 Welcome, I welcome you all to this lecture in the course Sandhi in Paninian Grammar. In this lecture, we shall study the technique of Pratyahara in relation with the rearrangement of the sound inventory of Sanskrit that we studied in the previous lectures. So far, we have studied the process of speech production described in the Paninian Grammar, the cognitive stage of this process and then the stage of the external expression of it in the form of the audible speech. We also studied the features of this audible speech as described in the Paninian Shiksha. We also then studied the purpose and the principles of arrangement of sounds in the traditional sound inventory also known as Matraka Patha and we said that the features that we studied they form the basis of Sandhi. It is important for us to study those features in order to better understand what Sandhi is and when a Sandhi takes place and in which environment. In order to describe the Sandhi that happens in the Sanskrit language, Panini has employed the technique of Pratyahara and in order to effectively employ this technique of Pratyahara Panini had to rearrange the traditional sound inventory that we saw earlier. In this lecture, we shall be focusing on this particular theme namely the technique of Pratyahara and rearrangement of the traditional sound inventory. This is the sound inventory that we studied in which these are the vowels A-I-U-Rulu-A-I-O-Au. Then there are consonants, 25 consonants arranged in five rows and five columns. Then we have another set of four consonants here all over, then we have another set of four consonants, sir, sir, sir and her. This is in general the traditional sound inventory. Panini uses Pratyahara technique to represent these sounds so that he can use a small word which captures huge number of data. So what is a Pratyahara? Pratyahara is a technical term used in the Ashtadhyayi to denote a set of sounds undergoing certain grammatical operation and this can be done in a concise manner by using the Pratyahara technique. Panini uses 41 such terms in his Ashtadhyayi and in the entire Paninian grammar. So here are the examples of what Pratyaharas are. Ach is a technical term, ach is a technical term, jhal, jash, jash, ik, yan. All these are the technical terms denoting sets of sounds, different sets of sounds. This small term ach which means all vowels is capable of representing the entire set of vowels. So Panini uses this term in order to describe the sandhi either as a substituent or as an environment, a left hand side environment or the right hand side environment. Similarly, all these other terms also. It is important for us to study how these terms get formed. So they are formed by picking up a final sound which is termed as ith and then placing it in front of us and then selecting any sound previous to it and placing it before the ith and joining both together, this makes a pratyahara. This is how a pratyahara is formed. By picking up a final sound which is termed ith and then placing it in front of us, then selecting any sound which comes previous to it and placing it before this ith and joining both together makes the pratyahara. This is how ach is formed. Procedure is an ith and then a comes before it maybe at some distance and then both these are joined together and the term ach gets formed. This is a pratyahara. This is how the terms are formed. So what is the sutra which describes this particular procedure in the astadhyayi and it is 1171 which is adhiranthena sahita and this sutra contains four words adhihi, anthena, sahah and itha. Adhihi means a beginning sound, anthena means with the final, sahah means together with and itha means with ith. What this sutra means is that together with this ith which is final, the beginning sound makes a pratyahara, makes the term pratyahara as we saw in ach, age, etc. So the next question is what is an ith and the answer is that ith is a marker which has a purely metalinguistic function and it is not part of the object language, it is not used by speakers of Sanskrit. What is the meaning of ith? Ith literally means one who goes away. So which is there as far as metalinguistic description is concerned but when the object language element is derived the metalinguistic element is removed however it is cleverly used to describe certain processes, certain formations and that is the reason why it is primarily called one who goes away ith. So what is an ith and how is it described? This technical term ith is described in the ashtadhyayi from 132 up to 138. We will discuss only one sutra out of this section which is 133 which is relevant for us in order to study how the pratyaharas get formed. That sutra is halantyam. The word ith is continued from the previous sutra and the two words in the sutra are hal and antyam. Hal is a consonant, antyam is final. What this sutra means is that in the meta language a final consonant is termed ith. Any final consonant is termed ith. What does this presuppose? The description of the technique of pratyahara adirantena saheta and the term ith halantyam what does all this presuppose? It presupposes an existing set