 Welcome. I welcome you all to this lecture in the course, Samasa in Panimian Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. In this course, we aim to study the three important types of samasas in Sanskrit, namely, a Vyaibhava, Bahu Vrihi and Dhvandva Samasa. We have already studied a Vyaibhava Samasa in some detail. Currently, we are focused on the Bahu Vrihi Samasa, which is a unique kind of samasa of Sanskrit, which is a different feature of Sanskrit. The Bahu Vrihi Samasa assumes that the speakers of Sanskrit have reached a particular linguistic plane from which such a samasa is stated and such a samasa is prescribed and also used by the speakers of Sanskrit. The features of the Bahu Vrihi Samasa can be explained in the form of an equation, a brief and simple equation, stated on this particular slide. It is very important to redo this as long as possible, primarily to bring home the salient features of the samasa and Bahu Vrihi Samasa in particular. So, here we have X and Y, two separate to independent entities in terms of the word form as well as the meaning as well as the accent. They are, however, semantically interrelated as is shown by the plus sign. Now, the speaker of Sanskrit decides to merge them together and generate one output in the form of X, Y, which is one unit. So, the input is two elements and the output is one unit, one element. Now, this output has got three important features namely Aikarthya or Ekarthatha, Aikapadhyya or Ekapadhattha and Aikasvaraya or Aikasvarata. Now, we have adopted a particular scheme while explaining this particular equation by which we highlight and put that letter in bold characters which acts as the head of the output samasa. So, in the Tattpurusha Samasa, we used to put Y in the bold characters thereby indicating that in the Tattpurusha Samasa, Y acts as the head. In the Avyaibhava Samasa, we were marking X with the bold characters indicating thereby that X acts as the head of X, Y in the Avyaibhava Samasa. Now, in the Bahuvrihi Samasa, we neither mark X nor mark Y with the bold characters thereby indicating that none of the two, neither X nor Y acts as the head of the samasa, rather the head of the samasa lies outside of the samasa. It is the outer word which assumes the headship of this particular samasa. So, this is called Anyapadhartha Pradhana. The samasa is Anyapadhartha Pradhana. These are the features of the Bahuvrihi Samasa. In the Ashtadhyayi, the Bahuvrihi Samasa is stated at various places. The Samasa Vidhayaka Sutras, namely the compound prescribing rules or sutras, namely the sutras which lay down conditions, fulfilling which the samasa process begins and these sutras are stated from 2.2.23 onwards up to 2.2.28 which is a very small section. 2.2.23 is Sesho Bahuvrihi and 2.2.28 is Tenasaheti Tulya Yogi. By the way, 2.2.29 is Charthe Dwandvaha. So, this is a small section prescribing the Samasa Vidhayaka Sutras. Then there are Samasanta Pratyayya Vidhayaka Sutras from 5.4.113 onwards up to 5.4.160. This is a big section and some part of this particular big section is also devoted to the Samasanta Aadesha and not the Samasanta Pratyayya with respect to the Bahuvrihi Samasa. And then we have the Swara Vidhayaka Sutras stated in 6.2. Thus we have Bahuvriha Uprakritya Purva Padam 6.2.1 a very general sutra and then again 6.2.106 onwards up to 6.2.120 and also 6.2.162 onwards up to 6.2.177. These are the sutras which prescribe the accent as far as the Bahuvrihi Samasa is concerned. Swara Vidhayaka Sutras. This is how in the Ashtadhyayi which is the core of Paninian grammar as well as the Paninian grammatical tradition the Samasa namely Bahuvrihi is treated. Currently we are studying the Samasa Vidhayaka Sutras and we have already studied 2.2.23 Shesho Bahuvrihi and then we also studied Anekam Anya Padarthe 2.2.24 and in the previous lecture we studied the Sutra Sankhaya Vidhayaka Sanna Dhuradhika Sankhaya 2.2.25 Now in this lecture we shall devote our attention to studying the remaining sutras 2.2.26, 27 and 28 which prescribes the Bahuvrihi Samasa. First let us take up 2.2.26 which is Dignamani Antarale. There are two padas in the sutra Dignamani and Antarale. Dignamani is Prathama Bahuvacana or one slash three which means the names of the directions. Since this word appears in the Prathama Vibhakti we say that because of the sutra Prathama Nirdhistham Samasa Upasarjanam this term gets the Upasarjanas Audhna and then by the sutra Upasarjanam Purvam it occupies the initial