 Welcome, I welcome you all to this lecture in the course Sandhi in Paninian Grammar. In fact, we have reached the culmination of the course. We have dealt with the topic of Sandhi in quite a lot of detail. In the light of Panchasandhi Prakrana, which is part of the traditional curriculum of Paninian Grammar, we studied various sutras. Through them, we explained various types of Sandhis. We also studied several examples. We classified the Sandhi overall into three categories. Ekastanika Ekadesha, Dvistanika Ekadesha, and also Ekastanika Dvyadesha. At Sandhi has got Ekastanika Ekadesha and Dvistanika Ekadesha. Hal Sandhi has got Ekastanika Ekadesha as well as Ekastanika Dvyadesha. Visarga Sandhi and Swadhi Sandhi can be classified under Ekastanika Ekadesha. Even though we see that the final output contains more than one Sandhis, these Sandhis take place one at a time and do not happen simultaneously. In this particular final lecture, let us look at the summary of the course. We were dealing with some examples from Srimad Bhagavad Gita and studying some strategies to split the Sandhi. Let us take some more examples. Here we have examples of r plus 0 plus ash being the output from which we can get the input namely r plus year plus ash. And then we can get applying the same procedure we saw in the previous lecture, r plus year plus ash as the earlier input and further backwards we can get r plus sir plus ash as the input. So, previously in the examples like Dhritarashtra uvachya and Sanjaya uvachya and Arjuna uvachya, we noted down that it is Arjuna ha, Sanjaya ha and Dhritarashtra ha as a separate pattern. One more clue for splitting that particular Sandhi is that there are two vowels which are placed side by side and no Sandhi is made of them. That is a big clue that this is an output in the form of r plus 0 plus r or r plus 0 plus ash. Now let us come back to this example r plus 0 plus ash and we find several examples. And then I started calling there are innumerable examples within Bhagavad Gita. Within the first ten verses of the Srimad Bhagavad Gita, I found these five examples. Atrasura, so very first verse. So this is nothing but samaveta ha and yuyut samaha. Similarly atrasura, mahesvasa, bhimarjuna, samayudhi. There are three cases in this one string. Shura is shura ha, mahesvasa is mahesvasa ha, bhimarjuna, samaha is bhimarjuna, samaha is bhimarjuna, samaha. Then vishishta ye is vishishta ha and ye. Avastthita yuddhe is avastthita ha and yuddhe. Shura madarthe tekta jivita ha, anne ca bhava shura madarthe tekta jivita ha. You have shura madarthe that is shura ha and madarthe. And you can split the sandhi by following the same procedure. And there are many cases of this kind you will find in the Bhagavad Gita where you have to be cautious and split the sandhi in this particular fashion. Let us take the next case namely o plus ash which is the output of the input o plus o plus ash. And here are the cases. Yuyudhano viratashcha is nothing but yuyudhanaha viratashcha. Yuyudhanaha consists of so yuyudhana plus o and v, v is an ash. So this o has substituted ru, ru substitutes sir. So you have yuyudhanas and if you want to write it independently it would be yuyudhanaha. Similarly drav, saubhadro draupadeyashcha. So this is the output and the input would be saubhadra plus o plus draupadeyashcha. The is an ash. So saubhadra plus o. Saubhadra plus o would be the output of saubhadra plus ru plus the. Then it ru would be the output of sir. So you have saubhadra sir plus the. And then if you want to write saubhadra sir independently it will be written as saubhadraha. Similarly Rishi Kesho devadattam is Rishi Kesha and devadattam. Kuntiputro yudhishthiraha is Kuntiputraha and yudhishthiraha. Saghosho dharta rastranam is Saghosha dharta rastranam. Incidentally Saghosha is also an example of the sandhi where the visarga after sir is deleted when hul follows. By the sutra etattato sulopo akoranae samase hali. Similarly avishto visheedan. But avishto will be the output and the input would be avishtha plus o plus o visheedan. And this o would be the output for the input ru. So avishtha plus ru. And this ru would be the output of the input sir. So you have avishtha sir. And if you want to write it separately independently you will write avishtha which is one slash one of avishtha. And you will find once again plenty of examples of this kind scattered everywhere almost everywhere in the Srimad Bhagavad Gita and also everywhere in Sanskrit. Then this particular type of sandhi shtutva sandhi where sir plus chir is seen to be the output and the input is sir plus chir. So you have Pandavas chir and this shir is the shtutva sandhi and so the input of this shir is sir. So Pandavas chir and this is the one slash three of Pandava. Similarly Viratas chir is the output and the input is sir plus chir. So