence will also take into account the compositionality of Artha namely the meaning and Shabda sound and also the Swara. Sandhi which happens only at the last stage of the derivation of the sentence is an indication of the non-compositionality of the unit because when the verse is pronounced when the verse is recited the verse is recited in full flow and considers the entire verse as one unit. In fact, there are several people who recite this particular verse without actually realizing what its constituents are which indicates the non-compositionality of the unit as far as the process of Sandhi is concerned. Sandhi indicates the non-compositionality of the unit. Sandhi also indicates the unit which is over and above its parts. Sandhi is in fact a mark of the unit which is the whole which is over and above its parts. That is what is in fact the true sign of such a whole also known as avayavi in the Sanskrit literature. This is the importance of the Sandhi. So, we will also learn about the derivation process of the sentence and the place of Sandhi in it and how Sandhi is considered as a mark of the avayavi which can be pointed at and can be referred to as the effect of the sentence over and above its parts namely the padas. An important theme in this regard is the concept of Anga as discussed in Paninian grammar and the Sandhi. So, here on an example is given the word Agni is shown here followed by the suffix Am which is the Dvitiya Ekavachana, accusative singular. So, Agni is followed by Am and as a result we get Agnim as the output. So, this E followed by a does not generate the other effects that are stated by some other rules. For example, 6177 says that when E is followed by a E becomes here which we shall mention later on in this lecture. But right now we are saying that this rule 6177 does not function over here rather we are seeing something else. Some peculiar phenomenon is happening over here. In place of this a and this E we see that E is appearing a does not have any effect over here. This is something peculiar to Sanskrit and also is part of the operations that happen on Anga in the boundary of Anga. And so Sandhi and Anga they are interrelated also as part of the sequential application of rules in the Paninian grammar. So, we shall study the relation of operations on Anga and Sandhi. Operations on Anga are being treated as an exception to general Sandhi for which specific rules with specific environments need to be created by Panini. Similarly, Swarra or Accent and Sandhi is an important topic that we shall discuss in this particular course. Once again we take the example of Agni plus Am and this is taken from the very first Racha of the Rig Veda, Agni Mire Purohitam and we have Agni finally Udatt, Antodatt, so E is Anudatt and Am is Anudatt. Now on the basis of the Sandhi that was shown earlier where E and R and the resultant form is E. Similarly, E Udatt and R Anudatt and the resultant form is E Udatt. This is very peculiar and all rule bound. So, Panini had to devise rules to account for the accents. The Swarras on the basis of also the Sandhi. So, Sandhi and Swarra they are interrelated. We shall study this particular aspect in detail in future course of this lecture. We shall study this aspect in detail in the in this particular course. Similarly, the dynamics of the Swarra which is dependent on the accent notably also the Pada accent as well as the Vakya accent will also be studied. Sandhi is an input to Swarra to the derivation of accent which will also become an interesting topic to study. The other important part is the meaning of the Sutras. How to make the meaning of the Sutras dealing with Sandhi? The Adhikara Sutras which deal with Sandhi, what are they? So, Samhita is one such Adhikara Sutra which is stated in 6172 and also 82108 which deal with primarily the Sandhi. We shall study this Adhikara Sutra and the meaning of it and the concept of Samhita in detail. Similarly, the role of Pratyahar in the Sutras dealing with Sandhi is also equally important topic to study. For example, we have Ekoyanachi in which there are 3 Pratyaharas which are used. We shall study this aspect as well and we will also make the meaning of the Sutras. Similarly, the place of Sutras dealing with Sandhi in the Ashtadhyay is also an important topic to study. The sections in which the Sutras dealing with Sandhi are placed, they are in some typical Adhyayas. Some parts of the Sandhi rules they are placed in the Tripadhi which is Asiddha and some part of the Sandhi rules which are placed in the Sapadha Saptadhyayi and this interaction, this needs to be studied closely which we shall do in this course. Significance of the place where these Sutras are mentioned, we shall study it from textual point of view and also from systemic point of view. When the Sutras dealing with some kinds of Sandhi appear in the Tripadhi section in the final three Padas, they are to be operated only at the end. So, what happens to the other Sutras and what is the significance of these Sutras in the Tripadhi section and how do they apply sequentially? These topics will be studied in this particular theme. The evaluation that will be done in this course will be based on these points, three points. Analysis of Sandhi, a particular given text is given and the Sandhi needs to be analyzed. The segmentation is expected following the rules of Sandhi that are learned and then sometimes some components will be provided and evaluation will be based on how the generation is made, generation of the Sandhi is made. Similarly, explanation of Sandhi is also equally important. So, how the phenomenon of Sandhi is explained citing relevant Sutras and quoting relevant derivation process is a matter that needs to be paid attention to. The evaluation will be based on these three key points. To summarize what we have said, Sandhi is a much deeper topic than what it is assumed to be. It is equally serious as other important phenomena in the process of speech production. It can reflect the structure of the sentence derived from typical smaller units. Therefore, understanding of the key terms with respect to Sandhi is very crucial, very important. Also understanding the processes is significant. Better theoretical as well as practical understanding of Sandhi will enhance the competence of understanding of any text composed in Sanskrit and will embed the competence to interpret the text composed in Sanskrit in multiple possible ways as far as the learner is concerned. Thank you.