 Welcome, I welcome you all to this lecture in the course Sandhi in Panayan grammar. So far we have studied extensively Hull Sandhi or the consonant Sandhi. Hull Sandhi is the Sandhi which comes in place of a Hull. Hull is a consonant and we have studied several types of and instances of Hull Sandhi so far. At the end let us take a recap of all different varieties of Hull Sandhi that we have studied so far. First we said that broadly Hull Sandhi can be divided into two Ekasthanika Ekadesha and Ekasthanika Dvyadesha. In contrast with the Ach Sandhi where you also have Ekasthanika Ekadesha the difference is Ekasthanika Dvyadesha. In the Ach Sandhi it is Dvisthanika Ekadesha which is stated also as an Adhikara and we also studied five instances of Dvisthanika Ekadesha of Ach Sandhi namely Guna Sandhi, Vrdhi Sandhi, Pararupa Sandhi, Savarnadir Gna Sandhi and also finally Purva Rupa Sandhi. In Hull Sandhi however we have Ekasthanika Dvyadesha where there is one substitute end which is substituted or replaced by two substitutes Ekasthanika Dvyadesha. Ekasthanika Ekadesha is further classified into two broad categories Purva Nimitaka Ekasthanika Ekadesha and also Paranimitaka Ekasthanika Ekadesha. This category was explicitly, this categorization was explicitly mentioned in order to account for a unique use of the instrumental case which by contrast once again does not occur in the Ach Sandhi chapter. Ekasthanika Ekadesha is represented in the form of a diagram in this way. So there is B followed by A, both of them are in the Samhita mode and so B is the Nimitta which is Purva and then A gets substituted by C. So B is Purva Nimitta, A is Ekasthani and C is Ekadesha. So C is Purva Nimitaka Ekasthanika Ekadesha. So B plus A is the input and B plus C is the output. We studied two instances of this Purva Nimitaka Ekasthanika Ekadesha and this depended upon the meaning of the instrumental case which was used in the Sutras which described Shtattva Sandhi and also Shtattva Sandhi. So the Sutras were So Shtuna and Shtuna indicated that Shtu and two could be the Purva Nimittas as well as the Paranimittas and so Shtattva Sandhi was studied in these two manners Purva Nimitaka Ekasthanika Ekadesha and also Paranimittaka Ekasthanika Ekadesha. So two instances were studied as far as Purva Nimitaka Ekasthanika Ekadesha is concerned namely Shtuttva Sandhi and Shtuttva Sandhi. Then comes Paranimittaka Ekasthanika Ekadesha. This can be represented diagrammatically in the following way where you have A plus B in close proximity in the Samhita mode B comes immediately after A and in the environment of B A gets substituted by C. This B is Paran and this is Thani this is Adesha. So this Adesha C can be described in the following manner Purva that is B Nimittaka A that is Ekasthanika and C that is Ekadesha. B is the environment A is the substituent and C is the substitute. So this is Paranimittaka Ekasthanika Ekadesha. A plus B is the input and C plus B is the output and here once again we studied these instances of Paranimittaka Ekasthanika Ekadesha in detail. Shtuttva Sandhi once again Shtuttva Sandhi also then we studied Anusvara Sandhi as well as Parasavarnasandhi then Purvasavarnasandhi then Anunasika Sandhi and finally Shtuttva Sandhi. Then we studied Ekasthanika Dvyadesha where one substituent is replaced by two substitutes where we have A plus B as the environment they are in the Samhita mode B follows A and in the environment of B this A is substituted by two elements namely A and X. So this is one substituent replaced by two substitutes and there are three instances of Ekasthanika Dvyadesha. First Shtuttva Anusvara Sandhi, second Dvirvachanasandhi and third Agama Sandhi. We dealt with Dvirvachanasandhi first and Agama Sandhi then and finally in the previous lecture we also studied the Shtuttva Anusvara Sandhi. We have where we have seen that one substituent gets replaced by two substitutes. In case of Agamas we applied the principle that anagamakas are the substituents and sagamakasabdas are the