 Welcome, I welcome you all to this lecture in the course Sandhi in Panimian Grammar. In this lecture we study Visarga Sandhi. So far we have studied Atch Sandhi and also Hal Sandhi. Now we start studying Visarga Sandhi. What is a Visarga Sandhi? Visarga Sandhi is a Sandhi in place of a Visarga. So we know that Visarga is a substituent or sthani and in its place sounds are substituted. So we have Visarga as an input as a sthani and X refers to those substitute sounds they are the adhesias. This is called Visarga Sandhi. Let us talk about Visarga. Visarga is not listed in the 14 sutras that appear at the beginning of the Ashtadhyay. Nor is it listed in the basic inventory, the traditional inventory also known as Matruka Patha. It is always described as a substitution itself. So Visarga itself is a substitution. What is the substituent then? So the substituent of a Visarga is always R, which comes at the end of a Patha and this happens only in a limited right hand side environment namely Khar and Avasana. Khar refers to the class 1 and 2 consonants and also Shr, Shr and S. Avasana is the absence of any sound. So if we have this situation where R comes at the end of this Patha and is followed by either a Khar or an Avasana. Either one of the consonants mentioned in this particular Pratyahar or the absence of any sound. In such a case this R is substituted by Visarga. So R plus Khar or Avasana is the input and the output is Visarga plus Khar or Avasana. This is affected by the sutra, Kharavasana or Visarjaniyaha 8.3.15. This is a very important feature of the Visarga. Visarga is also known as Visarjaniya. Let us look at some of the other features of Visarga. Visarga is known as Visarjaniya also used in the sutras of Ashtadhyay. Visarga or Visarjaniya is written with these symbols, two dots or two filled small circles after a letter. That is why they do not have any independent grapheme as well. In Roman it is written with a dot below H. Visarjaniya or Visarga is traditionally recognized and described as a yoga vaha as well. Which means that it is always uttered together with a, a yoga vaha. So one which is carried in association with a, a here stands for any vowel. So the point is that this Visarjaniya is uttered always together with a vowel preceding. It cannot be uttered independently alone and it always occurs at the end of a padha. These are some important features of Visarga. Let us look at some phonetic description of Visarga in terms of its place of articulation and also the effort of articulation. According to Panimian grammatical tradition, the place of articulation of Visarga is Kantha. Akuh Visarjaniya naam Kantha. And the effort of articulation or Prayatna is Shwasa, Aghosh, Vivaara and Maha Prana. So why Visarga Sandhi is stated separately and why is it not included in the chapter of Halsandhi because this is not achh. So this is the question. We can say that Visarga Sandhi can be said to be part of Halsandhi as well but because of the speciality of the sound and the speciality of the substitution and the focus of description, it is treated separately in a separate chapter. This is the reason why we have a separate chapter called Visarga Sandhi in the Panimian grammatical tradition. When we study Visarga Sandhi, we will study following sutras. Kharavasanayur Visarjaniya, A315, Visarjaniya Siyasah, A334, Sharpare Visarjaniya, A335, Vashari, A336, Kuppokah Poucher, A337 and then these other ones, Sopadadau, A338, Inashah, A339, Namaskar Purashore Gatyoho, A340, Idu Dupadhyasya Chapratya Yasya, A341, Thirasvanya Tarasyam, A342, Dvestrish Chaturidhigratvore The, A343, Isusos Samarthya, A344, Nithyam Samasai Anuttaravadasthasya, A345, Atah, Kru, Kami, Kamsa, Kumbha, Patra, Kushakarni, Isu, Anavvayasya, A346, Adhashirasi Padhe, A347 and finally, Kaskadishvacha, A348. Even though the number of sutras is little bit more, the substitutions are not that many. So, let us study these sutras one by one and understand the Visarga Sandhi in detail. In this particular lecture, we will not be dealing with the sutras mentioned on this particular slide, sutras two. We shall be studying the sutras mentioned on this particular slide, sutras one. Let us first of all take up the Sutra, Kharavasanayur