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GENERAL INTRODUCTION
61
THE SURYASATAKA
Mayūra's principal contribution to the literature of his day
was, so far as present knowledge goes, the Süryafataka. It has
come down to us in a goodly number of manuscripts,¹ and com-
prises, as its name implies, a century of stanzas in praise of
Sürya, the Sun-god. The author, however, or else some editor
or commentator, has added an extra stanza, promising all kinds
of prosperity to anyone who, in the proper spirit of devotion, will
take the trouble to read the poem through.
An analysis, together with text and translation, of this composi-
tion of Mayūra will be found on pages 108-225 of this volume.
SCATTERED STANZAS IN THE ANTHOLOGIES
Scattered through the anthologies (Subhāṣitāvali, Paddhati of
Särngadhara, Padyavali, Sūktimuktāvali, Padyāmṛtatarangini,
Sarasamgraha, Subhasitaratnakośa and Saduktikarṇāmṛta) are
found, (partly) under Mayūra's name, besides quotations from
the Süryaśataka, seventeen different stanzas dealing with miscel-
laneous subjects. Of these, the most interesting are the seven
stanzas, forming one group, and illustrative of vakrokti, or
'punning in dialogue." They picture Siva and Parvatī playing
with dice, and perhaps formed the introduction to some work by
Mayura, now lost.*
Another stanza is of interest from a historical point of view, as
it probably contains an allusion to King Harṣa, Mayūra's patron,
and forecasts, apparently, one of Harṣa's campaigns. This I
have called the 'Stanza in Praise of Harṣa.'
Three other stanzas, which from their content I have entitled
'The Cow and her Calf,' 'The Traveler,' and 'The Two Asses,'
¹ See the list of manuscripts of the Süryaśataka, given below, p. 101-102.
2 The anthology stanzas attributed to Mayūra have been grouped by
F. W. Thomas, in his edition of the Kavindravacanasamuccaya, introd.,
p. 67-68, Calcutta, 1912.
In vakrokti, according to Kavyaprakaśa, 9.1 (78), the words of one
person are, either through paronomasia or intonation, construed in a
manner different from that intended by the speaker.
See below, p. 233, note 2.
61
THE SURYASATAKA
Mayūra's principal contribution to the literature of his day
was, so far as present knowledge goes, the Süryafataka. It has
come down to us in a goodly number of manuscripts,¹ and com-
prises, as its name implies, a century of stanzas in praise of
Sürya, the Sun-god. The author, however, or else some editor
or commentator, has added an extra stanza, promising all kinds
of prosperity to anyone who, in the proper spirit of devotion, will
take the trouble to read the poem through.
An analysis, together with text and translation, of this composi-
tion of Mayūra will be found on pages 108-225 of this volume.
SCATTERED STANZAS IN THE ANTHOLOGIES
Scattered through the anthologies (Subhāṣitāvali, Paddhati of
Särngadhara, Padyavali, Sūktimuktāvali, Padyāmṛtatarangini,
Sarasamgraha, Subhasitaratnakośa and Saduktikarṇāmṛta) are
found, (partly) under Mayūra's name, besides quotations from
the Süryaśataka, seventeen different stanzas dealing with miscel-
laneous subjects. Of these, the most interesting are the seven
stanzas, forming one group, and illustrative of vakrokti, or
'punning in dialogue." They picture Siva and Parvatī playing
with dice, and perhaps formed the introduction to some work by
Mayura, now lost.*
Another stanza is of interest from a historical point of view, as
it probably contains an allusion to King Harṣa, Mayūra's patron,
and forecasts, apparently, one of Harṣa's campaigns. This I
have called the 'Stanza in Praise of Harṣa.'
Three other stanzas, which from their content I have entitled
'The Cow and her Calf,' 'The Traveler,' and 'The Two Asses,'
¹ See the list of manuscripts of the Süryaśataka, given below, p. 101-102.
2 The anthology stanzas attributed to Mayūra have been grouped by
F. W. Thomas, in his edition of the Kavindravacanasamuccaya, introd.,
p. 67-68, Calcutta, 1912.
In vakrokti, according to Kavyaprakaśa, 9.1 (78), the words of one
person are, either through paronomasia or intonation, construed in a
manner different from that intended by the speaker.
See below, p. 233, note 2.