of sounds which we saw in the form of the traditional sound inventory but arranged in such a manner where at the end of each subset will appear a consonant. So it is not exactly the traditional sound inventory that we saw earlier that this technique of pratyahara presupposes. It presupposes an arrangement in such a manner where at the end of each subset will appear a consonant which can be termed ith which can be then used to formulate the technical terms called pratyahara to denote the set of sounds undergoing a particular grammatical operation. This is what the technique of pratyahara presupposes and so we see that that traditional sound inventory that we saw earlier gets rearranged in this particular way. These are the 14 sutras in which all that we saw earlier is rearranged and I will read these 14 sutras for you all. These are those 14 sutras. These are called pratyahara sutras. Why? Because these are used to form the technique of pratyahara. These are also called as varanah sutra because they enumerate the basic sound. The other name is chaturdasha sutra, the 14 sutras. They are also called shiva sutras as these are considered to have been conceived from the inspiration of God Shiva. And we have a very famous verse described in the Nandikeshvara kashika which says, nrta vasane nataraja rajo nana dhadhakam navapan ca varam uddhartukamas sanakadi siddhan etad vimarshe shiva sutra jalam, the word shiva sutra appears in this verse. Then similarly these 14 sutras are also called Maheshvara sutra or Maheshvara sutra as these were conceived from the inspiration of God Shiva also known as Maheshvara. Now we restate the 14 sutras but on this slide we mark the final consonants in red ink that appear at the end of each and every sutra. So for example nr in the first k, n, ch, t, n, m, y, sh, sh, v, y, r and l. These are the 14 consonants coming at the end of the 14 sutras. Now the sutra 133 said that all these 14 which come at the end of these subsets, 14 sutras they are marked as it. So all these 14 will be marked as it by 133. Then we can pick up any one of them and place it somewhere. Say for example we pick chur and then we pick any sound that comes before this chur. So we pick a and then we place a and chur next to each other and we join them together and we get the form ach, we get the word ach, this is a technical term ach. What does this stand for? This stands for all the elements that come in between a and chur and also a. So all these vowels they are part of ach. One important thing to note here is that the markers, the iths in between they are not part of this pratyahara ach, they are not denoted by the pratyahara ach. This is how these pratyaharas will get formed and we shall see now. If we compare these 14 sutras with the traditional sound inventory, we shall notice the following things. Let us look at the description of the sutras and their correspondence with the traditional sound inventory. So let us look at the first four sutras, ayun, roluk, eong and ayouch. These four sutras consist of vowels arranged in accordance with their places of articulation in the traditional sound inventory in the topmost row. Then when we go to sutras 5 and 6, we note that these sutras are high avarat and land and we note that these two sutras consist of semi-vowels and her and also her. These are mentioned in the two top, two bottom lines in the traditional sound inventory. Then if we go to sutras 7 which is yamangana nam, this sutra consists of nasal consonants which are part of the different classes arranged in rows and columns. These represent different places of articulation. These sounds form the fifth column representing the effort of articulation. So yam belongs to the chair class which is classified in accordance with the place of articulation and this yamangana, if we look at them, they are all forming the fifth column in the traditional sound inventory. Then we go to sutras 8 and 9, jabhai and gharadhas and we note that these two sutras consist of fourth of the class consonants from each of the class which represents the place of articulation and these sounds form the fourth column representing the effort of articulation which we have already studied. Now we go to the description of sutra 10 which is jabhagaradhas. This sutra consists of the third of the class consonants from each of the class representing the place of articulation and these sounds form the third column based on the effort of articulation. Sutras 11 and 12 which are khapa-chathat, chathatav and kapai. In the sutra 11, we note that khapa-chathatav are mentioned in green ink, primarily to distinguish them from the rest five sounds. These two sutras consist of the second and the first of the class consonants from each class. These sounds represent the second and first column representing the effort of articulation khapa-chathatatav and kapai. Then if we go to sutras 13 and 14, shakshasar and hall, we note that these two sutras consist of the sibilant sounds shakshasar and her. So this is how the 14 sutras can be described in correspondence with the traditional sound inventory. Clearly, the traditional sound