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The Vedic literature provides guidelines for interpreting obscure passages:
1. The beginning and end of a section can indicate the theme.
2. Repeated ideas throughout a section likely reflect the intent.
3. Original, unique ideas in a section represent the intent, even if surrounded by known facts.
The factors of beginning, end, repetition, uniqueness, purpose, support, and logical implication can help ascertain the intent or meaning behind obscure passages.
The Vedic literature provides guidelines for interpreting obscure passages:
1. The beginning and end of a section can indicate the theme.
2. Repeated ideas throughout a section likely reflect the intent.
3. Original, unique ideas in a section represent the intent, even if surrounded by known facts.
The factors of beginning, end, repetition, uniqueness, purpose, support, and logical implication can help ascertain the intent or meaning behind obscure passages.
The Vedic literature provides guidelines for interpreting obscure passages:
1. The beginning and end of a section can indicate the theme.
2. Repeated ideas throughout a section likely reflect the intent.
3. Original, unique ideas in a section represent the intent, even if surrounded by known facts.
The factors of beginning, end, repetition, uniqueness, purpose, support, and logical implication can help ascertain the intent or meaning behind obscure passages.
The Vedic literature gives the following guidelines for the
interpretation of obscure passages: upakramopasaàhäräv abhyäso 'pürvata-phalam artha-vädopapatté ca liìgaà tätparya-nirëaye
"The factors to consider in interpreting obscure shastric
passages are; upakrama, the beginning (the author's preamble); upasaàhära, ending (the author's concluding words); abhyäsa, what is repeated again and again; apürvatä, what is unique and novel; phalam, the fruit indicated; artha-väda, the author's statement of his own intention; and upapatti, the logical implication"
1. upakrama-upasaàhära
The beginning (upakrama) and conclusion(upasaàhära) of a
particular section can be looked at to identify the theme. The beginning and the conclusion should deal with the same subject matter, in which case we can get an idea about the tätparya.
2. abhyäsa
Abhyäsa is repetition. Sometimes a particular thought is
repeated many times in a section. That gives a clear idea about the tätparya. If its purpose is not to teach that, it would not repeat the same idea many times. For ex: tatvamasi is repeated 9 times in the sixth chapter of Cändogya upaniñad.
3. apürvata
Apürvata means unprecedented, or unknown before or original.
Vedas have to convey something that is not knowable otherwise. If they convey only what is known by other means then Vedas become redundant. So if there is a thought that is present in the section that is original and unique to the Vedas, even though it be cushioned amidst various other known facts, that could be identified as the tätparya.
4. phalam
Phalam means fruit or result. The train of thought should lead
to a result or should point to a benefit. If there is no benefit or result like a statement “the crows in heaven are white”, then it is not considered a çästra at all. It is accepted by all that çästras indicate a phalam. By knowing the phalam we can get an idea as to what tätparya is.
5. artha-väda
Eulogy or arguments/narratives supporting/encouraging a
particular idea/act. By knowing what is being eulogized and for what purpose we again gather information about the tätparya. arthaväda is not meant for taking it at face value but to focus on what is being eulogized. Mostly stories are used to induce or support a particular idea. The focus is on the idea and the stories are only a support. This is another means of knowing the tätparya.
6. upapatté
Two explanations presented here, one is to look at what is
being demonstrated by examples or analogies. The other is to follow the train of thought logically and find out what is implied by it. By that again we can come to a conclusion about the tätparya.
(Suny Series in Latin American and Iberian Thought and Culture) Jorge J. E. Gracia-Images of Thought_ Philosophical Interpretations of Carlos Estevez's Art-State University of New York Press (2009).pdf