 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 are focused on the three important types of samasas in Sanskrit, namely the Avyaibhava Samasa, Bahuvrihi Samasa and the Dvandava Samasa. We have already studied the Avyaibhava Samasa in this course, starting with the Avyaibhava Samasa Vidhyayaka Sutras, stated in 2.1 from 2.1.5 up to 2.1.21. And then also the Samasanta Pratyayavidhyayaka Sutras starting from 5.4.107 up to 5.4.112. Currently, we are focused on the Bahuvrihi Samasa, another very important type of samasa in Sanskrit. The structure of the Bahuvrihi Samasa can be briefly explained in the form of an equation shown on this particular slide. Here we have X and Y as two independent entities in terms of the word form and the meaning as well as the accent. The plus sign here indicates the interrelation between X and Y. This is semantic interrelation. Now the speaker of Sanskrit decides to choose, decides to merge X and Y together and form an output in the form of X, Y, one unit. X, Y is one unit in terms of the word form as well as the meaning as well as the accent. So the three general features of the samasa are Aikarthya or Aikarthata, Aikapadhyya or Aikapadhatta and Aikasvarya or Aikasvarata. To be more specific about the Bahuvrihi Samasa, X and Y which are the two separate independent entities which act as input and the output generated is one unit X, Y. Now to show the interrelation of the constituents with the one generated output, so far we have been marking one of the letters in the bowl to highlight the fact that that particular constituent acts as the head. Like for example in the Purusha Samasa, when X, Y is the output, we marked Y as the, in the bold characters to indicate that it is the head. In the Abhyayi Bhavasamasa, we marked X as the head, we marked it with the bold characters which indicated that X is the head. We are not doing anything of that sort in the Bahuvrihi Samasa and we are just letting X and Y be X and Y in order to also indicate the fact that neither X nor Y are the head in the Bahuvrihi Samasa output. So who is the head? The head as far as the output of the Bahuvrihi Samasa is concerned is outside of the Bahuvrihi Samasa. So Anyapadartha is the Pradhana as far as the Bahuvrihi Samasa is concerned. That is so peculiar, that is so unique. That's why we keep saying that the Bahuvrihi Samasa indicates the speaking capability of Sanskrit people which was at a different plane altogether than the rest. Now in the Ashtadhyayi, Bahuvrihi Samasa is treated at various places. For example, the Samasa Vidhyayaka Sutras, the sutras which prescribe the compounding, the sutras which lay down the necessary conditions in the presence of which the Samasa takes place. These are from 2.2.23 onwards up to 2.2.28. 2.2.23 is Sesho Bahuvrihi and this sutra we have studied in the previous lecture. Up to 2.2.28 which is Tenasaheti Tullya Yoga. This is a very small section of sutras which prescribes the Bahuvrihi Samasa. Incidentally, 2.2.29 is Charthe Dhvandvaha. Charthe Dhvandvaha prescribes the Dhvandva Samasa in the sense of Char. The Samasanta Pratya Vidhyayaka Sutras are stated in 5.4 from the Sutra Samasa Taha. As far as the Bahuvrihi Samasa is concerned, the Bahuvrihi Samasanta Pratya Vidhyayaka Sutras are stated in a big section that begins with 5.4.1.1.3 onwards up to 5.4.160. This is a very big section. It must also be noted that some part of this section does not actually prescribe any explicit Pratyaya. Further, it prescribes the substitution at the end of the Samasa. And then the Swara Vidhyayaka Sutras are stated in 6.2. For example, Bahuvrihi Prakrutya Purva Padam is 6.2.1. And then from 6.2.106 up to 6.2.120 is another small section as well as 6.2.162 up to 6.2.177 is another small section dealing with the Swara Vidhyayaka Sutras in the Ashta Dhyayi. This is how Parnini treats the Bahuvrihi Samasa in the Ashta Dhyayi. We started studying the Sutra 2.2.24 in the previous lecture. 