 Welcome, I welcome you all to this course called Sandhi in Paninian Grammar. This is the first lecture in this course and in this lecture I will discuss the aims and objectives and the overall contents of this course called Sandhi in Paninian Grammar. My name is Malhar Arvind Kulkarni and I have been teaching the course on Paninian Grammar at IIT Bombay at undergraduate level as well as at postgraduate level. I have been also involved in teaching various texts forming curricula of different institutions at different levels regularly for past more than 20 years. Sandhi happens to be an important topic that I have been teaching throughout. What is the aim of this course then? The aims and the objectives will be clarified in this coming slide. The broad aim of the course is to explain the concept of Sandhi together with its types as explained in the Paninian Grammar. This is the broad aim of this course. As you can see this big sentence is further divided into three parts which in itself explains in brief albite the aim of this particular course. I will read it again. The broad aim of this course is to explain the concept of Sandhi which is a very important concept as far as Paninian Grammar is concerned and this concept of Sandhi is explained together with its types in the Paninian Grammar. This course aims to explain the types of the Sandhi and while doing so the course will constantly refer to Paninian Grammar, the sutras that are part of the Paninian Grammar. So in all to explain the concept of Sandhi together with its types as explained in the Paninian Grammar. This is what this course aims to do. In this lecture we shall explain further what these three bullets signify. What is the concept of Sandhi and how it can be studied? What can be the different approaches to study this concept and then what will be the types and then how this Sandhi gets explained in Paninian Grammar. Before proceeding to this explanation, let us take a look at the data of Sanskrit sentences where the Sandhi is observed to occur quite regularly. Let us take the first instance Arjuna Uwacha. This is found several times in the celebrated text Bhagavad Gita Arjuna Uwacha. Then we also have another statement, another sutra, Athato dharma jidneyasa, right at the beginning of the Purva Bhimamsa Sutra. And then we also have a verse taken from Srimad Bhagavad Gita which reads, aso chya nann vaso chastvam pradnyavadamscha bhasase gatasuna gatasumscha nanushocanti panditaha. So if we have to make any meaning of these strings, these texts, what do we do? What is the first step that we undertake in order to make the meaning of these texts? The first and the foremost thing that we do is the padarcheda. So we split the components of these statements into the padars and then further we add Vibhaktis to them, appropriate Vibhaktis and then we take it forward, then we collect the same Vibhakti ending words together and then we arrange in a systematic manner and that gives us the meaning of the statements. For instance Arjuna Uwacha, padarcheda is just sufficient for us to give the meaning, same is the case with Athato dharma jidneyasa. As far as the verse is concerned, we will have to follow some other steps after which we will be able to make the complete meaning of this particular sutra but we begin with the padarcheda. So what will be the padarcheda? So for example in Arjuna Uwacha you will have Arjuna, one padar and Uwacha, the second padar. In Athato dharma jidneyasa you will have Athha as the first padar, Athaha as the second padar and dharma jidneyasa the third padar. This is all very simple. Now when we come to the verse from Bhagavad Gita, we note down these padars, asho chyan, the first padar, anvaso chas, second padar, tvam, third padar, pradnyavadana, fourth padar, chh, fifth padar, bhashase, sixth padar in this line. Then we go to the next line and we see gathasun, the first padar, agathasun, second, chh, third, na, fourth, anusho chanti, fifth and panditaha, sixth. There are six padars. This is how generally Pada Chheda happens, generally. Now if we observe the Pada Chheda done here carefully and very closely, we will notice that the words and the form that they had in the previous occasion on the previous slide, for some words that differs and here we have something totally different than what we had in the previous slide. So if we compare the first two simple examples and here I have added one more example, the Tarashtra Uwacha. So Arjuna Uwacha you have on the left hand side the text that is in front of us Arjuna Uwacha and the similar example is Dhritarashtra Uwacha. Now na and str, they are put in red inks to contrast with what is going to happen to them when we do the Pada Chheda. So when we do the Pada Chheda, this Arjuna goes to Arjuna, goes to become Arjuna. Dhritarashtra becomes Dhritarashtraha. Uwacha remains as it is, but this is the change that is brought in. Dhritarashtra Uwacha becomes Dhritarashtraha and Uwacha. Similarly if you go to Athato Dharmajidnyasa, the two letters Tha and Tho they are put in the red ink primarily because it is they which are going to undergo the change when we do the Pada Chheda. So what happens when we do the Pada Chheda this Athato is turned into two words, two constituents, Athar, Athar, Athar, Athar, and then this O is changed to Aha, Athar as one word and Athaha is the second word. So Athar, Athar, Dharmajidnyasa. These are the three constituents that we get out of Athato Dharmajidnyasa when we do the process of Pada Chheda. And similar examples could be added over here like Athato, Brahmajidnyasa and so on and so forth. Now if we compare the words taken from Bhagavad Gita on the left hand side you have the words that is a given in the previous slide Ashokcha, Nanvasoka, Stvaam, Pradnyavadam, Shabhashasai and here Stvaam and Daunashtra, they are put in red ink and if you see what happens to them Ashokchan is put