 Welcome. I welcome you all to this lecture in the course, Samasa in Panini and Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. In this course, we aim to study the features of three important types of samasas in Sanskrit, namely Avyaibhava, Bhuvavrihi and Dhvandva. So far in this course, we have studied in some detail the Avyaibhava Samasa as well as the Bhuvavrihi Samasa. Now we are focused on the study of the Dhvandva Samasa yet another very important type of samasa in Sanskrit, Dhvandva Samasa. The features of the Dhvandva Samasa can be explained in brief with the help of the following equations stated on the slide. Here we have X and Y in independent square brackets indicating that they are two different to independent entities in terms of the word form as well as meaning as well as accent. And they are semantically related. So the speaker of Sanskrit decides to process and merge them together. And so the process of compounding begins and the resultant output is one unit namely X, Y. This X, Y, 1 unit has got three features. Aika arthya ekasata, aika padya ekapadata and aika swarya ekasvarata. Both X and Y in the generated output X, Y are shown in the bold characters. This indicates that in this output samasa both of them they act as the head of the samasa formally as well as meaning wise semantically. In the avyai bhava samasa X was marked with the bold letters indicating that the first member X was acting as the head of the avyai bhava samasa. In the tadpurusha samasa Y was marked with the bold letters indicating that Y which is the second member of the samasa acts as the head of the samasa. In the bahuvrihi samasa neither of them was marked with the bold letters primarily because the head of the bahuvrihi samasa lies outside of the compound. In the dvandva samasa however the head is very much present within the concrete events rather both of them act as the head. Upaya padartha pradhanahan dvandvaha. Now in the ashtadhyayi the dvandva samasa is treated at various places. So the samasa vidhayaka sutra the sutra which prescribes the samasa lays down the conditions for the compound to take place is 2.2.29 namely charthe dvandvaha. There is only one sutra which prescribes the dvandva samasa in the ashtadhyayi. Also there is only one sutra which prescribes the samasantha pratyayya that is 5.4.106. There are only a few sutras which also deal with the accent related to the dvandva samasa otherwise the by default accent takes place on the dvandva samasa. Then there is a section in 2.4 from 2 onwards up to 16 which talks about the ekavad bhava. A number of sutras state that certain conditions restrict the dvandva samasa to take place in a certain meaning condition either samahara or itaretara yoga only. So there is ekavad bhava that is stated in this particular section. And then in 2.4.26 we have a sutra which also talks about the linga of the dvandva samasa and by default it says that the linga of the last member of the samasa becomes the gender of the samasa. In the previous lecture we studied the samasa vidhyayaka sutra charthe dvandvaha. Now in this present lecture we shall study the samasantha pratyayya vidhyayaka sutra that is 5.4.106. We shall also study a small section that appears in 2.2 which is called padha nirdharana which padha should occupy the initial position in the samasa. This is what is the theme of padha nirdharana. Let us study the samasantha pratyayaka sutra first. 5.4.106 dvandvat chudashahantaat samahare. There are 3 padhas in the sutra dvandvat chudashahantaat samahare. Thus delimiting the application of this sutra to the meaning samahara. There is no specific reference of any samasantha pratyayya to be added in the sense of itaretara yoga. Only in case of the samahara dvandva the samasantha pratyayya touch is to be added and that too at the end of a dvandva vidh with samasa which ends in the number of sounds mentioned in this particular sutra. So the meaning of the sutra is immediately after the dvandva samasa which denotes a collection samahara and which ends in chu. Chu means chavarga that is chha chha chha chha and here as well as the shah and her is added the suffix touch. I repeat immediately after the dvandva samasa which denotes a collection and which ends in chu as well as the shah and her is added the suffix touch. This is the only sutra stating the samasantha pratyayya at the end of the dvandva samasa as we have also stated before. Let us look at the examples. So when we intend to convey the meaning a collection of speech and skin together. So vākca tvakca anayoh samahārāha. When this meaning is to be conveyed then we have the samasantha pratyayya touch applying. Now vākca tvakca anayoh samahārāha is the laukika vigraha. So the laukika vigraha is watch plus soo plus touch plus soo. Samasa saudhna takes place so we add the samasantha pratyayya over here so we have watch plus soo plus touch plus touch. Then we apply the pratyavadika saudhna. So the pratyavadika soo applies and then we delete both the soo pratyayyas. So we have watch plus soo plus touch plus soo plus soo. And then we have vāk plus soo plus touch plus soo plus soo. And then we get the finally derived dvandva samas output namely vāk tvakca. The sutra chokkuha substitutes ka in place of ch. So we get the form vāk tvakca. Now this is the samahārā so this is in napumsakalinga by the sutra sanapumsakam. And so when we add the soo pratyayya after vāk tvakca we substitute this soo by am by the sutra atom. And then we get the form vāk