‘Glory to the twin poets whose names are lost in the morass of time, but
whose message brings strength and peace in a thousand streams to the doors
of millions of men and women even to this day, and incessantly carries silt
from long-past centuries and keeps fresh and fertile the soul of India’. -
RABINDRANATH TAGORE
THE CONCEPT OF “ORIGINAL WRITING”
The concept of "original writing" can be quite nuanced, especially when it
comes to religious texts. Writers, in general, can be considered original
if they create new ideas, stories, or expressions that haven't been written
before. However, many works, including religious texts, often include
references, quotes, or reinterpretations of older traditions, teachings, or
scriptures.
In the case of religious texts, it depends on the tradition and context:
Originality in Religious Texts: Many religious texts claim to be
divinely inspired or revelations from a higher power, so their
"originality" is often framed in the sense of being a new message or
guidance that hadn't been conveyed before, at least in that form. For
example, the Quran presents itself as a revelation received by the Prophet
Muhammad, and it is regarded as a new, original scripture, even though it
references earlier religious traditions like Judaism and Christianity.
Quoting or Referencing: Religious texts often draw upon earlier
scriptures, oral traditions, or teachings. For instance, the Bible includes
numerous references to earlier texts, such as the Torah, and quotes from
other sources. Many spiritual teachings are built upon a foundation of what
came before, adapting or elaborating on existing ideas. In the context of
writing religious texts, quoting or referencing earlier scriptures is not
seen as a lack of originality, but as a continuation or clarification of
divine teachings. (I AM NOT DISCUSSING AS VEDAS BECAUSE, IT IS NOT
EXCLUSIVE ONLY TO VEDAS; AND IN THE PLACES OF QURAN, BIBLE ETC, VEDAS MAY
BE SUBSTITUTED ALSO, AS SUO-MOTTO THE REPETITIONS ARE ONLY A REPEATED
WORDS OF ANCIENT TEXTS DESCRIBED BY THE TREATISERS OR JUST FORWARD ONLY;
ONLY RARELY AVIV KISS MAY WRITE THEIR OWN VEDAS AND UPANISHADS ,
EZHUTHAXHANS AAND TIRUKKURAL ON THEIR OWN; BUT A LEARNED CAN NEVER DO SO)
Contextual Creation: Writers of religious texts may also engage in
original commentary or interpretation based on their understanding of
spiritual truths. They might write in ways that speak to the needs or
experiences of their specific time and place, making those writings
relevant to their audience while staying grounded in the larger tradition.
{And understanding is not as one wishes but only that truth, which cannot
differ than ADI SHANKARA like)
So, while religious texts may include quotations or references, the act of
creating a religious text can still be seen as an original act in terms of how
it conveys or interprets spiritual concepts, offers new insights, or shares
unique visions. In essence, originality in religious writing can coexist
with the tradition of quoting or referencing earlier sources. {And where
the concept is defined already, new haphazard interpretations will be given
only by the avivekis and not by the learned)
So pure original writings are what exactly?
Pure original writing refers to works that are entirely new in terms
of content,
structure, and ideas, without directly copying or referencing existing
works. In this sense, it involves creating something that hasn’t been
expressed or seen before. However, it’s important to note that pure
originality doesn’t always mean the complete absence of influence. Writers
are often inspired by previous works, cultural context, personal
experiences, or universal themes, but the way they express these ideas is
uniquely their own.
Here’s a breakdown of what pure original writing could involve:
1. Completely New Ideas or Concepts:
The writer invents new themes, characters, or worldviews that haven't been
explored before. For example, in fiction, it could be a completely new
world or a new interpretation of an existing idea. In philosophy, it might
involve a novel theory or worldview. (How can Vedas and Upanishads be
better interpreted than Adi shankara or Sivananda or krishnananda or
Chinmaya who dwelt deep into? We all can only learn something out of them
rather than assuming erroneous statements like that of the avivekis.)
2. Unique Voice and Style:
The writer’s voice or way of telling a story is distinctive. This could
involve the use of a new narrative technique, language, or literary
devices. For instance, the stream-of-consciousness style pioneered by
writers like James Joyce is a unique approach that wasn't borrowed directly
from previous works.
3. Innovative Structure:
The writer may play with or break traditional structures of writing,
creating something new in terms of how the work is organized. Think of how
non-linear storytelling (like in movies such as Memento) was groundbreaking
when it was first popularized.
