 Welcome, I welcome you all to this lecture in the course Introduction to Paninian Grammar. In this lecture we continue studying the concept of compositionality and how it works as far as the Paninian grammar is concerned. We have said that as far as the speech that is produced as per the description of the Paninian Shiksha which we studied earlier. This speech is one indivisible unit as far as the process of communication is concerned. It is the grammarians who by applying the methodology of Anvaya and Vethirika as also described and also studied by us described by the Vyakarnamahabhashya of Patanjali how the components of this one indivisible speech are carved out and are stored. We also studied how these components can further be segregated into its own components by applying the same technique of Anvaya and Vethirika as described in the Vyakarnamahabhashya which we have studied before. So, we also stated that this concept of compositionality exists in the Paninian grammatical tradition at 3 levels namely the meaning level, the artha level, the word level, the shabda level and also the accent level namely the swara level. We have studied how this principle works as far as the artha level is concerned and also the shabda level is concerned. We also said that both these artha and shabda levels they correspond with each other. The corresponding components at the meaning level in the artha level correspond with the components figured out in the shabda level. We also said that it is this meaning level which is considered as the cause and shabda is interlinked with this meaning level. We are still talking about the so-called programming or the linguistic plane which exists in the intellect. We also used the terms artha kasha and shabda kasha to describe these phenomena. Now what remains is the compositionality at the level of swara or accent. This is what we shall study in this present lecture. So, the compositionality of swara can be summarized in the following manner as shown on this particular slide. So, the divisions correspond with the divisions that exist at the shabda level and also at the vakya level. So, vakya swara 1 is made up of three constituents for example, because there are three constituents in the meaning as well as shabda. So, there are three constituents as far as the swara is concerned as well. Padaswara 1 plus Padaswara 2 plus Padaswara 3 and there is this plus sign which is marked in red with some purpose as was discussed earlier in with regards the meaning as well as the word level artha as well as the shabda level. The plus sign shown over here is what constitutes the swara of the vakya exclusively. Just as the plus sign shown in the similar equation in the meaning explanation also indicated the vakya artha exclusively and also the vakya exclusively. So, also this plus sign over here indicates the vakya swara which is nothing but the combination of Padaswara which are presented over here. So, Padaswara is presented by the respective Padas but the swara which comes out as a result of the combination of these Padas is what is considered as vakya swara which is what is shown by the plus sign over here. This is the general case. So, vakya swara can be shown to have been composed from the swara of the Padas and the Padaswara in its turn can be shown to have been composed out of the swara that is assigned to prakriti and the swara that is assigned to the respective praktyaya which is added to that prakriti. So, Padaswara 1 is made up of prakriti swara 1 plus praktya swara 1. Padaswara 2 is made up of prakriti swara 2 plus praktya swara 2 and Padaswara 3 is made up of prakriti swara 3 plus praktya swara 3. Once again the plus sign over here is shown in blue ink primarily once again to highlight the same fact that was highlighted at the vakya level namely the Padaswara is exclusively the swara of the combination of prakriti swara and the praktya swara. Prakriti swara will be marked in a particular manner, praktya swara will be marked in a particular manner by the rules. Now, when prakriti and praktya they both come together the prakriti swara and the praktya swara also comes together and it is this combination which gives rise to a different swara altogether which might sometimes change the prakriti swara or the praktya swara sometimes it may not change, sometimes it may just retain one of the two namely the one that is stated later on and so on. So, but the point is that it is this plus sign marked in blue which marks the Padaswara exclusively. So, this vakya swara to this vakya swara the contributions come from prakriti swara and praktya swara plus their combinations respective combinations. This is how the swara is described in the Paninian grammar in general and once again it corresponds with the Shabda level as well as the Artha level. So, now let us take the concrete examples to illustrate the point of compositionality in relation to the accent. When we studied the compositionality of Artha and also the Shabda we studied the examples in terms of 12 sentences. We classified them into two groups the first six sentences forming the first