 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. In this lecture we shall study the principle of compositionality which underlies the overall grammatical system of the Paninian grammar. We have so far seen the process of speech production. We studied several aspects of it in detail, the internal cognitive aspects and then the physical or the biological aspects which then produce the speech which is audible and the speech thus produced looks like the one that is presented on this slide. So we have 6 meanings stated on the left hand side over here and then 6 shabdas also stated on the same slide and then it is these shabdas which get converted into the audible speech. So if we read the meanings, Ram goes to a village and it has a correlation with Grammangatshati Ramaha. Ram goes to a school, this is the meaning which has got the correspondence to Shalaamgatshati Ramaha. Mohan goes to a village has correspondence to the shabda Grammangatshati Mohanaha. Mohan goes to a school has correspondence with Shalaamgatshati Mohanaha. Ram sees a school has correspondence with Shalaamgatshati Ramaha and finally Mohan sees a village has correspondence with Grammangatshati Mohanaha. So the shabda that is stated in terms of these 6 sentences is what gets converted into the audible speech symbols. The earth that is presented on this slide is actually of a different kind in a different form. For the sake of convenience, we have taken it into English. We shall study the technical sentence meaning in the later part of the course and the details of it in the advanced level course. But for easier understanding, we have given the meanings in a different language. For the sake of convenience of all, we noted them down in English. Another important fact to be noticed from these 6 sentences presented to you and the 6 sentence meanings presented to you. And now I am using the word sentence meaning and sentence. This on the left hand side is sentence meaning. This is a sentence. All these 6 sentences and these 6 sentence meanings. So they are all put in one square bracket. Each sentence meaning is put in one square bracket and the corresponding sentence is also put in one square bracket. This has some significance. The significance is such that the meaning in this case the sentence meaning is one unit and the shabda or the sentence is also one unit. One unit of sentence meaning gets expressed into one unit of a sentence that is the idea. We have also seen that in the process of speech production described in the Panamanian grammar Atma-Buddhya-Sametya-Arthan comes in at the first stage and so the meaning gets collected and then comes the shabda. This meaning is not unrelated to shabda. We have already studied the concepts of Arthakasha as well as the concept of shabdakasha. The location for both these is the intellect of the speaker. What is called as buddhi? Both are buddhist but are interrelated. So both these Arthakasha and shabdakasha they are explained by the sentence Atma-Buddhya-Sametya-Arthan. So in this case also the meanings which are mentioned on the left hand side in a bracket they and the sentences which are mentioned on the right hand side in the brackets they both which are interrelated it is the meaning which is the conveyed and it is the sentence which is the conveyor they both are decided at the level of Atma-Buddhya-Sametya-Arthan and then the shabdas get the expression in the form of the speech which is audible. This is the intention of putting a square bracket after the sentence meaning and the respective sentence. Let me repeat following the process of speech production described by Paninian grammar it is the meaning which acts as the cause and the shabda which acts as the effect in the process of speech production and so Arthas are shown on the left hand side as the cause and the shabdas which express them remember these two are still part of the intellect part of the buddhi but still there is this cause and effect relationship and then this shabda gets the audible form through the maneuvering of the breath propelling it up sending it to the oral cavity and putting some pressure on it and tongue shaping it in a particular manner and then getting thrown out this audible speech is an expression of the shabda which exists in the intellect as the result of the Artha that is collected. So one meaning unit gets one sentence unit. Second meaning unit is associated with or is expressed by the second sentence unit it is a one-to-one correspondence one unit conveyed one unit the conveyor that is all the significance of this statement will be clear in a while. Just as the shabda is collected at the stage of atma buddhya sametya arthaan we also observe from the rules of panini that the speech thus produced also consists of the svara. Now here are the same examples that we have already studied when we studied the meaning artha as well as the shabda and we took 12 sentences and we divided them into two data sets and here is the first data set with the accent marks shown that is why this is called data set 1.1 and so we have six sentences and now you see there are some accent marks over here for example we have the first sentence gramam gachati ramaha so here m is shown with a vertical bar on top of it and ra is shown as having a horizontal bar beneath it and gachati is shown without any accent mark. So now let us look at the concrete examples by looking at the sentences so earlier when we studied the compositionality in the meaning as well as the words artha and shabda we studied 12 sentences as examples and we also classified them under two groups and we call them data set 1 and data set 2. In the first data set we had the first six sentences which are reproduced in this slide and the second data set consisted of the sentences numbered 7 to 12 which will be part of the second data set of course which will be part of the upcoming slides. Now we have also shown the same sentences with the accent marks so if we look at the first sentence which is gramam gachati ramaha here there is a vertical bar on top of this letter m and then there is