THE SANSKRIT POEMS OF MAYŪRA COLUMBIA UNIVERSITY INDO-IRANIAN SERIES EDITED BY A. V. WILLIAMS JACKSON PROFESSOR OF INDO-IRANIAN LANGUAGES IN COLUMBIA UNIVERSITY VOLUME 9 New York COLUMBIA UNIVERSITY PRESS 1917 THE SANSKRIT POEMS OF MAYŪRA EDITED WITH A TRANSLATION AND NOTES AND AN INTRODUCTION TOGETHER WITH THE TEXT AND TRANSLATION BĀNA'S CANDĪŠATAKA OF GEORGE PAYN QUACKENBOS, A.M., PH.D. INSTRUCTOR IN LATIN IN THE COLLEGE OF THE CITY OF NEW YORK 1754 8 BY COLUMBIA 1883 PRESS LITTERNS ABERTAS New York COLUMBIA UNIVERSITY PRESS 1917 All rights reserved An announcement of volumes of this series previously published, and of the volume in preparation, will be found at the end of this book. Copyright, 1917, by COLUMBIA UNIVERSITY PRESS Printed from type, February, 1917 PRESS OF THE NEW ERA PRINTING COMPANY LANCASTER, PA. ΤΟ M. C. Q. €12203 PREFATORY NOTE It gives me sincere pleasure to include in the Columbia University Indo-Iranian Series, as its ninth volume, this presentation of the works of Mayūra, a Sanskrit poet of the seventh century, together with a supposedly rival poem by his contemporary Bāņa. The volume represents years of labor on the part of my friend and pupil Dr. Quackenbos, and I commend it to the consideration of students of Sanskrit literature as a distinct contribution to our knowledge of a special variety of Hindu poetry. A. V. WILLIAMS JACKSON. vi PREFACE It is now more than a decade since this volume was begun under the inspiration and guidance of my friend and teacher, Professor A. V. Williams Jackson. My original plan was to make available for students of Sanskrit an English translation of the Süryaśataka of Mayūra, but as the work progressed the plan was gradually extended. The finished work includes a translation of all of Mayura's writings, so far as they are known, a translation of Bana's Candiśataka, alleged to be a rival poem to the Suryaśataka, and a collection of all the available material throwing light on the life of Mayūra. Soon after beginning my task I discovered that the Suryaśataka had already been translated into Italian by Dr. Carlo Bernheimer (Livorno, 1905), but a search of the records failed, and still fails, to reveal the existence of any English translation before the one here given. Of the Candiśataka of Bāṇa, and of some of the stanzas under Mayūra's name in the various Sanskrit anthologies, I believe it can be said that they are here for the first time presented in a modern European tongue. Mayura's Mayūrāṣṭaka, which was first edited by the present writer from a Tübingen manuscript and published by him, with English translation, in the Journal of the American Oriental Society for 1911 (vol. 31, p. 343-354), is here reprinted with some slight changes. The Sanskrit text of all the works translated in the volume is given in transliteration, for my plan to have the printing done in Oxford, with devanagari characters for the Sanskrit passages, was abandoned when war broke out in 1914. In the transliterated portions of the work, wherever the final vowel of any word is of the same quality as the initial vowel of the next word, the final vowel is marked long whether it happens to be so or not, and the initial vowel is elided. Elision of an initial short vowel is denoted by a single quotation mark, and elision of an initial long vowel by vii viii PREFACE double quotation marks. For example, na alam is printed in the transliterated text as nã 'lam, dhāutāni iddham as dhäutānī 'ddham, lilaya adhaḥ as lilaya 'dhaḥ, pūṣṇā ātmasama as pūṣṇā "tmasama, etc. In the preparation of this volume I have been fortunate in having the advice and assistance of several friends and scholars, and it is a pleasure to record here, publicly, my thanks and my gratitude. My work would have been sadly incomplete but for the courtesy of Professor Richard Garbe and Dr. William Geiger of Tübingen University, who most kindly forwarded to Professor Jackson for my use the Tübingen manuscript of the Mayūrāṣṭaka. I am also debtor to Professor Leroy Barret for some criticisms of my transliteration of the śäradā text of the Mayurāṣṭaka manuscript; to Professor Mario E. Cosenza, who verified the translation I made, for comparative purposes, of Bernheimer's Italian rendering of the Suryaśataka; and to Mr. F. W. Thomas, librarian of the India Office Library, for information regarding the authorship of the Aryāmuktāmālā, and for his kindness in sending to Professor Jackson for my study and perusal the Basāk edition of the text of the Süryaśataka. I gratefully recall, too, many pleasant hours spent with Dr. Louis H. Gray, who helped me with suggestion and criticism in several parts of the volume, but especially in the editing of the Mayūrāṣṭaka. To my friends and fellow-workers in Indo-Iranian subjects, Dr. Charles J. Ogden and Dr. George C. O. Haas, there is due a very large measure of thanks. To Dr. Ogden for a most painstaking critical reading of the proof, for the verification of numerous references, and for many invaluable suggestions, criticisms and corrections; to Dr. Haas for a critical reading of the proof in its entirety and for placing freely at my disposal, during the preparation of my rather intricate manuscript for the press, his wide knowledge of things editorial. My greatest debt, one that cannot be paid, is that I owe to Professor A. V. Williams Jackson, for many years guide, counselor and friend. During the long period that I have passed under his tutelage, and especially while I have been engaged upon PREFACE November, 1916 ix the present volume, his interest in the progress of my work has been untiring. Page by page, and stanza by stanza, he has reviewed the work with me. No details have been too small to gain his notice, no problems too trifling to enlist his help. He has always been patient, always encouraging. His advice and suggestion have always been freely mine even during his busiest times. Never could a pupil have had a better guru, and if it is true, as of course it is, that the guru is reflected in the work of his pupil, then whatever is good in this volume is his. G. PAYN QUACKEN BOS CONTENTS PREFATORY NOTE BY THE EDITOR OF THE SERIES. PREFACE BIBLIOGRAPHY CONSPECTUS OF EDITIONS OF TEXTS CITED.. LIST OF ABBREVIATIONS AND SYMBOLS... GENERAL INTRODUCTION CONCERNING THE SANSKRIT POET MAYURA Foreword The date of Mayūra. Life of Mayūra... Early life and occupation.. Mayūra is summoned to the court of Harsa. Mayūra is victor in a poetical contest at Benares.. Mayūra gains fame at court..... Rivalry between Mayūra and Bāṇa. Mayura defeated in philosophical controversy. The Jaina tale about Mayūra and Bāṇa. The date of Manatunga... The Jaina tale first found in the Prabhāvakacaritra The four versions of the Jaina tale..... The Jaina tale as told by an anonymous commentator ..... Variations from the Jaina tale as narrated by the anonymous commentator.. The Jaina tale as given in the Prabandhacintāmaṇi of Merutunga. Allusion to the Jaina tale in the Kāvyaprakāśa.. Allusion to the Jaina tale in the Sudhāsāgara.. Allusion to the Jaina tale in Jagannatha's commentary on the Süryaśataka of Mayūra.. Comments on the Jaina tale.. Origin of the tale. The legend of Samba.. What was the leprosy of Mayura?. The real reason for the composition of the Süryaśataka X PAGE vii xiv xvi XX 33366 6 7 12 12 14 16 16 18 20 21 24 25 30 3⁰ 32 33 33 35 37 37 CONTENTS The real reason for the composition of the Candiśataka Mayūra not a Jain. King Bhoja The Bhojaprabandha Allusions to Mayura in the Bhojaprabandha. A list of poets at Bhoja's court.. The poet Krīdācandra joins the court circle of Bhoja Comment on the Bhojaprabandha: Bhoja not a contemporary of Mayūra.. The credibility of Jaina tradition: Bühler's opinion.. The family of Mayūra.. Sanku, son of Mayūra.. 43 The banishment of Kālidāsa. 44 The poet Sukadeva joins the court circle of Bhoja. 46 Mayura in disfavor.. 47 Incidental mention of Mayūra. 47 Mayūra as viewed by later poets. The stanzas ascribed to Trilocana. 48 49 50 50 52 53 The stanza ascribed to Rajasekhara, 900 A. D.. 54 The stanza ascribed to Vāmanabhaṭṭabāṇa, 1441 A. D.. 54 The stanza of Jayadeva, 1500-1577 A. D.. The stanza supplied by Jayamangala. An anonymous stanza... Summary of the life of Mayūra. Mayūra's extant writings. The Mayurāṣṭaka. The Süryaśataka. Scattered stanzas in the Anthologies.. The Aryāmuktāmālā wrongly ascribed to Mayura. A commentary ascribed to Mayūra. Other Mayūras….. xi INTRODUCTION to the MayūrāṢṬAKA OF MAYŪRA.... THE MAYURAṢṬAKA OF MAYŪRA: TEXT AND TRANSLATION.. 39 39 41 42 43 43 INTRODUCTION TO THE SURYAŚATAKA OF MAYŪRA.. Analysis of the Süryaśataka. Order of the stanzas. Form of the stanzas. Subject-matter Mythological allusions. 54 55 55 56 60 60 61 61 62 63 64 69 72 83 83 83 83 84 86 xii CONTENTS Epithets of Surya.. Epithets of Surya containing reference to his rays. Epithets of Sürya as the maker of day... Epithets of Surya as the bringer of heat and light. Epithets of Surya as the maintainer and stimulator of the universe.... Miscellaneous epithets of Sürya. Style Rhetorical devices Vedicisms Grammatica notabiliora Meter Sanskrit works that quote the Sūryaśataka. Manuscripts of the Suryaśataka.. Commentaries on the Süryaśataka. Editions of the Süryaśataka.. Translations of the Süryaśataka. Other Süryaśatakas.. THE SURYASATAKA OF MAYURA: TEXT AND TRANSLATION.. ANTHOLOGY STANZAS ATTRIBUTED TO MAYŪRA. Introduction to the Anthology Stanzas. Siva and Pärvati.. Stanza in praise of Harsa. The Cow and her Calf. The Traveler. The Two Asses. Maxim on Separation. The Burning of the City of Tripura.. The Anger of Umā.. The Claws of Narasimha. The Dream of Kṛṣṇa.. INTRODUCTION TO THE CANDISATAKA OF BĀŅA. Analysis of the Candiśataka.... Number and form of the stanzas. Subject-matter The legend of the demon Mahisa. Mythological allusions 87 87 87 87 88 88 89 90 95 95 97 98 IOI 103 103 105 106 108 229 229 230 234 235 236 237 238 239 240 240 241 245 245 245 247 247 257 258 Epithets of Caṇḍī. Epithets belonging to Candi as the daughter of Himalaya 258 Epithets belonging to Candi as the wife of Siva... 258 CONTENTS Epithets belonging to Mahişa by virtue of his being a descendant of Diti and Danu.. Epithets belonging to Candi in her horrific aspects. 258 Epithets belonging to Candi in her benign aspects.. 258 Epithets of Mahişa.. 259 Epithets belonging to Mahişa by virtue of his buffalo form.. 259 259 260 261 261 Meter 262 262 Sanskrit works that quote the Caṇḍiśataka. Manuscripts and commentaries.. 263 Editions and translations.. 264 Comparison of the Süryaśataka with the Caṇḍiśataka. 264 Comparison of the Sūryaśataka and Caṇḍiśataka with the Bhaktāmarastotra 265 Epithets belonging to Mahişa by virtue of his being a foe of the gods... Style and rhetorical devices.. Grammatica notabiliora ...... xiii THE CANDISATAKA OF BĀŅA: TEXT AND TRANSLATION.... ADDENDA 358 BIBLIOGRAPHY The titles of editions and translations of the poems of Mayura and of the Candiśataka of Bāņa are not included in this Bibliography. Full information regarding them is given on the following pages :.page 69, note I .......pages 103-106 .page 229 .page 264 Mayūrāṣṭaka Suryaśataka Anthology Stanzas Candiśataka of Bāṇa Aufrecht, Theodor. Catalogus Catalogorum. Volume 1, page 432, s.v. Mayura. Leipzig, 1891. Aufrecht, Theodor. Catalogus Codicum Sanscriticorum Bibliothecae Bodleianae. Oxford, 1864. Index, s.v. Mayūra. Bernheimer, Carlo. Il Süryaçatakam di Mayūra. Livorno, 1905. Bhandarkar, R. G. Vaiṣṇavism, Saivism. Strassburg, 1913. Pages 150-155. Bühler, Georg. Die indischen Inschriften und das Alter der indischen Kunstpoesie. In Sitzungsberichte der PhilosophischHistorischen Classe der kaiserlichen Akademie der Wissenschaften, volume 122, part 11, Wien, 1890. On the Authorship of the Ratnavalī. In Indian Antiquary, volume 2 (1873), pages 127-128. On the Chaṇḍikāśataka of Bāṇabhatta. In Indian Antiquary, volume 1 (1872), pages 111-115. Dāji, Bhāu. On the Sanscrit Poet, Kālidāsa. In Journal of the Bombay Branch of the Royal Asiatic Society, volume 6 (1861), pages 24, 222-223. Ettinghausen, M. L. Harṣa Vardhana, empereur et poète. Louvain, 1906. Index, s.v. Mayūra. Gray, Louis H. The Vasavadattă of Subandhu. New York, 1913. Introduction, page 5. Hall, Fitzedward. The Väsavadatta of Subandhu. Calcutta, 1859. Introduction, pages 7-8, 21, 49. xiv BIBLIOGRAPHY XV Hopkins, E. Washburn. Epic Mythology. Strassburg, 1915. Pages 83-89, 224, 228. Jagannatha. Commentary on the Süryaśataka of Mayūra. Cited by Haraprasāda Çāstrī in Notices of Sanskrit Manuscripts, Second Series, volume 1, page 411, number 412, Calcutta, 1900. Jayamangala. Commentary on the Süryaśataka of Mayūra. Cited by Rajendralala Mitra in Notices of Sanskrit Manuscripts, volume 4, page 214, number 1643, Calcutta, 1878. Müller, F. Max. India: What Can It Teach Us? London, 1883. Pages 329-330, 338. Peterson, Peter. The Kādambarī of Bāṇa. Second edition, Bombay, 1889. Part 2, introduction, pages 96-97. On the Sūktimuktāvali of Jalhaṇa, a new Sanskrit Anthology. In Journal of the Bombay Branch of the Royal Asiatic Society, volume 17, part 1, pages 57-71. The Subhāṣitāvali of Vallabhadeva. Bombay, 1886. Introduction, page 86, and page 8 of the notes at the end of the volume. Tawney, C. H. The Prabandhacintamani. Calcutta, 1901. English translation. Pages 64-66. Telang, K. T. The Date of the Nyāyakusumāñjali. In Indian Antiquary, volume 1 (1872), page 299. Thomas, F. W. The Kavindravacanasamuccaya. Calcutta, Introduction, pages 67-68. 