tvakca. Similarly when the intended meaning is a collection of garland and skin. Then sraksha tvakca anayoh samārāha. This is the laukika vigraha and so the samāsha takes place and so the samāsanta pratyayya takes place. And then we get the finally derived dvandva samas output as sraksh tvakca. And because this is samārā so the samāsha is in neuter sanapumsakam. And then we get the form sraksh tvakca plus soo and then so is substituted by am so we get the form sraksh tvakca. This is the finally derived and used dvandva samas in the sentence sraksh tvakca. So that was the example of the word ending in ch which gets the samāsanta pratyayya touch added to it. Let us now look at the example where the dvandva samas is ending in the sound j and when the samāsanta pratyayya is added to it. There is no word no example visible which is where the word ends in ch and is part of the dvandva samas. At least that is not popular. So now we have śrīścha sraksh anayoh samārā. A collection of wealth and garland. This is the meaning to be conveyed. And the laukika vigraha is śrīścha sraksh anayoh samārā. And so we have śrī plus soo plus śraja plus soo as the alaukika vigraha. Samāsa-saudhnyā takes place. So immediately we add the samāsanta pratyayya. So we have śrī plus soo plus śraja plus soo plus touch. Then prakipati ka saudhnyā takes place. And we delete both the soaps by the application of the sutra-supadhātuk prakipati kayoh. So we have śrī plus zero plus śraja plus zero plus alaukika vigraha. And then we join them together and we get the form śrī śraja ending in a. Then this is samārā. So it is in ekavacchana as well as in napumsakha. So we add the soo suffix after it and this soo gets substituted by am. And then we join them together by this sandhirul. And we get the form śrī śrajam as the prathama ekavacchana of śrī śraja. Similarly, when the meaning to be conveyed is a collection of speech and strength. Vākca urkca anayoho samārāha. Vākca urkca anayoho samārāha. This is the laukika vigraha. And then the compound process begins and we follow the same procedure. And we get the finally derived samārā output namely vāgūrja. Where the samāsānta prathaya touch is added at the end of urja. And so we get the form vāgūrja. And because this is samārā, it denotes the neuter gender. And so the soo prathaya added after it is substituted to am. And so we get the form vāgūrjam. Now let us look at the example where the dvandva samāsā ends in the. And the samāsānta prathaya is added. So when the meaning to be conveyed is a collection of wealth and calamity. The laukika vigraha is sampacca vipacca anayoho samārāha. Sampacca vipacca anayoho samārāha. So we get the laukika vigraha namely sampada plus soo plus vipada plus soo. Samāsāsāsādhnyā takes place. So we add the samāsānta prathaya and we get sampada plus soo plus vipada plus soo plus touch. Then we apply the prāthipatika sādhnyā. So then we apply suphodhātup prāthipatika yoho and soaps get deleted. So we have sampada plus zero plus vipada plus zero plus ur. And then when we join them together we get the form sampada vipada ending in ur. Since this is a samahara by the sutra sanapumsakam the samahara dvandva denotes neutral gender and is in singular number. So we have the prathaya soo added to it sampada vipada plus soo. And this soo now will be substituted by am and so we have sampada vipada plus am. And then we do the sandhi and get the form sampada vipada am. Similarly, then the meaning to be conveyed is a collection of firewood and stone. Samidhicha dhrushadhicha anayoha samahara ha. This is the laukika vigraha and by doing the same process by adding the samasanta prathaya touch over here we get the form samidh drushadha as the finally derived dvandva samasa output ending in short ur. And because it is samahara it denotes the neutral gender by the sutra sanapumsakam and also ekavachana and then we get the form samidh drushadham which is used in the actual sentence. So we have seen examples where the dvandva samasa ends in chh, jh and the. Let us now see an example where the dvandva samasa ends in chh. So when the meaning to be conveyed is a collection of speech and spark. Vak chh viprit chh anayoha samahara ha. And so we have vak plus soo plus viprush plus soo as the laukika vigraha. Now the samasa saudhnya takes place so we add the samasanta prathaya touch over here. So we have vak plus soo plus viprush plus soo plus touch in. Then the prakibidhika saudhnya takes place so we delete both the suprathayas. So we have vak plus zero plus viprush plus zero plus ur. And when we join them together we get the form vak viprusha ending in ur. Now because this is a samahara we note that by the sutra sanapumsakam the samahara dvandva denotes neuter gender and also singular number. So we add the prathama ekavachana suprathaya after vag viprusha which gets substituted by am. And the resultant prathama ekavachana would be vag viprusham which is used in the sentence. Vag viprusham. Similarly now the example where the dvandva samasa ends in her and gets the samasanta prathaya touch added to it. So when the meaning to be conveyed is a collection of umbrella and shoe. Chaturamcha upanaccha anayoho samaharaha. So we have chhatra plus su plus upanaha plus su as the alaukika vigraha. So samasa saudnaya takes place. So we add the samasanta prathaya touch over here. Chhatra plus su plus upanaha plus su plus touchu. And then the prathipadika saudnaya takes place. So supadhata prathipadika yoho takes place. And so we delete both