 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. In this lecture, we will study further the features of sounds produced by the process of speech production as described in the Paninian grammatical tradition. We will focus on the consonants. The source that we have been studying is Paninian shikshah and the verses mentioned therein namely Atma-buddhya-sametya-arthana-mano-yunkte-vivakshaya-manak-kayagne-mahanti-saprerayati-marutam-marutas-turasicaran-mandram-janayati-svaram-sodiranom-urdhya-vayato-vaktram-apadyam-marutah-varanan-janayati. We also noted down the 8 stages described in these verses, namely Atma-buddhya-sametya-arthana, the first, Mano-yunkte-vivakshaya, the second, and these two are the cognitive stages, the rest of them are physical or biological. Manak-kayagne-mahanti the third, saprerayati-marutam the fourth, marutas-turasicaran-mandram-janayati-svaram-the The sounds that are produced by this particular process, we said that have some features. Length is a prominent feature. And according to this feature, these sounds can be straight away classified into two groups, the first one being the vowels which require more than one mantra length for their production and the rest of them which require only half a mantra for them to be produced by this particular process. So the sounds which require half a mantra for their production, they are called Hal or Vyajna. We have already studied this term Hal when Vy studied how to form the Pratyahar. These two terms are commonly used to indicate the consonants. The consonants cannot exist by themselves in Sanskrit without the help of the vowels that is the important feature of these consonants. Amongst these consonants once again, we can have some classifications. The first group can be called semi-vowels also known as Antastha and we shall study why they are called Antastha. The important point to note about these sounds is that these are consonants yet they are called semi-vowels because in part they show partially the properties of a vowel. For example, the continuous flow of air stream to an extent but not exceeding the length of a consonant namely half a mantra. This is the reason why they are called semi-vowels and because if you look at the Pratyahara Sutras again it is these consonants which stand in between the vowels and the consonants and therefore these are called Antastha remaining in between standing in between in between the vowels and the consonants hard core consonants and therefore these are also called as Antastha. As said before they are called Antastha because they remain in between as they remain in between vowels and consonants. So they are placed in between vowels and consonants in the 14 sutras as well. The reason is because they remain in between vowels and consonants. So let us look at these consonants one by one. The first consonant that we study is Yir. The place of articulation or the sthana for this consonant is Thalu or Palet. The Abhintara Prayatna for this consonant is Ishatsprashta. They connect, contact, slight contact, slight touch of the tongue with the place of articulation. This is what is called Ishatsprashta. The Baiha Prayatna for this particular consonant is Nada, Resonance, Ghosh, Voice and Sampwara Closure. This is also possessing the property of Alpaprana, less breath or also called non-aspirate. The Panayan grammatical tradition also notes that there are two varieties of Yir which are possible namely Ananasika and Nirananasika, Yir, Nirananasika and Yir, Ananasika. Two varieties just like vowels that is the reason why these are called semi-vowels as well. After Yir let us go to Rir. Rir is one more peculiar sound which does not have any Ananasika variety. The place of articulation for Rir is the Murdan or the roof of the oral cavity. The Abhintara Prayatna for Rir is Ishatsprashta, slight contact, slight touch of the tongue with the place of articulation. So while pronouncing Rir, we all can observe that the tongue rises above and tries to touch the roof of the oral cavity. It does not actually touch but it comes very close to touch it. And that is the reason why the Abhintara Prayatna for this consonant is also called as Ishatsprashta. The Baiha Prayatna for this is Nada, Ghosh and Sambhar, Phezanans, Voice and Clojure. It is also having the property of Alpapran or less breath or non-aspirate. The Rir does not have a nasalized variety. It is Nirananasika, non-nasalized consonants. There is no nasal pronunciation of Rir that is possible in Sanskrit. The next consonant that we study is Lir. This Lir has the place of articulation namely Dantara, tooth or teeth. The Abhintara Prayatna for Lir is again Ishatsprashta, slight contact, slight touch of the tongue with the place of articulation. So while pronouncing Lir, the tongue moves towards the teeth or a tooth and it just stops short of actually touching it and that is why this Lir is considered having the Abhintara Prayatna Ishatsprashta. The Baiha Prayatna of Lir is once again Nada, Ghosh and Sambhar as described in the Panayan grammatical tradition. The other Baiha Prayatna Lir possesses is Alpapran or less breath or non-aspirate. There are two varieties of Lir possible as described by Panayan grammar Anunasika and Nirananasika, Lir Anunasika and Lir Nirananasika. The next we have is Vr. This is also a peculiar consonant. This place of articulation is two-fold Danta and Ostha, Danta Osthau, tooth and lips. The Abhintara Prayatna for Vr is Ishatsprashta once again, slight contact, slight touch of the tongue with the place of articulation. The Baiha Prayatna for Vr is Nada, Resonance, Ghosh, Voice and Sambhar, Closure. The Alpapran is also a kind of Baiha Prayatna that Vr has. Alpapran is less breath or non-aspirate. There are two varieties of Vr recorded Anunasika variety as well as Nirananasika variety Vr or Vr. So these are the four Antastha consonants that we have studied so far and they are semivowels. Now let us go to the next set of consonants also termed as sibilants or also sards, fricatives also known in some skrutas Ushma. Let us look at them now. An important point to note about them is that these sounds require more amount of breath than normal consonants. Friction is experienced when these sounds are produced. They are also known as sards, they are also known as fricatives. Let us look at them one by one. The first sound is shir, shir. The place of articulation is talu for this pallet, the Abhendara Prayatna for this sound is Vivrut or open as per the description of the Panayana grammatical tradition. The Baiyaprayatna for shir is Shwasa, breath, Aghoshya, voiceless, Vivaara, openness and