1912. Weber, A. Verzeichniss der Sanskrit und Prakrit Handschriften zu Berlin. Band 2, Berlin, 1891. Page 932. Anmerkung 1. Yajñeśvara Šāstrī. Commentary on the Süryaśataka of Mayūra. Cited in B. V. Jhalakīkara's edition of the Kavyaprakāśa of Mammața, Bombay, 1901, pages 10-11. Zachariae, Th. Sanskrit vicchitti schminke. In Bezzenberger's Beiträge zur Kunde der indogermanischen Sprachen, volume 13, page 100, Göttingen, 1888. CONSPECTUS OF EDITIONS OF TEXTS CITED The dam te efeces of Savcit text and translates to rid the citations in this vinme refer. The arrangement fsūows the order of the Sanskrit abjcales Atharva Verla. English translation by Whitney and Lanman. Two volume, Cambridge, Mass., 1905 (Harvard Oriental Series, vols. 7 and 8). Anekarthasamgraha of Hemacandra (with commentary of Mahendra). Ed. Theodor Zachariae, in Quellenwerke der altindischen Lexicographie, vol 1, Wien and Bombay, 1893Abhidhánacintamani of Hemacandra. Ed. Sivadatta and Parab in the Abhidhana-Sangraha. Bombay, 1896. Amarakośa (the Nāmalińgānuśāsana of Amarasimha). Ed. Durgaprasad, Parab and Sivadatta, in the Abhidhāna-Sangraha, Bombay, 1889. Alamkārasarvasva of Rājánaka Ruyyaka. Ed. Durgaprasad and Parab, Bombay, 1893 (Kāvyamālā Series). Astadhyayi of Panini. Ed. O. Böhtlingk, Leipzig, 1887. Kathasaritsagara of Somadeva. Ed. Hermann Brockhaus, Leipzig, 2 vols., 1839-1862. Kavikanthabharaṇa of Kṣemendra. Ed. Durgaprasad and Parab, Bombay, 1887 (Kāvyamālā, part 4). Kavindravacanasamuccaya, of unknown authorship. Ed. F. W. Thomas, Calcutta, 1912 (Bibliotheca Indica Series). Kadambari of Bana. Ed. Peter Peterson, 2d ed., Bombay, 1889. Karpuramañjarī of Rajasekhara. Ed. Konow and Lanman, Cambridge, Mass., 1901 (Harvard Oriental Series, vol. 4). Kalika Purāṇa. The Rudhirãdhyāya chapter of this Purana, translated by W. C. Blaquière, in Asiatic Researches, vol. 5, P. 371-391, London, 1799. Kavyaprakasa of Mammața. Ed. B. V. Jhalakîkara, 2d ed., Bombay, 1901. xvi CONSPECTUS OF EDITIONS OF TEXTS CITED xvii Kävyādarśa of Dandin. Ed. O. Böhtlingk, Leipzig, 1890. Kāvyālamkārasūtrāṇi of Vāmana. Ed. Durgāprasād and Parab, Bombay, 1889 (Kävyamālā Series). Kumārasambhava of Kālidāsa. Ed. Vasudev Pansikar, Bombay, 1908. Ganaratnamahodadhi of Vardhamana. Ed. J. Eggeling, London, 1879. Garuda Purāṇa. Ed. Pañcanana Tarkaratna; revised by Virasimhaśāstri and Dhīrānandakāvyanidhi, Calcutta, 1890. Gitagovinda of Jayadeva. Ed. Telang and Pansikar, Bombay, 1899. Candiśataka of Bāṇa. Ed. Durgāprasāda and Paraba, Bombay, 1887 (Kävyamālā, part 4). Caurapañcāśikā of Bilhana. Ed. W. Solf, under the title Die Kaçmir-Recension der Pañcāçikā, Halle, 1886. Dasarūpa of Dhanamjaya. Edited, with English translation, by George C. O. Haas, New York, 1912. Durghaṭavṛtti of Saraṇadeva. Ed. T. Ganapati Sāstrī, Trivandrum, 1909 (Trivandrum Sanskrit Series). Devīmāhātmyam (section of the Märkandeya Purāņa). Edited, with Latin translation, by Ludovicus Poley, Berlin, 1831. Dhātupatha of Hemacandra. Ed. Joh. Kirste, in Quellenwerke der altindischen Lexicographie, vol. 4, Wien and Bombay, 1901. Dhvanyaloka of Anandavardhana. Ed. Durgaprasād and Parab, Bombay, 1891. Navasāhasāńkacarita of Padmagupta (also called Parimala). Ed. Vamana Shastri Islāmpurkar, Bombay, 1895 (Bombay Sanskrit Series, no. 53). Pañcatantra. Ed. F. Kielhorn, Bombay, 1885. Paddhati of Sārngadhara, see Sārngadharapaddhati. Pārvatipariņaya of Baṇa. Ed. M. R. Telang, Bombay, 1892. Prasannarāghava of Jayadeva. Ed. Paranjpe and Panse, Poona, 1894. Bhaktāmarastotra of Manatunga. Ed. Durgaprasād and Paņashikar, 3d ed., Bombay, 1907 (Kavyamālā Series). xviii CONSPECTUS OF EDITIONS OF TEXTS CITED Bhagavata Purāṇa. Ed. Tukarāma Jāvajī (Bombay), 1898. Bhojaprabandha of Ballala. Ed. K. P. Parab, 2d ed., Bombay, 1904. Mankhakośa. Ed. Theodor Zachariae, in Quellenwerke der altindischen Lexicographie, vol. 3, Wien and Bombay, 1897. Mahābhārata. Bombay edition, 1862-1863. Mänavadharmaśāstra (Code of Manu). Ed. V. N. Mandlik, Bombay, 1886. Märkandeya Purāṇa. Translation of F. Eden Pargiter, Calcutta, 1904. Mṛcchakaṭikā of Südraka. Ed. Parab, Bombay, 1900. Yaśastilaka of Somadeva. Ed. Sivadatta and Parab, 2 volumes, Bombay, 1901 and 1903 (Kāvyamālā Series). Yajñavalkyasmrti. Ed. H. N. Apațe, 2 volumes, Poona, 19031904. Yogayātra of Varahamihira. Edited, with German translation, by H. Kern in Indische Studien, volumes 10 and 14, Leipzig, 1868 and 1876. Raghuvamsa of Kālidāsa. Ed. G. R. Nandargikar, 3d ed., Poona, 1897. Ratnāvali of Sriharşa. Ed. Parab and Jośī, Bombay, 1888. Rasikajivana of Gadadhara. The first 46 stanzas have been edited and published by P. Regnaud under the title 'Stances Sanskrites Inédites,' in Annuaire de la Faculté des Lettres de Lyon, Paris, 1884. Rājatarangini of Kalhana. Ed. Durgāprasāda, son of Vrajalāla, 3 vols., Bombay, 1892-1896. Rajanighantu of Narahari. Edited, with German translation, by Richard Garbe, under the title Die indischen Mineralien, Leipzig, 1882. Rāmāyaṇa. Bombay edition published by the Lakşmivenkateśvara Press, Bombay, 1895. Rig Veda. Edited, with Sāyaṇa's commentary, by F. Max Müller, 4 vols., 2d ed., London, 1890-1892. Vikramorvasi of Kalidasa. Ed. G. B. Vaidya, Bombay, 1894. Vişnu Purāṇa. English translation, in five volumes, by H. H. Wilson, London, 1864-1877. CONSPECTUS OF EDITIONS OF TEXTS CITED xix Venīsamhāra of Bhaṭṭa Nārāyaṇa. Ed. Parab and Mädgavkar, Bombay, 1898. Vetālapañcavimśati. Ed. Heinrich Uhle, Leipzig, 1881. Sakuntala of Kälidāsa. Ed. Godabole and Parab, 3d ed., Bombay, 1891. Satapatha Brāhmaṇa. Ed. A. Weber, Berlin and London, 1855. Sārngadharapaddhati of Sārngadhara. Ed. Peter Peterson, Bombay, 1888 (Bombay Sanskrit Series, no. 37); and partially edited by Aufrecht in ZDMG, vol. 27. Saduktikarṇāmṛta of Śrīdhara Dasa. Partially edited (376 out of 2380 stanzas) by Rāmāvatāra Śarmā, Calcutta, 1912 (Bibliotheca Indica Series). Sarasvatīkaṇṭhābharaṇa of Bhojadeva. Ed. Jīvānanda Vidyāsāgara, 2d ed., Calcutta, 1894. Sahityadarpana of Viśvanātha Kavirāja. Ed. Jīvānanda Vidyasāgara, Calcutta, 1895. Subhāṣitaratnabhāṇḍāgāra, a modern anthology. Compiled by K. P. Parab, 3d ed., Bombay, 1891. Subhāṣitāvali of Vallabhadeva. Ed. Peter Peterson, Bombay, 1886. Süryaśataka of Mayūra. For the five editions used in the preparation of this volume see Introduction, pages 83 and 103-105. Harivamsa. Ed. Vinayakarāya, Bombay, 1891. Harşacarita of Bāṇa. Ed. A. A. Führer, Bombay, 1909. Hitopadeśa. Ed. Godabole and Parab, 3d ed., Bombay, 1890. LIST OF ABBREVIATIONS AND SYMBOLS A Abth. ad loc. Altind. Gr. Anm. B Bd. cap. cat. Cat. Cat. CII cpd. d. i. ed. EI fl. fol. frag. H HS HSS IA idg. introd. Introd. J = Alamkārasarvasva. (Abtheilung), section, division. = = (ad locum), in the passage cited. = Altindische Grammatik, by J. Wackernagel, parts I and 2, Göttingen, 1896, 1905. = (Anmerkung), note. =Basāk's text of the Süryaśataka, Calcutta, 1874 (in the Variae Lectiones of the Süryaśataka). -Bühler's text of the Candiśataka, IA, 1.111-115 (in the Variae Lectiones of the Caṇḍiśataka). = (Band), volume. =(caput), chapter. =catalogue. =Catalogus Catalogorum, by Theodor Aufrecht, 3 vols., Leipzig, 1891-1903. Corpus Inscriptionum Indicarum. =compound. = = = = (das ist), that is. = edition, edited by. = Epigraphia Indica. (floruit), flourished. = = - folio. = fragment. Haeberlin's edition of the Süryaśataka. (Handschrift), manuscript. (Handschriften), manuscripts. = = Indian Antiquary. (indogermanisch), Indo-Germanic. = introduction. - the Introduction of this volume. -Jīvānanda's edition of the Süryaśataka. = = XX JAOS JASB JBRAS JRAS K loc. cit. Mbh. MS MSS = - Journal of the Bombay Branch of the Royal Asiatic Society. JCRAS - Journal of the Ceylon Branch of the Royal Asiatic Society. - Journal of the Royal Asiatic Society. footnotes in the Kävyamālā editions of the Sūryaśataka and Candiśataka. (loco citato), in the passage previously cited. n. OB op. cit. pl. pref. pub. PWB pwb RV S S. sec. seq. Sér. Sitzungsb. Skt. st. LIST OF ABBREVIATIONS AND SYMBOLS Subhāṣ. S. V. Tom. tr. - Journal of the American Oriental Society. - Journal of the Asiatic Society of Bengal. = = - Mahābhārata. = manuscript. = = manuscripts. = = note. = = Orientalische Bibliographie. (opus citatum), the work previously cited. =plate. L = preface. = published. Sanskrit-Wörterbuch, by Böhtlingk and Roth, in 7 vols., St. Petersburg, 1855-1875. Sanskrit-Wörterbuch in kürzerer Fassung, by Otto Böhtlingk, 7 vols., St. Petersburg, 1879-1889. = Rig Veda. = = - Subhāṣitāvali, p. 233-234, in the Variae Lectiones. = = (Seite), page. = section. = = xxi (sequentia), the following. = (Série), series. Sitzungsberichte. - Sanskrit. = stanza. = - Subhāṣitāvali. = (sub verbo), under the word. (Tome), volume. translation of, translated by. xxii transl. V Vikr. V.L. LIST OF ABBREVIATIONS AND SYMBOLS -translation. =verse. Vidyodaya edition of the Suryaśataka. = - Vikrama (era). = = (variae lectiones), variant readings. = Zeitschrift der Deutschen Morgenländischen Gesellschaft. ZDMG = (a), (b), (c), (d) These symbols indicate the pädas, in order, of the four-line stanzas of the Süryaśataka, Candiśataka, etc. These angle-brackets indicate paronomasia: for explanation of their use see page 91. GENERAL INTRODUCTION CONCERNING THE SANSKRIT POET MAYŪRA GENERAL INTRODUCTION CONCERNING THE SANSKRIT POET MAYURA FOREWORD In the following pages I have sought to collect, as completely as possible, the scattered references that throw light on the life and history of the Sanskrit poet Mayūra. A part of the ground has already been covered in a preliminary way by M. L. Ettinghausen, who gives a fairly full account of our poet in his monograph on the reign of Harṣavardhana,¹ although I have been able to supplement and correct his work in some details. In addition to this, both Bühler and Peterson have recorded most valuable and recondite data concerning Mayūra, so that it is but fair to say that without the groundwork of their researches, even the meager account here presented of this interesting author would have been impossible. THE DATE OF MAYURA It may be regarded as fairly certain that Mayura flourished in the first half of the seventh century. This conclusion rests on a double basis. In the first place, there is a bit of contemporary evidence in the shape of a statement by Bāṇa, the well-known writer of the seventh century, to the effect that Mayūraka was his friend. It must be acknowledged, however, that the identification of this Mayūraka with our poet has been called in question. In the second place, persistent tradition,. beginning in the ninth and tenth centuries, insists on makingMayūra a contemporary of Bāṇa, and a protégé of King Harsa,. who reigned 606-647 A.D. In fact, in the case of written records subsequent to 900 A.D., any verse or anecdote that men1 M. L. Ettinghausen, Harşa Vardhana, empereur et poète, p. 124-128, Louvain, 1906. 3 GENERAL INTRODUCTION tions Mayūra, and does not also include the name of Bāṇa, is a rara avis, so far as I have been able to find. The contemporary evidence, to which reference has just been made, is as follows. In Bana's Harşacarita¹ (ed. Führer), the author, when enumerating the friends of his youth, includes a certain jänguliko Mayūrakaḥ, which is rendered by Cowell and Thomas in their translation of the Harşacarita as 'a snakedoctor Mayūraka.' The commentary of Samkara, in the Führer edition of the Harşacarita, and also in that of Parab and Vaze, gives as the gloss of jängulika the word gärudika, 'dealer in antidotes.' Max Müller, Peterson and Dutt* have accepted this statement of Bāṇa as a reference to the poet Mayūra. Bühler, however, denies such identification, for he says: 'Der von Bāṇa selbst als ein Jugendfreund genannte Schlangengiftbeschwörer (jängulika) Mayūraka (Harşacarita, p. 95, Kaś. Ausg.) wird schwerlich mit dem Dichter identificirt werden können." Unless there is some reason why a jängulika could not become a poet-and Bühler gives none-I am inclined not to agree with his conclusion, but to side rather with Müller and Peterson, and to believe that the 'dealer in antidotes,' or 'snake-doctor,' was our poet. Besides I believe that this view is strengthened by a 1 Edited by A. A. Führer, Bombay, 1909-see p. 67; Parab and Vaze, Bombay, 1892, p. 47. Cf. translation by Cowell and Thomas, cap. 1, p. 33, Cambridge, 1897. 2 F. Max Müller, India: What Can It Teach Us?, p. 329, London, 1883. 8 Peter Peterson, The Subhashitavali of Vallabhadeva, introd., p. 86, Bombay, 1886. R. C. Dutt, A History of Civilisation in Ancient India, vol. 3, p. 448, Calcutta, 1890. 5 G. Bühler, Die indischen Inschriften und das Alter der indischen Kunstpoesie, printed in Sitzungsberichte der Philosophisch-Historischen Classe der kaiserlichen Akademie der Wissenschaften, vol. 122, part II, p. 14, footnote, Wien, 1890. *Some years earlier, however, Bühler identified the Mayüraka of the Harşacarita with the poet Mayūra; cf. Bühler, On the Chandikaśataka of Banabhaṭṭa, in IA, vol. 1 (1872), p. III. 7 Many great poets have been men of humble origin and limited means of education. Plautus was a miller and an actor's servant; Shakespeare held horses; Kālidāsa may have been a slave. GENERAL INTRODUCTION 5 stanza of Rajasekhara¹ to which I would direct attention, because it appears to me to contain an allusion to the early vocation of Mayūra, and represents him as still able to administer antidotes, figuratively speaking, even after he had become a poet. The stanza, a śloka, reads:darpam kavibhujanganam gata fravanagocaram vişavidyeva mâyürî mâyürī vāṁ nikṛntati ª 'The voice of Mayūra, when it reaches the range of hearing, destroys the of poets, As Mayūra's knowledge of poison destroys the of snakes.'s The second proof that warrants the placing of Mayura in the seventh century-the fact that his name is so often and so persistently coupled with that of Bāṇa-will become very apparent as the various quotations in which their names occur are given in the course of the discussion. 