 Welcome. I welcome you all to this lecture in the course, Samasa in Panayan Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjari Bharati Leelaya Vishvesham Satchitanandam Vandeham Yo Kilan Jagat Charikarthi Bari Bharati Sanjari Bharati Leelaya The features of the process of compounding or Samasa that we have studied so far can be summarized in the following manner. At the input level, Samasa is like a sentence, so sentence is an input. So there are soaps that are taken and interrelatedness of the soaps as the input and the output is Samasa is a nominal root, a prathipadika to which is added a soap, which can also become the input for another process of Samasa if so desired by the speaker. So input is a sentence and in particular soaps and output is a prathipadika to which soaps are added. What is soap? We shall see in this particular lecture. Let us try to understand what doesn't happen in the process of compounding. Even though Au in Ramalakshmana plus Au and Thas in Gumma plus Thas are interrelated as we showed in the previous lecture, in the form of also an equation, they never get merged together as one meaning unit as well as one word unit. So Thas is a suffix which indicates dual number, present tense, third person and also karta agent of the action of going. And in this particular sentence these two karta agents are none other than Rama and Lakshmana. So Rama and Lakshmana are in this way related to Thas. Of course Rama and Lakshmana are related to Thas through Au and we have said that the semantic interrelatedness is the basis for the process of compounding to take place. Now it needs to be made very clear that even though Ramalakshmana plus Au and Au is the head here and Thas in Gumma plus Thas they are interrelated, they never get merged together as one meaning unit as well as one word unit and never out of them one unit is derived as output. This is to be remembered. Au and Thas are representatives of set of suffixes known as sup and thing respectively. Au is part of sup suffixes and Thas is part of thing suffixes. Also it is to be remembered that the process of compounding or samasa depends on the desire of the speaker and so far is always performed within one sentence. Never is it performed in between two sentences. Thus we can say that it is always inter-sentential and never intra-sentential. In a nutshell samasa can be described as sup plus sup. Now sup is a pratyaya so this sup will be added to a prakriti which is left blank on the left hand side of the plus sign. So then we have two sup's along with their prakriti's added to the left of the plus sign. Now the prakriti is known as pratyapadika over here. The prakriti of sup is known as pratyapadika and so these two sup's they do make a samasa. Adding a sup pratyaya to a pratyapadika makes it a padha according to the definition of padha provided by panini in the sutra subtingantam padham and never sup plus thing gives rise to a samasa. In other words never pratyapadika plus sup pratyapadika is the prakriti of sup and dhatu is the prakriti of thing. So pratyapadika plus sup plus dhatu plus thing this never results in a samasa. Similarly dhatu plus thing plus dhatu plus thing this is also theoretically not eligible to be generating a samasa. This we need to remember samasa is generated when two or more sup's come together and are semantically interrelated. Now let us take a look at the sup's. They are 21 sup's and are stated in 412 in this long sutra. This is one word having 21 elements placed side by side and with the help of the technique of pratyahara panini terms these 21 suffixes as sup's and these suffixes are to be added to a pratyapadika because of 411 namely nya pratyapadika at. So these 21 sup's rewritten in a clear manner are these and here we have already divided them into 7 rows and 3 columns. So the columns indicate the number singular, dual and plural and the rows indicate the vibhaktis prathama, dhvitiya, trutiyya, chaturthi, panchami, shashthi and saptami. Now remember these sup's are the input of samasa. So when you find any of these elements at the end of two words which are semantically related there is a possibility that they could be compounded. They are sir awas, ham awas, a bhyambhis, a bhyambhis, as bhyambhis, as os, am and e os. So these are those 21 suffixes. When these sup suffixes are added to a pratyapadika the subanta forms are generated, subanta. Now on this slide we show the 21 subanta forms where the 21 sup suffixes are added to the pratyapadika rama. So we have the forms. So these forms are input of samasa. So these and similar forms when are interrelated samasa can take place. Let us now take a look at the things of excess. Things of excess are 18 in number and they are stated by 3478. Once again we have a big sutra involving all these 18 suffixes placed side by side. The sutra reads, tiptas chi, siptastha, mevasmas, tadam, jathasatham, dvam, idvahimahing. These 18 things of excess are divided into two groups of 9, which is further divided into three columns and three rows. Each row indicates the person and the column indicates the number. So the left hand side 9 suffixes, tiptas chi, siptastha and mevasmas, these are the suffixes which are part of these 18 suffixes, p is third person singular, tuss is third person dvel and g is third person plural and so on and so forth. The second set of 9 suffixes includes tattam chha, thasatham dvam, idvahimahing. These 9 suffixes, tattam chha, etc., they are termed atmanepadu suffixes in panimyan grammar by the sutra tangana vatmanepadam. Now the point to be remembered over here is that these suffixes never become an input of a samasa, which means that any pada at the end of pitch, these suffixes occur can never be an input of a samasa. And here are those forms, these are the tinganta forms, tinganta, tinganta. And the forms are