 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. Vishpesham Satchidanandam Vandeham Yo Khilan Jagat Charikarthi Bari Bharati Sanjari Harthililaya Vishpesham Satchidanandam Vandeham Yo Khilan Jagat Charikarthi Bari Bharati Sanjari Harthililaya In this course, we are concentrated on studying the Tattpursha Samasa. We have stated that Tattpursha Samasa is by far the most productive of the types of samasas in Sanskrit. Now, Vyai Bhava, Tattpursha, Bahubrihi and Dhvandva in this particular order, Animi has treated the samasas in Sanskrit in his own grammar called Ashtadhyay. Tattpursha Samasa is explained by Panini in his grammar in his text called Ashtadhyay by many sutras in comparison with the other types of samasas. Be it Samasa Vidhyayaka Sutra or Samasanta Pratyaya Vidhyayaka Sutra or Swara Vidhyayaka Sutra, the sutras composed to explain Tattpursha Samasa are very many in comparison with the sutras composed to explain features of other types of samasas. We also noted that the Tattpursha Samasa has got many, many varieties. We have studied them in this particular course. First, we studied the Vibhakti Tattpursha in which Dvitiya, Tritiya, Chaturthi, Panchami, Saptami and Shasti in this order, the Vibhakti Tattpursha Samasa are mentioned in the grammar of Panini. They were studied. Following which the Karmadharaya Samasa was studied, Dvigu is also part of this particular treatment of Karmadharaya Samasa, after which we studied Nayatattpursha Samasa and also the Ekadeshi Tattpursha Samasa. Following which we studied the Gati Tattpursha Samasa and then we studied the Upapada Tattpursha Samasa. These are the many varieties of Tattpursha Samasa that we have studied in this particular course. The features of the Tattpursha Samasa can be highlighted in the form of a simple equation stated in this particular slide, where we have X plus Y, where X and Y are two independent and separate entities. They are independent and separate in terms of the meaning as well as the word form as well as the accent. However, these two independent and separate units are semantically interrelated and so the speaker of Sanskrit decides to merge them together and form the output in the form of one entity X, Y. This one entity X, Y will have three features. It will be treated as one unit in terms of Artha, Shapt and Svar. So the three features would be Aikarthya, Aikapadya and Aikasvarya. One meaning, one word form and one accent. These will be the features of X, Y. Amongst X and Y, it is Y which will act as the head of this particular unit X, Y. What it means is that when X, Y will be related to any other external word in the sentence, it is only through Y that this X, Y will get related to this external word. X will not be related with any other external word in the sentence without going through Y. When X is related to any other external word in the sentence without going through Y, such a Samasa is treated as an exception and is also termed as a Samartha Samasa. Right now we are studying the Upapada Tathapurusha Samasa stated by 2219. The Sutra stating the Upapada Tathapurusha Samasa is Upapadam Ating and this Sutra has got two padas, Upapadam and Ating. Upapadam is one slash one, which means the word designated as Upapada. This is stated by Sutra 1, 3, 192, Tattra Upapadam Saptami Stham. Since the word Upapadam is stated in Prathama Vibhakti, the application of the Sutra, Prathama Nirgishtam Samasa Upasarjanam ensures that the word Upapada gets the Upasarjanasaudnya and then Upasarjanam Purvam ensures that this Upapada occupies the first position in the compound also known as Purva-Nipata. The other word in the Sutra is Ating. This is one slash one of Ating, which means which is not a thing and that means which is not a thinganta eventually, which does not end in a thing. Words continued are Sup and Sahasupaa and also Samarthapada Vidhi. So the meaning of the Sutra is the following. Any Subanta whose Pratipatikas are designated as Upapada is compounded with any other interrelated word which is not a thinganta. I repeat, any Subanta whose Pratipatikas are designated as Upapada is compounded with any other interrelated word which is not a thinganta. Now this meaning gives rise to several questions. The first one is the following. What is the need of the word Ating in the Sutra? What it implies is what is achieved by this particular negation? The question arises because when we make not a thinganta a condition for this sutra to apply the only other