 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course. As is our practice, we begin the lecture with the recitation of the Mangala Charana. In this course, we are concentrated on the Tattpurusha Samasa. Tattpurusha Samasa is a type of Samasa in Sanskrit. The other types are Avyaibhava, Bhavavrihi and Dvandva. In the Ashtadhyayi, the Samasas are stated in the following order. Avyaibhava, Tattpurusha, Bhavavrihi and Dvandva. We have said that the Tattpurusha Samasa is by far the most productive of the Samasas. The number of sutras used by Panini to describe the Tattpurusha Samasa are quite a few in comparison with the other Samasas. Be it Samasa Vidhayaka Sutra or be it Samasanta Pratyaya Vidhayaka Sutra or be it Samasa Svaravidhayaka Sutra. The number of sutras composed by Panini to describe the Tattpurusha Samasa outnumber the sutras used to describe the other types of Samasas. Tattpurusha Samasa also has got a huge variety of Samasas and we have studied them in this particular course. First we studied Vibhakti Tattpurusha Samasa and there we studied Dvitya Vibhakti Tattpurusha first, then Tritya Vibhakti Tattpurusha, then Chaturthi Vibhakti Tattpurusha, then Panchami Vibhakti Tattpurusha, then Saptami Vibhakti Tattpurusha and then Shastri Vibhakti Tattpurusha in that order as given in the text of the Ashtadhyayi, the core text of the Panimian grammar and the Panimian tradition. Then we studied Karma Dharaja Samasa, following which we studied Ekadeshi Tattpurusha as well as Nay Tattpurusha Samasa, following which we studied Gati Tattpurusha Samasa and we also studied Gati Saudnya stated to various words and then we studied Upapada Tattpurusha Samasa. The formation of the Tattpurusha Samasa can be explained with the help of an equation stated on this particular slide. X and Y, they are two separate and independent entities in terms of meaning as well as word form as well as accent, Artha, Shabda and Svar. But they are semantically interrelated and the speaker of Sanskrit decides to merge them together and form one unit called X-Y. Now the features of this X-Y one unit are one Artha, one word and also one accent. Aikarthya, Aikasabdya or Aikapadya and Aikasvarya. In this X-Y, Y assumes the position of the head. This is the by default position. What it means is that when X-Y is related to any other word in the sentence, it will be only through Y. When X is related to any other word without going through Y, such a samasa is considered to be an exception and is treated as an asamaaratha samasa. We also studied the derivation process of the samasa in which laukika vigraha plays a very important role, highlighting the Vyapek Shah Lakshana Samarthya, the interrelation between the padas after which there is laukika vigraha getting converted into alaukika vigraha and it is at this stage the samasa saudhnya takes place and here samasanta pratyaya is added and then subluk happens and some purva padakaryas and some uttara padakaryas they happen and then the finally derived samasa is generated. The samasanta suffixes are stated from 5468 onwards. The sutra is samasan taha 5468. This is an adhikara sutra. The scope of this adhikara is up to 54160 which is the end of 54. These are the suffixes which are added at the end of the compound and most importantly they are part of the compound. They are not just hanging, loosely. They function in determining the ending of the compound. They also function in determining the feminine gender suffixes to be added after the compound output and also the accent of the compound output. In this lecture, let us study the samasanta pratyaya added at the end of the takpurusha samasa and we first study 5491 which states the addition of the samasanta pratyaya touch to a takpurusha samasa. The sutra is rajahasakibhyash touch. There are two padas in this sutra, rajahasakibhyaha one and touch second. Rajahasakibhyaha is 5 slash 3 of rajahasakhi. Rajahasakhi is made up of three constituents, rajahahan and sakhi and this is 5 slash 3 which means immediately after rajahan, ahan and sakhi. Touch is 1 slash 1 which means suffix a and this suffix a is with markers t as well as ch. Words continued are takpurushasya from 5486 pratyaya from 311 samasanta from 5468. So, the meaning of the sutra is the following. The suffix touch is added at the end of the takpurusha compound immediately after rajahan, ahan and sakhi. I repeat the suffix touch is added at the end of the takpurusha compound immediately after rajahan, ahan and sakhi. So, rajahan, ahan and sakhi form the uttara pada of the takpurusha samasa. So, no purva pada condition is mentioned in this particular sutra, keeping it an open-ended bag, a very important clue for the productivity of the compound and also the forms with the samasanta pratyaya. So, when the meaning to be conveyed is king of men, purushanam raja. This is the laukika vigraha from which we have purusha