 Welcome. I welcome you all to this lecture in the course, Samasa in Panini and Grammar. Two, as is our practice, we begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya So far, we said that the theory of compounding in Panini and Grammar is called Samarth theory. We studied the meaning of Samarth and the first meaning of Samarth is capable of expressing the interconnected meanings. That is a word unit capable of expressing the interconnected meanings. So for example, a Pratipadika, a mere nominal root cannot be said to be Samarth as it cannot express the interconnected meanings on its own. That is without the Pratyaya getting added to it. It is only when the Pratyaya will be added to this Pratipadika and that Pratyaya has to be a Supratyaya, then it will become a Padha. It has to be a Padha. In this case, a Subandha formed by adding a Supratyaya to a Pratipadika which will be capable of expressing the interconnected meaning. And then also a Tinganta where things of X is added to a verbal root Dhatu which is capable of expressing the interconnected meanings. This is the first meaning of Samarth. Pratipadika and Dhatu are stated to be the two Prakritis and Sup and Ting are stated to be the Vibhakti Pratyayas which are added to these two respectively. Now these two Pratyayas, they show the interrelation of the Pratipadika with another Pratipadika and the Pratipadika with Dhatu or the verbal action. We have seen this in the previous lectures. We also explained this meaning of Samarth previously. Then we studied the second meaning of Samarth namely having the same meaning which is Samaha Arthaha. What this means is that the interrelated Subandhas, interlinked Subandhas are eligible to be compounded. Then they undergo the process of compounding as laid down in Panimian grammar. This process of compounding involves several types of operations like addition of the suffix at the end of the Samasa or the modification in the first member of the compound or the modification in the last member of the compound, the sequence of the words in the compound and so on and so forth. There are several types of operations which are part of this process of compounding. Thus the compound gets derived step by step with the help of rules laid down in the grammar of Panini. We shall study this derivation process also in the coming lectures. We will generate output in the form of a nominal root or a Pratipadika. So we start with interlinked Subandhas, take them as input and generate an output in the form of a Pratipadika. Now this Pratipadika will mean the same as interlinked Subandhas from where we started. Now this is what is Samaha Arthaha. The Pratipadika, output Pratipadika means the same thing as the input interlinked Subandhas. This output meaning will be one unit. This is what is the meaning of Samartha as a second explanation. Then we studied the distinction between Ekartibhava and Vyapeksha in the light of the primary source in the form of Samartha Nika, which is a part of the great Pyaakaranamahabhashya composed by Patanjali around 150 BCE. Patanjali noted down various factors which distinguish Ekartibhava and Vyapeksha. In conclusion we also stated that it is the Vyapeksha which is interlinkage of words in the sentence which forms the basis of formation of the Samasa and then as an output what is generated is described as Ekartibhava. So let us study the word Ekartibhava and the concept Ekartibhava that emerges out of the explanation of this particular word. The literal explanation of the word Ekartibhava is given on this particular slide. We have also provided the derivation with the derivation of the word Ekartibhava. So the explanation of Ekartibhava is Na Ekarthaha Ekarthaha Bhavati. Ekarth means one meaning. So Na Ekarthaha, not one meaning becomes one meaning. Not one meaning refers to more than one meanings that is two meanings onwards. So two meanings becoming one meaning is what is the explanation. To put it in other words to match the wording of Ekartibhava we can say that Na Ekarthasya Ekarthasya Bhavaha the state of being one meaning out of two meanings. The state of two meanings becoming one meaning is what is Ekartibhava. What this indicates is something that we shall study hereafter. But first let us take a look at the derivation process of this word Ekartibhava as per the grammar of Pani Me. So here there are two elements Ekarthha followed by what is known as the suffix Chvi which is added in the sense of Abhutatabhava. And then we have the word Bhava. Now this Chvi suffix gets deleted so we have Ekarthha plus Chvi plus Bhava at the beginning but before deleting this Chvi suffix brings about the change in Ekarthha that is the substitution of E in place of U and so we have Ekarthi plus Chvi plus Bhava. Chvi is deleted that is it is a zero suffix so we have Ekarthi plus Bhava. Finally we get the form Ekarthibhava. This is how the word Ekarthibhava is derived in Pani Me grammar. What it implies, what it means is the following. Something which does not have one meaning is made to have one meaning. Thus we have two words in a sentence. They have separate meanings so there are two meanings. Obviously more than one meanings. Now these two words in the process of compounding are made one. So two words are made one and similarly two word