 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 the lecture with the recitation of the Mangala Charana. Vishvesham Sakchidanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya Vishvesham Sakchidanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjariharthi Leelaya So far, we have seen the theoretical background of the process of compounding. We have studied several related aspects right from the significance of the term Samasa and what it denotes and how it applies to the overall process of compounding up to the sequence in which the Samasa gets derived. What is the input and what is the output? It is the sentence which is the input and the pratipadika which is the output. When we say the sentence is the input, what we mean is that the pathas as part of the sentence, they are the input and what is derived is a pratipadika which becomes an input for another sentence or the same sentence. From now on, we shall be studying and we shall be focusing on the Tathpurusha Samasa and we shall be devoting this entire course from here onwards in trying to understand the features, the details, the derivation procedure of the Tathpurusha Samasa as stated in the Paninian grammar. Tathpurusha Samasa is extremely important in Sanskrit and elsewhere as well. We have already seen that in Sanskrit, there are four types of Samasas, avyayibhava, Tathpurusha, Bahuvrihi and Dhvandva. Amongst these four, we will be focusing on Tathpurusha and we shall be dealing with the other three types, namely avyayibhava, Bahuvrihi and Dhvandva in the second part of such a course in future. The Tathpurusha Samasa can be shown in the form of an equation in this particular manner where you have x and y two constituents, they are joined together and you get x, y as the newly generated compounded output, one unit. X and y are two different units, independent units, separate units marked with square brackets to each one of them, but when they are compounded by the procedure laid down in the grammar of Panini, you will get x, y as one unit, two square brackets for both of them together. So, x, y is one unit and y is highlighted, made bold primarily to indicate that in the Tathpurusha compound, by default, y, that is the second member of the compound or the Uttarapada of the compound assumes the position of the head, semantically and also otherwise. That is why this is a simple equation, x plus y and you get x, y, y is the head, this is the Tathpurusha compound equation. Now, where all the Tathpurusha Samasa is treated in the Ashtadhyayi, the core of the Paninian grammar and the grammatical tradition. So, the Samasa Vidhyayaka Sutra, namely the compound prescribing sutras for the Tathpurusha Samasa are stated in 2.1. 2.1.21 is Tathpurusha and this continues up to 2.2.22 Khutva Chha, 2.2.23 is Sesho Bahubrihi and what this means is that from 2.2.23 onwards, the Bahubrihi Samasa is explained. So, from 2.1.21 up to 2.2.22 we have the sutras prescribing the Tathpurusha Samasa. These are approximately 70 sutras omitting a few which are the technical terms. Then the Samasanta Pratyaya Vidhyayaka Sutra, the sutras which prescribe the suffix to be added at the end of the Samasa. They are stated from 5486 onwards up to 54105, almost 20 sutras. And finally the Swara Vidhyayaka Sutras, they are stated from 621 to 6204 and also from 621 to 3 up to 62137. So, this is how the Tathpurusha Samasa is stated in the Ashtadhyayi and there are some other sutras scattered here and there in the Ashtadhyayi and they will be mentioned and studied in the course of the study of these main sutras. We shall be focusing primarily on the Samasa Vidhyayaka Sutras and we shall be dealing with the selective sutras from the Samasanta section as well as the Swara section in this particular course. What are the features of the Tathpurusha Samasa? The Tathpurusha Samasa can be said to be treated in Panayana grammar with the biggest basket of sutras. The Avaibhava Samasa is treated in 21 up to 2120 starting with Avaibhavaha that is 215, almost 15 sutras for Avaibhava. For a Dhvandva there is only one sutra, Charthedvandvaha 2229 and for Pahuvrihi you have from 2223 up to 2228, 6 sutras and compare that with the Tathpurusha Samasa where you have almost 70 sutras prescribing the Tathpurusha Samasa. We can easily see that this is the biggest basket of sutras dealing with the Tathpurusha Samasa and the reason why we have this biggest basket is also because there are variety of sub-types of Tathpurusha available. We shall study them in a while. By default Uttarapada and its meaning are the head. Prayana Uttarapada Artha Pradhanaha Tathpurushaha Also by default the final vowel of the compound is accented. These are some of the features of the Tathpurusha Samasa. Here are the types of Tathpurusha Samasa. Vibhakti Tathpurusha Karma Dharaya Karma