2.2.24 is anekam anyapadarthai. Here there are two padas in the sutra, anekam, which is prathama ekapachana or one slash one, which means more than one. And because this word is in the prathama, this will be termed as upasarjanam because of the sutra prathama nirdistam samasa upasarjanam. Now anyapadarthai is seven slash one, which means in the sense of the adharapada, which is out of the compound, which is different than the constituent. Words continued are sup from 2.1.2, sahasupa from 2.1.4, samasaha from 2.1.3, and samasappadavidhi from 2.1.1. Thus the meaning of the present sutra, after having put all these together, is the following. More than one interrelated subanthas, ending in the first triplet, in the sense of the meaning of the other or outer word, get compounded and the resultant compound is called bahuvrihi. I repeat, more than one interrelated subanthas, ending in the first triplet, that is prathamantham, in the sense of the meaning of the other or outer word, get compounded and the resultant compound is called bahuvrihi. I repeat, more than one interrelated subanthas, samartham anekam subantham, ending in the first triplet, prathamantham, in the sense of the meaning of the other or outer word, anyapadarthai, get compounded, and the resultant compound samasaha is called bahuvrihi. We have also noted that the interrelation between the constituent subanthas is co-referentiality or samanadhi karanya. The interrelation between the constituent subanthas and the outer head word is that of the meaning of the vibhaktis. Except the meaning of the prathama vibhakti. So, the statement of the two commentators is prathama arthetu na bhavati. We have noted that the following vibhaktis denote the following meanings and they will be the relations of the anyapadarth with the constituent padarthas. Dvitiya vibhakti denotes karman, when karman is not expressed by thing. Tratiya vibhakti expresses karthru as well as karana, when it is not expressed by thing. Chaturthi vibhakti expresses sampradana, and panchami vibhakti expresses apadana, when they both are not denoted by the suffix. Chaturthi vibhakti denotes swaswami bhava etc., owner and owned, part and whole etc. Saptami vibhakti denotes the sense of adhikarana. Amongst them, we have already studied dvitiya vibhakti denoting karma, being the interrelation between the anyapadarthas and the constituent padarthas. Tratiya vibhakti in the sense of kartha denoting the interrelation between the constituent padarthas and the anyapadarthas. Tratiya vibhakti denoting the sense of karana, being the interrelation between the anyapadarthas and the constituent padarthas. Chaturthi vibhakti denoting the meaning of sampradana, which is an interrelation between the anyapadarthas and the constituent padarthas. What remains to be studied is now panchami vibhakti denoting apadana, swasti vibhakti denoting swaswami bhava etc., and saptami vibhakti denoting the meaning of adhikarana, which should act as the interrelation between the constituent padarthas and the anyapadarthas. Let us now take up the panchami vibhakti for study. Panchami vibhakti denotes apadana. We are not denoted by any other suffix. Let us take the example. The meaning to be conveyed is the vessel from which rice is extracted. We are talking about a particular vessel apart in which the rice is cooked and now the rice is extracted from this. Therefore now the laukika vigraha is udhrutah aodhanah yasyaha sa. Udhrutah aodhanah yasyaha sa. Remember the anyapadartha is sa, which is feminine in gender. So obviously the compound thus formulated will become the qualification of the feminine gender and therefore this compound will end up having a feminine form at the end of the derivation process. But we begin with the laukika vigraha, udhrutah aodhanah. Yasyaha is marked in the bold characters as well as underlined to highlight the fact that this is the interrelation between the constituents of the samasa and the anyapadarthas. So we have the laukika vigraha, udhrutah aodhanah yasyaha sa. And now we have the laukika vigraha, namely udhrutah plus su. And now we have the laukika vigraha, namely udhrutah plus su, plus odhanah plus su. So samasa saudhnya takes place. So pratibhitya saudhnya takes place. So we have udhrutah plus zero plus odhanah plus zero. And when we join them together, we get udhrutah odhanah. And when we do the sandhi operations, we get the form udhrutah odhanah. Now when we add the suffix su after it, the sub suffix, udhrutah odhanah plus su. We remember that the vigraha consisted of the word yasyaha, yasyaha sa, which indicated that the anyapadarthah is in feminine gender. And therefore udhrutah odhanah, which is the bhavrihi samasa output, which is a qualification of that sa, has to take the form of a feminine. And therefore now we add the feminine suffix tap here. So we have udhrutah odhanah plus tap, plus su. Now a is the pratibhitya visible or audible in tap. So we have udhrutah odhanah plus a plus su. And then because of a, by the application of the sutra, halgya bhyodir ghat sutisa pruktham hal, su gets deleted. So we have udhrutah odhanah plus a. And then