Viratas chir. So this Viratas is one slash one of Virata. Dhristaketush cheketana. So Dhristaketush this shir is the output and the input would be sir following the rules eight, four, forty. So you will have Dhristaketush cheketana. Dhristaketush if you want to write independently then you will write Dhristaketush and cheketana. Similarly Kashi Rajas chir, Shaibya chir and Karanas chir. In all these cases shir is the output and sir would be the input in the environment of chir following immediately. Now let us look at a very peculiar case which is also very difficult to read at one go. This is five point eight and a line, a string consisting of no break. So if you have to read this particular line it will have to be in the following fashion. Pashyai charanvans prashan jai ghan nashnan gachan svapai chvachan. I repeat. Pashyai charanvans prashyai jai ghan nashnan gachan svapai chvachan. So if this is to be split we need to know the proper rules of Sandhi. What would be the outputs and what would be the inputs? So here we have marked four. This year chir, this year jir, na na and once again year chir. These are the outputs and we know how these outputs are arrived at and what is the input. So here we have written down the inputs. So the splitting of this particular string would be in this particular fashion. Pashyai plus charanvans, plus prashan, plus jai ghan, plus asnan, plus gachan, plus svapan, plus swasan. These are the constituents of this particular string. When they are woven together the string becomes one indivisible unit. All these words they are the present participants. Notably dhatu plus shatru the suffix stated in paninian grammar. And so all these words are the nominative singulars of these shatrantha pratipadikas. Pashyai, charanvat, prashat, jigrat, asnath, gachat, swapat and swasat. These are the pratipadikas and the forms that you see they are the one slash one masculine forms. And the meaning that you see recorded in various translations resembles something like this. Even while being a seer, a hearer, or a toucher, or a smeller, or an eater, or a goer, or a sleeper, or a breather. Now let us take each case and try to explain how the sandhi has actually happened, quoting the relevant sutras. So first let us take prashan charanvan. We know that this charu as an output is derived from the input of this kind, prashan plus charanvan. Because we know that there is a sutra which applies over here and these are the sutras, various sutras. One of them applies and converts this into prashyai charanvan. So if we start from the bottom, here we see prashyai charanvan. And we can go back like that or we can come from the top to bottom. First let us come from top to bottom. So we have prashyan plus charanvan as the input. Now A331, she took, allows us to add this ta over here. And now we have prashyan ta charanvan. Then this ta when comes into contact with this char is subjected to stostanastu and this ta will be substituted by char. So we have prashyan charanvan. Now because of this char, this na will be substituted by here. So we have prashyan charanvan. Now because of this char being also described as jai. So this char will be substituted by char. So we have here char and char over here. Optionally now this char gets deleted. So you have prashyan charanvan. So you get this particular derivation. In some textbooks there will be no char, there will be just char. That is also according to the grammatical rules mainly because this ta is stated to be optional. So if this ta is not added here, you will have only na followed by char in which case stostanastu will apply and this na will be substituted by here and you will have prashyan charanvan. So we have already seen that there are four such examples that are possible in a given scenario of this kind. If we go back from the bottom and come to the top, this will be the reverse order and then we shall be able to reach this particular stage prashyan charanvan and we will be able to identify this as the input. So prashyan and charanvan is the output, prashyan plus charanvan is the input. Then the next one is prashyan jigran. This is the output prashyan jigran. This is quite simple because we have prashyan and jigran as the input and we apply 8 440 which substitutes this na by here and so you have prashyan jigran. So because jir follows, so stostanastu applies and that therefore we have here and this here can go back to na which is the input and so we have prashyan plus jigran as two independent words making prashyan jigran as the sanhee. The next output is jigran nashnan. So once again we know that two nakaras, they could be the output in the case where 8332 gamo raspa dhachin gamon niktyam applies. Now gamo raspa dhachin gamon niktyam requires that this na should be at the end of the patha which it is. It should be preceded by a