 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. In the previous lecture, we studied the rules in the Grammar of Panini stating certain important steps, certain processes required for the derivation of compounds or samasas. We continue to study this aspect in some more detail even in this particular lecture. So far, we have studied the semantic condition which is Samarthahapadavidhi. We also saw the name of the process stated by Prakkadarad Samasaha. We also studied the necessary condition stated by Suha Supa. Then we studied the Purvapada Nirdharana stated by several sutras in the section that begins with 2 to 30 onwards up to 2 to 38. Then comes an important stage where we add Samasantha Pratyayya. The Pratyayya that is added at the end of the Samasa. So Samasantha Pratyayya is a suffix. These are suffixes and they are added at the end of the Samasa. That is why they are called Samasantha at the end of the Samasa. Samasa and Anta. This also implies that they are part of the Samasa. They are not just placed at the end of the Samasa having no relation whatsoever with the Samasa. That is not the position. The theoretical position is that these suffixes they are part of the Samasa. Their function is to determine which formal processes the Samasa will undergo when it becomes part of the sentence that means an output. As we have already seen that the input for the process of compounding is a sentence. We need two or more interrelated words and then the process of compounding can start and then we do lots of operations and then generate the output in the form of a Pratyapadika which becomes a part of a sentence. So when this Pratyapadika becomes a part of a sentence, what other formal processes it will undergo? This is triggered by this Samasantha Pratyayya. That is its main function. For example, ending of the word. So if an original word listed in the lexicon ends in a consonant and after adding the Samasantha Pratyayya, if the word becomes a vowel ending word, now the Samasa will be treated and will be considered as a vowel ending Pratyapadika. And in accordance with this, the Samasa will take the next derivational stages and then it will be able to produce the final output in the form of a Subanta. So the ending of the word will be determined by the Samasantha Pratyayya. Also addition of the suffix which indicates the feminine gender, this is also dependent on the Samasantha Pratyayya. Whether the feminine suffix A is to be added or whether E is to be added is determined on the basis of the Samasantha Pratyayya more specifically on the basis of the markers attached to these Samasantha Pratyayya and we shall see the examples. Also the Samasantha Pratyayya functions to determine the accent of the generated compound output. These are some of the functions of the Samasantha Pratyayya and therefore it is accepted that this Pratyayya is part of the Samasa. Such an important part of the Samasa called Samasantha Pratyayya, they are stated in the section governed by the Adikara Sutra, Samasantha. And this is 5468 and this goes up to 54160 that is the final sutra of 5.4. So what this means is that end of the compounds of excess are stated in these 90 plus sutras. So end of the compounds of excess are stated to all major four types of Samasas in this particular section from 5468 up to 54160. And the Samasantha Pratyayyas with respective Samasa are stated in sutras with the tag of that respective Samasa. So for example, Avyai Bhave Sharadprabhratibhyaha. The sutras beginning with this, they will tell you the Samasantha Pratyayyas that are added at the end of the Avyai Bhava Samasa. Similarly, you have Bahubrihau Saktyakshnoha Swangaj Satcha. This sutra states the Samasantha Pratyayya Satcha in the Bahubrihi compound alone and so on and so forth, Dvandva Chudashahanta Samahare. This will tell the Samasantha Pratyayya which is added at the end of the Dvandva compound that too when it is in the sense of Samahara. And similarly also Tat Purusha compound. Now the most important thing is that these suffixes are also termed as Taddhita. So the bigger Adhikara that begins with 4176 and comes to an end in 54160 is Taddhitaaha. So all these Samasantha suffixes are also termed as Taddhita suffixes for specific purposes which are common to both the Taddhita formation as well as the Samasa formation and the statement of the Samasantha suffixes in this Adhikara also goes to show the interrelation between the Samasa and the Taddhita which we have already studied in brief. What that means is that given any sentence a particular meaning can be expressed using the interrelated words in