 I welcome you all to this lecture in the course Introduction to Paninian Grammar. In this lecture, we continue to study the process of speech production and we study the features of the produced speech by this particular process. The source that we have been studying for some time now is the Paniniya Shiksha and the verses that are displayed on the slide. These verses can be arranged in terms of stages. In this manner, there are eight stages that are described in these verses. The first stage is Atma-Buddhya Sametya Arthaan. The second one is Mano-Yunkte-Vivaksaya. The third one is Manak-Kayagni-Mahanti. The fourth one is Sapre-Rayati-Marutam. The fifth one is Marutastu-Rasi-Charan-Mandram-Janayati-Svaram. The sixth one is Sodhirno-Murdhnyavi-Hato. The seventh one is Vaktram-Apaddi-Marutah. And the final and the eighth stage in this process is Varnaan-Janayate. We have also seen that the first two, Atma-Buddhya Sametya Arthaan, Mano-Yunkte-Vivaksaya, these two they form the part of the internal cognitive process and can be termed as or are in fact termed as the cause for this entire physical process described in the rest of the stages. So these two are more internal, they are the cause and it is in fact they are very important and that is why we have studied these two in quite a lot of detail which is not done in any of the traditional sources. And then from three onwards are the physical or the biological processes until the eighth stage arises when the sounds are actually produced. And then there are lots of internal factors playing key roles namely Maruta the wind and then the wind being propelled up hitting the roof of the wind pipe or the oral cavity and then entering the mouth and hitting on the various places and then generating the sounds, generating the speech. In this entire process there is one most important means which plays a very crucial role in the oral cavity that is recognized and described in the traditional sources and that is Jivha or Tang. They said Jivha is considered to be the Karana, Karana is traditionally interpreted as the most effective means. The such a means which when gets activated brings about the result of the performed action. So Jivha is such a important means in the process of speech production primarily because the tongue shapes the wind flow in the oral cavity by directing itself towards the places of articulation and we shall see which are those places recognized in the traditional sources and in the Paninian grammar. The tongue also touches, actually touches the places of articulation in oral cavity to produce sounds. One also lies down in order for the airflow to pass unhindered freely out of the oral cavity. The other important part is also the oral aperture that we shall study later on but Jivha is recognized as the most important means in the oral cavity. And then the sounds that are produced, the speech that is produced through this particular process described can be shown on this particular slide. On the left hand side we have Artha and this left hand side represents the first two stages namely Atma, Budhya, Sametya, Arthaan, Mano, Yunkte, Vivakshaya, these two stages and out of them as we have already studied Shabdakasha and Arthakasha, these are those two places, these are those two aspects. Now, they both are collected over here, they both are part of this, here we have not explicitly stated the Shabdakasha but you have actually stated the Arthakasha. Now, from this it is assumed that Shabdakasha also exists over here because of the want of space we have not mentioned Shabdakasha but it is assumed, very much assumed and when this all gets activated it actually generates these sounds, these speech signals mentioned here as Shabdha. So, from the Artha the Shabdha gets generated, so this is the Arthakasha, together with it there exists also a Shabdakasha and then it generates the entire process at the end of which these sounds, these signals are produced and they are all produced as one unit. So, that is why there is a square bracket at the end of each and every sentence and since these sentences are uttered in close proximity one after another there is also a broad domain in which these sentences are spoken, the broad context because of which the interrelation between the sentences will be clear for example, in the first sentence you have Ramo Vanam Garchati which means Ram goes to forest. Now the second sentence because the context demands the Arthakasha as well as the Shabdakasha demands that we do not need to utter the word Rama again in its place we can use a pronoun which is Saha, now this Saha will depend on this Ramaha because of the context now. So he then does the penance in the forest, so that is what is understood by this sentence and this he is nothing but Rama that is decided by this context. So the domain now of these five sentences will be also helpful in clearly understanding this sentence and this and such sentences and then thereby the communication process will take place. Now the sentences that are produced here and let me read the sentences for you first let me read the Artha which says Ram goes to a forest there he does penance then he slays Bali then he slays Ravana then he comes back these are the meanings associated with it and then the respective Shabdas are selected and then the process starts and finally as an output of this process we get the following Shabdas, following speech which is audible and that is Ramo Vanam Garchati, these are the five sentences which are audible which are the output of this entire process but quite a lot goes behind the curtain so to speak in producing these sentences and these speech symbols and we have actually studied what goes inside. So these sentences are produced as the output of this process of speech production and they are made up of the sounds, sound sequences, groups of sounds which are displayed on this particular slide in a structured manner. First of all we see a iu ru lu aiou as sounds separately written from the rest for some specific purpose we shall see why. Then there are some other sounds which are arranged in five columns and five rows format each column is named 1, 2, 3, 4 and 5, C1, C2, C3, C4 and C5 and each row is named R1, R2, R3, R4 and R5 and then there are these consonants. This is the traditional sound inventory we had studied this when we learned how to form the pratyahara. Now let us