shot which it is. So there is raspa followed by gam followed by an ach over here. Now this ach would get the augment namut so it will be added before. Now because this is na the closest amongst the namut augments is na itself. So we add na over here before and then we get the output nashnan and when we join them together we get jigran nashnan. This is how we can explain this output jigran nashnan as coming from jigran plus asnan. These would be the two constituents. And lastly from the line of the Srimad Bhagavad Gita we have this particular output. Swapanj swasan and we know that this would be the input swapan plus swasan. By the application of rules from swapan plus swasan we will go and reach this particular stage which is the output. If we come back from this output we can also reach the stage of this input. So first we have swapan plus swasan. Now she took 8331 applies and adds the over here. So we have swapan plus swasan. Then because of this is substituted by by the application of 8440. Then because of this this na would be substituted by swapanj and swasan. Because of 8441 again stostronas chuhu. Now because this chuh can be described as jai it is jai. Therefore now the sutra 8463 sashchoti will apply over here and chhatvam amitibhacham. And so we have shah being substituted by chah. So this is jai at the end of the pattern. Followed by shah followed by at. Bu is an at. And so shah is substituted by chah. So we have swapan chah and swasan. Then 8465 applies and optionally drops this chah. So we have swapan chah swasan. This is optional form. You can also have swapan chah swasan or you can also have this chah being optionally done. So swapan chah swasan this is possible or just swapan swasan this is also possible. Four forms are possible as we have seen before. Similarly you can have several examples and several satsandhis as part of Srimad Bhagavad Gita. I hope the treatment of sandhi sutras and the sandhis that we have done in this course will help you decipher the sandhi and the constituents of the text easily. There is something to remember as a parting note. So we have examples like Sukhinah Kshatriya Partha. Second chapter and this is 30 second verse. So in cases like this where you have visarga plus shah, visarga is to be written and pronounced and no modification or no sandhi is described by Paninian grammar. Because remember Ksh is made up of ke and shah. And so there is this sutra sharpare visargeniya. Ke is part of khar, shah is part of shah. So there is sharpara khar and sharpare khari visargeniya siya visargeniya eva natu anyatu. So this is an accordance with 8335 sharpare visargeniya. So visarga is not to be substituted by anything else and you have several examples in the Srimad Bhagavad Gita and all over Sanskrit literature. Always remember this particular fact when a visarga is followed by shah, pronounce the visarga or write the visarga as visarga and never as anything else. Now here are 3 examples in which the result of the sandhi analysis and the complexities involved get more accentuated and highlighted. In these 3 examples there are some strings provided, very famous strings and it is shown how the multiple combinations that are possible due to the various kinds of sandhi rules they allow the reader to have multiple kinds of interpretations. So multiple kinds of contents can be extracted from one and the same string. This is very important and absolutely critical based on the knowledge of sandhi. So here is this string, nasato vidyate bhavo, nabhavo vidyate satah. This is 216 from Srimad Bhagavad Gita. I repeat, nasato vidyate bhavo, nabhavo vidyate satah. Now this string can be split into its constituents and you will have nasato as first and obviously there is the sandhi. So this o is the output and the input is a plus o, nasatah plus o, o is the output of ru because this b is part of hash and so this ru is the output of sir, sasajishu ru. So we know that this is nasatah if written separately. Vidyate bhavo, bhavo is again like nasato, nabhavo this o also is like nasato and so on. So now we can split this particular string into two nasato, vidyate, bhavo, nabhavo, vidyate and satah. But the same string can also be split into another kind of another set of constituents namely nasato, vidyate, abhavo, nabhavo, vidyate, asatah. So as far as the words are concerned there is this string in which vidyate is followed by the word bhavah and here vidyate is followed by the word abhavah which is extremely opposite. Similarly here vidyate is followed by satah and here vidyate is followed by asatah. How is this possible? This is possible because the output of this a plus a is going to be a like this here. Similarly a plus a and the output is going to be only a. So from this a you can derive two inputs. Vidyate, bhavo, no sandhi or sandhi, vidyate plus a bhavo. Both