 Welcome. I welcome you all to this lecture in the course Sandhi in Panini and Grammar. We are studying Ach Sandhi or Vavel Sandhi. The Sandhi that takes place of a Vavel. This can be classified into two. The second one we are studying right now namely Dhristhanika Ekadesha. The first one we already studied is Ekasthanika Ekadesha. Ekasthani Ekadesha. One substituent and one substitute. We also studied two instances of Ekasthanika Ekadesha namely Yen Sandhi and Ayavaya Sandhi. Yen Sandhi is stated by Iko Yanachi. Ayavaya Sandhi is stated by Dasutra Echo Ayavaya Vaha. We also studied examples of both these Sandhis. Currently we are studying Dhristhanika Ekadesha where we have Dhristhanika two substituents Ekadesha. One substitute. This is also stated by the Adhikara Sutra Ekapurva Parayoha 6184. This Adhikara Sutra means one substitute takes place in place of two sounds namely Purva and Par previous and latter. This Adhikara can be explained diagrammatically in this fashion. You have A plus B both in the Samhita mode. A comes immediately before B and B comes immediately after A and so they both become the environment mutually and in such a case now in place of A and B this is Purva this is Par. In place of Purva and Par A and B you have one substitute namely C. So the input is A plus B but the output is just C. In case of Ekasthanika Ekadesha the input was A plus B but the output was C plus B. In Ekasthanika Ekadesha only A got substituted by C but in Dhristhanika Ekadesha both A and B Purva and Par they both get substituted by one that is C. This Ekapurva Parayoha Adhikara continues from 6184 up to 6112 there are five instances of Ekapurva Parayoha Dhristhanika Ekadesha. Guna Sandhi stated by the Sutra Adhgunaha 6187. Vruddhi Sandhi stated by the Sutra Vruddhirechi 6188. Pararupa Sandhi Engi Pararupam stated by the Sutra 6194. Savaranadirgha Sandhi this is what we are studying right now. Savaranadirgha Sandhi stated by the Sutra Akasavarnedirgha 6111 and finally Urvarupa Sandhi stated by the Sutra Amipurvaha 6117. Let us now study Savaranadirgha Sandhi. This is stated by the Sutra Akasavarnedirgha 6111. There are three padas in this Sutra Akaha which is five slash one of Ak. Ak is a, i, u, ru and lu. The first two Sutras in the fourteen Sutras Pratyahara Sutras are captured by the Pratyahara Ak. So Akaha means immediately after Ak. That means immediately after any of these sounds. Savarna is seven slash one of Savarna. Savarna means homogeneous sound. So Savarna means immediately before a homogeneous sound. And dirgha is one slash one of dirgha meaning long. So dirgha means long substitute. There are two words continued from the previous Sutras achi, seven slash one of ach. Ach means a vowel. So achi means immediately before any vowel. This continues from Ekoyanachi and Ekapurvaparyoh. One substitute in place of two, previous and latter, earlier and latter, these two substituents. Having put all these things together, the overall meaning of Akasavarnedirgha can be stated in the following manner. Immediately before a homogeneous vowel, Savarna achi and immediately after Ak, Akaha. Ak is a i u ru and lu, these five vowels. In place of both of them, Purvaparyoh, place the long vowel, dirgha, as the one substitute Ekaha. I repeat, immediately before a homogeneous vowel, Savarna achi and immediately after Ak, Ak is a i u ru and lu. In place of both of them, Purvaparyoh, place the long vowel, dirgha, as one substitute. In order to understand the meaning of this Sutra exhaustively, we need to also understand what is a Savarna or a homogeneous sound. So, the term Savarna, that is defined by 119 and 1110, needs to be studied. 