1 The stanza in question is quoted by Prof. Peter Peterson from the Saktimuktavali, where it is ascribed to the pen of Rajasekhara; cf. Peterson's article, On the Saktimuktavali of Jalhana, a new Sanskrit Anthology, in JBRAS, vol. 17, part 1, p. 57-71. Peterson there states (p. 68) that this Rajasekhara flourished at the beginning of the tenth century. He must therefore be the dramatist Rajasekhara, whose date is fixed in the tenth century by the latest researchers (cf. Konow and Lanman, Karpara-mañjuri, p. 179, Cambridge, Mass., 1901). Besides, the date of Jalhana's Saktimuktavali (approximately 1247 A.D., according to Mabel Duff, Chronology of India, p. 192, Westminster, 1899) would prevent the ascription of this verse to the younger Rājaśekhara, who flourished about 1348-1349 A.D. (cf. Duff, Chronology, p. 223, and M. Krishnamacharya, A History of the Classical Sanskrit Literature, p. 123, Madras, 1906). Konow and Lanman, however, do not include this verse in their list of the anthology stanzas ascribed to Rajasekhara the dramatist (cf. Karpuramañjart, as cited above, p. 189-191). Besides being in the Suktimuktavali (cf. the foregoing note 1), this stanza is quoted in the following works: Peterson, Subhaşitävali, introd., p. 86; Parab and Durgaprasad, Suryafataka of Mayara, p. 1, footnote (pub. as vol. 19 of the Kävyamālā Series, 2d ed., Bombay, 1900); and Parab's modern anthology, the Subhasitaratnabhāṇḍāgāra, p. 54, stanza 35, 3d ed., Bombay, 1891. & Lévi, Le Catalogue géographique des Yakşa dans la Mahamayürı, in Journal Asiatique, 11 Sér., Tom. 5 (1915), p. 117, interprets vişavidyeva möyürt as 'the Mãyüri, a charm against poisons,' and as a reference to this well-known Buddhistic formula. I GENERAL INTRODUCTION LIFE OF MAYŪRA With the exception of the passage in the Harşacarita, noted above, and referring to the snake-doctor Mayuraka,' I have not succeeded in unearthing any other allusions to Mayūra by his contemporaries. The next earliest mention of him is that by Rajasekhara, about 900 A.D., and the latest falls in the seventeenth century, though perhaps some undated commentators, whose remarks I shall cite, may be even later. It is thus clear that our knowledge of the poet's life comes only at second hand, through writers who have referred to or quoted him; for that reason due allowance must be made for inaccuracies of statement. Judgment must also be exercised in separating fiction from fact in the various anecdotes that form the basis of his biography. EARLY LIFE AND OCCUPATION Of the birth-place of Mayūra nothing has been recorded, and of his early life we know only that he was a jängulika, 'snakedoctor.' His first real appearance, therefore, on the stage of history is as a full-fledged poet, entering the lists at a public recital, and winning for himself, by the charm of his verses, the favor and patronage of his sovereign, the reigning emperor Harşa.¹ MAYURA IS SUMMONED TO THE COURT OF HARSA The story of Mayüra's first step toward fame, along with certain other biographical details, is given by Madhusudana in his Bhavabodhini, which is a commentary on the Süryaśataka of Mayūra. Bühler fixes the date of Madhusudana in the year 1654 A.D., and gives the extract from his Bhavabodhini as follows:atha vidvadvṛndavinodaya frimadvyddhavadanad viditaḥ śrisuryafatakaprādurbhāvaprasangas tävat procyate । sa yathā । mālavarājasyojjayinīrā1 Harşa reigned 606-647 A.D.; cf. Ettinghausen, Harşa Vardhana, p. 10-15; Vincent A. Smith, Early History of India, p. 337-352, 3d ed., Oxford, 1914. 2 G. Bühler, On the Authorship of the Ratnavah, in IA, vol. 2 (1873), P. 127-128. GENERAL INTRODUCTION 7 jadhānikasya kavijanamürdhanyasya ratnavalyakhyaṇāṭikākartur maharajaśriharşasya sabhyau mahakavi paurastydu baṇamayūrāv āstām । tayor madhye mayürabhaṭṭaḥ śvasuro baṇabhaṭṭaḥ kadambarigranthakarta tasya jāmatā tayoḥ kavitvaprasange parasparam spardha "sit । bāṇas tu pūrvam eva kadācid rajasamīpe samagato rajñā mahatya sambhavanaya svanikate sthapitaḥ kutumbena sahojjayinyam sthitaḥ । kiyatsv api divaseşv atīteşu kavitvaprasange tatpady śrutvā mayürabhaṭṭo rajñā svadeśād akaritaḥ । ityadi. This passage Bühler translates as follows:'Now, for the amusement of the learned, the account of the composition of the illustrious "Century addressed to the Sun" [i.e. the Süryaśataka] is narrated, as it has been learnt from the mouth of the illustrious ancients. It is as follows. Two eastern poets, called Bāņa and Mayūra, lived at the court of Mahārāja Sriharşa, the chief of poets, the composer of the Natika called Ratnavali, who was lord of Mälava, and whose capital was Ujjain. Amongst them Mayürabhaṭṭa was the fatherin-law, and Bāṇabhatta, the author of the Kadambari, was his son-inlaw. They were rivals in poetry. But Bāṇabhatta had before, at some time or other, approached the king, had been honorably settled near him, and dwelt with his family in Ujjain. After the lapse of some time the king heard, on the occasion of a poetical recital, some verses of Mayurabhaṭṭa, and called him from his country, etc.' Bühler comments that this account 'contains undoubtedly some grains of truth, as it associates Sriharṣa with Bāṇa and Mayūra,' but it is probably inaccurate in making Ujjain Sriharşa's capital,' because neither the Harşacarita nor Hüan Tsang state that he ever resided there. Bühler is not, on the whole, inclined to give much credence to the tale. However, it should be noted, as regards the details of the story, that the rivalry of Bāṇa and Mayūra, and their relationship by marriage, are recorded by other writers also, notably in Jaina tradition, and that there is another account of a literary contest in which Mayūra played a leading part. MAYURA IS VICTOR IN A POETICAL CONTEST AT BENARES The account of this second contest, which may perhaps be the same as that recorded by Madhusudana, is given by Jagannatha, who, if he be the same as the Jagannātha (or Jagannadha) who wrote the Prāṇabharaṇam and the Amṛtalahari,¹ flourished in 1 The following six works of Jagannatha have been edited in the 8 the seventeenth century. According to his commentary on the Suryaśataka, a literary contest once took place at Vārāṇasī (Benares). The theme on which the contestants were to write seems to have been, if I have interpreted the text correctly, the 'adorning of the Bald-headed (-munḍamaṇḍana).' The prize was apparently awarded as much for the knowledge of the sastras as for poetic excellence. Many court poets contended, but Mayūra, emaciated by tapas, carried off first honors. So, at any rate, I interpret the text, which I here append, together with my translation of it :GENERAL INTRODUCTION pura kila faraccandrakhaṇḍamaṇḍitakapalakapalitārakabrahmadānavāritakşetrakṣiṇakalevaro vārāṇasyām aśeşaśāstravicārasangrāmavedavedāntādividyavittavetanagrahikṛtänteväsibhaṭajitāśeşabrahmaṇḍabhaṇḍodara .... mundamanḍanavidvadgaṇavairī rītitrayānvitakavitāṭyājitakavirājaräjikavyasujatagarvas tapaḥkharvikṛtaśeşatapodhano mahamahopadhyāyaḥ śrīmanmayürabhaṭṭaḥ . . . ityādi ª .... 'Formerly, indeed, the most revered teacher, the celebrated Mayurabhaṭṭa, whose emaciated body had subdued its passions [lit. had restrained its sphere of action] by the gift of the salvation-bringing knowledge of the Veda, [a gift bestowed] by Siva whose skull [i.e. whose head] is adorned by the crescent of the autumnal moon, (this Mayura), the rival of the troop of seers in the adorning of the Bald-headed One [i.e. Siva?] [text missing] . having at Benares conquered the interior of the entire mundane egg [i.e. the universe; meaning here, perhaps, literary rivals] by his mercenary soldiers [i.e. his verses] which were at hand, and which seized as their pay the wealth of the knowledge of the Veda and Vedānta in the contest [involving] the discussion of all the fastras, (even that Mayura) who in ascetic practises outdid all ascetics, and who felt noble pride at the poems of the group of royal poets being disregarded in favor of his poetry which possessed the three styles of eloquence, etc.' Kävyamālā Series: Amrtalahari, Karuṇālahari, Prāṇabharaṇam, Sudhālahari, Rasagangadhara and Lakşmilahari; cf. the list of Kävyamālā publications in ZDMG, vol. 47 (1893), p. 128. 1 Krishnamacharya, Sanskrit Literature, p. 127. This text is given by Mahämahopādhyāya Haraprasāda Šāstrī, in Notices of Sanskrit Manuscripts, Second Series, vol. I, p. 411, no. 412, Calcutta, 1900. The three styles of eloquence (riti) are the voidarbhi, the gaudi, and the pañcal; cf. Dandin's Kavyadarśa, 1. 42 (ed. O. Böhtlingk, Leipzig, 1890); cf. also Bhojadeva's Sarasvatikanthabharaṇa, 2.52 (ed. Jīvānanda Vidyāsāgara, 2d ed., Calcutta, 1894), where are enumerated six different styles, including the three just named. GENERAL INTRODUCTION 6 The contest here described may or may not be the same as the one mentioned by Madhusudana. The prominent part played by Mayura in both competitions would, however, make the identification possible. But, apart from that question, it is interesting to note, by way of comment, that the break in the text, if filled in, might possibly give the title of a work by Mayūra, not now known, perhaps including Mayūra's vakrokti stanzas,¹ which, in Peterson's estimation, formed the introduction to some lost work of that poet. The vakrokti stanzas deal with Siva, and munda, 'bald-headed,' is, according to the lexicons, sometimes used as an epithet of Siva. Possibly there is some connection between the two compositions, but it must be confessed that the evidence is very slight. It has already been stated, on the authority of Madhusudana, that Mayūra was summoned from his country by Harsa and became a courtier of that monarch. Confirmation of this statement is given by Rajasekhara, in the following śloka³ :— aho prabhāvo vägdevya yan matangadivākaraḥ śrtharşasya 'bhavat sabhyaḥ samo banamayurayoḥ 1 See below, p. 230-232, where the text and also the translation of Mayüra's vakrokti stanzas are given. * Peterson, Subhaşitävali, p. 8 of the notes at the end of the volume. Peterson, On the Suktimuktavali of Jalhana, in JBRAS, vol. 17, part I, p. 57-71, refers this stanza, on the authority of the Suktimuktavali and other anthologies, to the pen of the dramatist Rajasekhara (900 A.D.). In this he is followed by Bühler in Die indischen Inschriften, p. 14, footnote. Konow and Lanman, however, in their edition of the Karpuramañjari, p. 191, assign it to the younger Rājaśekhara who flourished 1349 A.D. (cf. Duff, Chronology of India, p. 223). But if Fleet, following Bhandarkar, is correct in assigning the date of the composition of the Saktimuktavali to 1247-1260 A.D. (cf. Imperial Gazetteer of India, the second volume of Indian Empire, the article Epigraphy by J. F. Fleet, p. 20, Oxford, 1908), stanzas of the younger Rajasekhara could not be included, as is this stanza, in that anthology. The text of this stanza, besides being found in the Saktimuktavali, is also given in the Paddhati of Särngadhara (cf. the edition by Peterson, stanza 189, Bombay Sanskrit Series no. 37, Bombay, 1888, and the partial edition by Th. Aufrecht, ZDMG, vol. 27, p. 77), and in Parab's Subhasitaratnabhändägara, p. 54, stanza 36. IO GENERAL INTRODUCTION 'Great is the power of (Sarasvati), the goddess of speech, seeing that even the outcast Diväkara Became a courtier of the illustrious Harşa, on equal terms with Bāna and Mayura.' The exact meaning of this stanza has caused speculation. Fitzedward Hall¹ inclined to the view that matangadivākara was a shortened form of manatungadiväkara, referring to Manatunga, the well-known Jain of whom we shall hear more anon. Hall's view was adopted by Max Müller, who writes, referring to Manatunga: '[Manatunga], called also Matanga, as in the verse of Rajasekhara, aho prabhavo etc. Cf. Hall, Vasavadattā, pref. p. 21. This surely proves that all three were favorites of Harṣa (whatever Mahesa Candra Nyāyaratna in his edition of the Kavyaprakāśa,³ Vijñāpana, p. 19, may say to the contrary); for the meaning is that the power of Sarasvati is so great that even a Jaina could become a favorite of king Harșa, like Bāṇa and Mayūra, i. e. as if he were their equal.' Peterson, however, makes a correction and introduces a variant reading. He says: 'But there is no warrant for identifying Mätangadivākara³ with the Jain writer Manatunga, as Hall and Max Müller have done. The fact is that Divākara is the real name of our poet, not Mätanga. There is a reference to him under the name Divākara in our verse 30,6 1 F. Hall, Vasavadatta of Subandhu, introd., 21, Calcutta, 1859. *Max Müller, India: What Can It Teach Us?, p. 330, note 5. 3 I have not been able to procure this edition and learn the views of its editor. * Peterson, On the Saktimuktavali of Jalhana, in JBRAS, vol. 17, part I, p. 67. "A stanza under the name of Mätangadivākara is given in the Paddhati of Sarngadhara (cf. Aufrecht, ZDMG, 27.73, or Peterson, no. 1227), in the Subhasitavali of Vallabhadeva (Peterson, no. 2544), and in the Subhāşitaratnabhāṇḍāgāra, p. 208, stanza 33. Three other stanzas, attributed to the same author, are given in the Subhaşitävali (Peterson, nos. 30, 2496 and 2546). See also Aufrecht, Miscellen, in Indische Studien, vol. 17, p. 171-172. 6 Verse 30 of a list, compiled from the Saktimuktavali and other anthologies, of verses ascribed to Rajasekhara (cf. Peterson, On the Saktimuktavali of Jalhana, in JBRAS, vol. 17, part 1, p. 60). The text of this verse is as follows:GENERAL INTRODUCTION II where he is put in one compound with Bāṇa. In the Süktimuktävali, the reading in the present verse is canḍāla Divakara for matanga Divakara.' I believe that Peterson is right in not permitting the identification of matanga with Mānatunga, the more so since I have shown below (see p. 18) that there is reason to believe that Mänatunga was not a contemporary of Bāṇa and Mayūra at all, but flourished in the third century A. D. I would, therefore, as Peterson does, regard mätanga as a common noun, equivalent to caṇḍala, 'outcast,' but I would adopt the reading matanga rather than caṇḍāla, because matangadivākara is the traditional form of the name, candāladivakara seemingly being found but once. If then we accept the rendering of matanga as 'outcast,' the meaning of the stanza appears to be that the power of literary excellence is great enough to enable its possessor, even though of the lowest caste, to gain access to the charmed circle of royal literati. This would be a not improbable state of affairs, when it is remembered that Buddhism, the great leveling and democratic force in India, was, although beginning to wane, still comparatively strong in the days of Harsa.¹ bhaso ramilasomildu vararuciḥ śrisahasankaḥ kavir mentho bharavikalidāsataralaḥ skandhaḥ subandhuś ca yaḥ dandi banadivakardu ganapatiḥ kantaś ca ratnākaraḥ siddha yasya sarasvati bhagavatt ke tasya sarve 'pi te This Aufrecht (ZDMG, 27.77) translates as follows: 'Bhasa, Rāmila, Somila, Vararuci, der Dichter Sähasänka, Mentha, Bharavi, Kālidāsa, Tarala, Skandha, Subandhu, Daṇḍin, Bāṇa, Divākara, Gaṇapati, und der reizende Ratnākara: wer mit der erhabenen Redegöttin wohl vertraut ist, was braucht sich der um alle diese zu kümmern?' The text of the stanza may also be found in the Paddhati of Sārngadhara (Aufrecht, ZDMG, 27. 