inventory is rearranged in a particular manner in which there are some differences also, like her appearing twice. The order in which the semi-vowels are placed is different. In the traditional sound inventory, they are mentioned as here-re-re-re, in these 14 sutras, they are mentioned as here-re-re-re. So how to form the pratyahara using these 14 sutras? By picking up a final sound, which is termed as ith and placing it, then selecting any sound previous to it and placing it before the ith sound and joining both of them together and this makes a pratyahara. So for example, we select chir, which comes at the end of sutra number 4 and we place it somewhere, then we select a which comes in the first sutra and place it before chir and join both, so we get ach, ach is a technical term in which chir is ith, chir is a marker. What does ach mean? It means one, all the sounds that come in between a and chir as well as a. This is in accordance with 1171 that we studied in this lecture earlier. It is important to note that this list of sounds does not include the markers or ith sounds that come at the end of the first, second and third sutra. This is not explicitly stated anywhere in the astradhyayi, but this is what is understood in the system and is stated by the later commentators who have commented on the text of astradhyayi which is generally known as the later panemian grammatical tradition. So ach stands for a, i, u, ru, lu, a, o, i and aw which means all vowels put together. How will it be used? If it is observed that any vowel or all vowels are part of a particular grammatical operation and this operation is to be described, panemian will now use the pratyahara ach and depending on the side of environment or being a substitute or substituent, case will be added to the word ach. This is how ach will be used in the description of a particular process, grammatical operation and this will be very effectively used as far as the sandhi description is concerned which we shall study in this particular course. So in this course we will keep confronting with this term ach. When we use the term ach, when we see the term ach we should know that ach stands for a pratyahara which means all vowels. Let us take the second example, how to form the pratyahara by picking up a final sound which is term ith and placing it somewhere and then selecting any sound which is previous to this ith and placing it before this ith and then joining both together that will make a pratyahara. So as a second example, let us select leh which comes at the end of the 14th and the final sutra in the pratyahara sutras and place it somewhere and then select her which comes in the 5th sutra obviously before this leh and place it before leh and then join both of them together and so we get the term hall in which leh is a marker. What does hall mean? Hall means all the sounds that come in between her and leh. They are called hall. This is in accordance with 1171 Adirantena Saheta. This list of sounds does not include the markers ith that come at the end of sutras from 5 to 13. This is not explicitly stated anywhere in the ashtadhyay but is stated by the Panayan grammatical tradition. So an important thing to note over here is that this list does not include the recurrence of vowel er which gets mentioned with each consonant. The mention of er along with each consonant is for the sake of clear comprehension of consonants. So for example, hall stands for her, her, her, her and this means only consonant her, only consonant here, only consonant er and only re and not er which is attached to it. This er is attached to it only for the sake of clear comprehension otherwise it would not be possible for us to comprehend all the consonants distinctly. So hall stands for her, her, her, her, her and her. So in all this pratyahara hall stands for all consonants and how will this be used when observed that any consonant or all consonants are part of a particular grammatical operation which is to be described panini will use the pratyahara hall and depending upon the side of environment or being a substitute or substituent case will be added to hall. And so the pratyahara hall will be used to denote all the consonants. We will also meet this term hall when we describe sandhi. Similarly, let us take another example in forming the pratyahara. So how do we form the pratyahara? Once again by picking up a final sound which is termed it and placing it somewhere then selecting any sound previous to it and placing it before this it sound and joining both of them together and that will make a pratyahara. So we select la once again which comes at the end of the 14 sutra and place it in front of us then instead of selecting her which we did last time we select a which comes in the first sutra and place it before la and then we join both a and la together and we get the term al al in which la is a marker. So how will al be used if it is observed that any sound is part of a particular grammatical operation and it is to be described panini will use the pratyahara al. Now pratyahara al stands for all the sounds that come in between the first and the