 Welcome, welcome to all to this lecture in the course Introduction to Paninian Grammar. In this course so far, we have been studying the process of speech production as described in the Paninian grammatical tradition. We have gone into some details of this process and we have seen how the Paninian grammatical tradition has described right from the internal cognitive process up to the external audible speech production in some detail. Then we were studying the features of these sounds noted down by the Paninian grammatical traditions. We noted that there were quite a few features noted down by the Paninian grammatical tradition and then we started studying the functions assigned to them by the Paninian grammatical traditions. One of the functions namely the term Savarna assigned to sounds which have similar features we studied in the previous lecture. In this lecture we shall study the next feature namely the criterion for selection of a substitution as well as substituent. So we studied the process of speech production by using this source namely Paninian Shiksha and the verses that are listed down. Once again the purpose of reciting these verses again and again and again is very clear and very obvious that you should get more and more familiar with these verses and because you have heard them so many times there should be part of your own understanding so far. And then there are these stages of speech production that are described in these verses and we have noted down the stages here. We have already studied them in detail. They are Atma-Buddhya-Samet-Tyarthan the first, Mano-Yungta-Vibhaksaya the second and we said that these two they form the cognitive aspect of this particular process which is also termed as the cause and the remaining ones they are the physical or the biological aspects of this particular process. They are also termed as the effects. So the third stage is Manakaya-Gnima-Hanti the fourth one is Sapreya-Yati-Marutam the fifth one is Marutas-Turasi-Charan-Mandram-Janayati-Svaram the sixth one is Sodhir-No-Murdhyavihato the seventh one is Vaktram-Apatya-Marutah and finally Paranam-Janayate when the audible speech is produced. We noted down the first function of the feature namely the term Savarana which is this kind of super feature assigned to the commonality of the features of the sound which allows the Grammarian in our case Panini to achieve brevity by assigning the term Savarana the sounds can be further grouped and then one of them can be mentioned in the initial enunciation and by a rule let us say 1169 Panini declares that this one sound mentioned in the 14 Pratyahara Sutras represents all its homogeneous sounds in this way Panini achieves the brevity as far as the system is concerned that was the first function of the features of sounds that we studied in the previous lecture. Now the second function of these features of sounds this is what we are going to study in this lecture. So criteria for selection of a substitute in place of a substituent when multiple substitutes get stated by the Pratyahara or other metalinguistic devices this is the function this is the second function of these features of sounds and I repeat criteria for selection of a substitute in place of a substituent especially when multiple substitutes get stated by the Pratyahara or other metalinguistic devices. So criteria for selection of a substituent in whose place a particular substitute is to be stated this is a similar kind of function which is assigned to these features of sounds it is to be noted that the first function is the criteria for selection of a substitute in place of a substituent and the second function is criteria for selection of a substituent in whose place a particular substitute is to be stated these are the important functions that we shall study in this lecture. Obviously these features are based on the explanation of the process the process of speech production in which the journey of the tongue the position of the tongue can also be explained. Now let us look at the first function stated in the previous slide namely the criterion for selection of a substitute also known as namely investigation into which sound as a substitute is most similar to the substituent. So you take the set of sounds which are stated as the substitute and study each one of them based on the place of articulation and the effort of articulation and so on and then match and see which sound comes closer to the sound that is to be substituted and then substitute that sound in place of the substituent. This is the process that is followed this is what is meant by so for example sometimes many get stated as substitute in place of a substituent amongst those many that get stated as substitutes by the Pratyahara or for example by the other metalinguistic devices like ku, chu, tu, tu and pu there is one substitute that has to replace the substituent and in order to investigate which one is the closest substitute we need to do this Antaratamya Puriksha and for this the Bhaiya Prayatna is used as a device by the Paninian grammatical tradition. For