4. Cultural or Philosophical Contributions:
Writers may offer a completely new perspective or approach to interpreting
the world, society, or human nature. This could be through creating new
literary forms or philosophies that were not previously articulated. For
example, a novel approach to understanding the human psyche or social
dynamics. {But Vedas stotra and Upanishads are not presented anew,
different from those rendered by the sages; can any one write over
originally than Kanchi Periyava? It will be a stupidity that can be
contemplated only by few avivekis)
5. Creative Synthesis: Sometimes originality is a result of
synthesizing existing ideas in a new way. The writer could take concepts
from different fields, genres, or traditions and combine them in an
innovative manner to create something fresh. For example, blending science
fiction with philosophical themes in a way that had never been done before.
Examples of Pure Original Writing:
Literature: A groundbreaking novel like 1984 by George Orwell introduced
original political ideas and dystopian imagery.
Philosophy: The original ideas of a philosopher like Friedrich Nietzsche or
Jean-Paul Sartre created new paradigms of thinking about existence and
morality. (ALDOUX HUXELY WROTE HIS COMMENTARIES OF WHAT WERE WRITTEN BY
THEM EXPLAINING HIS INTERPRETATIONS WHICH BECAME THE POINTS OF ARGUMENTS
LATER SINCE INTERPRETATIONS WERE AGAINST THE TEACHINGS)
Art: In a creative sense, works like Pablo Picasso’s invention of Cubism
could be seen as pure original "writing" in the visual arts. (I added Our
scriptures later down below) {So also cubism later changed into many other
art forms descending down to modern arts whose paintings are partly
relished by a part crowd)
Are There Truly "Pure" Originals?
It’s debatable whether anything is completely original, as all writing is
influenced by prior knowledge, experiences, and culture. Even the most
innovative works tend to emerge from a particular historical, social, or
intellectual context. In this sense, while something can be highly
original, it’s nearly impossible for any work to be entirely without any
influence or reference to previous knowledge.
So, pure original writing is about introducing something novel in
terms of thought,
style, and perspective that hasn’t been expressed in that particular way
before. It's often a matter of the degree of innovation rather than total
absence of influence. {and that is the style I follow where any article of
mine other than the extracts from texts I read and relished, had my inking
and avivekis version of forward is not only unnecessary but infructuous as
they can never find anywhere in the web sites; I follow my books I read and
it is instant since it is in my thoughts lingering; no one will be able to
produce instantly unless knew already; and people who are following QUORA
may not understand these}
are Quora write ups pure originals? or to what extent of percentage
they are
Quora write-ups, like many online discussions and user-generated content,
vary widely in terms of originality. While some responses can be highly
original, others may rely heavily on existing knowledge, popular opinions,
or previously stated facts. Let’s break down the extent to which Quora
write-ups can be considered "pure originals":
1. Highly Original Content: Personal Experiences: If someone shares a
personal story, unique perspective, or insight based on their life, skills,
or profession, this can be considered highly original. These kinds of
write-ups are often based on the individual's unique experiences, which
cannot be directly copied or found elsewhere.
Creative or Innovative Solutions: If someone offers a new or innovative way
of solving a problem, a fresh perspective on a commonly discussed topic, or
a unique theory, that can also be highly original.
2. Less Original Content (Common Knowledge or References):
Factual Information: Many Quora responses simply summarize or explain
common knowledge, such as scientific facts, historical events, or general
advice. These write-ups may not be considered original because they are
based on widely available, pre-existing information.
Citations or References: A lot of answers on Quora might cite books,
articles, or other experts’ opinions, or paraphrase content from known
sources. These answers are not considered "purely original" because they
rely on established knowledge.
3. Hybrid Responses (Mix of Original Thought and Common Knowledge):
Many Quora write-ups blend personal insights with existing knowledge. For
example, someone might explain a scientific concept with a personal
anecdote or share a commonly known fact while offering their own analysis
or opinion. These responses can be considered semi-original because they
present the information in a new context or through an individual’s lens.
To What Extent Are Quora Write-Ups Original?
It's hard to pinpoint an exact percentage of originality for Quora
write-ups since the platform hosts a wide range of content, from very
original responses to regurgitated facts. However, here are some broad
trends:
Personal Stories or Experiences: These are likely 100% original, as they
come from an individual’s life and cannot be found elsewhere.