this is also a Mahapranam. It requires more breath, it is also an aspirate, shir. This is how it is pronounced, shir. Let us look at the next consonant in this set. This is pronounced as shir in contrast with shir, the earlier sound was shir, this is shir. The place of articulation of this sound is murdhan or the roof of the oral cavity. The Abhendara Prayatna for this sound is Vivrut or open. The Baiyaprayatna for this sound shir is Shwasa, breath, Aghoshya, voiceless, Vivaara, openness and also Mahapranam, more breath or this is an aspirate sound. Let me repeat the pronunciation of this sound. This is pronounced as shir, shir, manashasthani, driyani and so on. In contrast with the previous sound shir, shir. This sound is a very peculiar sound in Sanskrit and has also come down to modern Indian languages. The next simple and sound is sir, sir whose place of articulation or sthana is danta, tooth or teeth. The Abhendara Prayatna is Vivrut or open. The Baiyaprayatna is Shwasa or breath, Aghoshya, voiceless, Vivaara, openness and this is also Mahapranam, having containing more breath it is called an aspirate. This is what is sir. Then lastly we have her. The place of articulation of her is Kantha. The Abhendara Prayatna is Vivrut or open. And the Baiyaprayatna is different than shir, shir and sir. The Baiyaprayatna of shir, shir and sir as described earlier is Shwasa, Aghoshya and Vivaara. But the Baiyaprayatna of her is nada resonance, Ghoshya, vice and sambhara namely closure. That is the difference. Her is also Mahapranam. It requires more breath also called as aspirate. This is how her is described. As part of this Panamyan grammatical tradition, her is also said to be produced from another place of articulation called Uras. The other features being the same. After having studied the antastha consonants as well as the sibilant consonants, let us now study one more set of consonants called A Yoga Vahar. A Yoga Vahar, the meaning of the term A Yoga Vahar can be explained in the following manner. There are two components, A Yoga and Vahar and A Yoga also has two components, A and Yoga. So, A and Yoga, Yoga is association, Vahar is something that carries. So, A Yoga Vahar means a consonant which is carried only when associated with A, that means a consonant which is pronounced only when it is associated with A, which means when A stands for all vowels and so then it means that consonant which is carried only when associated with a vowel. So, this does not have independent existence without a vowel. This is the difference. The previous consonants, they can be pronounced independent of vowels individually. They cannot occur in sequence, that is a different matter without a vowel. There are very few exceptions, but these consonants, they cannot be produced without a vowel. And the other explanation of A Yoga Vahar is the sounds which are carried by the association of a which means these sounds are uttered immediately after a in the pratyahara sutra. So, ayun is the first sutra in the pratyahara sutras and it is these sounds which are uttered immediately after a and before e as far as the tradition is concerned. They are noted down by the tradition after a and before e and therefore they are called as a Yoga Vahar. There are four sounds which are listed under this category of ayoga vahar and they are anusvara, visarga, jivamuliya and upadbhaniya. Let us look at the features of these four sounds individually. The first one is anusvara. Anusvara is pronounced from nasika. So, the place of articulation of anusvara is nasika or nose. The abhendara preyapna of this is spressed or touch or contact. The baya preyapna of anusvara is described as nada, resonance, gosha, voice and sambhara, the closure. The consonant anusvara is written with a dot on top of a letter. The next is visarga. The place of articulation for visarga is kantha or vilam. The abhendara preyapna is spressed, touch or contact. The baya preyapna is swasa, breath, aghusha, voiceless and vivara, openness. This is also described as mahapraana that is having more breath or being an aspirate sound. The visarga is written by adding two vertical dots after a particular letter, after a particular letter representing a bovil, aha, uhu, etc. Let us now look at the jivvamuliya. As the name suggests, this sound is produced from the jivvamula. So, the place of articulation of this sound is jivvamula, namely the root of the tongue. The abhendara preyapna of this sound is spressed, touch or contact. The baya preyapna of this sound is swasa, breath, aghusha, voiceless and vivara, openness. This is also a mahapraana, it requires more breath to pronounce. This is also an aspirate sound. Two half-circles place upside down before k and kh is how this sound is written down. The next sound is upaddhmaniya in this category of ayogavaha. The place of articulation of upaddhmaniya is osthau or lips, the abhendara preyapna of upaddhmaniya is spressed, touch or contact. The baya preyapna is swasa, breath, aghusha, voiceless, vivara, openness. This is also a mahapraana requiring more breath for its production. This is also an aspirate sound. Two half-circles place upside down before k and kh are the upaddhmaniya sound representations as far as the writing symbols are concerned. This is how they are written. So these are the four sounds also known as upaddhmaniya. To summarize, what is the function of these features? The function is that these features act as parameters in selecting a substitute from amongst many in place of a substituent also specified by the Meta rule 1150 sthane antaratamaha stated by Panini. There is one more important thing to remember here which we stated in the last lecture namely that we are studying and trying to understand the explanations of these features as given in the Panini and grammatical tradition. In this course we are not going to compare them with the modern description of these sounds. They differ yes, surely they differ. The point is that we are studying these features as described in the tradition with the help of which we will be able to understand the overall system that was built by Panini and we shall understand what these features stand for and how they these sounds are described in the modern linguistics which uses modern technological tools later on in the advanced level course whereas here we only try to understand the description of these sounds given in the Panini and grammar. Now what remains is the class consonants, the five rows and the five columns described in the traditional sound inventory. We shall study these sounds in the coming lecture. I thank you for your attention.