group and the second six sentences from 7 to 12 forming the second group we call them dataset 1 and dataset 2. On this slide we have presented to you the dataset 1 namely the sentences numbered 1 to 6 together with the accent marks and that is why they are shown here as dataset 1.1 and so the second dataset together with the accent mark will be shown as dataset 2.1. Now here you see that there are some accent marks which are provided notably there is this vertical bar on top of this letter m on top of the vowel r and also a horizontal bar below this letter r or a these are the accent marks. Then there are words like gachhati which have no symbol no accent mark shown. So, what is the meaning of these accent marks? We shall study this in a while but the point is that here is a dataset marked with the accent information this is very crucial. We shall also study that this is a sentential accent when we break down the components of this sentence into the padas or the words we will find different accents. So, we will look at a prakritisvara as well as the padasvara in a moment. So, now gramam gachhati ramaha is one sentence and then it can be shown to have the constituents in the form of three words gramam, gachhati and ramaha and so on. And as we know that this dataset consists of certain amount of left hand side elements which are also known as roots which are classified into two once again the nominal root and the verbal root and the right hand side elements which are also classified into two certain elements get attached to the nominal root and certain elements get attached to the verbal root. So, if we now go to those atoms the linguistic atoms we will note down these accents on those atoms. For example, grammar has this accent mark on top of ma, gum has no accent mark, ram has the vertical the horizontal bar below ra, ma there is no accent mark, shala has got an accent mark on top of la, mohana has got an got two accent marks below the letters mo and her and na is not accented. Rasha is not having any symbol of an accent. On the right hand side we have pratyayas namely am and this is having a horizontal bar below it, a is also having a horizontal bar below, t is also having a horizontal bar and sir does not have any accent mark. So, these are the accents that are marked on the prakriti and the praktyaya by the panimian grammar and we should study what these symbols mean. We have already seen that there are three accents udatt, anudatt and swarita which are the features of vowels. So, the first thing and the foremost thing is that accent marks are the accents are the features of vowels and they are not the features of consonants. So, sir over here does not have an accent there is no symbol of an accent but it does not have an accent why because it is a consonant. So, each and every vowel can be said to have the quality of getting an accent. Now, the point is that as far as the panimian grammatical tradition is concerned the general system that is followed is the following the udatt accent and we shall have this these rules studied later on but for the time being we can say that an udatt is not marked by any symbol and in one particular word there has to be at least one udatt the remaining are anudattas. Now, the anudattas that comes immediately after an udattas is called swarita and has this particular symbol the vertical bar on top of the letter. So, in the word grammar it is this a which is udattas and therefore it is not marked and this a which is an anudattas which comes immediately after this udattas therefore it becomes a swarita and gets this sign of a vertical bar on top. This is how the accent on the word grammar can be explained and in fact there are sutras also which explain this grammar dinaanchya and so on. Next we go to gum and here we observe that there is only one vowel. So, this vowel gets accented this vowel gets the udattas for and obviously that is why it is not marked. In the word Rama this udattas this a at the end is marked as udattas without any symbol and this is anudattas so it is marked with the horizontal bar below it. In the word shala the word shala consists of the first vowel a as udattas therefore this second vowel a is anudattas but it comes after anudattas therefore it is marked as a swarita marked with the vertical bar on top of it. This is how the accent in shala can be explained and there is a sutras that supports this. Next we have the word Mohana which is the proper name Mohana and so by another sutra fischolta udattah this has na as udattas so all the vowels that come before it they are shown as anudattas by the horizontal lines below them. Similarly next we have the verbal root dhrisha which is also accented and without any symbol accent symbol the verbal root dhrisha as well as gamma they have udattas by the rule dhatoho. Now we come to the pratyayas here is am this is marked as anudattas because this is a sup and all the sup are marked as anudattas. Next we go to a and this is marked as anudattas because this is possessing the ith sound per because it is stated as shab in the initial enunciation so this is a pit sound