 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. In the previous lecture, we studied the definition of Karaka, then we also studied the definitions of six Karakas. We also studied them in both the original sources, the text of Ashtadhyay and also the post 18th century Grammarians scheme which defined the six Karakas in a unique way. We also looked at how both these descriptions match. We studied these descriptions in the diagrammatic form as well. Now in today's lecture, we shall look at the Sutras which are correlated with the technical terms Karaka and these Sutras are primarily the Sutras which prescribe the Vibhaktis. In this connection, let us take a recap. The definitions of six Karakas given by Panini serve the purpose of chalking out the structure of the sentence meaning. This is part of the Arthakasha. The explanation of these definitions given in the post 18th century tradition takes it in the realm of cognition in accordance with the description of the process of speech production given in the Paniniya Shiksha which we have studied quite a lot in this course. It is important to study the way these meanings get expressed in the Shabdakasha and the actually audible speech signals as the output of this process of speech production. So in this lecture, we shall be doing this task. The main concept that we are going to study today is Abhidhana. Abhidhana means expression. Expression of what? Expression of the Karaka in the Shabdakasha first and then in the actually audible speech signals next. So when a Karaka is expressed, it is said to be Abhihita or Uktar. As far as the Sanskrit terms are concerned, the words Abhihita and Uktar are used to denote a particular Karaka being expressed and the general term is Abhidhana meaning an expression of the Karaka. The correlation between a Karaka and Abhidhana can be explained in the following way. So if the sentence structure is of the following type where there are three words each has in itself a prakriti and praktyaya. So the left hand side of the plus sign within the bracket like this, this is the prakriti, this is the praktyaya, this is the first word. In the second word, you have this left hand side prakriti and the right hand side praktyaya. Similarly in the third word, the left hand side is the prakriti and the right hand side is the praktyaya. If this is the case and if this is the template of the sentence of Sanskrit, then the right hand side is praktyaya over here, this is the general one, still generic but little more specific. Now in order to express or denote Karaka's, the praktyayas are added to roots. This is the basic idea, this is the core idea. In this generic template where there are left hand sides and right hand sides mentioned over here by dashes, we fill in first of all the left hand side element which is not filled in in this particular slide for the sake of highlighting the fact that a praktyaya is added in order to express the karaka thereby linking the left hand side in one word with the left hand side of the other word in the sentence. This is the primary idea of the addition of the praktyaya to express or denote the karaka. The bottom line is that the karaka or the karaka or the roles played by entities in the accomplishment of an action, they are denoted always by praktyayas. This is the bottom line, I repeat the karaka's or the roles that entities play in the accomplishment of an action are expressed or denoted always by the praktyayas with some exceptions which we shall see later on but generally the praktyayas express the karaka's. So when we construct a sentence we once again begin with the generic template of this kind plus signs indicate the combination of the two elements prakruti and praktyaya. So to begin with we take a prakruti and let us say we follow the definition given by kathya yana in the vartika namely ekating vakyam a sentence is that unit in which there is one thing. What it means is there is at least one prakruti which is a dhatuprakruti therefore now in this sentence of three words at least one is dhatu which is here it can be anywhere here or here right now we place it over here. So this is dhatu so this unit qualifies itself to be called a vakya because there is possibility that there is thing that comes over here which it comes later on as we show in the next step. So at least this is a dhatu and so this can be a pratipadika this can be a pratipadika. So we take these we start with the dhatu and then we take all these other entities and now we need the praktyayas over here to indicate the relation of this dhatu with these pratipadikas and the relation of these pratipadikas with the meaning of this dhatu. So we add pratayas over here in this in these slots which are vacant over here in this stage we add pratayas over here which indicate the correlation between the prakruti over here and the prakruti is over here. So we add thing after dhatu and so now this slot gets filled so dhatu plus thing happens now so thing expresses the relation that this dhatu will have with the pratipadikas. So now we have sup plus sup added in the first two words whose prakruti is the pratipadika and we add thing to this third word whose prakruti is a dhatu. This is how Abhidhana happens. So in order to express or denote the karakas or the roles that the entities which are expressed by these pratipadikas in