 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course on Samasa. As is our practice, we begin our lecture with the recitation of the Mangala Charana. In this course, we are focused on the Tattpurusha Samasa, and we have seen several features of the Tattpurusha Samasa. We said that there are four types of Samasa in Sanskrit. A Vyaibhava, Tattpurusha, Bahubrihi and Dhvandva stated in this particular order in the Ashtadhyayi, the core text of Paninian Grammar and also the Paninian Grammatical Tradition. We said that Anini has composed a number of sutras in order to explain the features of the Tattpurusha Samasa in comparison with the sutras he has composed to explain the features of other Samasas. Tattpurusha Samasa also has got quite a lot of varieties, subtypes, Vibhakti Tattpurusha, Karma Dharaya, Ekadeshi, Samasa, Nayat Tattpurusha, Gatti Tattpurusha as well as Upapada Tattpurusha. And we have already studied these types of Tattpurusha Samasa in some detail. We have also studied the process of derivation of the Samasa, where the Laukika Vigraha Vakya plays a very crucial role as it shows us the interrelatedness between the padas. Vyapeksha Lakshana Samarthya, namely Samprekshitartha and Sambaddhartha. And then the process of compounding begins where we have Alawika Vigraha Vakya, after which a Samasanta Pratyayaya is added. Then Subaluk takes place, Purvapada Karya in the form of Pumbhadbhava or other morphological modifications etc. takes place. And then Swara Karya also takes place, Accent-related operation. In this particular lecture, we shall focus on the Swara Karya or Accent-related operation. In Paninyan Grammar, compositionality works also in the process of compounding. In the Paninyan Grammar, the compositionality works at three levels, Artha, Shabdha as well as Swara. In the other course, Introduction to Paninyan Grammar, we have shown that the compositionality of Artha, Shabdha and Swara work in correspondence. The compositionality of Artha and the compositionality of Shabdha and the compositionality of Swara are all interrelated. So, the compositionality of Swara or Accent also continues to work in the process of compounding. So, if X and Y are two separate and independent elements in a sentence, however they are interrelated. They are independent and separate because of three factors, we have constantly been saying this, Artha, Shabdha as well as Swara. Each one has got these three features, but they are interrelated and on the basis of the interrelation, if the speaker of Sanskrit decides to merge these units together and form one unit as an output, now the features change and now there aren't two features independent and separate, but there is only one feature. There is only one unit and this one unit will get the Swara, the Shabdha and the Padha in that reverse order, the features. So, Aika Artha, Aika Padya and Aika Swara here, these are the three features that will be the features of X, Y as one unit. So, accents of constituents are taken into account while deciding about the accent of the newly formed merged unit. And in the process of merging, only one of them is retained as the accent of the newly formed or newly merged unit. Now by default, the accent of the semantic head should be retained, that seems logical, but we see that this principle is followed somewhat loosely by the speakers of Sanskrit. There are several exceptions where the semantic non-head also retains the accent as far as the Samasa is concerned. Let us study this Sutra, 61223, Samasa Shiv, meaning the final vowel in the compound is accented. This is the by default rule, it means I repeat the final vowel in the compound is accented. This is also an Adhikara Sutra, which governs the entire 6.2. Mind you, this is the last Sutra in 6.1, so it governs the entire 6.2. So, in a nutshell we can say that the accent on compounds is stated in 6.2. And this Sutra, Samasa Shiv, which means that the final vowel in the compound is accented is the only Sutra in 6.1, 223 that deals with the accent of Samasa. But this is a very general, very broad Sutra applicable to even the Takpurusha Samasa. So, here is a concrete example, but before going further, we would like to go through