 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course. We begin with the Mangala Charana. Vishvesham Satchitanandam Vandeham Yokilan Jagat Charikarthi Bari Bharti Sanjari Harti Lilaaya Vishvesham Satchitanandam Vandeham Yokilan Jagat Charikarthi Bari Bharti Sanjari Harti Lilaaya In the previous lecture, we talked about the background of Samasa and also the theory which plays a very important role as far as the process and theory of compounding is concerned. And in brief, we looked at the Karaka theory. We have said and we will say again that there are two levels from a certain point of view as far as the generation of the final output in the form of the sentence. In Paninian Grammar, the Karaka theory and the Samartha theory. The Karaka theory is the core. It is core to the construction of the sentence and Samartha theory is based on this Karaka theory mainly. So, in this lecture, we shall study the Karaka theory in some detail. As we have already stated, there are six Karaka's stated in the Paninian Grammar. They are enumerated on this particular slide in a certain order. This is what is familiar to all of us. Kartha meaning agent. Karma which means an object. Karana instrument. Sampradana recipient. Apadana point of separation and Alhikarana location. These are the six Karaka's stated in the Ashtadhyayi, the Grammar of Panini. We also noted that the order in which these Karaka's are stated in the Ashtadhyayi is slightly different. In the Ashtadhyayi, Panini states Apadana first, then Sampradana, then Karana, then Alhikarana, then Karma and finally Kartha. We have gone into the details of the rationale of this particular arrangement in a separate course called Introduction to Paninian Grammar. We should study more about this, making use of that course. Now let us study and understand what these six Karaka's stand for. We have also stated that Karaka is a type of relation that exists between an action that is to be accomplished and the entities which participate in the accomplishment of this particular action. In a nutshell, Karaka's can be said to be the roles different entities play in the accomplishment of an action. This is the backbone of the entire sentence because all these roles and different entities which play these roles bring about the completeness of the accomplishment of the action to be described in the sentence by the speaker. And according to the School of Vaya Karanas, it is this action which is qualified by these six Karaka's, which is what is the main description a sentence proposes to do as far as the speaker is concerned. It is the verbal action which is the Mukhya Viseshya, the verbal action denoted by the verbal root according to the Vaya Karanas. This theory is called Dhatvartha Mukhya Viseshyaka, but we shall not be delving deep into this theory at this moment. However, we must note this while we study the Karaka theory, it will help us better understand the theoretical implications of the Karaka theory. So as we said, the six Karaka's which are stated in the Ashtadhyayi in a particular order and that order is the following which is mentioned on this particular slide. First comes Apadana, described in 1, 4, 24 in the Ashtadhyayi, Dhruvam apaye apadana, then comes Sampradana, described by Karmana yam abhiprati sasampradanam, 1, 4, 32 in the Ashtadhyayi. Then comes Karana, an instrument described by 1, 4, 42 Sadhakatamam Karana. Then comes Adhikaradam, location which is described by 1, 4, 45 Adharah Adhikaradam. Then comes Karma, object described by 1, 4, 49 Karatur-eep sitatamam karma and finally Kartha, an agent described by 1, 4 and 54 Swatantrah Kartha. We shall be studying each one of these sutras in some detail. Now in this particular lecture, let us begin with Apadana, Dhruvam apaye apadana, 1, 4, 24. It means the point of separation. Now how do we get this meaning from the sutra? Let us try to understand. We have three words in the sutra, Dhruvam apaye and Apadana. Apadana is the technical term that is described and the two words that precisely do this task are Dhruvam and Apaye. Dhruvam and Apadana, they both are in the same case. So it is possible and indeed it is inferred that this Dhruvam and Apadana are referring to one and the same. So Dhruvam is Apadana but in the environment of Apaye, Dhruvam is constant or stable and Apaye is separation. Both the meanings put together, the meaning of the sutra is the following. That is an Apadana which is constant in the act of separation. Now we have also stated that these roles which bring about the completeness in the description of an action in accordance with the desire to speak, the Vibhaksha of the speaker is what is highlighted and therefore the word constant also refers to what is constant according to the desire of the speaker in the description of a particular action. So we must not hasten to qualify this definition directly with the external reality because what this is referring to is primarily what is thought about by the speaker to be a constant in the act of separation and it need not correspond exactly with what is constant in the act of separation in the physical reality. We also noted that there are three types of Apadana described in the celebrated text called Vaakya Padhiya, Nirdeshta Vishaya, Upattha Vishaya and Apikshitha Kriya. We will not go into the details of these three those who are interested should study the Sadhana Samadvesha of the Vaakya Padhiya to get more information about these three types or any other commentary which describes these three on this particular sutra or wherever it describes the