available option through this negation is that of a Subanta. Subtingantam Padam is the Sutra which defines what is a Padha in Sanskrit and Padha Samoho Vaakyam which is the input for the Samasa. So if a thing is used, there is a negation of thing, obviously the other available option as far as Padha is concerned is that of a Subanta. But this is available to us anyway because of the continuation of the words Sup and Sahasupa for which we do not need this negation and still Panini continues to use the word Ating in this particular sutra. So we are forced then to think that in this sutra the basic condition of Sup and Sahasupa does not apply. Rather Sup and Sahasupa only will apply. So the basic skeleton of the compound generated by this particular sutra is the following. So we have the Purva Padha ending in a Sup. So we have Pratyapadika plus Sup and Uttaravada will not be a Subanta. So going by the negation of a thing where we know that thing is a suffix added after a verbal root. So the other type of suffix which is also added after a verbal root is Krith. So a thing which is a negation becomes fruitful or purposeful when we understand Krith as the meaning of a thing and that is what is understood over here. So the compound input is Pratyapadika plus Sup plus Dhatu plus Krith. This will be the Alawika Vigraha. And then Sup and Pratyapadika will apply and will delete Sup and so the compound output generated would be Pratyapadika of the Purva Padha plus Dhatu plus Krith which is part of the compound as the second part. This will be the structure of the compound output. After having studied the Upapadas stated in 3.2 there are some more Upapadas stated also in 3.3 and 3.4. We will focus here on the Upapadas stated in 3.3 and here are some examples. First we go to the Sutra 3.3.29, Unyor Graha. The word Unyor is in 7 slash 2 which means when the Upapadas are Ud and Ni. Graha is 5 slash 1 immediately after the verbal root Gru to swallow. The suffix Ghae continues which is 1 slash 1. Ghae means the suffix U with the markers Gha as well as Nya. Now we have Ud Giradam as the Laukika Vigraha from which by adding the suffix Ghae prescribed by this particular sutra we get the compound output Udgaara. So Udgaara Samudrasya. What it means is Atiprabraddha Shabdha the intensely preceded sound of the C. That is the meaning of Udgaara. Similarly when the Laukika Vigraha is Ni Giradam we get the compound output as Ni Gaara Devadattasya and here the word Ni Gaara means Bhaksana. Bhaksana Devadattasya. This is how Udgaara and Ni Gaara are the compound words which are formed by adding the suffix Ghae to the verbal root Gru when the upapadas are Udha and Ni. Then we study the next sutra 3333. The sutra is Prathanevao Ashabde. There are three padas in the sutra Prathanevao and Ashabde. Prathane and Ashabde both these words are in 7 slash 1 meaning in the sense of expansion but not that of a word. Vau is another word in the sutra which is also in 7 slash 1 and in this case it is meaning the upapada. So when V is the upapada, Straha continues. Straha is in 5 slash 1. This is of stru verbal root meaning to cover. The suffix Ghae continues. Ghae is 1 slash 1 which is the suffix U with the markers Ghae as well as Yen. So now when the meaning to be conveyed is expansion of cloth, Vistaraha Patasya that would be the samasa output generated. Vistaraha Patasya. When the meaning to be conveyed is that of expansion of words we don't add the suffix Ghae and therefore we will get the form Vistaraha Vachasam. So Vistarha and Vistarha these are contrastive. Vistarha is derived by adding the suffix Ghae which means expansion of cloth other than Shabda but when the expansion of Shabdas are intended then we get the word form Vistarha. The next sutra is Parau Anupatyaya Inaha 3338. In this particular sutra there are three padhas, Parau Anupatyaya and Inaha. Parau is 7 slash 1 meaning when pari is the upapada. Anupatyaya is 7 slash 1 of Anupatyaya and Anupatyaya means sequence. So Anupatyaya means in the sense of sequence or turn. Inaha is 5 slash 1 which means immediately after the verbal root in which means to go. Ghae is continued. Ghae is 1 slash 1 of the suffix Ghae which is a with the markers Gha as well as ya. So when the meaning to be conveyed is my or your turn the compound output generated is Pariyaya Mama and Pariyaya Tava. So Pariyaya is the compound output generated by adding the suffix Ghae to the verbal root Inaha. Similarly, the next sutra is 3392. Upasarge Gho