 Welcome, I welcome you all to the lecture in the course Introduction to Paninian Grammar. In this course we are studying the Paninian Grammar. In the process so far we have studied parts of process of speech production and we continue to study it further. In order to study the process of speech production as described in the Paninian Grammatical tradition, we studied the source material that we got from Paniniya Shiksha and we studied the following verses Atma, Mudhya, Sametya Arthana, Mano, Yunkte, Vivakshaya, Manah, Kayagni, Mahanti, Saprera Yati, Marutam, Marutas, Marutas, Tu, Rasi, Charan, Mandram, Janayati, Svaram, Sodhirna, Murdhyapi, Hato, Vaktram, Apadhyam, Marutah, Varanand, Janayati. And we also said that there are these eight stages of speech production described in these verses. They are Atma, Mudhya, Sametya, Arthana as the first stage, Mano, Yunkte, Vivakshaya, the second, Manah, Kayagni, Mahanti, the third, Saprera Yati, Marutam, the fourth, Marutas, Tu, Rasi, Charan, Mandram, Janayati, Svaram, the fifth, Sodhirna, Murdhyapi, Hato, the sixth, Vaktram, Apadhyam, Marutah, the seventh and Varanand, Janayati, the eighth. We also saw that the first two stages, they describe the internal process, the internal programming so to speak, the rest of them, they describe the biological or the physical part of the process of speech production. And we have been studying this internal process for some time now, but the importance of this process should not be undermined and that is the reason why we have been studying this in little detail and we shall study this in more detail when we do the advanced course. Right now, let us study some other aspects in this first stage which are enlisted on this slide. In addition to the existence of the Arthakasha which is structured in accordance with the principles of congruity, yogyata and mutual expectancy, namely akanksha as described in the previous lecture related to the basics of human cognitive apparatus where the sense organ and the domain are interrelated. In addition to all this, there are some other aspects to this Arthakasha which need to be studied and they are enlisted here which we shall study now. The first one is called Arthasangraha, the second one is Arthagraha and finally, Arthagraha. So the question is these Arthasangraha etcetera, they are also linked with Shabdakasha. So these are the parts of Arthakasha in which links of Arthasangraha with Vakya in Shabdakasha is also a part of. Similarly, links of Arthavigraha with Pradha in Shabdakasha is also part of the Arthakasha and links of Arthagraha with the prakriti and pratyaya namely the root and the suffix in the Shabdakasha is also part of the Arthakasha. So what is Shabdakasha and what are the parts of Shabdakasha? Vakya is obviously an important part of the Shabdakasha. Vakya is a sentence which is made up of padhas namely the words which is also part of the Shabdakasha and padhas are made up of prakriti and pratyaya, roots and suffixes. So they are also part of the Shabdakasha. This is the basics of Shabdakasha. We may also find the other derived aspects of Shabdakasha in what is described on the right hand side. For example a Grantha or a book, this is also part of the Shabdakasha but on a larger scheme which is made up of its components for example Adhyaya or a chapter which is further made up of padhas, a sub-chapter and so on which is made up of let us say Parichheda or paragraph and then Vakya etc is part of this paragraph. All this is part of the Shabdakasha which is linked with Arthakasha. The correlation of Arthakasha and Shabdakasha needs to be studied in this context. So Arthasangraha mentioned earlier which is part of the Arthakasha is correlated to the Vakya as far as a sentence is concerned. Arthavigraha which is part of the Arthakasha is related to the padha namely the word. Arthagraha let us say of prakriti is related to the prakriti which is part of the Shabdakasha. Arthagraha which is part of the Arthakasha which is related to the Pratyaya is linked to the Pratyaya or a suffix which is part of the Shabdakasha. This is how the correlation exists and the Arthakasha thereby gives rise to the Shabdakasha. Remember this is still Atma-Buddhya-Sametya-Arthaan. This is still a cognitive apparatus. This is still the intellect. We have not yet gone beyond this but we need to understand what this Atma-Buddhya-Sametya-Arthaan is. Shabdakasha and Arthakasha. So this Arthakasha exists in the intellect. This Shabdakasha also exists in the intellect only as parts of the intellect we can say and they are correlated as described so far and also on this particular slide. All this is part of the intellect part of the stage of Atma-Buddhya-Sametya-Arthaan. So next question is what is Arthasangraha? So the next question is what is Arthasangraha? As is visible there are three words mentioned here Artha, Sam and Graha. Let us look at their meaning. So Arthasangraha stands for a specific unitary meaning as a whole. Artha is meaning and Sangraha is a unit cognized as one, cognized together. What it stands for is a specific unitary meaning which is indivisible also known as Akhanda and here the word Graha can be compared with the star. Akasha can be compared to the sky and so there is one special star which is one unit may be a group of stars but given one unitary status in the sky of Arthakasha that is the connotation of Arthasangraha. If you look at this, this is Rama goes to a village, this is the meaning and there are these