 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course. As is our practice, we begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharti Sanjariharthi Leelaya Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharti Sanjariharthi Leelaya We are studying the Tattpurusha Samasa. We have studied that there are four types of samasas in Sanskrit. Avyaibhava, Tattpurusha, Bahubrihi and Dhvandva. Tattpurusha Samasa is an important type of samasa in Sanskrit. There are number of sutras dealing with the Tattpurusha Samasa more in number than the other of the samasas. The varieties of the Tattpurusha Samasa are also quite a few in comparison with other samasas. So this Tattpurusha Samasa therefore becomes a very important topic for our study. The features of the Tattpurusha Samasa can be shown in the form of an equation mentioned on this slide where we have x and y two independent words separate elements and x and y they are thought to be merged together by the speaker of Sanskrit and then the compound processing takes place and an output is generated in the form of x, y. Now this x, y is one unit in terms of meaning as well as word form as well as accent. So there are these three features namely Aikarthya, Aikapadhyya and Aikasvarya which are visible on x, y as one unit. The most important feature of the Tattpurusha Samasa is that x, y is that output generated and now within this it is y which assumes the role of the head. What it means is that when x, y is to be associated with any other unit in the sentence, that interrelation of other units with x, y will happen through y and not through x. If there are compounds where there is interrelation of x, y through x such a compound is generally termed as Asamartha Samasa. We also studied Vibhakti Tattpurusha and in this we also studied right from Dvitya, Tritya, Chaturthi and Panchami. Dvitya Vibhakti Tattpurusha is stated by the bunch of sutras beginning with Dvitya, Shritati and Pthitagatatyastha praptapan nahi hi. Tritya Vibhakti Tattpurusha is stated by another bunch of sutras beginning with Tritya, Tattkratar and Guna Bachanena. Chaturthi Vibhakti Tattpurusha is stated by only one sutra Chaturthi Tadarthartha Balihita Sukha Raksitai hi. Panchami Vibhakti Tattpurusha is stated by a few sutras beginning with Panchami Bhayena and then we come to Saptami Vibhakti Tattpurusha stated by another set of sutras that begin with Saptami Shaundai hi from 2140 up to 2148. We have already studied sutras from 2140 up to 2143. Now the remaining sutras need to be studied and this is what we shall focus on in this particular sutra. Let us concentrate on 2144, Saudhnyayam. There is only one Pada in the sutra that is Saudhnyayam which is 7 slash 1 of Saudhnya. Saudhnya means a technical term. Saudhnyayam means when a term is denoted by the compound. Words continued are Sup from 212, Sahasupa from 214. Of course Samarthapada Vidhi hi is present. The word Saptami is also continued. The word Saptami is in 1 slash 1 Prathama Vibhakti and therefore Prathama Nirdishtham Samasa Upasarjanam applies. So any word in the Saptami Vibhakti will be now termed as Upasarjanam and by the sutra Upasarjanam Purvam this Saptamiyanta word will now occupy the initial position in the compound. So Purvani Pada will take place. So the meaning of the sutra can be stated in the form of the following manner, following skeleton. So we have two Subantas. At the end of the first Subanta there is the Saptami Vibhakti and at the end of the second Pada there is any Subanta possible which is interrelated to this previous Subanta and then the Samasa-Saudhna happens and finally we get a compound in the form of the previous Padas Pratipadika, Purvapada Pratipadika and also Uttarapada Pratipadika. One of the notable things about this compound is that the Saptami Vibhakti is not deleted. We shall see about this in a while. So the compound output would be the Purvapada ending in Saptami and the Pratipadika of the Uttarapada merged together forming one unit, Saptami Vibhakti Tatpurusha. Since the word generated by the process of compounding is a technical term this will be a Nitya Samasa of a Vigraha type. So here is an example. When the meaning to be conveyed is forest sismum which is a technical term Aranya Tilakaha, this is the Lokika Vigraha. Tilakaha Aranya, Aranya Tilakaha the season which is found in the forest. Now after this Lokika Vigraha we get the Alokika Vigraha in the form of Aranya plus Nyi plus Tilakha plus Su and then this Nyi is not deleted. Tilakha plus Su has got Su which is deleted. So at the stage of Aranya plus Nyi plus Tilakha plus Su the Samasa Saudnia takes place. So then the Pratipadika Saudnia takes place. Nyi and Su become part of the Pratipadika. Therefore Supodhatu Pratipadika Yoho applies and deletes Su. And so finally we have Aranya Tilakha as the finally derived output. Sismum growing in a forest and containing no oil that is the meaning of the word Aranya Tilakha and Aranya Tilakha is a technical term. Similarly are generated words like Aranya Mashaha, Forest Pulse, Vane Kim Shukaha, Forest Kim Shukha, Vane Bilbaka, Forest Bilbaka, etc. And these are technical terms of plants, pulses, etc. There is non deletion of Saptami by 639 Hala Dantat Saptamyaha Saudnyayam. Next we go to the next sutra Khtena Ho Ratrava Yavaha 2145 Khtena Ho Ratrava Yavaha