position of the Samasa. And then we have Antarale which is seven slash one of Antarale and Antarale means in the sense of space in between. The words continued are sup from 2.1.2, sahasupa from 2.1.4, samasaha from 2.1.3, samarsapada vithihi from 2.1.1. All this put together the meaning of the sutra 2.2.26 can be stated below. Two interrelated subantas whose prathipadikas are words denoting the name of the directions get compounded with each other when the meaning of the compound is intended to be the space in between the directions and the resultant compound is called Bahuvrihi. I repeat two interrelated subantas whose prathipadikas are words denoting the name of the directions. Being now the meaning of the compound is intended to be the space in between the directions and the resultant compound is called Bahuvrihi. I repeat two interrelated subantas, samartha subantas whose prathipadikas are words denoting the name of the directions. Being naamani, subantani, samarthani, get compounded samasyante with each other when the meaning of the compound is intended to be the space in between the directions and the resultant compound samasaha is called Bahuvrihi. Let us take the example. When the meaning to be denoted is the space in between south and east. South is the direction, east is also the direction. So we have daksanasyaascha, urvasyaascha, dishoor, yad antaralam. That is the laukika vigraha where we are using two words indicating the direction. However, the meaning intended over here is the space in between these two directions. So the laukika vigraha over here is daksana plus nasa plus purva plus nasa. And so samasa saudhna takes place by the sutra that we are studying 2226. Then the prathipadika saudhna takes place and then supodhatu prathipadika applies which deletes all the sups. So we have daksana plus zero plus purva plus zero. And then daksana which is the uttrapada undergoes the process of umadbhava and daksana becomes daksana plus zero plus purva plus zero. That is the next stage. And when we join them together we get daksana purva as the finally derived compound output. Then we use it in the sentence. We add the pratyayasu after it. And then we delete it because of the sutra, halgya, bhyodir, ghat, et cetera. And we get the form daksana purva. So daksana becomes daksana because of one particular statement in the panigyan bragya grammatical tradition, namely sarvanam no puratti matre umadbhava. Vritti stands for a technical sense, namely the compound, the word, which explains some other meaning. So sarvanam no puratti matre umadbhava means when vritti is to be denoted and samasa is a vritti, sarvanam, namely the pronouns, they get umadbhava in the purva padha. So the meaning is in a nutshell, in all the complex formations, the pronouns in the position of the purva padha go back to their root form. Sarvanam na vritti matre umadbhava. So daksana is the sarvanama and it goes back to its root form that is daksana. Similarly, we have the meaning to be conveyed is the space between north and east. Uttaras chascha, purvas chascha dishor yadantar adam. And we do the same processing and we get the finally derived compound output, namely uttara purva, the northeast. Similarly, when the meaning is the space between south and west, daksana chascha, purvas chascha dishor yadantar adam. And we do the same processing and we arrive at the finally derived compound output, namely daksana, purvas chama. Now, daksana and uttara, they both are mentioned in the sarvadigana and therefore they are also mentioned as or understood as the sarvanama. And therefore, sarvanam na vritti matre umadbhava applies to them and purva umadbhava is done to them and therefore we get these forms uttara purva and daksana paschima. This is southwest. What is most important in this case is that the compound takes place of the popular name of the directions and not those names which are derived by grammar. So paschima, daksana, etc., these are the popular names given to the directions. Whereas in the mythology, the directions are given different names on account of the diti which protects that particular direction. So east is called aindri because the lord of east is Indra and kubera is the lord of north direction. So north is called kaubheri. So now when you have somebody who is described as like aindri and kaubheri, so Indra plus an, plus neep, plus kubera plus an, plus neep. This is the segmentation available to us. Now here we have an important statement which means