the concept of Savarna the Bhimtara Prayatna as well as the place of articulation Sthana was used and now as far as the Antaratamya Puriksha is concerned choosing the closest substitute in place of a substituent is concerned the Bhaiya Prayatna is used by the Paninian grammatical tradition. However we note that even in such a case the Paninian grammatical tradition keeps using the word Savarna. So this is supported by the source let us study this source the source is the celebrated text called Bhaiya Karana Siddhanta Kavmudi written by Vattuji Dixit and this passage is taken from this text it reads like this and I repeat what it means is even if the external effort of articulation is not used for deciding the Savarnas which sounds are homogeneous with which other sounds it is still used in the investigation of the most similar of the substitutes which is the closest substitute in order to decide about this in order to investigate into this the Bhaiya Prayatnas are used extensively by the Paninian grammatical tradition. So let us take the example 8462 which is this sutra consists of three words Jaya which is the five slash one of Jaya Haha which is the six slash one of her the consonant and then Anyatarasthyam which means optionally the word continued from the previous sutra is Urva Savarna homogeneous with the earlier Urvasya Savarna homogeneous with the earlier sound. All these words put together we can say that following is the meaning of this particular sutra in place of her the consonant her which comes immediately after a Jaya substitute optionally a sound which is homogeneous obviously homogeneous to both homogeneous with Jaya primarily but also with her now 8462 says and what it says we have already seen now let us put it in the form of an equation and try to explain it. So if you have Jaya plus her if this is the given then substitute her by a sound which is homogeneous with the earlier stated sound that is a Jaya. So this can be represented in the form of an equation in the following manner. So if you have Jaya plus her given applying 8462 now the output would be Jaya plus Urva Savarna of Jaya in place of her. Now what is Jaya? Jaya is a Pratyahara that stands for sound stated in between the Pratyahara sutra 8 to 12. If we try to understand what is Jaya using the traditional sound inventory we have to say that Jaya stands for all the consonants that come in columns 4, 3, 2, and 1 this is what is Jaya and Kapai 8 to 12 consonant 4, 3, 2 and 1 in the traditional sound inventory. So if her comes immediately after any of these sounds her is to be substituted by the Savarna of Jaya. Now the features of Jaya are the place of articulation namely Kantha, Vellam, Talu, Palet, Murdhan, Roof of the oral cavity, Danta, Toth or Teeth and Osthav namely the lips. The Abhendraprayatna of Jaya is spressed contact touch of the tongue with the place of articulation. This is what we have already studied. Now if we look at the features of her we note that the place of articulation of her is Kantha or Vellam and the Abhendraprayatna of her is Vivruta or open. The important point is Abhendraprayatna of Jaya is Prashtha and the Abhendraprayatna of her is Vivruta. Now by 1.1.9 and 10 only those sounds are called Savarna or homogeneous which have similar sthana and Abhendraprayatna. In our case now Jaya and her do not share Abhendraprayatna at all. Even if there is some similarity of sthana between her and Ku which is part of Jaya. K, kh, gh and gh they are part of Jaya and they share the sthana with her. So even if partially we can say Jaya does share the place of articulation with her but definitely all of the Jays they do not share their Abhendraprayatna with her. The Abhendraprayatna of Jaya as we saw earlier is Prashtha whereas the Abhendraprayatna of her is Vivruta. So now the question is what is the word Savarna referring to here and the answer is that the word Savarna refers to the homogeneous sound of Jaya. So if we have say for example dha followed by her, her should be replaced according to 8462 by any Savarna of dha which is Jaya. Now there are four choices that we have. Th, th, dha and na. Obviously dha is also a choice. So there are four choices. Th, th, dha and th, th, dha and na omitting dha. Now the question is which one is to be selected amongst these four. This now we shall decide on the basis of the Bhaihaprayatna. This selection should be now based on the basis of Bhaihaprayatna. Let us now look at the Bhaihaprayatna of her and the Bhaihaprayatna of these sounds and then compare and then see which of these four comes closest to her. So the Bhaihaprayatna of her is nada, gosha, samvar and maha prana. Resonance, voice, closure and more breath and her is called aspirate. Now all these four features they match with only one of the four choices namely the features of only dha. Dha also possesses these four features as Bhaihaprayatna namely nada, gosha, samvar and maha prana. Some features are similar to that of th as well as na namely the maha prana is similar with th and nada, gosha and samvar are the features of na as well. But