There are two padhas in the sutra Khtena which is 3 slash 1. What it means is with the word having the suffix Khta Aho Ratrava Yavaha is 1 slash 3 which means parts of day and night. Since this word appears in the Prathama Vibhakti Prathama Nirdistam Samasa Upasarjanam applies and then Upasarjanam Purvam states that this will occupy the initial position in the Samasa. Words continued are Soap and Sahasupaa. Samarthapada Vidhi is present, Saptami is also present and Saptami is in 1 slash 1. So now the meaning of the entire sutra is the following. Saptamyanta Subanta whose Prathipadika means part of day and part of night is compounded with another interrelated Subanta whose Prathipadika consists of a Khta suffix. Repeat, Saptamyanta Subanta whose Prathipadika means part of day and part of night is compounded with another interrelated Subanta whose Prathipadika consists of a Khta suffix. So we have a following skeleton, the Purvapada consisting of Ahrathravayava as Prathipadika and Saptami as Soap and the Uttarapada consisting of a Prathipadika which ends in the suffix Khta and then the output generated would be Ahrathravayava and Prathipadika which ends in Khta together in this particular sequence and this would be the output compound. Here is the example. The meaning to be denoted is something that was done in the fore known, something that was done in the fore known. So we have Purvandhe Krtam as the Laukika Vigraha. Purvandhe Krtam. Now from this Laukika Vigraha we get the Laukika Vigraha Purvandha plus Ghee plus Krta plus Su and then we also note that the word Krta which is the Prathipadika of the Uttarapada consists of the suffix Tha which is Khta. So Purvandhe plus Ghee plus Kru plus Tha plus Su and so now the conditions for this sutra to apply are fulfilled. So this sutra applies, there is Samasa and then finally there is Prathipadika Saudhna and finally Supodhatu Prathipadika applies and we have Purvandhe plus Zero plus Krta plus Zero and then we join them together and we get the compound output namely Purvandha Krta. Purvandha Krta means the same as Purvandhe Krtam something that was done in the fore known. Purvandha is part of the day and Krta is a word ending in the suffix Krta. Similarly from Aparandhe Krtam, Aparandha is afternoon Aparandhe Krtam is generated Aparandha Krtam something that was done in the afternoon. So Purvandha and Aparandha are the words meaning the part of the day. Similarly when the meaning is something that was done in the first half of the night we have Purvaratre Krtam as the laukika vigraha and then from this laukika vigraha we get Purvaratra plus Ghee plus Krta plus Su. Now we know that the word Krta consists of the suffix Krta and so now we apply the Samasa Saudhna and then Prathipadika Saudhna gets applied and because of that the Su which is part of the Prathipadika namely Ghee and Su they get deleted. So we have Purvaratra plus zero plus Krta plus zero and finally we get the derived output in the form of Purvaratra Krta. Purvaratra is part of the night. So Rathriya Vayava Similarly from Apararatre Krtam is generated Apararatra Krtam meaning something that was done in the second half of the night. Now Purvandha Aparandha, Purvaratra and Apararatra these words denote the Aho Rathra Vayava and the suffix T is present in Krta and therefore these words of course they are interrelated so these words get compounded and we derive the forms Purvaratra Krta, Apararatra Krta and Purvandha Krta, Aparandha Krta etc. Now we go to the next sutra Kshepa which is 2147 Kshepa is a sutra consisting of only one word one pata Kshepa seven slash one this means in the sense of censure words continued are Sup and Sahasupa of course Samarthapadvidhi the word Saptami is also continued the word Saptami appears in the Prathama Vibhakti the word Saptami appears in the Prathama Vibhakti and therefore by the sutra Prathama Nirdishtam Samasa Upasarjanam the word in the Saptami Vibhakti is termed Upasarjanam and by the sutra Upasarjanam Purvam this word occupies the initial position in the compound the other word to continue is Ktena three slash one meaning with the word having the suffix Krta internally so the skeleton of the compound derived in this manner by this sutra is the following the Purvapada consists of the Saptami Vibhakti and the Uttara Pada consists of the Prathipadika having Krta as the suffix at the end and the output generated is once again the Purvapada along with the Prathipadika in the Uttara Pada since the sense of censure is denoted by the compound as a whole this will be a Nithya Samasa of Avigraha Type so here is the example when the meaning to be denoted is the stationing of the mongoose on the hot tin roof avatapte nakulasthitam this is the laukika vigraha and from this we get avatapta plus ghi plus nakulasthita plus su and then this sutrakshepe applies and samasa saudhnya is applied then prathipadika saudhnya gets applied and then ghi and su they become part of the prathipadika and so supodhatup prathipadika joha applies and su gets deleted and so we have avatapta plus ghi plus nakulasthita plus zero but before applying 2471 etc we first confirm that nakulasthita consists of a word sthita which ends in the suffix kta and so we apply the sutras and finally we get the form avatapta nakulasthita what this compound intends to convey is a