plus am plus rajan plus su as the laukika vigraha. Now, in this case the takpurusha samasa is ending in rajan and so suffix touch is added and this suffix touch has got a as the pratyaya with te as the marker and che as the marker as well. So, this a is called tit as well as chit. So, the next step in the derivation process is purusha plus am plus rajan plus su plus touch. This touch is only a which is stated in the next stage purusha plus am plus rajan plus su plus a. Now, the samasa saudhnya takes place, the pratyavadika saudhnya takes place. The samasa saudhnya actually takes place before the suffix touch is added, but samasa saudhnya has taken place. So, the pratyavadika saudhnya has taken place and so now sub gets deleted and so we have purusha plus zero plus rajan plus zero and the samasanta pratyaya a is there. So, we have purusha rajan a and then we drop an by the sutra and so we get purusha plus raj plus a and so finally we get the compound output namely purusha rajpurushanam rajah king of men purusha rajah. Because of this suffix a the samasa with rajan being the final constituent becomes now a pratyavadika ending in short a. Accordingly, the behavior in inflectional morphology is determined. So, purusha rajah will now have purusha rajah purusha rajau purusha rajah prathama etc all these forms subanta forms. This suffix stha also determines that the pratyavadika will be added with the feminine suffix e that is nip stated by 4, 1, 15 which begins with titth, titdhanai, dvaisaj, dhagdhai, matras, tayap, thakthai, kvarapaha and also the final vowel accent is also determined by this suffix namely by the marker chha by the sutra 6, 1, 163, chitaha. Let us go to the second example of the sutra. So, if the meaning to be conveyed is friend of Krishna. So, krishnasya sakha, this will be the laukika vigraha and so we will have krishna plus ghas plus sakhi plus su the samasa saudhnya has taken place. So, now we add the samasanta pratyaya krishna plus ghas plus sakhi plus su plus touch that is a and so now the because of the samasa saudhnya and also the pratyavadika saudhnya the sups get deleted by supodhatup pratyavadika yogu. So, we have krishna plus 0 plus sakhi plus 0 plus a and then krishna plus sakhi plus a and then the e in sakhi gets deleted. So, we have krishna plus sakhi plus a and finally we get the form krishna sakhi as the compounded output meaning the same thing as krishnasya sakha friend of krishna. The final constituent of this samasa is sakhi ending in short e but adding the samasanta pratyaya the samasa becomes the one that ends in short a. And then its behavior in inflectional morphology is determined accordingly and also the feminine suffix and also the accent. Now, when the meaning to be conveyed is a collection of seven days the laukika vigra is saptah ahani samarathani. So, we have saptan plus jas plus ahan plus jas and we add the samasanta suffix touch over here. So, saptan plus jas plus ahan plus jas plus touch. Samasa saudhnya has happened. So, pratyavadika saudhnya also happened and so supodhatu pratyavadika jo applies. So, we have saptan plus 0 plus ahan plus 0 plus a and then saptan plus 0 and the an at the end of an gets deleted. So, we have saptan plus 0 plus ahan plus a and because this is samahara the an substitution does not take place. So, we have saptan plus ahan plus a and now at the end of saptan gets deleted by nalopa pratyavadikanthasya. So, we have saptan plus 0 plus ahan plus 0 plus a and we join them together and we get the form saptahar which is same as saptahani samarathani a collection of seven days saptahar. Now, we go to the next sutra agrakhyayam urasaha and here there are two padas in the sutra agrakhyayam and urasaha. Agrakhyayam is seven slash one which means when the meaning of head is stated agra is the head akhyaya is the statement. Urasaha is five slash one immediately after the word uras. Words continued are touch suffix ur with markers two and two. Tatpurushasya from five four eighty six. Pratyayaha from three one one. Samasantaha from five four sixty eight. So, the meaning of the sutra is that the suffix touch is added at the end of the Tatpurusha compound immediately after the word uras. When the meaning of head is stated by the word uras. I repeat the suffix touch is added at the end of the Tatpurusha compound immediately after the word uras. Uras, when the meaning of head is stated by the word Uras. So there is this traditional statement, which means, which reads, yatha sharira vayavana mucchate pradhanam urahah evam anyopi pradhanabhutah uras shabdena uchate, just as uras or chest is stated to be the main body part within the body. Similarly, any other who acts as the head is also stated to be occupying the position of uras by the word uras. So we have aswanam pradhanam. So the head is stated, head of the horses. In this case now, the laukika vigraha is aswanam urahah