Expert Knowledge or Advice: If an expert provides their own analysis or
insight, it’s somewhat original, but still grounded in established
knowledge. This might be 60-70% original, depending on how much new
interpretation or unique advice is offered.
Summary of Existing Knowledge: Many responses on Quora are essentially
paraphrases or summaries of commonly known information. These responses
might be 30-40% original, as they rely on existing knowledge or common
facts.
Citations and Quoting: If a response is largely quoting or citing other
sources, the originality can be quite low, maybe 10-20% original, depending
on how much personal interpretation or elaboration is added.
Why Does This Matter?
The level of originality on Quora (or any platform with user-generated
content) often depends on the user’s approach to answering questions. Some
people focus on offering their own unique perspectives or experiences,
while others might provide more textbook-style responses or summarize
knowledge from elsewhere.
In summary, Quora write-ups can be a mix of highly original content
(particularly when based on personal experience or new insights) and less
original content (when based on common knowledge or external sources). The
percentage of originality can vary significantly depending on the nature of
the response.
So in literatures of ancient culture other than ancient treatises,
modern write ups are originals only to an extent and in minority content
only it is original
Yes, you’re right in your observation that in literature, especially from
ancient cultures, modern write-ups or interpretations are often original
only to an extent, and the original content tends to be in the minority.
This is because much of modern literature, particularly in historical or
philosophical contexts, builds upon earlier works, traditions, and ideas.
Let's break this down further:
1. Ancient Texts and Treatises:
Originality of Ancient Texts: Ancient literature, such as the Epic of
Gilgamesh, Homer’s Iliad and Odyssey, the Vedas, the Bible, or
philosophical treatises like those of Plato and Aristotle, often
represented revolutionary or foundational ideas of their time. These works
were highly original in their contexts because they introduced new ways of
thinking, writing, and interpreting the world, religion, politics, and
human nature.
Purpose and Context: Many ancient texts served specific functions, like
recording myths, religious teachings, or governing principles. They were
original in the sense that they expressed unique worldviews or spiritual
revelations, but they also reflected earlier traditions and oral histories.
Even in early religious writings, you often see influences or references to
older myths or cultural narratives.
2. Modern Write-Ups Based on Ancient Texts:
Modern Interpretations or Retellings: When modern writers engage with
ancient texts, their work tends to be a reinterpretation or
reinterpretation of ancient ideas, adapted for contemporary audiences. For
instance, modern writers may re-examine or offer new perspectives on
ancient philosophies or retell ancient myths with new insights or through
modern cultural lenses.
Example: Retellings of Myths: Writers like Margaret Atwood in The Penelope
offer modern reimagining’s of the story of Penelope from the Odyssey,
giving voice to characters who were originally marginalized. {Greek
literature cited since Indian texts are cited later}
Example: Modern Philosophy or Political Thought: Contemporary thinkers
often base their ideas on classical Greek or Roman philosophy but will
either apply these ideas to modern issues or adapt them in new ways. For
instance, existential philosophy in the 20th century drew on ideas from
ancient Greek thinkers, especially the Stoics.
Synthesis Rather than Pure Originality: While modern writers may synthesize
ancient ideas into something new, this synthesis is not often purely
original. Instead, it's an adaptation or transformation based on existing
knowledge, culture, or established texts. The "original" parts of modern
works are typically in how they interpret, adapt, or make connections
between ancient and contemporary ideas.
3. Extent of Originality in Modern Reinterpretations:
Minority of Original Content: In many cases, the truly original
contributions in modern works based on ancient texts tend to be in the
minority, as most of the content is derived from pre-existing knowledge,
interpretations, and traditions. For instance, a modern writer’s insights
may offer new readings of ancient texts, but the core ideas, characters, or
structures come from earlier works.
Example: When modern scholars or writers engage with an ancient text like
the Iliad or the Bhagavad Gita, they are usually interpreting it, offering
critical analysis, or applying its themes to current issues. The
originality often lies in how these ideas are recontextualized for the
present rather than in the creation of entirely new ideas.
4. Modern Scholarly Work:
Historical Analysis and Scholarship: Modern scholars who write about
ancient cultures and texts—whether historical, literary, or
philosophical—may add original interpretations based on new evidence,
theories, or methodologies. However, their writing is often heavily
dependent on primary sources, and they are usually offering original
insights within the framework of existing knowledge.
