 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. And this is the first course. We begin the lecture with the recitation of the Mangala Charana. We have been studying the rules of compounding in Paninian Grammar. After having studied the basic theoretical explanations of the process of compounding, we noted down the sequence in which the derivation of compound happens in the Paninian system. We also noted the rules that trigger certain operations one after another in a particular sequence. We say that semantic conditioning is at the base where Samarthya is needed for the process of compounding to begin. Then we say that the name of the entire process namely Samasa is stated. Then we studied the necessary condition for the process of compounding namely Sahasupa. We also said that this Sutra Sahasupa is interpreted by the later Paninian Grammatical Tradition in a very generic manner to mean and also to account for any Subanta being interrelated to any other Subanta and getting compounded. We then noted down the stage where the Allavkika Vigraha takes place and the Samasa Sadhna happens after which the Sup is deleted by the Sutra Supadhatup Pratipadika Yoho. Before that we also noted that the Purva-Pada-Nirdharana also happens. After the Purva-Pada-Nirdharana there is also the Samasanta Prathya. Now after the deletion of the Sups we then do the morphological operations on the Purva-Pada, some phonological operations also and then we also saw some other Varana Karyas like Shatva and Natva and Sandhi and then also what remains is the Swara Karya, the accent and this is what we will be dealing in this particular lecture. We have stated this in detail in the earlier course namely Introduction to Paninian Grammar. We said that compositionality functions at three levels in Sanskrit and Paninian Grammar namely Artha, Shabdha and Swara. The compositionality at all these three levels has a one to one correspondence with each other Artha to Shabdha and Shabdha to Swara. One unit of Artha corresponds with one unit of Shabdha and also one unit of Swara. Division of Artha in that one unit corresponds to the division in Shabdha and also the Swara. So if we have Vakya Swara, Vakya Swara 1 then it is composed of Padaswara 1 plus Padaswara 2 and Padaswara 3. This Padaswara 1 is composed of Prakriti Swara 1 plus Prathya Swara 1. Padaswara 2 is composed of Prakriti Swara 2 and Prathya Swara 2 and Padaswara 3 is composed of Prakriti Swara 3 and Prathya Swara 3. Now the Padaswara is composed of Prakriti Swara and Prathya Swara and the plus sign over here is shown in blue colors to distinguish it with the plus sign that is put in between these brackets of Padaswaras. So this plus sign says that Prakriti Swara and Prathya Swara they both get merged together and there is one Padaswara that emerges. That is the implication of this plus sign. Similarly the Padaswaras once they are at the level of the output from the Prakriti Swara and Prathya Swara they come into contact with each other and then there is something else that is brought about. So Padaswara 1 plus 2 and plus 3 this brings about the Vakya Swara and this plus sign which is put in red indicates this additional action that happens only at the sentence level when there is a combination of Padaswaras this additional action cannot be ascribed to any of the Padas. It is ascribed to the combination of Padas namely the Vakyas and therefore such a Swara is ascribed as the Vakya Swara. So if we have these six sentences Gramam Gacchati Ramaha, Shalaam Gacchati Ramaha, Gramam Gacchati Mohanaha, Shalaam Gacchati Mohanaha, Shalaam Paschati Ramaha and Gramam Paschati Mohanaha. In these sentences we notice that there are some accent marks and Gramam has got the initial Udatta therefore this Anodatta becomes Swarita there is no mark in Gacchati and Ramaha is Udatta at the end so this Anodatta is shown as Anodatta. Now Gramam Gacchati Ramaha has got a peculiar accent if we split Gramam Gacchati and Ramaha we shall get separate accents of each individual words. Let us see what those accents are. So the Prakriti Pratyaswaras amongst all these words are the following Gramam is Adyudatta, Gramam is Accented, Ramam is finally Accented, Shalaam is Adyudatta and Mohanaha is Anodatta, Dhrusha is Accented, Am which is a Pratyaya which is not Accented or which is also a Pratyaya in Gacchati is not