 Welcome, I welcome you all to this lecture in the course Sandhi in Paninian Grammar. In this lecture, we will continue studying the Atch Sandhi or the Vovel Sandhi. We said that this Atch Sandhi is of two types, Ekasthanika Ekadesha and Dvisthanika Ekadesha. Ekasthanika Ekadesha stands for one substitute in place of one substitute event. Ekasthani is substituent and Ekasthani one substituent and Ekadesha and one substitute. In case of Dvisthanika Ekadesha, we have two sthanis, two substituents and one substitute. To contrast that, we say that this first type is Ekasthanika Ekadesha. We also stated that there are two instances of this Ekasthanika Ekadesha. They are Ekoyanachi, the Sutra which states the Yen Sandhi. And the second instance of this Ekasthanika Ekadesha is a Yava Yava Sandhi stated by the Sutra, Echo Yava Yavaha. Amongst these two, right now we are studying the first instance namely Yen Sandhi stated by the Sutra, Echo Yenachi. The Ekasthanika Ekadesha is stated in the Ashtadhyayi in this particular section, namely from 6172 up to 6183. And this Ekasthanika Ekadesha can be diagrammatically represented in this particular manner as shown on this slide. So A plus B, B coming immediately after A in close proximity, that means in the Samhita mode and this plus sign indicates that Samhita mode. So A plus B and A is substituted by C. A is the Sthani, Ekasthani and C is the Aadesha, one substitute. So eventually A plus B is the input and by the application of Ekoyanachi we get C plus B as the output. B remains unchanged, only A gets substituted by C. In this way diagrammatically we can represent the Yen Sandhi or the Ayava Yava Sandhi and they are stated in this particular section 6172 up to 6183 in this particular section. Now when we study Yen Sandhi, we first of all studied the Sutra Ekoyanachi. We noted down what is Ek, what is Yen and what is Ach. We also studied how to form the Pratyahara from the data given in the 14 Sutras. After having comprehended the meaning of Ek, Yen and Ach, we also studied the meaning of the cases. The sixth case stands for in place of the seventh case means immediately before and then we made the meaning of Ekoyanachi clear. We said that immediately before and Ach, Ek is substituted by Yen. We also noted that there is an Adhikara called Samhitayam when in Samhitamod. So when Ek followed by Ach is in the Samhitamod then substitute Ek by Yen. That is the meaning of Ekoyanachi that we arrived at. Then we looked at the concept of Udeshya and Vidheya and applied it in this particular Sutra. What we found was Ek and Ach are Udeshyas already known elements and Yen is the Vidheya. Something stated anew by this particular statement in the form of a Sutra. Then we introduced the Savarnak-Grahaka Sutra, Anudit-Savarnasya-Chaapratya, 1169. And we said that according to this Sutra when An meaning all the vowels including Ek as well as Ach all the vowels, they stand for their homogeneous sound when they are Udeshyas and not the Vidheya. By application of this particular Sutra we expanded the meaning of Ekoyanachi by saying that Ek stands for a number of sounds and Ach also stands for a number of sounds. We also eliminated certain obvious combinations for example Plutha and some other combinations. Then we studied individual examples and in these examples we followed certain scheme where we showed the Stani as well as the right hand side environment in red ink and the substitute in blue ink. And we also used an arrow right hand moving arrow with green ink filled to indicate that the output is produced by application of the Sutra. So we have discussed individual cases, individual examples and have shown that Yen Sandhi indeed takes place. Now in this lecture we are going to further discuss some more examples and also are going to have some discussion. We are going to study the examples of this Yen Sandhi in the light of an unwritten principle and that principle is stated in the form of a verse in the tradition and that verse is quoted on this particular slide. This is that verse. This verse is enlisting some features, some features of Samhita and most importantly when this Samhita is obligatory. As we have already discussed the background for the Sandhi to take place is Samhita. The close proximity in which sounds are uttered that is Samhita and when such a Samhita is the mode of utterance then the Sandhis take place. So this verse tells us where all is the Samhita obligatory meaning thereby that the Yen Sandhi will also be obligatory in those cases. And in this particular lecture we shall study examples which illustrate these points. So we will take the examples of Yen Sandhi in Ekapada, examples of Yen Sandhi between Dhatu and Upasarg, examples of Yen Sandhi in the compound and also within the sentence and how when Vibhaksha is expected how the Sandhi does not take place. Previously the examples were focused on the combinations of Stani and Nimitra. The previous examples they highlighted what was the Stani, what was the Substituent and what was the