the markings of the accent and the accent overall. So, when we say that the compound is accented, what we are referring to is the Udatt accent in the compound. As is made clear in the other course, there are three swaras, which are talked about in the Padangyan Grammar, Udatt, Anadatt and Swarita in the present context. Now, following the generally acceptable Rig Vedic practice, we also mark the Udatt without any sign. So, in Rajapurusha Gacchati, this show does not have any sign, whereas the rest each and every vowel has got a horizontal bar below. So, the one which is unmarked is An Udatt, Rajapurusha Gacchati. This is an unmarked. This G has got a vowel, which is Anudatt, but this Anudatt comes immediately after an Udatt and therefore, this is shown as Swarita with a vertical bar on top. The rest are Anudattas, which are shown with a horizontal bar below. And so, all these four, they are shown to be the Anudattas. Now, if we go to the Laukika Vigraha Vakya, Rajnapurusha Gacchati, we see that there are two words, Radnaha and Purushaha, which are semantically linked. But they do have their independent separate status. And as is clear, Radnaha has got Ra unmarked and in Purushaha, who is unmarked as well as show is unmarked. Now, in Radnaha, Ra is unmarked, which indicates that this Ra is the Udattasvara. Naha is marked as Anudattas, but that is primarily because Radnaha is immediately followed by Purushau, in which Pu is Udattas. So, an Udattavabel is always preceded by an Anudattamarking and Anudattavabel. And therefore, in Radnaha, even though Ra is Udattas and Anudattadnya therefore should become a Swarita, because Pu which follows is an Udattas. So, Dnya is shown as Anudattas and not a Swarita. And that is why Radnaha has got these peculiar accent markings, Ra as Udattas and Dnaha as Anudattas. In Purushau, Pu is marked without any sign and show is also marked without any sign. Now, show comes immediately after the vertical bar which is the sign of a Swarita. And therefore, show is also an Anudattas, which is unmarked. But Pu is marked as Udattas and so there is no sign primarily because it is preceded by an Anudattas and it is followed by an Anudattas which is converted into a Swarita. And there are Sutras on the basis of which all these modifications do happen. The one thumb rule that we follow is that Anudattam padam ekavarjam. In one unit of a padha, there is one Udattas. So, the rest is Anudattas. The Anudattas that precedes is shown with the horizontal bar below the letter. And the Anudattas that follows gets converted into a Swarita which is shown with the vertical bar on top of the letter. The Anudattas that follow the Swarita in this manner are not given any mark and they are left without any mark as such. So, in the sentence Raghna Purusha Gacchati, which is the Laukika Vigraha, Pu is the final Udattas in the entire sentence. And therefore, Ruh which is an Anudattas that comes immediately after the Udattas is marked as Swarita. After that Sho is Anudattas and Gacchati has got all the three vowels marked as Anudattas. And therefore, now Gacchati remains unmarked, Sho also remains unmarked. So, there are four Anudattas that follow a Swarita. All this is very pertinent in understanding the accent of the Samasa. So, in this case Raghna Purusha Gacchati where we have Raghna plus Purusha plus Gacchati and where we have Raghna plus Nis plus Purusha plus Su and Raghna as a Prathipadika is also shown with the marking of the accent where Ra is Udattas and Juh is Anudattas that follows Anudattas. So, Juh is shown with the vertical bar on top. So, Raghna has got Ra Udattas and Purusha has got Pu Udattas and Ruh as Swarita. So, Raghna plus Nis plus Purusha plus Su, the Samasa takes place. So, the Prathipadika Saudnya takes place. Supadhatu Prathipadika jo applies. So, we have Raghna plus Zero plus Purusha plus Zero. So, Raghna plus Purusha. Now, Nuh at the end of Raghna is deleted and so we have Raghna Purusha. Now, when Raghna and Purusha are merged together, obviously Purusha which is the semantic head is expected otherwise to retain its accent. But now, Samasa here comes into play and says that do the final vowel of this Samasa accented. That means do the