119 is Tullyaseprayatnam Savarnam and 1110 is Nadjhalau. Let us study the concept of Savarna. What this means is, one sound is homogeneous with another. One sound is homogeneous with another set of sounds, of course, on the basis of certain criteria. And this term Savarna is defined by two Sutras which we already read, but let us read them again. Tullyaseprayatnam Savarnam 119 and Nadjhalau 1110. Let us study these Sutras. Now, there is an important concept related to Savarna and that is Savarna-Grahana. What it means is that the sound mentioned in the Pratyahara Sutra, that is the initial enunciation of the 14 Sutras at the beginning of the Ashtadhyayi, which is the base for the grammatical operations. So, the sound mentioned in these Pratyahara Sutras, which is homogeneous with another set of sounds represents that set of sounds. This is very important, also as an important function of Savarna. This is stated by the Sutra Anodit Savarnasya Cha Pratyayaha 1169. Now, let us study 119, Tullyaseprayatnam Savarnam. This Sutra has got two words, Tullyaseprayatnam and Savarnam. Tullyaseprayatnam is the signified and Savarnam is the signifier. Savarnam is the saudnya. Tullyaseprayatnam is the saudni. What is Tullyasyam? Tullyasyaprayatnam. Tullyasyaprayatna has got three words, Tullya, Asya and Prayatna. Tullya means similar, Asya means place of articulation and Prayatna means effort of articulation. Also known as, in this case, internal effort of articulation as is defined in Maninian grammatical tradition. Also known as Abhyantara Prayatna. So, Shabda Rupa, word form or the form of the sound is what is intended as the general qualified. So, what this Sutra means is that, the form of sound, whose place of articulation and internal effort of articulation is same, Tullya. As that of the other, such sounds are called homogeneous to each other. Savarna to each other. Savarna of each other. I repeat, the form of sound, whose place of articulation and internal effort of articulation is same as that of the other. Such sounds are called homogeneous to each other, Savarna to each other or Savarna of each other. And also let us look at 1, 1, 10. 1, 1, 10 says na jhalau. Na jhalau has got two paddas, na and ajhalau. Ajhalau has got two components, ach and hull. So, Tullya Shabprayatna, Savarnam continues in this particular Sutra and the meaning of this Sutra is, vowels, ach and consonants, hull, even if have similar place and internal effort of articulation are not to be called homogeneous to each other or Savarna of each other. I repeat, vowels and consonants, even if have similar place of articulation and internal effort of articulation, they are not to be called homogeneous to each other or Savarna of each other. This is how the term Savarna is defined. Let us study this in some detail. The question is which sounds are Savarnas with each other? So, here is a list of sounds which are to be called Savarnas of each other. So, let us begin with a. As far as the traditional sound inventory is concerned, there are 18 types of a, 6 raspa, having some other features as well. That is why this plus sign, raspa plus, udat, anudat, swarita, anunasika, anunasika, 6 varieties of a, short a, 6 varieties of birgha, birgha plus, udat, anudat, swarita, anunasika, anunasika. This is shown as a and 6 varieties of pluta a, plus udat, anudat, swarita, anunasika and anunasika. This is shown as a, 3. These 3 sets have similar sthanu, namely kantha or vellam and similar abhyantara prayatna, namely vivruta. And so, by the definition of tullya se prayatnam savarnam, these sounds are to be termed Savarna or homogeneous of each other. Similar is the case with e, which has got 18 varieties. All these 3 sets have same sthana, namely talu and same abhyantara prayatna, namely vivruta. And so, all these 18 sounds are to be termed Savarna or homogeneous of each other. Amongst them, only short e gets mentioned in the pratyahara sutras. Amongst the 18 a's, only short a gets mentioned in the pratyahara sutras. So, we say that a stands for all its 18 varieties. e stands for all its 18 varieties by the sutra 1169. So, a short is the Savarna of all its varieties, e short is the Savarna of all its 18 varieties. Similar is the case with u. There are 18 varieties of u and all these 3 sets having 18 varieties have similar sthana, osthau and similar abhyantara prayatna, namely vivruta. So, all these 18 varieties are to be termed Savarna of each other. Amongst them, only short u gets mentioned in the pratyahara sutra. Similarly, we have 18 varieties of ru. All these, they have similar sthana, namely murdhan and also abhyantara prayatna, namely vivruta. So, these 18 varieties are to be termed Savarna or homogeneous of each other. Only short ru gets