separately, Anvasochas, so this sir is visible and then there is Stvaam that is also visible there and then Pradnyavadam, so here the word is Pradnyavadan and then there is Chha. Similarly in Gatasun, Gatasun Shchha, here we have Agatasun and Chha and what we read was Gatasun, Gatasun Shchha and that is separated as Gatasun, Agatasun and Chha. Similarly Nanushochanti is segregated in the constituents Na, Pradnyavadam, Pradnyavadam and Anushochanti and finally we have also the word Panditaha which is marked as red in order to indicate some processing. So if we compare the texts that were available to us on the left hand side with the texts that are available to us on the right hand side of the slide, we notice that we separated the constituents from the sentence and then when we removed the sentential boundary, when we removed the sentential effect, we brought these elements, the constituents in their own form and that form is what is precisely written on the right hand side. What this means is that if we want to go from the right hand side to the left hand side, we need to join these elements together and then with the help of some grammatical rules we will do that, with the help of some grammatical rules we will be able to join these elements together and we will be able to produce what is written on the left hand side. So it is this particular phenomenon that we just observed that the text in the verse form is presented in its constituents which are separated from the sentential effect and which remain in their own form, they are shown in their own form after having removed this sentential effect. When two sounds are separated from each other, the effect of their combination is also separated. So with this information available to us now, it becomes easier for us to rearrange these padas and then to make the meaning of the sentence, one sentence and the second sentence and also then the complete verse. This is how we proceed to comprehend the meaning of any given text in Sanskrit. And then this is how we generate the Sanskrit sentence from the constituents by bringing those together and the sounds when come into close combination, they have an effect of that combination which can be called as the sentential effect. This is how a student of Sanskrit learns to analyze a given text and also to generate a particular given finished form of the text. What I am trying to point out is that this very important and very significant phenomenon is what is the subject matter of this particular course. So this exercise of analyzing and then also generating amounts to what is being called as Sandhi. We shall have lectures which will explain the theoretical aspect of this very important phenomenon called Sandhi in the course of time. Now the linguistic explanation of this particular exercise can be offered by posing the following two questions and then by studying the following concepts. What is a Sandhi? What do you understand by the word Sandhi? Very important question. We shall address this question in the coming lectures. Then what is the background for Sandhi to take place? These are two crucial questions which will explain fully the concept of Sandhi. The Sandhi also requires the understanding of the concept of Samhita as well as the concept of Avasana which is part of the linguistic explanation of the concept of Sandhi. In Paninian grammar Sandhi is also classified as Nikte Sandhi and Vaikalpika Sandhi. The Sandhi that you as a speaker must do and which has no option at all is called Nikte Sandhi and the Sandhi that can be optionally done between the elements is called Vaikalpika Sandhi and it is extremely important to study these two types of Sandhis when we study the linguistic explanation of Sandhi and we shall deal with this topic in this particular course. The most important part of the linguistic explanation is the various types of Sandhis mentioned in the Paninian grammatical tradition. Take up all those types to study in detail in this particular course. These types are named uniquely as far as the Paninian grammatical tradition is concerned. So there is the Vavel Sandhi being termed as Ach Sandhi or Swara Sandhi. The consonant Sandhi is being termed as Hal Sandhi or Vyajna Sandhi and then there is Visaraga Sandhi then there is Swadi Sandhi and these are the four types of Sandhis that are treated in the Paninian grammatical tradition. These are the names of those Sandhis. And these Sandhis occur in various kinds of environments the left hand side environment as well as the right hand side environment. The environments could be merely phonetic but in some cases they go deeper as far as even the meaning is concerned which is at the back end. It is also important to study the nature of the substitute end which is substituted by the Sandhi and then the criteria to select the proper substitution in place of a substitute end. These are discussed in the Paninian grammatical tradition and they will be also discussed in this particular course. Sandhi is primarily a Varanakarya as opposed to some other types of operations that are part of Paninian grammar. There is a phonetic explanation that is offered of the phenomenon called Sandhi and we shall study this aspect in detail as well. The role of sthana namely the place of articulation of sounds and the role of prayatna namely the effort of articulation of sounds plays a very crucial role in determining a particular type of Sandhi and the substitute of course. Similarly, the role of the position of tongue is also equally important in order to explain a particular Sandhi. These will be also discussed as part of the linguistic explanation of a Sandhi. It is also important for us to note that Sandhi also involves quite a lot of ambiguities because it allows multiple possible explanations of a particular string. For example, if we take the sutra atha to dharma jidniasa where we had atha ato dharma