1 00:00:00,390 --> 00:00:08,550 So our next speaker is a doctoral student in the Asian Studies Department at the University of Edinburgh. 2 00:00:08,550 --> 00:00:15,930 He specialises in the visual ity of Indian Buddhism and has a particular interest in development and application of visual methodologies. 3 00:00:15,930 --> 00:00:29,440 Close reading of suture materials. He has recently advantages, offer pieces and I suppose articles on the back of the suture in the negative, 4 00:00:29,440 --> 00:00:39,180 all that stuff she students and teachers at a recent monastery in the. 5 00:00:39,180 --> 00:00:51,130 Thanks very much, Greg. I just like to start by offering my thanks to the organisers for this technological and organisational feat. 6 00:00:51,130 --> 00:00:57,430 And yeah, my presentation focuses on a section of the larger society of us, 7 00:00:57,430 --> 00:01:08,680 which rather describes the dual trees of Amitabh as pure land and in very basic terms, this part of the description. 8 00:01:08,680 --> 00:01:13,420 Involves the repetitious manipulation of two lists. 9 00:01:13,420 --> 00:01:22,210 So that was the seven precious materials soft rock now and the elements or parts of a tree. 10 00:01:22,210 --> 00:01:29,200 What I'm asking here, what I'm interested in is really do the particular patterns that these repetitions make. 11 00:01:29,200 --> 00:01:38,970 Help us to identify this passages purposes beyond your expectation in effect, are we being told what to read for? 12 00:01:38,970 --> 00:01:44,820 Now, in the past, this bust has been viewed as a stencil for visualisation practise. 13 00:01:44,820 --> 00:01:51,390 So do these patterns stipulate a particular way of reading intended to create mental imagery? 14 00:01:51,390 --> 00:02:02,050 Or are we looking at some other function? Is that a perhaps a simple legacy of memorisation or even a poetic ornamentation of the text 15 00:02:02,050 --> 00:02:09,250 in order to amplify a metaphor or perhaps a contribution to the drama of its performance? 16 00:02:09,250 --> 00:02:19,370 Is it even possible that the patterns help to make an argument for the effectiveness of the sociological tool that the passage encodes? 17 00:02:19,370 --> 00:02:28,330 So do we have to be exclusive, I suppose, would be the follow on from that, could more than one of these apply? 18 00:02:28,330 --> 00:02:36,810 So the central example from the largest collective you are, Sutra is probably well known to many of you. 19 00:02:36,810 --> 00:02:45,270 Also well-known is that in speaking in general terms, the descriptions of trees, and that's often the identification years, 20 00:02:45,270 --> 00:02:56,100 not entirely secure palm trees or taller forms are frequently a part of the description of Royal Capitals and their surroundings. 21 00:02:56,100 --> 00:03:01,650 And that includes pleasure, growth, gardens and so on. 22 00:03:01,650 --> 00:03:11,490 And it's not unrelated to broader swaths of sensuous imagery drawn from Indic myths surrounding the northern paradise, 23 00:03:11,490 --> 00:03:14,910 which were kuru and related to certain aspects of pleasure. 24 00:03:14,910 --> 00:03:29,590 Gardens of Indra in London, Havana. And in some ways is adjunct, if you like to conception surrounding the wish fulfilling treat rickshaw. 25 00:03:29,590 --> 00:03:36,400 Now, a criterion that's useful for distinguishing these descriptions is the repetitive natures. 26 00:03:36,400 --> 00:03:44,460 So that's to say that very similar descriptions appear in several texts, as well as being repetitive in and of themselves. 27 00:03:44,460 --> 00:03:49,870 No examples can be found in the permutations of the story of the king moustache. 28 00:03:49,870 --> 00:03:58,270 Not in that if you have a donor and if I'm on a plateau or if we want to look at specific Mayan examples, 29 00:03:58,270 --> 00:04:08,770 we can cite descriptions of ratty parada in the questions of ruffled colour or a kind of nutty in the perfection of wisdom in eight thousand lines, 30 00:04:08,770 --> 00:04:17,830 or perhaps somewhat less. Obviously, the description of the Great Park City Papa in the come to view a suitable. 