we join them together and we get the form udhrutah odhanah. Udhrutah odhanah udhrutah odhanah stali, a vessel from which rice was extracted. Let us now move ahead and see an example where the anyapadarthah has the relationship of swasvami bhava denoted by the shashti vibhakti with the constituents. So the meaning to be conveyed is one who possesses yellow robe, one who has yellow robe. So here yes here is marked in bold as well as underline to indicate that this word is the interrelation between the constituents of the samasa and the anyapadarthah. So is the laukika vigraha and then we get the alaukika vigraha pita plus su plus su and then the samasa saudhnya takes place. Then prathipadika saudhnya takes place. Then we apply supodhatup prathipadika yoho and we get pita plus zero plus umbrella plus zero. And then we join them together and we get the form pita umbrella and then we do the sandhi operation and we get the form pitaambhara. Once we decide to use it in the sentence, we add the suffix su and so we get pitaambhara plus su and then su gets substituted by ru sasa jusharuhu and ru gets substituted by vissarga by the sutra kharavasana yur vissarjanyaha. So we get the form pitaambhara. Pitaambhara hari vishnu who possesses yellow robe. That is the meaning. Similarly, let us study the relation avayava avayavibhava between the constituents and the anyapadārtha expressed by the sasti-vibhakti. So the meaning to be conveyed is one who has a big face or head. So we have the alaukika vigraha pancham ananam yasya sahā. Here yasya is marked with bold characters as well as underlined in order to highlight the fact that there is avayava avayavibhava sambandha between the constituents of the samāsa pancha ananam and the anyapadārtha. So we have the alaukika vigraha pancham ananam yasya sahā. And now we get the alaukika vigraha pancha plus su plus ananam plus su. Then the samāsa saūdhnya takes place. Then the prātipadika saūdhnya also takes place. So we apply supodhātup prātipadika yoho and so we get pancha plus zero plus ananam plus zero. And when we join these together, we get pancha ananam and when we do the sandhi, we get pancha ananam as the finally derived bahuvrihi samāsa output over here. Now when we add the suffix su after it, pancha ananam plus su, we get the form pancha ananah. Pancha ananah shivaha and pancha ananah simha. Pancha ananam is a qualification. Pancha ananam is an epithet of shiva as well as simha. Now let us look at the third meaning of the shashti vivakti janya janaka bhava, which is the relation between the anyapadārtha and the constituent padārthas. This anyapadārtha and this relation denoted by the shashti vivakti. So we have the meaning to be conveyed is, one whose son is well-known. And the laukika vigraha is khyataha putraha yasyasaha. The word yasyasaha is marked with bold characters as well as underline in order to highlight the fact that the anyapadārtha is related with the constituent padārthas in the sense of janya janaka bhava being expressed by the shashti vivakti, in this case yasyasaha. Now we have the laukika vigraha, khyataha putraha yasyasaha. And then this gets transformed into the alaukika vigraha, khyatah plus su plus putra plus su. And then the samasa saudhna takes place. Then pratibhadi ka saudhna takes place. Then we apply the sutra supodhātup pratibhadi ka yoho. We have khyatah plus khyatah plus zero plus putra plus zero. And when we join them together, we get khyatah putra as the finally derived bahurihi samasa output, khyatah putra. When we add the pratayasu after it, we get the form khyatah putraha, khyatah putraha raja. The king whose son is well-known, khyatah putraha raja. There is one note that needs to be added over here. Namely, in the sense of nir denoted by the shashti, the bahurihi samasa does not take place in Sanskrit, as is observed by the commentators. They say anantarādishu nabhavati, in the sense of anantara, which is nir. The shashti samasa does not take place. So chitraha gaavaha yasya anantarāha, whose, for whom the variegated colored cows are nearby, here you don't have compounds, compound form chitrahu, in the sense of chitraha gaavaha yasya anantarāha. This is not possible. Speakers of Sanskrit have made no bahurihi samasa in this particular sense, which is a peculiar feature of the Sanskrit language. Let us now study the relationship of adhikarana that exists between the anyapadārtha and the constituent padārthas. The adhikarana meaning is denoted by the saptami-vibhakti. So the meaning over here to be conveyed is, where