 I welcome you all to this 12th lecture in this course Introduction to Paninian Grammar. So far we have studied the very basics of Paninian Grammar, the core text on which this tradition is based and certain related aspects. We have also studied the difference between the object language and the meta language and in case of Paninian grammar we observed that the object language that is the language to be described is Sanskrit and the language in which the grammar is written is also Sanskrit. However, we noted that there are some differences. We also noted that these differences are the additional differences which means that certain features which exist in the object language they are also used in the meta language but in addition to that these three features are used in the meta language. That is what makes this meta language different. Now, in this lecture we shall study the third difference between the object language and the meta language and that difference is the technique of Pratyahar. To recap we have noted that there are three differences in the meta language of Paninian grammar from the object language Sanskrit. They are the meaning of a word and here we noted that in the object language a word conveys meaning which is of two kinds meaning meaning and also the word form and in the object language it is the meaning meaning which becomes predominant head main whereas the word form which is part of the meaning becomes subordinate qualifier and in the meta language of Panini we observed that it is this word form meaning which becomes the main or the head and the meaning meaning becomes subordinate or qualifier or modifier. Then we also studied the meaning of the cases here we said that the meaning of the cases as found in the object language they are continued in the meta language also in addition there are three specific different meanings assigned to different cases notably fifth sixth and the seventh case and also the first case when in combination with the sixth case we noted these meanings we said that these different meanings follow the first fundamental principle which differentiates between the object language and the meta language mentioned also on this slide the meaning of a word. So, if in the meta language it is the word form which is going to be main or the head obviously it flows from that that the meaning of the cases would be in correspondence with it. So, the fifth case which is translated using the word from in the object language is translated as immediately after in the meta language the sixth case which is translated in the object language by using the word of is translated by using the word in place of or instead of in the meta language. And the seventh case which is translated in the object language you by using the words in or on is translated as immediately before as far as meta language is concerned we have looked at various examples illustrating all these points we also noted that the first case when in when in combination with the sixth case means a substitute. So, a substitute which comes in place of something x substitutes y and so on and so forth after looking at these meta linguistic features we also look at the systemic point of view how does this get translated into the system of Paninian grammar. And now we come to the third unique difference between the object language and the meta language namely the technique of Pratyahar this will be the topic of today's lecture this is the third difference the technique of Pratyahar what is a Pratyahar? Pratyahar is a technical term used in the Astadhyayi to denote a set of sounds undergoing certain grammatical operation in a concise manner and this does not mean that the word Pratyahar is used in the grammar of Panini but Pratyahar stands for certain technical terms that are used in the grammar of Panini Astadhyayi and they denote a set of sounds undergoing certain grammatical operation in a concise manner and there are 41 such terms that are used in Paninian grammar. For example, ach, etch, jhal, jash, jash, ik and yen we have come across these terms when we looked at the examples illustrating the use of cases and their meanings in the previous lecture. The fifth case, sixth case and the seventh case we have come across these words these are the technical terms and at that time we said that the meaning of these terms will be clear in the later lectures. These are the technical terms which are called Pratyahar. The next question is how are these terms formed ach, et cetera and these are not the features of the object language. Now there is a particular methodology, a particular process which is used to form the Pratyahar and the methodology is described on this particular slide. So, first you pick up a final sound which is termed as ith and what is ith will be clear later on. Let me repeat by picking up a final sound which is termed as ith and placing it in front of you or on paper somewhere then selecting any sound that comes previous to it and then placing it before this ith and now joining both together such terms are formed ach, ach, et cetera and these are the Pratyaharas. So, doing this entire process makes a Pratyahar and this is what is informed also by the sutra of Panini Adirantiena Saheta which is 1171 and now let us look at the meaning of this sutra. Let us first of all look at the words that are part