 Welcome. I welcome you all to this lecture in the course Samasa in Panimian Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam, Vandeham Yogilan Jagat, Charikarthi, Bari Bharati, Sanjari Bharati, Leela Yaa. Vishvesham Satchitanandam, Vandeham Yogilan Jagat, Charikarthi, Bari Bharati, Sanjari Bharati, Leela Yaa. In this course, we are studying the three important types of samasas in Sanskrit, namely, a Vyaibhava Samasa, Bahuvrihi Samasa and Dvandva Samasa. Currently, we are focused on the Bahuvrihi Samasa, a unique feature of Sanskrit. As we have said before, this samasa and the profuse use of this samasa in Sanskrit does indicate some special mental, intellectual state of the speakers of Sanskrit, which are ready to form a compound by keeping an outside element as the head of that compound. This is extremely intellectual and it is based on the intellectual plane, what the grammarians call Bauddha-Sattha, Bauddha-Artha and Bauddha-Shaptha, completely detached or partially detached from the external reality. The structure of the Bahuvrihi Samasa can be briefly explained with the help of this following equation on this slide, where we have X and Y two independent separate elements in terms of the word form as well as the meaning as well as the accent. The plus sign in between them indicates that they are interrelated and the speaker of Sanskrit has decided to merge them together by joining them together and then the process starts and it ends in the production or the generation of the output in the form of X, Y, which is one unit, two units as input, one unit as output. Now this one unit of output can be showed to be interrelated with its constituents namely X, Y and that is the reason why the status of the one output generated is still retained as X, Y. Now X, Y has got three features namely Aikarthya or Aikarthata, Aikashabdya or Aikashabdata and Aikasvarya or Aikasvarata. Now in the correlation of the constituents as far as the Avyaibhava Samasa and the Tattpurusha Samasa is concerned, we showed by the bold characters the element which acts as the head of the newly generated output. In the Avyaibhava Samasa X was shown in bold characters indicating that X is the head of X, Y. In the Tattpurusha Samasa in such an equation Y was shown with the bold characters indicating that Y acts as the head of the Tattpurusha Samasa output X, Y. As far as the Bahurihi Samasa is concerned none of the two X and Y are shown with the bold characters primarily to indicate the very important fact that none of the two act as the head of the Samasa. In fact the head of this Samasa lies outside the Samasa that is why this is very peculiar, this is very strange. And apart from some languages Sanskrit notable amongst them there are very few languages in which such a Samasa is used profusely or rather there aren't any languages where it is used profusely. In English for example when a Bahurihi Samasa is formed one needs to add the morphological element ED to it. Of course there are exceptions to this rule but in general the English structure demands that you add ED after the required constituents and without that ED it becomes very difficult for one to identify whether this is a Bahurihi Samasa or not. There are some examples of Bahurihi Samasa in English however they are not so big in number as far as the current situation is concerned. But in Sanskrit they are profusely used as we have seen earlier in the examples of the Bahurihi Samasa. These are some important features of the Bahurihi Samasa. In the Ashtadhyayi the Bahurihi Samasa is treated at various places. For example the Samasa Vidhayaka Sutras, the compound prescribing sutras, the sutras laying down the conditions for the Bahurihi Samasa to take place are from 2223 onwards up to 2228 a very small section. 2223 is Shesha Bahurihi and 2228 is Tenasaheti Tullya Yogi. 2229 by the way is Charthe Dvandvaha stating the Dvandva Samasa. Samasanta Pratyaya Vidhayaka Sutras are stated in the section 5 4 1 1 3 onwards up to 5 4 1 6 0. We must also note that within this big section there are some sutras which do not prescribe any Samasanta Pratyaya but rather they prescribe the Samasanta Adesha and we shall study this also later on. The Svaravidhayaka Sutras are stated in 6.2. The very first sutra in 6.2.1 states the by default accent of the Bahurihi Samasa which is Bahuvrihauprakrutya Purvapadam which states that the Purvapadam retains its own Udat in the Bahurihi compound. And then we have from 6.2.1 0 6 onwards up to 120 as well as 6.2.1 62 up to 6.2.1 77. In these sections the accent related to Bahuvriha is dealt with. So far we have studied the Samasa Vidhayaka Sutras related to the Bahurihi Samasa. Now we need to study the Samasanta Pratyaya Vidhayaka Sutras. But before studying this important section let us spend some time in studying a very crucial, very important phenomenon, a very important process, an important concept namely Pumbhad Bhava which is stated in 6.3. Since this is also common with Karmadharaya Tattpurusha Samasa we did not mention it on this particular slide because it is not exclusive to Bahurihi Samasa. So now let us study Pumbhad Bhava. What is a Pumbhad Bhava? Pumbhad Bhava as the word states Pumbhad Bhava. Pumb is masculine, what