 Welcome. I welcome you all to this lecture in the course, Samasa in Paninian Grammar 2. As is our practice, we begin our lecture with the recitation of the Mangala Charana. Vishvesham Satchitanandam Vandeham Yo Khilan Jagat Charikarthi Bari Bharti Sanjariharthi Leela Ya Vishvesham Satchitanandam Vandeham Yo Khilan Jagat Charikarthi Bari Bharti Sanjariharthi Leela Ya In this course, we studied the three important types of samasas, avyayibhava, bahuvrihi and dvandhava. We have already studied avyayibhava and bahuvrihi in some detail. Currently, we are focused on the dvandhava samasa, which is extremely important type of samasa in Sanskrit. The features of the dvandhava samasa can be briefly pointed out with the help of this equation on this slide, where we have x and y put in separate square brackets, indicating that they are independent of each other, independent in terms of the word form as well as the meaning as well as the accent. The plus sign indicates that x and y are semantically related and therefore the speaker of Sanskrit decides to merge them together and thereby starts the process of compounding primarily in the intellect and later on as a result the expression also follows suit. In the form of the sounds which are audible. Now the output generated is one unit xy, one unit in terms of the word form as well as the meaning as well as the accent. Now x and y both are put in the bold letters primarily to indicate that both x and y act as the head in the dvandhava samasa. We have already seen that in the tadpurusha samasa y is put in the bold characters to indicate that y acts as the head of the tadpurusha samasa. In the avyayi bhava x is marked with the bold characters indicating that x acts as the head of the avyayi bhava samasa. In the bahuvrihi samasa neither x nor y is marked with the bold characters indicating thereby that none of the two constituents acts as the head of the bahuvrihi samasa and that the head of the bahuvrihi samasa lies out of the compound out of the constituents. In the dvandhava samasa however both x and y both the constituents they act as the head of the samasa. In the ashtadhyayi the dvandhava samasa is treated at various places. The samasa vidhaya ka sutra that is the compound prescribing sutra is only one namely charthe dvandhava 2229. The samasanta pratyaya vidhaya ka sutra is also only one five four one zero six. The svara vidhaya ka sutras are not too many only a few from six to thirty four up to six to thirty seven. The ekavad bhava vidhaya ka sutras stated in the ashtadhyayi are from two four one to sixteen amongst them for the dvandhava samasa they are from two four two to sixteen. The linga vidhaya ka sutra as far as the dvandhava samasa is concerned is 2426. The three features of the samasa which apply also to the dvandhava samasa are aikarthya or ekarthhata, aikapadhyya or ekapadhata and aikasvarya or ekasvarata. We have been highlighting these features again and again and again and we hope that the learners will remember these features very much. These are the distinguishing features of the samasa. Currently we are studying the ekavad bhava as far as the dvandhava samasa is concerned which says that there are some words and some meanings which get compounded only in the sense of samahara and never in the sense of itaretara yoga. And just as samahara is singular in number and neuter in gender the samasa of these restricted elements also gets singular number as well as the neuter gender. This getting the singular number is referred to here as ekavad bhava. So what is ekavad bhava? When the dvandhava samasa takes place, when the sense of itaretara yoga is denoted, the output samasa has the feature of the udbhutava eva veda samoha. It is a collection in which the constituent parts maintain their difference and the constituents act as the independent entities. The output samasa will then have gender and number accordingly according to the gender and number of the constituent. Here we may get all the numbers singular as well as dual as well as plural. But when the dvandhava samasa takes place, when the sense of samahara is denoted, the output samasa has the feature of the tiro hitava eva veda samoha. A collection in which the difference within the constituent parts disappears. The output samasa will have gender, neuter and number singular. Here we do not get all the numbers singular, dual as well as plural but we get only singular. Now there are some words which demonstrate a particular feature. Whenever they get compounded as dvandhava samasa, they get compounded only when the samahara is denoted and never when itaretara yoga is denoted. The earlier explanations of itaretara yoga and samahara were generic in nature. They may apply to any word, any meaning but there are some words and some meanings which get compounded only if samahara is denoted and never itaretara yoga. So they will always appear in singular and in neuter gender. They are stated in a section that begins with 242 and goes up to 2416 and this is what is called ekavad bhava. This section is that of the ekavad bhava. We have studied in the previous lecture, we studied the sutras from 242 onwards up to 2410. Let us proceed further and study the sutras beginning with 2411 in this particular lecture. 