31 00:04:17,830 --> 00:04:25,140 No, the point I'm trying to sort of make here is that the seemingly pervasive and stock nature of these descriptions. 32 00:04:25,140 --> 00:04:29,310 And just to back that up, really in the Vastu, for example, 33 00:04:29,310 --> 00:04:34,350 there are even explicit intra textual instructions to expand on descriptions with 34 00:04:34,350 --> 00:04:42,850 reference to previous sections of that text or with reference to capitals by name. 35 00:04:42,850 --> 00:04:48,370 Subsidiary to this is the fact that some of these descriptions feature questioning of various types, 36 00:04:48,370 --> 00:04:53,800 and some do not get into that little bit more later on. 37 00:04:53,800 --> 00:05:04,130 So. I mentioned that there are various possible explanations for the complexity that we will find in our central example. 38 00:05:04,130 --> 00:05:11,550 Of course, a legacy of memorisation is a strong candidate, given that lists are a basic mnemonic device. 39 00:05:11,550 --> 00:05:15,880 And I referred to another prevalent explanation, which is visualisation. 40 00:05:15,880 --> 00:05:22,360 And Paul Harrison has previously suggested that we see this elaborate description as a template 41 00:05:22,360 --> 00:05:29,440 for visualisation quote that we could liken to the wiring diagram for a television script, 42 00:05:29,440 --> 00:05:39,500 for a play or a musical score. So some kind of text that precipitates a performance. 43 00:05:39,500 --> 00:05:39,920 Similarly, 44 00:05:39,920 --> 00:05:49,590 Katherine has more recently supported this view with his discussions of the terminology and visual character of the parallels found in the house, 45 00:05:49,590 --> 00:06:00,780 who doesn't suit up and elsewhere. Further corroboration for a view of this passage in the largest accounts, U.S., etcetera, 46 00:06:00,780 --> 00:06:08,760 some kind of meditative practise or visualisation could be found in such tanks as the Tianhe Sutra, 47 00:06:08,760 --> 00:06:19,530 which is explicitly concerned with, well, let's just say, visualisation practise and contains a clear echo of the passage that we're interested in. 48 00:06:19,530 --> 00:06:25,150 Yeah. I should also mention the second part of your whole petition. 49 00:06:25,150 --> 00:06:30,550 So a purported commentary on the largest contributor, Citra, 50 00:06:30,550 --> 00:06:42,370 in this text recommend strongly visualisation is the fourth and most important of five contemplated gates that are used to quote unquote here. 51 00:06:42,370 --> 00:06:48,820 Reveal the way to meditate on pure land to see but a and to be born in this land. 52 00:06:48,820 --> 00:06:53,120 So just to be a little bit more specific about the verses and prose, 53 00:06:53,120 --> 00:07:03,340 auto commentary in this text includes a list of 17 merits of the pure land, which are then used to explain how this meditation was undertaken. 54 00:07:03,340 --> 00:07:12,370 And this is a list of descriptive items, the eighth of which makes reference to the description of two trees. 55 00:07:12,370 --> 00:07:14,590 So in some way, 56 00:07:14,590 --> 00:07:23,110 it seems that the passage from the largest captive you hostage to maybe the kind of cognitive stencil from its two practises involving mental imagery. 57 00:07:23,110 --> 00:07:25,660 However, before we just say OK. 58 00:07:25,660 --> 00:07:34,120 Case closed except point, I think we should look a little more closely at the patterns that are found within this passage and on screen. 59 00:07:34,120 --> 00:07:44,230 Here is a key. We've had time to absorb that for the diagrams and tabulation or make of the patterns in the passage itself. 