Udattas on the final vowel of this Samasa and therefore in Raghna Purusha at the end of Raghna Purusha is accented. Everything else becomes Anodattas. So, all the four vowels that precede they are shown to be Anodattas. And therefore, when we add the Supratya after the Prathipadika Raghna Purusha and then Supratya has got no accent at all. So, we have Raghna Purusha with the final vowel accented and Gacchati has got no vowel accented. And therefore, when Gacchati comes immediately after Raghna Purusha that G which is an Anodattas is converted into a Swarita. This is how Samasa Shriya works and this is how the accentuation within a compound will work. So, Samasa Shriya overrides the general thumb rules and the final vowel becomes accented in Raghna Purusha. Similarly, Nadyaha Ghoshaha the sound of the river. And so, we have Nadi plus Gnas plus Ghoshha plus Su, Nadyaha Ghoshaha. So, Nadyaha has got no as Anodattas marked. Dhyaha is not marked and that is conveying us that Dhyaha is Udattas. In Ghoshaha, Gho is not marked. Sher is marked with a vertical bar on top. So, Sher is the Swarita and so, Gho is the Udattas. So now, in Nadyaha Ghoshaha, we have Nadi plus Gnas plus Ghoshha plus Su as the Alawkika Vigraha. So, Samasa Shriya takes place. Pratipadika Shriya takes place. Supodhatu Pratipadika joha applies. So, we have Nadi plus Ghoshha. Nadi is finally accented that means the final E is Udattas and so, it is unmarked and preceded by an Anodattas shown with a horizontal bar below. Ghoshha has got initial accent which means the initial O is Udattas. So, Sher is Anodattas but because this Anodattas follows an Udattas. So, it becomes a Swarita, Ghoshha. Now, when the Samasa happens, the Sutra Samasa Shriya comes into play and declares that the word Nadi Ghoshha will have the final vowel namely a in Sher accented. And so, all the other vowels are shown to be Anodattas with a horizontal bar below each and every letter. This is how the Sutra Samasa Shriya works and overrides the accent available through the thumb rule. Now, with regards to the accent of the Purusha Samasa, it is important for us to study this one Sutra. There are many Sutras and we won't be able to cover all the Sutras in this course. It may require a separate course to deal with the accents as that is a very complicated matter, subject matter for study. However, in this course we shall study this one particular Sutra related to the accent of the Tat Purusha Samasa. This is 6-2-2. And the Sutra reads, I repeat Tat Purusha I repeat Tat Purusha Now, in this Sutra there are two padas. Tat Purusha is 7 slash 1, which means in the Tat Purusha compound. is one slash three. Words continued are Purva Padam, the first member of the compound, and also Prakritya. Prakritya means by its own form. So the meaning of the sutra is the following. In the Tattpurusha compound, the first member which is Tulyartha, etc. up to Kritya remains by nature, which means retains its accent as the accent of the finally derived compound output. I repeat, in the Tattpurusha compound, the first member which is Tulyartha up to Kritya remains by nature, that means it retains its accent as the accent of the compound. So Tulyartha up to Kritya, these are the Purva Padas and the Uttarapada is not mentioned, and in this case the accent of Tulyartha up to Kritya is retained, and this becomes the accent of the entire Samasa, which is an exception to Samasa's year 61223, which states that the final vowel of the compound gets accented. Now let us study the environments stated in 6.2.2 one by one and look at the examples. First one is Tulyartha, in the sense of similar. This word Tulyartha is referring to the Samasa prescribed by the sutra Kritya Tulayakhya Ajatya 2168. This sutra prescribes the Karma Dharaya Samasa. So we have the examples Tuliyashweta. So here we have Tuliyar as one word and Shweta as the other word, both having independent accents, and by Samasa's year the vowel Aintah, Inshweta would get accented, but 622 says that Tuliyartha will retain its own accent and that will be the accent of the Samasa. So Tuliyartha is initially accented, which means that 2 is not marked. Liyartha is the Anudattha, the remaining one, and this