2411 is gavashva pravratinicha. This sutra means that the dvandhava samasa of the words mentioned in the list that begins with gavashva takes place only in the sense of collection. So we have a list of words that begins with gavashva and so it is clear that this samasa takes place only when the sense of collection is denoted and not in the sense of itaretara yoga. So we have a list of gavashva, gavashvam, gavavika, gavavikam, gavayidakam, ajavikam, ajayidakam, kubjavamanam, kubjakairatakam, putrapautram, shvachandalam, strikumaram, dasi manavakam, ushtrakharam, ushtrasasam, mūtra-sakrut, mūtra-pūrīṣam. So go and ashva, they both get compounded in the sense of samahara only. Gavago and avika also get compounded in this particular sense only. Let us go to 2412. The sutra is Vibhāsā vṛksha-mṛga-traṇa-dhānya-venjana-paśu-sakuni-asvavadava-purbāpara-adhara-taraṇām. I repeat, Vibhāsā vṛksha-mṛga-traṇa-dhānya-venjana-paśu-sakuni-asvavadava-purbāpara-adhara-taraṇām. What this means is that the duvandva samāsā of the words denoting vṛksha, that is tree, etc., takes place only in the sense of collection or samahara optionally. That means optionally the itāre-tara yoga is also possible. Thereby both the meanings samahara as well as itāre-tara yoga become the conditions for the application of the process of compounding. Let us look at the examples of each one, vṛksha. And we have the examples of plaksha-niyagrodhama as well as plaksha-niyagrodhau. Plaksha-niyagrodhama is the example of samahara and plaksha-niyagrodhau is the example of itāre-tara yoga. Mṛga-rūrū-prūśatam or rūrū-prūśatau both is possible. Trūna is the kusha-kāśam as well as kusha-kāśā-hā-hā both are possible. Vṛksha is tree, mṛga is any animal, trūna is grass, dhānyā is any food grain. So vrīhi-yawam as well as vrīhi-yawāhā. Viyanjana, and you have examples of dhadhigratam as well as dhadhigrate. Pashu, go-mahisham and go-mahishāhā. Shakuni, the birds, titirikapinjalam as well as titirikapinjalāhā. Ashvavadavam as well as ashvavadavau. Purvāparam as well as purvāpare. And adharotaram as well as adharotare. So here we have these examples showing that in these cases both itāre-tara yoga as well as samārū are conditions for the processing of the dvandva-samāsa. There is a statement which says that So the dvandva-samāsa of fallas, the fruits, sena, the army and the limbs of the army, vanaspati, the trees, mrga, animal, shakuni, bird, kshudrajantu, small species, dhānya, food grain and trinagrās. The saddvandva, which is samāhāradvandva, takes place of these elements only if the number of the constituents which get compounded is many. If the number of the constituents is not many, it's only two, then the samāhāra does not take place. Only the itāre-tara yoga then takes place. Let us proceed further and let us study 2.4.13, which is vipratisiddham ca anadhi karana vāci. The word adhi karana here refers to a substance or dravya. Anadhi karana is not dravya. Anadhi karana vāci is a word which does not denote a substance or dravya. Vipratisiddham is opposite. So words which denote opposite meanings and which do not denote any substance. That is the meaning of the words vipratisiddham ca anadhi karana vāci. So the meaning of the sutra is the dvandva samāsa of the words denoting opposite meanings, not referring to the substance, takes place only in the sense of collection or samāhāra optionally. Thus you have both itāre-tara yoga as well as samāhāra being the conditions for the dvandva samāsa to take place. So now we have sitam ca ushnam ca. Sita is cold, usna is hot or warm. So these are the meanings which are opposed to each other but they do not denote any substance and that is why according to this sutra both itāre-tara yoga as well as samāhāra are the conditions in which this compound can get formed. So we have sitam ca ushnam as well as sitam ca ushnay. Similarly, sukha dukkham as well as sukha dukkhe. And jivita maranam as well as jivita maranay. Both are possible. Vipratisiddham ca anadhi karana vāci. Next we go to 2-4-14 which is na dhadhipaya adi ini. Here there is a negation. This is also a list of words and the sutra says that the dvandva samāsa of the words dhadhipayas etc. does not take place in the sense of collection. That means it takes place only in the sense of itare-tara yoga. So here are the words which are part of this list. Dhadhipayasi, Sarapirmadhuni, Madhusarpishi, Brahmaprajapati, Siva Vaishravana, Skanda Vishakhau, Shukla Krishnaau, Idmābārhiṣi, Vīkṣātapasi, Śraddhātapasi. In all these examples the dvandva samāsa takes place only in the sense of itare-tara yoga and never in the sense of samāhara. Let us go to the next