 Welcome, I welcome you all to this course Sandhi in Paninian Grammar. So far, we have studied the process of speech production in which the cognitive as well as the physical processes were described. In order to understand the cognitive process which is behind the actual audible speech of which Sandhi is a part, we delved deep into this particular process and we studied the process of speech production. In this lecture, we shall study the features of the speech thus produced, the speech which is audible. We studied this particular source, Paninian Shiksha and the verses namely Atma-muddhya-samitya-arthan and we studied these verses closely and found that there are eight stages which are generated which are stated in these verses and these eight stages are the first one is Atma-muddhya-samitya-arthan, the second one is Mano-yunkte-vivakshaya, the third one is Manak-kayag-nimahanti, the fourth one is Saprerayati-marutam, the fifth one is Marutastu-rasi-charan-mandram-janayatisvaram, the sixth one is Sodhirna-muddhya-pithato, the seventh one is Vaktram-apadhyam-arutah and the eighth one is Varanan-janayate. Amongst these, the first two we saw describe the cognitive stage which can be called as the program of the language and the remaining ones they are the physical ones and we also showed this in the form of a diagrammatic representation in the previous lecture. Now, in this lecture we shall study the features of the sounds thus produced. In order to study the features of the sounds thus produced, we also need to study one more important concept namely an important means, most important means in the oral cavity which is Jivha, which is the tongue, Jivha-tu-karanams-vratam, so Jivha is considered as Karana and Karana means the most important means, the means which when operationalized brings about the result of the action that is how Karana is defined. So Jivha is that Karana, so that is the reason why Jivha is considered the most effective or important instrument as far as the process of speech production. So tongue plays an important role in shaping the wind flow in the oral cavity by directing itself towards places of articulation within the oral cavity. The tongue also touches places of articulation in oral cavity to produce certain sounds and this is why Jivha is considered to be the most important means for the process of speech production which is present in the oral cavity. The sounds that are produced by this particular process can be summarized in this particular fashion. On the left hand side you have artha which is part of the artha kasha, on the right hand side you have shabdas which are part of the shabdakasha and it is these shabdas which get transferred and transformed and converted in the form of the audible speech. So if the artha is, Rama goes to a forest in the form of a sentence meaning, then this sentence meaning in the artha kasha gets converted into the sentence Ramavanam Gacchati which is part of the shabdakasha and then the subsequent process happens and this entire program of the sentence gets expressed through the speech signals containing all these sounds Ramavanam Gacchati. Then we have the second sentence meaning there he does penance and this sentence meaning is expressed by this sentence in the shabdakasha, and then this gets produced by the subsequent process of the speech production and these sounds they are produced. So this shabda in the shabdakasha takes the form of the audible speech mentioned over here, this is that audible speech that is produced. Then in the sequence we have the sentence meaning then he slays vali, this sentence meaning corresponds to the shabdakasha part namely tattah, sah, valinam, hanti. This is that sentence and this sentence which is part of the shabdakasha then gets transformed into the audible speech signals in the form of tattah, sah, valinam, hanti in this sequence, in this manner. Similarly then we have then he slays Ravana as the meaning which then gets transformed in the shabdakasha as tattah, sah, ravanam, hanti which following the subsequent process gets transformed in the sounds tattah, sah, ravanam and hanti. Similarly the last meaning in the sequence is then he comes back and this meaning in the arthakasha gets transformed in the shabdakasha in the form of tattah, sah, pratyagatshati which then gets converted into the form of the speech signals namely tattah, sah and pratyagatshati. Here we have arthas in the arthakasha, here we have shabdas in the shabdakasha and these shabdas get transformed in the form of the audible speech expressing these meanings expressing these meanings and here there are five sentences which are interlinked. So we can say that this is a paragraph of five sentences one unit a paragraph of five sentences and so these five sentence meanings they get transformed into the five sentences over here these are the sentence meanings and these are the sentences. So five sentence meanings coming one after another forming one unit they get transformed in the shabdakasha in the form of these five sentences and then the sentences get produced. Now in these it is important to note that the process of sandhi happens over here in the shabdakasha which is what is reflected in the actual audible speech. Now the speech thus produced is analyzed further in the form of its segments and then we arrive at the sound inventory which is the traditional sound inventory which looks like this. So first we have a iu-ru-lu-ai-o-au and these are separated from the rest by because of some reason. Then we have the five classes five into five twenty five consonants arranged in the form of row and column and numbered accordingly and arranged accordingly. So kh, kh, gh, gh and ng this is the first row and kh in the first column kh in the second column, gh in the third, gh in the fourth and ng in the fifth column. Then we have the second row having ch, ch, ch, ch, ch and ya each one placed in the respective column. Then we have the third row