jidniasa and it was split in atha atha and dharma jidniasa taking advantage of the ambiguity provided to us by the phenomenon of Sandhi, this particular string can be segmented into the following constituents as well atha atha atha atha and dharma jidniasa. This is perfectly valid as far as the Sandhi phenomenon is concerned. This makes the samskruth strings more complex and the process of making the meaning of samskruth strings more challenging and more complicated, but that also allows an individual to explore for multiple possible explanations that also explains why the same text is interpreted in different manners by different philosophers, by different people, different speakers. Sandhi plays a very crucial role as far as this multiple possible explanation scenario is concerned. Sometimes even the meaning change of the word is related to the Sandhi. Similarly, when we do analyze the Sandhi, for example, atha ato dharma jidniasa when we analyze the sutra into these constituents and we have atha dharma jidniasa over here, we need to confirm that atha dharma jidniasa is a regular proper word in samskruth. So the fact that the resolution of the Sandhi into this way ensures that the constituent which is part of the samskruth vocabulary is also at the back end of this resolution, which means that atha dharma jidniasa should be a proper word in samskruth and only then such a sandhi resolution is possible. So it is not just a mechanical way of dissolving the Sandhis, but also to be supported by the meaningful units that are part of the samskruth vocabulary. However, you might notice that this phenomenon will increase the complexity quite a lot, quite a lot. In fact, it is this particular feature which is exploited to the benefit by the grammarians, later Paninian grammatical tradition, where there are questions which remain unanswered and which have to be resolved using the current available wording of the text. Similarly, the place of Sandhi in the process of derivation of the sentence is also equally very, very important. As we shall see later on, the place of Sandhi happens to be the last step in the process of derivation of a sentence. This is when we generate, when we analyze the place of Sandhi is the first and the foremost. And so while analyzing, there may be a scope for multiple possible explanations. It is also important to know what is not a Sandhi. Sometimes when we explain what is a Sandhi, we forget to explain what is not a Sandhi. So for example, Ashok Chan An Vash O Chah, An Vash O Chah, Ashok Chan An Vash O Chah. And here N is marked in red ink, primarily to show that this N consists of consonant N and vowel O which is shown here. And these two sounds are separated, Ashok Chan and An Vash O Chah. Similarly, Gatasun Gatasun. So this N which is made up of N as a consonant and O a vowel and they are separated over here. Gatasun and O Gatasun separated. Now this is not considered as a Sandhi. When they are joined together, this is not considered as a Sandhi. This we shall explain in detail later on. Similarly, in case of Arjuna O Vachar, Arjuna O Vachar, one might feel that this O at the end followed by O at the beginning of this word. When they are in close combination, why is there not a Sandhi resulting in this particular form Arjuna O Vachar? So this is not happening because of some reason, because of the explanation provided by the derivation system of Paninian grammar and we shall study this particular system and then we will understand why this Sandhi does not happen. Along with this question, what is the absence of Sandhi which is answered also by this example. This is an example where there is an absence of Sandhi, so to speak, from outside. From the Paninian system point of view, there is however a different explanation. There is no scope of Sandhi at all according to the Paninian grammatical tradition over here. So we shall study this. Similarly, we shall also look at the concept of double Sandhi. What is a double Sandhi and where does it occur? So in all, we can say that when we do the linguistic explanation of Sandhi, we have two views. One is from analysis point of view and the other one is the generation point of view. When we do the analysis of Sandhi, we note that Sandhi is the first step of any sentential analysis because when we remove the sentential effect, the first thing we do is we remove the combinations that have resulted from the proximity of two sounds. So that is the first step that we take and then we extract smaller units from the sentence in the form of padas and then we extract further smaller units from padas in the form of prakriti and pratyaya. On the other hand, from these smaller units called prakriti and pratyaya, when we start generating the higher units, we build the padas from the prakriti and pratyaya and there we use wherever possible, wherever there is a scope Sandhi and then from these padas we generate the sentence and as the final step in this process of derivation, we generate the Sandhi. So that is the last step and then such a sentence on which the process of Sandhi has processed, such a sentence becomes fit to be used in the communication. So the padas, they become fit to be used in the sentence only after they undergo this particular operation of Sandhi which is also referred to in the tradition as Samartha and translated as Kruta Sandhi Karya. So when the Sandhi Karya happens, then that padha is considered to be the finished form fit to be used in the sentence and further in the sentence such padhas will come into combination and they will also generate some new combinations which will be the last step and that will be the generation of the Sandhi at the sentence level. This is the linguistic explanation of Sandhi. What remains to be seen now is the other approaches and other ways of explaining the concept of Sandhi which we shall study in the next lecture. Thank you.