Anudattha is coming immediately after an Udattha, therefore it is marked as Swarita with a vertical bar on top of the letter. And now this Udattha, which is 2, this becomes the Udhsvara of the entire Samasa. So all the other vowels become Anudattha. Now when all of them become Anudattha, Shweta and Tha has got two vowels, which come after the Swarita mentioned on Liyartha and therefore they are unmarked. Now Tuliyasweta has got two as Anudattha, Liyartha as the Swarita, Shwayantah as the Anudattha unmarked. Tuliyasweta and similar is the case with Tuliyalohita and also Tuliyamahan. Now in the word Sadrukshweta, the initial vowel is accented. So we have Sir unmarked and Druk becomes Anudattha. So Dhru is an Anudattha. But this Ruh comes immediately after an Udattha, therefore it is converted into a Swarita and a vertical bar is given on top of Dhru. Now when this is joined with Shweta, the accent of Sadruk is retained, which is the initial accent, initial Udattha vowel. And so Sadrukshweta has got the initial vowel Udattha and therefore everything else is Anudattha. And now Dhru, which comes immediately after Sir, gets converted into a Swarita. But A in Shway and A in Th remains Anudattha. However these two Anudatthas are following a Swarita and therefore these two Anudatthas, they also remain unmarked. But they are Anudatthas. As far as the word Sadrukshweta is concerned, the vowel Dhru is Udattha and therefore in Sadrukshu, Sir is Anudattha and Sir is Anudattha. Now the Anudattha that precedes this Udattha Ruh is marked with the horizontal bar below. So Sir is Anudattha and Sir, which follows the Udattha Ruh, is shown with the vertical bar on top. So in Sadrukshu, Sir is Anudattha, Ruh is Udattha and Sir is Swarita. Now this Sutra 622 says that in Sadrukshasweta, the accent of Sadrukshu will retain its own form and so the accent of Sadrukshu will become the accent of the compound Sadrukshashweta. So in Sadrukshashweta, Ruh remains Udattha and everything else becomes Anudattha. Now Swetha has got both the vowels which are now Anudatthas. However they are following a Swarita and therefore they remain unmarked. Similar is the case with the next condition, Truthiya. So Truthiya refers to the words ending in the third triplet and the compound is prescribed by the Sutra, Truthiya, Tadkritarthena, Gunabacanena, 2130. And in this case, Shankula Khandaha is the output but this Shankula Khandaha will retain the accent of Shankula which is the final vowel A being Udattha. And so everything else becomes Anudattha. So Shanku and Kuh, these two elements have got A and U as vowels. They are Anudatthas, Kha and A. They are also Kha and D. They also have vowels A, A. They are also Anudatthas. But the vowels that precede the Udattha, they are marked with the horizontal bar below and the vowel which is Anudattha, which comes immediately after the Udattha is marked with the vertical bar on top. And so in Shankula Khandaha, you have A as Udattha, A and U as Anudattha and the following Enkhha also as Svarita. Similarly in Kiri Khandaha, the word Kiri retains its Udattha accent and that is the final Udattha vowel. So Khi becomes Anudattha and Kha is marked with Svarita. The next environment is that of Saptami referring to the words ending in the Seventh Triplet and referring to the compound prescribed by the Sutra, Saptami Shoundaihi to 140. So we have the examples Aksha Shoundaha and Pana Shoundaha. In Aksha Shoundaha, Ksh is Udattha and that becomes the accent of the entire Samasa and so A is Anudattha and Shau is marked with Svarita. In Pana Shoundaha, Pa is Udattha and therefore N is shown as Svarita. In Shoundha, they are both Anudatthas and because they follow the Svarita, they remain unmarked. The next environment is Upamana, which means the standard of comparison. Now the compound is prescribed by the Sutra Upamanani Samana Vachanaihi to 155 and the examples are Shastri Shama, Kumudasheeni and Hamsa Gadgadha. Shastri Shama retains the accent of Shastri which is the final Udattha that is E as Udattha and therefore Shau is marked with a horizontal bar below indicating that this E is Anudattha and Shau is marked with a vertical bar on top indicating that this A is Svarita and Ma