77, or Peterson, no. 188), and in the Subhasitaratnabhaṇḍāgāra, p. 56, stanza 68. 1 Hüan Tsang, the celebrated Chinese pilgrim who visited India in the seventh century A.D., testifies that there were many Buddhist monasteries scattered throughout the Indian peninsula, and that he expounded some of the tenets of the Buddhist faith to the emperor Harşa; cf. Vincent A. Smith, Early History of India, p. 344-345, 3d ed., Oxford, 1914. ! 12 GENERAL INTRODUCTION MAYURA GAINS FAME AT COURT But we have wandered slightly afield, and must now return to Mayūra. If the testimony of Jayamangala, a commentator on the Suryaśataka, may be believed, our poet Mayūra became at court the very embodiment of Sarasvati herself, and endeared himself to all his hearers by the verses proceeding from his lotus mouth. Jayamangala testifies:bhaktamayüravaktrābjapadavinyāsaśālinī nartaki 'va narīnartti sabhāmadhye sarasvati ¹ 'Sarasvati, abiding in the arrangement of the verses from the lotus mouth of the beloved Mayura, Sports in the midst of the assembly-hall, like a dancing-girl.' RIVALRY BETWEEN MAYŪRA AND BANA Granting that Mayura's success at court was so great, it is not difficult to imagine the state of Bāṇa's feelings, as he saw himself being supplanted in popular and royal estimation by a newcomer, even though that newcomer was his relative and the friend of his youth. Bāṇa was not more than human, and therefore quite vulnerable to the attacks of jealousy. A feeling of rivalry towards his father-in-law-doubtless reciprocated-would be only the natural result of the situation, and the royal smile of approval would become the source of contention par excellence. This view, besides finding direct support in the Jaina tale about Bāṇa and Mayūra (see below, p. 26), is confirmed by the following floka taken from the Navasähasänkacarita of Padmagupta,³ 1 Extracts from the commentary of Jayamangala, including the śloka quoted here, are given by Rajendralala Mitra in Notices of Sanskrit Manuscripts, vol. 4, p. 214, no. 1643, Calcutta, 1878. From an entirely different point of view, Dr. Louis H. Gray, in the introduction to his translation of the Vasavadatta (p. 3, 10, New York, 1913), has also charged Bāṇa with jealousy, this time of Subandhu, his rival in romance-writing. I am informed by Dr. Gray that when he reached this not particularly flattering opinion of Bana, he was entirely ignorant of the similar tradition respecting the rivalry between Bāṇa and Mayura. Bühler and Zachariae (IA, vol. 36, p. 150, 172) give the date of Padmagupta's literary activity as 975-1025 A.D., and fix the date of the composition of the Navasahasankacarita as about 1000-1010 A.D. GENERAL INTRODUCTION 13 which states in so many words that King Harșa, in connection with the literary activities of the two poets, was the cause of the rivalry between them. The floka runs as follows:sa citravarnavicchittihdrinor avanīśvaraḥ friharşa iva samghattam cakre bāṇamayūrayoḥ ¹ 'He (King Sindhurāja), the lord of the earth, brought about ; just as the illustrious Harşa caused who enchanted [him] by the wonderful arrangement of words [in their literary compositions]>.' There is no good reason for supposing that Padmagupta has not preserved a true record of the cause of the rivalry between these two poets laureate of Harṣa's reign, and until contrary evidence is adduced, his statement of the matter may be tentatively accepted as fact. 1 The text of this śloka is given by Th. Zachariae in an article entitled Sanskrit vicchitti schminke, published in Bezzenberger's Beiträge zur kunde der indogermanischen sprachen, vol. 13, p. 100, Göttingen, 1888; by Bühler and Zachariae, On the Navasahasankacarita of Padmagupta or Parimala, in IA, vol. 36, p. 151; and also in the edition of the Navasahasankacarita (cap. 2, stanza 18) by V. S. Islāmpurkar, Bombay, 1895. The text quoted here is that of Zachariae. Bühler has eva for iva. Islāmpurkar reads avanipatiḥ, and in a footnote offers sammardam as a variant for samghattam. 2 Zachariae (see note preceding) explains that by 'a collision between peacocks and arrows' is meant that the king killed peacocks with his arrows. 8 For vicchitti in the sense of ''arrangement,' and for a full discussion of the puns contained in this śloka, see Zachariae as cited in the note preceding. + The heroine, Saśiprabhā, read on the arrow taken from the body of her pet antelope, which had been shot by the king, the name of the marksman-Navasähasänka [i.e. Sindhurāja]. As soon as she had read the name, love for its possessor filled her heart; hence the arrow 'enchanted' her. In the Vikramorvasi (act 5, stanza 7) also the name of the marksman Ayus was inscribed upon his arrows; cf. Bühler and Zachariae, On the Navasahasankacarita of Padmagupta or Parimala, in IA, vol. 36, p. 155. 14 GENERAL INTRODUCTION MAYURA DEFEATED IN PHILOSOPHICAL CONTROVERSY But Mayura was not always successful in his literary endeavors. The Vedāntists and the Jains have preserved recordspartly fictitious, but containing some grains of truth-of his defeats at the hands of their champions. The former of these tales that of the Vedāntists-is given in the Samkṣepaśamkarajaya¹ of Madhava,' who flourished 1300-1350 A.D. The story runs that the gods, seeing mankind given over to Buddhism, sought the aid of Siva. That deity, assuming the form of Samkara, the celebrated Brāhmanical reformer and the real founder of the Vedānta system of philosophy, descended to earth. In the course of a grand tour of India he met in philosophical disputation many noted opponents, including representatives of the Jains and other sects. All were confuted, and many were converted to the true religion (Brāhmanism) by the invincible guru. Among those who yielded to his prowess in argument are enumerated Bāṇa and Mayūra. The portion of the text that treats of their downfall is as follows:sa kathabhir avamtisu prasiddhān vibudhan banamayuradaṇḍimukhyan śithilikṛtadurmatābhimanān nijabhāşyaśravaṇotsukāmś cakāras 'He (Samkara), by his talks, made the celebrated pandits in Avanti, chief of whom were Bāṇa and Mayüra and Dandin, desirous of listening to his own Bhdşyas ("commentaries "), after he had overcome their envious self-conceit.' 1 This work is a copy, with some changes, of the Samkaravijaya of Anantānandagiri; cf. Aufrecht, Catalogus Codicum Sanscriticorum Bibliothecae Bodleianae, p. 260, a, line 2 seq., and p. 247, no. 624, Oxford, 1864; also, K. B. Pathak, The Date of Samkaracharya, in IA, vol. 11 (1882), p. 175. A summary, with abstracts, of this work of Madhava is given by Aufrecht, op. cit., p. 252-260, no. 626. This Madhava was the brother of Sāyaṇa, who wrote the well-known commentary on the Rig Veda, cf. Aufrecht, as cited in note preceding, p. 519, c. He, like his brother, flourished in the 14th century; cf. Duff, Chronology, p. 223. 8 I have used the text as given on p. 258, b, of Aufrecht's abstract; cf. above, note 1. 15 By way of comment, it has been rightly noted by Telang¹ that 'Bāṇa and Mayūra, and Daṇḍin, who is mentioned with them, are now hardly known as philosophers.' Bühler is not content with so mild a criticism. Madhava's work,' he says, 'is devoid of all historical value. It is nothing but a mass of legends heaped one upon the other for the glorification of the great master. To give only one instance of its inaccuracies, Samkara is made to refute Bāṇa and Mayūra, the two well-known poets of the seventh century.' Still, granting that we are dealing with legend, as of course we must be, since Samkara flourished a hundred years and more after the close of Harṣa's reign, it is yet possible to regard the defeat of Bāṇa and Mayūra as a fact around which legendary matter has been grouped. It can at least be said that there may have been a literary contest of some kind, in which Bāṇa and Mayūra were worsted by somebody. I admit that this is hardly a satisfactory datum from a historical standpoint, yet the fact is possible none the less. But apart from such speculative uncertainties, the story is of value as showing the esteem in which Mayura and Bāṇa were held by the writers of generations that succeeded them; for the author Madhava was doubtless acute enough to realize that the greater the fame of those whom his hero Samkara was made to conquer, the greater would be the glory of that hero. Therefore, in selecting Mayūra to pose as a victim of Samkara's eloquence, Madhava has paid our poet a delicate but obvious compliment. GENERAL INTRODUCTION 1K. T. Telang, The Date of the Nyayakusumāñjali, in IA, vol. 1 (1872), p. 299; cf., however, Telang, The Date of Sankaracharya, in IA, vol. 13 (1884), p. 101-102. 2 G. Bühler, Additional Remarks on the Age of the Naishadhiya, in JBRAS, vol. II (1875), p. 283. It is generally accepted that Samkara flourished at the beginning of the ninth century A.D.; cf. especially K. B. Pathak, The Date of Samkaracharya, in IA, vol. 11 (1882), p. 175, and the same author in Bhartrhari and Kumarila, in JBRAS, vol. 18 (1890-1894), p. 233. His conclusions place Samkara between 750 and 838 A.D. K. T. Telang, however, contends that Samkara should be placed toward the end of the sixth century A.D.; cf. The Date of Sankaracharya, in IA, vol. 13 (1884), p. 103. See also Duff, Chronology, p. 69, and Krishnamacharya, Sanskrit Literature, p. 119. Some additional notes on the subject of Samkara's date are given by D. R. Bhandarkar, in IA, vol. 41 (1912), p. 200. 16 GENERAL INTRODUCTION THE JAINA TALE ABOUT MAYŪRA AND BĀŅA The other tale concerning Mayūra, to which reference has already been made (see above, p. 14), seems to owe its origin to Jaina tradition, or perhaps it would be more accurate to say that in the highly embellished form in which we receive it, it comes direct from Jaina writers. Some of the facts it relates receive confirmation from other sources, but much that it presents is nonsense and must, of course, be rejected. Its theme, or rather purpose, is the glorification of the Jaina religion, which is shown to be superior to other religions because one of its devotees, Mänatunga, is able to work greater miracles by the recitation of his verses than Mayūra and Bāṇa could accomplish by the recitation of theirs. The date of Manatunga. This Manatunga is the well-known Jain ācārya, the author of the Bhaktämarastotra and Bhayaharastotra, but his date appears to be a matter of uncertainty. According to most of the sthiravalis, or lists of the Jaina hierarchs, he should be placed in the third century A.D. Other traditions, such as the story under consideration, make him a contemporary of Bāṇa and Mayura in the seventh century. A paṭṭavalt of the Tapāgacha sect of the Jains, which presumably derives its in1 Cf. A. Weber, Verzeichniss der Sanskrit und Prakrit Handschriften zu Berlin, Bd. 2, Abth. 3, S. 1003, 1034, Berlin, 1891. For a bibliography dealing with Mänatunga, see the references cited by page number in A. Guérinot's Essai de Bibliographie Jaina, p. 514, published in Musée Guimet, Annales, vol. 22, Paris, 1906; cf. the supplementary work by the same author, entitled Notes de Bibliographie Jaina, and published in Journal Asiatique, 10 Sér., Tom. 14 (1909), p. 47-148, nos. 968, 1012, 1070. 2 Bhâu Dāji, On the Sanscrit Poet, Kalidasa, in JBRAS, vol. 6 (1861), P. 24, 222-223. Dāji, in spite of the unanimous evidence of seven sthiravalis which he examined, places Mänatunga in the seventh centuryapparently for no other reason than because his name is coupled with that of Bāṇa and that of Mayura in the Jaina tale under discussion. See also G. Bühler, On the Chandikaśataka of Banabhatta, in IA, vol. I (1872), p. 115. This pattavalt is outlined, and extracts from it are given, by Johannes Klatt, Extracts from the Historical Records of the Jainas, in IA, vol. II (1882), p. 245-256; see especially p. 252, no. 20. 17 formation about Mänatunga from the Prabhavakacaritra,¹ a work composed by the Jain writers Prabhacandra and Pradyumnasūri about 1250 A.D., both makes him a contemporary of Bāṇa and Mayūra, and author of the Bhaktāmarastotra, and at the same time describes him as GENERAL INTRODUCTION malaveśvaracaulukyavayarasimhadevamatyaḥ 'councillor of the Caulukya Vayarasimhadeva, Lord of Mālava'.³ Now if Vayarasimha be, as seems likely, the same as Väirisimha I or II, Paramāra kings of Mālava, who reigned sometime between 825-950 A.D. (Duff, Chronology, p. 300), Manatunga would have to be placed in the ninth or tenth century. Still other evidence points to the eighth century as the time of Manatunga's Blütezeit; for example, Weber informs us that in an edition of 'Kalpasūtra translated into Bhasha (Lakhnaw, 1875), p. 96, 3, wird die Zeit des Mänatunga, Verfassers des bhaktāmarastotra, auf Vikr. 800 [i. e. 742 A.D.] angegeben.' With such contradictory evidence, it is next to impossible to determine the period when Mänatunga wrote and flourished. In favor of an early date is the evidence of the sthiravalis and the fact that in some of them Manatunga is named as only the 20th," or 23d, hierarch in direct descent from Mahavira, the founder ¹ Cf. Klatt, as cited in note preceding. The pattovali states: friprabhavakacaritre prathamam śrīmanatungacaritram uktam, 'the story of the illustrious Mänatunga is first narrated in the illustrious Prabhāvakacaritra'; cf. Weber (as cited in the second note following), p. 1003. 2 G. Bühler, Ueber das Leben des Jaina Mönches Hemacandra, in Denkschriften der kaiserlichen Akademie der Wissenschaften, PhilosophischHistorische Classe, vol. 37, p. 172, 221, Wien, 1889. 8 So Klatt, in IA, vol. 11, p. 252, no. 20; but Weber, Verzeichniss der Sanskrit und Prakrit Handschriften zu Berlin, Bd. 2, Abth. 3, S. 1003, No. 20, does not include this passage in his text; compare, however, Weber, opus cit., p. 932, note 1, where this quotation is ascribed to a paṭṭavah of the Vrhadgacha sect. A. Weber, as cited in the note preceding; cf. P. Peterson, Search for Sanskrit Manuscripts, Fourth Report, introd., Index of Authors, p. 92, Bombay, 1894. 