Abstract

Śaṅkara and Rāmānuja were not solely textists; nor were they merely existential metaphysicians; nor were they a combination of both. Rather, their epistemologies involve a sixfold use of vitally important sacred and secular pramāṇa-s as instruments in orchestrated fashion where symphonies of their respective ontologies are given to their listeners. With the two Vedāntins, no pramāṇa is in every case the lead instrument. Rather, they employ any of the six as lead instrument at various times, depending on the pedagogic and/or apologetic context, while the others support the melody played by the lead. The result for both teachers is a melodic epistemological opposed-to-the-other composition characterized by careful thought and use of the six pramāṇa-s, all with the goal of defending their respective traditions of Vedānta as the truth of the matter at hand—knowledge of Brahman.