the subs. So we have chhatra plus zero plus upanaha plus zero plus a. When we join them together we get the form chhatra upanaha. And then we add the su prathaya after it which gets substituted by am. So we get the form chhatra upanaham after having performed the sandhi operations. These are various examples of the samasanta prathaya vidhaya kasutra dvandvat chudasahantaat samaharae. Now let us study an important section related to the dvandva samasa namely the padda nirdharana section which is part of 2.2 in the ashtadhyay padda nirdharana. What is the reason for this particular section to come into being? Since the process of formation of the dvandva samasa involves the sutra 2.229 that is charthe dvandvaha in which the word anekam is continued from 2.224. All words eligible to be compounded are mentioned in the first triplet for it to be termed as opasar janah by the sutra prathama nirudhistham samasa opasar janam. Thereby leaving the choice of the initial member of the dvandva compound unsettled. That is the reason and so opasar janam purvam cannot apply over here because there is no explicit mention of any one of the words to be termed as opasar janah. All words are termed opasar janah so all words are eligible to become the first member of the samasa and that is the reason why this section is needed which lays down certain criteria and says that because of these criteria such words occupy the initial position in the dvandva samasa. Let us study these sutras one by one. First let us study 2.2.31. This was opasar janam purvam mentioned on the previous slide which says that the opasar janah occupies the initial position of the samasa. Now let us study 2.2.32 which is dvandve gi. This sutra means that in the dvandva samasa that word termed gi occupies the initial position of the compound. I repeat in the dvandva samasa the word termed gi occupies the initial position of the samasa. What is gi? Now gi is defined in the ashtadhyayi 147 as sesho gi asakhi. That is all words ending in short e and o which are not denoting feminity except the word sakhi and all the words which denote feminity which are not termed nadi they are all called gi. For example agni, vayu, mati and dhenu. So agni and vayu they are words ending in short e and o respectively and they do not denote feminity and those words mati and dhenu they are the one denoting the feminine gender but they are not termed nadi optionally. So they also optionally are called gi. So here is an example patu guptau and vrdu guptau the terms which are termed as gi are marked in green. So there are two constituents patu and guptau amongst them patu is gi and we have no choice as to which one we have no guideline as to which of these two padas should occupy the initial position by the samasa vidhayaka sutra. So now dvandve gi tells us that in the dvandva samasa the word which is gi occupies the initial position of the samasa. Patu happens to be a gi saudnekashap. The mrdu happens to be gi and therefore it occupies the initial position. Now this sutra states only who will occupy the initial position and not who will occupy the second position. So even if another word termed gi is a constituent its position in the compound will vary. For example if you have the samasa patu mrdu shuklaha there are two words that are termed gi patu and mrdu which are part of this samasa patu and mrdu. So what happens in this case? So the answer provided is that the second member can change its own position. Once patu forms the initial position then mrdu can appear immediately after it or it can also appear at the end. There is nothing said about the second word which is termed gi and its position. Let us go to the next sutra 2233 which is ajad yadantam. What it means is that in the dvandva samasa the word which begins with a vowel and ends in short a occupies the initial position of the samasa. So we have an example ushtrakharam. Ushtrakharam has got two constituents ushtra and khara and both have two vowels. Now ushtra begins with a vowel and ends in short a, khara begins with kh and ends in short a. Now this sutra ajad yadantam says that amongst the constituents the one which begins with a vowel and ends in a short a vowel occupies the initial position and that is why ushtra occupies the initial position. Now what happens if amongst the constituents there are more than one which begins in a vowel and ends in short a. What will we do then? Then they both will occupy or all will occupy the initial position in the compound turn by turn. There will be those many output forms of that compound. So we have the statement bahushu aniyamaha and the samasa is ashvarathendraha. Here we have two ashvar as well as indra words which begin with vowels and end in short a. Now either we have ashvarathendraha where ashvar occupies the initial position or indra rathashvaha same constituents order changed and indra occupying the initial position of the samasa. The next statement compares two to 32 and 33 and says that the dvandvegyantat ajad yadantam purva vipratishedhena. What if in a dvandva samasa one of the constituents is ajad yadant beginning with a vowel and ending in short a and the other one is ghisavadnyaka. Then what do we do? And the answer given is because of the purva vipratishedhena the ajad yadant will prevail and will occupy the initial position of the samasa. So the statement means in the dvandva samasa the word which begins with a vowel and ends in short a occupies the initial position of the compound by