of the sutra and there are four words in this sutra Adihi Antiena Sahe and Itha Adihi means a beginning sound Antiena means by the final Sahe means together with and Itha means with ith and then having put all these things together we can say that the final ith which is joined with a beginning letter any letter that is previous to it this term gets formed which is called the Pratyahara. Let me also tell you that the word Pratyahara is also used in the Yoga Sutras of Patanjali as one of the eight limbs which primarily explains the concept of contraction contracting the cognitive apparatus through the sense organs and so on delimiting it. Something similar is also present in this technique of Pratyahara used in the meta language of Panini. Now the next question is what is an ith? Ith is a marker which has a purely metalinguistic function and it is not part of the object language and ith is not a part of the object language. Literally ith means one who goes, one who goes away and we shall deal with this concept in detail when we will also look at certain sutras which define what ith is. Suffice it to say here for our present purpose that it is together with the final sound which is ith any previous letter joined together thus forms the Pratyahara. So, here is an example what is an ith and this is the relevant sutra and we shall see these in detail later on. The sutra is Halantyam this sutra is 1.3.3 and it consists of two words Hal and Antyam. Hal stands for a consonant how this will be clear later on Antyam is final. So, what this sutra means is in the meta language a final consonant is termed as ith. So, once this definition is clear now we can apply 1171 and form the Pratyahara. Now what does all this presuppose the sutras that define Pratyahara the sutras that define ith and so on and so forth. What does this presuppose? It presupposes an existing set of sounds arranged in such a manner where at the end of each subset will appear a consonant which can be termed as ith using 1.3.3 which can be then used to formulate the technical terms called Pratyahara by 1171 and these Pratyaharas will denote the set of sounds undergoing a particular grammatical operation. Let me read these 14 sutras here. Generally, these are recited in a particular speed and let me recite them at one go without stopping in between. These are those 14 sutras which are the background of the sutras defining ith as well as the Pratyaharas. These 14 sutras are called Pratyahara sutras because these are used to form the Pratyaharas. They are also called Varana sutras because these 14 sutras enumerate basic sounds. They are also known as Chaturdasha sutras because these are 14 sutras. They are also known as Shiva sutras because these were conceived from the inspiration of God Shiva. They are also known as Maheshwara sutras because these were conceived from the inspiration of God Shiva also known as Maheshwara in which a mythological story comes in which says that these were conceived in this particular fashion. This story is described in detail in the Nandikesh Varakashika. So, these are the various names with which these 14 sutras are referred to. They are also known as Akshara Samamnaya, Varana Samamnaya, etc. Now, let us look at the ith in these 14 sutras. Applying 133, we see that Ana is ith in the first sutra, k is ith in the second, which appears at the end is ith in the third sutra, ch in the fourth, t in the fifth, ana in the sixth, ma in seventh, ye in eighth, sh in ninth, sh in tenth, v in eleventh, ye in twelfth, r in thirteenth and l in the 14th sutra. So, here we have 14 sounds which can be straight away marked as ith. So, these are the iths primarily, these are the iths. Now, if we compare these 14 sutras with the traditional sound inventory, we will note various points. Now, here is the traditional sound inventory for you. In the first row, you see all the vowels. These vowels are part of the 14 sutras that we saw just now. Now, then comes the arrangement of the consonants. This is how the consonants are arranged in the traditional sound inventory, also known as matrakapatru. Now, these 5 rows and 5 columns give us 25 consonants. So, these are called the Parashya consonants and we shall look at the description of these sounds in detail when we look at the process of speech production. Right now, we can only say that there are 5 columns. Each column mentioned as c1, c2, c3, c4 and c5 and there are 5 rows r1, r2, r3, r4 and r5. So, each and every consonant can be referred to by this notation r1, c1, r1, c2 and so on and so forth. We can also refer to consonants vertically by referring to the column in which they are put. This particular arrangement of sounds is based on certain scientific principles namely, the rows are arranged on the basis of the place of articulation of the sounds and the columns are arranged on the basis of the effort required for articulation of sounds. On these 2 basis, we see that the traditional sound inventory arranges sounds in this particular fashion. These are the 25 class consonants as they are called. Next, we have 4 consonants, y, v, r and l. These are called semi-vowels and finally, we have s, s, s and h. These are called the fricatives or the sibilants. Now, this is what a traditional inventory of sounds looks like and if we take a closer look at the 14 sutras, we see that these