Originality in Modern Context: In literature or philosophy, modern writers
might propose new interpretations, criticisms, or applications of ancient
ideas, but those ideas are still fundamentally rooted in the works of past
thinkers. As such, they are original only to an extent and often form part
of a continuing conversation with the ancient texts.
5. Cultural Influence and Continuity:
Cultural Evolution: Much of modern writing reflects a continuity of
cultural and intellectual traditions that have been passed down from
earlier periods. Writers, artists, and philosophers are often influenced by
the works of their ancestors. Thus, even when there is originality, it is
often within the framework of established traditions, and very little in
the way of completely novel ideas is introduced.
Example: In literature, themes like love, power, fate, and morality have
been explored in ancient texts, and modern writers may take these themes
and present them in new forms, but they are often still operating within
the conceptual boundaries set by ancient works.
Many pieces of modern Indian literature draw inspiration from
the epics (Ramayana and Mahabharata) and Vedic stories, influencing themes,
characters, and narratives in various forms, from novels to poetry.
Here's a more detailed explanation:
Influence of Epics:
The Ramayana and Mahabharata, two of the greatest literary and cultural
works of ancient India, continue to exert a significant influence on modern
literature, art, and culture.
They are not just historical narratives but also sources of moral and
philosophical lessons, which are often explored in contemporary works.
Modern Indian writers often reinterpret and re-imagine these stories,
exploring different aspects of the characters and themes.
Influence of Vedic Literature:
The Vedas, particularly the Rigveda, are a rich source of philosophical and
religious ideas that have shaped Indian thought and culture.
Vedic literature, including the Vedas, Brahmanas, Aranyakas, and
Upanishads, is a source of knowledge about the Vedic era and the Aryans.
Modern Indian writers often draw inspiration from the Vedic texts,
exploring themes of dharma, karma, and the nature of reality.
Examples of Modern Indian Literature Inspired by Epics and Vedas:
Novels:
"A Suitable Boy" by Vikram Seth, which explores themes of love, family, and
tradition, draws inspiration from the Mahabharata.
"Godan" by Munshi Premchand, which deals with social issues, also reflects
the values and conflicts found in the epics.
Poetry:
"Rashmirathi" by Ramdhari Singh Dinkar, which is a collection of poems
inspired by the Mahabharata, explores themes of war, duty, and destiny.
"Madhushala" by Harivansh Rai Bachchan, which is a collection of poems
inspired by the Vedic tradition, explores themes of love, life, and death.
Plays:
"Gunahon Ka Devta" by Dharamvir Bharati, which is a play based on the
Ramayana, explores themes of love, duty, and sacrifice.
"Tamas" by Bhisham Sahni, which is a play based on the Mahabharata,
explores themes of war, family, and destiny.
The influence of the epics and Vedic literature on modern Indian literature
is undeniable.
These ancient texts continue to be a source of inspiration for writers,
artists, and thinkers in India, shaping the cultural landscape of the
country.
There is a strong argument that much of modern
literature builds upon existing ideas, themes, and styles rather than being
purely original. Many writers draw inspiration from past works, historical
events, and cultural traditions. This doesn’t mean that everything is a
direct reproduction, but rather that literature is an evolving conversation
across time. On the other hand, literature is deeply interwoven with
history, and much of what we read today is built on past works. This does
not mean mere repetition but rather reinterpretation, homage, or
intertextuality. Reproduction can be seen in:
Retellings and Adaptations – Many modern works are based on mythologies,
historical events, or classic stories (Shakespeare’s Hamlet is influenced
by Scandinavian tales). Postmodern and Meta-Narratives – Many contemporary
authors acknowledge past works, weaving them into their stories, sometimes
even breaking the fourth. Intertextuality and Cultural Echoes – Writers
knowingly or unknowingly borrow motifs, archetypes, and literary devices
from their predecessors. Even the most “original” works often have roots in
older traditions. Literature is both a continuation of the past and a space
for new creation. Every great writer absorbs influences but transforms them
into something meaningful and personal. Even when stories are retold, they
gain new life through different cultural lenses, historical contexts, and
unique authorial voices.
So, is literature mostly reproduction?