negating the eligibility of ghi on account of this being ruled stated later. So if the constituents are indra and agni, agni is ghi, indra is ajad yadant and so it occupies the initial position. So we have the samasa indra agni and indra vayu. Let us proceed further and study 2.2.34. This is alpach taram. This means that in the dvandva samasa the word which possesses lesser vowels occupies the initial position of the compound. Very simple. So we have the samasa plaksha nyagrodhav in which plaksha has 2 vowels, nyagrodhav has got 3. So obviously plaksha occupies the initial position. Similarly dhava khadira palashaha, dhava has only 2 as against 3 in khadira and palashah. So dhava occupies the initial position. Bahushu aniyamaha. If there are more than one alpach taram vowels words then there is no restriction. So we have sankha dundubhi vena advandva samasa in which sankha and vena both have 2 vowels as against dundubhi which has got 3. So now either sankha or vena both of them can occupy the initial position as shown on the slide. Sankha dundubhi vena or vena sankha dundubhaya. The next statement is rutunakshatranam anupur vena samanaksharanam purvanipato vaktavyaha. This means that in dvandva samasa amongst the words denoting the seasons as well as constellations and which have similar number of vowels, similar number of letters, the initial position of the compound is occupied by the sequential order. As far as the rutu or the seasons are concerned we have hemanta sheshera vasanta. This is the order because in this order the seasons appear first hemanta then sheshera and then comes vasanta. All the 3 constituents of this particular samasa have similar number of vowels namely 3 and therefore here we don't apply any other criteria and we simply accept the fact that the order in which these seasons appear determines the order in which they will appear in the dvandva samasa. Similarly chitrasvati they both have 2 vowels, 2 aksharas, krttikarohini they have 3 each. So they are attached in the order in which they appear. We cannot have grishma vasanta because vasanta and grishma they are not in that particular order. Then comes vasanta and then comes grishma. Next we have laghaksarampurvam nipatati meaning in a dvandva samasa the letter which has a short vowel occupies the initial position of the compound. So we have the examples kushakasham and sharashadam where kusha and kasha are the 2 constituents having similar number of vowels and letters too respectively. But kusha begins with a short vowel u as against kasha which begins with a long vowel a and therefore kusha occupies the initial position of the samasa. Same is the case with sharashadam. The next statement is abhairhitamcha purvam nipatati. The meaning is in dvandva samasa the word denoting what is more worshipped abhairhitam occupies the initial position of the compound. For example mata pitaroh. So mata is abhairhitam and therefore it occupies the initial position of the samasa. Same is the case with shraddhamede and diksha tapasi. The next statement is varnanam anupurvena purvani patah. In dvandva samasa the 4 classes appear in their sequence. Brahmanakshatriya vitsudraha. Similarly brhatushchad jayasa ha purvani patah. This statement says that in dvandva samasa the elder brother occupies the initial position of the samasa. So yudhishthira arjuna. So yudhishthira is the first constituent. Arjuna is the second constituent. Even though Arjuna contains 3 vowels yudhishthira has got 4. So Arjuna is alpachhtira still because yudhishthira is the name of the elder brother. So it occupies the initial position in the samasa. Similarly sankhyayaha alpiyasya ha. What it means is in dvandva samasa the smaller number occupies the initial position. So we have dvitraha 2 or 3, trichaturaha 3 or 4, navatishatam 90 or 100. The smaller number occupies the initial position. Then we have a statement which says that there is a list of words which at the beginning of which comes dharma, di. And in this there is a niyama. Both members can occupy the initial position in the samasa. Both members can occupy the initial position in the samasa. For example when dharma and artha are the 2 constituents of the dvandva samasa we can either have dharma artha as the samasa or artha dharma as the variant. Similarly shabda artha and artha shabda. Kaama artha and artha kaama. Kesashmasru and shmasru kesha. Sarpir madhuni and madhusarpishi. Adyanta and antadi. Vrdhiguna and gunavrdhi. There is an interesting statement over here which says that jaya shabdasya jambhavo dambhavascha nipatya te. Jaya means wife and pati means husband. So when there is a dvandva samasa of husband and wife, jaya is substituted by jam as well as tam. So we have the words bharyapati, jaya pati. Now jaya is substituted by jam and dham. So we have the forms jampati as well as dampati which come in that particular order. To summarize the dvandva samasa presents an example where the order of words remains unsettled in many cases. Also there is only one sutra stating the end of the compound suffix in case of the dvandva samasa. The dvandva samasa denoting the samahara or collection is in neuter gender. The number and the gender of the dvandva samasa denoting itaretara yoga is determined by the number of the constituent events and the gender of the last member of the compound. Paravalingam dvandvatat purushayoh. We continue studying the dvandva samasa especially ekavad bhava in the next lectures. These are the references. Thank you very much.