meanings are made to have one meaning. This is what is Ekarthibhava. This is an important feature of Ekarthibhava which assumes the merger of two elements as far as the meaning is concerned. Which is primary, which is linked with the words which express this meaning. There are three features of Ekarthibhava stated on this slide. They were also stated earlier in this particular course but let us study them one by one in some detail. Now the three features are Aikapadya, Aikarthya and Aikasvaraya. Repeat Aikapadya or Aikapadatta which means state of being one word. Aikarthya or Ekarthata which means state of being one meaning. And Aikasvaraya or Ekasvarata state of being one accent. These are the three features of Ekarthibhava. So in the sentence there are two separate words denoting two separate yet interlinked meanings having two separate accents. In the compounding process the two words merge into one, two meanings merge into one and two accents as well merge into one and behave as one in the output form of the sentence. Let us now look at Aikapadya with some example. Aikapadya or Ekapadatta means state of being one word. So if we have Ramaha, Lakshmanastha, Gacchata, Ramaha, Lakshmanastha, Gacchata. So here we have Ramaha as a separate word. Lakshmana also as a separate word. Chh as a separate word and Gacchata another independent separate word. Now Ramaha, Lakshmana and Chh they are all interrelated and therefore they get compounded and we get the output in the form of Ramalakshmana as a Pratipadika to which the soup is added which corresponds with thus in Gacchata. And so it is Prathama Dviva Chana which is Ramalakshmana. So Ramalakshmana is one Pratipadika which is an output generated from the input consisting of three padas. So Ramaha, Lakshmana, Chh there are three padas but Ramalakshmana is one padha. So Ramaha, Lakshmana, Chh Gacchata, this is a sentence having four padas. But the feature of Aikapadir tells us that Ramalakshmana Gacchata has got only two padas. Similarly the feature Aikarthya or Ekarthata which means state of being one meaning. So when we have Ramaha, Lakshmana, Chh Gacchata, these are the meanings that are understood. Ramah plus Sahitya, Lakshmana and then Prathama Purusha Dviva Chana Karthru Vartamanaka Lagamanakriya. Ramah is the meaning of Ramaha, Sahitya is the meaning of Chh, Lakshmana is the meaning of Lakshmana. And Gacchata means Prathama Purusha Dviva Chana Karthru Vartamanaka Lagamanakariya. So there are four independent brackets denoting four independent meanings which are of course interlinked in a particular manner. Now the first three brackets get merged in the process of compounding and so we have Sahitya Padrama Lakshmana as one meaning and Prathama Purusha Dviva Chana Karthru Vartamanaka Lagamanakariya as the second meaning. This is what happens in the process of compounding. Ekarthata, three meanings get merged into one meaning. This is what is Aikarthya and also Aikashvaryya. So Ramaha, Lakshmana, Chh Gacchata, there is an accent in Ramaha, there is an accent in Lakshmana, there is no accent in Chh and no accent in Gacchata. Now when Ramaha and Lakshmana and Chh when they get compounded, we have the word Ramalakshmana as the Prathipadika which will have only one accent. So we have Ramalakshmana, Gacchata, which is made up of two elements. Ramalakshmana with one accent and Gacchata, no accent. So four independent words having different system of accents. Ramaha, Lakshmana, where there are two independent words having independent accents. They are merged together and one output form Ramalakshmana is generated and this form will have only one accent which is at the end. This is the third feature namely Aikashvaryya or Ekashvarata meaning the state of being one accent. This is an important feature of the Ekarthi Bhava and we have taken an example of the Dvandva Samasa but this is true of all types of Samasas namely Avaibhava, Bahuvrihi and also Dvandva. Even though these three features were mentioned in a particular manner, if we follow strictly the process of speech production described in the Paanimea Shiksha that we have studied earlier, we will arrange these three in the following manner. First comes Aikarthi that is state of being one meaning as desired by the speaker obviously. This Aikarthi is part of the Artha Kasha, the space of meaning. This forces to have Aikapadhyya which is the next part in the sequence, the state of being one word and then Aikashvaryya the state of being one accent. These two are part of the Shabdha Kasha, the space of the Shabdha, the word. This is how we can place these three features in a sequence Aikarthi first, Aikapadhyya then and finally Aikashvaryya. These are the three features of Aikarthi Bhava and Samasa. Let us also look at some other technical terms for example Brutti. Brutti means a typical word building process described in the grammar where more than two elements come together and bring about another new word as an output. Samasa is also a type of Brutti where there are two words that are brought together, two interlinked words that are brought together and that is the input and the process happens and the output generated is one independent new element, new word. And we have already seen the features of this newly generated word and newly generated