Footnotes
[1]The Vedas: Immortality's First Call, p.9.
[2]Yajurveda, verse 34 in Abinash Chandra Bose, Hymns from the Vedas (London:
Asia Publishing House, 1966), p.79
[3] The Vedas: Immortality's First Call, p. 14
[4] Cf. Bose, p.6. The Vedic poets were addressed by numerous terms, including
karin (maker); karu (artist in words) and vipra (the inspired one). These
terms suggest a multiplicity of roles.
[5]The Vision of the Vedic Poets (The Hague: Mouton, 1963), p.14
[6] Sri Aurobindo Ghosh, Sri Aurobindo Birth Centenary Library, Vol. IX,
The Future Poetry (Pondicherry, 1971), p.16.<
[7]The only exception to date of this statement is the first poem of the
series. The remaining 499 poems that were composed during the poet's travels
in Japan and India bear no trace of their environment
[8]The Vision of the Vedic Poets, pp. 19-20
[9]Appendix A in S. Radhakrishnan, The Principal Upanisads (London: Allen
and Unwin, 1969), p.939.<
[10]Q. in Bose, p.19.<
[11]Q. in Sri Chinmoy, The Vedas: Immortality's First Call, p.3
[12] In particular, Niharranjan Ray, An Artist in Life: A Commentary on the
Life & Works of Rabindranath Tagore (Trivandrum: University of Kerala,
1967), pp.3-6.<
[13]Q. by Nolini Kanta Gupta, "World Literature," Lotus-Petals from Nolini.
A collection of essays. translated by Sri Chinmoy, p.96
[14]"The Norms of Epic," in James L. Calderwood and Harold E. Toliver, eds.,
Perspectives on Poetry (New York: Oxford University Press, 1968), p.195
[15] My Flute, p.30.<