last sound eventually it means all sounds or any sound together with a which comes in the beginning. So panini will use the pratyahara al in order to describe any sound which is part of a grammatical operation and depending upon the side of environment or being a substitute or the substituent case will be added to al. This term will also keep coming to us when we study sandhi. In fact we will describe sandhi as purely an al vidhi which we shall do later on. Now let us take a look at some important pratyaharas. It is important to note here that pratyaharas is a very important technique which allows panini to describe the process of sandhi in a very brief manner. Now let us see some of the important pratyaharas and what they stand for. So here are the pratyaharas h which stands for a o i and a u. These are part of the sutras 3 and 4. Similarly we have jhal a very important pratyahara used in the ashtadhyayi. So jhal stands for jabha ghadadha, jabha ghadadha, kapha chathatha chathatha, kapha shashashah and her. So sounds mentioned in sutra 8 to 14 are covered by this pratyahar jhal. This pratyahar involves sounds stated in column 4, 3, 2, 1 in the traditional sound inventory plus shashashah and her. Then we have jash with jabha ghadadha, jabha ghadadha part of it. These are mentioned in sutras 8 and 9 in the pratyahara sutras and they correspond with columns 4 and 3 in the traditional sound inventory. Then we have the pratyahara jash which covers the sounds jabha ghadadha, they are mentioned in sutra 9 in the pratyahara sutra and this corresponds with column 3 of the traditional sound inventory. Then we have a very important pratyahara an which stands for a e and o only. There is only one instance in 1169 where it stands for all vowels plus all semi-vowels plus her. So only in 1169 the pratyahara an is formed with the marker an that comes in the sixth sutra lana. Otherwise wherever the pratyahara an is used in the ashtadhyay, this pratyahara is formed always with dana, marker an coming in the first sutra. This is not explicitly stated in the ashtadhyay but once again the paninian grammatical tradition does tell us explicitly about this. Then we have the pratyahara at, at stands for all vowels plus semi-vowels minus l plus her. Her is not a semi-vowel that is why it is stated separately. At stands for all vowels plus semi-vowels minus l that means here r and v, here a lover are the semi-vowels minus l means here r and v. Then we go to am, am stands for all vowels plus all semi-vowels plus her plus all the consonant 5 class 5 consonants. Then we go to the pratyahara ashtadhyay which stands for all vowels plus all the semi-vowels plus her plus consonants 5, 4 and 3 in the traditional sound inventory. Then we go to itch, itch stands for all vowels minus r excluding the first vowel r. Then we go to the pratyahara n, n stands for once again all vowels minus r plus all the semi-vowels and her. This pratyahara n is always formed with the marker n which appears in the sixth sutra and never with the marker n in the first sutra. Once again this is explicitly stated by the Paninian grammatical tradition. Then we have hash which stands for all semi-vowels plus her plus consonants 5, 4 and 3. So hash can be also described in terms of ash minus ach. Then we have here which denotes all consonants minus her. Pratyahara n denotes all consonants minus she, she, she and her. Then we have yam which denotes semi-vowels plus column 5 of the consonants in the traditional sound inventory all the nasals. Then we have wall, wall stands for all consonants minus her. Then we have ral which stands for all consonants minus her and her. Then we have jar having class consonants 4, 3, 2 and 1 plus she, she and her. Then we have jai having class consonants 4, 3, 2 and 1. Then we have jash only class only column 4 of the class consonants. Then we have khar having columns 2 and 1 plus she, she and sir. Then we have khai columns 2 and 1. Then we have char column 1 plus she, she and sir. Then we have char with only she, she and sir and finally shell with she, she, she and her. While describing the contents of these pratyaharas, we have stuck to the notation of the sounds that are found in the pratyaharas sutras. What we mean is that although the consonants are not shown as consonants like this l or r etc, these consonants are shown together with the vowel with an understanding that this vowel is there only for the sake of pronunciation, clear comprehension. This does match with the way in which the sounds are mentioned in the pratyahara sutras. So, please be very sure about this. This is how the pratyaharas are used and these pratyaharas allow panini to describe any operation with respect to these sounds in as brief a manner as possible. To summarize, use of pratyaharas enables the panini and grammar to refer to the set of sounds in as brief a manner as possible. Use of pratyaharas makes the formation of the sandhi rules shorter in size and exhaustive in scope. Several sandhis, their environments, their substituents are described in the panini and grammar by using the technique of pratyaharas. Thank you very much.