the sentence. Now these interrelated words can be compounded and the same meaning can be expressed through a compound and further these interrelated words can be processed and Taddhita suffixes can be added and the Taddhita formation can also express the same meaning. This we have already studied. So this is the interrelation between the Samasa and Taddhita. Here are the examples. So if we have the meaning at the beginning collected by the speaker in his Arthakasha king of men Porushanam Raja. So you have Alau Kika Vigraha in the form of Porusha plus Am plus Rajan plus Su. Since Porushanam is Shasti, Shasti is placed in the initial position because this is Shasti Samasa prescribed by the Sutra Shasti and so this will be the Alau Kika Vigraha. And now we have the Sutra Raja Sakhibhash touch 5489. This Sutra states the suffix touch. Touch means a and it has got a as a marker as well as a marker. Now this suffix touch is prescribed by this Sutra after the word Rajan at the end of the Taddhita Porusha Samasa of this kind. So we have Porusha plus Am plus Rajan plus Su and here itself we add the suffix touch. So now this becomes the part of the Samasa and it is at the end of the Samasa. So this is the Samasanta Pratyayaya. So we have Porusha plus Am plus Rajan plus Su and a. Touch is a. Once we place these elements side by side, now this is an entire Samasa indicated by these two long square brackets. Then we begin the process of compounding. Obviously then the Suhbhakti is dropped. So we have Porusha Rajan a and then Porusha Rajan a. Then we apply 64148 which deletes the an of this Rajan. And so we have Porusha plus Raj plus a and finally we derive the compound output in the form of Porusha Raj. Now this word although has got Rajan at the end of this compound still because of the Samasanta Pratyayaya the compound ends in a. So now this is a vowel ending Pratipadika. The Pratipadika occupying the second position or the final position in the Samasa is Rajan as listed in the lexicon. But now because of this Samasanta Pratyayaya the Samasa ends in vowel a. So this Pratipadika becomes a vowel ending Pratipadika and Akaraanta Pratipadika. And it will take its forms in accordance with this Akaraanta ending and it will have the declensions in the similar form of Devah, Devah, Devah, Devah, Porusha Raja, Porusha Raja, Porusha Raja. Now because of this a suffix the Samasa with Rajan being the final constituent becomes now a Pratipadika ending in a. Accordingly the behaviour in inflectional morphology is determined. This suffix by the marker t also determines that the Pratipadika will be added with the feminine suffix e stated by 4, 1, 15 which is. So this sutra says that if a Pratipadika ends with a suffix that has the marker t at the feminine suffix in the sense of the feminine gender and so we will add this suffix e and we will get the necessary feminine form. Also because of the marker ch the final vowel accent is also determined by 6, 1, 163 chitaha. Let us take another example of the Samasa Pratyayaya where the same sutra Raja Sakhibhash touch applies. So if you have a meaning friend of Krishna at the beginning as thought of by the speaker and where he or she wants to make a compound out of it, Krishna Sya Sakha. The alokika vigraha of it is Krishna plus Gnas plus Sakhi plus Su and then we add the Samasa Pratyayaya touch over here, touch is a. So we have Krishna plus Gnas, this is the Purva Pada, Sakhi plus Su, this is the Uttara Pada and we have the Samasa Pratyayaya a over here. Then we delete both the subs, we have Krishna plus Sakhi and there are zero suffixes over here plus then this Sakhi has this a deleted and we have Krishna plus Sakha plus because of the application of 6, 4, 1, 48 and finally we get the compound output in the form of Krishna Sakha. So Krishna Sya Sakha is the input and Krishna Sakha as a Pratyapadika is an output. So the word Sakhi ends in E but now the compound Krishna Sakha ends in E and accordingly the inflectional morphology will take its own form. The final constituent of this Samasa is Sakhi ending in short E but after adding the Samasa Pratyayaya the Samasa ends in short E and then its behavior in the inflectional morphology is determined accordingly and you will have Krishna Sakha, Krishna Sakha, Krishna Sakha, Krishna Sakha and so on and so forth having the forms derived in the same fashion as that of Rama also. Now this Samasa Pratyayaya will also determine the addition of the feminine suffix Nyev and also the accent which is the final accent determined by the Sutra Chitaha. Now after having seen the Samasa Pratyayaya and the Sutras