 Welcome. I welcome you all to this lecture in the course Sandhi in Panimian Grammar. So far, we have looked at the background of what is Sandhi. We studied the process of speech production. We also studied how the concept of Sandhi is used in various traditional disciplines and then we also studied what is Sandhi in Panimian Grammar. We also in this relation studied the concept of Samhita. We took several examples in which we showed what is a Samhita and how it results in Sandhi. We also saw that in the traditional system of Panimian Grammar, the Sandhis are dealt with under five categories, Ach Sandhi or Vavel Sandhi being the first one and we shall be dealing with Ach Sandhi in this particular lecture. Ach Sandhi is Vavel Sandhi. What does it actually mean? What does Ach Sandhi mean? Ach Sandhi means that this is a Sandhi in place of a Vavel. Ach. What is ach? We have already seen in the previous lectures in this course how the Pratyaharas get formed. So, starting with the very first letter in the Pratyahara Sutras, namely a and picking up an ith sound coming at the end of the fourth sutra, namely ayauch. We pick up chha here and a before we join them together and we get the term ach which stands for all sounds in between a and chha and also a which amounts to all the Vavels stated in the Pratyahara Sutra and therefore ach stands for a Vavel. Now in ach sandhi ach that is a Vavel which is or sometimes which are the substituent and what is known as the Sandhi, what is known as the ach Sandhi is the substitute in place of this substituent in the form of a Vavel or in the form of two Vavels. So, this substitute is either a Vavel or it is also a consonant this is very important. The substitute happens in place of a Vavel so the substituent is a Vavel and the substitute could be either a Vavel or a consonant but the substituent is extremely important and because of that this is called ach Sandhi. Now this substitute in the form of either a Vavel or a consonant takes place in the environment of two Vavels being uttered in close proximity that is in Samhita mode which means that when two Vavels are uttered immediately one after another the gap that is required for the distinct comprehension of these two Vavels is only remaining and there is not any more gap in between these two Vavels. That is the Samhita mode in which the Sandhi takes place. Obviously in this Vivaksha is at the background and we have already studied when Vivaksha is at the background Samhita is to be obligatorily made and in all those cases in all those places in such a situation one Vavel or sometimes both the Vavels they are substituted by a substitute sometimes in the form of a Vavel or sometimes in the form of a consonant and this is the substitute. So this is how ach Sandhi is referred to. This is what ach Sandhi means. In the Panimian grammar this ach Sandhi is treated in the following sections. There is a big section which begins with 6172 and goes up to 61113. This is the section of Sutras which can be said to deal with ach Sandhi. This section is governed by the section heading Samhita-yam. This is the Sutra 6172 and this section heading governs the section up to 61157. The 61158th Sutra starts dealing with the accent. Just before that there is this Samhita-yam Adhikara that comes to an end. From 6114 up to 61157 that means the remaining part of the Samhita-yam Adhikara they deal with some other topics. For example from 6113 to 114 the two Sutras deal with what is classified as Visarga Sandhi and will be dealt with in that section when we shall study Visarga Sandhi. There are some more Sutras which deal with Prakriti Bhava. This is very important and we shall study this in detail as well. 61115 up to 130 and then there are some Sutras which deal with the augment Sir stated to be Sut in Panimian grammar from 61135 up to 157. The Sutras in between that is 131 to 134 they also deal with the Visarga Sandhi and we shall be dealing with them when we study Visarga Sandhi in the course of the lectures in this course. This big section in the Ashtadhyay in 6.1 can be divided broadly into two subsections. One of them is from 6172 up to 6183 and it is the Sutra Ekapurva Parayohu which is 6184 which divides these two sections into two. So from 6172 up to 6183 this can be said to be one subsection one type of Sandhi and from 6184 up to 6113 this is another type of Ach Sandhi. Ekapurva Parayohu can be said to be that Adhikara Sutra which divides the two sections in the Ach Sandhi. This is an extremely important Adhikara Sutra, Ekapurva Parayohu. Now the Ach Sandhi that is stated between 6172 to 6183 is of a peculiar kind. This type of Sandhi is called Ekasthanika Ekadesha