5 Cf. Klatt, in IA, vol. 11 (1882), p. 247, 252; J. Stevenson, The Kalpa Satra and Nava Tatva, p. 102, London, 1848; Weber, Verzeichniss der Sanskrit Handschriften zu Berlin, Bd. 2, Abth. 3, S. 1003, 1034. 3 18 GENERAL INTRODUCTION of Jainism, who died, according to tradition, about 527 B.C.¹ On the other hand, in support of a later date is the evidence set forth in the page just preceding, and the fact that the Bhaktāmarastotra, Manatunga's work, is written in Sanskrit, although, as pointed out by Jacobi,2 early Jain writings are for the most part written in the Māhārāṣṭri Prakrit, and not till after 1000 A.D. did the Jains generally adopt Sanskrit as their literary language. This would argue, though not absolutely conclusively, against the Bhaktämarastotra's being an early work. On the whole, the evidence for making Mänatunga a contemporary of Bāṇa and Mayūra seems to me to be the weakest, being supplied to us, as it is, from this quasi fairy tale of the Jains and from the apparently self-contradictory passage in the Tapāgacha paṭṭavali. Until more evidence is forthcoming, I am inclined to give most credence to the sthiravalis that were examined by Bhāu Dājī (see above, p. 16, note 2), and I would therefore place Manatunga, tentatively, in the third century A.D., even though Max Müller says that this date 'is systematic rather than historical." The Jaina tale first found in the Prabhāvakacaritra. According to the paṭṭavali" of the Tapagacha sect of the Jains, and to 1 See Vincent A. Smith, Early History of India, p. 46, 3d ed., Oxford, 1914. H. Jacobi, Kalpasūtra of Bhadrabahu, introd., p. 20, Leipzig, 1879. It may be noted that Jacobi, when editing the Bhaktamarastotra, with transliteration and German translation, was unable to determine Mänatunga's date; cf. Indische Studien, vol. 14 (1876), p. 360–361. It has not escaped my attention that Peterson, Search for Sanskrit MSS, Fourth Report, introd., p. 92-93, lists two Jaina Mänatungas. The latter of them, however, lived about 1200 A.D. *Max Müller, India: What Can It Teach Us?, p. 338, London, 1883. 5 This pattavat is given in part by Klatt, in IA, vol. 11 (182), p. 251256. See especially p. 252-253, where Mänatunga is named as the 20th in descent from Mahāvīra among the hierarchs of the Jain persuasion. The pattaval of the Kharatara sect is given by Weber, Verzeichniss der Sanskrit HSS zu Berlin, Bd. 2, Abth. 3, S. 1034, and by Klatt, in 1A, vol. II, p. 245-250. It makes Mänatunga the 23d, instead of the 20th, in descent from Mahavira. In this connection see also Müller, India: What Can It Teach Ust, p. 337-338. 19 Dharmasagaragani's commentary on his Gurvavalisutram,¹ the three-cornered contest between Mayūra, Bāṇa and Manatunga is first described in the Prabhāvakacaritra, a Jain work which, as noted above (p. 17), was composed by Prabhācandra and Pradyumnasūri² about 1250 A.D. A portion of the text of this paṭṭavali and of the commentary on the Gurvāvalīsūtram runs as follows:GENERAL INTRODUCTION śriprabhavakacaritre prathamam śrīmānatungacaritram uktams 'The deeds of the illustrious Mänatunga are first told in the illustrious Prabhavakacaritra. Since I have no text of the Prabhāvakacaritra, I am compelled to rely on Weber for confirmation of the presence of the story in that work. This he gives in the following note taken from his catalogue of the Berlin Sanskrit manuscripts: 'Klatt's Freundlichkeit verdanke ich noch folgende Angabe: "Das Prabhāvakacaritra (ca. samvat 1250 verfasst), in welchem Mānatunga's Leben (riga 12) erst hinter dem des Bappabhatti († samvat 895) folgt, erzählt nur die bekannte Legende von dem Wettstreit zwischen Bāṇa, Mayūra und Män. vor dem König Harsa in Vāṇārasī." And the Tapagacha paṭṭāvali, which, as noted above (p. 16), probably derives its information concerning Manatunga from the Prabhavakacaritra, likewise states that 'Manatunga, councillor of the Caulukya Vayarasimhadeva, Lord of Mālava (mälaveśvaracăulukyavayarasimhadevāmätyaḥ), con1 For this commentary, see Weber, Verzeichniss der Skt. HSS zu Berlin, Bd. 2, Abth. 3, S. 1003. This commentary appears to be identical with the Tapāgacha pattavalt as outlined by Klatt, in IA, vol. 11, p. 251-256. 2 See above, p. 17, notes 1 and 2. This Pradyumnasūri is presumably not the Jaina hierarch mentioned (IA, 11. 253) as 32d in descent from Mahavira; cf. Peterson, Search for Skt. MSS, Fourth Report, introd., Index of Authors, p. 79-81, where are listed 7 writers by the name of Pradyumnasūri, the hierarch being distinguished from the author of the Prabhavakacaritra. 8 Text is that given by Klatt, IA, vol. 11, p. 252, and Weber, Verzeichniss der Skt. HSS zu Berlin, Bd. 2, Abth. 3, S. 1003. 4 Weber, Verzeichniss, etc., S. 932, Anm. 1; cf. Peterson, Search for Skt. MSS, Fourth Report, introd., Index of Authors, p. 92, Bombay, 1894. 20 GENERAL INTRODUCTION verted the king (Harṣa ?), who was beguiled by the sorceries of Bāṇa and Mayūra, at Vāṇārasī, by the Bhaktämarastavana."¹ So much for the source of the story. The four versions of the Jaina tale. The story itself, in more lengthened form, and with variations of detail, is found in several accessible places, but I have, unfortunately, been unable to secure a complete text. Fitzedward Hall, as early as the middle of the last century, gave a summary of the tale as found by him in an anonymous commentary on Mänatunga's Bhaktämarastotra. Hall must also be credited with the discovery of a second version of the story, found in a second anonymous commentary on the Bhaktamarastotra, and partly translated by Bühler in the Indian Antiquary. A third version is supplied by Madhusüdana's commentary on the Süryaśataka of Mayūra, from which we have already quoted above (p. 6), and still a fourth is contained in the Prabandhacintämani of Merutunga, translated by Tawney." I shall submit first the account found in Hall's second anonymous commentary on the Bhaktāmarastotra, as translated by Bühler, then point out its principal variations from the first and third versions, and conclude by giving the account contained in the Prabandhacintamani. Though Hall's second commentary is anonymous, Bühler has concluded, on the 1 Klatt, in IA, vol. 11, p. 252, no. 20. 2 F. Hall, Vasavadatta, introd., p. 7-8, note, Calcutta, 1859. & C. Bendall, in his Catalogue of the Sanskrit Manuscripts in the British Museum, p. 101, London, 1902, is wrong in making Merutunga the author of this anonymous commentary. Had he read Hall's account (see note preceding), and compared it with that of Merutunga, which is given in the Prabandhacintamani (p. 64-66 of the translation by C. H. Tawney, Calcutta, 1901), he must have noted striking differences in detail. * F. Hall, Vasavadatta, introd., p. 49. Part of this commentary is given, in transliterated text, by Weber, Verzeichniss Skt. HSS zu Berlin, Bd. 2, Abth. 3, S. 939, No. 1969. 5 Bühler, On the Chandikaśataka of Baṇabhaṭṭa, in IA, vol. 1 (1872), p. 111-115. Bühler, On the Authorship of the Ratnavali, in IA, vol. 2 (1873), p. 127-128. 7 C. H. Tawney, p. 64-66, Calcutta, 1901. GENERAL INTRODUCTION 21 strength of internal evidence, that the commentator lived probably about the beginning of the fifteenth century.¹ The Jaina tale as told by an anonymous commentator. I have been able to secure in text form only the first part of the commentary. This is supplied by Weber, from his catalogue of the Berlin Sanskrit manuscripts, and runs as follows:pura 'maravatijayinyām śrī Ujjayinyam puri vyddha-Bhojarājāpūjyo 'dhitaśastraparo Mayaro nama panditaḥ prativasati sma, tajjāmata Baṇaḥ, so 'pi vicakşanaḥ, dvayor anyo-'nyam matsaraḥ, uktam: na sahanti ikkam-ikkam । na viņa ciṭṭhanti ikka-m-ikkeṇa । râsahavasahaturangā jüyārī pandiyadimbha ॥ anyedyur vivadamanau nrpeno 'ktau: bho panditau yuvam Kaśmiran gachatam, tatra Bharati yam panditam adhikam manyate sa evo 'tkrstaḥ Bühler's translation of this commentary, or rather, so much of it as refers to Mayūra, is as follows:Formerly there lived, in Amarāvatī Ujjayinī, Śrī Ujjayini, a Pandit, named Mayūra, who had studied the Sastras and was honored by the elder Bhoja. His son-in-law was Bāņa. The latter also was clever. The two were jealous of each other, for it is said,-na sahanti ikkamikkam na vina cithanti ikkamikkeņa rāsahavasahaturaga jayara pandiyaḍambhā, "donkeys, bulls, steeds, gamblers, Pandits, and rogues cannot bear each other and cannot live without each other." 'One day they were quarrelling. The king said to them, "Ho Pandits, go to Kashmir. He is the best whom Bharati, who dwells there, considers to be the better Pandit." "They took food for their journey and set out. They came on their road to the country of the Mädhumatas (Kashmir). Seeing five hundred oxen which carried loads on their backs, they said to the drivers, "What have you got there?" The latter answered, "Commentaries on the syllable Om." Again they saw, instead of five hundred oxen, a herd of two thousand. Finding that all these were laden with different new explanations of the syllable Om, they lost their pride. 'They slept in some place together. [jagarito Mayaro vanya satacandram nabhastalam samasyāpadam vadantya । ardhotthitena natena] Mayūra. ¹ Bühler, On the Chandikaśataka of Baṇabhaṭṭa, in IA, vol. 1 (1872),. p. 113, footnote. 2 Weber, Verzeichniss Skt. HSS zu Berlin, Bd. 2, Abth. 3, S. 939, No. 1969. & Bühler, On the Chandikaśataka of Banabhaṭṭa, in IA, vol. I (1872), p. 113-114. Bhoja and the Bhojaprabandha are discussed below, p. 41-49. 22 GENERAL INTRODUCTION was awakened by the goddess Sarasvati who gave him this thema¹ for a verse, "The sky filled with a hundred moons." He half raised himself, bowed, and gave the following solution,damodarakarāghatavihvalikṛtacetasă drstam canuramallena śatacandram nabhastalam: "Cāņūramalla, stunned by the blow of Damodara's hand, saw the sky filled by a hundred moons". [Banopi tathaiva prstah । humkāram kṛtvā 'pi kathita] The same question was addressed to Bana. He growled, and worked the thema in the following manner :tasyām uttungasäudhägravilolavadanāmbujāiḥ virarāja vibhāvaryām śatacandram nabhastalam "In that night, on account of the lotus-faces that moved to and fro on the high terraces, the sky shone as if filled by a hundred moons." 'The goddess said, "You are both poets who know the Sastras, but Bāna is inferior, because he growled. I have shown you that quantity of commentaries on the syllable Om. Who has ever attained a complete knowledge of the dictionary of the goddess Speech. It has been also said, 'Let nobody assume pride, saying "I am the only Pandit in this age. Others are ignorant." Greatness of intellect only comparative."" 'Thus Sarasvati made friendship between the two. When they arrived at the outer wall (of Ujjayini), they went each to his house. One after the other they paid their respects to the King as before. It has been also said, " Deer herd with deer, kine with kine, steeds with steeds, fools with fools, wise men with wise ones. Friendship (has its root) in the similarity of virtues and of faults." 'Once Bāņa had a lover's quarrel with his wife. The lady, who was proud, did not put off her pride. The greater part of the night passed thus. Mayura, who was taking his constitutional, came to that place. Hearing the noise made by the husband and his wife through the window, he stopped. Bāņa fell at the feet of his wife and said, "O faithful one, pardon this one fault; I will not again anger thee." She kicked him with her foot which was encircled by an anklet. Mayüra, who stood under the window, became sorry on hearing the sound of the anklet, and on account of the disrespect shown to the husband. But Bāņa recited a new stanza1 The Sanskrit word is samasya, and means a part of a stanza given to another person to be completed. Cf. Aufrecht, ZDMG, vol. 27, p. 51: 'Dieser Vers dient als Beispiel einer Samasya, das ist, eines Spieles, in welchem zu einem gegebenen Thema (hier: śatacandram nabhastalam) die übrigen Verstheile hinzugedichtet werden, nach Art unserer Glossen. Auch Kşirasvāmin im Commentar zu Amara gibt diesen Vers zu samasya.' The Paddhati of Särngadhara, 32.5 (Peterson's edition, no. 498; cf. Aufrecht, ZDMG, vol. 27, p. 51) ascribes this stanza to Bāṇa, not to Mayūra. GENERAL INTRODUCTION gataprāyā rātriḥ kṛśatanu śafiyata iva pradipo 'yam nidravaśam upagato ghürnata iva prandmante manam tyajasi na yatha tvam krudham aha kucapratyasattyä hrdayam api te subhru kathinam¹ 23 "O thin-waisted one, the night that is nearly past escapes swiftly, like a hare; this lamp nods as if it were sleepy; O fair-browed one, thy heart also has become hard on account of its vicinity to thy breasts, so that, alas! thou dost not put off thy pride and thy anger at the end of my prostrations." 'Hearing this, Mayūra said, "Don't call her fair-browed but passionate (candi), since she is angry." Hearing this harsh speech, that faithful wife cursed her father, who revealed the character of his daughter, saying, "Mayest thou become a leper by the touch of the betel juice which I now have in my mouth." At that moment lepra-spots appeared on his body. In the morning Bana went as formerly to the Court, dressed as a Varaka, and made with reference to Mayura, who also came, the following speech containing a pun, "The Varakodhi has come." 1 This stanza, which is in the fikharini meter, is quoted in the Subhaşitävali (Peterson, no. 1612), in the Paddhati of Sārngadhara (Peterson, no. 3713), in the Kavindravacanasamuccaya (edition of F. W. Thomas, in the Bibliotheca Indica Series, Calcutta, 1912), stanza 367, and also, according to Thomas (Kavindravacanasamuccaya, stanza 367, footnote), in the following: the Saktimuktavali (120, a) of Jalhana, the Alamkaratilaka (Kavyamālā Series, no. 43, p. 54) of Vägbhata, the Sabhyalamkarana Samyogaśṛngara (4.21, a) of Bhatta Govindajit, the Padyaracana (Kavyamālā Series, no. 89) 9. 