sutra, 2-4-15 which is adhi karana itāvatve ca. The meaning of this sutra is the dvandva samāsa in which the meaning of the compound is measured. Adhi karana is the substratum over here and this substratum is nothing but the meaning of the samāsa and when this meaning gets measured then of course gets measured by the number of other words which count. So then such a samāsa does not take place in the sense of collection or samāhara. It rather happens in the sense of itare-tara yoga. So for example danta and ostha, these are the limbs of the body, prāṇyāṅga. So the samāhara is stated and the dvandva samāsa is stated only in the sense of samāhara. However when the danta and ostha they get measured, the meaning of the samāsa gets measured. Adhi karana itāvatve ca. When adhi karana itāvatva happens then the same samāsa does not happen in the sense of samāhara but rather it happens in the sense of itare-tara yoga. So dasha is the number which indicates that the samāsārtha of danta-ostha is getting measured and so then danta-ostha does not remain a samāhara-dvandva. It is rather the itare-tara dvandva. So we have dasha, danta-ostha. Similarly dasha, māradhaṅgika-panavika. Māradhaṅgika-panavika are the parts of the thūrya, so thūryaṅga. So the sūtra dvandvasca pranitūrya senanganam 242 does say that the dvandva here happens only in the sense of samāhara. But the present sūtra says that when the meaning of the samāsa is measured in terms of the number quantified then the samāsa does not take place in the sense of samāhara but rather it takes place in the sense of itare-tara yoga. So we have dasha, māradhaṅgika-panavika, māradhaṅgika-panavika. Next we have 2416, Vibhāsā, samipē. This means that the dvandva samāsa in which the meaning of the compound is approximately measured. So samipē adhikaranaitāvatve, approximately measured, does not take place optionally in the sense of collection or samāhara. It does take place in the sense of itare-tara yoga. So we have dantostha once again and the sūtra dvandvaśca-pranitūrya senanganam says that since these are the pranyangas they get compounded only in the sense of samāhara. But when they get quantified and that to approximately, that approximate quantification is indicated by the word upadasha, then we have upadasham dantostham. This is done optionally. So then upadashāha dantosthāha. Both usages are allowed. When upadasham dantostham is used, upadasham is an avyayi bhava. So this is the case of avyayi bhava anuprayoga. Where we have upadashāha dantosthāha, upadashāha is the bhavvrihi, stated by the sūtra, avyayam, stated by the sūtra, sankhaya avyayasannā dūrādhika sankhyāha sankhyayi. So let us study this sūtra 2417. After the ekavad bhava section comes to an end at 2416, here comes the sūtra which also says that the samāhara dvandva denotes neuter gender. The dvandva samāsā which takes place in the sense of samāhara denotes neuter gender. Therefore all the examples like pāṇipāda, śirogriva, mārjāra mūśaka, āhinakula, they all are declined in accordance with the declension of the neuter gender. So we have pāṇipādaṁ śirogrivaṁ mārjāra mūśakam and āhinakulam. Finally we look at the sūtra 2426 which states the gender of the dvandva samāsā as well as the tattpūrusha samāsā, paravalingam dvandva tattpūrusha yoho. The meaning of this sūtra is that in the dvandva and tattpūrusha samāsā the gender of the compound is same as that of the latter element that is the uttara padha. I repeat in the dvandva and tattpūrusha samāsā the gender of the compound is same as that of the latter element that is the uttara padha. This is the mention of the dvandva samāsā in the sense of itaretara yoga because in the case of samāhara the gender is already stated by the sūtrasa nāpūṁ sakam. So for example if we have the dvandva samāsā kukkutastha mayuri cah and then the uttara padha is mayuri which is infeminine therefore the gender of the dvandva samāsā will be determined by the gender of the uttara padha mayuri and therefore the entire dvandva samāsā will now appear in the feminine gender and therefore we have usages like kukkuta mayuri yau ime. Ime indicates that this samāsā is in the feminine gender. Similarly the same constituents where the uttara padha changes and now you have mayuri kukkuta and kukkuta is in masculine gender and then the gender of this uttara padha becomes the gender of the dvandva samāsā and we have mayuri kukkuta yau ime, the masculine usage of the samāsā. This brings us to the close of the discussion of the dvandva samāsā. Here are some observations. There is no upper limit on the number of constituents the dvandva samāsā can have. Literally we can say anantah dvandvaha. For example, this is a sutra 412 and this is read as sva-uja-samau chastah bhyam bhyam bhyasma sibhyam bhyasma sva-uja-am nyo-sup. This is nothing but one samāsā and this is a dvandva samāsā. This dvandva samāsā has got 21 constituents. It is that kind of compound which is formed using a very general