 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar. This is the first part of the course. We begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharti Sanjariharthi Leelaya Vishvesham Satchitanandam Vandeham Yokhilan Jagat Charikarthi Bari Bharti Sanjariharthi Leelaya So far, we have studied some key theoretical positions, some basic tenets of the theory of compounding as stated in the Grammar of Samskrit written by Panini in his Paninian Grammar and the Paninian Grammatical Tradition. In the course, we have studied several basic terms. We studied what is Samartha. We also then went in deep into the two types of Samartha, namely Ekarthi Bhava and Vapeksha. We studied the passages collected from the great Vyakarana Mahabhasya of the great Patanjali in which the distinction between the Ekarthi Bhava and Vapeksha is clearly stated. We also stated the relationship between the Vapeksha and the Ekarthi Bhava. We also studied that there are three features of Ekarthi Bhava, three features of Samasa, Aikapadya, Aikarthya and Aikasvarya. We also figured out the sequence between these three where the Aikarthya occupied the initial position in accordance with the process of speech production described in the Paninian Grammatical Tradition. Then we also studied the concept of a Samartha Samasa. Before that, we also took note of the terms Vritti and Vararthe. Thus, on the whole we have been studying these basic terms, the basic theories on the basis of which the process of compounding takes place and the compound output is generated. We have taken a very broad view and then we have based the positions taken by the Sanskrit Grammatical Tradition in that broad view and we have noticed that there are certain areas which the speakers of Sanskrit have not considered making them to be the conditions for making the compounds and that remains open and therefore the Sanskrit Grammatical Tradition did not pay attention and did not also get a chance to formulate a rule to account for such linguistic usages. In the course of time, however, when we see modern languages having different kinds of usages in this regard, we can still take help of these basic insights and the basic theoretical framework proposed in the Paninian Grammatical Tradition to account for these modern usages. In this lecture, we shall study some more basic terms and some more basic processes. First, we shall study the terms Nithya Samasa and Anithya Samasa also known as Vaikalpika Samasa. These are the terms often used and the word Nithya and Samasa are used by Panini himself in his Grammar Ashta Dhyayi in the Sutras and so certain samasas are termed as Nithya Samasa and certain others are considered as Anithya Samasa or Vaikalpika Samasa. Let us try to understand what Nithya Samasa stands for and what Anithya Samasa stands for. Nithya Samasa is explained in two ways. The first one is Avigraha, Nithya Samasa. Nithya Samasa is that one which cannot be dissolved, which means that the meaning that is conveyed, which means that the meaning that is conveyed by the samasa cannot be conveyed by the constituents being separate or independent in the form of a sentence. This goes directly against the very basic principles that we have been studying, Samahartha for example, but that is the reason why these types of samasas they are treated in this particular manner because in the usage we do find such words whose compounding does convey an additional meaning over and above the meaning of the constituents and we need to account for such forms. An Indian Grammar has called them Nithya Samasa. Only Samasa is the one that conveys that particular meaning and not the dissolution. So Avigraha, Nithya Samasa. The second explanation of Nithya Samasa is Asvapada Vigraha, Asvapada Vigraha, Nithya Samasa, which means which cannot be dissolved with the same constituents visible or audible in the final output. The final output is the compound output and we start the process with the constituents. Now we cannot dissolve the compound using the same constituents that are available to us in the final output. Either there has to be some addition or there has to be some modification within the constituents and that is why it is called Asvapada Vigraha. Let us study what is Avigraha, Nithya Samasa and let us take an example. This is a Samasa which cannot be dissolved, which is very strange and which is exceptional. Each and every Samasa is dissolvable and is dissolved in terms of sentence. So Samasa falls back on the sentence. Samasa comes from the sentence and Samasa is embedded within a sentence. But this kind of Samasa is such that it cannot be dissolved. What it means is that the meaning that is denoted only by the Samasa and the underlying structure does not denote that meaning which is denoted by the Samasa, which is the meaning that is additional to the meaning of the constituents. The constituents would convey some meaning and the addition of those meanings would amount to some basic meaning of the compound. But there is something additional which is not part of any of the constituents and that is what is conveyed by the Samasa and that is why that additional meaning cannot be ascribed to any of the constituents and if we are not able to do that, it is not possible to dissolve this compound without accounting for this additional meaning. This is the reasoning why such a Samasa cannot be dissolved. Such Samasas are very exceptional and they are primarily of the nature of the technical terms and also some pragmatic