a horizontal bar which is below this letter a or ra the word gachati there is no symbol and so on and so forth. You will see similar marks existing in all sentences then we also observe another set of meanings and another set of sentences corresponding to the set of meanings these are the villages being reached by Ram which is corresponded with Ramayana gramo gamyate the school is being reached reached by Ram this has correspondence with Ramayana shala gamyate the village is being reached by Mohan has correspondence with Mohanena gramo gamyate the school is being reached by Mohan has correspondence with Mohanena shala gamyate the school is being seen by Ram has correspondence with Ramayana shala drishyate and the village is being seen by Mohan has correspondence with Mohanena gramoha drishyate now once again there are these seven sentence meanings six say once again there are these six sentence meanings from 7 to 12 and six sentences from 7 to 12 once again there is a one to one correspondence one unit giving rise to one another unit one sentence meaning unit causing the one sentence unit to get expressed in the form of the audible speech and express this meaning as well we observe that there is some similarity as far as the meaning is concerned and also the wording is concerned with the previous set of sentence meanings and sentences we shall study this in a while in the same lecture but let us also observe that in this second set of sentence meanings and sentences 7 to 12 we also have the accent included in the Ramayana gramoha gamyate sentence we have accent marked on the middle in the word Ramayana and so Ra has anodattamarkar Anu has this varitamarkar in gramoha Moh has udatt and gra has anodattam and gamyate is anodattam throughout the anodattam in agar which comes immediately after anodattavavalin mo is marked with swarita and the rest which are having no sign they are to be considered as prachaya so Ramayana gramoha gamyate similarly Ramayana shala gamyate then Mohanayana gramoha gamyate then Mohanayana shala gamyate Ramayana shala drishyate and Mohanayana gramoha drishyate they have more or less the similar pattern of accent so this accent also as we said earlier is part of the shabdakashya related to these seven sentences related to these six sentences from 7 to 12 and also this shabdakashya is related to the arthakashya which was mentioned in the previous slide now we can say that sentence meaning one is giving rise to sentence one together with the sentential accent one this is the speech in communication from the point of view of speaker so in the intellect of the speaker the sentence meaning one appears first as far as atma buddhya samitya arthan is concerned linked to this sm one which is part of the arthakashya is s one which is part of the shabdakashya which is qualified by its accent so accent is not entirely different than shabdak but an additional important feature so when we show the layers of the speech production in paninyan grammar we can show three layers meaning artha shabdak and then swarra accent but we must note that accent is in fact a part of the shabdak and so that is why it is written within the parenthesis inside the square brackets delimiting the sentences the point we want to highlight here is that the sentence meaning one acts as the cause for the sentence one to be produced together with the sentential accent one sentence meaning two which is the cause of the sentence two together with the sentential accent two these are still part of the buddhi which then gets converted into the audible speech sentence meaning three is the cause for the production of sentence three together with the sentential accent three remember this is still part of intellect which can which then gets converted into the audible speech sentence meaning four is the cause of sentence four and sentential accent four sentence meaning five is the cause of sentence five and sentential accent five sentence meaning six is the cause of sentence six together with the sentential accent six also sentence meaning one to six they are all one unit giving rise to sentence one to six which are also individual one unit these are one units that is the most important part and this will be clear in a while so when we go to the next set once again from the point of view of this speaker we see that sentence meaning seven is the cause for sentence seven one qualified by sentential accent seven sentence meaning eight causes sentence eight qualified by sentential accent eight sentence meaning nine causes sentence nine together with sentential accent nine sentence meaning ten causes sentence ten together with the sentential accent 10, sentence meaning 11 causes the sentence 11 together with the sentential accent 11 and sentence meaning 12 causes the sentence 12 together with the accent, sentential accent 12. This is the description of the speech in communication in terms of the cause and effect from the point of view of the speaker. So, it is the speaker which collects meaning first and then produces the sentences and then this entire buddhi gets converted into the audible speech. This is from the point of view of the speaker. Let us now see what happens as far as the hearer is concerned in the process of communication. So, the hearer comes into contact with the sentence first which is clearly audible and this sentence is qualified by sentential accent 1. Now, this audible speech gives rise to what is shown on the slide, the sentential accent qualifying sentence, sentence 1 qualified by sentential accent 1 which is part of the shabda kasha in the intellect of the hearer and this sentence 1 in the shabda kasha of the hearer gives rise to or causes the sentence meaning to get generated in the artha kasha which is part of the buddhi of the hearer. Similarly, for the hearer sentence 2 which is clearly audible and qualified by sentential accent 2 gives rise to the sentence 2 together with the sentential accent 2 in the shabda kasha of the intellect which then gives rise to the sentence meaning 2 which is part of the artha kasha in the intellect of