1, and the Padyavent (5.34) of Venidatta. The Subhasitavali assigns it to Bāṇa, and the Kavindravacanasamuccaya to Mahodadhi; in the other works cited it is given anonymously. The Subhasitavali has the following variants: (a) śaft sidata iva. (c) praṇāmānto manas, tatha 'pi krudham aho. (d) candi (for subhru). The Paddhati has: (a) ratriḥ śaśimukhi śaf firyata iva. (c) prandmanto manas tad api na jahäsi krudham aho. (d) candi (for subhru). The Kavindravacanasamuccaya has: (a) fafi fryata iva. (c) prandmanto manas tyajasi na tatha 'pi krudham aho. (d) candi (for subhru). It should be noted that the first pada as given by Bühler is metrically one syllable short. 2 Punningly, 'Don't call her the , but .' See below, p. 247, where I have discussed this passage more at length. That is, she spat down on him from the window beneath which he was standing. Bühler (IA, 1. 114, footnote) says: 'I am unable to translate the term Varaka. The words of the text are-varakavastram paridhaya sametam mayaram prati (av du varakoḍhi) iti śliştam vaca uvaca. The lexicons give 'cloak' as the meaning of varaka; I would therefore render: 'He made, referring to Mayura, who came wearing a cloak as his garment, the 24 GENERAL INTRODUCTION 'The king, understanding this, and seeing the lepra-spots, sent (Mayūra) away, saying, "You must go." Mayura fixed himself in the temple of the Sun, sat down, keeping his mind concentrated on the deity, and praised the Sun with the hundred verses, which begins jambhārātībhakumbhodbhavam,¹ etc. 'When he had recited the sixth verse which begins Armaghränanghripanin, etc.-the witness of the world's deeds appeared visibly. Mayūra, bowing to him, said, "Lord, deliver me from my leprosy." The Sun answered, "Friend, I also suffer even now from leprosy on the feet, in consequence of a curse, because I had sexual intercourse with the horseshaped Ranṇādevī against her will. Nevertheless, I will cover the leprosy caused by the curse of the faithful wife by giving you one of my rays." Speaking thus, the Jewel of the Sky went away. That one ray, enveloping his (Mayura's) body, destroyed the lepra-spots. The people rejoiced. The King honored him. Bāṇa, being jealous of Mayura's fame, caused his hands and feet to be cut off, and making a firm resolution, praised Candika with the hundred verses, beginning ma bhankşir, etc. At the recitation of the sixth syllable of the first verse Candikā appeared and restored his four limbs.' The re'Here,' says Bühler, 'I break my translation off. mainder of the katha states that the Jainas, who were anxious to show that their holy men could work as great miracles, produced Manatunga Sūri to uphold their good name. This worthy allowed himself to be fettered with forty-two iron chains, and to be locked up in a house. He then composed the forty-four verses of the Bhaktämarastotra, and freed himself thereby. He of course converted King Bhoja by this miracle to the Jaina religion.' Variations from the Jaina tale as narrated by the anonymous commentator. The principal variations from the story as just punning remark: "The varakoḍht has come "'. Resolve varakoḍhi as varaka-adhi, 'the one wearing a cloak', and also, punningly, as vara-kodhi, 'the one possessing excellent lepra-spots'; kodhi is perhaps dialectic for kothi, the recognized spelling (cf. also Ettinghausen, Harşa Vardhana, p. 126, note 1). 1 This is the opening line of Mayūra's Süryaśataka; cf. below, p. 108. * This is the opening line of Bana's Candidataka; cf. below, p. 267. * The Bhaktamarastotra has been edited-transliterated text and German translation by H. Jacobi, in Indische Studien, vol. 14 (1876), p. 363-376; and also in the Kävyamālā Series, part 7, no. 1, by Durgaprasad and Panashikar, 3d edition, Bombay, 1907. Other editions are mentioned by Ettinghausen, Harşa Vardhana, p. 127, note 2. The meter of the Bhaktamarastotra is vasantatilaka. 25 narrated are as follows. In the account of Madhusudana,¹ the King is Harsa, not Bhoja, and the cause of Mayura's leprous condition is given as the composition of a licentious description of his own daughter's charms. Besides, there is no mention at all of the Jain Manatunga, a fact which makes it clear that Madhusüdana was not a Jain, and adds more weight to my supposition (see above, p. 18) that Mänatunga has been brought forward by his fellow-religionists from the third century, where he probably belongs, and made the contemporary of Bāṇa and Mayūra for the purpose of his own glorification. The fact, too, that Madhusudana calls the king Harşa, while all the other versions name him Bhoja, may indicate that he is following a tradition free from Jaina influence. In the account taken from Hall's first commentary on the Bhaktämarastotra, the cause of Mayüra's curse and leprosy is similarly given as due to a licentious description of his daughter's charms, but we are here vouchsafed the further piece of information that the name of this poem was the Mayürāṣṭaka. Bhoja is represented as a patron of literature, surrounded at his court by five hundred men of letters, among whom Mayūra and Bäāṇa were not the least.5 GENERAL INTRODUCTION The Jaina tale as given in the Prabandhacintamani of Merutunga. It would seem that the manuscripts of the Prabandhacintāmaṇi must differ, since the account of our tale as given in Tawney's translation of this work is different from the ¹ Given by Bühler, On the Authorship of the Ratnavali, in IA, vol. 2, p. 127-128. 2 This composition was the Mayaraşṭaka, which is translated and edited on p. 72-79 of this volume. F. Hall, Vasavadatta, introd., p. 7-8. See above, note 2. 5 This is reminiscent of the Bhojaprabandha, which also states that Bāṇa and Mayüra were to be found among the five hundred savants that thronged the court of Bhoja; cf. below, p. 43. C. H. Tawney, Prabandhacintamani, p. 64-66. For the date of this work-about 1306 A.D.-see Tawney, ibidem, introd., p. 7, where it is given as Vikrama 1361; cf. Duff, Chronology, p. 210, and Krishnamacharya, Sanskrit Literature, p. 122. 26 GENERAL INTRODUCTION one drawn therefrom by Yajñeśvara.¹ In Tawney's translation, Mayura is represented as Bāṇa's brother-in-law, having Bāṇa's sister as his wife. Besides, Bāṇa is made out to be the author of the Süryaśataka, while Mayura is said to have written the Candisataka, and it is Bāṇa, not Mayūra, who is cursed for his eavesdropping propensities. In Yajñeśvara's account, on the contrary, Bāṇa's wife is said to be Mayüra's sister. The account as given in Tawney's manuscripts is not always very lucid, and once, at least, is self-contradictory. It runs as follows:Then two pandits, related as sister's husband and wife's brother, who were called Mayūra and Bāņa, and were engaged in a perpetual rivalry on account of their own respective literary merits, had obtained an honourable position in the king's court. One day the pandit Bāna went to his sister's house at night, to pay her a visit, and as he was lying down at the door, he heard his sister's husband trying to conciliate her, and paying attention to what was being said, he managed to catch these lines :"" The night is almost gone, and the emaciated moon is, so to speak, wasting away, This lamp, having come into the power of sleep, seems drowsily to nod, Haughtiness is generally appeased by submission, but, alas! you do not, even in spite of submission, abandon your anger," 'When Bāṇa had heard these three lines repeated over and over again by Mayūra, he added a fourth line:"Cruel one, your heart also is hard from immediate proximity to your breast." 'When Mayūra's wife heard this fourth line from the mouth of her brother, being angry and ashamed, she cursed him, saying, "Become a leper". Owing to the might of the vow of his sister, who observed strictly her vow of fidelity to her husband, Bāna was seized with the malady of leprosy from that very moment. In the morning he went into the assembly-hall of the king, with his body covered with a rug. When Mayūra, with a soft voice, like a peacock, said to him in the Präkrit language, "Ten million blessings on you!" the king, who was foremost among the discerning, looked at Bāṇa with astonishment, and thought in ¹ Yajñeśvara Sastri edited the Saryaśataka of Mayūra, with a commentary composed by himself. I have been unable to secure a copy of this work of Yajñeśvara, but Bühler, writing in 1872 (cf. IA, vol. 1, p. 115, footnote), refers to it as being in course of publication at that time. The portion of the commentary that I give below is quoted by Jhalakikara, in his second edition of the Kavyaprakāśa, cap. 1, 2-3, p. 10-11, Bombay, 1901. The stanza beginning gataprāyā rätriḥ, etc. See above, p. 23, note 1. 27 his own mind that Bāna would, on a future occasion, make use of some device for propitiating the deity¹; but Bāṇa rose up from his seat in the assembly-hall utterly abashed, and setting up a post on the border of the town, he placed under it a fire-pit, full of charcoal made of Khadira wood, himself mounted on a palanquin at the end of the post, and began uttering a hymn of praise to the sun-god.² At the end of every stanza, he cut away, with his knife, one support of the palanquin, and at the end of five stanzas five supports had been cut away by him, and he was left clinging to the end of the palanquin. While the sixth stanza was being recited, the sun-god appeared in visible form, and owing to his favour Bāņa at once acquired a body of the colour of pure gold. On a subsequent day he came with his body anointed with golden sandal-wood and clothed in a magnificent white garment. When the king saw the healthy condition of his body, Mayūra represented that it was all due to the favour of the sun-god. Then Bāņa pierced him in a vital spot with an arrowlike speech. "If the propitiating of a god is an easy matter, then do you also display some wonderful performance in this line." When he said this, that Mayura aimed at him the following retort, "What need has a healthy man of one skilled in the science of medicine? Nevertheless, so much I will do. You, after cutting your hands and feet with a knifes to confirm your words, propitiated the sun with your sixth stanza, but I will propitiate Bhavani with the sixth syllable of my first stanza." Having made this promise, he entered the back part of the temple of Candikā, sitting in a comfortable litter, and when he uttered the sixth syllable of the poem beginning, "Do not interrupt your coquetry,"4 by the favour of Candikā visibly manifested his tender body seemed to be entirely renewed, and then he looked at the temple of the goddess fronting it, and the courtiers, headed by the king, came to meet him, and uttered the cry of "Bravo! Bravo!" and so with great jubilation he entered the city. 'At this conjuncture, the law of the false believers being triumphant, some principal men, who hated the true religion, said to the king, "If among the adherents of the Jaina system any such display of power takes place, then establish the white-robed Jainas in your territory, but if not, then banish them ". No sooner had this been said than the king summoned the teacher, Mänatunga, and said, "Show some miracle of your deities". He said, "As our deities are emancipated from the bonds of existence, what miracle is possible for them here? Nevertheless, I will GENERAL INTRODUCTION 1 I do not see the point of this thought of the king. 2 The Saryaśataka is evidently meant. 8 The author has evidently forgotten that he has just made Bāṇa's miracle to be the palanquin incident. The ordinary account of the story represents Bāņa as cutting off his hands and feet; cf. above, p. 24. These are the opening words of the Candidataka; cf. below, p. 267. 5 It is not clear to me just what miracle is described in the words 'his tender body seemed to be entirely renewed'. It might lead one to believe that in Merutunga's estimation Mayura also was a leper. At any rate, the spectators were duly impressed. 28 GENERAL INTRODUCTION show you a manifestation of the power of their servants, the lower gods, that will astonish the universe." When he had said this, he caused himself to be bound with forty-four fetters, and placing himself in the back part of the temple of Rşabha, who was worshiped in that city, he composed a new hymn of praise, full of spells, beginning, "Having duly worshiped the two feet of the Jina illuminating the brightness of the prostrate crest-jewels devoted gods,"1 and with each stanza of the hymn one fetter broke, until he had completed the hymn with a number of stanzas equal to the number of fetters. Then he faced the temple and preached the law. 'Here ends the story of the great teacher Mänatunga.' Yajñeśvara's account of the story, as given in the Prabandhacintamani, is as follows:mayürakaveḥ kuştharogaprāptau kāraṇam tu bhaṭṭayajñeśvarakṛtāyām süryaśatakaşıkäyām abhihitam tatha hi-pura kila śrīvikramārkasamayād aştasaptatyuttarasahasrasammiteşu 1078 samvatsareşu (1022 khristabdeşu) vyatīteşu sampraptodayasya śrīmadbhojarājasya sabhāsadmaratnadipo mahakavir mayüro dharanagarim adhivasati sma । tasya ca bhaginipatiḥ kādambarīgadyaprabandhanirmāta banakaviḥ paramamitram asit । atha kadacin mayürakavir niśaḥ prante sampraptaprabodhaḥ katicit padyani kavayam cakre । tani ca 'tiva sarasaramaniyany akalayya tadanim evotkaṭasamutkaṇṭhāvaśan nijasuhṛde bāṇakavaye nivedayitumands tadāvāsabhavanam abhijagāma । tatra ca bāṇakavir nijavallabhāṁ mayūrasvasāram mānakaluşitām prasādayams tatkalakalpitam gatapraya ratriḥ kṛśatanu śafi fryata iva pradipo 'yam nidrāvaśam upagato ghürnita iva prandmanto manas tyajasi na tatha 'pi krudham aho iti padonam padyam pathitva caramacaraṇasamgatim kalpayams tävad eva papathyam cakre । atra 'vasare ghanastanitasyeva gambhirasya bāṇakavibhaşaṇasya śravaṇena vivaśāntaḥkaraṇo mayürakaviḥ svapratibhāpravāham niroddhum akşamas tatpadye 'pekşitam susañgatam caturthacaraṇam kucapratyäsattya hrdayam api te candi kathinam ity evamrapam kekaninādam iva mandramadhurasvareṇodirayām āsa । tac chrutva sajjadhanuşas türnam bāṇo lakşyam iva 'yam api banakavir nijanamno 'nvarthatasamarthanaya [iva] tilasadmano jhaṭiti vinirgatya pranadhikapriyam suhrdvaram mayürakavim samājagama । tato 'sya banavanitaya rasabhangajanitamanaḥkşobhavatyāḥ pativratyaprabhāveṇa 'cirād eva śāpataḥ sa mayūrakaviḥ kuşṭharogakavalitasarvangaḥ samvṛttaḥ । atha 'sya paparogasya samalam unmülandya śatasamkhyakahṛdyatamapadyaghaṭitakavyabandhena bhagavantam bhaskaradevam stutvä tatprasādamahimna pranaştapaparogaḥ kanakaruciragatro 'yam mayarakaviḥ samba1 These are the opening lines of the Bhaktamarastotra. 