 Welcome to this lecture in the course Introduction to Paninian Grammar. So far we have studied in this course certain important features of Paninian grammar, the meta language, the process of speech production, the types of sutras, etc. The compositionality, the layers, etc. Now in this lecture we shall study how accent is treated in Paninian grammar, basics of accent in Panini. So here is a famous first Racha from Rig Veda marked with accent marks, both in Samhita as well as Pada format, Agnimile Purohitam Yadnasyadevam Rtvijam Hotaram Ratna Dhaatamam. Now this is stated in the Pada form in the following manner Agnimile Purahitam Yadnasyadevam Rtvijam Hotaram Ratna Dhaatamam while interpreting the Racha and its meaning and also the Padapata, the traditional commentators they usually take help of the accent rules available in the Paninian grammar. Now same thing happens with 116 Yadang Dashushetvam Agne Bhadram Karishyasi Tave Tat Satyam Angiraha. Here also we have the Pada Yadang Dashushetvam Agne Bhadram Karishyasi Tava It Tat Satyam Angiraha and so on. Even while explaining this Racha the traditional commentators generally take help of the accent rules available in the Paninian grammatical system, not just these two, but overall the traditional commentators like Sayana and Bhattabhaskara and so on they refer to Paninian rules of accent while explaining the forms of the Vedha, the Vedic data. So Paninian grammar is thus used for this very important purpose. Also Panini notes down accents with respect to the language that was spoken in his time. So in this lecture we shall study certain basics of accent treated in the Paninian grammatical tradition. We have already noted that there are three layers in which the Paninian grammatical system functions. The first one is Artha, the second one is Shabda and the third one is Swara. We also noted that Artha is the cause of the articulation of sounds. We have studied this aspect in detail before when we studied the process of speech production. The Artha appears at the beginning of the process of production of speech. The location of this Artha is the intellect, namely the intellectual plane. This Artha is compositional as well as one undivided both at the same time. And finally the most fundamental principle is that Artha is nothing but Shabda. So here is an example of how compositional as well as one undivided whole it is. So Vaakya Artha consists of three padarthas for example and each padarthas is also made up of prakritartha and pratyayartha. The plus sign over here shown in red indicates the exclusive Vaakya Artha which is a combination of padarthas and the blue plus sign within the padarthas indicates the over and above meaning available from the prakritartha and pratyayartha which is exclusively the padarthas. Something similar gets replicated in the Shabda level. Here is the expression of the Artha to be communicated. This is an effect, a karya. This can be checked or controlled. This is also compositional as well as one undivided at the same time. This is operational only when known before and Shabda also is compositional and one undivided whole in the same form like this. A Vaakya, Vaakya 1 is composed of three padarthas and each padarthas is composed of prakriti and pratyayas. The plus sign shown in red indicates the combination of padarthas at this intense level and the blue plus sign between the prakriti and pratyayas indicates the exclusive nature of the padarthas. Now something similar also happens to Swara or accent. Here is Vaakya Swara which is made up of three padarthas and each padarthas is made up of prakriti and pratyayas. So the red plus sign between the padarthas indicates the combination of padarthas exclusive Vaakya Swara and the blue plus sign between the prakriti and pratyayas shows the exclusive nature of the padarthas. All these three correspond with each other. All these three layers of artha, padha and swara they correspond with each other. Let us look at the data sets that we have been seeing so far, the data set with respect to accent now with the accent marks. So we have already seen this, Gramam, Gatcha, Tiramaha, Shalaam, Gatcha, Tiramaha and so on. Now we have an additional feature namely the accent marked on it. These are all the sentential accents where we see there is a vertical bar on top of mum, there is no symbol in Gatchati, there is a horizontal bar below Ra and so on and so forth. What is the meaning of all these symbols and how these accents get constructed and composed out of its constituents. Let us try to study this. So first of all we have the prakriti-pratyayaswara which is the basic. We call it the grammatical atom, the anu. So the word grammar is initially accented. Now the system that we use belongs to the Rigvedic system in which the udattaswara, the accent is not marked by any symbol. Now if one is udattas, the rest is anudattas non-accented and then the anudattas that comes immediately after anudattas gets this vertical bar on top and is also called as spharita. In gamma there is only one vowel and the principle is that only the vowels get an accent and not the consonants. So here we have gramma with initial udattas, gamma the only vowel which is udattas, ramma with the final vowel being udattas, shala with the first vowel being udattas. So the next one is spharita, mohana with the final vowel being udattas. So everybody else is anudattas which is shown by the horizontal bar below. Dhrush is udattas, am which is a sup, is by default anudattas, by anudattasupitav, shap is pith, tip is pith, so these vowels are anudattas and sir is a consonant, there is no scope for any vowel getting udattas in it. So these are