60 00:07:44,230 --> 00:07:48,580 Now, if we understand the repetition to be a key feature of ritual, 61 00:07:48,580 --> 00:07:55,480 then it's various and quite obvious here and can be observed across five parts and 62 00:07:55,480 --> 00:08:01,420 depending on how you wish to pass the example of this particular textual unit. 63 00:08:01,420 --> 00:08:10,390 The most interesting aspects from our perspective today on the third of the cases as a third and fourth parts, 64 00:08:10,390 --> 00:08:18,550 so I'll really move rather rapidly across the first two parts and just mention a couple of points from them. 65 00:08:18,550 --> 00:08:25,460 The first is that we see the enumeration of the full list of the runner at the start. 66 00:08:25,460 --> 00:08:30,820 So that's the first order of business is running through the seven precious materials. 67 00:08:30,820 --> 00:08:38,440 And then there's the proposal of the equivalent of the precious materials for their appearance or their colour, 68 00:08:38,440 --> 00:08:45,280 although that's up until literal interpretation. The second point to mention is from the second part, 69 00:08:45,280 --> 00:08:52,660 and this is that we see a use of a crescendo structure that encompasses a performance of relationship between the numerical 70 00:08:52,660 --> 00:08:59,800 statement of the number of materials of composition of these different categories of trees and their subsequent listing. 71 00:08:59,800 --> 00:09:03,820 So we're told that a category of trees that have three types say, for example, 72 00:09:03,820 --> 00:09:09,370 of precious materials as their composition, and then we could given those three materials. 73 00:09:09,370 --> 00:09:18,160 OK, so moving on now to the substance, really. 74 00:09:18,160 --> 00:09:26,200 Concatenation roughly equivalent on a day process, the type here shrink or sun clock. 75 00:09:26,200 --> 00:09:32,320 Various other terms the third and fourth plants exhibit the complete enumeration 76 00:09:32,320 --> 00:09:38,380 of every possible member of the two lists for what is referred to as exhaustion. 77 00:09:38,380 --> 00:09:45,650 But they do this in combination so the seven precious materials and the individual parts of the tree. 78 00:09:45,650 --> 00:09:52,090 Now, the two parts that we're looking at. 79 00:09:52,090 --> 00:09:56,980 Feature two types of concatenation with different levels of complexity. 80 00:09:56,980 --> 00:10:03,490 So part three enumerate seven categories of trees that have the first six elements Bruce, 81 00:10:03,490 --> 00:10:08,620 Trunk, etc. made of one substance and then the final element. 82 00:10:08,620 --> 00:10:12,070 The fruit is of the next colour or material on the list, 83 00:10:12,070 --> 00:10:17,980 and then the colour of the fruit is then that of the first six parts of the next category of trees and so on. 84 00:10:17,980 --> 00:10:25,570 That's just the Sanskrit where we see the repetitions more easily and then English, their trees made of gold, of flowers and so on. 85 00:10:25,570 --> 00:10:39,160 Gold and fruits of silver and the trees of silver with fruits of barrel just to get through the detailed text straight to the pattern there. 86 00:10:39,160 --> 00:10:44,770 The concatenation that I set out in this diagram appears to represent a ratio of six to one. 87 00:10:44,770 --> 00:10:50,410 And in fact, this is really reflective of the meaningful content of the passage. 88 00:10:50,410 --> 00:10:56,080 In terms of actual repetitions, ratio is really two to one. 89 00:10:56,080 --> 00:11:04,500 I just skipped back, you can see that very clearly to gold, to one silver, and then the next line to silver is to one Chris a barrel. 90 00:11:04,500 --> 00:11:19,800 And so on, and I just feel like that up really to bear in mind when we move forward and look at some other parallel examples later on. 91 00:11:19,800 --> 00:11:29,620 OK, so the force in this sequence of atoms is a more complex type of concatenation. 92 00:11:29,620 --> 00:11:35,640 And this instance, yet another series of types of trees, and you read it in this case, 93 00:11:35,640 --> 00:11:41,580 each type as every one of its elements comprised of a different colour or material. 94 00:11:41,580 --> 00:11:47,480 So the enumeration precedes. 95 00:11:47,480 --> 00:11:55,190 I gradually shifting the colour of material assigned to the various elements by one position as the rest of rotation continues. 