namagrahanam rudhyartham tasmad yagika naam naam. So here by adding the suffix an, we are getting aindra as a formation. By adding the suffix an, we are also getting kaubheri instead of kubera. And so here we are doing some kind of grammatical processing and the statement says namagrahanam rudhyartham. The sutra has been naamani as a word and the traditional commentators have said that the word naamani is uttered in the sutra to indicate that these being namas, they are primarily to be taken as the conventional words and never the grammatically derived words. So aindra and kaubhera will not un-come under the purview of this present sutra to point 2.26. Let us now proceed to the next sutra, tatra tena idamithi sarupi. There are in fact five padhas in this particular sutra, tatra tena idamithi and sarupi. Tatra means a word ending in the seventh case or saptami vibhakti. Tena indicates to a word which ends in the thritya vibhakti or the third case. Idam means this and this is that anyapadhartha in this case. Iti is thus a quotitive marker which means meaning of the compound. So all this put together, so iti stands for the meaning of the compound in the form of the means to capture or means to strike or mutuality namely karma vethihara or fight that is yutta. These are generally the senses that are understood from this particular samasa. The other word is sarupi meaning having the same form. Having put all these together, the meaning of the sutra is as follows. The two interrelated subhanthas which are of the same form and which denote one the means to capture and two the means to fight when mutual capture and mutual fight is the meaning denoted, get compounded and the finally derived compound is called pahuprihi. That is the meaning of this particular sutra. I repeat two interrelated subhanthas which are of the same form and which denote one the means to capture and two the means of fight when mutual capture and mutual fight is the meaning denoted by the compound. They get compounded and the resultant compound is called pahuprihi. I repeat two interrelated subhanthas samarthams anekam subhantham which are of the same form sarupi and which denote the means to capture tattra and the means to fight tena when mutual capture and mutual fight is the meaning denoted by the samasa. Let us look at the example. The example, the meaning to be conveyed over here is the fight proceeded by capturing each other's hair. There are two persons who are fighting and in the fight they catch or capture each other's hair and try to pull the other person by hair. So we have keshe shucha, keshe shucha, grahitva, idam yudham pravrttam. Keshe shu, keshe shucha, grahitva, idam yudham pravrttam. Now in this case, keshe shu, keshe shu, they are of the same form and therefore they can get compounded by the present sutra which then has the alaukika vigraha namely as keshe plus sup plus keshe plus sup. And then now samasa saudhnya takes place. Then we add the samasa antapratya itch, itch karma bhakti haare. So we have keshe plus sup plus keshe plus sup plus itch. After that the prathivedika saudhnya takes place and then supodhatup prathivedika yoho applies. So we have keshe plus zero plus keshe plus zero plus e and then the purvapada keshe has got a short a which is now lengthened. So we have keshe plus zero plus keshe plus zero plus e. Finally the a in uttarapada keshe is deleted. So we have keshe plus zero plus keshe plus zero plus e and when we join them together we get the form keshe plus keshe plus e that is keshe keshe. This is the finally derived Bahuvrihi samasa output of this particular sutra, kesha keshe. When we are to use it in the sentence we add the sup suffix after it. So kesha keshe plus sup and then the sup gets deleted because kesha keshe becomes an avyayar. So avyayadha supaha applies and when we delete sup we get the form kesha keshe to be used in the sentence. Kesha keshe. The other example is when the meaning to be denoted is the fight proceeded by capturing each other's sticks dandaischa dandaischa prahratya idam yaddham prahratam the fight proceeded by striking each other's sticks dandaischa dandaischa prahratya idam yaddham prahratam so the laukika vigraha is dandaischa dandaischa etc a laukika vigraha is danda plus vis plus danda plus vis and then again we add the samasanta prahratya itch so we have danda plus vis plus danda plus vis plus itch now samasa saudhna takes place therefore prathivadika saudhna takes place and so supodhatu prathivadika yoh