the prakriti-pratyasvara, the basicsvara, from which now the padasvaras will be constructed. So when gramma gets the anthropics am added to it, this is the status, gramma is adjudattas, am is anudattas, now this anudattas and this anudattas, they get a sandhi and in place of both of them comes one ur which is this ur, so it retains its anudattas status and so gramma continues to remain initially accented, when we have gamma to which ur is added which is anudattas, to which t is added which is also anudattas. So we add both of them and then gamma is substituted by gacchar, so this ur, udattas gets extended and finally we get this initial vowel udattas, so gacchati has these accents. So then this anudattas becomes asvarita in order to indicate that this is an udattas, remember this is a padha level accent, similarly in Rama to which sir is added, there is no scope, so Ramaha is finally accented, Shalaam is initially accented, Mohanaha is finally accented and Paschati is initially accented, these are the padasvaras without the context of the Vakya. Now when they get joined in the sentence, this is what happens, so now we have gramam gacchati Ramaha, this is written with the accent marks retained, the padha accents are retained over here, gramam gacchati Ramaha and similarly gacchati gramam Ramaha if the order is changed or gacchati Ramogramam, so the order is changed over here. So next we take the another set which is the passive voice sentence set, Ramayana Gramo Gammati and Ramayana Shala Gammati and so on and we can explain the accent in the same fashion, these are the prakriti pratyayasvaras and the only change is this inner which is sup therefore it is anudat and here is udat, te is also udat. So now when we join these elements together, we get the padha accents of this kind, Ramayana is middle udat, Gammati is middle udat and Mohanana is having this ne as udat, Shala initial udat and Draswati has got middle vowel udat. So now the Vakkeswara will be of this kind, Ramayana Gramo Gammati, so this Gammati will not be accented anymore as it comes after Gramo, other when Gammati comes in the beginning then it will retain its accent because of the sutras available to us. Now the general rules marking the accent are the following, the accent known as udat is not marked with any symbol, the accent known as anudat is marked with a horizontal bar below the letter like inner, both the letters are marked with the horizontal bar indicating that both the vowels are anudat, the accent known as varita is marked with a vertical bar on top of the letter. So this sooner is anudat but it comes immediately after anudat so it is thus varita marked with the vertical bar on top, the anudatas which are described as ekashruti they are also unmarked. Each verbal element prakriti pratyaya or padha contains at least one udat, remaining all vowels are anudat, this is stated by the paribhashasutra anudatam padam ekavarjam. The anudat the vowel that comes before anudat is marked with the horizontal bar below and the anudat the vowel that comes after anudat is termed as svarita and is marked with the vertical bar above. This svarita is also called paratantrasvarita, the anudat the vowels which come after the paratantrasvarita they are termed as ekashruti and are unmarked for example ramena gramo gammyate. So gammyate are all anudatas and therefore they come after the svarita inmo and therefore they become ekashruti. But when these anudatas or ekashruti vowels are followed by an udat the vowel. In the next word the final amongst these ekashruti is shown as an anudat the vowel with the horizontal bar below to indicate that the next vowel is udat. Generally all the verbal roots have their final vowel udat by dhatoho. Generally all the nominal roots have their final vowel udat this is the fit sutra which tells this fishaunta udatta and fit is pratipadika. Generally all the suffixes have their initial vowel udatta by the sutra adyudattascha. A verb which is a thinganta has one udatta only when it appears in the initial position in the sentence or is part of a subordinate clause. These are the general rules governing the accents about certain key terms used in the context of the accentual rules. First of all udatta what is an udatta defined as uchai udatta a vowel with high tone or pitch is called udatta each and every verbal element contains at least one udatta at all levels beat a prakriti or a pratyaya or a padha. As an exception derivates with tavai and the devata duvandva compounds they are said to have two udattas. Similarly the anodatta is described as nichai rannodatta a vowel with low tone or pitch is called anodatta all but one verbal elements contain anodatta at all levels prakriti level and pratyaya and also the padha level it is described as grave by abhyankar same as same in the just as abhyankar describes udatta as acute. Similarly it describes anodatta as grave and anodatta vowel receding anodatta it is shown with a horizontal bar below and swarita described by the sutra samahara swarita a vowel with a combination of tone or pitch of both udatta and anodatta is called swarita again it it exists at all the levels prakriti pratyaya as well as padha level this is called circumflex by abhyankar and anodatta following an udatta is termed as swarita and is marked with a vertical bar on top this is called paratantras swarita sometimes the swarita also occupies the position of udatta which is called swatantras swarita. Swatantras swarita there is a possibility of only one swatantras swarita in an element like anodatta and so the rest will all be anodattas this is not explicitly defined but this is derived with the help of the marker the in