96 00:11:55,190 --> 00:11:56,570 You see it quite clearly here. 97 00:11:56,570 --> 00:12:04,570 Streaks of gold and the trunks are of silver limbs parallel and gone to the next category, which then are of silver and trunks or apparel and so on. 98 00:12:04,570 --> 00:12:17,200 So. Now. The pattern that this creates is really a rather satisfying arrangement in a seven by seven grid form. 99 00:12:17,200 --> 00:12:24,230 Somewhat notably, has the seventh precious material at its court. 100 00:12:24,230 --> 00:12:31,190 This part also appears to make news for contiguity or Co-occurrence In-law's Index Co. of a rather extreme type in 101 00:12:31,190 --> 00:12:39,200 the conflation of three parts with colours and materials and the concatenated population of syntactic positions. 102 00:12:39,200 --> 00:12:46,190 So as the sequence is followed, each element of the tree is both contiguous with every precious material and also precipitates, 103 00:12:46,190 --> 00:12:51,660 causing a causal relation with the next thing that's hard to occupy that position. 104 00:12:51,660 --> 00:13:00,090 However, the absolute exhaustion by the detailed enumeration of both metrics of both lists in a manner that completely meshes one list, 105 00:13:00,090 --> 00:13:05,400 then the other is hard to ignore as a means of verbally establishing a relationship of co-occurrence that 106 00:13:05,400 --> 00:13:16,230 may be substituted for an actual or real relationship with a nod to the possible virtual nature of reality. 107 00:13:16,230 --> 00:13:21,750 Also, in general terms, in the example, overall, from the largest crop visitor, 108 00:13:21,750 --> 00:13:27,990 we see a tax unit that goes beyond the self-financing of its presence and its use of a poetic function of language. 109 00:13:27,990 --> 00:13:36,310 So that's referencing Clinton's famous famous statement will set towards messages so that such. 110 00:13:36,310 --> 00:13:41,320 So the example here includes patterns that are really recognisable as such, 111 00:13:41,320 --> 00:13:47,890 so that I can ascertain an intra textual relations either within that unit or with resulting resembling units outside of 112 00:13:47,890 --> 00:13:55,720 it that help establish and reinforce index correlations on a verbal level that may be substituted for real relations. 113 00:13:55,720 --> 00:14:01,240 And then so be mistaken for mistaken for efficacy. 114 00:14:01,240 --> 00:14:03,670 No, such deliberate substitution is amplified. 115 00:14:03,670 --> 00:14:11,380 If this activity is set within a few of the artificially constructed or coincidental symbolic associations of languages, 116 00:14:11,380 --> 00:14:20,590 actual or of the signifiers of language is causally connected automatically to the reference, which I accept is not universally necessarily the case. 117 00:14:20,590 --> 00:14:27,490 My suture materials. But it's a big subject we really have to put. 118 00:14:27,490 --> 00:14:30,110 Now this would be achieved by the use of certain features, 119 00:14:30,110 --> 00:14:37,540 so this poetic means I mentioned so we have repetition, diagramming accumulation, exhaustion. 120 00:14:37,540 --> 00:14:43,960 And these are used to aid in the establishing of index cards to assist in the constructing of an existing. 121 00:14:43,960 --> 00:14:50,650 Which, as I mentioned, the goal of all this is to produce certainty or to borrow a yellow phrase. 122 00:14:50,650 --> 00:14:56,850 This passages is a type of rhetoric that uses poetry for persuasion. 123 00:14:56,850 --> 00:15:01,170 Now we can skip rather quickly over the fifth part, the fifth and final part, 124 00:15:01,170 --> 00:15:12,030 which is merely something of a consummation that just involves the listing of each part of the trees as composed of the Ratna. 125 00:15:12,030 --> 00:15:15,660 You see their roots made of that seven precious substances, 126 00:15:15,660 --> 00:15:23,760 trunks of the seven precious substances and so on, so fairly uninteresting that and to be frank. 