A “Critique” of my Internal Chronology by an “Impartial
Indologist”
Shrikant G. Talageri
Someone just sent me for my response the following article written by someone named Benjamin Lloyd whose blog is named “Impartial Indology”. The article itself is titled “Critiquing Talageri: Why he gets almost everything wrong”:
His article consists of two parts. The second part pertains to the old and much discussed subject of Purukutsa and Trasadasyu. I have already written so many articles on this subject in the context of Jijith Nadumuri Ravi’s fairy-tale-ridden books and tweets, that some regular reader of my articles is likely to stone me to death for continuing to discuss this same old thing every time someone repeats the same old arguments. Anyone who has not read my articles on the subject (and this goes for Benjamin Lloyd as well) can do so now.
The first part of his article I will quote in full:
“In
this post, I will attempt a brutal, honest, factual critique of Shrikant
Talageri, who is unarguably one of the most important authors in the field of
Indology. Despite making important contributions, he makes fatal errors in his
reasoning that lead to faulty conclusions.
In
Chapter 3 of his book “Rig Veda A Historical Analysis”, we read the following
statement:
The Rigveda consists of ten MaNDalas or
Books. And, excepting likely interpolations, these MaNDalas represent different
epochs of history.
Unfortunately,
instead of giving actual evidence in favor of this hypothesis, Talageri opts
for a selective reading of both the Rigveda and the Anukramani in order to
support his absurd thesis. At the very outset, this statement seems illogical.
If each mandala is written by a particular rishi family, and each mandala also
corresponds to an ‘epoch’ of history, then it would imply that each ‘epoch’ was
dominated by one and only one rishi family. It would imply that in each epoch,
one rishi family held a near monopoly on composing Rigvedic hymns. At the very
outset, this doesn’t seem very likely.
Further,
we read:
The chronological position of MaNDala IX
is equally beyond doubt: it is definitely much earlier than MaNDala X, but
equally definitely later than the other eight MaNDalas.
MaNDala
IX was meant to be a kind of appendix in which hymns to Soma, ascribed to RSis
belonging to all the ten families, were brought together.
Notice
how these two statements contradict each other. If the IXth mandala consists of
hymns composed by all the ten families, and each family composed hymns during a
specific ‘epoch’, then it implies that IXth mandala should contain hymns from
all the epochs. So while it may be true that the IXth mandala was organized at
a later date, some of its hymns could be much earlier. By no means can IXth
mandala be considered a ‘late’ mandala.
Further,
we read:
The family MaNDalas can be divided into
Early Family MaNDalas (VI, III, VII) and Later Family MaNDalas (IV, II, V). The
Later Family MaNDalas have full hymns composed by direct descendants of RSis
from the Early Family MaNDalas.
The
reader is left to presume that the second statement is supposed to be
‘evidence’ in favor of the the first statement. Unfortunately, the evidence is
very flimsy. The fourth mandala is attributed to Vamadeva Gautama, and he bears
no known relationship to the authors of mandalas VI (Bharadvaja), III
(Visvamitra) or VII (Vasistha). However, there is one hymn in mandala IV, hymn
43, which is ascribed to the rishis Purumīḷha Sauhotra and Ajamīḷha Sauhotra.
Supposedly, they descend from Suhotra Bharadvaja, and this is supposed to be
‘evidence’ that the entire IVth mandala is later than the VIth! But even if we
accept the premises, the only thing we can safely conclude is that this one
particular hymn is later to (most hymns of) VIth mandala. Just because one hymn
in the IVth mandala was composed by a descendant of rishi Bharadvaja doesn’t
mean the entire mandala is later than VIth. This unfounded conclusion could
only be based on his unfounded hypothesis that each mandala is supposed to be
an ‘epoch’!
He
futher presents a series of similar arguments in which he uses the Anukramani
to “logically deduce” the relative chronology of mandalas. I do not need to
demonstrate in detail that all of those arguments are based on equally
unfounded and flimsy premises. Let me just point out how he has selectively
employed the Anukramani data. In mandala I, there are several hymns (166-191)
attributed to Agastya Maitrāvaruṇi. As we know from hymn VII.33, Agastya was a
contemporary of Vasistha, and was regarded as his brother. In fact, it was
Agastya (according to VII.33), who introduced Vasistha to Sudas. This would
imply that major portions of mandala I actually belong to the earliest period.