It depends on how we define reproduction. If it means repetition without
change, then no, literature is not mere reproduction. But if we see
reproduction as an ongoing dialogue with the past, then yes—literature is
an evolving cycle of influence, reinterpretation, and innovation.
Influence on Indian literature : The Ramayana and the
Mahabharata have exerted great influence on Indian literature. The series
of narrative poems based on the Ramayana and the Mahabharata are common to
all the languages of India. The Kamba Ramayanam in Tamil, the Ranganatha
Ramayana and the Bhaskara Ramayana, Molla Ramayana in Telugu, the pampa
Ramayana in Kannada, the Adhyatma Ramayana of Ezhuthachan in Malayalam,
the Rama katha of Moro pant in Marathi, the Krittibas Ramayana in
Bengali, the Ramayana of Madhava Kandali in Assamese, the Bilanka
Ramayana of Sarala Das and the famous Ramayana of Balaram Das in Oriya,
and the Ramacharitmanas of Tulsi Das, Saket by mathilisharan Gupta,
Ramachandrika and Vaidehi Vanavas by Ayodhya Singh Upadhyay Hariaudh in
modern times in Hindi are beads of same rosary. Similarly, the poetic
narratives based on the Mahabharata are spread over the whole country: in
Telugu three ancient poets Nannaya, Tikkana and Errana completed the
Mahabharata, in Kannada the Mahabharata of Pampa and Kumara, Vyasa are very
famous and in Malayalam the Mahabharata or Eluttaccan is in a way more
original and complete than his Ramayana itself. In Marathi, Shridhar wrote
the Pandava Pratap but that is not quite remarkable; in Bengali there were
about thirty renderings of the Mahabharata in the17th and 18th centuries of
which the Mahabharata of Kashi ram is easily the best, in Assamese Rama
Saraswati composed several Vadha-Kavyas based on the Mahabharata, in Oriya
the famous Mahabharata poet is the great Saraladas who is known in Odisha
as the ‘ Utkal Vyas ‘, in Punjabi Krishnalal produced a verse-translation,
and in Hindi the Mahabharata of Gokul Nath etc, in the later medieval age
and jaya Bharat of Mathilisharan Gupta and Kurukshetra of Ramdharisingh
Dinkar in modern times are works of permanent literary merit. Influence
of Ramayana: The greatness of Ramayana seems to lie in the appeal it has
to the head and heart of the common folk as well as the elite and the
intellectuals. There is so much to learn from the Ramayana on good conduct
e.g. the relationship between parents and children, husband and wife, how
brothers should conduct themselves etc. Friendship is yet another matter on
which the Ramayana has so much to say. Likewise, there is abundant
enlightenment in the great epic on the art of good Governance. The Ramayana
is indeed a grand treatise on personal qualities and conduct. Again, the
Ramayana places before us the ideal of a harmonious pursuit of the four
principal goals of life, namely: - Dharma (righteousness and duty) Arth
(material prosperity) Kama (legitimate sex and their pleasures) Moksha
(liberation of soul)
Such is the manifold greatness of Ramayana. It is truly an
epic of eternal interest and enlightenment. These are the tenets of Indian
life from ages till today. Ramayana has indeed influenced and affected the
way of life in India, it exerts its influence across the faiths and
beliefs. Ramayana defines the social values, family bondages and duties of
every family member in a commune. Indian way of life has been, from
centuries an assimilated and collective way of living with parent and
children generations living together, sharing every happiness and sorrow,
along with achievements and failures. The Indian way of life is the
holistic and collective form of life. Ramayana inspires the modern
generation also, however today, the socio-cultural ethos has shifted to the
globalized and self-centric way of living. Ramayana defines the institution
of marriage as the most sacred in Indian way of life, the relationship of a
married couple is eternal and beyond one life. This has been widely
accepted in the Indian way of life and is being practiced even today.
Influence of Mahabharata: The Mahabharata is the oldest epic in world
history, except the Ramayana which was composed a few centuries earlier.
More ingeniously conceived than the Iliad and the Odyssey, the Mahabharata
stands out as a marvel of creative imagination, composed by the sage Veda
Vyasa about 2000 BC. It depicts almost every conceivable human emotion,
love and hate, forgiveness and revenge, truthfulness and falsehood,
celibacy and promiscuity, commitment and betrayal, magnanimity and greed.