127 00:15:23,760 --> 00:15:28,080 I should just note before we move on, though, to further aspects of this passage, 128 00:15:28,080 --> 00:15:33,360 both of which are reviewed by the tabulation of signifiers of of all parts of the verbal sequence and 129 00:15:33,360 --> 00:15:40,820 the previous tabulations of a lie that the verb and some of the other parts to make it more clear. 130 00:15:40,820 --> 00:15:47,630 And the first point is really this suffix Maya Madoff created, fabricated with cheques. 131 00:15:47,630 --> 00:15:58,510 I would suggest as the principal sign that by repetition guideline into the target of the ritual, if it is indeed ritual recitation. 132 00:15:58,510 --> 00:16:04,480 And that would be the creation of fabrication of these trees, I guess, as a mental image. 133 00:16:04,480 --> 00:16:11,050 And by its repetition creates emphasis and also reinforces the central argument passage. 134 00:16:11,050 --> 00:16:20,990 I've highlighted that records and allocations to Omega. And you'll see here how pervasive it is throughout the overall structure of the passage. 135 00:16:20,990 --> 00:16:24,070 Now, the second point, which I think is revealed here, 136 00:16:24,070 --> 00:16:32,360 is the gradual unfolding of a passage from a rather relative simplicity to a climax of complexity in part for. 137 00:16:32,360 --> 00:16:38,570 And the type of momentum that this implies, it's there and in the second part of this escalation, 138 00:16:38,570 --> 00:16:45,320 but it's seen really across the whole package and the enumeration of a set and escalating fashion may be, 139 00:16:45,320 --> 00:16:49,820 I'm going to suggest a way of building momentum into the performance that could 140 00:16:49,820 --> 00:16:54,500 be conceived as an elevation of excitement and anticipation engendered by it, 141 00:16:54,500 --> 00:17:05,260 by a steady escalation. So I think we've seen reasonably clearly the presence of concatenation in the central example. 142 00:17:05,260 --> 00:17:13,770 We can now turn to look at some parallels and the implications this may have for our interpretation of the passages. 143 00:17:13,770 --> 00:17:19,770 So the closest parallel can be found in the description of King Arkema City Party in the Malagasy, 144 00:17:19,770 --> 00:17:23,800 which contains structure description of jewelled palm trees. 145 00:17:23,800 --> 00:17:29,960 And here it is explicitly taller. So there's a. 146 00:17:29,960 --> 00:17:33,860 Tabulation of the concatenation there, and the two lists are slightly different, 147 00:17:33,860 --> 00:17:40,580 the arrangements up to right now, and obviously it's a short list of three elements. 148 00:17:40,580 --> 00:17:47,920 Now, similarly to part three of the largest captive U.S. tour discussed above, 149 00:17:47,920 --> 00:18:01,620 the tabulation presented here represents more accurately the meaningful content and a much stricter denotation of the verbal pattern is now on screen. 150 00:18:01,620 --> 00:18:08,700 Now, look, the point to take from this, really is that we're seeing clear concatenation here. 151 00:18:08,700 --> 00:18:14,540 We're seeing an enumeration of the subterranean list of this house that. 152 00:18:14,540 --> 00:18:30,210 And what we see here is a one to one repetition. Now, this description is extensive of King Regiments Capital and carries on, 153 00:18:30,210 --> 00:18:37,510 and we move on to the railings surrounding the castle, we see again concatenation. 154 00:18:37,510 --> 00:18:45,430 So similar to the first part, from the largest account to you hostage and the previous aspect of this description, 155 00:18:45,430 --> 00:18:52,360 we see enumeration of the basic which occurred before it solely elaboration. And we have included this example. 156 00:18:52,360 --> 00:19:01,540 It's really evident from the use of truncation that the pattern is so familiar to the authors of this passage that all other aspects seem superfluous. 157 00:19:01,540 --> 00:19:10,120 Other aspects of their description are not needed, and it seems to me that the essential aspect is this one to one ratio. 