Nimitra and there are various combinations that are possible. Short vowel plus long vowel combination, different vowels altogether and the resultant form is the Yen Sandhi and so on and so forth. That was the focus. In this lecture our focus is the locations various levels where Samhita is obligatory. So this verse says that Samhita is obligatory within one padha. So we shall focus on this one padha and take some examples and illustrate how Yen Sandhi happens. And also between the verbal root and the proverb, verbal root is Dhatu, proverb is Upasarg. Dhatu and Upasarg they share a unique relationship and the Samhita in between Dhatu and Upasarg is obligatory. As a result the Sandhi is obligatory and Samhita is also obligatory within a compound or Samasa. Samasa is a very productive and a very unique process of word formation in Sanskrit and in a Samasa Samhita is obligatory. However within a sentence the Samhita expects the desire of the speaker. That means the Samhita is dependent on the desire of the speaker. Whether the speaker wants to utter the sounds in Samhita mode or not. Whether if the speaker wants then there is Samhita mode but if the speaker does not want then there is not a Samhita mode. And so we have an option. Let us look at examples one by one. First we have Yen Sandhi taking place within a padha, ek a padha. So Yen Sandhi within one word or ek a padha. So what is the definition of padha? The definition of padha given in the Ashtadhyayi that is applicable over here is Suptingantampadham stated by 1, 4, 14. What this means is that a verbal element at the end of which occur either a sup or a ting suffixes that element is called padha. Sup and ting are the pratyaharas referring to respective suffixes that are added after the respective roots. Sup is a pratyahara formed in the sutra 4, 1, 2 and ting is a pratyahara of the suffixes formed in the sutra 3, 4, 7, 8. Sup is added to a pratyapadika and ting is added to a dhatu and the resultant form is the padha fit to be used in a sentence. Now when the derivation of this padha is in process there we notice Yen Sandhi taking place between the prakriti and the pratyayara. So these square brackets indicate that this is a padha and the plus sign indicates that there are two constituents of this padha. On the left hand side we have a prakriti and on the right hand side we have a pratyayara and this prakriti and pratyayara they are always to be uttered in the samhita mode because this is one padha and within one padha samhita is obligatory. So prakriti and pratyayara they are to be joined together only then the one padha will come into existence as an output. So then this final part of the prakriti and the initial part of the pratyayara they come into close proximity. They are in the samhita mode. In such a case the sutra 6177 applies and substitutes the ik by Yen in the prakriti and this ach within the pratyayara remains unchanged as it is. So in this manner the Sandhi, Yen Sandhi takes place within one padha. This is also referred to as internal Sandhi, Sandhi within a padha, internal Sandhi. Let us now look at the examples. So here we have five examples. All of them are the examples of Yen Sandhi happening in one padha. So these are the subhanthas that we have taken for the example purpose. The first one is matthi as the prakriti followed by the suffix a which is the instrumental singular. So now this entire square bracket indicates that this will be the instrumental singular form of the pratipadika matthi. So in this case this t has got an e at the end. So this e and this a they come in close proximity. A is ach in the environment of an ach coming immediately after the previous e that is a ik is substituted by Yen. So 6177 eco-yanachi applies and then the output is matthi plus a and we have the form matthya the instrumental singular of the word matthi meaning intellect. Similarly, we have gauri plus os. This is the shashti drivachana or genitive dual of the feminine word gauri. Here there is long e followed by o long e is part of ik, o is part of ach. So this ach comes immediately after this long e which is ik and then this ik gets substituted by Yen after the application of eco-yanachi 6177. So we have gauri plus os we join it together and we get the form gaurios. By doing the further processing we get the form gaurioho this is the shashti drivachana. This is the sandhi within one padha. Next we have yu plus os these two examples they had the vowel e and long e. Now the next two examples are going to have short o and long o. So yu plus os in this once again we have o immediately preceded by o, o is ik, o is ach and so 6177 applies and then we get the output. So yu plus os and by further processing we get the form yu which is the shashti drivachana genitive as well as locative dual of the word yu. Gaurioho is also shashti drivachana of gauri. So yu plus os gives us this particular output. yu plus os is one padha. Similarly we have vadhu plus o in vadhu we have long o followed by the pratyaya o which has got a vowel. This