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By Erasmus Desiderius

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Or of the existing text? D. T. 50. D. dissertation, “The Core of India’s Great Epic,” later published as The Warrior Code of India’s Sacred Song, New York: Garland Publishing, 1992. 18 CHAPTER ONE onstrates that the four battle-books of the epic contain, in turn, increasingly high proportions of non-‘original’ material, the fourth, the Öalyaparvan, being wholly secondary) but before the insertion of the lengthy didactic passages? 23 But in posing these questions he already betrays their purpose.

2, 11-12, 25. 342-3. 344. 36 22 CHAPTER ONE assumed “that a poem cannot rise as epic and didactic at the same time”. 42 Importantly, he noted that didactic materials tend to fill temporal hiatuses in the action of the main story, suggesting that a principle of design lies behind their inclusion. He further asserted, following Lévi, that the “poet of the BhagavadgÁt¾ is the poet of the Mah¾bh¾rata”. 43 On the other hand, Pisani also considered the Mbh to have been compiled from different sources.

Also the different applications of verbs like pra+—vac and —kath in C. 411-12. 107 Implicitly, this discussion has concerned the Sanskrit Mah¾bh¾rata. INTRODUCTION 35 to suggest that the ‘Mah¾bh¾rata’—and I especially distinguish this from the notion of a ‘Bh¾rata cycle’—has always included and, therefore, been designed with, both narrative and didactic material. The question of a preexisting ‘Bh¾rata cycle’ is beside the point in this regard. Similarly, designating a didactic corpus as a ‘later interpolation’ refuses to entertain, and therefore can never hope to grasp, whatever intentionality might have been behind its inclusion in the composition of the Mbh.

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A Very Pleasaunt and Fruitful Diolog Called the Epicure by Erasmus Desiderius


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