But Talageri asserts that even the earliest parts of mandala I are later than
VII. This is a serious contradiction, because according to Talageri, mandalas
represent ‘epochs’ and therefore Vasistha and Agastya must be separated by
‘epochs’ (which can’t be true).
I can
give another example. Hymns VIII.101, IX.62, IX.65, X.110, X.167 are attributed
to rishi Jamadagni. Jamadagni was a contemporary of Visvamitra, and we know
this from hymn III.53, where Visvamitra attributes his poetic skill (symbolized
by Sasarparī) to Palastis and Jamadagnis. However, Talageri places mandalas
VIII, XI, and X to be later than mandala III.
One may raise a point in Talageri’s defense. It could be that the Agastya of mandala I was a later Agastya. Likewise, the Jamadagnis of mandalas III, VIII, IX and X could all be different personalities belonging to different epochs. But this would open a can of worms. How, then, would we know that the hymns of mandala VI that are attributed to Bharadvaja were composed by the same Bharadvaja? In fact, we don’t. In all likelihood, the mandala VI was composed by many generations of Bharadvajas, and not all of their personal names were preserved in the Anukramani. This would mean that each family mandala would have early, middle and late portions, that would be roughly concurrent with the early, middle and late portions of other family mandalas. In other words, rishi families were (in some sense) “competitors” in a market rather than monopolists of their respective epochs.”
I could reply point by
point to the above, but again it would constitute repeating myself ad nauseam,
and I am really tired of doing this. Let me go to the very fundamentals
instead of discussing individual points already answered.
Basically, what Benjamin
Lloyd is arguing here is that my internal chronology of the books is
wrong because:
1. “Talageri opts for a selective reading of both the Rigveda
and the Anukramani in order to support his absurd thesis. At the very outset,
this statement seems illogical. If each mandala is written by a particular
rishi family, and each mandala also corresponds to an ‘epoch’ of history, then
it would imply that each ‘epoch’ was dominated by one and only one rishi
family. It would imply that in each epoch, one rishi family held a near
monopoly on composing Rigvedic hymns. At the very outset, this doesn’t seem
very likely.”
2. “If the IXth mandala consists of hymns composed by all the
ten families, and each family composed hymns during a specific ‘epoch’, then it
implies that IXth mandala should contain hymns from all the epochs. So while it
may be true that the IXth mandala was organized at a later date, some of its
hymns could be much earlier. By no means can IXth mandala be considered a
‘late’ mandala.”
3. “However, there is one hymn in mandala IV, hymn 43, which
is ascribed to the rishis Purumīḷha Sauhotra and Ajamīḷha Sauhotra. Supposedly,
they descend from Suhotra Bharadvaja, and this is supposed to be ‘evidence’
that the entire IVth mandala is later than the VIth! But even if we accept the
premises, the only thing we can safely conclude is that this one particular
hymn is later to (most hymns of) VIth mandala. Just because one hymn in the
IVth mandala was composed by a descendant of rishi Bharadvaja doesn’t mean the
entire mandala is later than VIth. This unfounded conclusion could only be based
on his unfounded hypothesis that each mandala is supposed to be an ‘epoch’!”
4. “Hymns VIII.101, IX.62, IX.65, X.110, X.167 are attributed
to rishi Jamadagni. Jamadagni was a contemporary of Visvamitra, and we know
this from hymn III.53, where Visvamitra attributes his poetic skill (symbolized
by Sasarparī) to Palastis and Jamadagnis. However, Talageri places mandalas
VIII, XI, and X to be later than mandala III.”
5. “It could be that the Agastya of mandala I was a later
Agastya. Likewise, the Jamadagnis of mandalas III, VIII, IX and X could all be
different personalities belonging to different epochs. But this would open a
can of worms. How, then, would we know that the hymns of mandala VI that are
attributed to Bharadvaja were composed by the same Bharadvaja? In fact, we
don’t. In all likelihood, the mandala VI was composed by many generations of
Bharadvajas, and not all of their personal names were preserved in the
Anukramani. This would mean that each family mandala would have early, middle
and late portions, that would be roughly concurrent with the early, middle and
late portions of other family mandalas. In other words, rishi families were (in
some sense) “competitors” in a market rather than monopolists of their
respective epochs.”