and any pratyaya which is pit takes an anudattava there is no udattas over here same is the case with t because it is pit so it is pit therefore it is marked as anudattas and obviously sir because it is a consonant it cannot have the udattava well on it. So this is how the panangian grammar states the accents on the prakriti and pratyayas in a rule based fashion. Now from them the padashvara is generated. So we take the word grammar which has an udattas in the initial position and therefore this ma has become an anudattas but it comes after the udattas therefore it is marked as a swarita followed by this am which is anudattas and as we see the resultant form consists of only one a there is an euphonic combination also known as sandhi in which this anudattas and this anudattas they both come together and the resultant accent therefore also is anudattas. So this udattas accent retains itself and so in the word gramam which is the padha which is a combination of gramma and am the accent of a is retained. So this a is still udattas and this a is shown as swarita because this is an anudattas which comes immediately after an udattava well. So this is shown with the vertical bar on top of it which is a mark of swarita. Next we go to the derivation of the form gachhati in which we see that gam is udattas without any symbol a is anudattas with a horizontal bar t is also anudattas with a horizontal bar. Now when these are put together because both these two are anudattas and this is an udattas so this udattas retains itself and so we get this kind of accent symbol initially and finally we get this gachhati having this a marked as swarita because it is coming immediately after an udattas in g. Now this is also an anudattas but because this anudattas comes after an anudattas which is marked as swarita therefore this is also unmarked but this t and this g should not be confused this is udattas this is not anudattas this is anudattas. As far as the word Rama is concerned it consists of two components Rama having this a udattas and sir without any udattas so the joining of these two the combination of these two will give us the word Rama where this accent of a on a will be retained. Similarly in Shalaam we have Shala marked as initial udattas and am same is the case with Gramam and so the Sandhi the euphonic combination will generate the same accent as Gramam so this initial vowel still is accented in Mohana where the last Mohana where the last vowel is accented in Mohana and sir because it is a consonant it is not accented so it will retain the accent of a and and then we have Mohana having the final vowel accented. Similarly Parshati will have the similar process of as Gatshati and so it will have an initial vowel accented which will be then converted into this form where the initial vowel is accented and the rest of them they are anudattas so the anudattas that comes immediately after anudattas will be marked as swarita as shown here. This is how the padashvara as far as this sentence will work and the principle of compositionality will be able to help us in this regard. Now when we construct the vakyashvara from this prakriti swara and the padashvara here is one example. So now we have Gramam with the initial udattas Gatshati as a separate padha having initial udattas once again and Ramaha as a separate padha having the final vowel udattas this is the status. Now when these three words come together in this order Gramam Gatshati Ramaha now what happens is this sentential effect takes place and now this Gramam it retains its accent but look at Gatshati now Gatshati will have all the anudattas vowels this is the sentential effect because Gatshati comes immediately after Gramam or any other nominal word so then it gets all the anudattas vowels and Ramaha is in the same form. Now when this Gatshati comes in the initial position of the sentence then it retains its own form see the accent the word Gatshati as shown here is similar over here that is why the word Gatshati is shown in the red ink on this slide. So now from this it is clear that when the verb Gatshati occurs in the first position it retains its padha accent which is a combination of the prakriti pratyaya accent but when the verbal root Gatshati appears in the second position following the word Gramam then it loses its padha accent and acquires the new sentential accent this is the sentential accent this is the varkasvara as shown in the first sentence over here Gramam Gatshati Ramaha. Now similar thing can be said with respect to the second data say 2.1 where we have sentences once again 1 to 6 from 7 to 12 Ramayana Gramo Gammyate Ramayana Shala Gammyate and so on and so forth. Once again we have the prakriti pratyaya svara explained to us in the similar fashion the left hand side is the same now the right hand side is different so we here we have inna once again this is a sup therefore it has got both anudattas sir because it is a consonant cannot have an accent udattas here is accented because of the general rule that the pratyayas are accented in the beginning te is also accented and now when we join these