substituents. Anagamakanam sagamaka adeshah. There are some other sandhis that are worth mention namely Kuttvasandhi, Jashtvasandhi and Charthvasandhi as well. Let us study them in brief in this particular lecture. First let us study the Kuttvasandhi. This is stated by the sutra Chokuhu, 8 to 30. This sutra has got two padas Chohu and Kuhu. Chohu is 6 slash 1 of Chuhu. Chuhu is Chavarga which consists of Chha, Chha, Jha, Jha and Yen. Chohu therefore means in place of Chuhu and Kuhu is 1 slash 1 of Kuhu. Kuhu means Kavarga, means Kha, Kha, Gha, Gha and Nga. So Kuhu is the substitute. The words continued from the previous sutras are Jhali, 7 slash 1 of Jhal and this means immediately before. Jhal also means all consonants minus semi-bobbles, yavarala and nasal, yamangana, nga. Her is included in the final sutra and part of Jhal. So her is obviously a part of Jhal. Padante is also continued which means at the end of a padha. So the meaning of the sutra is immediately before Jhal or at the end of a padha substitute Kuhu that is Kavarga, that is Kha, Kha, Gha, Gha, Gha in place of Chuhu that is Chha, Chha, Jha, Jha, Yen. And once again here we apply the principle of correspondence where first member of one set is correlated to the first member of the second set. So Chuhu has got 5 elements, Kuhu has got 5 elements, Chuhu is the substitute and Kuhu is the substitute. So the first member in this list of Chuhu corresponds to the first member of the list of Kuhu. So in place of Chuhu, Kuhu will be the substitute. In place of Chuhu, Kuhu will be the substitute and so on and so forth. So if we have these two stages for example Chu plus Jhal, if this is the condition, if this is the situation then Chuhu applies and substitutes this Chu by Ku. So Chu plus Jhal is the input, 8 to 30 Chuhu applies and returns the output namely Kuh plus Jhal. Similarly if Chu appears at the end of the Pada, this is the Pada at the end of which Chu appears, so 8 to 30 applies and substitutes this Chu by Ku. These are the two scenarios in which Chuhu will apply and Kutba Sandhi will take place. Let us look at the examples. The specific ones. So first let us see, so Chu plus Jhal and it is substituted by Ku plus Jhal and here are the examples Pacha plus Tavya and Chuh is followed by T which is a Jhal and so Chuhu applies and substitutes this Chuh by Kuh. So you get Pak plus Tavya and then finally you get Pak Tavya and the other example where Chuh appears at the end of a Pada is this. So Chu at the end of a Pada and that is replaced by Ku at the end of a Pada. So Vach, this is the Prathama Ekabachana of the word Vach and this Chuh gets substituted by Kuh. So we get Vach. There will be further processing. This Kuh will be further substituted by Guh by the Sutra Jhalam jashonte and then this Guh will be further substituted optionally by Kuh by the Sutra Vavasane. So at the end we get two outputs Vach Vag but as far as 8 230 is concerned the first output of this Vach is Vach. As we said earlier after we get the output namely Vag by applying the Sutra Chuhu then the next Sutra Jhalam jashonte applies and substitutes this Kuh by Guh. So this is the Jashtva Sandhi. Let us study Jashtva Sandhi in brief. The Sutra that describes Jashtva Sandhi is this Jhalam jashonte 8239. This Sutra has got three Padas Jhalam which is 6 slash 3 of Jhal that is all consonants minus consonant 5 and semipawals. Jasho is 1 slash 3 of Jash and Jash means consonant 3 of the class Jabgadad. Ante means at the end and Padassya continues from the previous Sutras. So Padassya is 6 slash 1 of Padha in this case it means part of Padha. So the Sutra means at the end of a Padha Jash is substituted in place of Jhal. So this can be shown in the form of an equation in this manner. So we have Jhal at the end of a Padha and this Jhal gets substituted by Jash at the end of the Padha. So for example Vak Kuh is Jhal which appears at the end of this Padha and so this Kuh is substituted by Guh at the end of the Padha. So Vag. So the Prathama Ekavachana of the word Vach is Vag