which prescribes Samasa Pratyayaya let us proceed in understanding the Sutras which prescribes the Sublook which is an extremely important process in the derivation of a compound. So Sublook is a very crucial operation in the derivation of a compound. What happens in this operation is that the sups which are part of the Samasa they get deleted. This operation acknowledges the sentential base and at the same time removes that base at least formally from the process but it does not remove it semantically. It does not remove it cognitively that remains there and that is the reason why a linkage between the compound form and the sentence remains uncut. So this particular process acknowledges the sentential base and at the same time removes it from the process of compounding so that merging into one Pratyapadika of the two elements becomes smooth. But this process of Sublook obviously highlights the underlying structural presence. So if you want to go back, if you want to fall back upon this you have a choice, you have a system systemic support to do so. Now this process is stated by the Sutra 2471 Supo Dhatup Pratyapadika Yoho. What this Sutra means is that in place of sups which is a part of the verbal root namely Adhatu and also the nominal root or a Pratyapadika is substituted 0. So the meaning is in place of sup which is part of the verbal root or Adhatu and also the nominal root substitute 0. What this means is that the sup is deleted. Now instead of stating it as mere deletion Panini has stated the 0 substitute. So it has given this deletion the status of an entity and Panini has used this particular technique throughout his grammar and scholars have also studied this aspect and have noted and have commented upon this concept of 0 in Panini and grammar. So this 0 suffix underlies the semantic implication that we were talking about a while ago. So what this means is that even after deletion it still retains its historical status as a further and Panini has used this in Sutras like Nala Upap Pratyapadika Antasya where we have seen in the derivation of the compound Raja Purusha Rajan which is a Purva Pada is stated to retain its historical status of being a Pada and so this Naa occurs at the end of the Pada and therefore the Sutra says this Naa gets deleted because right now as we see Rajan occurs at the end of a Pratyapadika but it also historically occurs at the end of a Pada so to speak and such a Naa is deleted that's what Nala Upap Pratyapadika Antasya says therefore Naa is deleted and we get the compound form Raja Purusha. We have derived the compound form Raja Purusha earlier and that is what is being referred to now. So here we have the same derivation process Purusha plus Aam plus Rajan plus Su this is the Aalavkika Vigraha Purushanam Raja that is the Aalavkika Vigraha and we add the suffix touch over here and so we have Purusha plus Aam plus Rajan plus Su plus A touch is A and then at this stage this Aam and this Su because they are the soaps they get deleted. So in this stage when we add Purusha plus Aam plus Rajan plus Su plus touch these two external square brackets indicate that this is what is a compound so this is a Samasa. The process of compounding has begun because this is the Aalavkika Vigraha and so this one unit is called Samasa and because it is called Samasa it is also called Pratyapadika immediately by the Sutra, Kirtadhita, Samasa Aschha or Arthavadadhatura Pratyapadikam and because it is a Pratyapadika now this Su and this Aam they become part of a Pratyapadika and so Supadhatapadika applies at this stage immediately after the Purvapada Nirudharana and also the addition of the Samasaanta Pratyaya has happened and so we have the sub-look over here so we have Purusha plus 0 plus Rajan plus 0 and then we add the suffix we have already added the suffix U which is a Samasaanta Pratyaya and then we do the next processing by applying 64148 we delete this Aam of Rajan and finally we get Purusha Raju as the compound but the point is that 2471 applies at an early stage by removing the sentential context in the form of the Sups it then facilitates the compound generation. This is a very crucial stage in the process of compound generation. Let us also observe this in the derivation of the second example that we have studied earlier where the meaning is friend of Krishna or Krishnasya Sakha and the Alawkika Vigraha is Krishna plus Ghas and Sakhi plus Su and then we add the Samasaanta Pratyaya here Krishna plus Ghas plus Sakhi plus Su and this touch U is added and now after we add this obviously this Alawkika Vigraha itself enables it to be called a