 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course on Samasa. We begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya In this course, we are concentrating on the Tattpurusha Samasa. Tattpurusha is one of the four major types of samasas in Sanskrit. Havyai Bhava, Tattpurusha, Vahuvrihi and Dhvandva. Tattpurusha Samasa is perhaps by far the most productive of the samasas in Sanskrit. There are many varieties of Tattpurusha Samasa, which is not the case of the other samasas as well. Also, the number of sutras composed by Panini, in order to explain the Tattpurusha Samasa, are quite a few, quite a good number of sutras in comparison with the sutras composed to explain other samasas. Be it Samasa Vidhyayaka Sutra or Samasanta Pratyaya Vidhyayaka Sutra or Samasa Swara Vidhyayaka Sutra. There are many sutras in comparison with the other samasas stated to explain Tattpurusha Samasa by Panini. These are some important features of the Tattpurusha Samasa. The derivation of the Tattpurusha Samasa can be summed up in brief in the following equation. We have x and y two independent separate entities in the form of the meaning as well as the word form and also accent. But this x and this y, they are interrelated. And so the speaker of Sanskrit decides to merge them together and generate an output which is one form, one unit. And this output is of the nature x, y. Now, this is one unit in terms of meaning as well as word form as well as the accent. So, there is Ekarthi Bhava with the three features namely Ekarthi, Ekapadhy and Ekashvarya present over here. What is significant about the Tattpurusha Samasa is that in this generated output x, y, assumes the role of the head by default. Therefore, now this one unit x, y, if at all is to be related with any other external unit in the sentence, that interrelation will happen only through y. And that interrelation cannot happen with x without going through y. When x has an interrelation with any other external unit without going through y, that is considered as an exception and is noted down as Asamartha Samasa in the tradition. We also studied some of the varieties of Tattpurusha. We have so far studied Vibhakti Tattpurusha, then we studied Karma Dharaya, Dvigu was also part of it, then we studied Ekadeshi Samasa, followed by Naya Tattpurusha Samasa, then we studied the Pradhi Samasa and now we are studying Upapada Samasa, stated by the Sutra Upapadam ating 2219. Upapadam ating. In this Sutra, Upapadam is one slash one, meaning the word designated as Upapada by 3192, because of this Sutra now, Upapadam being in the Prathama Vibhakti, it will be termed as Upasarjanam and then by the Sutra Upasarjanam Purvam, the Upapada will occupy the initial position in the Samasa. There will be Purva-Nipata of the Upapada. Ating is another word which is in one-one, what it means is which is not a thing. Words continued are Sup and Sahasopa, also Samarthapada Vidhi. The meaning of the Sutra is any Subanta whose Pratipadikas are designated as Upapada is compounded with any other interrelated word which is not a thingantha. I repeat, any Subanta whose Pratipadikas are designated as Upapada is compounded with any other interrelated word which is not a thingantha. So the question is what is the need of the word thingantha? So the question is what is the need of the word a thing and what is achieved by this negation? Because when we make not a thingantha a condition for this Sutra to apply, the only other available option through this negation is that of a Subanta. And this is available to us anyway because of the continuation of the words Sup etc. So we are forced to think that in this Sutra, the basic condition of Sup and Sahasopa does not apply. Rather, Sup and Sahasopa will only apply. So the structure of the compound derived by this application of this Sutra would be something of the following kind. So we have two Padas and one of them has got Sup at the end. It is a Subanta where Sup comes at the end and the second one is actually not a Subanta. It is a Kradanta. That means it is derived by adding the suffix Krith to a verbal root. So first Subanta ends in Su plus Dhatu plus Krith and then Su gets deleted and the Prathipadika of the first Subanta remains plus Dhatu plus Krith also remains. So that would be the generated output. Then we also stated that the Upapadas are mainly stated in 3.2 and then we said that we would study some of the Sutras which prescribe the Krith suffixes which are part of the generation of the Upapada Samasas. We have already studied the Sutra Karman Nyan 3.2.1 and now we are studying the next Sutra, Vavamashcha 3.2.2. Vavamashcha. Now in this Sutra there are two Padas, Vavamaha and Chha. Vavamaha is 5 slash 1 of Vavama. Chha means and. The words continued are Dhatoho from 3.191 which means immediately after a verbal root Pratyayaha from 3.11, Karmani 7.1 which means when Karma is the Upapada and 1 slash 1 meaning suffix a, Tattrapapadam Saptami Stham 3.192, Kridatim 3.193 also Karthari Krith 3.467 which means the meaning of an is Krta. So, now the meaning of this particular Sutra is the following and also the suffix an is added in the sense of a Krta to the verbal root Va, Va and also Ma. When the Upapada is the word having the relation of an object with the action denoted by that particular verbal root. We repeat and also the suffix an is added in the sense of a Krta to the verbal root Va, Va and Ma. When the Upapada is the word having the relation of an object or Karma with the action denoted by that verbal root. The verbal root Va in stated in this Sutra refers to the verbal root Va as stated in the Dhatupatha which means Spardhayam, Shabdicya in the sense of competition as well as making sound. The verbal root Va mentioned in this Sutra refers to the verbal root Va, Tantu Santane, to Vive and also the verbal root Ma mentioned in this Sutra refers to Ma and Maane as mentioned in the Dhatupatha to measure. Now, if we have the meaning one