mentioned in the pratyahara sutra and 1169 says that this short ru stands for its homogeneous sounds, namely all the 18 varieties. Then we have 12 varieties of lu. Why? Because there is no dirgha variety of lu. So, all these sets, they have similar sthana, namely danta and similar abhyantara prayatna, namely vivruta. So, these sounds are to be termed Savarna or homogeneous of each other. Only short lu gets mentioned in the pratyahara sutras. Then we have 12 varieties of A and there is no short variety of A, O, I and O. So, there are 12 varieties. Now, these sets have similar sthana, namely kandhatalu and similar abhyantara prayatna, namely vivruta. So, these are to be termed Savarna of each other by the definition provided by the sutra 119, tullya se prayatnam savarnam. Similar is the case with I. I also has got 12 varieties, dirgha and pluta and they have similar sthana, kandhatalu and abhyantara prayatna, vivruta. So, these 12 varieties are to be termed Savarna or homogeneous of each other. Then we have O. There are 12 varieties of O, 6 dirgha and 6 pluta. They all have similar sthana, kandthosh tau and similar abhyantara prayatna, namely vivruta. And so, these 12 varieties are termed Savarna of each other. Only long O gets mentioned in the pratyahara sutra. Then we have O, which has got 12 varieties. All these they have similar sthana, namely kandthosh tau and abhyantara prayatna, namely vivruta. And so, we have these 12 varieties which are to be termed as Savarna or homogeneous of each other. Similarly, after having finished the treatment of the vowels, if we go to the consonants, we observe that there are 2 varieties of here, Anunasika and Ananunasika, which have similar sthana, namely talu and similar abhyantara prayatna, ishatsprashtar as defined and described by the Paninian grammatical tradition. Slight contact or slight touch of the tongue with the place of articulation. So, both these varieties of here are to be termed Savarna of each other. Similarly, 2 varieties of l, they have similar sthana, danta and similar abhyantara prayatna, namely ishatsprashtar. So, they are to be termed Savarna or homogeneous of each other. There are 2 varieties of v as well, they are similar in terms of sthana which is danta and oshtar and abhyantara prayatna, namely ishatsprashtar. So, they are also to be termed as homogeneous of each other. Then we have the mentioned ku, meaning kh, kh, gh, gh and ng. They have similar sthana, namely kanta and similar abhyantara prayatna, namely ishatsprashtar or contact, touch of the tongue with the place of articulation. Now, all these 5 are to be termed as Savarna with each other. The term Savarna with respect to vowels plays a very crucial role in understanding the vowel sandhi or at sandhi. And the term Savarna applying to consonants plays a very crucial role in understanding certain types of hal sandhis or consonant sandhis which we are going to study soon. So, kh, kh, gh, gh, ng, they stand for their homogeneous sounds which are the 5 sounds. Similarly, you have chu, meaning ch, ch, ch, j, j, n. They have similar sthana, namely talu and similar abhyantara prayatna, namely sprashtar and therefore they are to be termed Savarna of each other. Then we have tu, ta, ta, da, da and na. They have similar sthana, namely murdhan and similar abhyantara prayatna, namely sprashtar or contact. So, all these sounds, they are Savarna of each other. Similarly, we have tu, meaning ta, ta, da, da and na. They have similar sthana, danta and similar abhyantara prayatna, namely sprashtar. So, they are to be termed as Savarna or homogeneous of each other. And finally, we have pu, standing for p, ph, b, bha and mur. They have similar sthana, namely ushtar and abhyantara prayatna, namely sprashtar. So, in accordance with the sutra, tu, li, asya, prayatna, Savarna, 1, 1, 9, they are to be termed as Savarna of each other. This is how Panayan grammatical tradition defines Savarna. And we have studied different sounds that are termed Savarna of each other. It is also important in this case to note which sounds are not considered as Savarnas. This is what is stated by the sutra na jhalau. It assumes that there are some vowels and some consonants whose place