Ki Hi. Upasarge Gho Ki Hi. Now in this sutra there are three padhas, Upasarge Gho and Ki Hi. Upasarge is 7 slash 1 meaning when an upasarga is the upapada. Gho is 5 slash 1 which means immediately after Gho and Gho means da and da. Ki Hi is 1 slash 1 of ki meaning e the suffix e with the marker ke. So now when upasarga is the upapada immediately after the verbal root Gho the suffix ki is added in the sense of bhava. So now when the meaning is extensive donation. So pra is the upasarga, da is the verbal root, ki is the suffix in the sense of bhava. And so we get the da, the a at the end of da deleted because of the marker ke and so we have pra da e and pra di. Pra di means extensive donation. Similarly when we have the meaning to be conveyed namely holding together. So sum is the upasarga, da is the verbal root designated as Gho to which we add the suffix ki and then we get the compound output generated as sandhi. Similarly we will get many other words of this kind namely vidhi and so on. Next we go to the next sutra 3 3 93 which means karmani which is karmani adhikarane achar. This is a very peculiar sutra and this sutra has got two padas. This sutra has got three padas karmani adhikarane and achar. Karmani is 7 slash 1 when karman is the upapada adhikarane is also 7 slash 1 which means in the sense of a substratum. Gho is continued, Gho is 5 slash 1 which means immediately after gu and gu means da and da. Ki is 1 slash 1 of ki which means e the suffix e with the marker k. So now the meaning of the sutra upasarga karmani adhikarane achar is the following. Add the suffix ki immediately after the verbal roots designated as gu namely da and da in the sense of a substratum when karman is the upapada. So we have the meaning to be conveyed as where water is stored the substratum where water is stored. Jalam dhyayate asmin this is the laukika vigraha. So here the laukika vigraha is the sub-stratum when karman is the upapada. So we have the meaning to be conveyed as where water is stored. Jalam dhyayate asmin this is the laukika vigraha. So here the laukika vigraha is jala plus su plus dha plus ki. And then samasa saudhnya takes place. So pratipati ka saudhnya takes place and so then supodhatu pratipati ka yoho applies. And so we have jala plus zero plus dha plus e. And then because of this marker ka a indha gets deleted. So we have jala plus zero plus dha plus e and so finally we get the form jala dhi which means jalam dhyayate asmin a substratum where water is stored. Similarly where arrows are stored and the laukika vigraha is sharaha dhyayate asmin and the compound output generated is sharadhi. And in the similar fashion many words they can be generated. Now let us proceed further. This is a very important sutra. Ishaddhu sushu krachara krachara theshu khal. Three three one twenty six. Ishaddhu sushu krachara krachara theshu khal. There are three padhas in the sutra. Ishaddhu sushu seven slash three. Ishaddhu dhur and su these are the upapadas that is the meaning. Krachara krachara theshu is seven slash three in the sense of unhappiness. Krachara for dhur and happiness. A krachara for su and ishaddhu. Khal is one slash one which refers to suffix a with markers kh and l. And the meaning of this suffix khal is bhava or karman. Words continued are dhato ho from three one ninety one meaning immediately after the verbal root. Pratyayaha three one one. Krudhating three one ninety three. Tatrapapadam saptami stham three one ninety two. The meaning of the suffix khal is stated by the sutra. Tayo reva krityakta khalar thaha. Tayo reva refers to bhava karman ho. And that is why the suffix khal means bhava as well as karma. So the overall meaning of the sutra is the following. The suffix khal is added in the sense of bhava or karman when upapadas are ishaddhu and su denoting happiness and unhappiness. Ishaddhu and su denoting happiness, dhur denoting unhappiness. I repeat, the suffix khal is added in the sense of bhava or karman when upapadas are ishaddhu and su denoting happiness and unhappiness. Ishaddhu and su denoting happiness, dhur denoting unhappiness. So when the meaning to be conveyed is the part is being made by you effortlessly. And this meaning is to be conveyed where akritshreena ayatnena kriyate bhavata katha. This is the laukika vaakya, expressing this particular sense and here akritshreena kriyate. These two words, they get expressed by the compound formation where we have su referring to akritshre and the second su referring to