study the importance of this arrangement and also certain principles on which this arrangement is made. So the features of these sounds they are extremely important from this point of view. For example there are these features which are stated in this particular verse from the panimiyashiksha it says, so there are four features stated here. The first one is swara, then kala, then sthana and prayatnanupradhana that is the last one. Now for our purpose we take kala the first one length kala are also called as pramana then we study the place of articulation namely the sthana then the prayatna which is described as effort of articulation and finally the pitch or tone which is also the swara. So these are the four very important features of these sounds and now let us study each one of them in detail. So let us look at the first feature of the sounds namely the length of the sound also known as pramana. So the length of the sound which is measured in terms of the time that it takes to produce is an important feature. The traditional measurement is called matra which can be also measured using the modern technological tools and it comes to a few seconds. Now using matra as a measurement to measure the length of the sound we can classify sounds in fact half a matra time is taken by certain sounds to get produced and they are in fact classified as a separate group of sounds and they are called consonants also known as hul in the Panayan grammatical terminology and we have already studied what hul is all the consonants. It is said about the consonants that they cannot be produced without the support of vowels of course in continuation you can produce them individually but when it is a sequence sequence of sounds produced to convey some meaning in the process of communication then you cannot have groups of consonants coming together without having a vowel in between to support them. There are some exceptions where you can have a cluster of consonants but that is only an exception which proves the rule that the consonants cannot be produced without the vowels support. Now if half a matra length is considered as the criterion to classify some sounds and call them consonants then one matra or more than one matra is also considered to be a measurement which using which sounds can be classified and these sounds are called vowels and in the traditional terminology Panayan terminology using the pratyahara we can call them ach. We have seen what ach is in contrast to what hul is all the vowels in the 14 sutras that we have studied which are used to form pratyahara. So this is how length plays a crucial role as far as the classification of sound as a feature. So here we can show in the traditional inventory why a e u rulu a i o o are separated from the rest primarily because they require one matra or more than one matra time to get produced and that is why they are called they are classified separately from the rest because the rest of them they take only half a matra time to get produced. This is the biggest difference and these consonants and these sounds which are called consonants and also known as hul or viyan jana in Sanskrit these sounds they cannot appear in sequence for a long space maximum 4 consonants can come together without getting a vowel in between but that is only rarely that is an exception otherwise a consonant cluster is generally a cluster of two consonants coming together without any vowel in between generally but otherwise as I said earlier this exception proves the rule that the consonants cannot appear on their own without the support of a vowel in Sanskrit. So these consonants so these consonants they are grouped together and that is the reason why they are all placed in one place separated from these vowels these are the ach or swara and these ones they are the consonants or hul or viyan jana and we have already read these sounds we have already read the sounds that correspond with these written symbols. So let us proceed further this is how the time plays an important role this is how the pramana plays an important role as a feature in classification of sounds. Then comes within the vowels the vowels can further be classified depending on the length or the color. So there are three groups that can be made one is called rasva the other one is called dirga and the third one is pluta rasva vowel is a short vowel and it takes only one matra time for its pronunciation whereas dirga vowel takes two matras and pluta vowel takes three matras for its pronunciation its production and that is why dirga is called long pluta is called prolated. So here are three further classifications of the vowels on the basis of the time that the sounds take for completion in the process of speech production. The next important feature of these sounds in the process of speech production is sthana. Sthana is the place of articulation and in the paniniya siksha eight such places of articulation are described and they are ashtav sthana ni varnanam urakh kandhas siras tatha jivvamul chadantash cha nasi ko shthau cha thalu cha. These eight places are uras, kandha, siras, jivvamul, nasika, osthau and thalu and let us see what these places of articulation are and which are the sounds which are produced through these places of articulation. First of all what is a place of articulation? So when the air flow comes into the oral cavity through the wind pipe this air flow or air stream then is shaped by the position of the tongue and then this tongue either touches certain places in the oral cavity or directs the wind stream, air stream towards these places and then these places are called the place of articulation. So points in the oral cavity where the air stream strikes and then is thrown out is called the place of articulation. They are as listed earlier kandha, thalu, mordhan, danta, osthau, jivvamul, nasika and uras and here are some sounds that are produced using these places of articulation. For example, kandha which is vilam and a is produced using kandha and also the all the sounds mentioned in the first row kha, kha, gha, gha, nga they are also produced using kandha as the place of articulation. Similarly, thalu palette is used to produce the vowel e and also amongst the consonants the second row ch ch j j j nga then comes mordhan and mordhan means roof of the oral cavity and amongst the vowel r is produced using mordhan similarly the third row