Accented, Ti is also not Accented, Su is not eligible for getting any accent because there is no vowel that is visible in the form. Now when we join the Prakriti and Pratyaya together that is Gramam plus Am we get Gramam. Now Gramam has got initial Udatta in this form, Am has got Anodatta. Now this Anodatta and this Anodatta there is Amipurbaha the Purva Rupa Sandhi so Anodatta plus Anodatta is resultant Anodatta. So this U is Anodatta which follows this Udatta therefore this becomes a Swarita. Now this Gramam is Udatta, this U is Anodatta, this Ti is Anodatta. Obviously this retains the accent so in Gacchati we have G as Udatta and because this is Anodatta which comes immediately after the Udatta this becomes a Swarita and this Anodatta remains without any mark. So we have Gacchati of this form. Ramaha is finally Accented, in Shalaam once again the same process happens and Shalaam remains initially Accented. Mohanaha also is finally Accented and Paschati is also initially Accented and therefore Paschati also has got the same Accent as we have it in Gacchati. So these are the Padha Accents composed out of the Prakriti and Pratyaja. So as you notice this is the Prakriti, this is the Pratyaja. Prakriti has got an Accent, Pratyaja has got an Accent. When they are joined together there is one Accent for both of them. Here there are three constituents. So each one of them has got one Accent and when they are joined together and they are made up in one unit there is only one Accent. Similar is the case with all other elements. Now when we join those elements in the form of a sentence this is what we get. So Gramam is initially Accented, Gacchati is also initially Accented and Ramaha is finally Accented. So now if we write Gramam Gacchati Ramaha this is how it will be however written. So now what happens over here is that the Padha Accents are of a particular kind but when they get joined in the form of a sentence like Gramam, Gacchati and Ramaha. Now this is a sentence. Here the word Gacchati comes immediately after Gramam and therefore now as a Sentential Accent as a Vakya Swara because this Gacchati comes immediately after a Subanta. So the Pandinyan Sutra Tinga Tinga Haap lies, Atingantatparam Tingantam Nihanyate and all the wobbles become unaccented which are shown here. So Gramam Gacchati Ramaha it will be of this kind this is the Sentential Accent. But if we write Gacchati in the initial position then we can retain the Padha Accent of Gacchati in this particular form Gacchati, Gramam and Ramaha this will be the Accent then or Gacchati Ramaha or Gramam this will be the Sentential Accent then. The point is that the Padha Accents are of a particular kind they come from the adjoining of the Prakriti and Praktyaya Accents. However when we join the Padhas there is another additional Sentential Swara, Vakya Swara that takes place and as a result in the first case we have Gacchati without any Udatta. Whereas in the Padha Accent Gacchati is initially accented. So this is the Vakya Swara. After having explained what is a Vakya Swara and what is the Swara Karya, let us now study the significance of Swara Karya in Samasa. In Panimian Grammar such compositionality also works in the process of compounding. Accents of Constituents are taken into account and in the process of merging only one of them is retained as the Accent of the newly merged or formed unit. There are two units minimum and each one will have its own Accent but when they merge together there will be and there has to be only one Accent. The question is which one of them and then that is an additional Accent that is part of the process of compounding. By default Accent of the Semantic Head should be retained but this is followed loosely in the usage of Sanskrit. There are several exceptions where the Semantic Non-Head also retains the Accent and we shall study this aspect in brief later on in the course. So we have a Sutra Samasasya 61-223 the final Sutra of 61 and this continues in the entire 62 which consists of 199 Sutras. What Samasasya means is that the final wobble in the compound is Accented. This is over and above the Accent of the Constituents of the compound as we shall see in the example of Raja Purusha. So Samasasya is the by default rule. This is also an Adhikara Sutra which governs the entire 6.2 which means that the Accent on compounds is stated in 6.2. Here