is one padha this is the nominative and accusative dual prathama dvitiya dvivachana vadhu plus o. So 6177 applies and the output is vadhu plus o. U is substituted by v and so we get the form vadhu. Similarly we have dhatru plus a dhatru plus a this is the instrumental singular of dhatru. Here we have root followed by a they are in the samhita mode and samhita is obligatory over here. And so eco-energy applies and the output derived is dhatru plus a that is dhatra. So these are the 5 examples where yun sandhi occurs within one padha. After this sandhi is done the form becomes fit to be used in the sentence. And so we have matya instrumental singular of mati, gauri-yoho, genitive and locative dual of gauri, vyoho, genitive and locative dual of vayu, vadhau, nominative and accusative dual of vadhu and dhatra instrumental singular of dhatru. Next we have yun sandhi which is part of a sentence or vākya. Within a vākya when we say within a vākya it means yun sandhi between the padhas because padhas are the building blocks of the vākya. A vākya is built out of the padhas and so yun sandhi between the padhas. This is different than the previous instance when the yun sandhi took place within a padha. So now if you see here there are two square brackets one left, one to the left hand side of the plus sign and the one on the right hand side of the plus sign. And they are having another set of square brackets indicating that this is one sentence. One sentence consisting of two padhas and two padhas are in close proximity. Then what happens? In this case the final element of the purva padha, the padha that occurs before the plus sign is called purva padha and the initial vowel that occupies the initial position of the uttara vada. These two vowels come in close proximity and then 6177 will apply and as a result the output would be the final element of the purva padha will be substituted by yun and the initial vowel in the uttara vada remains as it is. So this is now the external sandhi where two padhas forming a sentence they come in the samhita mode and then yun sandhi happens because of the fulfillment of the conditions and so this is padha external sandhi and let us see examples of this type of sandhi. So we have asti and ekaha, the first example. There are in fact four examples on this slide and they are of i and u vowels respectively from the set of ek. Now asti plus ekaha these are two padhas and asti is the tinganta form, ekaha is the subanta form. This constitutes one sentence and so we have e coming at the end of this first padha and a coming in the beginning of this second padha. So this is the padha external sandhi, the sandhi between two padhas sandhi in the sentence. So in this case 6177 ekoyanachi applies and the output generated is asti, e changes to e plus ekaha, that is asti ekaha. Then we have asti and uttarasyaam. This is the famous beginning of the celebrated maha kavya called kumarasambhavam. So asti and uttarasyaam. Once again these are two padhas, asti is a tinganta form and uttarasyaam is the subanta form. E occurs at the end of asti, who occurs in the initial position of this padha uttarasyaam. And so they both are in the samhita mode and so the sutra 6177 applies and the output generated is asti and the output generated is asti uttarasyaam, that is asti uttarasyaam. Similarly you have astu plus ekaha. These are two padhas astu is the tinganta form followed by ekaha another subanta form and here we have u followed by a and this is a sentence and there are these two padhas in close proximity. So these two vowels are in the proximity in the samhita mode and so 6177 ekoyanachi applies and the output is astva ekaha and astvekaha. Similarly astu akarmani. This is taken from the famous verse of Srimad Bhagavad Gita which was quoted right at the beginning. Mate sango astu akarmani, mate sangostva akarmani. So astu plus akarmani, astu is the tinganta form, akarmani is the subanta form. U occurs at the end of this padha, a occurs at the beginning of this subanta padha. Now u and ur are in close proximity, they are in samhita and so we have 6177 applying and generating the output in the form of astva akarmani, astva akarmani. Now since this is a vākhya, why we must also note that in the vākhya, in the sentence the samhita also depends on the vivakṣa. So here there is vivakṣa to do the samhita and so after that we apply the grammatical rules and derive the output. So in this case we have both vivakṣa as well as the grammatical rules applying. What if there is no vivakṣa of samhita? So if there is no vivakṣa which is the desire to speak, the desire of the speaker to speak, the speaker does not want to utter these examples in the samhita mode, then what do we do? Then no grammatical rule is applied because there is no samhita intended by the speaker. Even though these are the two padhas which are in proximity, the speaker does not want to utter them in the close proximity in the samhita. Probably the speaker wants to have some gap in between and then e followed by a because