Dharaya is never mentioned as Karma Dharaya Tathpurusha. Karma Dharaya is mentioned as Karma Dharaya but it is part of Tathpurusha umbrella. In fact Panini defines Karma Dharaya as Tathpurusha Samana Dhikara Karma Dharaya. Similarly Dvigu is also never mentioned as Dvigu Tathpurusha but that is just a convention. Dvigu is mentioned in the Ashtadhyayi under the Adhikara Tathpurusha. That is how Dvigu is defined. Naya Tathpurusha Pradi Tathpurusha Gati Tathpurusha and Upapada Tathpurusha and we shall be studying Sutras which describe and prescribe all these types of Tathpurusha Samasa. First we shall focus on the Vibhakti Tathpurusha and we note that there are these types of Vibhakti Tathpurusha stated in this particular order in the Ashtadhyayi in 2.1. First comes Vitiya Vibhakti Tathpurusha then Tratiya Vibhakti Tathpurusha then Chaturthi Vibhakti Tathpurusha then Panchami Vibhakti Tathpurusha then strangely enough Saptami Vibhakti Tathpurusha comes in the Ashtadhyayi and finally it is Shasti Vibhakti Tathpurusha which is treated. So, why Shasti Vibhakti Tathpurusha is stated at the end missing the obvious order. 6 should come after 5, this is not the case, 6 comes after 7 and there is some reason which we shall study when we study these different subtypes in detail. Let us now focus on the Vibhakti Tathpurusha and the first one is the Dvitiya Vibhakti Tathpurusha. Let us study the sutras which state the Dvitiya Vibhakti Tathpurusha. There are these sutras to 1.24 to 2.29 which primarily deal with the Dvitiya Vibhakti Tathpurusha. We shall not be dealing with each and every sutra because there are a couple of sutras which are not relevant to the Dvitiya Vibhakti Tathpurusha, we shall be omitting them. First, the sutra is this. Dvitiya Shritati Ta Pthitagata Tyastha Praptapan Nahi Hi Dvitiya Shritati Ta Pthitagata Tyastha Praptapan Nahi Hi As we see there are two padas over here, first one is Dvitiya and this word Dvitiya happens to be in the Prathama Vibhakti, and therefore Prathama Nirdistam Samasopasarjanam applies and the word in the Dvitiya Vibhakti is termed as opasarjana and therefore opasarjanam Purbam applies and there is a Purvanipata of the Dvitiya and the word. This is followed by the second word in the sutra Shritati Ta Pthitagata Tyastha Praptapan Nahi Hi This is the instrumental plural 3 3 and there are these constituents of this big compound Shritati Ta Pthitagata Tyastha Praptapan Nahi Hi Words continued in the sutra are Sup from 212, Sahasupa from 214, Samarthapada Vidhi from 211 and so the meaning of the sutra is the following Dvitiya Sup Shritati Vihi Subhihi Samarthahi Samaschati This is the meaning, what it means is the Pada ending in Dvitiya Vibhakti Sup is compounded with interrelated Sups whose Pratipadika is Shrita etc. and the compound thus formed is termed Tat Purusha Repeat the Pada ending in Vidhiya, Vidhiya Sup is compounded with the interrelated Sups Samarthah and Sup, Sahasupa whose Pratipadika is Shrita, Shrita Vibhihi Shritati Ta etc. and the compound thus formed is termed Tat Purusha so the namanclature, the structure of the Tat Purusha stated by this particular sutra is the following so we have this Subhanta followed by this other Subhanta and then this has to be Dvitiya and this has to be Shrita and then obviously the Sup is dropped what you get is the Pratipadika in the first Subhanta and Shrita which is the second Pratipadika in the second Subhanta this would be the output of the derived compound so here is an example first let us look at the formation of the words Shrita, Atita etc. and what their meaning is the word Shrita is derived from the verbal root Shri to reside and Ta stands for the Kartha Atita is derived from the verbal root E with the proverb Ati and the suffix Ta now this verbal root E is put in curly brackets primarily because this E has got interrelations with both the proverb and the suffix it is Ati E which means to go beyond to a past and E and Ta is interrelated because of the internal structure so this complexity is captured because of these brackets Patita has got the verbal root Pata and the suffix Ta Gata has the verbal root Gama and the suffix Ta Atya Stha has the verbal root Asa with the proverb Ati and also the suffix Ta once again the root Asa is put in the curly brackets primarily to show the interrelation it has with Ati as well as Ta similar is the case with Prapta and Apanna Prapta is derived from prepless Aapa with the suffix Ta and Apanna is derived from the verbal root Pada with the proverb A with the suffix Ta Atita means one who decided Atita means one who went past Patita means one who fell Gata means one who went Atya Stha means one who set Prapta means one who reached Apanna means one who arrived in all these forms meanings of Ta are Kartha so meaning of the interrelated Subanta has to be