Visarjanyaha for study. This is A315, a very important sutra. Well, this sutra has got two padhas, Kharavasanayur and Visarjanyaha. Kharavasanayoho is 7 slash 2 of Kharavasana, where khar means consonants 1 and 2, that is kakha, chachha, tattha, tattha and pappha, plus shah, shah and sir. And of course, avasana, avasana means absence of any sound. So, kharavasanayur means immediately before. And Visarjanyaha is 1 slash 1 of Visarjanyaha. So, this is the substitute. The padhas continued from the previous sutras are raha, which is 6 slash 1 of r, which means in place of r and padhasya, 6 slash 1 of padha. In this case, it is part of. The overall meaning of the sutra is the following. Immediately before khar and avasana, r at the end of a padha is substituted by a Visarjanyaha. I repeat, immediately before khar, khar means consonants 1 and 2 of the class, plus shah, shah and sir. And avasana, that is absence of sound, r at the end of a padha is substituted by a Visarjanyaha or a Visarga. So, this particular meaning can be represented in the form of an equation in this manner. So, if we have r plus khar, that is class consonants 1 and 2, plus shah, shah and sir, this being the input, 8-3-15 applies and the output generated is Visarga plus khar. And also, r plus avasana being the input, output generated is Visarga plus avasana. It is to be noted that this particular sutra, Kharavasana and Visarjanyaha brings about the substitution in the form of a Visarga. As we said before, Visarga as it is, does not exist on its own. It is always in place of r, that you will find Visarga. And therefore, Visarga will find itself in the limited environment, right hand side environment of Khar and avasana. So, we also note that the sutras stating the Visarga Sandhi, including the one that states Visarga as the substitute, they all appear in the Asidha section of the Ashtadhyayi, namely the third sub chapter of the eighth chapter, 8.3, which means that the output of these sutras cannot be the input for the previous section in the Ashtadhyayi. However, we see that in the Swadi Sandhi section, we come across sutras where we find an exception to this particular principle. But we shall deal with it later on when we deal with the Swadi Sandhi. Right now, let us focus on the examples where Rha plus Khar is the input and Visarga plus Khar is the output. So, first let us take Ramar and Khannati. So, this Rha comes in place of the suffix S, so we have Ramar plus S and then S gets substituted by Rha and we shall study this sutra in detail in the Swadi Sandhi section. So, Ramar plus Khannati is the input. Now, this Rha which comes at the end of a Pada is followed by Kh, which is a Khar. So, 8.315 applies and this Rha gets substituted by the Visarga and so the output generated is Ramah Khannati. Similarly, Ramar plus Khannati and this Ph is Khar, so this Rha is followed by Khar and therefore 8.315 applies and the output generated is Ramah Khannati. Similarly, Ramar plus Khannati and this Rha then is substituted by a Visarga and so the output generated is Ramah Khannati. Then we have Ramar plus Thakuraha and the output generated is Ramah Thakuraha. Then Ramar plus Tharbati and the output generated is Ramah plus Tharbati. Then Ramar plus Khur and the output generated is Ramah plus Khur. Finally, Ramar plus Thikate and the output is Ramah and Thikate. The derivation process does not stop here. Neither did it start here. We are dealing with the intermediary process. It begins with Ramas Khannati. So, becomes Rha and now this Rha becomes a Visarga and then this Visarga is going to be substituted by the other Sutras which we are going to precisely study under the Visarga-Sandhi section. But this is the background. Visarjaniya Shasaha will come on top of this particular background and the other Sutras. Let us continue looking at the other Sutras of Rha plus Khur being the input 8-3-15, Karavasaanaya or Visarjaniya applies and Visarga plus Khur being the output that is generated. So, we have Ramar plus Tatra and the output generated is Ramah Tatra. Ramar plus Karoti and the output generated is Ramah Karoti. Ramar plus Pati is the input and the output generated is Ramah Pati. Ramar plus Sharanam and the output generated