it is not in close proximity, there would not be any output generated by 6177 because 6177 will not be applied. So the same output will be returned, asti e kaha is the input, no rule applying, asti e kaha is the output, absence of any sandhi. No substitute coming in place of ik. Similarly in asti uttarasyaam, there is no vivakṣa that these two are uttered in close proximity and therefore there is no samhita and therefore ikoyanachi does not apply here and therefore we do not have the sandhi taking place and the output is the same as the input. Asti uttarasyaam is the input, no grammatical rule applies and asti uttarasyaam is the output. Similarly you have astu plus e kaha, the same example and once again because there is no vivakṣa of the samhita mode so ikoyanachi does not apply and astu e kaha is the input and it is returned as the output. There is no adesha, no yan sandhi taking place. Similarly astu akarmani, if the speaker does not intend to have the samhita mode then obviously ikoyanachi does not apply and so we do not have any sandhi and we return the input as it is. So astu akarmani is the input, astu akarmani is the output. So in the text of Srimad Bhagavad Gita however samhita is what is intended by the speaker and therefore we do the sandhi and we return astu akarmani as the output. Now yan sandhi between upasarga and dhātu. Upasarga is a list of elements which are prefixed to the verbal roots namely dhātus. These upasargas bring about change in the meaning of the verbal roots or the dhātus and they are prapara apasam anu ava nisnerdus dur etc. 22 in number. Dhātu is a verbal root denoting an action stated by the sutra bhuvādayodhātavaha which says that the list of verbal elements beginning with bhuv and meaning and action are termed as dhātu and upasarga and dhātu they both are stated to be obligatorily in the samhita mode. So here are the examples adhi and ayana. So adhi is the upasarga and aya or e is the dhātu and then we have this obligatory samhita. So e followed by a and they are uttered in the samhita mode. So 6177 ikoyanachi applies and the output generated is adhi, ayana, adhyayana. Similarly you have anu as the upasarga preverb followed by iksha the verbal root to see and then we have 6177 applying because samhita is nitya and the output generated is anva plus iksha, anvi iksha. Similarly pari plus ejana and we have pari as the upasarga ejha as the verbal root and so 6177 applies and pariya plus ejana is the output and pariya jana is what we get. Ejha means to tremble. Now yant sandhi within a samasar and here are four examples. These examples are taken from the vayakarana siddhanta kavmudhi. So we have sudhi plus upasya and sudhi has got a long e followed by u, they are in the samhita mode and therefore 6177 applies and we have the output sudhi plus upasya and we will take up this example for discussion next when we talk about the sthanivat bhava in yant sandhi. Similarly you have madhu plus ari, this is a samasar or a compound and so samhita is obligatory and so you have u followed by u in the samhita mode and so 6177 applies and the output generated is madhva plus ari, madhvari. Similarly you have dhatru plus amshar and this is a samasar and so samhita is obligatory and so you have ru followed by u in close proximity. So 6177 applies and the output generated is dhatra plus amshar, dhatramshar. Similarly you have lu plus akriti, this is a samasar and so samhita is obligatory and so you have 6177 applying and the output generated is l plus akriti that is lakriti. These are the 4 examples of yant sandhi occurring within a compound and within a compound sandhi is obligatory primarily because samhita is obligatory. Here is a note on vivaksha. In all the previously discussed cases 2 principles are seen working. The first is vivaksha the desire to speak by the speaker in all the cases this is there. Wherever you do the samhita mode you do the sandhi vivaksha is playing an important role and then after there is the samhita the next principle is the grammatical rule stated in the paninian grammar. That grammatical rule also plays an important role to derive the desired form. In the sentence however there are 2 possibilities that arise. Both principles work together there is vivaksha to do the samhita and then the grammatical rules apply so both principles work together. Or sometimes only one principle works namely the vivaksha and no grammatical rules apply. This is the interpretation of the statement that we quoted earlier. To summarize what we have discussed in this lecture the yant sandhi applies internally as well as externally within a padha as well as between the padhas. Within a padha where the padha is the output and within a vākhya where the padha is the input and the vākhya is the output. The yant sandhi applies in different environments and we have studied those environments in detail in this lecture. Now this application will become an input for the accent rules to apply which we shall study in the coming lectures. Thank you for your attention.