of them are possible from this particular output. This is in fact the second one is in fact the way this verse is split by one tradition of the Vedanta philosophy. This is a very famous sutra from the Mimamsa Sutras, Athato Dharmajidnyasa. And the popular and common and main split is Athato Dharmajidnyasa. But some commentators also split it as Athato Adharmajidnyasa. Just as you have a desire to know dharma you should also have a desire to know what is a dharma so as to avoid it that is complementary to the knowledge of dharma. Now this toh, this o can be the output and the inputs could be these two toh and dharma, no sandhi at all or toh plus a dharma. So o plus a is going to be o. This o is coming at the end of the padha and this a is coming at the beginning of the second padha. So the output would be o. So this can be the explanation of Athato Dharmajidnyasa based on the sandhi splitting. And we have an example within grammar namely the sutra na jhalo. And how the later Paninian grammatical tradition splits this na especially a into two constituents. Generally we would assume that na jhalo this a can be split into a plus a, na plus a jhalo. But we also can split it as na plus a jhalo and this a can be split as a plus a. So we can derive na plus a plus a jhalo. So this a is additional element that we get out of this particular splitting. And thereby negating the homogeneity of long vowel a and consonants is possible. This we have discussed earlier. This is just a recap of what we have discussed earlier. So these are the three examples which show the complexity involved in sandhi splitting and multiple explanations or interpretations which are possible based on this particular complexity. And that is one of the reasons why there is a lot of over generation which needs to be reduced with the help of the dictionaries and with the help of the subword matching. Now to finish this course let us have the cognitive explanation of sandhi. And these are the verses which are swopadnya which are created in the commentary written on the Sanskrit text Shabdasutra by Eurst Ruli. They are following And this is the meaning of the first verse. One indivisible sentence together with the words in the form of something and many ending in swps which are semantically related and also processed with sandhi denotes one meaning. And the second verse means that sentence together with the sandhi effects located in the intellect and established in the word space which is the cause of the semantic space is expressed by the emissions of sounds. And the second set of verses are this is this The meaning of the third verse is this by the expressed emission of the sounds when and which expression takes place in the intellect of the listener which is together with the sandhi and which is similar in both the word and semantic space and which is generated out of one sentence and the meaning continues in the next verse. Then if there is a cognition of one meaning together with the sandhi Sandhi in meaning there is fulfillment and then it is said that the dialogue has indeed taken place. This is the importance of Sandhi. Sandhi is not just the phonetic description of the sounds being uttered one after the other but this is in fact programmed and this is part of the Shabdha kasha as well as Artha kasha just as we have Sandhi of sounds we also have Sandhi of Arthas and also Sandhi of Buddha or cognition. So we have a Buddha Sandhi we have Artha Sandhi and the one that we studied we have also Shabdha Sandhi or Varna Sandhi. Now the final benediction we have studied Sandhi and its various facets so far. So I close this particular series of lectures by this final benediction. I read the verse for you. I repeat. This verse is composed by yours truly and the meaning of this verse is let the Sandhi of the word and meaning which is the maker of one intellect out of all always and everywhere be for peace and dialogue with or of one's own self. I repeat. Let the Sandhi of the word and meaning which is the maker of one intellect out of all always and everywhere be for peace and dialogue with or of one's own self. And I dedicate these verses to all of you. Thank you. Thank you for your patience. Finally as we close this lecture and the course I would like to acknowledge the help I received from various people in making this course a success. First of all I would like to thank my TA Dr. Iravati Kulkarni for her timely help in the editing overall running of this particular course. I would like to specially thank the video team of NPTEL Mr. Amin Sheikh, Tushar Deshpande, Vijay Kedare, Devendra Parab and Ravi Paswan. And also the web team of NPTEL Bharati madam and also Sandip. Thanks are also due to the NPTEL team at IIT Madras. Finally I would like to thank IIT Bombay for giving me this wonderful opportunity and thank you all.