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THE SURYASATAKA OF MAYURA
215
Notes. 1. On Mura, see stanza 76, note 9. For Sürya's relation to
Vişņu, see stanza 91, note 5. 2. The term parimalana, which is not
found in the ordinary lexicons, is glossed in the first rendering by
hastasamvahana, 'massaging with the hand.' In the second render-
ing its gloss is avagahana, 'plunging.' I have followed the commen-
tary in the first rendering, but in the second, I translate by 'perfume,'
thinking it possibl that parimalana may be a variant form of pari-
mala, 'perfume.' It seems to me also possible that the original read-
ing may have been parimilana, 'touch,' which would fit both renderings.
3. Padma or Sri, the wife of Vișņu, is presumably called Padmā, 'Lotus,'
because she appeared, when the ocean was churned, resting on the expanded
petals of a lotus; cf. stanza 2, note 2, and stanza 42, note 3; cf. also Moor,
Hindu Pantheon, plates 3 (p. 12) and 4 (p. 19), where Padma is pictured
in the act of massaging Vişnu's feet. 4 Lit. unnidra means 'sleepless'
or 'expanded.' It is glossed both by jägarita, 'long awake,' and by
savadhana, 'attentive.' I have adopted the latter rendering, but Bern-
heimer (Introd., p. 105) prefers the former, translating 'che presto si è
desta.' 5. Lit. dvirbhavat means 'manifest.' 6. For parimalana in
the sense of 'perfume,' see note 2. The commentary would render: 'the
splendor of the rays is made manifest by plunging into (avagahana) the
clusters of lotuses that expand at dawn'; cf. note 2. 7. Garuda, son
of Vinata, was Vişnu's vehicle; cf. stanza 47, note 3. 8. Lit. 'who,
through devotion, abandons the mighty (uru) rise of weariness.' Bern-
heimer (Introd., p. 105) renders: 's'innalza nel cielo, appena la fatica ha
abbandonato le zampe di quello.' The compound tyaktorukhedodgati must
be taken as an adverb. 9. Aruņa, son of Vinată, as already often noted,
-see especially stanza 8, note 1,-was the driver of Sürya's car. He was
born thighless (cf. stanza 8, note 1). Bernheimer (Introd., p. 105) ren-
ders: 's'innalza nel cielo, appena la fatica ha abbandonato le zampe dei
suoi cavalli.' 10. Lit. adharayan means 'excelling,' but the gloss is
langhayan, 'traversing,' 'crossing.' 11. The seven lokas are meant;
these are bhürloka or earth, bhuvarloka or sky, svarloka or heaven, mahar-
loka or the middle region, janarloka or the place of re-births, taparloka or
the mansions of the blest, and satyaloka or the abode of truth; cf. Vişnu
Purana, 2.7 (Wilson, vol. 2, p. 225-227). For this rendering, resolve the
compound as sapta asv apta-. 12. Resolve the compound here as sapta-
aśva-apta-, 'reached by the seven horses.' For the seven horses,' cf.
stanza 8, note 2.
V.L. (c) B yo jayanti stuto.
(d) JH devair daivaḥ; HB muravātir aknām.
93
yaḥ sraṣṭā 'pām purastād acalavarasamabhyunnater hetur eko
lokānām yas trayāṇām sthita upari param durvilanghyena
dhāmnā
215
Notes. 1. On Mura, see stanza 76, note 9. For Sürya's relation to
Vişņu, see stanza 91, note 5. 2. The term parimalana, which is not
found in the ordinary lexicons, is glossed in the first rendering by
hastasamvahana, 'massaging with the hand.' In the second render-
ing its gloss is avagahana, 'plunging.' I have followed the commen-
tary in the first rendering, but in the second, I translate by 'perfume,'
thinking it possibl that parimalana may be a variant form of pari-
mala, 'perfume.' It seems to me also possible that the original read-
ing may have been parimilana, 'touch,' which would fit both renderings.
3. Padma or Sri, the wife of Vișņu, is presumably called Padmā, 'Lotus,'
because she appeared, when the ocean was churned, resting on the expanded
petals of a lotus; cf. stanza 2, note 2, and stanza 42, note 3; cf. also Moor,
Hindu Pantheon, plates 3 (p. 12) and 4 (p. 19), where Padma is pictured
in the act of massaging Vişnu's feet. 4 Lit. unnidra means 'sleepless'
or 'expanded.' It is glossed both by jägarita, 'long awake,' and by
savadhana, 'attentive.' I have adopted the latter rendering, but Bern-
heimer (Introd., p. 105) prefers the former, translating 'che presto si è
desta.' 5. Lit. dvirbhavat means 'manifest.' 6. For parimalana in
the sense of 'perfume,' see note 2. The commentary would render: 'the
splendor of the rays is made manifest by plunging into (avagahana) the
clusters of lotuses that expand at dawn'; cf. note 2. 7. Garuda, son
of Vinata, was Vişnu's vehicle; cf. stanza 47, note 3. 8. Lit. 'who,
through devotion, abandons the mighty (uru) rise of weariness.' Bern-
heimer (Introd., p. 105) renders: 's'innalza nel cielo, appena la fatica ha
abbandonato le zampe di quello.' The compound tyaktorukhedodgati must
be taken as an adverb. 9. Aruņa, son of Vinată, as already often noted,
-see especially stanza 8, note 1,-was the driver of Sürya's car. He was
born thighless (cf. stanza 8, note 1). Bernheimer (Introd., p. 105) ren-
ders: 's'innalza nel cielo, appena la fatica ha abbandonato le zampe dei
suoi cavalli.' 10. Lit. adharayan means 'excelling,' but the gloss is
langhayan, 'traversing,' 'crossing.' 11. The seven lokas are meant;
these are bhürloka or earth, bhuvarloka or sky, svarloka or heaven, mahar-
loka or the middle region, janarloka or the place of re-births, taparloka or
the mansions of the blest, and satyaloka or the abode of truth; cf. Vişnu
Purana, 2.7 (Wilson, vol. 2, p. 225-227). For this rendering, resolve the
compound as sapta asv apta-. 12. Resolve the compound here as sapta-
aśva-apta-, 'reached by the seven horses.' For the seven horses,' cf.
stanza 8, note 2.
V.L. (c) B yo jayanti stuto.
(d) JH devair daivaḥ; HB muravātir aknām.
93
yaḥ sraṣṭā 'pām purastād acalavarasamabhyunnater hetur eko
lokānām yas trayāṇām sthita upari param durvilanghyena
dhāmnā