is an example. So we have Radhnya Purusha Gacchati. So the word Radhnya has got an initial Accent. The word Purusha has got also an initial Accent. So now because this is a sentence and Radhnya has got Ra Udat and this as Anodat and this should be then shown as Swarita as is shown here but because this Pu is Udat so this Anodat is shown as Anodat and then this Anodat U is shown as Swarita. This is Anodat but it is shown without any sign because it does not follow, it does not precede any Udat. This Gacchati which is a Tinganta form which comes immediately after a Soap. So Tinga Tingaha applies and there is no Accent at all on Gacchati. So we have Radhnya Purusha Gacchati with these Accents and if we write the Alau Kika Vigraha because Radhnya and Purusha are semantically related and the speaker intends to combine them together in the form of a compound. So we write the Alau Kika Vigraha of this kind Radhnya Purusha Gacchati. Now we write Radhnya with Nya as Swarita and Purusha of this kind and Gacchati with all the Anodatas. Now we write Rajan plus Ghas plus Purusha plus Su in the Prakriti Pratyaya format where we show Rajan as Adyudatta and Purusha also as Adyudatta. Now we precede and delete the Swaps. Rajan plus Ghas, Purusha plus Su, so far deleted. So we have Rajan plus Zero plus Purusha plus Zero. So these Zeros they are counted in a manner and then we have Rajan and Purusha. Now this Nya also gets deleted and so we have Rajan and Purusha. Now we have Ra Udatta and Pu Udatta, two Udattas. Since this is a Tattpurusha compound, generally the semantic head is the Uttarapada. So generally the Uttarapada would retain the accent that means this Pu would retain its Udatta and this Udatta will lose its status of an Udatta. However this does not happen and we see that overriding all these Udattas, Samasasya plays an important role and over here in the compound Rajapurusha we see that the final vowel is accented. So Rajapurusha is finally accented followed by Su and then we get Rajapurusha or Gatshati part of the sentence where Rajapurusha is finally accented and Gatshati is also non accented and in the last stage it is shown as having no mark of an accent. So this is how the Svarakarya functions in the Samasasya and the overriding accent which is the accent of the Samasasya which takes place which is also quite similar with what happens in the sentence. In the Bahuvrihi however by default the Purva-pada retains its accent. The Sutra is Bahuvriho Prakritya Purva-padam 6 to 1. The meaning is in the Bahuvrihi compound the Purva-pada retains its original accent or earlier accent. In the Bahuvrihi compound the accent of the Purva-pada is retained as the accent of the newly formed Bahuvrihi compound that is the meaning. So here we have the meaning one who loves the world Priyam-Vishpam-Yasya-Saha written without accents over here and with accents over here where pre is accented and V is accented. Now the Alavkika-Vigraha is Priyasu-Vishvasu and so Prathipadika-Saudhneya happens and so now the Supas are deleted by 2471. So we have Priya and Vishva where both the padas have initial accents but now when they get merged together then obviously one of them will have to lose its status and it is this Uttarapada which loses its Udattah and it is this Purva-pada which retains its Udattah so we get Priya-Vishpa with the initial Udattah. So to summarize the accent is a very important feature noted down by Paniniyandramar on my new parts of speech. The accent compositionality corresponds with that of the meaning and the word form. The newly derived compound form gets one accent. This is one of the constituent accent in many cases but in many other cases it is something new overriding the constituent accents indicating the non compositional nature of the compound which is something similar to what the Vakya is according to the Grammarians. Given xax plus yay as the accent input where ax is the accent on x and ay is the accent on y the outputs could be described as xyax or xyay or xyaz where z is completely different out of x and y. So xyax means accent of x retained, xyay means accent of y retained and xyz means both the accents of x and y are not applicable and something else is stated by the sutra. These are the texts referred to in order to explain the Swarh Karya in this particular lecture. Thank you very much for your patience.