the sentence in the accomplishment of the action which is denoted by this verbal root dha in this sentence dhatu. So the pratayas are now added to express these roles. So thing over here will express a particular role that these entities play so the remaining roles will remain unexpressed and we shall see what happens then but the point is that thing is added to dhatu to express certain role, certain karakas that the pratipadikas and the meanings of the pratipadikas play in the accomplishment of the action denoted by the verbal root over here. Let us note down the process once again first we go to the thing, the thing expresses or denotes either karta agent or karma object but not both at the same time. First we go to the thing and why do we go to the thing because kriya is the vidaya in the sentence, kriya is the most important element in the process of communication which makes the unit complete and makes it eligible to be called a sentence. So we go to the thing first and then we note that the thing expresses or denotes either karta agent or karma object as far as karakas are concerned but not both at the same time. So once if it is decided that thing expresses either karta or karma then we go to the sups which are part of the other padas in the sentence and so then the remaining karakas they get expressed or denoted by these sups. This is the primary idea of the abhidhana. So the first abhidhana happens by the thing and in this threshold the remaining karakas remain unexpressed and so then in order to get them expressed you add sups after pratipadika. Both thing and sups they express the karakas, thing is taken first and taken as a threshold it expresses one of the karakas and the remaining karakas now are unexpressed by the thing. So in order to express them you add sups after the pratipadika. So after going to the thing and after having decided which karaka is abhidhana we go to the sups and the remaining karakas get expressed or denoted by these sups. So there is a sutra that we follow anabhidham karakam ekavarjam. So in this sentence leaving out one the remaining karaka is anabhidhana expressed for which we need sups to express it. So here are the explanations of the three constructions available in Sanskrit, active voice, passive voice and also the impersonal construction. So what happens in the active voice and this we name as the first construction when thing expresses or denotes karta or agent we say that this is an active voice a very simple definition of active voice when thing expresses or denotes karta or agent that is what is an active voice and in this active voice all other karakas then remain unexpressed. Now in order to express them sups are added after the pratipadikas and then the sentence becomes complete. This active voice is also known as kartruvachya in Sanskrit, kartruvachya where karta is the meaning of thing. Here is an example, devadattah, prayagat, kashim, relayanen, devapujanaya, kartikamase gachhati one complete sentence and we have provided the cases, devadattah, prayagat this is fifth case, kashim second case, relayanen third case, devapujanaya fourth case, kartikamase seventh case and gachhati the thing. The thing in gachhati which is the and devadattah they both are shown in blue precisely to highlight the fact that the suffix ti in gachhati which is a thing which is a verb which has a thing, gachha is the dhatu, ti is the pratyaya thing this thing expresses karta. In this sentence it is devadattah which is the karta intended by the speaker. So devadattah and his role gets expressed by this thing. So all the roles that are played by prayagat the point of separation kashi, the sanyoga, the karma, relayanen, the karana, devapujanen, the sampradana, kartikamase, the adhikarana all these roles they remain unexpressed and in order to express them we will add the fifth suptriplet after prayagat, second suptriplet after kashi, third suptriplet after relayanen, fourth suptriplet after devapujanen and seventh suptriplet after kartikamase. The karaka the role which was expressed by thing namely the karta this role is played by devadattah and because its role is already expressed by ti now you do not need another supt to express explicitly its role that it is playing in the accomplishment of the action of going. But nonetheless we need to add the case ending in order to make this a padar. So we add prathama over here and this prathama is closely linked with the karaka that is expressed by the thing. But we say that the prathama does not express any karaka what does it express we shall see later on. So now this sentence is devadattah, prayagat, kashi, relayanen, devapujanaya, kartikamase, ghatshati which means devadattah goes to kashi from prayagat by railway for worshipping deities in the month of Kartika. This is the sentence which has active voice construction, kartruvachya why because ti which is the thing in the kriyapada ghatshati the verb ghatshati this thing expresses karta and the karta over here intended by the speaker is devadattah. So devadattah has prathama. So this prathama and the thing they are bound they are closely associated this is the active voice. So because thing expresses karta in the active voice karma object is expressed by the second triplet of the sub dhritya, karana is expressed by the third triplet of the subs tritya, sampradana recipient