are rearranged in a particular peculiar fashion. So, if we compare these 2, the 14 sutras and the traditional sound inventory, we can discuss the sutras in terms of the sound inventory. So, if we look at the first 4 sutras namely, ayun, reluk, ayong and ayouch, these 4 sutras consist of vowels arranged in accordance with their places of articulation and what these are will be clear when we go to the process of speech production. But we can say here that the first 4 sutras can be said to describe the vowels that are part of the traditional sound inventory. Then, if we look at sutras 5 and 6 namely, hyavaret and land, we can say that these sutras consist of semi vowels hyavaret and land. In addition to them, there is hya as well. This is what sutras 5 and 6 consist of. If we look at sutra number 7, it is yamang and annam, it is nothing but the nasal consonants. These are part of different classes representing different places of articulation. Now, these sounds, they form the fifth column representing the effort of articulation, all these sounds. These sounds form the part of the fifth column in the traditional sound inventory with some rearrangement. Then, if we look at sutras 8 and 9, they are jha bhai and ghar hadash, jha bhai and ghar hadash. These 2 sutras consist of fourth of the class consonants. From each of the class representing the place of articulation, which is the row. But now, these consonants, these sounds, they form the fourth column representing the effort of articulation of these sounds. So, this effort of articulation will be made clear when we study the process of speech production. Right now, we observe that these 2 sutras consist of consonants, which are part of the fourth column in the traditional sound inventory. Then, we look at sutra number 10. This is jha bhai ghar hadash. This sutra consists of the third of the class consonants from each of the class representing the place of articulation that is described by the row. And these 5 consonants, these are the sounds, they form the third column based on the effort of articulation. That is what is described in this particular sutra, the third column from the sound inventory. Then, we go to the description of sutras 11 and 12. This consists of khapa chhat hatha chhat hatha kapai. Khapa chhat hatha is put in green and the rest in the black primarily because these 2 sutras consist of the second and the first of the class consonants from each class representing the place of articulation. The green sounds, they are the second of the class consonants and the remaining ones are the first of the class consonants. These sounds form the second and first column representing the place of articulation. This is their uniqueness. Khapa chhat hatha chhat hatha and kapai. Now, khapa chhat hatha and chhat hatha they are made of one sutra and kapa is part of the second sutra. We will look at the purpose of this distinction little later. Now, let us look at the remaining 2 sutras 13th and 14th. These 2 sutras, they are shashashar and hal. These 2 sutras consist of the sibilant sounds or the fricatives as they are also called. So, this is the description of these 14 sutras in comparison with the traditional sound inventory and I request you to take note of this pattern of description because in the examination we will use both these notations. We may ask you to form the pratyaharas using the row and column information or we may also ask you to explain a particular pratyahara in terms of the rows and the columns that get described by that particular pratyahara. So, this is in a nutshell the description of the 14 sutras that are used by Panini at the beginning of his grammar and these 14 sutras can be compared with the traditional sound inventory and the traditional sound inventory can be described in terms of these 14 sutras. We also note that the sounds are rearranged. In the traditional sound inventory, we start the consonants from and there is a row wise arrangement that is how we read it. In this particular set of sounds known as 14 sutras, we however see that the arrangement is different, it is primarily the column wise arrangement and the purpose will become clear later on. Now as is our practice, we shall look at the Mangala Charana but before that let me summarize. In this today's lecture, we have seen, we have studied the concept of ith with one sutra defining ith which is useful to form the pratyahara. We have also seen the sutra which defines which tells us how to form a pratyahara. After that, we looked at the sound inventory which gets converted into the 14 sutras and then we looked at the correspondence between the 14 sutras and the traditional sound inventory. We also noted the notation used in terms of the class consonants where they can be described using a particular row and the column and now we shall study how the pratyaharas get formed together with the explanation and with some examples in the next lecture. Let us now conclude today's lecture with the normal practice of reading the Mangala Charana from one of the texts of Panayan grammar. This Mangala Charana is taken from a text called Madhavi Yadhatu Vritti which was composed by Madhava in around 14th century CE. This reads I will repeat. I will repeat and as is also our practice we will read the five sutras from 2.2 beginning. They are as follows. I repeat. Thank you.