square brackets within which this is put. So this square bracket over here and here these brackets indicate that this is one unit. This is one unit and this is what is primarily Sangraha or Arthasangraha. This unit taken as one unit, one indivisible unit. Now what is Artha-Vigraha? Artha-Vigraha is the same one unit but separated in its many components called Padartha or word meanings. This is divisible or compositional also known as Sakhanda. We can say that many small parts making a particular star in the Arthakasha. So the same Rama goes to a village as one indivisible unit of meaning can be further divided or separated in the following units. So we keep the square brackets to indicate its correlation with the one meaning which was stated on the earlier slide but we put the parenthesis to indicate the separated units. So for example, Dua-Rama, this is one unit of meaning separated from the rest. Object village, this is another unit of meaning and the action of going in the present tense whose agent is third person, singular third person. This is the separated Padartha that we have. This is what is called Artha-Vigraha and what is Artha-Graha then? Artha-Graha is the same many units separated further in its atomic components whereby we get what we term as linguistic atoms. These atoms are generally not divisible. We can say that these are many, many small parts making a star. So here are the small units Artha-Graha which make the Vigraha and Sangraha possible. They are let us say Rama, village, object, action of going, present tense, agent, third person and singular. These are the linguistic atoms in terms of meanings and they are the Artha-Grahas. They are the small stars which make the bigger units, the bigger stars and those bigger stars make one unit as one star. So this is what is Artha-Graha and this is how Artha-Graha is related to Artha-Vigraha and Artha-Sangraha. Let us look at the correlation with an example earlier we took an example namely Rama goes to a village and we put this entire meaning into square brackets which will be termed as Artha-Sangraha where everything is one unit, we know it as one unit. And if we go to do Artha-Vigraha we do do a Rama, object, village, the action of going in the present tense use agent is third person, singular third person, this is Artha-Vigraha and Artha-Graha is Rama, village, object, action of going, present tense, agent, third person and singular. So this is what is the Artha-Kash wherein you have Artha-Sangraha, Artha-Vigraha and Artha-Graha possible and there is obviously the correlation between the Artha-Kash which are simple, derivate and super derivates and there is also some kind of congruity at this level these are all super derivates, action of going related to Rama and village as an object and so on and so forth, there is this super derivate aspect that is playing its role over here. Now this Artha-Kash at these three levels is correlated with the Shabdha-Kash in terms of Vaakya, Pradha and Prakriti-Prakya. So the Vaakya that is correlated with the Artha-Sangraha is in Sanskrit, Rama, Gramam, Gatshati. This is one sentence which expresses one meaning. So what is the meaning of Ramo, Gramam, Gatshati? Rama goes to a village. This is how we communicate in daily life when we communicate using language, we communicate using sentences, we utter complete sentences, Ramo, Gramam, Gatshati and we understand one complete meaning, Rama goes to a village. This is one indivisible unit of sentence that is Shabdha-Kash. This is one indivisible unit of Artha-Kash. This is what is called Artha-Sangraha. Now the Artha-Vigraha is like this, do or Rama, object, village, etc., which has a correlation in the Shabdha-Kash level in the form of Pradas and so this Vaakya is then made up of these Pradas, Ramaha, Gramam and you see this was written as Gramam with anuswara on top of it, a dot on top of it. Now here it is written as M, separated because this is a Prada which has an independent separated identity shown with the square brackets and Gatshati finally. So here there are three Pradas, parts of the Shabdha-Kashya which are correlated with the Artha-Vigraha which is part of the Artha-Kashya. Now if you go to Artha-Grahha in the Artha-Kashya it is correlated with the Prakriti and Pratyaya root and suffix in the Shabdha-Kashya level. So Rama at the Artha-Kashya level as Artha-Grahha is correlated with the Prakriti and Pratyaya part in the Shabdha-Kashya. Village and object, Gramam and Am, action of going, presentence, age and third person is correlated with Gama and Ti and Su as far as the Shabdha-Kashya level. So this is how the Artha-Kashya on this side of this slide and the Shabdha-Kashya on the right hand side of this slide they are correlated. So the Artha-Kashya gives rise to the Shabdha-Kashya. This is still at the level of Atma-Buddhya-Samet-Tyarthan. This is still located in the intellect. So this is the correlation example. Now so far we have been studying this stage of Atma-Buddhya-Samet-Tyarthan namely the collection of meanings. Let us summarize it and see what all it includes. We can say that this stage includes the collection of words linked to the meanings. It is these words which get converted into speech signals. Remember the collection of words here is still at the level of intellect and the meanings here are still at the level of intellect located within the intellect. Words as well as the meanings both are located in the intellect in the cognitive apparatus. And it