na is not maha prana and th even though is maha prana its features are not nada, gosha and samvar. They are swasa, agosha and vivar. So not all features of th and na match with that of her. So they get eliminated as the choices and so now there is only one choice that remains and that is dha. So for example if you have dha which is a jhai followed by her the resultant output after application of 8462 would be the followed by dha. So her gets substituted by dha. Similarly if gha which is a jhai followed by her then application of 8462 returns the output as gha followed by gha. Gha is the purva samvarna of gha which is also closest to her. Similarly if you have jha followed by her where jha is a jhai then in place of her we get the substitute jha which is the closest to her and also the savarna of jha. Similarly if we have dha followed by her then in place of her we have dha which is the purva savarna sound of this dha. And lastly if we have bha followed by her, her is to be replaced by bha which is the purva savarna of bha and also the closest to her because the baya prayatna of all these five sounds gha, dha, gha, jha, dha and bha they are the closest amongst the substitutes available to her namely nada, samvar and ghosha and also maha prana. All these five sounds have these features have these baya prayatnas. So if we look at the concrete example here are the examples. So if we have a compound like padd followed by herthi in which here we have the similar situation described in the left hand side we have the followed by her. So now we apply 8462 and substitute her by dha and we get the word paddhati, paddhati. Similarly if we have vag followed by hara also a compound we have the condition namely gha followed by her and so we apply 8462 and so we get her substituted by the purva savarna of gha namely gha. So we get the form vagh ghar. Next we have aj followed by hall where we have jha as a jhai followed by her so we apply 8462 and substitute her by the purva savarna of jha and so that purva savarna is jha which is the closest to her as well and finally if we have gub plus hasa where we have b which is a jhai followed by her we substitute her by b which is savarna of the purva sound b and which is also closest with reference to her in terms of the by her which are and also in this way 8462 applies the basis for the application of 8462 is the by her prayatna in this case nada, ghosha and samvar and also mahaprad resonance, voice, openness and having more breath or being as spirit. So the explanation once again is the following the by her prayatna is used as a criterion to select one substitute in place of many thereby giving the process of substitution a criterion based structure. The process of substitution which is the main process in the grammar of panini is not based on any haphazard whims of the grammarians. It is based on a particular criterion which is based on the features of the sounds that get produced in the process of speech production. So this is a structure based on a criterion. This criterion is in the form of features of sounds. This criterion can be tasted and also explained using the modern terminology and technology. The movement of the tongue and the compromise it has to make in the fast speech in reaching the place of articulation of the next sound to be uttered is what is at the base of this entire process. And so there is this compromise made by the tongue which cannot reach in time the next place of articulation. So it stops at the nearby place of articulation which is termed as the compromise and this compromise gets reflected in this particular sutra and similar sutras. Now the next function is the criteria for selection of a substituent. So when a grammatical operation is stated in which substitutes are stated with reference to a pratyahara which contains certain sounds whose features are not at all related to the substituent then the feature set comes to help and the grammar says that a substituent matching with the features of a substitute does not exist. So select only those substituents which match with the features of the substitute and the one which does not do not make it a substituent at all. This is how a substituent gets selected for the process of substitution using these features. Let us take a concrete example 8458 in the astadhyayi which is anusvarsya yai parasavarnaha. Let us study this sutra in detail. This sutra has three words anusvarsya 6 slash 1 of anusvara yai is 7 slash 1 of yai and parasavarnaha is 1 slash 1 of parasavarnaha. Parasavarnaha means the sound which is homogeneous with the latter sound. So all this put together the meaning of 8458 can be stated in the following manner. Immediately before a yai sound yai sound substitute a sound which is homogeneous to the latter that is a yai in place of an anusvara. To put this in the form of an equation we can say that anusvara plus yai and we apply 8458 and then the next step of derivation would be parasavarnaha plus yai. In place of anusvara comes the parasavarnaha. To explain it further we can say that this means savarnaha of yai