Apadana term. So this is what is Apadana, Dhruvam Apaye Apadana. Let us take an example, Sahprayagat Kashim Gacchati, meaning he goes to Kashi from Prayag. So what this sentence assumes is that the speaker has the knowledge that this he is initially located in Kashi. Then comes a moment when this he gets separated from Kashi. So there is an Apaya separation of him from Kashi. In this separation according to the speaker Kashi remains constant. So Kashi is the Dhruva in this particular case of separation or Apaya and therefore Kashi is termed an Apadana. So Kashi is thought of as playing the role of an Apadana with reference to the action of going, described by the verbal root Gama and the verb Gacchati in this particular sentence. Now since the verb Gacchati has got an ending T which is described as Parasmaipada, we know that this T means Kartha and so now we also can infer immediately that the suffix which follows the verbal root does not express Apadana. So Apadana remains to be expressed. The role of Apadana played by an entity in this sentence it is Prayag, remains to be expressed. And in order to express this role of Prayag, we add the suffix which is fifth case in this case, Artha and then we get the form Prayag Artha. This is the procedure that is going to happen everywhere, hereafter when we describe these other Karakas and their correlation with the respective Vibhaktis. We have already seen that Karaka is a term applied to the meaning whereas Vibhakti is the term that is applied to the directly audible speech form in the form of the suffixes like this T. So here Kashi is Karma and Prayag is the Apadana. Let us proceed and study what is Sampradana. Sampradana as we have already said is the recipient of the result of the action. This is described by the sutra Karmana yam abhiprayati sasampradana which means the following that which the agent wishes to reach or connect through the object is termed as Sampradana. We repeat that which the agent wishes to reach or connect through the object is termed as Sampradana. What this definition assumes is that there is an action denoted by the verbal root and this action has got an object and the agent wishes to connect to some other entity through this object. This is what this definition assumes so that which the agent wishes to reach or connect through the object is then termed as Sampradana which is none other than the recipient of the result of the action. Let us take an example sa krishi valaya gama dadati. She gives a cow to a farmer. In this particular sentence the action described is the action of giving. We also know that cow is the object and sa that is she is the agent. Now it is through this object namely the cow that the agent namely she wants to be connected with the krishi valaya or the farmer. So krishi valaya is the recipient of the object of this particular action of giving and therefore krishi valaya or the farmer is termed as Sampradana. Now we follow the same procedure and say that the speaker here wants to describe the action of giving. In this particular action all that he collects together is she a farmer and a cow and assigns different roles to them sa is thought of playing the role of an agent go is thought of as playing the role of an object and krishi valaya is thought of as playing the role of the recipient of this cow namely the object and so krishi valaya is termed as Sampradana and because the at the end of the verb over here expresses karta krishi valaya's role in the accomplishment of this action of giving needs an expression by a concrete word and therefore the fourth case chaturthi is added after krishi valaya so we get the form krishi valaya and we get the sentence sa krishi valaya gaam dadati she gives a cow to a farmer then we move ahead and we study what is a karana 1442 the most effective instrument described as sadhakattamam karanam what this means is that the most effective means or instrument which when operationalized brings about the result of an action this is what is the most effectiveness of the means and this is termed as karana repeat the most effective means which when operationalized brings about the result of an action is termed as karana again we strike a note of caution and we bring in the element of vivakasha this is what is thought about by the speaker which brings about the means the result of an action and that particular role is called karana and here is an example balako lekhanya grahapatham likhati a boy writes the homework by a pen here the action described is that of writing a boy is thought of as the agent and the homework is thought of as the object now the pen is acting as an instrument which when operationalized brings about the result of the action of writing so when it gets operationalized the result of the action of writing is accomplished and hence pen over here is termed as karana balako lekhanya grahapatham likhati again the suffix t over here which means karta so now we need a verbal expression to express the role of karana being played over here by pen and so we add the instrumental case after the word lekhany and we get the form lekhanya then we go to adhikarana 1445 substratum or location described in the sutra adharodhikaranam what this means is that the substratum of the process as well as the substratum of the result is termed as adhikarana repeat the substratum of the process as well as the result is termed adhikarana there are primarily two adhikaranas karma adhikarana and karta adhikarana the adhikarana of karma and the adhikarana of the kartru or the agent there are three types of