is these words and these meanings located in the intellect which get converted into speech signals by the subsequent stages in the process of speech production. And when these words located in the intellect they get converted into the speech signals. We say that these express the meanings and these speech signals are then the audible speech symbols. Now these words which are still at the level of intellect which get converted into speech signals which express the meanings they are still parts of the Shabdha-Kashya. The words at the intellect level. Now the collection of both the Arthakasha and Shabdha-Kashya are independent of external means to express them. These Arthakashas and Shabdha-Kashya and part of them they can be expressed by multiple means independently or even together. This is what is expressed by a diagram shown over here. So in this diagram the process of speech production is described from the speaker's point of view in which the cognitive apparatus is playing over here. This is a bracket showing one unit. It consists of Arthakasha and Shabdha-Kashya and this bracket also is corresponding with the left bracket showing that this is one unit, Artha-Sangraha which can be converted into Artha-Vigraha which is shown internally. So this Arthakasha consists of lexical meanings. For example the verbal meaning as well as the nominal meaning on one side and the relational meaning on the other namely the verb and noun meaning and noun and noun meaning, the relation between them and then the co-occurrence of these meanings happening in the Arthakasha. So lexical meanings appearing together and relational meanings appearing together and then both of them appear together. So occur together. This is what is the co-occurrence. This is part of the Arthakasha. This is the beginning. Now this gives rise to the Shabdha-Kashya which consists of the corresponding lexical items namely the verbal as well as the nominal corresponding with the verbal meaning and the nominal meaning. Similarly the relational meaning gives rise to the relation suffixes in the Shabdha-Kashya. These are the suffixes which indicate the relation between verb and noun and the suffixes that indicate the relation between noun and noun. These are relation suffixes. Similarly the co-occurrence in the Arthakasha also gives rise to the co-occurrence in the Shabdha-Kashya. The fact that these meanings are uttered or collected in close proximity also gives rise to the Shabdas to be uttered in close proximity. Once this stage is over in the cognitive apparatus where Arthakasha and Shabdha-Kashya have played their roles, then it is processed further in which these lexical items which are infinite in number and they involve some creativity. New lexical items are created, earlier lexical items are lost and so on. So they are called to be infinite. These lexical items which are part of the cognitive apparatus then are propelled further and then they produce what is known as root and termination. Termination is a suffix which shows relations. Root is the lexical item. So in this particular audible speech there are three roots and three terminations and there are the square brackets as well indicating its one unitary status which consists of three words and these words also consist of three roots and three terminations. So now these lexical items which are part of the Shabdha-Kashya they produce this audible speech which consists of R1 and T1, R2 and T2 and R3 and T3. Now these lexical items in the Shabdha-Kashya have given the rise to R1 which is part of the first word, R2 which is part of the second word and R3 which is part of the third word. These roots are indicated by blue lines. Similarly the relational meaning which is part of the Arthakashya which gave rise to the Shabdha-Kashya in the form of the relations suffixes which express the relation between the verb and noun and the relation between noun and noun. This gives rise to the terminations which are part of the audible speech. Termination 1 which is part of the first word, termination 2 which is part of the second word and termination 3 which is part of the third word. And then the co-occurrence which is dependent on the meanings in close proximity gives rise to the co-occurrence of the words in the cognitive apparatus gives rise to the co-occurrence of all these together which is indicated by the plus sign over here which is part of the audible speech. So the relational suffixes are shown with the green arrows and the co-occurrence is shown by saffron arrows going towards these two plus signs. So there are these three words which are made up of three roots and three terminations and these three words made up one make one sentence and these three words are interlinked they are in close proximity of one another and this is indicated by two plus signs. And so all this put together there is one whole unit which is shown by the square brackets. This is how the speaker produces the speech. So far we have been studying this process cognitive apparatus, arthakasha and shabdakasha. Now in this diagram we show how this gets directly related with the audible speech. Now we need to study all the processes in between but still this is the outcome this is the output and this is how the internal cognitive process namely atma-buddhya-sametya-arthan is directly related to the output namely the audible speech. This is how the speaker produces the speech. Now as we said before this cognitive apparatus and these stages of shabdakasha