Vak and when in compounds Kuh is substituted by Guh because it is at the end of the Padha. So Vag Viva Dhini for example has got Guh substituted substituting Kuh stated by this particular Sutra Jhalam Jashante. This is the Jashtva Sandhi. Then we have Charthva Sandhi stated by the Sutra Kharicha 8455 and Kharicha has got two words Khari and Char. Khari is 7 slash 1 of Khar and Khar means consonant 1 and 2 and Char, Char, Sir. Char means end. So Jhalam is 6 slash 3 of Jhal and we know that Jhal means all consonants minus C5 and semi vowels. Charaha is 1 slash 3 of Char that is consonant 1 and Char, Char, Sir. So the Sutra means immediately before Khar, Jhal is substituted by Char. I repeat immediately before Khar, Jhal is substituted by Char in place of Char, Jhal substitute Char. So this is the equation Jhal plus Khar, this is the input and the output generated is Char plus Khar. So the example is Bhida plus Thru and this Th is Khar. First this Bhida becomes Bheda, Bheda plus Thru and then this Th becomes Th, so Bhet through and finally we get Bhet through as an example of this Sutra Kharicha. And then there is the other Sutra that we were talking about Vaavasane. This Sutra has got two words Va and Avasane. Va means optionally and Avasane which is 7 slash 1 of Avasane, Avasane is absence of sounds. So immediately before the absence of sound that is the meaning of Avasane. Words continued are Jhalam and Char, Charaha. So Jhalam is 6 slash 3 of Jhal which is all consonants minus consonant 5 and semivowels and Charaha is 1 slash 3 of Char, see consonant 1 and Char, Char. So Vaavasane means immediately before the absence of sounds Avasane substitute Jhal by Char, Jhalam, Charaha optionally that is Va. So immediately before the absence of sounds Avasane substitute Jhal, Jhalam by Char, Charaha optionally Va. So we have Jhal and there is no other sound that comes immediately after it. So this Jhal gets substituted by Char. So here we have Vaag, G is the substitute affected by Jhalam Jashonte and now Vaavasane applies and substitutes this G by K and that is two optionally. So we have Vaak as one option and Vaag as the second option. So we have two forms over here Vaak and Vaag. This is the Prathama Ekavachana of the word Vaach. This is how Charatva Sandhi can also be described. So we have studied the other Sandhis namely Kutva Sandhi, Jashtva Sandhi and Charthva Sandhi also. It is noted that these three rules belong to the Asidha section of the Ashtadhyay. In fact the rules describing the Halsandhi most of them or almost all of them they are all stated in the Asidha section of grammar that is Ashtadhyay 8.2 to 8.4. The peculiarity of this section is that the output of the Sutras in this particular section does not become an input to any of the rules stated before. So from 1.1 up to 8.1. Within 8.2 to 8.4 also the rules are arranged in such a way that the output input output cycle is well maintained and the derivation process keeps moving till reaching its culmination and no further output is to be produced. This is the speciality of the ordering of the Sutras pertaining to Halsandhi. Very important feature. Now let us look at some of the examples of Halsandhi once again. These are all taken from the Srimad Bhagavad Gita. So first let us deal with the Shchattva Sandhi. So first we have Pandavas and Chha. Mamaka Pandavas Chhaiva. So Pandavas plus Chha and this Sir comes at the end of this Pada followed by Chha. So then this Sir is substituted by Sh and so you get Pandavas Chha as the output generated after the application of the Sutra Stoschanasthu. Similarly Machchitta Madhgata Prana. So we have Math plus Chitta and so this Sir which comes immediately before Chha is substituted by Chha and we get the output Machchitta that is Machchitta Chha. Yajnathva Moksha se Shubhata. So Yat plus Jnathva. So here there is T followed by J and so this T gets first of all substituted by D and then this D gets substituted by J. So finally you get Yajnathva as the output generated. Then we have Anusvara