namely th, th, d, d, na this is produced using mordhan then comes danta the tooth or teeth lu is produced using danta and the fourth row is also used is also produced using danta namely th, th, d, d and na, osthau both the lips they are used in producing the vowel u as well as the fifth row namely p, b, b, b, b and ma, jivvamula namely the root of the tongue is used to produce the sound jivvamula, nasika is used to produce the consonants in the fifth column they are nga, iya, ana, na and ma and finally uras through which is produced a special sound h. So, this is how the place of articulation works and classifies the sounds produced through the process of speech production. So, here is the traditional sound inventory highlighting the sthanas and you see now there are some additional sounds mentioned here a and her along with kha, gha, gha, gha they are produced using kantha similarly e, e and sh apart from ch, ch, ch, ch and here they are produced using the place talu within the oral cavity then from murdhan are produced r and r and t, th, d, d and na then from dantha, lu and l and t, th, d, d, na from osthau, u, v and p, p, b, b, b and ma these are the sounds that are produced from kantha talu two places of articulation coming together a and i are produced from kantha oshtau again two places of articulation coming together o and ow are produced. Now, let us look at the effort of articulation the effort of articulation stands for the quality of air stream or volume touching the wind pipe or vocal cord etc and these efforts of articulation are of two kinds abhyantara internal inside the oral cavity or by her external that is out of oral cavity in the wind pipe etc. So, there are four types of abhyantara prayatanas listed down sprishta meaning contact touch of the tongue with the place of articulation that is all row from 1 to 5 columns 1, c1 to c5 all of them they are having the effort abhyantara effort namely sprishta then ishath sprishta slight contact slight touch of the tongue with the place of articulation and we have here r, l and v produced from this produced using this effort of articulation then vibhruta openness of the oral aperture all the vowels except a short a is produced using this abhyantara prayatna and sheh sheh sir and her are also produced by this abhyantara prayatna the short a is produced by closed aperture so it is called sambhruta abhyantara prayatna using which a is produced once again we have the traditional sound inventory with the marks of the abhyantara prayatna the effort of articulation so all the vowels except a they are vibhruta and a is sambhruta all these 5 rows plus 5 columns they are called sprishta here a lover they are called ishath sprishta and sheh sheh sir they are also called vibhruta because there are abhyantara prayatna is vibhruta next we go to the effort of articulation which is bhyah prayatna and here there are a number of prayatnas that are listed down and on this slide we note them and also point the consonants which are having that particular bhyah prayatna generally these bhyah prayatnas are described of only these consonants so that is why they are listed here so for example swasa which is breath so heavy breath this is used to produce columns 1 and 2 and sheh sheh sir nada that is resonance this is the bhyah prayatna of columns 3 4 and 5 and her aghoshah voiceless this is the bhyah prayatna of column 1 and 2 and sheh sheh sir aghoshah that is voice this is once again the bhyah prayatna of columns 3 4 5 and her vibhara openness is the bhyah prayatna of columns 1 and 2 plus sheh sheh and sir sambhara is the bhyah prayatna closure of columns 3 4 and 5 and her in addition to them there is alpaprana less aspirate which is the bhyah prayatna of columns 1 3 and 5 and mahaprana more aspirate which is the bhyah prayatna of columns 2 and 4 plus sheh sheh sir and her let us look at the traditional sound inventory with the information of bhyah prayatnas included so here we have column 1 shwasa aghoshah vibhara column 2 nada aghoshah sambhara and mahaprana so this column is alpaprana we have not mentioned here for the sake of avoiding ambiguity but because of this ma which is mahaprana it should be clear that this is alpaprana this is mahaprana so let us look at the traditional sound inventory with the marks of the bhyah prayatna so here are the bhyah prayatna marked on the consonants so the first column is called shwasa aghoshah and vibhara having these bhyah prayatnas so second column has nada aghoshah sambhara and mahaprana in contrast with mahaprana c1 is alpaprana c3 is also alpaprana c5 is also alpaprana but we have not mentioned a again to avoid the ambiguity but the absence of that fourth feature mentioned here and the fourth feature mentioned here should make it clear that this is alpaprana only mahaprana is explicitly mentioned otherwise every consonant is alpaprana so shwasa aghoshah vibhara this is the bhyah prayatna of column 1 nada aghoshah sambhara and mahaprana is the bhyah prayatna of column 2 shwasa aghoshah vibhara again is the bhyah prayatna of column 3 nada aghoshah sambhara and mahaprana is again the bhyah prayatna of column 4 and shwasa aghoshah vibhara is once again the bhyah prayatna of column 5 Now, even the shesha-sha, they are said to possess the baiya-prayatna, swasa, aghosh, vivaara and maha-prayatna. And her is said to possess the baiya-prayatna, nadha, aghosh, samvara and maha-prayatna. So this is how the baiya-prayatnas are marked over sounds and sounds can be classified in accordance with the baiya-prayatna. And as we shall see later on, it is these baiya-prayatnas which will become very important when we decide about a substitute in place of a substituent. Now the last feature which is used to describe these sounds is pitch or tone, also known as swara, accent. And there are 3 accents noted, namely udattha, acute, anudattha, grave and swarita, namely circumflex and all these are the features of wobbles. These can never be the features of consonants in Sanskrit. To summarize, we studied the features of sounds produced by the process of speech production as described in the traditional sources of Paninian grammar. Let us take each individual sound and now study what features it possesses. These features serve as parameters for selection of a substitute in place of a substituent. We shall study this in the coming lectures. Thank you for your attention.