the system of paninian grammar by the sutra tithswaritam 61 185 prachaya is another important term also known as ekashruti monotone as described by abhyankar all the anodattas after the swarita which is paratantras swarita are termed as ekashruti and are not marked by any other symbol but this should not be confused with an udatta vowel another important principle to be remembered in this case is sutrishtras swarabali astva this talks about the accent dynamics accent in derivation process in the derivation each and every item in the initial enunciation contains an accent as we have seen before when the next element is introduced a state occurs where there are two elements and so there are two accents in the one derived unit which is not going to be accepted as a general fact one derived element has to have only one accent so one of the two accents will have to be retained over the other and the principle is the one will have to be restricted in a limited domain now this material says that the accent of the element is retained which is stated later in the presence of an earlier element so the accent of the earlier element is restricted to a limited domain there are certain exceptions to this which we shall study in detail when we look at the advanced level course so let us now go back to the Rigvedas rachas which we cited earlier and try to see which ones are udattas and which ones are anudattas and which are prachayas here we have the first racha of Rigveda agni mere in this this gni this e is without any symbol now it is shown with the horizontal bar preceding and the vertical bar following which indicates that this is anudattas this is an anudattas this is also an anudattas but because it comes immediately after anudattas this is turned into a paratantraswarita shown with the vertical bar on top now this is a verb actually e way but because it comes immediately after another earthing anta therefore it has lost all its accent therefore both these are anudattas but because this anudattas comes immediately after a swarita this is marked without any symbol but do not confuse this with this this is anudattas e but this a in le is not anudattas this is prachayas similarly this poo in purohitam is marked with a horizontal bar below it and he is marked with a vertical bar on top of it which indicates that this o is udattas this is a paratantraswarita followed by this tam which is not marked by any symbol which is an anudattabhaval which comes immediately after a swarita therefore it is unmarked this is a prachayas do not confuse this with this o o over here is udattata over here is prachayas now in the adnyasya this a in between is udattas because it precedes an anudattabhaval shown by a horizontal bar below and a paratantraswarita which is an anudattas with a vertical bar on top similarly in devam and rithvijam and everywhere else this is how the system of udattas and anudattas and swarita gets explained by the traditional commentators in order to explain the data from the vedha using the paninian terminology now let us quickly go and study and take some information about the texts which are solely devoted to the explanation of accents although the sutras dealing with accent in the paninian grammatical tradition have been commented on by several commentators including the bhattuji dikshita and also the nagesha we have some independent treatises focusing only on accent and here are some of them swarasiddhanta manjari composed by nrishimha pandita in the 15th century CE also known as swaramanjari which talks about lopagamavikarascha prakrte pratyayascha chacha pulita sandhipadanaancha samasanaancha veda taha accents with respect to all these aspects namely the lupa of the words agamavikara that is adesha of the prakriti as well as pratyaya and then pulita and sandipada and also the samasa accents of all these they are treated separately in this particular text called swaramanjari by nrishimha pandita then another important text is swaraprakriya composed by ramachandra shesha composed in 18th century CE with 410 sutras divided into 7 chapters this is also published by anandashramma pune in 2001 and we are working on the translation of this particular text translation and annotation and also a subscript commentary then there is swarasiddhanta chandrika composed by shrinivasayajvan composed in the 19th century CE with 516 sutras in 12 chapters with a long introduction in 42 verses swarasiddhanta chandrika again swaraprakriya composed by bhagavad bhakta composed in 19th century CE with 360 sutras having 10 chapters in all to conclude accent plays a crucial role in the formation of padas as well as vakya rules transform the prakriti swara and the pratyaya swara into the padasvara rules transform the padasvara swaras into avakya swara order of words is therefore significant in some script from the point of view of accent to have the overall conclusions we can say that the principle of compositionality does play a crucial role in the formation of sentence meaning sentence and sentence accent in Sanskrit it is this principle which protects scientificness of the inquiry in general it is this principle that also allows multiple interpretations of a given text based on multiple possible compositions but at the level of speech production comprehension and communication we also need the non-compositionality in divisibility compositionality and non-compositionality both go hand in hand that is what is the overall picture which is summed up by a sutra called sarvasattvadas siddhanta in the shabdasutra we will study some more features of accent and how accent gets derived in the next lecture of this course thank you for your attention