and arthakasha they provide a clue to the speaker to check whether these combinations they express the arthakasha and shabdakasha which exists over here or not. If something goes wrong in between the speaker can cross check and the speaker can issue the corrigendum saying that the speaker did not have the speaker did have something else in this stage. Popularly the speaker did have something else in the mind and something else got reproduced. So what exists in the arthakasha and shabdakasha over here can act as a check for what is produced in the audible speech. This is the speaker's point of view. Let us now look at what happens as far as the hearer is concerned. So the hearer first receives these signals the audible speech this signal this is unitary and he cognizes one unit of this signal which leads to the cognitive apparatus and the shabdakasha given rise to in the form of one unit which is also then separated at the level of arthavigraha and this arthavigraha happens in terms of the lexical items which are infinite but in this sentence they are finite and if there are only three lexical items over here roots which are shown once again by the blue but the arrows are different now because now this is the input and this is the output as far as the hearer is concerned. So the arrows come from the audible speech to the cognitive apparatus as far as the hearer is concerned. So there are three blue arrows coming from R1, R2 and R3 to this shabdakasha called lexical items verbal as well as nominal. Now this shabdakasha which is part of the cognitive apparatus gives rise to the arthakasha which is full of lexical meaning verbal meaning as well as nominal meaning similarly the relational meaning which is the output over here now the input is the terminations the words terminations audible speech. So T1, T2 and T3 and there are green arrows coming from these three which give rise to the shabdakasha in the cognitive apparatus and that shabdakasha consists of relation suffixes in the form of verb and noun relation and noun and noun relation expressing suffixes and this gives rise to the relational meaning in the form of verb noun meaning and noun noun meaning relations and of course the co-occurrence which is in the form of these two plus signs which are finite in number and it is these plus signs which indicate the structure along with the terminations of the sentence. So they give rise to the co-occurrence in the shabdakasha which gives rise to the co-occurrence of meanings in the arthakasha and then this arthasangraha at this stage generates the understanding what is called as understanding as far as the cognitive apparatus is concerned and then probably we decide whether the communication has actually happened or not. So these two diagrammatic representations of the speaker's point of view and the hearer's point of view explain the correlation between the shabdakasha and arthakasha in the reverse order and the audible speech. Now this can be explained in the following manner R stands for root which is atom root in finite in number they can be created more and some of them can be lost etc. Relation suffix is called t which is called also atom t this is finite in number they define the structure in Sanskrit the relations they are the relations between roots noun verb noun noun and they are finite in number. Relations also act as the head of a meaning unit similarly relation words that is suffixes also act as head of a word unit co-occurrence the meanings are placed in proximity indicates that they be imperilated and this is also finite in number. This interrelation can be called exclusive sentence meaning namely vakyarth this has correspondence with the sentence where words are placed in proximity which indicates that they are interrelated and this proximity then can be said to be the exclusive vakyar. To summarize what we have studied so far in the first stage atma buddhya samet tyarthan we can say the following the first stage of speech production involves the overall blueprint we can say of the process of speech production. This involves artha kasha first and then shabdha kasha and there is correspondence between the two shabdha kasha also involves the sentence formation at this stage it involves both indivisible as well as divisible aspect of meanings as well as speech that is shabdha kasha as well as artha kasha and both artha kasha and shabdha kasha complement each other. Now we shall study in the next lecture the next stage of speech production namely mano yunkte vivakshaya but before closing this lecture let us follow the practice we have been following of reciting the mangala charana from one of the texts of the paninian grammatical tradition and today we shall recite the mangala charana of shabdha kaustubha a celebrated text written by bhattu jidikshita in the 17th century c and here is the verse vishvesham satchidanandam vandeham yokhilan jagat charikarthi varibharti sanjariharthi li laya I repeat vishvesham satchidanandam vandeham yokhilan jagat charikarthi varibharti sanjariharthi li laya and let us study today's five sutras they are taken from the first sub chapter of the fourth chapter they are nyaprati vadikata so how just about chhas ta bhyam vhis ne bhyam vhis nasi bhyam vhis nasoos aam nyosup stryaam ajad de tashtaap and rune bhyo nip I repeat nyaprati vadikata so how just about chhas ta bhyam vhis ne bhyam vhis nasi bhyam vhis nasoos aam nyosup stryaam ajad de tashtaap and rune bhyo nip Thank you for your attention.