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easily and overtly signal compositional layers. 1 In contrast to these
surface indicators, signs of differences in content may lie more
recessed in the structure of the text. Their loss of transparency
increases with the patina of familarity which covers over once
glaring contrasts, now accepted as normative in later transmission.
And successive redactors promote this habituation by their
techniques of editorial integration.
The dialogue frame was used as the basic tool for this
integration. Even where the nature and scope of the added
material limits successful incorporation, and relegates it to an
appendix or separate book, the frame furnishes a nominal
transition. 2 Similarly, when redactors interpolated material, they
often added a dialogue verse as a transition. 3 When they embedded
a segment in a larger topic, a dialogue verse often signals the
return to the main subject through a Wiederaufnahme or
resumptive repetition. 4 Of course, since the first compilers used
not a logical construction but the dialogue frame as their principal
compositional structure, corroborating evidence, which indicates
that the content likely derives from different milieus or traditions,
must reinforce any supposition of interpolation.
p. 95ff.
1 V., for example, the metrically distinct section of bk 13,
2 V., for example, the opening dialogue of bk.14, p. 109, which
nominally links the gestures (mudr膩岣�) not described elsewhere, to
the rest of the text: "mudr膩峁嚹乵 lak峁�a峁嘺m vak峁�ye asmimstantre
yath盲sthitam. "
3 V., for example, bk.4, p.256, where dialogue introduces an
abbreviated initation procedure, which belongs, as K峁�emar膩ja岣�
notes, with related procedures in the following book.
4 Thus, for example, in bk.6, after a digression on the nature
of the Pra峁嘺va岣� that begins (p. 123) with the words,
鈥減a帽capra峁嘺vasamyoga岣�, "the main discussion recontinues (p.144)
with the Wiederaufnahme, "pa帽capra峁嘺vasamyuktam.
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