is expressed by the fourth triplet of the subs chaturthi, apadana point of separation is expressed by the fifth triplet of the subs panchami and adhikarana location or substratum is expressed or denoted by the seventh triplet of the subs, saptami this is what happens in the active voice and this is what we saw in the sentence devadattah prayagat, kashi the second scenario is that the thing expresses or denotes karma or object. So this construction is called passive voice. In the passive voice all other karakas remain unexpressed. Now in order to express those unexpressed karakas sups are added. This passive voice construction is also known as karma vachya where the thing means karma the thing denotes the role of karma this is what is karma vachya or passive voice. Now let us take the example more or less the same example semantically. Let us see how passive voice construction in samskrit takes place. The sentence is devadattana prayagat kashi relayanana devapujanaya kartikamase gammyate. I repeat now let us look at the passive voice construction. The second type of sentence construction in samskrit when thing expresses or denotes karma or an object this is called passive voice construction. Because karma is expressed by thing all other karakas remain unexpressed and now in order to express them sups are added after those respective prathipadikas. This construction is also known as karma vachya where karma is the meaning of the thing suffix karma vachya. Here is an example devadattana prayagat kashi relayanana devapujanaya kartikamase gammyate devadattana has got the third case here this is the difference from the previous sentence prayagat has got the fifth case kashi this is another difference earlier it had this second sups triplet dhitiya now it does not have anything. The first triplet will be added here relayanana is in the third sups triplet devapujanaya same fourth sups triplet kartikamase same seventh sups triplet and we have the verb gammyate in this verb te which is a thing added after the verbal root gamma meaning to go this te is expressing karma which is kashi over here and that is why kashi is shown in blue colors which matches with this thing. So there is this binding between the first case and the thing the remaining karakas are unexpressed so in order to express them we use these cases we use these vibhaktis these sups. So the third sups triplet namely tritiya is used to express the kartru karaka the kartru role played by devadatta fifth panchami is used to express the apadana role played by prayagat relayanana is playing the role of karana and in order to express it we use the third sups triplet which is tritiya devapujanana is playing the role of sampradana and to express this role we use the fourth sups triplet namely chaturthi kartikamase is playing the role of adhikaranana in order to express which we use the sups triplet seventh that is sapthami and in this way the sentence construction happens. The sentence meaning is kashi is being reached by devadatta from prayagat by railway for worshipping deities in the month of karthikar. So the roles of devadatta, prayagat, kashi, relayanana, devapujanana and karthikamase in the accomplishment of the action of going remains same across both voices devadatta remains kartha, prayagat remains apadana, kashi remains karma, relayanana is karana, devapujanana is sampradana and karthikamase is the adhikaranana. The difference in both these voices is that in gammyate the role played by kashi namely the karma is expressed by te and therefore now kashi is having the first sups triplet namely prathama and the roles played by all others they remain unexpressed by ting therefore now we add sups after it previously gachati was the verb in which te expressed the role of kartha devadatta is the kartha so devadatta's role gets expressed by the ting therefore devadatta will have prathama and other karakas their roles are unexpressed by the ting therefore they will get the sups to express those respective karakas roles this is the difference between the active voice and the passive voice in samskrit also called as kartruvach active voice and karmavach passive voice. So in the passive voice because karma is expressed by the ting te here kartha agent remains unexpressed and so it is expressed or denoted by the third triplet of the sups namely trutiya karana instrument is expressed by the third triplet of the sups trutiya once again sampradana recipient is expressed denoted by fourth triplet of the sups namely chaturthi apadana the point of separation is expressed or denoted by the fifth triplet of the sups namely panchani and adhikarana location or substratum is expressed or denoted by the seventh triplet of the sups saptami this is the explanation of the passive voice. Let us look at the third voice which is impersonal voice in this case ting expresses or denotes bhavel or state of action and then this voice is called impersonal voice all karakas all six karakas remain unexpressed in fact there is no possibility of the karma karaka here so all five karakas remain unexpressed. Now in order to express them sups are added this particular voice is also known as bhava bachya here is an example devadattena kashyam devapujanaya kartikamase sthiyate devadattena in the third case kashyam seventh case devapujanaya fourth case kartikamase seventh case