and the word uras is stating the meaning head. And so now we have the compound generated. The laukika vigraha is aswa plus arm plus uras plus soob. So the samasanta suffix gets added over here. So now we have aswa plus arm plus uras plus soob plus touch. Because of the samasa saudhnya and pratibhadiya saudhnya soops get deleted. So we have aswa plus zero plus uras plus o and we join them together and we get the compound output aswo rasah. Similarly, when the laukika vigraha is hastinam urahah and the meaning is the head of the elephants. We get the compound output hasti urasah and when the meaning to be conveyed is the head of the chariots, rathanam urahah. This is the laukika vigraha and the compound output is ratho rasah. Next we go to the next sutra, atehe shunahan. In this sutra there are two padas atehe and shunahan. Atehe is five slash one and shunahan is five slash one. Atehe means immediately after the word atehe and shunahan means five slash one which means immediately after the word shwan. Words continue dark touch which means suffix a with markers to enter. Tatpurushasya from five four eighty six. Pratyayaha from three one one. Samasantaha from five four sixty eight. So, the meaning of the sutra is the following. The suffix touch is added at the end of the tatpurusha compound immediately after the word shwan when the word shwan comes immediately after the word atehe. I repeat the suffix touch is added at the end of the tatpurusha compound immediately after the word shwan when the word shwan comes immediately after the word atehe. So, when the meaning is overtaken the dog atekrantah shwanam one who has overtaken the dog. The laukika vigraha is atekrantah shwanam. The laukika vigraha is atesu plus shwan plus am. So, we add the samasantapratya touch over here. So, now we have atesu plus shwan plus am plus touch. Samasa saudhnya has happened. So, pratyabhadika saudhnya has happened. So, suppodhatu pratyabhadika now applies. So, we have ate plus 0 plus shwan plus 0 plus am and then we apply the other sutras which delete an and so we have ate plus 0 plus shwa plus 0 plus am and finally we get atishva as the finally derived compound output. And so finally we get atishva as the finally derived compound output atishvaha. Similarly, atishvaha varahaha this is the output generated. Javavan that is the meaning given which means in the speed the hog has overtaken the dog. Atishvaha varahaha. Similarly, atishvaha sevakaha is the other explanation of the compound atishvaha which means sushtu swami bhaktaha where the devotee or the servant has overtaken the dog as far as the loyalty is concerned. Deeply loyal. Now, because of the samasanta pratyayat tach the suffix nip is added to express the feminine gender. And so atishva plus nip and then atishva plus e and finally we get atishvi, atishvisevaha and in Sanskrit it is rendered as atinicha very low overtaking even the dog. So, sevaha is considered to be atishvi very low. Similarly, the next sutra we study is ardhachya. Here the word ardhat is in five slash one immediately after the word ardha which means exact half ardham napoom sakam and the other word in the sutra is chha which means and the words continued are tach, suffix e with markers t and the, tattpurushasya from five four eighty six, pratyayaha from three one one, samasantaha from five four sixty eight, navaha five slash one which is immediately after the word now. So, the meaning of the sutra is also the suffix touch is added at the end of the tattpurusha compound immediately after the word now when the word now comes immediately after the word ardha or exact half. I repeat also the suffix touch is added at the end of the tattpurusha compound immediately after the word now when the word now comes immediately after the word ardha meaning exact half. So, when the meaning to be conveyed is exact half of the boat ardham navaha this is the laukikavigraha and so we have ardha plus su plus now plus nas as the laukikavigraha, samasa saudhya takes place. So, we add the samasanta suffix touch over here and so now we have supodhatupratibhadi kajoho applying. So, we have ardha plus zero plus now plus zero plus a and then itchoyabhaya avaha applies and we get the form ardha navaha as the finally derived compound output which means the same thing as ardham navaha exact half of the boat. To summarize the suffix added at the end of the tattpurusha samasa is added immediately after the term samasa is applied at the stage of the laukikavigraha. The suffix is added in various environments triggering different rules to apply to generate the output in the form of a compound. This suffix also triggers rules which add feminine suffixes. The suffix at the end of the compound changes the shape of the output of the compound, shwan ends in na but the compound atishva ends in a and so on and so forth. These are the texts referred to. Thank you very much.