 Welcome! I welcome you all to this lecture in the course, Sammasa in Paninyan Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. The very important point about this Mangala Charana is that it is very appropriate to be recited at the beginning of the study of Sanskrit Grammar, mainly because there are forms which are grammatically derived, which are part of this particular verse. This verse is the Mangala Charana also of a very celebrated and important text in the Paninyan Grammatical Tradition, composed around 17th century called Shabdakaustubha, composed by the great Bhattuji Dixitra, who also composed Vayakarana Siddhanta Kavmudhi. So the Mangala Charana is in this lecture we shall discuss the contents of this particular course. We shall be discussing the concept of Samarathya. The Samarathya is of two types, Vyapeksha and Ekarthibhava. We shall be studying these concepts in the light of the three samasas that we will study in this particular course. We shall be also studying what is an Asamartha Samasa. In the same context, the concept of Gavaka as proposed by the great Mahabhasya will be also studied. Samarathya is the base of the process of compounding. The semantic relatedness of two or more than two elements is the primary condition for the process of compounding to take place. That is what is dealt with in Vyapeksha. And then when two such semantically interrelated elements come together and get merged together, then they denote one meaning together as the meaning of one element. That is the implication of Ekarthibhava. However, there are examples of exceptions where some words which are not semantically related are still compounded by the speakers of Sanskrit. We have already studied the examples of Asamartha Samasa in Tathpurusha in the first course, like Devadattasya Guru Kulam and also Asuryam Vashya Rajadara. These are the two Asamartha Samasas where Devadattasya is linked with Guru and Guru is linked with Kulam. Now Guru, which is part of the Samasa, is being related to Devadattas that is causing the Asamartha Samasa. Similarly in Asuryam Vashya, Asurya is compounded with Vashya when a is semantically primarily related with Vashya. So Asurya is considered to be an Asamartha Samasa. These are all very important concepts. We have studied them in the context of the Tathpurusha Samasa. We shall study them once again in the context of Avyaibhava, Bahubrihi and also the Dvandava Samasa. The next important concept is that of vritti. There are five types of vritti whose characteristic feature is pararthya. Vritti is a technical term used to denote processes which are mainly characterized by the feature of pararthya where pararthya is indicated. Some additional meaning is indicated. What this additional meaning is, we shall study later on along with the concept of vritti because Samasa is a process that falls under this vritti. The related concept is that of a vigraha. So what is a vigraha? Vigraha is generally translated as dissolution of the compound. Vigraha is the dissolution of the compound. We shall study this aspect and the meaning of the vritti, vigraha in this particular word closely. There are three features of the compounded output, compound word or samasa. They are, and we shall be repeating these features again and again. These features are aikapadya, aikarthya and aikasvarya. aikapadya means ekapadata, aikarthya means ekarthata and aikasvarya means ekasvarata. Aikapadya or ekapadata means the state of being one padha. In contrast with the situation in the dissolved form where there are multiple padhas, the samasa is one padha. Aikarthya or ekarthata means the state of having one meaning in contrast with the situation in the dissolved form where each padha has its own independent meaning to be linked with any other word independently. Now here those constituents are such that their meanings get merged and a new meaning unit is formed. And it is this meaning unit which then gets semantically related with the other parts of the sentence. And the third most important feature is aikasvarya or ekasvarata which means the state of having one svara or accent. As we have studied in the first course, each and every padha in Sanskrit according to the paninyan grammar has got one udhatt accent. Now when two meanings get merged and one meaning unit is formed, two words also get merged as a consequence and one word is formed. And similarly then those two words having two independent accents, they also get merged and this one independent word unit gets one accent. This is what is aikasvarya. So aikapadya, aikarthya and aikasvarya, these are the features of the process of compounding. Now in some of the modern phenomena that we referred to in the previous lecture, they can be also explained using these features. Like some elements may have only aikarthya but not aikapadya. Some may have two features and some may have all the three features. So these features are extremely important and to be remembered all the time and we shall study them further in detail. The next very important topic is that of nitya samasa. As we saw in the case of tattpurusha, there are samasas which are classified under nitya samasas like upapada, tattpurusha. So we shall study the concept of nitya samasa which becomes extremely valuable and extremely important in the case of the three samasas that we shall study in this particular course. Avyaibhava, Bahuvrihi and