is Ramah Sharanam. Ramar plus Shashtaha and the output is Ramah Shashtaha. And finally, Ramar plus Marthav Vyaha and the output is Ramah Smartav Vyaha. In all these cases, Rha is followed by one of the Khur sounds and so Rha gets substituted by the Visarga. Let us take a look at a few examples where Rha is followed by Avasana and that becomes an input and 8-3-15 applies and the output generated is Visarga plus Avasana. So, for example, you have Ramas and then Rha becomes Rha and you have Ramar and because there is nothing else that follows and this is indicated by the vertical bar given after the word Ramar. This means that this is the closed word, this is the boundary, there is nothing that follows Ramar and so because there is Avasana over here, so this Rha will now be substituted as Visarga Ramaha. Now, there is no scope for this to be substituted any further by any other sound. Similarly, Ramar, this is 1 slash 3 and this will be once again substituted as Ramaha. So, Rha at the end of the Pada and following is the Avasana and Rha is substituted by Visarga. Similarly, Ramayir, this is 3 slash 3 and once again there is no sound coming after, Avasana coming after. So, this Rha is substituted by the Visarga Ramayi. Similarly, Rame Bhair is the input and output generated would be Rame Bhair. This would be the 4 slash 3 as well as the 5 slash 3. This is in case of the word Ram as a Pratipadika. If we look at the other Pratipadikas like Hari, we have Harir as 1 slash 1. They are coming at the end of a Pada followed by no other sound. That means it is followed by an Avasana. So, this Rha is substituted by a Visarga. So, we get Harihi as the output generated. Similarly, Bhanur and Rha is substituted by a Visarga because there is nothing that follows. Similarly, Gaur. This is also 1 slash 1 of the Pratipadika Gau or Go. And then you have Gaur, Gauhu as the finally derived form. Similarly, Naur. This is 1 slash 1 of Nau. And so this Rha is substituted by a Visarga because there is nothing that follows. There is Avasana that follows. And so we get the finally derived form Nauhu. This is about Kharavasana or Visarjaniya. So, this Visarjaniya comes in place of Rha. Now the Visarjaniya has arrived. Now this becomes an input. And then this Visarjaniya gets substituted by various sounds. This is what is called Visargasandhi. Let us study these sutras one by one. The first sutra is Visarjaniya Sya Saha. As you see Visarjaniya Sya is 6 slash 1. Saha is 1 slash 1. So, in place of a Visarjaniya, S is the substitute. This is the simple meaning of this particular sutra which is the basic sutra for the Visargasandhi. Visarga being the substituent and something else is the substitute. In this case, S is the substitute. Let us study this sutra. This sutra as we saw earlier has got two padas Visarjaniya Sya and Saha. And the word continues in the sutra is Khari which is 7 slash 1 of Khar. And so the meaning of the sutra is immediately before Khar substitute the Visarjaniya by S. I repeat immediately before Khar. Khar is consonants 1 and 2 plus S and S substitute the Visarjaniya by S. So, we have Visarga plus Khar as the input and the output generated is S plus Khar. Here are the examples, the same examples that we saw earlier. Rha plus Khar and the output was Visarga plus Khar. And now this Visarga plus Khar becomes the input and the output generated is S plus Khar. So, we have Ramaha plus Khanati. This is the output. This is actually the output of Rha plus Khar. Now this becomes an input for Visarjaniya Sya Saha. But there is another rule which is an exception which we shall study later on. And that is why this output is put in different colors, not in the usable blue color. So, these two we shall deal with later on. Let us first of all go to Ramaha plus Khanati and the output generated is Ramas plus Khanati. So, this Visarga is substituted by S because this Visarga is followed by Ch which is a Khar. So, Ramas Khanati. Similarly, Ramaha plus Thakkuraha and Visarga is substituted by S. So, we have the output Ramas Thakkuraha. There is further processing that is going to happen. Shtonashtu is going to apply and is going to convert this into something else. So, Ramaha and Tharbati and once again we