applies and deletes both the sup so we have danda plus zero plus danda plus zero plus e and then we have the shorter vowel at the end of the purva vada length then and we have danda plus zero plus danda plus zero plus e and then the final urin danda gets deleted and so we have danda plus danda plus e and danda dandis is the finally derived compound output danda dandis when we use it in the sentence we add the suffix su after it so we have danda dandis plus su and then this su gets deleted because of the sutra avyayadap supaha and so we have danda dandis plus zero and finally we get the form danda dandis one note on the samasa and the samasanta pratyaya added over here the samasanta suffix itch is added by the sutra itch karma vati haare 5.4.127 the lengthening or dirh of the end of the purva vada is affected by anesha ma pidrishare 6.3.139 an important feature is the following the output samasa is avyayibhava as these output compounds are mentioned as part of the open-ended bag mentioned in the sutra tisthagup pravratinicha that is 2.1.17 this is a unique feature of this particular sutra so it is mentioned as a bahuvrihi but formally it behaves like an avyayibhava samasa let us now study the final sutra in the samasa vidhayaka sutras related to bahuvrihi and we have tena saheti tulya yogi 2.2.28 and there are four padhas in the sutra tena saheti and tulya yogi tena means a word in the third case sahi is with iti is thus and tulya yogi means in the sense of same relation so the meaning of the sutra is as follows an interrelated subanta sahi which denotes the same relation is compounded with another interrelated subanta ending in the third case and the resultant compound is called bahuvrihi I repeat an interrelated subanta sahi which denotes the same relation is compounded with another interrelated subanta ending in the third case and the resultant compound is called bahuvrihi I repeat, an interrelated subanta sahah, sahasubhantam, which denotes the same relation tulyayogi is compounded samasya-te with another interrelated subanta samarthena-subhantena sahah ending in the third case tena and the resultant compound samasaha is called bhavvrihi, bhavvrihi. Let us look at the example. The meaning to be denoted over here is one who has come with san, sahaputrena-agatha, that is the laukika-vigraha, which denotes this particular meaning. So now we have the alaukika-vigraha, namely sahah plus su plus putra plus ta. So now the samasa-sahudhna takes place and so the prathipadika-sahudhna takes place and so supadhatu prathipadika-yohu applies and we get the form sahah plus zero plus putra plus zero as the next step of derivation and then this sahah gets optionally deleted and we get the form sahaputre as well as saputre as the finally derived compound output. Then we add the sapik-su to both sahaputra plus su plus saputra plus su and we get the finally derived form namely sahaputraha as well as saputraha. Sahaputraha saputraha-pita, the father has come together with his son. Sahah is optionally substituted by sir, by sastra-sutra-vopa-sarjanasya namely 6.3.82. It is observed that sometimes sahah gets compounded with other interrelated subanthas in the sense of existence as well and not just tulya yoga. For example, sakarmakha, one which has an object. Salomakha, one who has hair. Sapaksakha, one who has wings. So, these are some very important samasas noted to be the examples of 2.2.28 with an additional semantic input. To summarize, peculiar Bahogrihi samasa and its peculiar features are stated by 2.2.26 up to 2.2.28. In case of 2.2.27, the output samasa is in fact an avya-ya. It is stated in the open-ended bag Akrati Gana stated in the avya-i first section namely in 2.1.17, this samasa is generated in a very specific semantic domain of mutual fight, a very specific case. 2.2.26 states the Bahogrihi samasa of the names of the directions when the meaning of the compound is the space in between those two directions. Similarly, a 2.2.28 deals with what is known as Sahabahogrihi. The tradition observes that the compound is taking place with more semantic conditions than the ones stated in 2.2.28. The tradition admits that this fact happens and accumulates such forms by adding some more explanations and statements in the traditional commentaries. With this, we come to the close of the samasa Vidhyayaka Sutras. From here onwards, we will start studying the samasanta pratyas related to the Bahogrihi samasa. These are the texts referred to. Thank you very much.