But what is most remarkable about Vyas’s genius is the uncompromising
integrity in presenting the baffling complexities of human existence in its
contradictions and coherences. Since the Mahabharata is a unique work of
art, it transcends the limits of time and space. Although it speaks to
every epoch in its own language, it carries significant relevance to our
age, in view of our concerns with such issues as social justice,
partitioning of a state as political expediency, women empowerment, and the
games that politicians play. One need not engage oneself in any
scholarly discourse as to whether or not this epic is historically
authentic, what is important to note is its impact on all those who visit,
even today, Kurukshetra, a small town in north India, and imagine, the
ground there still stained with the blood of the warriors who were killed
in the eighteen-day war, thousands of years ago. The Mahabharata or the
Great Epic is held to be the fifth Veda. The Bhagavad Gita finds a place in
this stupendous record of human activities, aspirations and achievements.
Chapters twenty-five to forty-two of the Bhishma parva of the Mahabharata
constitute this immortal discourse in eighteen sub-chapters consisting of
seven hundred verses. Among modern scholars there are those who hold that
the Bhagavad Gita is an interpolation in the Mahabharata. But the internal
evidence does not bear any testimony to this contention. Both in diction
and in development of the subject there is homogeneity running all through.
The philosophy of the Gita explained and expanded, becomes the Mahabharata.
Conversely, Mahabharata condensed into philosophy, becomes Gita. What the
heart is to the human body, so is the Gita to this great epic. Hence any
attempt to trace a separate origin to the song celestial serves no
purpose.
Whether Kamba Ramayana is original and if not, why is
he praised?
The Kamba Ramayanam, also known as Kamban's Ramayana, is a Tamil version of
the Ramayana that was written by the poet Kamban, believed to have lived in
the 12th century. While the Kamba Ramayanam is based on the Sanskrit
Ramayana of Valmiki, Kamban made several modifications and adaptations to
suit the Tamil culture and his artistic style.
Originality of the Kamba Ramayanam:
Not an original story: The Kamba Ramayanam is indeed based on the Ramayana
written by Valmiki, so it is not an entirely original creation of Kamban.
The primary plot, characters, and events are drawn directly from the
Valmiki Ramayana. However, Kamban's rendition is considered highly original
in terms of its literary quality, poetic form, and Tamil cultural context.
Kamban's contribution: Kamban’s work is praised for its poetic beauty,
elaborate descriptions, and artistic depth. While the core narrative
remains similar to Valmiki’s version, Kamban’s brilliance lies in his
ability to present the story in a way that resonates with Tamil audiences,
adding local legends, interpretations, and nuances that make it distinct
from the original.
Why Kamban is praised:
Poetic Excellence: Kamban is celebrated for his exceptional mastery over
Tamil poetry. He used intricate meters and employed a rich and ornate style
that elevated the Ramayana to new literary heights. His work is known for
its beautiful and melodious language, which contributed to the popularity
of Tamil literature.
Deep Devotion and Bhakti: Kamban’s retelling reflects his intense devotion
to Lord Rama. His work is imbued with the bhakti (devotional) spirit, which
was central to the Tamil religious context of the time. His verses often
express reverence for Lord Rama in a way that appeals emotionally to the
readers.
Cultural and Artistic Adaptations: Kamban adapted the story to better suit
the Tamil ethos, including changes in character depictions, local
mythology, and the narrative's moral and spiritual lessons. His Kamba
Ramayanam not only followed Valmiki's framework but also integrated Tamil
sensibilities and cultural elements, making it a significant part of Tamil
literature.
Influence on Tamil Literature: Kamban’s Ramayanam is considered one of the
greatest epics of Tamil literature. His influence on later Tamil writers
and poets is profound, and his work is still studied and revered in Tamil
literary circles.
Moral and Philosophical Depth: Kamban’s version of the Ramayana often
highlights the philosophical and ethical aspects of the story. The way he
portrays the characters, especially Rama, Sita, Ravana, and others,
reflects his understanding of dharma (righteousness) and karma
(action), providing
a more nuanced interpretation of the original story.
In Conclusion: Yes, when considering modern write-ups based
on ancient cultures, originality is often limited, especially in terms of
content that is completely new and independent of prior works. While modern
writers can bring fresh perspectives, the vast majority of their work tends
to be reinterpreting, adapting, or synthesizing ideas from earlier periods,
making the truly original contributions relatively rare and more likely to
be found in new insights or applications rather than in fundamental ideas
or concepts. Thus, the originality of modern works based on ancient texts
or traditions is indeed often in the minority compared to the extensive
reuse of existing material.