Dvandva. As all these three samasas, they are considered to be nitya samasa. Avyaibhava partly also nitya samasa. Now what does nitya samasa mean? There are two other explanations, avigraha and asvapada vigraha. We shall study these again in the light of these three types of samasas. Along with the nitya samasa, we shall be also studying anitya samasa, samasas which are not nitya samasas, optional samasas. Part of the avyaibhava samasa are anitya samasas. We also studied in the first course the tattpurusha samasas which are examples of this anitya samasa. The other important point that we shall study in this particular course is the following. What is the meaning of the word avyaibhava? Bahuvrihi and Dvandva. This is a very important question. In the word avyaibhava, there is quite a lot of insight regarding the formal features of the avyaibhava compound. There are three other terms, purvapadartha pradhanya, anyapadartha pradhanya and ubhayapadartha pradhanya. In case of the avyaibhava samasa, purvapadartha pradhanya applies. In case of bahuvrihi samasa, anyapadartha pradhanya applies and in case of dvandva samasa, ubhayapadartha pradhanya applies. These terms also allow us to study the concepts of purvapadar, uttarapadar and also madhyama padar. In case of the tatpurusha samasa, we saw that the compounding process happens between two padars. In case of avyaibhava samasa, also the compounding process happens between two padars primarily. It can recur but primarily and once again the process will happen between two padars as far as these two types of samasas are concerned. But in case of bahuvrihi and dvandva samasa, there are multiple members which can get compounded simultaneously. In accordance with the statement of panini, so we'll have to have the terms purvapadar, uttarapadar and madhyama padar clearly defined. As far as tatpurusha and avyaibhava is concerned, purvapadar meant the first part of the compound and uttarapadar meant the second part of the compound. But in case of bahuvrihi and dvandva, purvapadar is the first part of the compound and uttarapadar is the last part of the compound. There may be madhyama padars also in these two types of compounds. As far as avyaibhava is concerned is a very general feature together with certain exceptions also noted by panini as we shall study them in the course of this particular course. So as we have been saying these are the three types of samasas avyaibhava, bahuvrihi and dvandva in this particular order we shall study them. This particular order is followed by panini, he states first avyaibhava, then he states tatpurusha, then bahuvrihi and then dvandva. We have already studied the tatpurusha samasa in the first course and so we shall study these three types of samasas in this particular order, in this particular course. We shall be revisiting certain theoretical details that we have already studied with regards to these three samasas. We have already noted down the examples of avyaibhava and bahuvrihi and dvandva in the previous lecture. Pratidinam is the example of avyaibhava, Chitragu is the example of bahuvrihi and Ramalakshmana is the example of the dvandva samasa. And earlier in this lecture we also referred to certain questions that arise as to what happens to certain elements in the sentence and it is very important to theoretically study this aspect with respect to these three samasas. The other features of other samasas will also be studied in this particular course, namely the samasantha suffix. Samasantha suffix is the suffix which is added at the end of the samasa. Then purva-padadesha. There are substitutions of the purva-padha in the context of certain uttara-padha. Then there is a particular feature called pomvadbhava where a particular word in the feminine goes back to its root form in a certain context. This is a very prominent feature of the bahuvrihi samasa and previously we studied this pomadbhava with respect to the karmadharaya tattpurusha samasa. Also important is the feature of ling or gender. What is the gender of a vyai bhava samasa and bahuvrihi samasa as well as the dvandva samasa? Also the vachana, the number that also plays a very important role as far as mainly the dvandva samasa. There are certain words which get compounded in a particular manner and have only singular number. This is an extremely important feature to be studied. The next important feature is the samasa-svar, the accent of the samasa. As far as a vyai bhava and dvandva samasa are concerned, the generic rule samasa here applies. But as far as bahuvrihi samasa is concerned, there are specific rules stated by panini. The general rule for bahuvrihi samasa is that the purvapada retains its own accent. There are also some exceptions as far as a vyai bhava and dvandva samasa. The concept of upasarjana becomes extremely important and we shall study this in the course of the study of these three samasas. This concept of upasarjana will also help us understand certain changes, certain modifications that happen in the uttara-pada. Thus the word go becomes guh in chitra guh. Then we shall also study the padakrama, the order of words in the samasa. In dvandva as well as in bahuvrihi, the order is stated by some few sutras in paninian grammar and we shall study them. Also the tadanta vidhi will be studied. So what are the strategies to derive these other three samasas? This is an extremely important question