I could point out the
incorrectness of all his above arguments, by which he strives to prove that I have
presented an “unfounded hypothesis that each
mandala is supposed to be an ‘epoch’!”
But, since each
individual point has been explained in full in my books and blogs, and his
arguments are completely wrong, I will not repeat my explanations again. Let me
instead try a new approach: let me assume that all his above arguments do
indeed present a case showing that my “hypothesis
that each mandala is supposed to be an ‘epoch’” is “unfounded”.
So is my case, “that each mandala is supposed to be an ‘epoch’”
right, or is his case, that my case is “unfounded” right?
If his case (his
article is of 2019) had been brought to my notice a few years ago,
I would have had to reply laboriously to each point. But in 2022 I have
written an article “Final Version of the Chronological Gulf between the Old
Rigveda and the New Rigveda” which completely analyzes the vocabulary of the
various books of the Rigveda and conclusively shows that:
1. There is a massive
vocabulary of New Words found only in the New Rigveda
(Books 5,1,8,9,10) and the Redacted
Hymns in the Old Books 2-4,6-7 (the list
of which was originally compiled not by me but by the most standard Indologists/Vedicists
like Oldenberg, Witzel and Proferes), but not in the Old
Hymns of the Old Rigveda (Books 2-4,6-7).
2. There is also a large
vocabulary of Middle Words found only in the Middle Books
(2,4), and in the New Rigveda (Books 5,1,8,9,10)
and the Redacted Hymns in the Old Books 3,6,7,
but not in the Old Hymns of the Old Books 3,6,7.
https://talageri.blogspot.com/2022/08/final-version-of-chronological-gulf.html
Now I do not have to
prove the correctness of my case “that each
mandala is an ‘epoch’” by talking about Anukramanis and composer
names. I have already done that in my books, and it is that
evidence which Benjamin Lloyd is arguing against in his
above article. But the correctness of my case “that
each mandala is an ‘epoch’” is now conclusively proved by an
absolute analysis of the vocabulary of the 10 Books of the Rigveda:
The New Words
(for precise details see my above article) are found as follows:
1. Old Rigveda Books 2,3,4,6,7: 0/280 Hymns, 0/2368 verses, 0 words. +0 C + 0 M.
2. Redacted Hymns in Old Books 2,3,4,6,7: 61/62 Hymns, 470/873 verses, 724 words. +1 C + 6 M.
3. New Rigveda
Books 1,5,8,9,10: 684/686 Hymns,
4256/7311 verses, 6828 words. +300 C + 96 M.
In the above article I
have also given the list of Middle Words (for precise details again
see my above article) are found only in the Middle Books (2,4),
and in the New Rigveda (Books 5,1,8,9,10)
and the Redacted Hymns in the Old Books 3,6,7,
but not in the Old Hymns of the Old Books 3,6,7.
The only thing is I did not feel it necessary the lists of references
containing those words.
[I did not feel it
necessary because of the severe sciatica and vertigo caused by the
back-breaking work involved in preparing this detailedly analyzed article, and
also because, as I explained at the beginning of that article, so as not to dilute
the impact of the historically important chronological gulf between the Old
Rigveda and the New Rigveda demonstrated by the New
Words and New Meters, by introducing an additional
angle of references of Middle Words, important for internal Rigvedic
history, but not important for IE and OIT history].
So I would request Benjamin
Lloyd, and any admirers of his “critique” of my Internal
Chronology of the Books of the Rigveda, to see whether his pedestrian (and,
incidentally, already answered) arguments about Anukramanis
and Composer Rishis, have even the slightest force against the
avalanche of data contained in my above article. To repeat myself, it will be
obvious that my case, “that each mandala is an
‘epoch’”, is now conclusively proved by an absolute analysis
of the vocabulary of the 10 Books of the Rigveda.