of articulation and whose internal effort of articulation is going to be the same. So, for example, a and her, even if they share sthana, which is kantha, and abhyantara prayatna, namely vibhruta. So, there is tu li asya prayatnatva. Still they are not to be termed as Savarna. This is what is stated by na jhalau, 1, 1, 10, because a is a vowel and her is a consonant. That is why a and her are not to be termed as Savarnas of each other. Very crucial fact. Similarly, e and she are not to be termed as Savarnas of each other, even if they share sthana, namely talu, and abhyantara prayatna, namely vibhruta. Because e is a vowel and she is a consonant. In accordance with 1, 1, 10, na jhalau, e and she are not termed as Savarna of each other. Similarly, you have ru and she, even if they share the sthana, namely murdhan, and abhyantara prayatna, namely vibhruta. They are not to be termed Savarna, primarily because ru is a vowel and she is a consonant. So na jhalau applies over here and ru and she are not termed as Savarnas of each other as a result. And finally, we have lu and sir, they are also not to be termed as Savarnas, even if they share sthana, that is danta, and abhyantara prayatna, namely vibhruta. Because lu is a vowel and sir is a consonant. And na jhalau negates the Savarna-saudhna to both a vowel and a consonant with respect to each other. Even if tulya se prayatna-savarnam gives the Savarna-saudhna to them both, na jhalau negates it. So, having put both these sutras together, we can understand what is a Savarna. Now, what is the use of the term Savarna? We have already stated that once the sounds are termed Savarna with reference to each other, one sound can be mentioned in an enunciation and can be said to represent the remaining Savarna sounds. This is what panini does in mentioning the sound in the pratyahara sutras. So, he does not mention all sounds over there, he mentions only one of each set. So, u of the 18 varieties, e of the 18, u of the 18 and so on and so forth. And then he creates a rule 1169 which says that these sounds mentioned in the 14 pratyahara sutras and kuchu, tutu and poo, they stand for, they represent their Savarna sounds. So, when you utter just one sound, it stands for all the 18 varieties in terms of avaval and if you mention just kuchu, it stands for all its five sounds, class sounds. This is how panini attains brevity and also the scientific base for the operations which are called the grammatical operations which are stated in his own grammar. Now, the grammatical operations that should be stated with reference to a particular set of sounds which are Savarna, panini uses only one sound and uses 1169 to state what is needed. He uses the word for example, asya, which has got the sixth case in it, 6 one of a as the substitute event in 7 4 32 asya chvau. Now, even though the word asya is used by 1169, this asya means that the substitution stated by 7 4 32 is applicable to all 18 varieties of a, which are Savarna of a. Now, because of 7 4 32, a in Shukla, this a at the end is substituted by e, Shukla becomes Shukli as an output. Now, just as this short a becomes e, you will also have long a, which is a Savarna, which is stated to be a Savarna of short a to be substituted by long e. So, mala become mali and Shukla becomes Shukli. This is an important function of the term Savarna. Similarly, in 6 1 1 0 1 akasavarni dirhaha, the term Savarna is used essentially to state the Pavel Sandhi, which is of Dvithanika Ekadesha type. To summarize, the features of sounds noted by panini serve the purpose of brevity in the system of grammar. The grammarian can mention a big set of sounds briefly by the mention of one of them and uses the term Savarna, which is based on these features. Rules can be based on these features to account for the linguistic usage. And now, after having understood the term Savarna, we shall apply it in the sutra akasavarni dirhaha. And we have already studied the meaning of akasavarni dirhaha, but now we shall study the examples. First the prototypical examples and then the specific ones in order to understand akasavarni dirhaha in more details. This we shall do in the next lecture. Thank you for your patience.