158 00:19:10,120 --> 00:19:16,640 So you see that I've highlighted a grid run through the list, then concatenated three parts and they drop out. 159 00:19:16,640 --> 00:19:25,840 We just have really suffix on that. And the precious materials concatenated through the central part of the elaboration. 160 00:19:25,840 --> 00:19:31,490 However, it's another example from the kind of you have. 161 00:19:31,490 --> 00:19:35,750 Which is Sydney's 15th encounter. 162 00:19:35,750 --> 00:19:42,780 With a kind of betrayal where it's showing the manner in which research was performed, calculations from Ghana by English, 163 00:19:42,780 --> 00:19:48,260 where a young young lad that raises an interesting point and really starts to put 164 00:19:48,260 --> 00:19:54,010 some flies in the ointment was the idea of this passages of regionalisation. 165 00:19:54,010 --> 00:20:00,100 Here we have a list of over 100 quantities that is rigorously concatenated. 166 00:20:00,100 --> 00:20:10,580 So each phone number is described as the multiplication of which precedes it gives us a pattern, something like a BBC, CCD and so on. 167 00:20:10,580 --> 00:20:16,270 Now, importantly, the semantic content has no relation to the examples we saw above. 168 00:20:16,270 --> 00:20:23,170 But I think the use of concatenation is strikingly clear. What's also clear from the context? 169 00:20:23,170 --> 00:20:29,050 Is the association of this time with learning English for its mastery of all kinds of education was extensively listed, 170 00:20:29,050 --> 00:20:37,400 beginning with that of writing and arithmetic. And he's also stated as passing on this extensive range of all the knowledge to others, 171 00:20:37,400 --> 00:20:42,910 and the image we have of him includes a cohort of 10000 fellow students. 172 00:20:42,910 --> 00:20:48,680 If you can imagine that. And I think what we can. 173 00:20:48,680 --> 00:20:55,640 Extrapolate from this is it concatenation can be associated, at least in the minds of the authors of this particular passage, 174 00:20:55,640 --> 00:21:04,760 with what one might loosely regard as institutionalised or or rote learning, perhaps you'll see it quite clearly there. 175 00:21:04,760 --> 00:21:11,180 Could I cut a number? Got him, got him a gardening problem? And so. 176 00:21:11,180 --> 00:21:18,140 Now this example really leads us rather neatly onto the potter method of Vedic memorisation, 177 00:21:18,140 --> 00:21:25,850 both to correct retention of text by grouping of words into pairs and the repetition of the second of each pair is the first of the next. 178 00:21:25,850 --> 00:21:32,870 Now, I make no claim for knowledge or expertise in either Indian education or Vedic recitation. 179 00:21:32,870 --> 00:21:37,700 However, the use of concatenation here being the whole point of this technique. 180 00:21:37,700 --> 00:21:42,770 And so the similarities to the examples above seems evident enough to be of some interest 181 00:21:42,770 --> 00:21:48,470 in charting the possible influences on the construction of our Buddhist examples. 182 00:21:48,470 --> 00:21:55,940 And I would flag up here the one to one ratio. 183 00:21:55,940 --> 00:22:03,200 So. Clearly in use of the technique of memorisation. 184 00:22:03,200 --> 00:22:09,500 Aside from that concatenation is an established aspect of poetic embellishments, 185 00:22:09,500 --> 00:22:15,380 the early treatise on Dramaturge, The Shastra shows awareness to this figure. 186 00:22:15,380 --> 00:22:21,170 It lists poetic ornaments and provides a typology of yamaka, 187 00:22:21,170 --> 00:22:31,410 which prepared includes a category that is approximately equivalent to that of the closest term by that text to Kavala. 188 00:22:31,410 --> 00:22:37,370 Now, this is not gone without notice, concatenation has been discussed by several scholars, 189 00:22:37,370 --> 00:22:47,600 and perhaps the most useful in this regard is obvious article from the mid-90s and the forms and usages of concatenation and profit. 190 00:22:47,600 --> 00:22:55,280 Really, what Belleair does for us is demonstrate very convincingly just how well recognised this this was. 191 00:22:55,280 --> 00:23:06,330 And then she starts off with its origins in the in the regulator and then moves into China scripture, which could anger. 