2 Quoted by Jhalakikara, Kavyaprakāśa, p. 10-11. GENERAL INTRODUCTION 29 bhavety evam tätparyaka itihäso merutungācāryakṛtaprabandhacintamanyadigranthe sthitaḥ-iti 'The cause of the acquisition, by the poet Mayura, of the disease of leprosy is set forth in the commentary on the Saryafataka, composed by Bhaṭṭayajñeśvara, as follows: "Formerly, indeed, after one thousand plus seventy-eight years had passed away, according to the era of the illustrious Vikramärka (i.e. 1022 A.D.), great poet Mayūra, the jewel-lamp of the assembly-hall of the illustrious Bhojaraja who had obtained his rise [to fame], dwelt in the city of Dhārā. And the husband of the sister of this (Mayüra), the poet Bāņa, author of the Kadambari, a prose composition, was very friendly [to Mayura]. ""Then once, the poet Mayūra, becoming wakeful toward the end of night, composed some stanzas of poetry. And noticing that these (stanzas) were exceedingly charming by reason of their possessing sentiment, he then, indeed, because of being subject to an ardent longing to communicate [them] to his own friend, the poet Bāņa, went to the place of his (Bāņa's) abode. ""There the poet Bâņa, [seeking] to conciliate his own wife, Mayura's sister, who was contaminated by pride, was reciting the following stanza, composed on the [spur of the] moment, and lacking one pada :'O slender-bodied one, the night is almost gone; the moon, as it were, fades; This lamp flickers as if it were subject to the control of sleep; Haughtiness is appeased by prostration; yet thou, alas! dost not abandon thy anger.' Seeking to arrange the fitting in of the last pada, he meanwhile kept reciting repeatedly [the first three lines]. ""At this juncture, upon hearing the voice of Bāṇa, which was deep, like heavy thunder, the poet Mayura, his mind [working] spontaneously, [and being] unable to restrain the current of his own wit, uttered, in a voice that was pleasant and sweet, the desired fourth pada in his (Bāņa's) stanza-a fourth pada that was very suitable, and like the noise of a peacock'Thy heart, O angry one, [has] also [become] hard by reason of its proximity to thy breasts.' ""Hearing this, the poet Bāna, for the sake of conformity to the meaning of his own name, like an arrow (bana) [sped] quickly from a strung bow to its mark, instantly rushed from his pleasure-house, [and just outside] came upon the poet Mayūra, his best friend, dear to him above his life. ""Then that poet Mayura, cursed full quickly by the power of the conjugal fidelity of that wife of Bana, whose mind was possessed of an agitation produced by the interruption of the sentiment, became affected [lit. eaten] in all his limbs by the disease of leprosy. ""Then the poet Mayūra, for [the purpose of] eradicating entirely his sin and disease, praised the blessed Light-making god (Sürya) by means of the production of a literary composition consisting of most charming stanzas amounting to a hundred [in number], and by the greatness of the 30 GENERAL INTRODUCTION kindness of that (Sürya) came to have his sin and his disease annihilated, and his body radiant as gold-such is the gist (tätparyaka) of the story according to the account set forth in the first book of the Prabandhacintamani composed by Merutunga." 9 Allusion to the Jaina tale in the Kävyaprakāśa. A glimpse of the Jaina tale, consisting of an allusion to Mayūra's miraculous cure from leprosy, is found in the Kävyaprakāśa of Mammața and Allața, a rhetorical work composed 1050-1100 A.D.³ In chapter 1 of that work, the case of Mayūra is cited as an example of the power of poetry to remove misfortune or sin :aditydder mayürādīnām iva 'narthanivaraṇam 3 'The removal of misfortunes [or sin], as in the case of Mayura and others, [through the power] of Aditya (Sürya) and others.' This is explained by the commentator Jayarama, who says:mayarandma kaviḥ śataślokena "dityam stutvä kuşthän nistirna iti prasiddhiḥ 'the poet, Mayura by name, having praised Āditya (Sürya) by a hundred ślokas, was delivered from leprosy-so says common report.' 1 For the joint authorship of the Kavyaprakāśa, see G. A. Jacob, Notes on Alamkāra Literature, in JRAS, new series, vol. 29 (1897), p. 282. 2 For the date of the Kavyaprakaśa, see the English translation of that work by Gangānātha Jhā, introd., p. 16, Benares, 1898; and also Krishnamacharya, Sanskrit Literature, p. 164. Text given by B. V. Jhalakikara, Kavyaprakāśa, cap. 1, 2-3, p. 10, 2d ed., Bombay, 1901. Jayarāma's commentary on the Kavyaprakaśa is quoted by Hall, Vasavadatta, introd., p. 8, note. See also other commentaries on the Kavyaprakaśa, as, for example, the Narasimhamanişa (i.e. the Manisa of Narasimha Thakkura; cf. M. A. Stein, Catalogue of the Sanskrit Manuscripts of the Maharaja of Jammu and Kashmir, p. 60, Bombay, 1894, and Aufrecht, Catalogus Catalogorum, part 2, p. 19, b, Leipzig, 1896), which is quoted by Jhalakīkara, Kavyaprakaśa, p. 10, and which says: mayûranāmā kaviḥ ślokaśatena "dityam upaślokya kuştharogān nistīrṇa iti janaśrutir, 'the poet, Mayūra by name, having praised Aditya (Sürya) with a hundred ślokas, was freed from the disease of leprosy-so says common report'; and the Udyota of Nägojibhatta (quoted in D. T. Chandorkar's edition of the Kavyaprakafa, ullasă 1 and 2, p. 5, Poona, 1898), which reads: mayürafarmā süryaśatakena kuşthan nistirna iti ca prasiddham, 'Mayūra was delivered from leprosy by means of the Süryaśataka-so says common report.' GENERAL INTRODUCTION 31 This reference in the Kavyaprakaśa to Mayūra's cure from leprosy is of special interest as being the earliest datable allusion to any of the incidents narrated in the Jaina tale, being even earlier than the Prabhāvakacaritra (1250 A.D.),¹ in which, as noted above (p. 19), the name of Mänatunga is first coupled with those of Bāṇa and Mayūra. For the very reason of this chronological antecedence it is possible that the 'Jaina tale,' as I have dubbed it, may not be of Jain origin so far as it relates to Bāṇa and Mayūra, although its inclusion of Mänatunga, and the highly embellished form in which we have received it, are, I think, undoubtedly due to writers of the Jaina faith. Allusion to the Jaina tale in the Sudhāsāgara. Again we are indebted to Jhalakīkara for supplying us with the following passage from the Sudhasagara, which describes Mayura's release from the thrall of leprosy by the composition of the Suryaśataka. As related in this work, the incident recalls Bāṇa's feat with the palanquin, described in the Prabandhacintamani (see above, p. 27) :uktam ca sudhäsägarakārāir api-pura kila mayüraśarma kuşthi kaviḥ klesam asahişnuḥ [süryaprasadena kuşṭhān nistarāmi prāṇān va tyajāmī 'ti niścitya haridvaram gatva gangatate] atyuccataruśak havalambi fatarajjušikyam adhiradhaḥ süryam astäuşit । akaroc caikaikapadyante ekäikarajjuvicchedam evam kriyamāṇakavyaparitusto raviḥ sadya eva nirogām ramanīyām ca tattanum akārşit prasiddham ca tanmayüraśatakam (süryaśatakaparaparyayam)-itis 'And it is also said by the writers of the Sudhasagara-" Formerly, indeed, the poet Mayūra, a leper, [becoming] unable to endure his affliction, [having resolved: 'I will gain deliverance from leprosy by the kindness of Surya, or I will abandon life,' went to Haridvāra on the bank of the Ganges], and mounted into a swing [formed] of a hundred ropes and hanging from a very high limb of a tree. [Then] he praised Sürya, and at the end of each stanza he cut one rope. Ravi (Sūrya), satisfied by the 1 See above, p. 17, note 2. The Sudhasagara of Bhimasena, a commentary on the Kavyaprakāśa; cf. Aufrecht, Catalogus Catalogorum, part 1, p. 102, a. 8 Jhalakikara, Kavyaprakaśa, p. 10. Haridvāra, 'Vişnu's Gate,' is a celebrated town and sacred bathingplace, situated where the Ganges leaves the mountains for the plains of Hindustan. It is now called Hardvār; cf. Monier-Williams, SanskritEnglish Dictionary, Oxford, 1899, s.v. 32 poem composed under these circumstances, at once indeed made his body free from disease and lovely, and [made] his Mayaraśataka (another name for Saryafataka) renowned."" GENERAL INTRODUCTION Allusion to the Jaina tale in Jagannatha's commentary on the Süryaśataka of Mayūra. Still another reference to Mayura's affliction with leprosy is recorded in Jagannatha's commentary, from which we have already quoted (p. 8).¹ This reference is as follows:śrīmanmayarabhattaḥ parvajanmaduradṛṣṭahetukagalitakuşṭhajuşto g kşamo vandhavaskandhavalambi bhagavatsüryamandirasańkīrṇadvārävalambanāśaktas tatpaścãd upavistaḥ pūrvajanmaduradṛṣṭasṛṣṭakuştharogapanodanepsur vandhavaširvādavyājena raśmirājirathamandala . . . m eva bhagavantam stäuti jambhārātībheti ... 'the celebrated Mayurabhaṭṭa, having become afflicted with incurable leprosy caused by his misfortune in a previous existence [text broken] patient, leaning on the shoulder of a kinsman, unable to rest against the narrow door of the temple of the blessed Sürya, and having sat down behind it, striving, under the pretense of the utterance of a benedictions on his relatives, to obtain a removal of the disease of leprosy which was produced by his misfortune in a previous existence, praises the Blessed (Sürya) with the [poem] beginning jambharatibha [devoting some stanzas] to the series of rays, [others] to the chariot, disk³ . . . [text broken] ? Here, it may be remarked, the cause of Mayura's affliction with leprosy not 'the curse of the faithful wife,' but the outworking of karma in a previous existence, and the commentator does not commit himself to the statement that the leprous spots were removed by the composition of the Süryaśataka, but merely says that Mayūra 'strove (or, desired) to obtain (psu) the removal of the disease' by that means. It may even be possible that Jagannātha is not drawing from the Jain story at all, for he 1 ¹ Jagannātha probably flourished in the seventeenth century; cf. above, P. 7-8. Text given by M. Haraprasāda Sāstrī, Notices of Sanskrit Manuscripts, Second Series, vol. 1, p. 411, no. 412, Calcutta, 1900. 3 Every stanza in the Süryaśataka is in the form of an afis, or 'benediction'. The opening words of the Saryaśataka; cf. below, p. 108. The division of the subject-matter of the Süryaśataka is discussed below; cf. p. 84-85. 33 follows it only in general outline, and I am the more inclined to this view because he gives information-namely, the account of a literary contest at Benares (see above, p. 8)—which no one else has recorded for us, thus showing his independence. GENERAL INTRODUCTION COMMENTS ON THE JAINA TALE Origin of the tale. Having given the story, we are now prepared to comment upon it. The reader probably noted in the course of the narrative the statement¹ that the goddess Caṇḍikā appeared and restored Bāṇa's amputated limbs at the recitation of the sixth syllable of the first stanza of the Candiśataka. Now in the first stanza of this poem, though not including the actual sixth syllable, occurs the following pada :ity udyatkopaketūn prakṛtim avayavän präpayantyeva devyä² 'by Devi (Candi), who caused by these words, as it were, the parts of [her] body that displayed signs of rising anger to resume their normal state.' Bühler has cleverly pointed out that in all probability the story of Bana's self-mutilation had its inception in this sentence, the Jain commentator taking the words as a reference to the author instead of to the goddess. And this suggested explanation of Bühler's is very much strengthened by applying the same line of reasoning in the case of the Bhaktamarastotra and the Suryaśataka. Consider first the Bhaktämarastotra. According to the Jaina tale, as the reader will remember, Mänatunga was loaded with 42 chains which dropped from him successively, one at the conclusion of each stanza, as the Bhaktamarastotra was recited. The forty-second stanza of this stotra reads as follows:1 See above, p. 24. 2 For the text of the Candidataka, see below, p. 267-357. 8G. Bühler, On the Chandikaśataka of Banabhaṭṭa, in IA, vol. 1, p. 115. Peterson agrees with Bühler; cf. Peterson, Kadambart, introd., p. 97, 2d ed., Bombay, 1889. See above, p. 24 and 28. 5 Stanza 42 of the edition by Jacobi in Indische Studien, vol. 14, p. 359376, Leipzig, 1876; but stanza 46 of the edition in the Kävyamālā Series, 4 ● 34 GENERAL INTRODUCTION apādakaṇṭham uruśṛňkhalaveşțitānga gadham brhannigadakotinighṛṣṭajanghāḥ tvannamamantram anisam manujaḥ smarantaḥ sadyaḥ svayam vigatabandhabhaya bhavanti 'Mortals whose limbs are clothed from neck to foot in mighty fetters, And whose shanks are severely chafed by millions of stout chains, Will, by incessantly meditating on thy name as a mantra, Become at once, by their own efforts, freed from the distress of [this] confinement.' Here it is even more obvious than in the case of the Candidataka and Bāṇa, that the starting-point of the ridiculous story, so far as it refers to Manatunga, is found in this forty-second stanza of the Bhaktāmarastotra. Similarly, in the case of the Süryaśataka, it is equally obvious that the story of Mayūra's miraculous recovery from leprosy owes its origin to the wording of the sixth stanza of the Süryasataka, for it was at the recitation of the sixth stanza, according to the Jain commentator,¹ that Sürya appeared in person to relieve Mayura's suffering. This sixth stanza runs as follows:śrṇaghrāṇāṁghripāṇīn vraṇibhir apaghandir gharghardvyaktaghoşăn dirghaghrätän aghaughaiḥ punar api ghatayaty eka ullaghayan yaḥ gharmamsos tasya vo 'ntardvigunaghanaghṛṇānighnanirvighnavṛtter dattarghaḥ siddhasamghäir vidadhatu ghṛṇayaḥ Aghram anghovighatam 'The Hot-rayed (Sürya) alone makes anew and cures those who, because long rank with multitudes of sins, Have shriveled noses, feet and hands, whose limbs are ulcerous, and who make gurgling indistinct noisesHe alone makes them new, his conduct being free from restrictions, and subject [only] to the abundant compassion [that exists] in twofold measure in his soul. May the Hot-rayed (Sürya's) rays, to which oblations are offered by hosts of Siddhas, quickly cause the destruction of your sins.' This stanza, besides being a masterpiece of the alliteration of gh sounds, sufficient in itself to gain the ear and admiration of a by Durgāprasad and Paṇashikar, 3d revised ed., Bombay, 1907. However, in the preface (p. 1) of the Kävyamālā edition, the editors take the ground that stanzas 32-35, as printed by them, are almost certainly not the work of Manatunga, but were added by a later hand. 1 See above, p. 24. 