 Welcome, I welcome you all to this lecture in the course Samasa in Panimian Grammar 1. In this course we have so far studied the overall contents and we got introduced to the overall nature of the theory of compounding that the Panimian grammar has advocated. We in the previous lecture took example of how the compounding process moves, what it takes as an input and what it generates as an output. We said that sentence and words within that sentence which are interlinked are the input for this process and a Pratipadika is the output generated by this particular process and then such a Pratipadika becomes the input for the other sentence formation. We also use the word realm of Karaka theory to describe how the Pratipadika becomes an input in the next level sentence. So now in this lecture we shall proceed further but before we actually begin let us recite the Mangala Shloka. Now let us sum up the features of the process of compound derivation or generation as well as the theory of compound formation that we have seen so far. The features can be put down in terms of the input as well as the output and here we are introducing some new technical terms. So let us study them one by one. What is the input of Samasa? Input of Samasa is a sentence. So the process of compounding takes soop. It here refers to the process of compounding. It takes soops and interrelatedness of soops as input and the output is generated by this particular process in the following terms. So Samasa is a nominal root. Output in the form of a Samasa is a nominal root in other words a Pratipadika and to this Pratipadika is added a Pratyaya called soop which can also become the input for another process of Samasa if so desired by the speaker and we have seen example of this particular recursive process. So the essential point over here is that the suffixes known as soops they are part of inputs and also they are output of the and they and the output of this process also becomes an input for another soop to be added to it. This is a very important feature of Samasa which we must comprehend in totality. We must also note down what is not done as far as the theory of compounding in Sanskrit is concerned also the process of derivation of a compound in Sanskrit is concerned. What is not done? So even though in the sentence just as in Purusha Su and Rajan Ghas, Ghas and Su acting as the head they were interrelated and so Rajan and Purusha being the interrelated padars and padarthas they were merged together and Rajapurusha was another Pratipadika that was derived. This is a Samasa and Pratipadika is derived. So also are Su in Purusha plus Su and T in gamma plus T are interrelated but they are never in Sanskrit merged together as one meaning unit as well as one word unit. This is never done. So in Sanskrit you will never find a compound of Purusha plus Su and gamma plus T even though they are interrelated. The compound is primarily shown or seen happening between Sups and never between Sups and thing. This is the bottom line. What is not done is in Sanskrit never a Su and T is merged together. So never one unit is derived as output from Purusha plus Su and gamma plus T. They both remain independent and separate parts of the sentence being interlinked. Now Su and T are representatives of a set of suffixes known as Supe and Thing respectively and we shall study what all are these Supe suffixes and what all are these Thing suffixes. What is important to note here is also the fact that along with the never occurring phenomenon of Supe and Thing getting merged together and generating the Samasa as an output along with that we must also note that the process of compounding or Samasa depends entirely on the desire of the speaker and so far it is always performed within one sentence. It is never performed in between two sentences. This is not seen so far. What we can also say is that the process of generation of Samasa is always inter-sentential within one sentence and never intra-sentential never between two sentences. This is never done in Sanskrit. In a nutshell we can say that Samasa always happens between two Supes minimally which means that there are these two Padas at the end of which should appear Supe in both. So, this left hand side of the plus sign this is the slot for a Prakriti and this left hand side is the slot for another Prakriti. Supe is a Pratyaya also mentioned as T in the previous lecture. So, this is the slot for the root. This is the termination. In this case it is Supe which is the termination and in Sanskrit there is a possibility of only two types of terminations either Supe or Thing. Now the process of Samasa, process of compounding presupposes or takes input as two Subanthas and none of them should be a Thingantha. So, never Supe plus Thing never a case where one Pada is a Subantha and the other Pada is a Thingantha or both Padas are Thinganthas. This is never seen. So, the theory of compounding in Sanskrit does not explain or does not allow these types of compounds. They are never generated and so they are not generated. One of the reasons why this happens is because the speakers of Samskrit have never done such compounds. They always have generated compounds of this kind where there are two Subanthas and then they get merged together. So, this is a