there are valiant men, vairāha purushāha yasmin sahā, vairāha purushāha purushāha yasmin sahā. This is the laukika vigraha. In this vigraha, the word yasmin is marked in bold characters, primarily to highlight the fact that adhikarana, which is denoted by the saptami-vibhakti in yasmin, is the interrelation between the constituent padārthas and the anyapadārthas. So from the laukika vigraha, vairāha purushāha yasmin sahā, we get the alaukika vigraha in the form of vairā plus su, plus purusha, plus su. So now we have the samasa-saudhnyā taking place. After that we add the samasānta-pratyat-kap at the end. So we have vairā plus su, plus purusha plus su, plus kap by 5, 4, 1, 54. And then we have vairā plus zero, plus purusha plus zero, plus ka on account of the sutra, supodhātup prāthi-vadika yoho. And then we join them together and we get the form vairā purushaka. This is the finally derived bahuvrihi samasa output, vairā purushaka from vairāha purushāha yasmin sahā. Now after we add the pratyayā-su after vairā purushaka, we get the form vairā purushaka-ha. So we use it in the sentence like vairā purushaka-ha, grāmāha, a village where there are valiant men. Let us now take a look at the examples and the kind of understanding that they generate, both the alaukika vigraha as well as the samasa. When you have praptam-udakam-yam-sahā as the alaukika vigraha, the understanding is grāma-karma-prāpti-karthikam-udakam, grāma-karma-prāpti-karthikam-udakam. Udaka, which is the karta of prapti, which has grāma as the karma, grāma-karma-prāpti-karthikam-udakam. When the same alaukika vigraha is processed and the compound output is generated in the form of prapto-dakam, the meaning, however, reverses and says udaka-karthikam-prāpti-karmi-bhuto-grāmāha. Now prapto-dakam becomes the adjective of grāma and therefore the entire meaning will have to be rephrased udaka-karthikam-prāpti-karmi-bhuto-grāmāha. Similarly, udaka-rathikam-yam-sahā is the alaukika vigraha, which means anadut-karthikam-udvahana-karmi-bhuto-rathā. This is the meaning of the alaukika vigraha, but when we do the samāsa, udharathah, anadvān, then the meaning denoted is rathakarmaka-udvahana-karta-anadvān. So the meaning gets drastically reversed. Rathakarmaka-udvahana-karta-anadvān. This is the meaning of udharathah as a samāsa. Similarly, uparhatam-havihi-yasmai-sahā. In this case, devasampradānaka-upaharana-karmi-bhutam-havihi. This is the nature of the bodhah as far as the alaukika vigraha is concerned. But when we do the samāsa, we have uparhatahavis as the samāsa and then we get the meaning. Meaning, havishkarmaka-upaharana-sampradānam-devahā. Similarly, when we have udharathah-odhana-yasyahasa, as the alaukika vigraha, we get the meaning sthāli-avadhika-uddharana-karma-odhana-ha. But when we do the compounding and udharathah-udhana is the output, we get the meaning odhana-karmaka-uddharana-avadhihi-sthāli. Similarly, when we have pitam-ambaram-yasyahasa, the meaning denoted is harisvaka-pitavisistam-ambaram. But when the words get compounded and we get the finally derived bhavrihi-samāsa output as pitam-varā, the meaning denoted is pitavisistam-ambarasvāmi-harihi. So, the order in the bodha is reversed. Similarly, finally, vīraha-purshāha-yasminsāha. In this case, grāma-adhikaranak-vīra-visisthāha-purshāha, this is the understanding generated. But when the samāsa takes place, vīra-purshākāha, then the understanding is vīra-visisthā-purshā-adhikaranaka-grāmahā. This is how the meaning changes as far as the samāsa process is concerned. To summarize, in the bhavrihi-samāsa, the meaning of the respective kāraka is expressed by the process of compounding. Samāsaena abhidhānam. Also, since these kārakas are expressed by the samāsa, the entities associated with those kārakas get the prathamā-vibhakti. Also, the meaning of the śaśti is expressed by the process of compounding. In the meaning of the dissolution, that is, vīgraha, of the bhavrihi-samāsa and the meaning of the bhavrihi-samāsa differ in terms of the head-modifier relationship. In the dissolution or vīgraha, the element which is the constituent is the head and the outer meaning anyapadārtha is the modifier. However, in the samāsa, the anyapadārtha is the head and the constituent is the modifier. This is the pattern that we have followed in arranging and analyzing all the meanings from the given samāsas. We continue studying this particular sutra and various statements added to it in the form of vārthikas even in the next lecture. These are the texts referred to. Thank you very much.