192 00:23:06,330 --> 00:23:15,750 And also points out Vogue, a great fashion as it were for this technique when it came to descriptions in later Myer, 193 00:23:15,750 --> 00:23:24,090 Austria and China appropriate literature. I think this is of interest to us, really, because these are often, 194 00:23:24,090 --> 00:23:32,040 although not exclusively, descriptions of places or aspects of the natural environment. 195 00:23:32,040 --> 00:23:39,090 And I've just borrowed a couple of her examples here really, just to reinforce the points you see here. 196 00:23:39,090 --> 00:23:45,030 Quite clearly, a concatenation of the text model of the revered is presented in another. 197 00:23:45,030 --> 00:23:50,760 Means memorisation, but you can see they're highlighted the repetition over the lines there. 198 00:23:50,760 --> 00:23:57,240 And if we want to sort of question, that was another example of us from the two. 199 00:23:57,240 --> 00:24:09,510 If you have a donna, which shows quite nicely the use of poetic use of concatenation in some of the verses from that text. 200 00:24:09,510 --> 00:24:18,410 No concatenation, also something of a rhetorical dimension serving as it does to increase access. 201 00:24:18,410 --> 00:24:21,920 Here, so in that example, from the larger society of us, 202 00:24:21,920 --> 00:24:26,870 who contributes to one of a number of forensic techniques to aid in the constructing 203 00:24:26,870 --> 00:24:32,690 of index quality to the goal of the passage and thus adding to the verbal text, 204 00:24:32,690 --> 00:24:38,620 persuasive force aims to substitute probable relationships for actual ones. 205 00:24:38,620 --> 00:24:45,400 Now returning to the implications for the interpretation of this passage, 206 00:24:45,400 --> 00:24:52,510 while I don't wish to entirely overturn or deny the possibility of the interpretation 207 00:24:52,510 --> 00:24:59,700 of the passage from the larger scope to privacy Trump and perhaps its closest. 208 00:24:59,700 --> 00:25:07,860 Parallels that exhibit strong structural similarities as as visualisations are in 209 00:25:07,860 --> 00:25:17,280 line with Kathryn Harrison and the text mentions are now only accent in Chinese, 210 00:25:17,280 --> 00:25:21,930 and actually I concede, in fact, the patterns I've identified here may well, 211 00:25:21,930 --> 00:25:29,910 they may well be the meditation and some of them being used for remembering this this script. 212 00:25:29,910 --> 00:25:37,710 However, the identification of poetic resonances and parallel examples that bear no relationship in their imagery, 213 00:25:37,710 --> 00:25:40,560 but close accords in their use of concatenation, 214 00:25:40,560 --> 00:25:52,190 in my view, the is an idea of these impossibly prolix passages for some kind of specific technical diagram for the construction of mental imagery. 215 00:25:52,190 --> 00:25:58,370 In fact, this raises the possibility that what we see here is an attempt to further increase the glory of any associated 216 00:25:58,370 --> 00:26:06,160 figure by the application of recognised forms of embellishment and the description of their abode or domain. 217 00:26:06,160 --> 00:26:14,350 So then these descriptions are probably intended to heighten the impact of the metaphor of we talk a spiritual sovereign. 218 00:26:14,350 --> 00:26:17,740 So that's in the case of the largest captive U.S. soldier, 219 00:26:17,740 --> 00:26:25,770 and the deployment of literally ornament serves to further increase as it were the praise quotient of this passage. 220 00:26:25,770 --> 00:26:31,080 Of course, just to make things a little bit more complicated, a little bit more of. 221 00:26:31,080 --> 00:26:39,300 It may also be that these literary images were singled out for adornment by virtue of their already established pragmatic context. 