list of Sups. These are the 21 Sups divided into three columns and seven rows. Each column represents number Ekavachana, one represents Ekavachana, two here represents Dribivachana and three here represents Bahuvachana. Singular number, dual number and also plural number. This is the significance of the numbers in white and now if we go to the numbers in black, we see that there are seven such numbers, seven rows each representing what is known as a Vibhakti, Prathama, one, Vitiya, two, Tritiyya, three, Chaturthi, four, Panchami, five, Shashti, six and Saptami, seventh. So, we have seven Vibhaktis and three numbers and here are the Sups, Sa-au-jas in Pandinian terms, Sa-au-as, Am-au-as, A-bhyam-bhis, A-bhyam-bhis, A-bhyam-bhis, A-s-os-am and E-os-su. These are the 21 Sups suffixes. So, a verbal element at the end of which appear any of these 21 suffixes becomes eligible to be the input for the process of compounding. Now, when these Sups suffixes are added to the nominal root that is a Pratipadika, we get Subanta forms of this kind. These are the 21 Subanta forms which can also be the input of Samasa and they are also stated in the same fashion as was used to state the Sups suffixes. So, let me read these 21 forms for you. These words, all of them, any one of them is eligible to be an input for Samasa. In contrast, here are the 18 things which can never become an input of the process of compounding in Sanskrit and they are Titasji, Sithastha, Mivasmas, Tathamjha, Thasatham Dhvam, I-vahi and Mahi and these 18 suffixes are divided into two groups and each group is further divided into three rows and three columns. The numbers in white, they represent the number and the rows represent the person. So, third person singular is T, dual is thus and plural is G and so on. Now, both these sets are numbered in a peculiar manner because essentially both these sets have three persons and three numbers. However, their status as a meaning conveying unit undergoes change and therefore, they are listed as 3P and 3PI, 2P and 2PI, 1P and 1PI. The numbers remain same. Now, these are added after the root which is a verbal root which is a dhatu and then the tigant forms are derived and these forms can never be the input of a Samasa and these forms are and then none of these is eligible to become an input of the process of compounding. This is very, very clear and we have to be also very clear about this. After having seen these basic features of the theory of compounding in Sanskrit, let us now proceed to understand the meaning of the word Samasa which is quite regularly used, Samasa. What is the meaning of Samasa? First of all, let us see what are the components of the word Samasa? There are three components. The first one is the first one is sum plus asa and asa also has got two components the verbal root asa and the suffix ar. The verbal root asa means to throw and the suffix ar means an action. The proverb sum means together or collective. There are brackets given with purpose. So, asa and ar they form the first unit at the same time sum is also associated with asa and that is why they are put in one square bracket. So, now the meanings are together plus throw plus action. Now, when this throw and action they join, we get the meaning the action of throwing, the act of throwing and then this together further modifies the action of throwing and then when we put all these three meanings together, we get one meaning namely the act of throwing together. This is what is Samasa the act of throwing together. Now, what is being thrown here? The answer is the act of throwing together the sounds. The sounds are being thrown out, thrown out from where? The act of throwing together the sounds from the oral cavity which means that the sounds take shape or the sounds are generated from the oral cavity and are pushed out and they generate the audible speech. However, sounds are produced in gaps. So, different sounds are produced separately. Different sound units are produced separately. That is not what is samasa. When such independent sound units are uttered together from the oral cavity, then that act is called samasa. So, when a person utters the sentence radniha purusho gacchati, here there are three sound units which are thrown out of the oral cavity independently, separately. Now, when the first two words radniha and purushaha, they are merged and they are thrown out of the oral cavity together in the form of rajapurushar. Without being a sign of separation, they are thrown out together, rajapurushar. This throwing out of the sound units from the oral cavity in the form of an audible speech is what is the meaning of samasa. As opposed to this, when the sounds are thrown out independently and in separation, they are known as vyasa or vyastha. In vyasa, we have v plus asa plus a which indicates the separation of the sounds being thrown out of the oral cavity. This is in a nutshell, the meaning of the word samasa, which is very much appropriate to describe the process of compounding in sound script. The word samasa is also used in other literature, even in philosophy, where the word samasa is used to indicate the collective explanation, the gist, the explanation that is merged together. For instance, in the celebrated text of Srimad Bhagavad Gita, we find an