is same or like or as if and Bhava is the state. So this is the background. A feminine form in Sanskrit is generated by adding a suffix to the nominal root. This is the case with many words. Obviously with some exceptions where the feminine form is generated by adding a particular suffix to the verbal root but we are not talking about that. We are talking about a feminine form which is generated by adding a suffix to the nominal root. Now this feminine form goes back to the form of the nominal root. That means it removes the additional suffix which indicates this addition of the feminine part in the meaning. So a feminine form going back to the form of the nominal root is what is known as Pumbhad Bhava. The location of this particular operation is the Purvapada of a compound as is clear from the sutras stated by Panini because they are stated in the Adhikara Uttarapade. Immediately before an Uttarapada in the Purvapada obviously what happens is a feminine form goes back to the form of the nominal root. This is called Pumbhad Bhava. So this is stated to the Purvapada of a compound with limited environment existing around. A particular kind of environment existing around which will be clear in the sutra that we shall study in a while. So here is a representation of what happens in Pumbhad Bhava. So there are two padas Pratipadika plus Sthripratyaya plus Su. This is the first padha. And Pratipadika plus Sthripratyaya plus Su. This is the second padha. Both of them, both of these two padhas are supanthas and they both have the Sthripratyaya ending form as the form to which the Su suffix is seen added. This Sthripratyaya is always added to a Pratipadika in this particular sense. So Pratipadika plus Sthripratyaya plus Su, plus Pratipadika plus Sthripratyaya plus Su, this is the internal structure of the two words that will be compounded and this will be the Alau Kika Vigraha. Now in this, since both of them are padhas and they both are compounded on account of the sutras stated in the section from 2 to 23 onwards up to 28, the Pratipadika saunaya takes place and so Suppodhatu Pratipadika jo applies and so we have Pratipadika plus Sthripratyaya plus 0, plus Pratipadika plus Sthripratyaya plus 0 as the next step in the derivation. So now we have Pratipadika plus Sthripratyaya plus Pratipadika plus Sthripratyaya. The Purva Pada has got a Sthripratyaya and the Uttar Pada also has got a Sthripratyaya. Both of them are added after the respective Pratipadikas. Now the Sthripratyaya of the Purva Pada is deleted and rather the Pratipadika plus Sthripratyaya goes back to the Pratipadika. That's why we have Pratipadika plus 0, plus Pratipadika plus Sthripratyaya. This is the step which is generated on account of the application of the sutra that we are going to study 6334 and this sutra affects the Pumbhadbhava operation. This operation is called Pumbhadbhava and the prakriya continues but we need not go there right now. We focus on the concept of Pumbhadbhava. This is the sutra. 6334. The sutra is The sutra is I repeat Let us try to understand the sutra word by word first. Sthriyaha is which means in place of a word denoting feminine gender. Pumbhadbhava. Pumbhadbhava is an indeclinable avyaya. What it means is like a nominal root. This is the first and most important and major part of the sentence. Sthriyaha Pumbhadbhava. In place of a feminine form, replace it with a form which is like the masculine form. So Pumbhadbhava is like a nominal root form. Now this Sthriyaha has got some qualifications and they are stated in the next few words. This is which means immediately after the word which is a Now what is a is a word which denotes the masculine gender. That is the literal meaning. But what is the special about it? The speciality is that a word which also denotes masculine gender along with feminine. That is what is known as Bhasitapamska. What it in a nutshell means is that a word denoting all gender. That is a word which denotes a quality or property. That is a word which is an adjective. That is what it comes down to. That is what it boils down to. Bhasitapamska. Bhasitaha pumaan yena samanaya vākratau ekasmin pravṛttinimitte. So Bhasitapamska has a word. This explanation also adds one semantic stability or semantic correlatedness namely samanaya vākratau ekasmin pravṛttinimitte. The pravṛttinimitte, the purpose of its usage in both the cases must be the same. Samanaya vākratau ekasmin pravṛttinimitte yaha bhasitaha yena bhasitaha pumaan. Bhasitapamska has a word. This is the idea of Bhasitapamska. Now the next word is anoong. Incidentally, according to the traditional commentators, this word is in the shashti ekapachana or 6 slash 1, but the vibhakti is not seen. But still it is in shashti ekapachana. What it means is in place of a word which does not end in the suffix oong. Oong is a feminine suffix stated by Panini in 4.1. So the sri praktayanta shabda should be such that it should be a bhasitapamska and it should not end in the suffix oong stated to denote the feminine gender in 4.1. Now the tradition says that bhasitapamskaad anoong, this is one word. Bhasitapamskaad anoong, oong which is not added after a bhasitapamska and then this is a shashti ekapachana which qualifies