meanings like kshepa, the one which Panini is going to use quite often. Kshepa is sensure and when sensure is an additional meaning, you cannot assign sensure to any of the constituents and that is the reason why you declare that this Samasa cannot be dissolved. So there are names like Uddalaga Pushpa Bhanjika and Varana Pushpa Prachayika. These are the names of some of the games. These are the compounds that are accounted for by the sutra Nityan Krida Jeevika Yoho. So Uddalaga Pushpa Bhanjika, this is the name of a Krida, a play. So it does convey some additional meaning, namely the play and it is not just the Bhanjana or Bhanjika of the flowers of Uddalaga. The constituents are not capable of expressing the entire meaning, the compound expresses and that is why the grammatical theory considers not dissolving this particular compound and saying that the entire meaning together with the additional meaning is what is conveyed by this entire one unit, Uddalaga Pushpa Bhanjika. The same is true about Varana Pushpa Prachayika and then we have meanings like censure or shape which are denoted by indirect references. So there is Kakapeya Nadi, a compound which is generated in the additional sense of the Adhika Artha. This could be Ninda or this could also be Stati. When it is Ninda, what it means is a river with water only fit to be consumed by a crow. So when you say Kakapeya Nadi, you are not just describing a river but you are also adding a sense of censure that this is not a real river because it does not contain any water bed, it does not contain water. It contains only that much water which can satisfy a crow. That means there is no water absolutely. So this is the censure and neither Kaka nor Peya denotes this particular additional meaning but the compound as a whole denotes. If you separate the constituents and say Kakapeya Nadi, this would not convey the same idea of the censure which is conveyed by the compound Kakapeya Nadi. So the censure is the meaning of this compound which is over and above the meaning of the constituents and so the grammatical theory considers the dissolution of such compounds as not possible. So one are names of games and two denotes censure by saying that the river is so small that it can satisfy only a crow with very little water. This censure is denoted only by a samasam. This is a specific, special purpose served by samasa and that is the reason why such samasas are called nitya samasas because their vigraha is not possible, is not done. Now we go to the nitya samasa which is called asvapada vigraha. Asvapada vigraha means which cannot be dissolved with the same constituents visible in the final output and there are two types of this. The dissolution involves modified words and two the dissolution involves additional words. The compound cannot be dissolved using the same constituents visible in the finally generated output form. Let us take the first example where the dissolution involves modified words. This is asvapada vigraha nitya samasa. For example we have kumbhakara which means a potter, which means one who makes a pot. Now kumbhakara consists of two constituents kumbha and kara but when we dissolve this compound we cannot say kumbhakara or kumbhasya kara. This is not possible. We have to say kumbham karoti iti kumbhakara. So kara in the compound assumes the modified shape karoti in the dissolution and that is the reason why this is termed as an example of upapada samasa which is nitya samasa of this kind asvapada vigraha. Similarly we have grihastha a household that is one who resides in a house or jalada a cloud one who gives water or bhupa a king one who protects the earth. All these four examples they are the examples of the upapada samasa which is termed as nitya samasa primarily because in grihastha you cannot dissolve the compound using the same constituents as you do in rajapurusha. You cannot say grihasya sthaha. You cannot say jalasya daha. You cannot say bhuvahapaha. This is not possible. You cannot say griha tishthati. So stha is taking the shape of tishtha. Jalam dadati. Bhuvampati. So there are different forms than the ones which are visible or audible in the compound which are part of the dissolution and that is why this is asvapada vigraha nitya samasa. So kumbhakara cannot be dissolved as kumbhasya kara. Grihastha cannot be dissolved as grihasya sthaha. Jalada cannot be dissolved as jalasya daha. Bhupa cannot be dissolved as bhuvahapaha. The dissolution involves modified words. So kumbhakara is dissolved as kumbham karoti. Grihastha is dissolved as griha tishthati. Jalada is dissolved as jalam dadati. And bhupa is dissolved as bhuvampati. So kara and karoti, stha and tishthati, dha and dadati, pa and pati, there is obviously a change in the shape of the form. So the dissolution involves modified words and not the same words which are actually part of the output in the form of a compound. Then the other examples of asvapada vigraha are the dissolution involving modified words are these pratidinam, anurupam and yathashakti. So pratidinam means every day, anurupam means fitting to the form and yathashakti means in accordance with the strength. In these examples pratidinam cannot be dissolved as prati and dinam. Anurupam cannot be dissolved as anu and rupam. Yathashakti cannot be dissolved as yatha and shakti. What we mean is these compounds cannot be dissolved using the constituents in the given form in which they appear in the final output. So prati needs to be put in a different way. It