such that it is related to the action denoted by these verbal roots as Karma since it is not denoted by Ta this is the structural and theoretical application of the Karaka theory now Dvitiya Vibhakti will be used to denote the Karma and so if we have this particular meaning to be conveyed one who resided in the hardship so we will have Kastam Shritah Kastam Shritah so here we have Kastam which has got Kast and Am and Shrita plus Su this is the Kastam Shritah is the Laokika Vigraha now we note that this Am indicates the interrelation of Kast with the action denoted by the verbal root Shri as Karma so Kast is related to the action denoted by Shri through this Am this is how the interrelation has taken place and then there is Samarthya and now we are going to start the process of compounding this is the Laokika Vigraha so this gets the Samasa Saudhna and after that obviously we apply Supodhatuprativadika Yoho and delete Am as well as Su and we get Kastam and Shritah and when we join them together we get Kastam Shritah so Kastashrita is one output and Kastam Shritah is the Laokika Vigraha of Kastashrita so Kastashrita is one padha whereas Kastam Shritah where two padhas Kastashrita conveys one meaning whereas Kastam Shritah where two meanings and also there will be one accent on Kastashrita whereas Kastam and Shritah will have two accents similarly we will have Kantara Matita and this will be processed and we will get the final output Kantara Tita and then there will be sub added and we get Kantara Tita similarly Narakampatita is the input and Narakapatita is the output of compounding and Narakapatita is the Prathama Ekapachana this is how it will be used in the sentence Gramam Gataha will be the input and Gramam Gataha will be the compound Gramam Gataha is the Prathama Ekapachana Tarangana Attyasthaha is the input and Tarangatyaasthha would be the output and Tarangatyaasthaha would be the Prathama Ekapachana Sukham Praptaha is the input and Sukham Praptaha is the output Sukham Praptaha would be the Prathama Ekapachana Sukham Apanna is the input and Sukhapa Na is the output compound The process of derivation of all these compounds would be the same as that of Kastam Shritah. And the semantic relation would also be the same. This is how the first sutra in the Dvitya Vibhakti Tattva Rishas generates these compound outputs. Now we proceed to the next sutra namely Khattva Kshepay. This is to 126. Here there are two paddhas, Khattva and Kshepay, Khattva means bed. Now because this is in the Prathama Vibhakti, this becomes Upasarjanam because of Prathama Nirdistam, Samasa, Upasarjanam and because of the Upasarjanasaudnya, Upasarjanam Purvam applies and this will occupy the initial position of the Samasa. So there will be Purva Nipata. Kshepay is seven, one of Kshepa that is censure in the sense of censure. Now censure is conveyed by the compound. Words continued are Sup, Sahasupa as well as Ktena from 2125, Samarthapada Vidhi is always there and so the meaning of the sutra is the following. The word Khattva when ends in Dvitiya gets compounded with interrelated Subanta word whose Prathipadika ends in Kthasafix when censure is to be conveyed by the overall compound. So here we have Khattva, the word Khattva with the Dvitiya Vibhakti. This is one Subanta followed by another Prathipadika at the end of which there is Khattva and this is followed by Su and so these Subskits get deleted and you get the form Khattva and the second Prathipadika with Khattasafix at the end will be the part of the output. So let us look at the derivation meaning is one who is stationed in the bed when one is supposed to study that means one is careless, one is lazy and so on, one is not studying. So Khattvaam Arodhaha, this is the Laukika Vigraha and we will have Khattva plus An plus Arodha plus Su, this is the Urlaukika Vigraha, this is where the compounding starts. Now this gets the term Samasa and then it gets the term Prathipadika and then we have this Su and I am getting deleted. But before that we first confirm that this word Arodhaha is Khattanta that means it has got the suffix the at the end. So we have A plus Urla plus The. So it is confirmed now that the word Arodhaha indeed is ending in the suffix The. So the conditions of the Sutra apply. So we then apply the Sutras first of all Supodhatup Prathipadika joho and delete both the Su's and now we have Khattva Arodhaha then the Sandhi Urul applies and finally we get the output Khattva Arodhaha that is the output Khattva Arodhaha, Khattva Arodhaha and Khattva Marodhaha they both convey one and the same meaning so we ensure that there is Samartha principle applying and followed over here. Now the censure that is Kshepa meaning is not conveyed by the sentence when you say Khattva Marodhaha one who is sleeping there is no censure that is available in