222 00:26:39,300 --> 00:26:45,660 Nevertheless, it seems hard to me not to see these patterns as the display of a well-recognized form of poetic technique, 223 00:26:45,660 --> 00:26:53,090 one that can be loosely associated with descriptions of places and environments. 224 00:26:53,090 --> 00:27:00,560 And is here in play, two versions of elaborate monikers from within a nexus of Indian imaginative themes regarding roil cities, 225 00:27:00,560 --> 00:27:13,150 Paradise Gardens and this would suggest, I think, that it was not a matter of pragmatic necessity or stipulation, but one of artistic discretion. 226 00:27:13,150 --> 00:27:21,070 As a result of the various levels of complexity evident in available examples, we don't just see concatenation, 227 00:27:21,070 --> 00:27:28,660 we also see some inversion of pairing and we see different degrees of the use of these particular patterns. 228 00:27:28,660 --> 00:27:37,390 It is quite hard to draw clear dividing lines between the literary and pragmatic readings of these articles. 229 00:27:37,390 --> 00:27:43,560 Of course, visualisation may well require exemplary and repetitious memorisation, or, for that matter, 230 00:27:43,560 --> 00:27:51,600 a poetic figure to both announce the presence of a particular text event and engage in such retention. 231 00:27:51,600 --> 00:27:58,590 Nonetheless, the identification of specific patterns and especially concatenation of an organising feature, 232 00:27:58,590 --> 00:28:07,580 I think, assist us in understanding just why some of the shooters were said to be a copy creator made by poet. 233 00:28:07,580 --> 00:28:14,750 Now, I'd just like to close by refreshing or pointing out again some of the categories of descriptive material 234 00:28:14,750 --> 00:28:21,080 encountered and some of the problems are just some of the questions I think that the analysis raises. 235 00:28:21,080 --> 00:28:27,140 So very briefly, there are three types of descriptions. 236 00:28:27,140 --> 00:28:29,940 Those with no obvious patterning. 237 00:28:29,940 --> 00:28:41,910 And that's most of those text I mentioned at the outset, in fact, those with patterns apply to to the whole description of us to. 238 00:28:41,910 --> 00:28:51,360 And then those with parents apply to only select parts of the description, the largest club to view how it fits into that bracket, really. 239 00:28:51,360 --> 00:28:55,890 So. What really raises a few questions for us here, 240 00:28:55,890 --> 00:29:03,630 why is this particular section with the largest of captives which are being singled out for this treatment for its atonement or manipulation, 241 00:29:03,630 --> 00:29:06,330 depending on how you wish to take it? 242 00:29:06,330 --> 00:29:17,910 And why why are the jewel trees and based on the parallels, perhaps from palm trees and why palm trees, what's the significance of this image? 243 00:29:17,910 --> 00:29:22,090 Is this a symbol of royalty? 244 00:29:22,090 --> 00:29:32,590 Now, some of the descriptions do include obvious patterning, such as concatenation or obviously seen or understood as a matter for visualisation. 245 00:29:32,590 --> 00:29:43,300 Should we now take them as such, but would and then what do we infer from the presence of these patterns in examples that have no relation whatsoever? 246 00:29:43,300 --> 00:29:53,840 Content wise is that is the escalating concatenation of quantities to be understood as visualisation. 247 00:29:53,840 --> 00:29:57,320 And then finally, just being a little bit more detailed here, 248 00:29:57,320 --> 00:30:05,210 I'm thinking about this difference between the two to one ratio as opposed to what seems to be the more standard one to one repetition. 249 00:30:05,210 --> 00:30:11,870 Is this a particular Buddhist innovation? Is the fact that it's slightly loosened its organisation important? 250 00:30:11,870 --> 00:30:22,790 And what should we make really of the fact that most of the clearest parallels to our central example are from ostensibly non-violent? 251 00:30:22,790 --> 00:30:27,830 So that really concludes what I have to say in the matter. 252 00:30:27,830 --> 00:30:38,046 I'd just like to thank you all for your attention. I began with a quick spinning GIF.