Samasa and this Samasa becomes Pratyapadika and these Sups Nasa as well as Su they are now part of the Pratyapadika and so they get deleted by 2471 and so we have Krishna Sakhi and then Krishna Sakha by the application of 64148 and so we finally get the form Krishna Sakha. So Krishna Sakha is the input and Krishna Sakha is the output and we do not see any Sups over here neither after Krishna nor after Sakha but even though formally we do not see any Sups which is what is the highlight of the Samasa process otherwise it would not be distinguishing itself from the sentence in the sentence you see Sups here as well as this Su but in the compound they are missing even though they are missing their meaning obviously remains even though they are noted down as 0 obviously their meaning is there and that is the reason why this compound Krishna Sakha has got correlation to show with this Alawkika Vigraha. So we can dissolve this compound in the form of a sentence of this kind using these case endings because they are implied even though they are not visible. This is the theoretical implication of this process called sub look which is extremely crucial and very very important and we need to pay serious attention to this particular part of this important process namely sub look. Similarly when we have another example Kingsman goes to Kashi this is the sentence and we have Radhnyapurushaha kashim gachhati so Radhnyapurushaha are the two words which are semantically related and now we start the process so we have Rajan plus Gnas plus Purusha plus Su as the Alawkika Vigraha so the term Samasa applies over here the term Samasa does not apply at this stage because this is Alawkika Vigraha this is not Alawkika this is Alawkika Vigraha. Once we convert it into Alawkika Vigraha of this kind this takes the term Samasa and now this becomes a Pratipadika by the sutras mentioned earlier and once this becomes a Pratipadika these sups Su and Gnas they are now part of the Pratipadika and that is why Supo Dhatup Pratipadika Yoha applies and deletes both these sups and we have zero suffixes over here 2471 does this and then we have Rajan plus Purusha as the next step in the derivation process all these steps they are rule governed right now we are highlighting only 2471 in this particular process so we have Rajan and Purusha and then we apply 827 and by the application of 827 this Gna at the end of Rajan gets deleted and the output generated is Rajan and Purusha and the final output is Rajapurusha this is the Samasa output now this Samasa output becomes a Pratipadika it is already a Pratipadika and so then it also becomes part of the next sentence and the Suprataya etc can be added to this Rajapurusha and you can have Rajapurusha, Rajapurushau, Rajapurushaha etc as the forms generated of this particular Pratipadika so this is how Sublook plays an important role and these are the theoretical implications of this Sublook so Rajan over here is considered as a Pratipadika but it is also a Padha given the status of the zero suffix so Nalopapratipadikaantasyas says Pratipadikasavnikam yathpadam padantasyanasyalopasyat so then this Gna is deleted by 827 with these conditions so to summarize the suffix is added at the end of a compound immediately after the process of compounding begins it is to be noted that this suffix is part of the compound and affects the form of the compound in multiple ways ending of the compound feminine suffix as well as accent are the three main functions of the addition of this particular suffix and such a suffix is added in all four major types of compounds in Sanskrit. Similarly, Sublook reflects a very crucial stage in the derivation of the compound process as it acknowledges the sentential base and at the same time removes this sentential base at least formally for the smooth merging of two elements into one Pratipadika the constituent words retain both properties that of a Pratipadika as well as that of a Padha and both of them get used by sutras in Panini, Panini's grammar like Nalopaparadipadikantas here and we have seen an example of this sutra in the derivation of the compound Rajapurusha it is this base which the compound falls back upon for various purposes and that is what is the significance of this Sublook Panini has achieved this very delicate bridge construction which is a semantic or which is of semantic nature through the stage of this Sublook these are the texts that are referred to they are from the Panini and grammatical tradition and we shall study some more processes and the sutras stating those processes in the coming lecture. Thank you very much.