All this can mean one of only two things: either the Anukramani ascriptions are genuine; or else they have been concocted with incredible efficiency and coordination: this would involve great skill not only in concocting ascriptions for new hymns, to make them fit into the pattern, but also in changing older Anukramani ascriptions where a descendant of a Rishi composer from a later (as per my chronology) Mandala figured as a composer in an earlier (as per my chronology) Mandala, and in extrapolating references from within the hymns of an earlier (as per my chronology) Mandala which referred to a Rishi composer from a later (as per my chronology) Mandala!
Shrikant TalageriRelated topics
changing chronology composer coordination descendant early fit great later mean skill thingsRelated quotes
I humbly accept the Centennial Nobel Peace Prize. Forty years ago today, the Prize for 1961 was awarded for the first time to a Secretary-General of the United Nations - posthumously, because Dag Hammarskjöld had already given his life for peace in Central Africa. And on the same day, the Prize for 1960 was awarded for the first time to an African - Albert Luthuli, one of the earliest leaders of the struggle against apartheid in South Africa. For me, as a young African beginning his career in the United Nations a few months later, those two men set a standard that I have sought to follow throughout my working life.
Kofi Annan
...introduce the auxiliary concept of first-signal...defined as the fastest message carrier between any two points in space. We now send a first-signal from P, calling the event of departure E1... The event of its arrival at P' is called E'. Simultaneously with the arrival of this signal, another first signal is sent from P'. The arrival of this signal at P is the event E2. ...the time interval between E1 and E2 is coordinated to the event E', [E1 is earlier than E' and E2 is later than E'] and every event of this time interval except for the endpoints is inderterminate as to the time order relative to E.
Hans Reichenbach
He [Gilels] played in an easy, natural manner, with strong but unassuming musicianship. His technique was brilliant; years later Neuhaus, still astonished, was to recall Gilels's incredible octaves in Liszt's Spanish Rhapsody. Yet Gilels was never looked upon as a mere virtuoso. As a matter of fact, his programs did not often include music pour epater le bourgeois. He played a stedy diet of Beethoven (the Hammerklavier was a work that strongly engaged his last years), Schubert, Schumann, Chopin and Brahms. In many respects, the great virtuoso who put his authoritative stamp on whatever he played was, at the same time, a thinking man's pianist.
Emil Gilels
Prospero wears a large, heavy, dark-blue cloak or gown that enfolds him like a quilted blanket... it is darkly embroidered with small wine-coloured beads and swirls of black vegetation... it has long strings and ornate tassels that trail to the ground... it is a garment that has often been worn... a little frayed and scuffed. Later it will be seen to be capable of changing colour... in seven stages comparable to the power of Prospero's magic... black, brown, dark blue, light blue, purple, dark red and fiery red... and to have a vivid lining embroidered with dazzling stars -- a lining that is only revealed in flashes as when a dark butterfly momentarily uncovers coloured underwings.
Peter Greenaway
As we saw, there is a large class of personal names and name-elements common to the Late Books and hymns of the Rigveda (386 hymns in the Late Books of the Rigveda and 8 Late hymns in the earlier Books), and to the Avesta (the bulk of the names, right from the name of the first composer of the Avesta, and the names of his closest associates), the Mitanni (including every common name element known), and the Kassites (the only known name). These names and name-elements are fundamental to all four groups, but completely absent in the Early and Middle Books of the Rigveda (apart from the 8 Late hymns mentioned earlier). And all these names and name-elements are very common in post-Rigvedic texts.
Shrikant Talageri