and the questions that are implied are related to the overall structure of the samasa. So which elements are to be compounded first? Now in case of the bahuvrihi and dvandva samasa there is possibility of more than two elements to be compounded simultaneously. But there is also a possibility where semantically related two elements get compounded first and then they get compounded to the other element. And the paninian grammatical tradition has also noted the change in the form in this particular process. In this slide the concept of garbha is extremely important. So we say x garbha samasa or samasa garbha x where x is any other type of samasa. So there is samasa within a samasa and then there are samasas within those samasas. And this process can continue endlessly. So there are multiple samasas with a particular constituent structure. And there is no stopping theoretically as to which compound cannot be a part of or garbha of which compound. So any dvandva compound can be a part of a bahuvrihi compound. And then that entire compound can become part of an avibhava compound. This is theoretically possible. This makes the entire process of compounding very complex, very difficult. But that is the feature of the process of compounding in Sanskrit. There are some famous writers like Barnabhat who have leveraged this particular process and have gained critical acclaim for their developed style of using compounds in writing prose. So this garbha concept samasa within a samasa, this is very important. And this will help us understand the strategies to derive these other samasas. As far as the avibhava samasa is concerned, there is one type of avibhava samasa where a samasa is formed on the basis of just one padha which is obviously an exception. So there the structure of the samasa differs. So this we shall study in detail in this particular course with respect to these three types of samasas. Also the strategy is to dissolve these other samasas. This is an extremely important point to be studied. This dissolution can be shown in the form of a cut given between the constituents. And then between these two constituents there may be multiple cuts appearing which indicate the other constituents of these constituents, which we dealt with in the previous slide namely the garbha samasa. This also comes to the topic of dependency within other samasas. So there are words indicating action used in these three samasas and then there are karakas which also become part of these samasas. And these relations they become extremely important. So the dependency relation of words also plays a crucial role as far as samasa is concerned. And the next important point is dependency of these three samasas within the same sentence. What role do these samasas play as an output within the same sentence? That also we shall study in detail. To elaborate this particular point we can also say that derivation as well as dissolution of the compound as a part of the sentence and also the parts of speech of these three other samasas. One of the important features of the samasas is multiple interpretations which are possible of a given compound word. This happens primarily due to the internal structure of the components in terms of meaning as well as word forms within these three other samasas. And also in between these other samasas. We have used the word other samasa in this particular lecture referring to the remaining three types of samasas namely avyayibhava, bahuvrihi and dvandva obviously with the reference of the tadpurusha samasa that we have already dealt with in the first course. The next important topic to be studied is cognition of these three types of samasas. How does one cognize that a particular compound is an avyayibhava or a bahuvrihi or a dvandva? Also how does one cognize the dissolution of avyayibhava, bahuvrihi and dvandva? These are extremely important questions which we shall deal with. There are some scopes for newer thoughts to come in while we study these three types of samasas. For example, are there any gaps in the treatment of the samasa in general in the grammar of panini? And we noted down some thoughts in answer to this question in the first course related to the tadpurusha samasa. In fact, the panini and grammatical tradition has also noted down these gaps and has tried to provide answers. Can the same answers be extended to these three types of samasas? In other words, how can these gaps be bridged with respect to these three types of samasas? There is a particular terminology that shall be used in this particular course. There is certain notation used in this course for a samasa and also certain other notation used for showing the dissolution of the samasa. The dissolution will be shown in the red color and the samasa which is the resultant form will be shown in blue as is also clear in the first lecture of this particular course. We shall be using square brackets and also the plus sign. The plus sign will indicate the process in which two elements get merged together. These are the texts referred to. We shall be referring to Ashtadhyayi, the core of panini and grammar, composed around 5th century BCE. The Vyakarana Mahabhashya, composed around the 2nd century BCE. Vakya Padiyya, composed around 4th century CE. Kashi Ka Vritti, composed around 7th century CE. And Vyakarana Siddhantaka Mudhi, composed around 17th century CE. Thank you very much.