sthiyate is the verb in this case now you do not have any corresponding bound word with the thing because ting expresses only the state of an action because ting expresses state all the karakas they remain unexpressed devadatta is the karta kashy is the substratum or the location devapujanaya is the sampradana kartikamase is also the location or substratum and sthiyate has got tha remains or stays as an action and they indicates the state. So what this sentence means is that devadatta stays in kashy for worshipping deities in the month of kartika kashy is act playing the role of the adhikarana which is a spatial adhikarana and kartikamase is playing the role of temporal adhikarana so but both are the kartradhikaranas because devadatta is residing in kashy and devadatta is residing in kashy in the month of kartikamase. So now we have all the karakas being expressed in respective cases. So karta is expressed in the third by the third triplet of the sups namely trutiya karana is also expressed in the third sub triplet sampradana is expressed by the fourth triplet of the sups, apadana point of separation is expressed by the fifth triplet of the sups and adhikarana location or substratum is expressed by the seventh triplet of the supratyayas. This is how the voices are explained in samskrata the active voice or kathruvachya passive voice or karma vachya and impersonal voice or bhava vachya. Now the next question is what happens to the abhihita karaka or expressed karaka the karaka that is expressed we have seen that there are three types of constructions that are possible in samskrata kathruvachya karma vachya and bhava vachya and in all these we noted that kathruvachya means when the thing expresses or denotes karta and then remaining karakas remain unexpressed. In order to express these unexpressed karakas we use sups and then we listed down the numbers of the sub triplets to express a particular karaka. Similarly in the karma vachya we noted that the thing expresses the karaka karma so remaining all karakas remain unexpressed and now we use specific sub triplets to express those unexpressed karakas and in bhava vachya when the thing expresses bhava all karakas they remain unexpressed and we use the sups to express those unexpressed karakas. Now what happens to the karaka that is abhihita or expressed that is a very pertinent question in this regard. Let us try to figure out using the traditional sources to answer to this question. So the entity whose role whose karaka gets expressed by thing does not require any other word to express its role once again and so this prathipadika is added the first triplet of sups namely prathama after it and this prathama and the thing they can be said to be correlated or can be said to be bound in this particular sense. So we do not need to add a sup to a prathipadika whose role is already expressed by the thing but we have to add a sup to a prathipadika in order to make it a padha fit to be used in a sentence and that sup is prathama. This is what happens to the abhihita karaka if we look at the examples that we have seen devadattah prayagat kartikama se kashim gatshati. So gatshati is the verb which has a thing which expresses karta. So devadatta playing the role of karta and the role of devadatta is already expressed by thing and so now we do not need any word to express the role of devadatta but we add prathama after it to give it the status of padha. This is what happens to the abhihita karaka. We eat in karta vachya or we eat in karma vachya prathama is added to that prathipadika whose role in relation with the action denoted by the verbal root is already expressed by the thing that is added after that verbal root. So to summarize the karaka theory explains the interrelation of action and entities. The roles played or thought to be played by the entities in the accomplishment of the action these are karakas. They form the basis of sentence meaning construction and the suffixes which express them form the basis of the sentence. Two constructions namely active and passive voice are based on them. Active voice can be summarized in the numbers 1, 2 and passive voice construction can be summarized in the numbers 3, 1. What 1, 2 and 3, 1 indicate is the following. 1 indicates the vibhakti of the karatrukaraaka which is the prathama first vibhakti and 2 indicates the dvitiya vibhakti in which the karmakaraaka is expressed. In the passive voice the karatrukaraaka is expressed by the third case tritiya vibhakti therefore 3 and karmakaraaka gets expressed by the first vibhakti namely prathama. Actually in both these constructions the prathama vibhakti is not expressing any karaka. The thing is expressing that karaka and prathama vibhakti is used to be added after that prathipatika whose role is expressed by the thing vibhakti. Nonetheless active voice can be described as 1, 2, 12. Passive voice can be described as 31, 3, 1. Before closing let us recite the mangala charana as is our practice. This is taken from Mahabhashya Pradeepa Vivaaranam by Anand Bhatta and it reads like this. Mahabhashya Pradeepasya. I repeat, Mahabhashya Pradeepasya krtsnas yodyo tanam maya kriyate padavakya artha takparyasya vive chanaat and 5 sutras they are taken from 7 month, 7th chapter, first sub chapter, 7th adhyaya, first pada and they are the following. Thank you for your attention.