sriyaha. So the sri praktayanta shabda should be such that it does not end or it is not oong which is added to a bhasitapamska word. Now let us go ahead with the next word. Samanaji karane, this is saptami ekapachana 7 slash 1 which means immediately before anoottarapada which is co-referential. Samanam adhikaranam yasir saha or tatt. The next prada is sriyam also 7 slash 1 of sri which means immediately before anoottarapada which denotes feminity. And finally a purani priyadishu, this is 7 slash 3 saptami bahuvachana which means immediately before anoottarapada which one does not end in the purana suffix and 2 which does not belong to the group of words that begins with the word priya etc. A purani priyadishu. Having put all these things together we get the following meaning of the sutra. Immediately before anoottarapada that is in the purvapada in place of a word one whose nominal root or parathipadika is such that it declines in all 3 genders denoting the same core meaning and 2 which does not end in the suffix oong ending in the feminine suffix. Such a purvapada in such a purvapada is placed, I mean the sriyapratayanta form in such a purvapada is placed to its nominal root form. So, in place of this sriyapratayanta word is placed its nominal root or parathipadika form. If one the oottarapada is coreferential with it, 2 when it denotes the feminine gender and 3 it does not end in the purana suffix and 4 it does not belong to the group of words which begins with the word priya. This is the meaning of 6334, I repeat. Immediately before anoottarapada that is in the purvapada in place of a word whose nominal root is such that it declines in all 3 genders denoting the same core meaning and 2 which does not end in the suffix oong ending in the feminine suffix is placed its nominal root or parathipadika form. If one the oottarapada is coreferential with it, 2 it denotes the feminine gender, 3 it does not end in the purana suffix and 4 it does not belong to the group of words which begins with the word priya. I repeat, immediately before anoottarapada that is in the purvapada in place of a word whose nominal root or parathipadika is such that it declines in all 3 genders denoting the same core meaning and 2 which does not end in the suffix oong. Anoong in the feminine suffix is placed its nominal root or parathipadika form. If the oottarapada is coreferential with it and it denotes the feminine gender, 3 it does not end in the purana suffix or purani and it does not belong to the group of words which begins with the word priya or purani priya deshu. The sutra can be represented in the form of an equation in this manner. The input is a parathipadika plus sthripratyaya this is one pada plus parathipadika plus sthripratyaya this is the second pada. Now the first sthripratyaya in the first pada is marked with the bold characters and this is where Pumatbhava takes place. The first sthripratyaya is deleted in effect so this first pada goes back to its parathipadika form so we have parathipadika plus zero plus parathipadika plus sthripratyaya this would be the output generated. To explain it further we can say that the first prathipadika is bhashitapumska and there is sthripratyaya which is not oong plus the next prathipadika should be samanadi karana plus sthripratyaya which is not purana and it is not priyadi. When this is the input the output would be bhashitapumska plus zero plus samanadi karana prathipadika with sthripratyaya which is not purana and nor priyadi this is the output. Let us take an example. The meaning to be denoted is one who possesses colored cows chitraha gavaha yasya sahab this is the laukika vigraha. Here we have chitraha and gavaha as words in the same bhakti namely prathama vibhakti and they are interrelated because chitraha is the vishashana of gavaha cows are colored. So, the word chitraha or chitraha does indicate does give us some additional information about the cows. So, now the word chitraha refers to color or colored element or entity. So, this is not exactly referring to a dravya this is referring to a property or guna and therefore this word can be declined in all the three genders and then still this is called bhashitapumska. Right now the word chitraha also ends in sthripratyaya but this sthripratyaya is added to the prathipadika chitraha which is a bhashitapumska word. So, chitraha is purvapada gavaha is uttarpada and this uttarpada is samanadi karana with chitraha and this uttarpada does not have any purana prathyaya or it does not end in the purana prathyaya and it is not part of the priyadi guna. And so having all conditions fulfilled we have chitraha plus jas plus go plus jas as the alaukika vigraha samasa sautnya takes place prathipadika sautnya takes place. So, we delete both the sups. So, we have chitraha plus zero plus go plus zero and then we apply the pomad bhava operation here. So, chitraha is related to go in such a manner which fulfills all the conditions stated in this particular sutraha. And so pomad bhava happens and chitraha goes back to the form of the nominal root to which was added in order to derive chitraha. So, now we have chitraha plus go and then chitraha go is joined together and since this is a bahuvrihi samasa, we have go stryo