Sandhi. What it means is that this is a Sandhi where there is one substituent and in its place comes one substitute. There is one substituent and one substitute which is a by default situation and so this is not particularly referred to as Ekadesha Sandhi even though the substitute is one. So this particular explanation can be showed in the format of an equation in the following manner. If you have an input namely x plus y both being vowels and this plus sign indicates that they are in the Samhita mode and in this Samhita mode y is the right hand side environment then the output would be z plus y, z is the substitute and this z would be a consonant and this consonant replaces the one substituent x which is a vowel. This is the explanation in the form of an equation of Ekasthanika Ekadesha Sandhi stated in the subsection namely 6172 up to 6183. In this equation the left hand side environments generally does not matter. It is generally a consonant because if the left hand side environment is a vowel then there might be the same situation that might arise as shown on this slide with of course some exceptions but generally it is a consonant which appears on the left hand side but that environment does not really matter as far as this subsection of Atsandhi is concerned. To show it diagrammatically we can say that this is A and this is B and both of them they are vowels and now the rules stated in this section of 6172 to 8383 what they state is that if these A and B both vowels if they are uttered in a Samhita mode then this A is replaced by this C and B of course does not change it remains as it is but this diagram shows that there is one substitute and there is one substitute in place of A appears C, C replaces A, A is the substitute, C is the substitute, C replaces A and as a result the output would be C plus B, A plus B is the input and one of the sutras in these sections apply and then the output is C plus B. This is how this type of Sandhi can be diagrammatically represented. This diagrammatic representation was first published in a review that was written by this author by this instructor in 2006 in the Annals of the Bhandarkar Oriental Research Institute published by that institute Pune. Now let us look at the explanation of the second type of Sandhi. This is stated from 6184 up to 61113. This type of Sandhi is called the Vrithanika Ekadesha Sandhi. What it means is that this Sandhi is such that there are two substituents, Vrithanika, two substituents and in their place comes one substitute, Ekadesha which is a very unique, very peculiar kind of situation and that is the reason why this Sandhi is generally referred to as Ekadesha Sandhi. Two substituents and one substitute that is why this is referred to as Ekadesha Sandhi. This type of Sandhi is governed by the Adhikara Sutra Ekapurva Parayoho. In this sutra there are two words Ekaha and Purva Parayoho. Ekaha is one of Ekha meaning one. Purva Parayoho is 6-2 of Purva Parayoho which means in place of Purva and Parayoho. Purva means earlier or before which indicates the left hand side environment. Parayoho stands for later or after which indicates the right hand side environment. So in all what this sutra means is that in place of the earlier and the later sounds, in place of earlier and later vowels there is one substitution, one substitute. What it means is that in place of the vowel that comes before and the vowel that comes after, in place of both of them comes one substitute in the form of a vowel. And also in place of the left hand side environment and also the right hand side environment appears one substitute in the form of a particular vowel. This is in brief what this sutra means and this is an Adhikara Sutra. So this governs this entire subsection and so this continues and appears in each and every subsequent sutra in this particular section. In the form of an equation this particular sutra can be explained in the following manner. If X and Y is the input, X plus Y is the input and both of them are vowels where Y is the right hand side environment with reference to X and X is the left hand side environment with reference to Y. The output is Z, remember the input is X plus Y both vowels and now the output is Z only one element and this Z substitute is a vowel and this vowel replaces both the substituents X and Y in their respective environments. So this is the difference between the previous subsection and this subsection. Now to show it in the form of a diagram once again we can say that there is this A on the left hand side plus B on the right hand side and they both are uttered by the speaker in Samhita mode. That means that there is an additional gap than what