pattern throughout with minimal semantic condition. So the treatment of this compound also remains simple in the ashtādhyayi with only one samāsā-vidhāhyaka sutra and only one samāsānta-pratyayā-vidhāhyaka sutra but with very much productivity. This must be a grammarian's delight therefore. At the end of this discussion, let us talk about the garbha samāsa which is a samāsa inside another samāsa. So dvandva garbha bahuvrihi samāsa. Let us talk about this. Here are some examples. So when the meaning to be conveyed is a devotee who has worshipped both hari and hara pujitau hari harau yena sahā. This is a bahuvrihi samāsa in which hari harau is the inside samāsa. This is a dvandva samāsa-harishcha, harascha, hari harau and then pujitau hari harau. Similarly, a family which has worshipped Rama, Lakshmana, Bharata and Shatrughna since the anyapadārtha is family, the resultant bahuvrihi samāsa would denote a new gender but inside this bahuvrihi samāsa lies a dvandva samāsa with four constituents. So now we have pujitāha, Rama, Lakshmana, Bharata, Shatrughna yena tattu. Tattu refers to this family, kula. And then we join them together, do the compounding and we get the big compound pujita, Rama, Lakshmana, Bharata, Shatrughna and the prathama ekavachana of this samāsa would be pujita, Rama, Lakshmana, Bharata, Shatrughna. Similarly, when the bahuvrihi samāsa means a student who has recited ashtadhyayi 4.1.2, swaujas, etc. the laukika vigraha would be adhitaha, swaujas, etc. yena saha and then the bahuvrihi samāsa with a dvandva samāsa inside with 21 constituents would be of the following kind, adhitah, swaujas, etc. Similarly, we have a bahuvrihi samāsa jāyā pratik grāhitā gandhamāliyā whose pritiyā ekavachana is used in the raghuvamsa jāyā pratik grāhitā gandhamāliyām. And here we have jāyā pratik grāhitā and gandhamāliyā as two constituents in which gandhamāliyā is the dvandva samāsa, gandhamāliyā and so the vigraha of the samāsa is jāyā pratik grāhitā gandhamāliyā yāsā one who made the wife to offer the scent and garland. This anyapadārtha is kau and so jāyā pratik grāhitā gandhamāliyām dhenum. Now, this bahuvrihi samāsa consists of gandhamāliyā as the internal dvandva samāsa. Therefore, this samāsa is dvandva garbha bahuvrihi samāsa and this pattern is very productive. The samāsa within a samāsa, this is very much productive and it can go on and on and on. To summarize, the dvandva samāsa is very productive in Sanskrit yet without many variations or many patterns for a grammarian to take note of. Indeed, this is vayākarana-santosah, the dvandva samāsa. Now, some other points to remember over here. One of them is that the two dvandva samāsas used in the same sentence are used to show the principle of correspondence. For example, in the ashtādhyayi, we have tundasoka-yoho parimraja-panudoho, 3-2-5, where one samāsa is tundasoka and the other samāsa is parimraja-apanudha. Tundha is a first member and that is related to the first member of the second dvandva samāsa, namely parimraja. Shoka is the second member of the dvandva samāsa and it is associated with the second member of the second dvandva samāsa, namely apanudha. Similar is the case with stambakarna-yoho ramijapoho, 3-2-13, where stambakarna is the first dvandva samāsa and ramijapoh is the second dvandva samāsa and the first member of the first dvandva samāsa is linked to the first member of the second dvandva samāsa and so on. The dvandva samāsa is used by panini to also show disjunctive application. For example, nvul truchau, 3-1-133. Here the suffixes nvul and truch are added to the verbal root one by one and not simultaneously. Similarly, tavyat-tavyaniyaraha, the three suffixes stated here tavyat, tavya and aniyar are added one by one disjunctively and not simultaneously at the same place, one after the other. Indeed, a very useful device in the hand of a grammarian. Therefore, vayākarana-pramodhā, dvandvāha. There are various other functions that the dvandva samāsa performs to serve the purpose of the grammarian. There are some other features which we have not studied in this particular course, notably the accent. But that remains for future. In this course, we have studied the important features of the avyāyibhava, bahuvrihi and dvandva samāsa. We have studied the process of compounding. We have studied mainly the sutras which prescribe and describe this particular process. And we have also studied the important features of these samāsas. The three key words for any samāsa are once again āikārthya, āikapadya and āikasvarya. These are the texts that we constantly kept referring to, the ashtādhyayi composed by Pāṇini. The samarthāṇikā, which is part of the great vayākarana, Mahābhāshya composed by the great Patanjali, Vākhapadyya composed by another great scholar, Vartra hari, Kāshikāvṛtti composed by Jayāditya and Vāmana, and the samāsapārkarana from the vayākarana siddhānta kaubhudi composed by the Bhattuji dikshita. Thank you very much.