rupa sarjanasya, a sutraha which shortens the long o and hik rasvadeshe tells us that the rasva of o is oo and therefore we have chitragoo as the finally derived bahuvrihi samasa output. Now we have chitragoo plus soo as the next step of derivation and so we get chitragoo which means go palah, chitragoo go palah, a cowherd who possesses colored cows is chitragoo go palah. Now go palah is masculine and it acts as the head of the compound chitragoo, neither chitra nor go act as the head as is the practice of the bahuvrihi samasa. Here the explanation now is the purvapada is chitra in feminine, this is formed by adding a feminine suffix taap namely a to the pratipatika root form chitra. Chitra means colored is a word whose core meaning is the same, namely the property of being colored when it is used in all three chendas that is a very basic solid fact. Chitra is also an adjective so it can be termed as bhashitapumska also the word chitra does not end in the suffix om which is a feminine suffix. So we see that the conditions for the applications of 6334 on the purvapada are fulfilled and so now the uttara-pada also it is to be checked. The uttara-pada means cow, the word is go, it denotes feminine gender, it is core referential with chitra or colored as both the words are referring to the same set of cows and it does not end in the purana suffix. Neither does it belong to a group of words that begins with the word priya. So all the conditions on the uttara-pada for the application of 6334 are also fulfilled and so now the purvapada chitra infeminine goes back to its pratipatika that is nominal root form namely chitra. This is what is known as the pumvadbhava operation. Let us take another example. This is taken from the vayakarana siddhanta kaumudi especially. Now the word conveys the meaning one who has a beautiful wife. The laukika vigraha would be rupavati bharia yasya sah. Now the laukika vigraha of this laukika vigraha is rupavati plus su plus bharia plus su. Now this is a samasa so it gets the pratipatika saudhnya and then supo dhatup pratipatika yoha applies and deletes both the sups. So we have rupavati plus zero plus bharia plus zero. Now in this case rupavati is the purvapada, bharia is the uttara-pada, the pralahanya belongs to the anyabhadartha which is purushak. Neither of rupavati nor bharia act as the head of this particular compound. Now the next point is that rupavati is a form which denotes feminine gender and this is derived by adding the feminine suffix e to the form rupavati. And then rupavati is denoting a particular quality, rupa that is the quality that it denotes and so it is in Bhashidapum's type of words, group of words. And it is also ending in sthripratya yoh. The uttara-pada is bharia. This is samanadi karanavit rupavati. This is also a sthripratya yoh and this word bharia does not belong to the group of words beginning with prya. And so all the conditions are fulfilled and we get rupavati-bharia as the next step which incorporates the mmbad-bhava done so far. And so we join them together and we get the finally derived compound output namely rupavati-bharia. When we use it in the sentence we add the suffix su and we derive the form rupavad-bharia. The explanation is the following. Here the purupapada is rupavati which is in feminine. This is formed by adding a feminine suffix nhip that is e to the pratipadika or nominal root rupavati. The sutra is okitascha. Now rupavati meaning having beautiful form is a word whose core meaning is the same namely the property of being beautiful when it is used in all three chendas. There is not any change. So it is an adjective. So it can be safely called as bhasita-poomska. And then it is not ending in the suffix om. So the conditions for the applications of 6334 on the purupapada are fulfilled. Now let us look at the uttarbhada. The uttarbhada means wife. The word is bharia. It denotes feminine gender and it is coreferential with rupavati having beautiful form. As both the words are referring to a wife and it does not end in the purana suffix the uttarbhada. Neither does it belong to the group of words that begin with the word priya etc. So all the conditions on the uttarbhada for the application of 6334 are fulfilled and so therefore the purupapada rupavati in feminine goes back to its feminine pratipadika nominal root form namely rupavata. This is what is known as the umbatbhabha. To summarize umbatbhabha is a peculiar operation stated to the purupapada of the Bahubrihi Samasa. It requires both the purupapada as well as the uttarbhada as its conditions. And then what is the necessary condition? The necessary condition is that they both should be denoting the feminine gender as well as the same referent. This is the basic condition for the umbatbhabha to take place. To summarize again in addition there are certain other conditions that the purupapada has to fulfill and we have discussed them just now. And certain other conditions that the uttarbhada has to fulfill and we also noted these. Where all the specific conditions are fulfilled the feminine form in the purupapada goes back to its pratipadika nominal root form. This is what is known as the umbatbhabha. These are the texts referred to. Thank you very much.