2023-02-23 18:49:24 by ambuda-bot
This page has not been fully proofread.
265
indicate the chief characters is a marked characteristic of both
compositions.
Among the points of difference may be mentioned the fact that
about half of the stanzas of the Candiśataka contain a speaking
character, although there is no dialogue, whereas nearly all the
stanzas of the Suryaśataka are descriptive in style. Again, the
Süryaśataka contains subdivisions of the subject-matter, devoting
some stanzas to the praise of Surya's rays, others to that of his
chariot, horses, etc.; but the Candiśataka has no such subdivisions
and adheres closely to its set theme, the praise of Candi and of
her victorious left foot. And it may be noted that the lack of
variety thus engendered sometimes approaches monotony in this
poem of Bāṇa's. On the whole, the Süryaśataka appears to me
to be the more scholarly and thoughtful work of the two. The
Candisataka is distinctly in lighter vein, and its stanzas, if meas-
ured by occidental ideas and standards, often lack dignity and
seriousness. Besides, among later writers the Süryaśataka seems
to have enjoyed a greater reputation than its rival, the Candi-
śataka, if we may judge by the greater number of times it is
found quoted in Sanskrit literature.
INTRODUCTION
COMPARISON OF THE SŪRYAŚATAKA AND CANDI-
ŚATAKA WITH THE BHAKTĀMARASTOTRA
It seems not inappropriate, in view of their association in the
Jaina tale, to compare the Süryaśataka and Candiśataka, which
are more or less alike, with the supposedly rival poem of Māna-
tunga, the Bhaktamarastotra. There is really little basis for
comparison. The Bhaktamarastotra is not a śataka, but consists
of 44 stanzas (48 in some MSS) in praise of the Jina, the latter
in most of the stanzas being directly addressed by the worshiper.
The stanzas are not in the asis form, like those of the Suryaśataka
and Candisataka, and their meter is vasantatilaka, not the srag-
dhara in which the other two poems are composed. The Sanskrit,
in spite of the numerous compounds, is comparatively simple, and
indicate the chief characters is a marked characteristic of both
compositions.
Among the points of difference may be mentioned the fact that
about half of the stanzas of the Candiśataka contain a speaking
character, although there is no dialogue, whereas nearly all the
stanzas of the Suryaśataka are descriptive in style. Again, the
Süryaśataka contains subdivisions of the subject-matter, devoting
some stanzas to the praise of Surya's rays, others to that of his
chariot, horses, etc.; but the Candiśataka has no such subdivisions
and adheres closely to its set theme, the praise of Candi and of
her victorious left foot. And it may be noted that the lack of
variety thus engendered sometimes approaches monotony in this
poem of Bāṇa's. On the whole, the Süryaśataka appears to me
to be the more scholarly and thoughtful work of the two. The
Candisataka is distinctly in lighter vein, and its stanzas, if meas-
ured by occidental ideas and standards, often lack dignity and
seriousness. Besides, among later writers the Süryaśataka seems
to have enjoyed a greater reputation than its rival, the Candi-
śataka, if we may judge by the greater number of times it is
found quoted in Sanskrit literature.
INTRODUCTION
COMPARISON OF THE SŪRYAŚATAKA AND CANDI-
ŚATAKA WITH THE BHAKTĀMARASTOTRA
It seems not inappropriate, in view of their association in the
Jaina tale, to compare the Süryaśataka and Candiśataka, which
are more or less alike, with the supposedly rival poem of Māna-
tunga, the Bhaktamarastotra. There is really little basis for
comparison. The Bhaktamarastotra is not a śataka, but consists
of 44 stanzas (48 in some MSS) in praise of the Jina, the latter
in most of the stanzas being directly addressed by the worshiper.
The stanzas are not in the asis form, like those of the Suryaśataka
and Candisataka, and their meter is vasantatilaka, not the srag-
dhara in which the other two poems are composed. The Sanskrit,
in spite of the numerous compounds, is comparatively simple, and