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65
Besides this evidence furnished by the repetition,
redundancy, and incongruity produced by interpolation, the
interpolated material often retains parts of its own original frame
structure. These pieces, commonly in the form of panegyric codas
to the preceding ritual or meditation, clearly point back to a
different original source. 1 Extensions of the frame along these same
lines in the form of panegryics of parts of the text, or praise and
description of the promulgators of the text, often signal differing
redactors. 2 Self-references, and cross-references to other texts and
traditions function as clues in the same way, allowing for a
moment the hand of the actual authors to reach from behind the
screen into the shadow play of revelation. 3 In sum, the very
technique, which the redactors used positively in constructing a
unified composition, internal criticism uses negatively in
decomposing their work.
Thus the techniques utilized by the initial compilers and later
redactors of Svacchandatantram favored the growth of the text by
assimilation, accumulation, and incorporation. These techniques, in
turn, plausibly reflect the concerns of the redactors, and permit
inferring their motives. In particular, their references to other
schools encapsulate their interest in integrating through adaptation
or absorption in an inclusive hierarchy of sects symbolized by the
successive pervasion of inferior planes by higher planes in their
1 Note, for example, the panegryic closing line that follows the
discussion of the Bahur奴pa formula, "smara峁嚹乶n膩艣ayeddevi,
tama岣� both in bk.1, p.39, and bk.6, p.148, with notably, the
syntactically expected second half missing in bk.6.
"
2 V., for example, the editorial adjustment in the cosmology
(Bk. 10, p.422) which has the narrating Bhairava岣� acknowledge his
identity with Um膩patih, and which praises his multiple
manifestations, although the book otherwise shows no evidence of
containing specific Bhairava material.
3 Cf. supra the discussion of the 艢aiva stratum.