NB: Even after reading the 80% original with the research quotes and
extracts 20%, if foolish observers still persist, had to ignore the
countable who have the least brains.
K RAJARAM 26325
On Tue, 25 Mar 2025 at 19:43, 'gopala krishnan' via KeralaIyers <
[email protected]> wrote:
> Respected Mr. Sharma,
>
> Though last few lines are harsh, *I admire the first six paragraphs of
> your posting*. Thank you for your good words on me and about Mr.
> Narayanaswamy.
>
> Mr Markandeyalu bracketing me with Mr. Narayanaswamy and yourself, I am
> really proud of -being associated with two *learnt* men.
>
> Pinpointing a harsh mail does not in any manner affect the learning and
> culture of a person Like you. They have not gone through or ignored your
> excellent postings.
>
> *Surely your point is correct- Bracketing Mr. Markandeyalu with Mr.
> Rajaram*.
>
> Mr. Rajaram has least courtesy to *intimate forwards as forwards*. There
> is no point in appreciating Mr. Rajaram *who forward irrelevant matter*
> in response to original postings of him. I have pointed out this point to
> Mr. Markandeyalu many times.
>
> Where as *I have no harsh feelings but only very good thinking on Mr
> Markandeyalu,* I least appreciate his appreciating irrelevant forwards as
> response by Mr. Rajaram.
>
> Day is not far off Mr. Markadeyalu understand the true color of Mr.
> Rajaram.
>
> Mr Sharma, *please avoid harsh language. *
>
> Gopalakrishnan
>
>
>
> On Tuesday 25 March, 2025 at 06:28:25 pm IST, Laxminarayan Sarma <
> [email protected]> wrote:
>
>
> *You are considering with the lowest of the low son of a whore, a
> castrated eunuch harlot*
>
> *Ask my why. I've been connected with the Iyer 123 group for almost two
> decades. But since 2011 i stopped writing but continued following the
> various threads. I held and continued to hold almost every contributor in
> high esteem. One of the outstanding, in fact the most outstanding among
> them was and is Brahmashri Narayanaswamy Iyer, whose credentials as a
> scholar, a communicator, jurist and wordsmith par excellence are
> unparalleled..*
>
> *And, i may confess, i am yet to come across a gentleman as gentlemanly,
> polite, cultured, sophisticated and refined as Shri Gopalakrishnan-ji*
>
> *And, then this lump of pompous, braggart of a lump of shit, emerges like
> a maggot in swine shit and hurls Tamil invectives at both Shri
> Narayanaseamyb Anna and the gentle, soft spoken Shri Gopalakrishnan-ji. *
>
> *While Shri Narayanaswany Anna countered the whoreson eunuch Rajaram
> robustly and gave the bastard a taste of his own shit, Gopalakrishnan-ji
> suffered silently.*
>
> *It was at this point, around 8 months ago that i intervened. At first i
> responded very politely, patiently and oersuasively but to no avail. The
> whoreson latrine cleaner Roger Rum, didn't desist from abusing
> Gopalakrishnan -ji but, started spitting stinking shit at me too*
>
> *It was than I lost my composure and started kicking the castrated bastard
> RogerRum in the butt *
>
> *And, without knowing the background, while the Thenfmkakai Thevudiya
> Pundai was being hauled through his own shit, you*
> * Mariada-Yeddala-Pundai , salivating after tge bastards stinking butt,
> butted in , andcame in the line of fire*
>
> *Why in mithrtfuckin hell do you have to side with this whoreson of a
> eunuch whore? Is he lending You his arse to enable you to satiate your
> depravity?*
>
> *You have accused Shri Gopalakrishnan of getting bracketed with Shri
> Narayanswamy Anna and me. But you Gulti Andhra-Vadu that's exactly what
> you're doing .. bracketing yourself with a mother fucking eunuch whore*
> *son of a strumpet a by product of incest born out of a quickie beteeen
> his mother and his grandpa in a chennai slum lavatory *
>
> *Please don't tangje with peaceful people like Shri Gopalakrishnan - ji.
> We'll guck the daylights out of you and your lover - eunuch*
>
>
>
>
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