su pratyaya plus kru plus khal, khal referring to the karma. And so samasa saudhnya takes place and so the pratyapadika saudhnya also takes place and therefore now su podhata pratyapadika yoho applies and so we have su plus zero plus kru plus er and because of er now, kru gets the guna substitution and so we have su plus zero plus kar plus er and finally we get the form sukara, sukara ha kato bhavata which means akritshreena ayatnena kriyate bhavata katha. The part is being made by you happily akritshreena effortlessly ayatnena. The same meaning will be conveyed by also ishat kara, ishat kara ha kato bhavata. This will be the other expression available to us. Now when the meaning is the part is being made with much effort or much toil and unhappiness then kritshreena ayatnena kriyate bhavata katha. This would be the laukika meaning and then kritshreena kriyate. This will get compound expression in the form of the following process. So we have dur plus su, dur referring to kritshre, su is the pratyaya. So dur plus su, plus kru plus khal and then samasa saudhnya takes place and the pratyapadika saudhnya takes place. So supadhato pratyapadika yoga applies and so we have dur plus zero plus kru plus er and now because of er, kru gets the guna substitution. So we have dur plus zero plus kar plus er and finally we will get the compound output. Duskara, duskara ha kato bhavata. This means the same thing as kritshreena ayatnena kriyate bhavata katha. Which means the part is being made with much effort or much toil or much unhappiness by you. In the same fashion when the meanings are to be expressed in the following way, easy to be obtained will get the form sulabha. Labha is the verbal root which means to obtain and sulabha means something which is very easy to be obtained as opposed to durlabha which means difficult to be obtained. Sugama meaning easy to be gone and durgamma as opposed to it meaning difficult to be gone. Similarly subodha meaning easy to be known and durbodha difficult to be known as opposed to subodha. So happiness and unhappiness kritshre and akritshre these are the meaning conveyed by dur and sur respectively in these words and words of the same kind. There are so many words of this particular kind and this process is highly productive. We use so many words of so many words derived from this particular process. Lastly we study a particular vartika which is stated on the sutra anya bhyopidrishyate. 3 3 130 and this vartika is bhashayam shasi yudhi dhrushi dhrushimrushibhyo yujh vaktavvaha bhashayam shasi yudhi dhrushi dhrushimrushibhyo yujh vaktavvaha This means the suffix yujh is to be added in the sense of bhava or karman when upapadas are ishat dur and su denoting happiness and unhappiness to the verbal roots shasa to rule yudha to fight dhrushya to see dhrushya to bear and mrushya to tolerate. I repeat the suffix yujh is added in the sense of bhava or karman when upapadas are ishat dur and su denoting happiness and unhappiness to the verbal roots shasa to rule yudha to fight dhrushya to see dhrushya to bear and also mrushya to tolerate. So now when we have the meaning difficult to be ruled we will add the suffix yujh after the verbal roots shasa when the upapada is dhr and the compound output derived would be dushyasana similarly difficult to fight with when this meaning is to be conveyed we add the suffix yujh after the verbal root yudha when the upapada is dhr and the compound output generated is duryodhana similarly when the meaning to be conveyed is difficult to be seen we add the suffix yujh after the verbal root dhrushya when the upapada is dhr and we get the form dhrudarsana as the finally derived compound output as opposed to sushyasana which means easy to be ruled, suyodhana, easy to fight with and also sudarsana, easy to be seen. No wonder that Bhimasena refers to duryodhana as suyodhana and not as duryodhana in various classical Sanskrit plays and also in the literature. To summarize the upapada tattpurusha compound is a very highly productive type of the tattpurusha the upapada tattpurusha compound displays the embedded argument structure of the verb with its arguments both as upapada as well as the meaning of the suffix added to the verbal root in the grammar panini uses very rarely the verb in the sutras the one used in this section denotes the action of seeing thereby highlighting the basic act of observation needed for a grammarian to formulate rules these are the texts referred to. Thank you very much.