plus yai. Parasavarnaha stands for savarnaha of yai. This is how it gets into the form of an output. The first step of derivation can be explained as anusvara plus yai. The next step of explanation is parasavarnaha plus yai closely following 8458 in letters and then we have savarnaha of yai plus yai as the final output. Let us take a concrete example. Here is the word grantha for you in which the anusvara appears immediately after a over here followed by the which is a yai. So, we have this anusvara followed by the immediately. So, here is the scope of application of 8458 and we apply it and then we substitute na in place of this anusvara, na in place of anusvara. So, immediately before the appears an anusvara over here. So, it gets substituted by a savarnaha of tha. Amongst the four savarnahs of tha namely tha, dha, dha and na only na is nasal. tha, tha, dha and dha they are not nasals. So, only na is nasal which matches with the anusvara as far as the place of articulation is concerned and so this na becomes the substitute which matches with the substituent and so we get the form grantha with na coming here. In case of kundamrathena which is an example taken from the vyakarana Mahabhashya of Patanjali and anusvara appears immediately before rha. Now, according to 8458 this anusvara needs to be replaced by a savarnaha of rha. Rha is part of yai. Yai includes the semi-vobbles here vrl as well as all the class consonants. The fifth column, the fourth column, the third, the second as well as the first. Yai includes all the consonants except shah, shah, sir and her. That is what is present here. So, kundamrathena consists of rha immediately coming after this anusvara or we can say the anusvara comes immediately before rha which is yai. Now, according to 8458 this anusvara needs to be replaced by a savarnaha of rha. Then we know from the features of rha that amongst the antastas, the semi-vobbles only rha does not have a nasalized version. All three yai, vr and lha they all have a nasalized version. Only rha does not have a nasalized version. So, now the grammar says that since there is no substitute that matches with the features of the substituent, let there not be any substituent at all and let there not be any process of a substitute. So, let kundamrathena remain as it is kundamrathena no substituent chosen. To summarize this entire discussion on the process of speech production, we just now saw the second function assigned to the features of the sound produced. Before that we had seen the feature features being used to formulate another super feature savarnah which is used for the purpose of brevity. Now we summarize the entire process of the speech production as described in the Paninian grammar in the following manner. The discussion on the process of speech production as described in the tradition of Paninian grammar can be summarized by saying that the grammatical tradition of Sanskrit did notice features of the sounds thus produced. It classified sounds in accordance with some of these features. It also used these features as a device for effective and brief grammatical description. It also recognized the importance of the cognitive part in the overall process of speech production. It developed the theory that the audible speech is just one part of this entire process and in fact it is the most external part of the process. The internal part is the most important and can be expressed using various kinds of means. So the external part is just an expression. This knowledge of the Indian grammatical tradition was considered advanced at some point in time when the Europeans came into contact with the tradition of the Paninian grammar. It is in fact this advanced knowledge of features of sounds that is said to have influenced and to have given rise to a new branch of phonetics in the modern world. In the discussion so far in this course we studied the description found in the tradition of Paninian grammar. This material can be compared with the modern knowledge about the process of speech production. Technological help is also available where software in the field of articulatory phonetics can show distinct pictures of this process with respect to each and every sound. This and other related topics we reserve for an advanced level course. This is the point where our discussion on the process of speech production comes to an end. Now before finishing today's lecture, let us follow the practice we have been following of reciting the Mangala Charana from yet another celebrated text. This time from a commentary called Tattva Bodhini on the Vaya Karana Siddhanta Kavmudhi of Bhattogi Dixitra. So this commentary Tattva Bodhini has this Mangala Charana and I recite Nattva Vishweshwaram Sambam Krtvacha Guru Vandanam Siddhanta Kavmudhi Vyakhya Kriyate Tattva Bodhini. I repeat Nattva Vishweshwaram Sambam Krtvacha Guru Vandanam Siddhanta Kavmudhi Vyakhya Kriyate Tattva Bodhini. And the five sutras of today are taken from the first part of the fifth adhyaya, the first sub-chapter of the fifth chapter. And they are Thank you for your attention.