the hearer. Similarly, sentence 3 together with the accent 3 in the shabda kasha which is generated by the actual audible speech of this form sentence 3 qualified by sentential accent 3 this shabda kasha gives rise to the sentential meaning 3 which is part of the artha kasha of the intellect of this hearer. Same is the case with sentence 4 together with the sentential accent 4 which is a clearly audible speech giving rise to the sentence 4 together with the sentential accent 4 in the shabda kasha which causes the sentence meaning 4 to get generated in the artha kasha in the buddhi of the hearer. Similarly, sentence 5 together with the sentential accent 5 which is the clearly audible speech which gives rise to the sentence 5 and the sentential accent 5 as part of the shabda kasha which causes the sentence meaning 5 to get generated in the artha kasha of the intellect of the hearer. Similarly, sentence 6 together with sentential accent 6 which is clearly audible gives rise to sentence 6 together with the sentential accent 6 as part of the shabda kasha which causes the sentential meaning 6 which is part of the artha kasha. If we look at the second set of meanings and sentences from the point of view of hearer we can continue saying that it is the sentence 7 qualified by the sentential accent 7 which is the clearly audible speech which gives rise to the sentence 7 qualified by the sentential accent 7 in the artha kasha in the shabda kasha of the intellect which gives rise to the artha kasha in the form of sentence meaning 7 of the intellect of the hearer. It is the sentence 8 together with the sentential accent 8 which is clearly audible which gives rise to sentence 8 qualified by sentential accent 8 which is part of the shabda kasha. The sentence meaning 8 which is part of the artha kasha as far as the hearer is concerned. Then the sentence 9 together with the sentential accent 9 which is the audible speech which gives rise to the sentence 9 together with the sentential accent 9 in the shabda kasha of the hearer which gives rise to the sentential meaning 9 which is part of the artha kasha in the intellect of the hearer. Sentence 10 together with the accent 10 which is clearly audible gives rise to the sentence 10 together with the sentential accent 10 which is part of the shabda kasha in the intellect of the hearer which gives rise to the sentence meaning 10 which is part of the artha kasha in the intellect of the hearer. Sentence 11 which is qualified by the sentential accent 11 which is part of the audible speech which then generates the sentence 11 qualified by sentential accent 11 which is part of the shabda kasha in the intellect of the hearer which then generates sentential meaning 11 which is part of the artha kasha in the intellect of the hearer. And finally, sentence 12 together with the sentential accent 12 which is audible speech which gives rise to the sentence 12 qualified by the sentential accent 12 which is part of the shabda kasha which gives rise to the sentence meaning 12 which is part of the artha kasha in the intellect or buddhi of the hearer. So, in case of the hearer it is the sentence together with the accent it is the sentence qualified by the sentential accent which acts as the cause of the sentence meaning both generated in the intellect buddhi of the hearer. As far as the speaker is concerned it was the sentence meaning aspect which was acting as the cause producing the effect in the form of the sentence qualified by the sentential accent. This difference needs to be noted and this has to be understood very clearly and that is why this cause and effect relationship is highlighted upon by us in this lecture in an individual fashion. So, in brief we can sum up this explanation by saying that sentence meaning is part of the artha kasha. Sentence meaning represents the internal or the initial stage of the process of speech production. Sentence meaning represents the causal stage of the process of speech production as far as the speaker is concerned. One sentence meaning as one undivided unit in the intellect of the speaker is the cause of the speech thus produced. There are 12 sentence meanings which act as a cause of 12 sentences with sentential accents. Sentence is part of shabdha kasha. Sentence also represents the internal or initial stage of the process of speech production and also it represents the external most that is audible speech, audible stage of the speech. This audible stage as well as the internal stage they both are referred to by the same word sentence but that distinction needs to be understood. The audible stage of speech which is the external most stage is the expression of this internal or initial stage of sentence which is part of the shabdha kasha. This distinction needs to be clearly understood and grasped by the student. This is extremely fundamental as far as the Paninian grammatical tradition is concerned. So, this sentence represents the causal stage of the process of speech production and the sentence also represents the external most or the audible stage of the speech production. One sentence as one undivided unit in the intellect of the speaker is the cause of the speech produced which is one undivided unit. There are 12 sentences in the shabdha kasha which act as a cause of 12 audible sentences with sentence accents. We also noticed that as far as the hearer is concerned the position of the cause and effect changes in terms of the shabdha kasha and arthha kasha. As far as the hearer is concerned the audible speech acts as a cause giving rise to the shabdha which in its turn gives rise to the arthha kasha and then we say that the process of communication has happened. It can happen successfully. If it does not happen successfully then there is a possibility that the hearer may ask for a repeated occurrence and so on and so forth. This is how the process of speech production as part of the communication in general can be expressed using shabdha kasha as well as arthha kasha in which compositionality plays a crucial role about which we shall speak more in the coming lecture.