is required for their distinct comprehension and then in such a case sutras in this particular section they become operational and then in place of A and B we get C as the substitute. This is the input A plus B and C is the output. This diagrammatic representation was first published in a review that was written by this instructor in the Annals of the Bhandarkar Oriental Research Institute, Pune in 2006. Now what are the examples of both these types? Let us take a look at them one by one. Here are the two examples of the first kind where A plus B and A is replaced by C, Ekasthanikar Ekadesha. So the first example is Yen Sandhi stated by the Sutra Iko Yen Achi 6177. The second example of this type A plus B, A is replaced by C is A Yava Yava Sandhi stated by the Sutra Echo Yava Yava and some other sutras as well. Then here are the examples of the second type. There are five examples. The first one is Guna Sandhi stated by the Sutra Ad Gunaha. Then there is Vruddhi Sandhi stated by the Sutra Vruddhirachi. Then you have Pararupa Sandhi stated by the Sutra Engi Pararupam. Then Savarna Virgha Sandhi stated by the Sutra Akas Savarna Virgaha and finally the fifth one Purvarupa Sandhi stated by the Sutra Enga Padantadati. There are some additional sutras also explaining these five types of Sandhis which we shall deal with when we study these Sandhis. But these are the sutras which primarily state these five types of Sandhis and remember these five types of Sandhis are of the type where A plus B and both get substituted by C. This is a very important, very crucial kind of distinguishing feature between these two types. There are two types, there are two examples of the first type of Sandhi Ekasthanika Ekadesha namely Yansandhi and Ayavayabha Sandhi and there are five examples of the second type of Sandhi namely A plus B and both of them get replaced by C. Dristhanika Ekadesha and these are those five types. What is the feature of these Sandhis? We see that Sandhi is a Vikara or Vikriti. When two Vaubles, they are part of the element, they are considered as Prakriti and the Sandhi which is brought about by these sutras in this section this is what is a Vikara or a Vikriti. Vikriti as a modification. There is a modification, there is a substitution as against two Vaubles which remain in their own form also in the Samhita mode which is also known as Prakriti or Prakriti Bhava and in fact we shall study this Prakriti Bhava type of Sandhi when we take that up later on in this course. It is a matter of question whether to call it a Sandhi but the Panayana grammatical tradition has included the Prakriti Bhava as part of the Sandhi chapters and therefore the Sandhi chapters are generally referred to as Panchasandhi Prakaranam in the traditional texts like Vayakaranasiddhanta, Kavmudhi. They are called Panchasandhi Prakaranam including the Prakriti Bhava. Actually Prakriti Bhava is the absence of Sandhi still because it is in contrast with the other types of Sandhi it is still included in these 5 subsections in the Panayana grammatical tradition. This is a very important feature of Sandhi Sandhi as a Vikriti or a modification. The next important question is what is a Sandhi and input of? As we saw A plus B is the input and C plus B is the output in one case and A plus B is the input and C is the output in the other case. What this C plus B and C is input of? What does it feed into? And here are the answers. Swara operations, the operations dealing with the accent and we shall study this aspect in detail in subsequent lectures in this particular course. Swara operations which happen after these Sandhis happen. So Aksandhi is an input to these Swara operations. Also operations where sentential combinations are input. Even there Aksandhi becomes an input. For example the compounds or the samasas like Rajasva or Gajanana. Similarly Taddhita formations for example Dasarathi or Vaya Karana. Generally after the Aksandhi operations happen, the sentence finally gets generated and is used in the process of communication. So we have seen earlier where we quoted the Vaya Karana Siddhanta Kabudi which referred to the explanation of the term Samartha as Krta Sandhi Karyatvam. Samartha means Krta Sandhi Karyatvam. This is very important and a very crucial fact to remember. We shall also study the interrelation of rules that are part of this particular section. What is so important about them is that the operational sutras, namely the Vidhi Sutras and all the sutras stated in this section barring a few exceptions like Ekapurva Parayohu. Most of them they are Vidhi Sutras. So these Vidhi Sutras apply when the conditions or the environments of those rules come