who competes with the heaven if this is the meaning then Svarga Vayati is the Laukika Vigraha and then Svarga is related to the verbal root Va as Karma so there is semantic relatedness so Samasa is possible and then we have this Sutra applying and adding the suffix An so we have Svarga plus Am plus Subha plus An Upapadam I think is the Sutra which prescribes this particular compound and so now Svarga plus Am plus Subha plus An is the Laukika Vigraha now in this Laukika Vigraha the Samasa Saudnia applies after which the Pratipadika Saudnia also applies and then Supodhatu Pratipadika Yoho applies and deletes the Pratyaya Am in An, An is deleted by the Selvupaha so we have Svarga plus Zero plus Subha plus An and then because the suffix An is having the marker An the Sutra 7333 applies and adds the augment here at the end of the verbal root Va so we have Svarga plus Zero plus Vaya plus An and finally we get Svarga Vaya as the derived compound output which means the same as Svarga Vayati now we know that Vaya even though it is derived after the suffix An and is a Kridanta cannot be used freely you cannot say something is a Vaya that is not possible the verbal form Vaya comes into being only in conjunction with any Upapada having the relation of Karma with the meaning of the action of Vaya so Svarga Vaya that is the compound output derived so this is an Iktya Samasa similarly after adding the suffix An and undergoing the same process described here we derive Tantu Vaya one who weaves the strings is called Tantu Vaya and then Prathama Ekavachana is Tantu Vaya similarly one who measures the grain is called Dhanya Maya and Dhanya Maya has the Prathama Ekavachana so Svarga Vaya, Tantu Vaya and Dhanya Maya are the three examples derived by 3-2-2 the sutra which applies in adding the augment here is Atoyuk Chingrathohu now this particular sutra 3-2-2 which states the addition of the suffix after these three roots is actually an exception 2-3-2-3 which we shall study now and that is the reason why it is stated immediately after the stating of the suffix An now let us go to 3-2-3 Ato Nupasarge Kaha this sutra has got three padas Atah Anupasarge and Kaha Atah is 5 slash 1 of Aat which means immediately after A Anupasarge is 7 slash 1 which means without pre-verb or upasarga being the upapada Kaha is 1 slash 1 of K the suffix A which means karta or agent words continued are Dhatohu which means immediately after a verbal root from 3-1-9-1 Pratyayaha from 3-1-1 Karmani is continued which means when karma is the upapada so also Tattrapapadam Saptami's Tham and Kratting Kartarikrat 3-4-6-7 which is also stating the meaning of the suffix as karta overall the meaning of this sutra 3-2-3 Ato Nupasarge Kaha is the following the suffix K is added in the sense of a karta to the verbal root which ends in A when the upapada is the word having the relation of an object with the action denoted by that verbal root and when the upapada is not an upasarge I repeat the suffix K is added in the sense of a karta to the verbal root which ends in A when the upapada is the word having the relation of an object or karma with the action denoted by that verbal root and if that upapada is not an upasarge an upasarge so here is the structure we have the first subanta ending in am denoting the interrelation between this subanta and the dhatu as part of the next word as karma and this dhatu is added with the suffix krata now this suffix is kr and the dhatu is ending in A so we have a pratyapadika plus am plus dhatu plus krata and then am gets deleted and then am gets deleted and so what remains is the pratyapadika in the purva-pada plus the verbal root ending in A plus the suffix kr which is a here is an example the meaning is one who donates a cow as well as a bull and also a blanket now if we take one who donates a cow or bull first we can have the vigraha laukika vigraha as gam dadati gam dadati now cow is related with the action of giving as karma that is the interrelation so in this particular sense because the verbal root da ends in A and because there is no upasarga preceding the verbal root da therefore now we add the suffix kr over here and we get go plus am plus da plus kr as the laukika vigraha now here and this is termed as samasa because of upapadam ating and then samasa saudhnya happens then this is termed as pratyapadika after which supodhatu pratyapadika applies and deletes am so we have go plus zero plus da plus ar and in the suffix kr, kr is deleted by the selopaha so we have da plus ar then we have the final in da deleted and so we have go plus zero plus da plus ar and then we join these elements together and we get go da go da means the same as gam dadati one who donates a cow or bull is go da and one who donates a blanket is kambalada kambalam dadati same process go da and kambalada are the finally derived compound output from gam dadati as well as kambalam dadati similarly if we have the meaning one who protects the back of the foot or finger we have the laukika vigraha as parshnim trayate whereas parshnim means the back of the foot so now since parshnim is related with the meaning of the verbal root tra as karma which is suggested by dritya also there is semantic relatedness between these two elements and tra can get now the suffix kr because it is also ending in ar so this sutra ato nopasarage kaha applies and adds the suffix kr after the verbal root tra and so now upavadam ating also applies and now we have parshnim plus am plus tra plus kr as the laukika vigraha vakya after this the samasa saudhnya happens the pratibhadika saudhnya happens and then supodhatu pratibhadika yoho applies and am is deleted tase lopaha deletes kr at the beginning so we have parshnim plus zero plus tra plus ar and then because of the suffix kr the ar in the final position of tra is deleted and so we have parshnim plus zero plus tra plus ar which is the sutra which deletes this dhatu final ar when the suffix having kr as a marker follows