needs to be expressed in a different manner and so on. And that is the reason why this is called asvapada vigraha nityasam asu. The dissolution of these compounds are the following. So pratidinam is dissolved as dine dine, anurupam as rupasya yogyam, yathashakti as shaktim anatikramya. So instead of prati, anu and yatha occupying any position in the dissolution, we see different words dine yogyam, anatikramya in the dissolution. And it is these modified words which are replaced by the words that are found in the final output for a common perception. So pratidinam, anurupam and yathashakti are therefore called asvapada vigraha nityasamasas. When we have the dissolution involving additional words, that also is called asvapada vigraha. Here are the examples. Gajanana, ekadanta and lambodara. Gajanana, ekadanta and lambodara. All these three words refer to Lord Ganesha. The meaning of the words are, gajanana means one who has a face of elephant. Ekadanta means one who has one tooth. Lambodara means one who has big belly. Now gajanana has got constituents gaj and anana. Ekadanta has got constituents eka and danta. Lambodara has got constituents lamba and udara. None of them refers to Lord Ganesha. So gajanana cannot be dissolved as gajasyanana. Ekadanta cannot be dissolved as ekahadanta. And lambodara cannot be dissolved as lambam udaram. So we need to take additional words in order to dissolve these compounds. So gajanana is, in fact, dissolved as gajasyananam eva ananam yasya saham. So this eva ananam yasya and saham, these are the words which are additional, which are used to dissolve the compound without which the meaning of the compound will not be adequately conveyed. Similarly, ekahadanta yasya saham. So the words yasya saham are additionally used. Lambam udaram yasya saham. Once again yasya saham are the two words additionally used, which complete the meaning. But they are not part of the final output. The final output consists of only lamba and udara, ekah and danta, gajanana. And the remaining words are not part of the final compound output. And that is the reason why this is called asvapadha pigraha. Now we note that in the case of these compounds, these additional words yasya saham, etc., these indicate the head, which is outside of the compound. This is the peculiarity of these types of compounds, also known as bahubrihi type of compounds. So in bahubrihi, the head remains out of the constituents of the compound, a very peculiar kind of compound, bahubrihi. So after having studied the explanations of nitya samasa, namely avigraha and asvapada vigraha, let us study which are the nitya samasa. Avyaibhava is mainly nitya samasa. Just as we have anurupam and kirtashakti and so on and so forth, all the avyaibhavas, almost all, there are of course some exceptions, but otherwise almost all avyaibhava samasas, they fall under this particular category. Bahubrihi as well as dvandhava also fall under the category of nitya samasa. Similarly, within the tattpurushas, we have upapada tattpurusha, gati tattpurusha, pradi tattpurusha and nay tattpurusha, which can be considered as nitya samasa. We shall be studying upapada, gati, pradi and nay tattpurushas in this particular course. And we shall be studying avyaibhava, bahubrihi and dvandhava in the second part of the course, the second course. Except avyaibhava, all other types of nitya samasa, namely bahubrihi and dvandhava, they are stated in the adhikara nityam in the ashtadhyayi 226. Whereas most of the avyaibhava is stated before the adhikara vibhasha 2111 and vibhasha means optionally. So most of the statements stating the avyaibhava compound, they are not given by the term optionally and therefore they are also considered to be the nitya samasas. Now what is a nitya samasa? What is a vikalpika samasa? The vikalpika samasa in contrast can be said to be one that its dissolution is always done with the swapadas. So swapada vigraha vikalpika or vigraha which can be dissolved. So dissolution is done and is done with the help of the constituents visible in the final output of the compound. This is called vikalpika samasa. What it means is that meanings can be denoted by both a compound formation as well as the underlying sentence and they both convey the same meaning samartha and that is the feature of the vikalpika samasa. This vikalpika samasa is governed by the adhikara vibhasha optionally from 2111 up to 2216. The examples of nitya samasa are vibhaktitapurusha as well as karmadharaya and we shall be studying both these types in this particular course in the later part. To summarize, nitya samasa are peculiar types of samasa. They indicate peculiar speech habits of speakers of the language. They do have the underlying constituent sentence structure. There is no doubt about it. But the process of compounding is used by the speakers for specific additional meaning elements to be denoted by the compounds alone and not by the underlying constituent sentence structure and not by any ordinary sentence. The by default procedure of deriving a compound remains the same. The sentence structure is the input and the samasa is the output which is a pratipadika or a nominal root. The samasa is always contrasted or compared with or explained by the underlying sentence structure. That is what its base is, namely the arthakasha. Now we shall study the procedure to derive the compound in the next lecture. These are the references, the traditional sources on which we base our explanation. Thank you very much.