have this Visarga being substituted into S. So, Ramas Tharbati and we get Ramas Tharbati. Then Ramaha plus Ch and this Visarga is substituted by S. So, we have Ramas Ch. Then Shtonashtu applies and we get Ramas Ch. Then Ramaha plus Tikate and we have the output Ramas Tikate. Similarly, Ramaha plus Tattra and the output would be Ramas Tattra. Once again Ramakaroti and Ramapati will have a different output as stated by the other sutra. So, we will study that later on. Let us go to Ramaha plus Sharanam. Here Visarga is followed by Sh. Which is part of Khur and so this Visarga is first substituted by S. So, we have Ramas plus Sharanam. Then Shtonashtu will apply. Then Stohoshtonashtu will apply and will substitute this S by Sh. In case of Ramaha plus Shastaha, we have Ramas plus Shastaha. So, this will then be substituted by Sh. By the application of the rule, Shtonashtu. And finally, Ramaha plus Smartha Vyaha and output generated is Ramas Smartha Vyaha. This is the output of Visarjaniya S. So, is the substitute in place of the Visarjaniya. This is the Visarga Sandhi. Now, let us study the second sutra, Sharpare Visarjaniya 8335. This sutra has got two paddas, Sharpare and Visarjaniya. And the words continued are Khari and Visarjaniya. Sharpare is 7 slash 1 of Sharpare. Which means a sound which is followed by Sh. Sharpare, yes. Khari is 7 slash 1 of Khara and Khari means immediately before. Sharpare is the qualifier of Khari. So, Khara should be such that it is followed by Sh. That is the meaning. That is arrived at after we combine both these words ending in the same case. Visarjaniya is the word mentioned in the sutra which is in 1 slash 1 which indicates the substitute. The word Visarjaniya here continues and it means in place of. So, the meaning of the sutra is the following. Immediately before Khara which is followed by a Sh. Substitute a Visarjaniya by the Visarjaniya. So, I repeat immediately before a Khara. And Khara is class consonants 1 and 2 plus Sh. Which is followed by a Sh. That is Sh. Substitute a Visarjaniya by the Visarjaniya. So, there is no other substitute that takes place. Only Visarjaniya is the substitute. So, Visarjaniya Sh. Does not take place over here. There by no other substitution takes place. No Visarjaniya Sh. For example, if we have Visarga plus Khara plus Sh. In this environment, this Visarga which ought to have been substituted by a Sh. Because Khara is following this sutra applies and says if the Khara is followed by Sh. Then this Visarjaniya is not to be substituted by anything else but by itself. So, Visarjaniya is substituted by its own form. So, we have Visarjaniya plus Khara plus Sh. This is the output generated and Sir plus Khara plus Sh is not the output that is generated. So, when we have Khara plus Saruhu. Well, this is the Visarga Khara followed by T which is a Khara. Followed by Sir which is a Sh. This is Shara para Khara following and so this Visarga is not substituted by Sir which is otherwise stated by Visarjaniya Sh. And so this remains as Kah Saruhu. Similarly, Ghanaghanah Khrobhanah. Here we have a Visarga followed by Kh, followed by Sh. So, this can be described as Khsh which is Khara which is following Khara which is Khara. So, this is Shara para Khara and this is preceded by a Visarga. So, this Visarga is not substituted by Sir or in this case by the Jivamuliya as stated by the Sutra Kupokah Poucher. So, in this case Khsh Saruhu or Ghanaghanah Khrobhanah this is invalid. This is not correct. Even the other option Ghanaghanah Khrobhanah this is also not correct. According to the Paninian rules. Now, let us study the next Sutra which suggests an option. So, the Sutra is Va Shari 8336. This Sutra has got two words Va and Shari. Shari is 7 slash 1 of Shara immediately before Shara. Visarjaniya is the word that is continued. Visarjaniya is also continued. Va means optionally. So, the meaning of the Sutra is immediately before a Shara. A Visarjaniya is substituted by a Visarjaniya optionally. So, if we have a Visarjaniya or a Visarga followed by Shara. The output generated is Sir followed by Shara optionally. So, you can also have Visarjaniya plus Shara as an optional output. For example, if you have Ramaha plus Sharanam. Ramaha plus