into being when they exist in the process of derivation of the sentence. Generally the conditions for each rule is believed to be exclusive, does not come into any sort of clash with any other sutra. But in some cases these conditions are stated to be overlapping and this particular fact brings two or more rules into contact with each other. This contact is of the nature of conflict and then there are principles stated within the Ashtadhyay which is all this conflict, some principles which are stated explicitly and some other principles which are stated implicitly which are unearthed and explicitly stated by the later Paninian grammatical tradition. So when we study these sutras in this particular section we shall also keep an eye on the interrelation of rules and accordingly we shall study the examples. This is the technical terminology that we should be aware of when we deal with Sandhi in general and At Sandhi in particular. Karyin or also referred to as karyi which means an element which undergoes an operation. Karya is an operation or modification. So an element which undergoes this operation is karyin or karyi. Then the other technical word is nimitta. Nimitta means conditions or environments in which the operations happen. These are not explicitly used in the Ashtadhyay but they are very much part of the traditional vocabulary, traditional terminology. Panini uses the terms sthanin and adesha. Sthanin means an element which has scope of application which is to be replaced and a sthanin is never explicitly uttered. The word sthanin consists of the word sthana which means the scope of application. This scope is in the form of meaning sometimes also in the form of the combination of verbal elements. And then we have another term called adesha which means a substitution which is explicitly expressed when there is scope of application of some other element to be expressed. We shall study At Sandhi using these technical terms. So when we know what is a sthanin and what is an adesha the next very very important term and the technique used in the Ashtadhyay is sthanivadbhava. This will be also part of our discussion. This poses some questions and then there is an answer. The questions are can the consonant substitute be considered as its substituent vowel as is the case with ekasthanika ekadesha. And also can the vowel substitute be considered as its both substituents as is the case with dristhanika ekadesha. Such an assumption can become an input for application of another rule. This is possible in case of At Sandhi even though generally denied by the sutra in the Ashtadhyay this is possible in case of At Sandhi with several exceptions and this will become part of our study. Similarly the other important terminology that we need to remember is uddeshya vidheya bhava. This is how the rules are structured. There is something called uddeshya and something else called vidheya. Udeshya is something that is already known with respect to which an operation is stated by a rule. This is vidheya and generally this vidheya is what is new which is not known before. Udeshya is generally in the form of conditions or the environments which pre-exist which serve as the input. And vidheya is an operation stated by the rule something that is made known only by this rule statement. And the vidheya in most of the cases in this particular section is the modification or the substitute also known as the Sandhi. So this uddeshya vidheya bhava is extremely crucial, extremely important when we study the sutras in the Ashtadhyay section. Most notably when we study the Pratyaharas and what those Pratyaharas stand for these two concepts will become extremely important. To summarize what we studied in today's lecture is that we studied the nature of At Sandhi. Namely Ekasthanika Ekadesha, this Ekadesha is in the form of a consonant and also Dvisthanika Ekadesha and this Ekadesha is in the form of a vowel. The second type namely Dvisthanika Ekadesha is generally referred to as Ekadesha. We also got introduced to the technical terminology in this regard. Karyan, Nimitta, Karya, Stani, Adesha. We noted the examples of two types of At Sandhi. Yen Sandhi and Ayavaya Sandhi of the first type and Guna Sandhi, Vruddhi Sandhi, Pararupa Sandhi, Savarnadirga Sandhi and Purvarupa Sandhi of the second type. We also observed that the At Sandhi takes place only at the final stage of the sentence derivation and its output is visible to only the accent rules. Now, hereafter we study the various types of At Sandhi together with the examples. In doing so, we shall also study the Sutras which state the At Sandhi. This we shall do in the subsequent lectures. Thank you very much.