with t, th, d, d and na each sound placed in the respective column. Then we have t, th, d, d and na then we have p, p, b, b and ma. After these twenty five consonants we have another four namely ya, r, l and v and then the remaining four sh, sh, s and h. This is what is the traditional sound inventory. Let us take a quick look at the criteria used for classification of sounds in this particular manner. This is once again very crucial for us to understand the sandhi better because the sandhi is based on these classifications. So the features of these sounds are these, swaratah, kalatah, sthanah, prayatnaanah, pradhanah, swarah, kala, sthana and prayatna, these are those criteria. So let us look at them one by one. The first one is kala also known as pramanah indicating the length, the length that is required in order to produce a particular sound. That will distinguish that sound from the rest, from also the similar ones. Then there is place of articulation also known as sthana. Then you have effort of articulation also known as prayatnaanah. And finally swarah namely pitch or tone also known as swarah. It is these four which are parts of the sounds that are produced and it is these features which distinguish one sound from the rest. Let us study them one by one. Let us first of all look at the length or the pramanah. The kala required to produce a particular sound. Matra is generally regarded as the parameter describing the amount of time required to produce certain sounds. Matra can be calculated using the modern technological tools and it comes to a few seconds, few milliseconds in addition as well. Now it is stated that half a matra is the length of a consonant also known as hall. Consonants cannot be produced without the support of the vowels. Similar consonants can be produced that too in isolation but the string of consonants cannot be produced beyond certain limit. Then we also note down the length of time required for certain other sounds. One or more than one matra is that particular time that is required for the production of some sounds. And these sounds are separated from the half a matra timed sounds those were the hulls. Now these ones which require one or more than one matra they are termed as vowels or ach in technical terminology. So here you have now the two-way classification between ach or swarras and hull or vianjanas a, i, u, ru, lu, a, i, o, ou they all require minimum one matra time for their production and that is the reason why these are considered to be the swarras or the vowels. As all these they take half a matra time to get produced and that is one of the reasons why they are separated. In fact that is the main reason why these sounds are separated from the previous ones the vowels. So all of them they are called consonants the other word used is hull. These are all the hulls and we shall study why they are called hulls and we shall study why these are called ach in the next lecture when we study the technique of forming the pratyahar which is used by panini which is used in the panini and grammar in order to describe sandhi very, very effectively. So these two groups swarras and vianjanas they are clear cut available to us based on the time based on the call required for their production. Then we have the length or the pramana which is also used to distinguish between the vowels. So vowels they are further distinguished as rasva, dirga and plutha based on the length of the vowels. We say that they should minimum have one matra length but sometimes this can be also lengthened and then it can also be prolated. So the vowel which requires one matra for its production is termed as a short vowel or to use the Sanskrit term that vowel is termed as rasva. Then the vowel which requires two matras length is termed as long vowel or dirga and the one which requires three matras is termed plutha vowel or in other words prolated. So rasva, dirga and plutha these are the three varieties of the vowels these are never the varieties of the features of the consonants. So rasva, dirga and plutha you can never have a rasva and dirga and plutha not possible. This is how pramana plays an important role in further classifying the vowels. Then we have the place of articulation which is extremely important also known as sthanan in paniniya siksha and the here are the eight places of articulation also described in the paniniya siksha in the following verse. The verse says ashtausthaanani varnanam there are eight places of articulation of the sounds. There are eight places of articulation, uras or chest, kantha, shiras, jivamula, nasika, oshthau and talu, kantha is vilam, shiras is tamurdhan, cerebram, jivamula is the root of the tongue, nasika is the nose, oshthau is the lips and talu is the palate. There are these eight places of articulation described in the paniniya siksha which differentiate sounds from each other. So for example, points in the oral cavity where the airstream strikes and then the airstream is thrown out these points are known as the sthanas. So for example, kantha is the place of articulation which is known as vilam, this is the place of articulation of the vowel er and also all the consonants that come in the first row. Talu or palate is the place of articulation of e and all the consonants which come in the second row. Murdhan or the roof of the oral cavity is the place of articulation of the vowel ru and all the consonants in row 3. Danta, tooth or teeth is the place of articulation of the vowel lu and all the consonants that come in the fourth row, oshthau or lips, they are the place of articulation of the vowel u and all the consonants mentioned in row 5. Jivvamula, the root of the tongue is the place of articulation of the sounds which are known as jivvamuliya. Nasika or nose is the place of articulation of all the sounds which are mentioned in column 5 and urus is considered to be the place of articulation of a special sound h as mentioned as described in paniniya