adhikaranas also described in the tradition avupashleshika, vaishayika and abhivvapak here is an example balika, kate, asthe this is the first example of adhikarana and as it is said this is the example of kartradhikarana adhikarana of the karta agent balika, kate, asthe this means a girl sits on the mat the action described here is that of sitting a girl being thought about as performing the role of an agent in the accomplishment of the description of the action of sitting now if we look at the sentence closely we notice that the substratum of this balika, this girl is the mat over here and so mat is termed as adhikarana or kartradhikarana it is the adhikarana of the karta now we have the suffix te over here which means karta and therefore this kata meaning a mat which requires another word, a verbal element to express its role in the accomplishment of the action of sitting and so the saptami-vibhakti, the seventh case is added to it and it becomes kate in the sentence balika, kate, asthe let us now go to the second example which is the example for karma adhikarana devadatta, sthalyam, odhanam, pachati this means devadatta cooks the rice in a vessel the action described over here is the action of cooking devadatta is thought about as the agent, odhana or rice is thought about as the object now sthaly is also thought about as the substratum of the odhana odhana is placed in the sthaly so sthaly is the substratum of the odhana and hence now sthaly is termed as adhikarana adhikarana of the karma, so karma adhikarana because this suffix te means karta now we need the saptami-vibhakti, seventh case we express the role of adhikarana being played by the sthaly and therefore we add the seventh case and we get sthalyam and then we get the sentence devadatta, sthalyam, odhanam, pachati this is an example of karma adhikarana now we go to karma-1449 which means object which is defined as kartu-ripsitatamam karma what it means is that an element which is most desired to be reached or connected by the agent is termed karma we repeat an element which is most desired to be reached or connected by the agent is termed karma and there are three types of karma described in the tradition nirvartya, vikarya and also prapya and we are going to study these three types in this course when we study upapada, tatpurusha, samasa here is an example of karma balikaha, pathasalaam, gachanti the female students go to school the girls go to school here the action described is the action of going balika is being thought about as agent and this agent wishes the most to connect to the pathasala through the action of going that is why they are performing the action of going as thought by the speaker and hence pathasala is the ipsitatamam entity in this particular context and therefore now pathasala will be termed as karma since the suffix ante over here means karta we need a verbal element to express the role played by pathasala in the accomplishment of the action of going and so we add dvitiya or the second case after the word pathasala and so we get the sentence balika, pathasalaam, gachanti finally we go to karta which is 1454 karta is the agent and this is defined by the sutra swatantrakarta where swa means self, tantra means main or head what it means in all is own self as head or main which means when one's own self is independent an element which is independent in the action is termed as karta and this independence is in accordance with the cognition of the speaker so the speaker thinks about an element to be independent and then that is termed as karta what this independence also entail is the following one which brings together all the entities to play different roles in the accomplishment of an action is termed as karta is termed as swatantra this is an example devadatta, sthalyam, odanam, yadnyadattaya, pachati devadatta cooks the rice in a vessel for yadnyadatta here the action is that of cooking odana is the object, sthaly is the substratum substratum of odana, karma yadnyadatta is reported to be the recipient and it is the devadatta who brings about all these about together to accomplishment the action of cooking so devadatta is thought about as independent swatantra in this entire group of roles required for bringing about the accomplishment of the action of cooking and hence devadatta is termed karta now this ti in pachati means karta and now we don't need a separate word to express karta again but the point is that we cannot have a word without a case ending and therefore we add the first case ending after the word devadatta so we get devadatta but this case ending this does not denote any karaka role as far as the theory of Maninian grammar is concerned to summarize we saw the six karakas and their definitions, their descriptions and also the examples these six karakas act as representation of an individual viewpoint and also the individual world view what is more important from the point of view of the current course is that they form the core of the meaning element in the sentence the relation of entities with the action and it is these meanings which feed into the theory of compounding the meanings which are interrelated in this manner become eligible to be used in the sentence this is how these meanings feed into the theory of compounding so we have described the karaka theory and we have also shown the link between the karaka theory and the compounding now we shall study the theory of samartha in some detail in the next lecture thank you these are our references the traditional texts that we are basing ourselves upon thank you all