nayati, nayataha, nayanti, nayasi, nayataha, nayathha, nayami, nayavaha, And the atmanepadu forms are nayate, nayate, nayanti, nayasi, nayathe, nayatve, nayenayavahe, nayamahe. In contrast with these 9 atmanepadu forms, the other 9 forms, they are termed as prasmaipadu. So these are the tinganta words and the most important point to be remembered over here is that they never become an input of a samasa. Now let us try to understand what is the meaning of the word samasa. The word samasa is derived by adding the suffix a to the verbal root asa with the preverb sam. So sam indicates together the verbal root asa means to throw and a indicates action or the state. So when these three meanings are put together, we get the meaning of the word samasa namely the act of throwing together something. In a nutshell, we come to know that samasa is the act of throwing together the sounds which is nothing but the act of throwing together the sounds from oral cavity which reach the eardrum of the listener and the listener then comprehends what the speaker wanted to convey. The speaker may want to throw sounds not together. The speaker may want to throw the sounds at a lesser pace and sounds one by one and not together or a group of sounds together and then another group of sounds with some space in between. All these are the possibilities amongst which the possibility where the speaker decides to throw the sounds together happens then that is called samasa. This is the literal meaning of the word samasa. The action of throwing the sounds together out of the oral cavity is what is samasa. Now why are these sounds thrown together out of the oral cavity by the speaker? Of course the action of throwing the sounds together is made to convey one meaning unit. The sounds thus thrown out together act as one unit and convey one meaning unit. This has got some correlation with the separate words as part of a sentence. So this is what is the meaning of the word samasa and this applies to the overall process of compounding that the compound word which is audible is actually the audible sounds which are thrown out together by the speaker. So a speaker sometimes may want Ramaha and Lakshmana to be produced at different times but at some time the speaker may want to produce them together Ramalakshmana. In this case the speaker has thrown out the sounds Ramalakshmana together to convey one meaning unit and that is what makes the samasa. And this is true about all types of samasas. We have studied this aspect with respect to the Tattpurusha Samasa. This is also true about avyayi bhava, about bahuvrihi and also about dhadvandva samasa. Now what this assumes is the next question. What this assumes is that samasa always presupposes a sentence. Sentence first and then samasa. There is no other way development. Sentence always first and then comes samasa. This is a very important fact to note. Never so far have we found in Sanskrit that a sentence consists of only samasa. It has to be a sentence. Sometimes the explicit mention of the words necessary for a sentence to come into being may not be present but then that implicit presence is understood and the sentence is made complete. So no complete linguistic communication consists of only samasas. This is very important. Next we must understand what is the purpose of making a samasa. If certain sounds are thrown out together to convey one meaning unit, what is the purpose of reducing two units into one? Why does one want to do this? The simple answer provided is laghava or brevity in terms of ek buddhi visayata, making two independently, separately cognized elements the subject of one cognition, ek buddhi visayata. Ek is one, buddhi is cognition and visayata is subject. So to make two elements which are cognized independently or separately when they are made the subject of one cognition that is the purpose of making a samasa and that is what amounts to the brevity at the cognitive level. This process may occur recursively as we have already seen. So this process may occur recursively in the classical literature etc. But in normal communication it is bound with certain limits. We don't find compounds beyond certain number of constituents in the process of normal communication but in the literature the compound can consist of as many constituents as are desired by the respective speaker. In a nutshell the purpose of making a samasa can be summed up by saying that samasa is a collective cognition and the Sanskrit word that we have coined for this particular feature is sangraha, the collective cognition. As opposed to vikraha in which the cognition gets resolved independent and separate cognition for each element. So to summarize we can say that we studied the process of compounding and noted that the sentence is the input for this particular process with the interrelatedness of meaning in a sentence as a basic condition. And the nominal root is the output of this particular process. Nominal root is prathipadika. We noted that never does this happen between one sub and one thing. We also noted that the process of compounding is recursive in nature. Next we shall study the process of speech production at the cognitive stage, the sentence structure, the nature of interrelatedness of meanings in a sentence, the concept of karaka, the concept of vibhakti and the difference of samasa and the sentence or vakya. The concept of karaka and vibhakti need to be studied in order to understand the base on which the samarata theory develops and the process of speech production at the cognitive stage etc is needed for us to understand how the samasas get produced. And the sentence structure and the nature of interrelatedness of meanings needs to be known in order to know the exact place of samasa in the sentence structure and also the interrelatedness of meanings. Thank you very much.