Sandhi and here are the examples. So Dastvatu Pandava Nikam Vyodham Duryodhanas Tadha. So let us take Anikam and Vyodham. So this M comes at the end of the Pada followed by V which is a Hal and so Anusvara applies and substitutes this M by an Anusvara Anikam plus Vyodham. Similarly Ahankaram Balandarpam Kamankrodhancha Samshritah. In this particular line of the verse taken from the 16th Adhyaya here we have Ahankaram and Samshritah. So this is Ritiyayikavachanam. So M is the ending and because this B follows M becomes an Anusvara. Similarly Balam and Darpam. So Balam Samshritah. So there is this M over here which is followed by D which is a consonant. So Monusvara applies and that Sutra substitutes this M by an Anusvara. Similarly Darpam. Darpam is also Samshritah. So this is M at the end followed by K which is a consonant. So this M gets substituted by an Anusvara over here. So we have Darpam and Kamam. Similarly Kamam and Samshritah and so there is this M at the end and Kamam is followed by Krodham that is K at the beginning. So therefore this M at the end of the Pada followed by a consonant is substituted by an Anusvara. So Kamam. Similarly Krodham. Krodham Samshritah. So this is M at the end followed by Ch. So this M is substituted by an Anusvara. So we get Krodham Samshritah. So many Anusvaras. Although the Parasavarana is not done in the Bhagavad Gita those who recite Srimad Bhagavad Gita tend to pronounce this Anusvara as a Parasavarana by making the optional Parasavarana Sandhi and so they say So this Anusvara is optionally pronounced as M which is Parasavarana of this B. This Anusvara is pronounced as N which is a Savarana of this D. This Anusvara is pronounced as N which is a Savarana of K. This Anusvara is pronounced as N once again which is the Savarana of this K. This Anusvara is pronounced as N which is the Savarana of this Ch. This is how Anusvara and Parasavarana Sandhi are demonstrated or used in the actual usage. Then we have Chhattva Sandhi and here are the examples from Shreemad Bhagavad Gita there are many more. So, first thing is this T is substituted by Chh, so we have Tach plus Shritva, so this is Dashchattva Sandhi followed by the Chhattva Sandhi where this Sh is substituted by Chh and so we have Chhattva and then we join them together and we get Tachshattva, the Sutra Shashchoti applies over here. Similarly, Yat plus Shraddha, yo yatshradhasya evasaha, so Yat followed by Shraddha, so T first of all gets substituted by Chh by the Sutras Tostanas Chuhu and then this Sh at the beginning of Shr is substituted by Chh and so we get Yat Shraddha, so Yat Shraddha, this is the output that is generated and similarly, Vyasaprasadatshratavan and yatshrayasyan nishchitambruhitanme etc., there are several examples of this kind of Sandhi that is Chhattva Sandhi. Then there are examples of Chhattva Anusvara Sandhi, for example Vishayan Tatyaktva, so we have Vishayan and Tyaktva, so this N comes at the end of the Pradha followed by this T and so this N, Nashchavya Prasan, so this T is substituted by R and then this R is preceded by an Anusvara, then this R is substituted by a Visarga, this Visarga then is substituted by Sir and so we have Vishayan and Tyaktva and finally Vishayan's Tyaktva, so there is this Sir as well as Anusvara, so Satva plus Anusvara both substitute this N and we get Vishayan's Tyaktva and similarly Pradhyavadam Shchabhashase or Hathvartha Kamaamsthu, Guru Nihayva and so on, in all this we do encounter the Satva Anusvara Sandhi. To summarize we took a recap of the types of Hal Sandhi that is Consonant Sandhi, we noted down some more miscellaneous instances of Hal Sandhi and we also studied the order of rules describing Hal Sandhi arranged in this particular grammar of panini called Ashtadhyayi and we noted that the output of the sutras describing Hal Sandhi does not become an input for any further operation and finally we also noted down some examples of some types. Now we study the Visharga Sandhi from the next lecture onwards. Thank you for your patience.