together we get the following padhasvara. So Ramayana now here is an interesting point here this ma has a udatta accent followed by e and anudatta accent and as a resultant form vca appearing over here now this a is a combination of an udatta a and anudatta e so a combination of an udatta and anudatta is always an udatta this is stated by the rules a kadesha udatta in a udatta and therefore this a becomes udatta similarly in other case mohanena this a is udatta this a is an udatta the resultant form is a which is because which is a which is an udatta over here now if we construct once again the sentence accent from these for the accents this is the position that we get ramayana gramo gamayate where the verb gamayate which has an initiative in which has a middle accent madhya udatta it loses this udatta accent and then it all of its vowels are termed as anudatta and because they follow this swarita they are unmarked but they are in fact anudatta but when this gamayate occupies the first position in the sentence then it retains its own accent once again this is a particular peculiar phenomenon as far as paninian grammar is concerned as some as far as samskruth is concerned that a verb retains its accent when it is in the initial position but if it appears in any other position it loses its accent this is the sentential feature this happens because of this combination that is part of the sentence so we can make some general rules which mark the accent for example some of them we have already discussed the accent known as udatta is not marked with any symbol for example in gam the accent known as anudatta is marked with a horizontal bar below the letter as in inner the accent known as swarita is marked with a vertical bar on top of the letter like ramayana the anudattas which are described as ekashirati are also unmarked as was the case in the verb which comes at the final position then some other general rules which can be stated about the compositionality of accent are the following each verbal element prakriti pratyaya and padha contains at least one udatta remaining all vowels are anudatta very basic principle the anudatta vowel that comes before anudatta is marked with a horizontal bar below the anudatta vowel that comes after anudatta is termed as swarita and is marked with a vertical bar above this is also called as paratantrasvarita the anudatta vowels which come after the paratantrasvarita are termed as ekashirati and are unmarked as is the case with gamayate gamayate because it is a verb and it appears in the non-initial position so all the vowels are anudatta but because they come after this swarita so they are unmarked they are called ekashirati the other word used for them is pratyaya but when these anudatta ekashirati vowels are followed by anudatta so if after this gamayate if there is anudatta vowel that comes over here then this they will be marked as anudatta with a horizontal bar below it just as it happens in this case ramena just as this instead of swarita is marked as anudatta similarly this they will be marked as anudatta rather than an ekashirati the purpose to do so is to indicate that the next vowel is udatta generally all the verbal roots have their final vowel udatta by the sutra dhato 6 1162 generally all the nominal roots have their final vowel udatta by the sutra phishoanta udatta by phishutra 1 generally all the suffixes have their initial vowel udatta by the sutra adjudattascha 313 a verb or a tinganta has one udatta only when it appears in the initial position in the sentence or is part of a subordinate clause otherwise it does not have one udatta to conclude we can say that accent plays a crucial role in the formation of padas as well as vakyas rules transform the prakriti swara and the praktyaya swara into the padha swara and the rules transform the padha swaras into a vakya swara order of words is therefore significant from the point of view of accent in samskrata even though we have seen that from the point of view of the meaning the order is not important but from the point of view of accent the order of words is important so we can draw some overall conclusions at this stage at the end of this discussion on compositionality namely that the principle of compositionality does play a very crucial role in the formation of sentence meaning sentence and sentence accent in samskrata it is this principle which protects the scientificness of the inquiry in general it is this principle that also allows multiple interpretations of a given text based on multiple possible compositions but at the level of speech production comprehension and communication we also need the principle of non-compositionality indivisibility so compositionality and non-compositionality or indivisibility both go hand in hand in the overall picture related to language and this is what is summed up in the shabdasutra called sarvasattvadas ciddhantaha so now in the coming lecture we shall take a recap review what we have studied so far and will explain the future plan of action that we are going to undertake in the subsequent lectures thank you for your attention