instance where the verse says, so please listen to what I am saying by samasa. That means I am collecting and merging certain elements together and making it brief and full of meaning, pray listen to it. Even there, this meaning of the word samasa explained on this slide is distinctly visible, which is remarkable. So, the meaning of samasa is the action of throwing the sounds together out of oral cavity, the action of throwing the sounds together to convey one meaning unit. And so, the sounds thrown out together thus act as one unit, which convey one meaning unit. So, Raja Purusha is one sound unit and it conveys one meaning unit as opposed to Radnaha, Purusho and Gacchati, where Radnaha is a separate sound unit, Purushaha is the separate sound unit and they convey different separated meaning units. And in comparison, if you say Raja Purusha, now that separation has disappeared and they have merged, the two units have been merged into one, both meaning as well as the word. So, the word samasa presupposes the separation of the words as part of the sentence. So, this correlation is extremely important and therefore, compositionality plays a very crucial role as far as the meaning of samasa is concerned and also the form, the word form of the samasa is concerned. What this assumes is that samasa always presupposes a sentence. We have already seen this, we are putting it in different framework. Samasa always presupposes a sentence. There is no other way development, which means that from samasa a sentence is developed, this is not possible. You do not have samasa as the primary stage as far as the language is concerned, as far as the communication is concerned and then from the samasa is generated a sentence. This other way development is not possible as far as Sanskrit language is concerned. As far as Sanskrit language is concerned, first there is a sentence and then there is a samasa. Without a sentence, samasa cannot exist. The samasa always falls back upon the sentence and always refers to the elements within a sentence. As we shall see later on, when we look at the differences between the sentence and the samasa, there are some ambiguities that creep in the formation of the samasa. They are to be removed only by looking at the sentence that it represents in the given context. However, we also note that when such a sentence is not readily available, then such a samasa may lead to multiple possible explanations in terms of various sentences. It is equally important to note here that never so far have we found in Sanskrit the fact that a sentence consists of only samasa. This is not possible. Never. It must have, besides a samasa, at least some thing under or some such word, at least for a theoretical purpose. What it also assumes is that no linguistic communication as far as Sanskrit is concerned consists of only samasa. This is not possible. Sentence is the basic unit for communication purpose and this sentence might contain some samasa, but it can never happen at least for Sanskrit that there is a sentence and it consists of all samasas. This is not possible. This is very important to remember. So, what is the purpose of making a samasa? The purpose seems to be brevity, which is the brevity in terms of cognition, the cognitive brevity, dhyana laghava and then also shabda laghava. We cannot say the same thing about prakriya or prakriya laghava, but at least dhyana laghava and shabda laghava seem to be the two basic purposes that a human being achieves or wants to achieve by making a samasa. What is also to be noted here is that the purpose of making a samasa is to make two independently separately cognized elements, the subject of one cognition. Ekabuddhi visayata, two elements which were earlier identified as independent and separate two elements. Now, we identify them as one element. Ekabuddhi visayata seems to be one of the major purposes why samasa is made by a human being while speaking. Now, this ekabuddhi visayata process may occur recursively. This is possible in literature, etc., but in normal communication, this ekabuddhi visayata operates with certain limits. The other purpose of making a samasa is sangraha. This is putting ekabuddhi visayata in the other words, sangraha, which is a collective cognition. We will talk more about this later on. To summarize, we studied the process of compounding and noted that the sentence is the input for this process with the interrelatedness of meaning in a sentence as a basic condition. And then we also noted that the nominal root is the output of this particular process. We noted that, never ever does this process happen between a sup and thing and also thing and thing. We also noted that the process of compounding is recursive in nature. Next, we study the process of speech production and the cognitive stage, the sentence structure of which samasa is one part. Then the input of the samasa, the nature of interrelatedness of meanings in a sentence, the concept of karaka, the concept of vibhakti, and finally, the difference of samasa and a sentence. Along with this, then we shall see how the theory of samartha combines these theories and generates a compound. We shall see this in the coming lectures. These are the texts that we shall constantly refer to. Thank you for your attention.