Sharanam is the input and we have Ramaha or Ramas plus Sharanam as the output. So, the Visarga can be substituted optionally by Sir and so we have both these outputs. Similarly, Ramaha plus Shastaha. So, the Visarga is substituted optionally by Sir. So, Ramaha or Ramas plus Shastaha this is the output. And Ramaha plus Smartavyaha this is the input and this Visarga gets substituted by Sir optionally. So, Ramaha or Ramas Smartavyaha this is the output. Obviously, in these two cases there is further processing that happens by the Sutras that come later on. So, Sir becomes Shara by Stostronashtu and Sir becomes Shara by Stronashtu. There is a Vartika statement which says that Kharpare Shari Va Visargalopavaktavyaha. Earlier we have seen the Sutra, Sharpare Visarjaniya. Where we had Sharpare Khara as the right hand side environment. Where we had on the right hand side Khara followed by Shara. Now in this case we have Shara followed by Khara. Kharpare Shari Va Visargalopavaktavyaha. The meaning of this Vartika is immediately before a Shara which is followed by a Khara, substitute 0 in place of a Visarga optionally. I repeat immediately before a Shara which is followed by a Khara, substitute 0 in place of a Visarga optionally. So, if we have Visarga plus Shara as the input, the output is first 0 plus Shara as stated by this particular Sutra and then we have optionally Sir plus Shara. And then we apply Va Shari. So, there is another option. So, there is also the Visarga plus Shara. So, there are 3 options that are possible as examples of this particular Vartika. For example, if we have Ramahasthata. So, there is a Visarga over here coming at the end of the Pada followed by Sir which is a Shara followed by Tha which is a Khara. So, this is Khara Parashara followed following a Visarga. So, in this case there are 3 possible outputs. First this Visarga gets 0 substitute that means this Visarga is deleted. So, we have Ramah plus Shata as the first output. The second output is this Visarga gets substituted by Sir. So, we have Ramahasthata and Sthata. And the Sutra Va Shari says that this Visarga is also substituted by itself. So, we have Ramah and Sthata. These 3 outputs are generated by this particular Sutra and the Vartika. Finally, we have an important Sutra, Kupukha Poucher in which Jivamuliya and Upadmanya are mentioned as the substitutes in place of the Visarga, Visarganiya. So, in this Sutra there are 3 Padas, Kupoho, Kapoho and Chir. Kupoho is 7 slash 2 of Kupu that is immediately before Ku and Pu. Kapoho is 1 slash 2 of Kapoho which is a substitute. Chir means and Visarganiya is 6 slash 1 of Visarganiya meaning in place of. So, now the meaning of the Sutra is this. Immediately before Ku and Pu in place of a Visarganiya substitute K and Pa that is Ajivamuliya and then Upadmanya optionally. I repeat immediately before Ku and Pu respectively in place of a Visarganiya substitute K and Pa optionally. Substitute Jivamuliya and substitute Visarganiya optionally. Here are the examples. These are the examples that were marked in a different color earlier. So, Ramaha plus Karoti where you have a Visarga followed by K and so now this Visarga gets substituted by Ajivamuliya. So, we have Ramaha Karoti. Similarly, Ramaha plus Khanati Visarga is followed by K. So, this Visarga is substituted by Ajivamuliya and you get Ramaha Khanati as the output. Similarly, you have Ramaha Pati as the input and this Visarga now this is being followed by Pa so this gets Upadmanya as the output. Ramaha Pati and also Ramaha Khanati and the output is Ramaha Khanati. To summarize, we first of all studied the features of Visarga. We also stated that Visarga is in fact a substitute and the substituent is Ra coming at the end of Upadha. The position at which Visarga substitution takes place is very important. It is always at the end of Upadha and there are the substitutes of the Visarga namely Sir, then Jivamuliya and Upadmanya and also the deletion. And Visarga itself can be regarded as the substitute that replaces its own form. Next, we study the remaining rules which state some other substitutes in place of the Visarga. Notably, Sir, we shall study these sutras in the next lecture. Thank you very much for your attention.