the sentence itself. The censure is conveyed only through a compound this is the purpose of doing the compound over here and that is why this is considered as a Nityasamasa with Avigraha as the feature. So this compound output will denote anybody who is going astray not just the one who is sleeping but anybody who is doing anything else but study and obviously going astray. Vimarga Prasthanasya Upalaksharam as the traditional commentators I have put it nicely. Similarly Khattva Arodhaha will be another example where one who jumped in the bed also will denote the censure that means one who is travelling on a wrong path as the traditional commentators have rendered it this is how Kshepa is denoted by the compound or other compound is made in order to denote the Kshepa. Now we have the next sutra Kalaha so there are there is only one word in the sutra Kalaha which is one slash three of kalah kalah means time that is words denoting time words continued are sup sahasupa and ktena samar thakpada vidhi is obviously there the meaning of the sutra is that the words denoting time when end in dvitiya get compounded with interrelated subanta words whose prathipadika ends in the suffix repeat words denoting time when end in dvitiya get compounded with interrelated subanta words whose prathipadika ends in the suffix. So we have here kalah as the prathipadika followed by dvitiya plus this subanta in which there is khtha at the end of the prathipadika and the output generated would be the term denoting kalah and the prathipadika having khtha at the end. Since kalaha appears in the first case it becomes upasar jana and then it occupies the initial position of the compound. This is an example the meaning to be conveyed is mon who has started measuring the month. So masam brahmitaha chandramaha in brahmitaha the suffix th indicates one who does that means an agent or the karta and that is why it is co-referential with chandramaha who is the karta of this action of measuring. So we have the alaukika vigraha in this form masu plus am brahmitha plus su. Now we check whether this pramitha has got khtha at the end or not and we find that indeed this word and its derivation gives us the information that there is th suffix at the end because pramitha is derived from the prr plus the root ma followed by the suffix th. So this is a kthant. So now this compound process begins and we note that this becomes a samasa-saudnika and therefore prathipadika-saudnika element and so supodhatu prathipadika yoga applies and deletes both the savantas both the sup's and so we have masu plus zero plus pramitha plus zero and finally we have masu pramittha as the finally derived output. This is used in the sentence as masu pramitaha chandramaha. So masam brahmitaha chandramaha is a sentence but masu pramitaha chandramaha this is also a sentence but one word is reduced and there is a process of compounding. Also is related to the word pramittha more specifically with the action denoted by the verbal root ma with the proverb prr. The next sutra is atyanta-sanyoge-cha, 2129, atyanta-sanyoge means incontinuous association which means and. The words continued are sup sahasupa also kalaha from 2128, samarthapada vihi is continued and the meaning of the sutra is and words denoting time when end in vitiya get compounded with interrelated subant word when continuous association of the time is denoted. So we have kalha plus vitiya plus any pratyapadika plus su and the output generated is kalha plus that pratyapadika when the continuous association with time is denoted by the compound. For example happiness continued to be associated for a period of one muhurtha, if this is the meaning to be conveyed we have laukika vigraha namely muhurtha sukham and then this is converted into an alaukika vigraha where the process of compounding begins. So we have muhurtha plus am and sukha plus su supadhata pratyapadika applies and deletes the two sups. So we have muhurtha plus sukha and finally we get muhurtha sukha as the derived output here sukha and muhurtha have got a continuous association muhurtha indicates the time period and sukha is associated with this time period in a continuous manner that is what the compound indicates. To summarize vitiya vivaktita purusha takes place in specific conditions one of the necessary conditions is that there should be a verbal root with the krith suffix and this verbal root and the word in vitiya are related as karma. There are special cases where only a compound denotes specific meanings and not a sentence like sentia. Such compounds are termed nitya samasa with a vigraha as their feature rest all are such that the meaning conveyed by the samasa can also be conveyed by a sentence adhering to the basic principle of samartha padavidhi to one one. These are our references thank you for your patience.