so now we get the form parshnim tra and one which protects the finger is called angulitra parshnim tra and angulitra we can generate many many such forms following all this particular procedure next we have supistha three two four there are two padhas in the sutra supi and stha supi is seven slash one meaning when any subanta is topapada stha is five slash one meaning immediately after the verbal roots stha which means to remain words continued are dhatu ho from three one ninety one which means immediately after verbal root pratyaya which means pratyayya this is continued from three one one tattvapadam saptami stham three one ninety two krdating three one ninety three kartharikrat three four sixty seven which is also stating the meaning of the suffix karta so now the meaning of this sutra is the following the suffix kara is added in the sense of a karta to the verbal root which ends in stha when the upapada is any subanta and not just the word having the relation of an object karma with the action denoted by that verbal root it can be any subanta the suffix kara is added in the sense of a karta to the verbal root which ends in stha when the upapada is any subanta and not just the word having the relation of an object or karma with the action denoted by that verbal root so we have pratyapadika plus su as the first urvapada and then the second part of the compound verbal roots stha with the suffix kara so then supratyya gets deleted and so we have first pratyapadika plus 0 plus stha plus kara and then we get first pratyapadika plus stha plus kara as the finally derived compound output now let us take the examples one who stays on an even position sametisthati meaning and here sama is the substatum of the action of remaining one who remains so sama is the substatum of the karta of the action of remaining therefore there is semantic relatedness and now in this sense we are going to add the suffix k after the verbal roots stha so now we have sama plus g plus stha plus kara this is the alaukika vigraha upapadam i think makes this particular compound there is samasa saudhnya there after which the pratyapadika saudhnya applies after which ghi is considered to be a sup to be deleted by supadhatup pratyapadika yoho and so we have sama plus 0 plus stha plus kara and then this final r in stha is deleted by atolopa iticha and then we get sama plus stha plus r and so finally we get samastha this is not samastha this is samastha similarly we get the word grahastha very very crucial very important word also culturally grahastha grahastha is also derived in the similar fashion it means one who stays at home graheti sthati now just as we can derive samastha there are multiple words which can be derived in this similar fashion and in fact they are derived and they are in circulation in modern Indian languages now this sutra is broken into two parts and the first part is interpreted to mean the following atolopa sarge kaha is broken into two pieces the first part means the suffix kaha is added in the sense of a karta to the verbal root which ends in a when the upapada is any suvantha and not just the word having the relation of an object with the action denoted by that verbal root but it could be any suvantha but that is added but that could be an upapada and then the suffix kaha will be added to any verbal root that ends in a the present sutra adds the suffix kaha only after the verbal roots tha this sutra says that it should be extended and this suffix kaha should be added to any verbal root which ends in a then this sutra is applicable to all the verbal roots which end in the vowel a and so pa can also come in the domain of this particular sutra and so we have one who drinks by two means as the meaning and in this sense we will derive the compound dvipa so dvipa plus bhyam pa plus kaha and then pa in pa gets deleted because atholopai teacher applies and so we have dvipa plus zero plus pa plus pa plus kaha and we finally get the word dvipa dvipa is an elephant similarly pa dvipa and we derive the compound in the similar fashion and we have these finally derived compound words now the tradition has noted that there are usages where this compound has happened where the suffix kaha denotes the bhava meaning namely the state of an action so if we have the meaning the rise of the mice or the death the laukika vigraha is aakhunam utthanam and the alaukika vigraha would be aakhu plus aam plus udh plus tha plus kaha upapadam I think applies so the compound takes place samasa saudhna takes place so there is prathipadika saudhna and because this is a prathipadika so the suprathaya namely aam in this gets deleted in the next stage and so you have aakhu plus zero plus udh tha plus udh and then finally aam in tha is deleted so you have aakhu plus udh plus tha finally we do this and then we get the form aakhu tha or shallabho tha to summarize 3 2 2 is an exception of 3 2 3 and that is why it is stated before it so that the continuation of the word an is smoother in the section a 3 2 4 had to be interpreted by breaking it into two pieces one accounting for the suffix ke to apply to one specific verbal root mentioned in the sutra namely tha and the other one to account for those usages where the suffix ke is added to any verbal root tha in order to account for those types of usages and such words and such usages is innumerable the tradition added that the new usage also makes this compound by adding the same suffix in the sense of bhava and not just tha karta by these devices the tradition showed tha the language was growing and tha those usages were making compounds of different kinds for which the grammar rules were falling short of adequacy in modern Indian languages we see several compounds formed by applying this rule so tha high productivity of this type is highly is highlighted in this particular grammar we continue studying the upapada saudhna in the next lecture also these are the texts referred to thank you very much