siksha. This is about the place of articulation, a very important feature of the sounds and it is on the basis of this feature that sounds get distinguished and also it is on the basis of this feature that the closed sounds are selected and are replaced and are placed in place of the satsthituend. So sthanavais, here is the same sound inventory. So here we have ur and her having kantha as the place of articulation along with the row, row 1. Then we have iya and shea with talu as the place of articulation and row 2. Murdhan as the place of articulation of the vowel ru and the semi-vowel r and then the third row. Similarly, we have danta with lu as the vowel and l as the semi-vowel produced from dantas and then the fourth row, tatha dhadhana. And then finally, we have lips oshthau which act as the place of articulation of u and v and then the consonants in the fifth class per class. We have two special places of articulation with a combination of the two places kantha and talu and kantha and oshtha and a and i they are produced from kantha talu, o and ao they are produced from kantha oshthau. So aha kkha gga gga na they are produced from kantha iya sha cha cha ja ja ya. They are produced from talu, rr and tatha dhadhana they have the place of articulation murdhan In Lu, Le, Tha, Tha, Tha, Dha, Dha, Na, they have Danta as the place of articulation, U, V, Pa, Pa, Pa, Ba, Ba, Ma, they have O, Sh, Thu as the place of articulation, A and I have Kantha, Thalu as the place of articulation, and O and Au have Kantha, O, Sh, Thu as the place of articulation. This is the overall description of the sounds and it is important to remember this distinction and these features so that the substitute selection will become easier. Now, if we look at the effort of articulation, we note that the effort of articulation covers the quality of airstream namely the volume or whether it touches the windpipe or not and generates effect or not, whether it touches the vocal chord and generates effect or not. These are considered as the efforts of articulation. Generally, there are two types of efforts, Abhyantara and Bhaiya. Abhyantara is the one that is internal inside the oral cavity and Bhaiya is out of oral cavity in windpipe etc. The Abhyantara Prayatna is of these four types, Sprishtha which means contact, touch of the tongue with the place of articulation. All 1 to 5 rows plus column 1 and column 5, all of them they are called Sprishthas. Here we have Isha Sprishtha, slight contact, slight touch of the tongue with the place of articulation and this is here vr and l. Then we have Vivruta, openness of the oral aperture. All the vowels minus r and shar shar sar they have Vivruta as the Abhyantara Prayatna and finally Sambhruta which is the Abhyantara Prayatna of a, Sambhruta is closed and this is the Abhyantara Prayatna of a. So this is how we can describe the Abhyantara Prayatna in the traditional sound inventory where all the vowels except a they are called Vivruta as Abhyantara Prayatna, a has got Sambhruta as its Abhyantara Prayatna. All these from row 1 to 5 and columns 1 to 5, these 25 sounds they have the Abhyantara Prayatna Sprishtha. Here they have the Abhyantara Prayatna Isha Sprishtha and shar shar sar they also have the Abhyantara Prayatna Vivruta. Then we talk of the Bhaiya Prayatna and here are the Bhaiya Prayatnas for you, Shwasa which is breath and this is the Bhaiya Prayatna of column 1 and 2 plus shar shar and sar. Nada resonance this is the Bhaiya Prayatna of columns 3, 4 and 5 and her, Aghoshya voiceless this is the Bhaiya Prayatna of columns 1 and 2 and shar shar sar, Ghoshya is the Bhaiya Prayatna of columns 3, 4 and 5 and her, Vivara Openness is the Bhaiya Prayatna of columns 1 and 2 and shar shar sar and Sambhara is the or the closure is the Bhaiya Prayatna of columns 3, 4, 5 and her, so each sound has multiple Bhaiya Prayatnas, similarly there is another type of Bhaiya Prayatna called Albha Prana and Mahap Prana less aspirate or more aspirate, so columns 1, 3 and 5 they are called less aspirate whereas columns 2 and 4 and shar, shar, sar, her these are called more aspirate or Mahap Prana. So now when Sandhi happens and when a particular substitute comes in place of a particular substitute and the selection of the proper substitute is made on the basis of all these features, the Abhintara Prayatna primarily and then also sometimes Bhaiya Prayatna. Now we can place the Bhaiya Prayatna in this particular sound, in this particular manner in the traditional sound inventory, so Shwasa, Aghoshya, Vivara these are the Bhaiya Prayatnas of column 1, column 3 and also column 5, Nadha, Ghoshya, Samvara these are the Bhaiya Prayatnas of column 2 and column 4 along with them they also are Mahap Prana, column 2 and 4 they are Mahap Prana and column 1, 3 and 5 they are called Alpap Prana, similarly shar, shar and sar they are called Shwasa, Aghoshya, Vivara and Mahap Prana and her is called Nadha, Ghoshya, Samvara and Mahap Prana Bhaiya Prayatnas. This is how Bhaiya Prayatnas get described and also the accent, the tone or the pitch there are three accents, these are the features of vowels and they are Udatta, Acute, Anudatta, Grave and Swarita, Circumflex and remember these are the features only of the vowels. There are certain features that vowels do not have and there are certain features that vowel do have and some features which the consonants do not have and there are some other features which only they have. To summarize we studied in this lecture the features of sounds produced by the process of speech production as described in the Panimian Shiksha. These features serve as parameters for selection of a substitute in place of a substitute event. This information serves as the base for Sandhi. Panimian grammar rearranges these sounds to form technical terms to be used in the description of Sandhi and these terms are called Pratyaharas and it is these that we shall study in the next lecture. Thank you very much.