is not accented because this Anudattha comes immediately after a Svarita. Similar is the case with Kumudasheeni where the final Vauvel is accented and so the previous Vauvels are Anudatthas and the following Vauvel is shown to be a Svarita and the next Vauvel is unmarked but that is because it is following a Svarita. In Hamsa Gadgadha, Hamsa has got the final Vauvel Udattha namely Sir E and so Her is shown to be Anudattha and Gadgadha has got G which is marked as Svarita. The next condition is Avvaya. Avvaya means an indeclinable and the compound referred to is the Pan prescribed by Nay as well as by Kogatip Pradayaha. Nay is 226 and Kogatip Pradayaha is 228. So, the compound is Abrahmanaha in which Nay is accented and everything else is unaccented. So, A is Udattha and everything else is Anudattha. So, A which comes immediately after A is marked with Svarita and so Abrahmanaha has got only one mark a vertical bar over Bra. In Avrashalaha, once again a is marked with Udattha so there is no mark and the remaining ones therefore become Anudattha and so Vru is marked with a Svarita because it follows an Udattha. In Nishkav Shambihi and Nirvara Nasehi the initial Vauvel is Udattha so there is no marking and Kau and Vau they are marked with Svarita sign and the rest of them are not marked they are Anudatthas without any sign. In Ati Khattvaha and Ati Malaha, Ati retains its own accent which is the initial a and Ti therefore becomes the Svarita and Khattvaha and Malaha they are marked with no sign which indicates that they and they are following a Svarita therefore they are Anudatthas without any marking. The next environment is Dvitiya which means words ending in the second triplet and the compound prescribed is by the Sutra atyantasanyogetcha to 129. So the examples are Mohurtasukham. So Mohurtas is Ta Purvapada and this is finally accented and so everything else becomes Anudattha. So the first two Vauvels are marked with the horizontal bar below and the next Vauvel Su in Su is marked with a vertical bar indicating that it is a Svarita. Similar is the case with Mohurtarvaniyam where once again the final Vauvel in the Purvapada is accented and everything else is Anudattha. In Sarvarathra Kalyani because of the Samasanta Pratyaya also the final Vauvel in Sarvarathra is Udattha therefore it is not marked and so everything else becomes Anudattha. Now the Anudattha that precedes this Udattha is shown with the horizontal bar below and all the Vauvels that precede are also shown similarly. The Anudattha that follows is shown with the Svarita sign and the Anudatthas that follow this Svarita they are left unmarked. Similar is the case with Sarvarathra Shobhana. Finally the environment is that of Kritya. Kritya is the title of suffixes stated by the sutra Krityaha 395 onwards and the compound is prescribed by the sutra Kritya Tulya Khya Ajatya to 168. Now in Paniya Shetham Paniya is a Kritya word and therefore it retains its own accent which is the E which is Udattha. Now because E is Udattha A which precedes and here which follows they are Anudatthas and Pa is marked with the horizontal bar and here is marked with the vertical bar on top. In Shetham both of the Vauvels are Anudattha but because they follow a Svarita they are left unmarked. Similar is the case with Haraniya Churnam where E is Udattha and everything else is Anudattha. The accent is a very important feature noted down by Panimian grammar on parts of the speech in detail. The accent compositionality corresponds with that of the meaning and also the word form. The newly derived compound form gets one accent. This is one of the constituent accents in many cases but in many cases it is also something over and above something new indicating the non-compositional nature of the compound Akhandatva. We can also say by way of summarization namely that given x A x where A x indicates the accent and A y also indicates the accent. So given x A x plus y A y as the accent input the outputs could be described as x y A x or x y A y or x y A z where z is a completely different completely new accent stated by some other sutra and this indicates the non-compositionality of the samasa. These are the texts referred to. Thank you.