meaning and the accent. The feature of this Brutti is Pararthi. Pararthi, Pararthata, what it means is new composite meaning is generated which propels the word formation process that is compounding. So new composite meaning is also generated. This is what is the feature of Pararthi. So there are five types of Brutti generally described in Paninyan grammar. And we are studying Samasa and we have already studied Tatpurusha Samasa in the first course and we are focused on studying the remaining three Samasas namely Avyaibhava, Bahuvrihi and Dvandva in this particular course. So all these Samasas they come under what is known as Brutti primarily because the feature of the Brutti is Pararthata or Pararthya, the new composite meaning generated. The merged meaning is the characteristics of the process of compounding. Two meanings merge together. Also merged word form and also the accent is the characteristic of the process of compounding. So when the word forms are merged there are different modifications that are likely to happen in the word forms. As we have seen the example of Go becoming Go in Chitra Go and so on and so forth. Same is the case with accent. If there are two words having independent accent both the independent accents go away and the merged output might have another independent accent. So these are the important features of Samasa as a Brutti which is primarily described to have the feature of Pararthata or Pararthya. Now let us come to an extremely important question because Samasa is composed out of two elements. There are two meanings, there are two words and there are two accents and they are merged into one. Now what is the relation of this newly generated output with its earlier constituents? If one accepts that there is an interrelation between the newly generated form and its constituents then comes the next question as to which amongst the two elements becomes the head in the newly generated output. So on this slide we address this particular question. So in the process of compounding when two elements become one which one of them becomes the head of the newly generated one output. So we have x plus y that means that they are getting merged together and we get the output in the form of x y within the two square brackets indicating that it has become one unit. Now there is a correlation of x plus y as an input with the output namely x y and then this question which one of the two x and y becomes the head in x y. Now there are four possible options either x is the head or y is the head or x y both are the head or none is the head that means some other outside element acts as the head of this newly formed unit. These are the four options available as the answer to this particular question. Now what does the head do? The head determines the interrelation of the unit with other words in the sentence. So Rama-Lakshmana-Ugachata is a sentence. Now this is a Dhvandva compound and this is a case where both Rama and Lakshmana act as the head and therefore we have dual and therefore we also have dual as far as the thing form is concerned. Similarly the other words are connected to the non-head only through the head and not directly or independently. The head determines the gender and the number of the unit. The head also determines the accent of the unit. Also the head determines the type of the compound. So let us look at the element that is head in various compounds. We have x plus y as input and x y as the merged output. The four options are following. In the avyai bhava samasa we have x which is the first member of the compound which acts as the head and undergoes the functions described in the previous slide. In the tattpurusha samasa y acts as the head. In the dvandva samasa x y both will act as the head and in the bhavubrihi samasa none will be the head. That means that some other outside element which will act as the head of this particular derived output. This is extremely important. Avyai bhava, dvandva and bhavubrihi will have these important features. I repeat in avyai bhava x that is the first member will act as the head. In dvandva both x y will act as the head and in bhavubrihi none of the two will act as the head. Some other outside element will be the head as far as this merged output is concerned. To summarize merging of two units into one at all levels meaning word, accent is the main characteristics of the process of compounding. This merging has got some correlation with the constituents of the compounds. But philosophically it is also believed to have different or independent status without having any correlation with the constituents or without having any constituents as one over and above the constituents unit where there is one undivided word denoting one undivided meaning. But we will not go into the detail of these philosophical explanations. We will follow the rules of grammar and the correlation of constituents with the merged unit and we shall be indicating the head of the samasa regularly when we study the three samasas avyai bhava, bhavubrihi and dvandva which are the focus of this particular course. These are the texts referred to and samartha nika from the Vyakarnamahabhash is very very important for various kinds of explanations of ekarthi bhava and samasa and so on. Thank you very much.