censure, shape it intends to convey the instability chapalam etat anavasthetattvam this is the censure unsteadiness or unsettledness one does not get settled one is unsteady and this is what is the censure just as a mongos who is stationed on the hot tin roof cannot stay at one point for some period of time similarly an individual cannot remain in one position for some time that is what is the intention avatapta nakulasthita this is the explanation provided by the commentaries I read again nakula na chiram sthatara bhavanti tadvatu annyopi yorthanara bhya na chiram deshu avatishthate just as mongos does not stay for long in a place which is hot similarly some other who begins the things but does not stay in them for long such a person is referred to by this compound expression with a censure intended so compound expression is generated only to generate this censure if the words are separately uttered this censure is not generated similarly are generated compounds like udake vishiranam pravahem utritam bhasmani hutam etc nishpalam yatkriyate tad evam uchchate something that is useless bhasmani hutam there is an ash and you are sacrificing in the same ash what is going to be the use of it, nothing so bhasmani hutam this is nishpalam nishpalam yatkriyate tad evam uchate what does not yield fruit is thus stated by way of censure compounding is made only to denote censure in these cases so when these words are uttered separately they do not denote any censure the non-dilition of saptami is stated by 6-3-14 in these cases next we go to patre samitadayascha 2-1-48 there are two padas in this sutra patre samitadayaha and chur patre samitadayaha is 1-3 and this means a group of words that begins with the word patre samitadayasa chur is an indeclinable and chur means and the words continued are sup and sahasupa sup from 2-1-2 and sahasupa from 2-1-4 the words continued are saptami and kshepa samarthappadavidhi obviously is there saptami is in 1-1 thereby this becomes the upasarjanam by the sutra prathamanirdishtam samasa upasarjanam and then by the sutra upasarjanam purvam this word ending in the saptami occupies the initial position of the compound the other word continued is kshepa which is in 7-1 in the sense of sensua now this particular sutra is making a reference to the group of words that begins with the word patre samitadayasa so what is patre samitadayasa so this is called a nipatanasutra words collected in this group whether they meet the laid down conditions of the saptami tatpurushasamasa so far or not are termed as tatpurushasamasa as the purpose of compounding is to denote sensua this is a nityasamasa of avigraha type so the vigraha will not denote the sensua this group is called akratigana a bag of words with similar features this is an open ended group or bag of words the purpose of this collection is accent as well as absence of other conditions stated so far for the words which contain the suffix t the purpose is accent at the beginning of the purva-pada purva-padaadyu dattattva as stated by the commentaries as stated by the sutra 6281 yuktaaroyihadayascha the commentaries say patre samitadayascha yuktaaroyihadayah tattas tepyaadyu dattabhavanti for the other words the purpose of them being stated here is just censure now what is the meaning of patre samit? so when you denote the meaning those who come together only for food patre samit samit is who come together patre means for patra that is the plate of food so these are those people who come together only for food but not or never for any work patre eva samitaha na punaha kvachit kariye and therefore in order to denote this particular meaning we have the laukika vigraha namely patre samitaha and then we have the alaukika vigraha patra plus ni plus samitha plus su and then the samasa saugna takes place and then the pratipadika saugna applies and then ni and su are now part of the pratipadika so supodhatu pratipadika yoho applies and deletes both of them but 6-3-14 the purushe krti bahulam says that the purva pada ni the purva pada su namely ni here is not deleted and therefore now we have patra plus ni plus samitha plus zero and then we join them together we get the word patre samitah the non deletion of sapta means stated by 6-3-14 tat purushe krti bahulam so patre samitah means those who come together only for food where censure is intended similarly we have patre bahulaha derived in the same fashion patre bahulaha means many who gather only for food udara krmihi worm in the stomach koopa mandu kaha frog in the well nagara kaka ha crow in the city gehe shuraha valiant only in home gehe naradi roaring only in home karane titti bhaha bug in the ear all these words they denote some kind of censure and those words are collected together in this group which begins with the word patre samitah to summarize sapta me vibhakti tat purushe is also stated by a limited number of sutras the process of compounding is resorted to by the speakers sometimes to convey an additional meaning like censure which is not the meaning of any particular constant event such a meaning is not denoted therefore by separate constant events there are cultural extensions of terms in accordance with traditional interpretations that are a highlight of the process of compounding in these cases these are the texts referred to thank you for your patience