2 See the text of the Saryaśataka, given below, p. 108-225. 35 Sürya of stone, contains allusions to disfigured limbs and features, wound-like ulcers, and a hoarse gurgling voice, which are plain references to leprosy.¹ And these symptoms Sūrya is here said to cure. Bühler's theory as to the origin of the miraculous tale of Bana's recovery from his self-mutilation is thus strengthened by the application of a similar line of reasoning in the case of Mayura's cure, although it may be argued that the story of Mayūra's wonderful resuscitation was already common property by the time of the Jaina fabricator. At any rate the latter was doubtless familiar with the Süryaśataka, so that a reference to its sixth stanza would be quite apropos for the purpose of further embellishment. GENERAL INTRODUCTION The legend of Sãmba. It must be borne in mind that the idea of effecting a cure of leprosy by the aid of the Sun was not a new one in the Orient. According to Herodotus, the ancient Persians believed that affliction with leprosy was the consequence of sinning against the Sun. In the first book of his history it is recorded³ :ὃς ἂν δὲ τῶν ἀστῶν λέπρην ἢ λεύκην ἔχῃ, ἐς πόλιν οὗτος οὐ κατέρχεται οὐδὲ συμμίσγεται τοῖσι ἄλλοισι Πέρσῃσι· φασὶ δέ μιν ἐς τὸν ἥλιον ἁμαρτόντα τι ταῦτα ἔχειν 'Whatsoever one of the citizens has leprosy or the white [leprosy] does not come into the city, nor does he mingle with the other Persians. And they say that he contracts these [diseases] because of having committed some sin against the Sun.' From this it may be argued that the Persians believed the Sun could cure leprosy, for the same god who brought contagious diseases upon men must surely have been able to take them away again. 1 On Indian medical theories in general concerning leprosy, see Jolly, Medicin, in Grundriss der Indo-Arischen Philologie, p. 96-99, Strassburg, 1901. It has been pointed out above (p. 17 and 18) that the Jaina tale about Mayura and Bāṇa seems to have been first told in the Prabhavakacaritra (1250 A.D.), but that a reference to Mayura's recovery from leprosy-the reference is so regarded, at least, by the commentators-occurs in the Kavyaprakasa (1050-1100 A.D.). Herodotus, 1. 138; cf. the edition of H. R. Dietsch, revised by H. Kallenberg, vol. 1, Leipzig, 1899. 36 GENERAL INTRODUCTION There is some reason for believing that this Persian conception of the power of the Sun to inflict and remove leprosy was brought by some Magi into the northwest of India, and that the Iranian saga dealing with the history of Sam and the hoary Zal was the parent of the Indian legend of Samba.¹ The latter tale, which is, I imagine, the prototype of our Mayūra story, is told in the closing chapters of the Bhavisya Purāṇa. Since no text of the Bhavisya is available for my use, I shall give the synopsis of the Samba legend as taken from that Purāṇa by Wilson² and recorded by the editor of Wilson's Visnu Purāṇa. It runs as follows: 'The last twelve or fourteen chapters of the Bhavishya Purāṇa are, in fact, dedicated to the tradition, of which a summary and not altogether accurate account has been given by Colonel Wilford, in the Eleventh Volume of the Asiatic Researches, and which records the introduction of the worship of the Sun into the north-west of Hindusthān, by Samba, the son of Krishna. This prince, having become a leper, through the imprecation of the irascible sage Durvāsas,³ whom he had offended, and despairing of a cure from human skill, resolved to retire into the forest, and apply himself to the adoration of Surya, of whose graciousness and power he had learned many marvellous instances from the sage Nārada. Having obtained the assent of Krishna, Samba departed from Dwārakā; and, proceeding from the northern bank of the Sindhu (Indus), he crossed the great river the Chandrabhāgā (the Chinab), to the celebrated grove of 1 For a full discussion of this interesting topic, see T. Bloch, Eine indische Version der iranischen Sage von Sâm, in ZDMG, vol. 64 (1910), p. 733-738; cf. R. G. Bhandarkar, Vaisnavism, Saivism (in Bühler's Grundriss), p. 151-155, Strassburg, 1913. H. H. Wilson, Vişnu Purana (translated into English), vol. 5, Corrigenda, p. 381, London, 1870. The editor states that the synopsis, which I here append, was a communication from Wilson to Père Reinaud, and was included by the latter writer in his Mémoire géographique, historique et scientifique sur l'Inde, etc., p. 391-397. 8 T. Bloch, in ZDMG, vol. 64, p. 733, footnote 3, says: 'Nach dem SāmbaPurāṇa war es in Wirklichkeit nur eine Verleumdung von seiten Nārada's gewesen, der Sämba des verbotenen Umgangs mit den 1600 Frauen Kṛṣṇa's beschuldigt hatte; siehe Rajendralala Mitra, The Antiquities of Orissa, Vol. 2, Seite 145.' 37 Mitra (Mitravana), where, by fasting, penance, and prayer, he acquired the favour of Sürya, and was cleansed of his leprosy.' It seems to me reasonable enough to suppose that the fabricator who first stated that Mayūra was cured of leprosy by the power of the Sun had in mind this legend of Samba. It cannot, of course, be proved that he did, but the suggestion is worthy of consideration. GENERAL INTRODUCTION What was the leprosy of Mayūra? Another interesting point for speculation and discussion is the nature of the disease from which Mayūra is said to have suffered. Was it genuine leprosy, or might it possibly have been some form of skin trouble that would be benefited by exposure to the rays of the Sun? Bloch hazards the suggestion¹ that by the word Aein (white leprosy). used by Herodotus in the passage quoted above (p. 35), is meant the modern leukoderma, a disease that even today in India is confused by ignorant people with leprosy. He even goes so far as to say that albinos might be regarded as suffering from Aen. It has also been suggested to me that Mayura's 'lepra-spots' were perhaps nothing more than the eruption of some venereal disease, and, as such, comparable and similar to the 'thousand eyes' of Indra. And it is interesting to note, in this connection, that the 'thousand eyes,' which were originally bhaga,' were-like the leprosy of Sãmba, according to the account supplied from the Samba-Purāṇa³-imposed as punishment for illicit amours. The real reason for the composition of the Suryaśataka. The real reason for the composition of the Süryaśataka is probably to be connected with the presumed fact that the cult of the Sun was popular or fashionable in the days of Harsa. We 1 Bloch, as cited in the note preceding, p. 733, footnote 2. See the discussion of Indra's 'thousand eyes', given below (p. 217), under Saryaśataka, stanza 94, note 4. See above, p. 36, note 3. + Some scholars believe that sun-worship was introduced into northwestern India from Persia; cf. the article The Sect of Sauras and the Northern Sun-Worship, p. 154, in the latest addition to Bühler's Grundriss, the volume by R. G. Bhandarkar, entitled Vaisnavism, Saivism, Strassburg, 1913; see also Bloch's article cited above, p. 36, note 1. 38 know, at any rate, from several of Harṣa's inscriptions, that that monarch's father, and some of his ancestors, were paramadityabhakta,¹ 'devoted to the supreme Aditya (Sürya),' a statement that finds support in Bana's Harşacarita, which says of Harsa's father Prabhākaravardhana that 'the king was by natural proclivity a devotee of the sun. Day by day at sunrise he bathed, arrayed himself in white silk, wrapt his head in a white cloth, and kneeling eastwards upon the ground in a circle smeared with saffron paste, presented for an offering a bunch of red lotuses, set in a pure vessel of ruby and tinged, like his own heart, with the sun's hue. Solemnly, at dawn, at midday, and at eve he muttered a prayer for offspring, humbly with earnest heart repeating a hymn having the sun as its center." There are, besides, in the Harşacarita a number of incidental references to sun-worship, and Hüan Tsang, the Chinese Buddhist pilgrim who visited India during Harṣa's reign, has left in his writings the account of a quinquennial religious festival held by Harsa at Prayaga (Allahabad), and records that on the occasion when he himself was present at one of these festivals, the statues of Buddha, Sürya and Siva were made the centers of worship on three successive days. Perhaps our poem was written because of royal command, like the Carmen Saeculare of Horace, and it may have been intended to grace the celebration of some such festival as those held at Prayaga. Of course the statement made by AnvayamukhaGENERAL INTRODUCTION ¹ See the Madhuban Plate of Harşa, in El, vol 7. p. 157-159; the Banskhera Plate of Harşa, in EI, vol. 4. p. 210; and Harşa's Sonpat Seal, in CII, vol. 3. p. 231-232; cf. also Ettinghausen, Harşa l'ardhana, p. 87, 143-151. See Cowell and Thomas, Harşa-carita (English translation). p. 104 Cambridge, 1897. Cf. Cowell and Thomas, Harşa-carita, p. 40, 118, 147, 156, 163, 241, and 26. * Ettinghausen (Harşa Vardhana. p. 48, note 4) refers, for an account of this festival to St. Julien, Histoire de la vie de Hiouen Tsang et de ses royages dans l'Inde, p. 254: see also Samuel Beal, Buddhist Records of the Western World (translated from the Chinese of Hüan Tsang), vol I. p. 233. Boston, 1885. See also Ettinghausen, op. cit., p. 92, 108, 163. 39 mayüro nāma mahākavir antaḥkaraṇādisarvavayanirvṛtisiddhaye sarvajanopakaraya ca... adityasya stutim ślokaśatena pranītavan¹ GENERAL INTRODUCTION 'the great poet named Mayura composed a hymn to Aditya (Sürya) in a hundred ślokas, for the attainment of emancipation from all the pangs(?) of the soul, and for the benefit of all people'is a statement of an entirely formal nature, containing general, and not particular reasons. And the same is true of the assertion made in the one hundred and first stanza of the Süryaśataka, to the effect that that poem was 'composed by Mayūra for the good of the world."2 The real reason for the composition of the Candiśataka. By a similar line of reasoning, the Candiśataka of Bāṇa may owe its origin to the prevalence and popularity of Säivism, or Sivaworship. Peterson, who accepts Mänatunga as a contemporary of Bāņa and Mayūra, is inclined to adopt the view that 'the Candikāśataka of Bāṇa, the Süryaśataka of Mayūra, and the Bhaktamarastotra of Manatunga are three opposing poems written by devotees of one or other of the great forms of religion which flourished side by side under Harṣa's protection." Here by 'the great forms of religion' Peterson presumably means Säivism, Sun-worship, and Jainism. Under this ruling, Mayūra, because of his authorship of the Süryaśataka, must be classed among the Sauras, or Sun-worshipers, although we shall see later that there is some reason to believe that he also composed a poem or literary work in honor of Siva. Mayūra not a Jain. Ettinghausen states that Mayūra was a Jain. I do not agree with Ettinghausen on this point, and I cannot see on what grounds he has reached such a conclusion, 1 This quotation from Anvayamukha's commentary on Mayura's Süryaśataka is given by M. Winternitz, in A Catalogue of South Indian Sanskrit Manuscripts, p. 54 (no. 46), London, 1902. Dr. Winternitz says that the manuscript containing the commentary should be dated about 1775 A.D. This is presumably also the date of Anvayamukha. See below, p. 225. & Peterson, Kadambart, introd., p. 97. See below, p. 61 and 233, note 2. 5 Ettinghausen, Harşa Vardhana, p. 93: 'Mayūra, quoique jaina, était un des poètes favoris de Harşa.' 40 for, besides the statement of the Jaina paṭṭavali that 'Manatunga converted the king who was beguiled by the sorceries of Bāṇa and Mayūra,"¹ we have the evidence of our fully embellished Jaina tale, which clearly represents Bāṇa and Mayūra as opposed both to Jainism and to its representative, Mänatunga. The only reference I have found that could lead anyone to believe that Mayūra so much as favored the Jains, a passage in the Yasastilaka of Somadeva, a Jain writer who flourished 959 A.D., and even this does not claim him as an adherent of the sect. In the course of the story-the Yaśastilaka is a quasi-historical novel the king Yaśodhara adopts Jainism, and in defending his step against the objections of the queen-mother, makes the following remark" :GENERAL INTRODUCTION urvabharavibhavabhūtibhartyharibhartymenthakanthaguṇadhyavyasabhasavosakālidāsabāṇamayüranārāyaṇakumāramāgharājaśekharādimahākavikävyeşu tatra tatra 'vasare bharatapranīte kävyadhyaye sarvajanaprasiddheşu teşu teşü 'pākhyāneşu ca katham tadvişaya mahati prasiddhiḥ '[Don't you see that] in the writings of the great poets Urva, Bhāravi, Bhavabhūti, Bhartṛhari, Bhartṛmentha, Kantha, Guņādhya, Vyāsa, Bhāsa, Vosa, Kālidāsa, Bāṇa, Mayūra, Nārāyaṇa, Kumāra, Māgha, Rājasekhara, here and there, when occasion warrants, and in the chapter on kävya, written by Bharata, and in various tales famous among all people [i.e., folk-stories], there is great fame in reference to it.' Such a statement, taken from a Jain author,' should hardly be 1 See above, p. 19-20. 2 The Yaśastilaka has been edited by Sivadatta and Parab in the Kavyamālā Series; two volumes, Bombay, 1901 and 1903. & Duff, Chronology, p. 74 and 93. Peterson, Search for Skt. MSS, First Report, p. 56, gave the date of the Yaśastilaka as Samvat 881; this he corrected, in Second Report, p. 33, to Saka 881. *A lengthy synopsis of the contents of the Yafastilaka is given by Peterson, in A Second Report of Operations in Search of Sanskrit Manuscripts, P. 33-47, Bombay, 1884. 5 See the Kävyamālā edition of the Yafastilaka, vol. 2, p. 113. By the phrase 'in reference to it' is meant 'in reference to Jainism'; cf. the commentary on this passage of the Yaśastilaka: tadvişaya digambarasambandhini, 'in reference to it [means] reference to the Digambara [sect of the Jains].' * Somadeva, author of the Yafastilaka, was a Jain; cf. Duff, Chronology, p. 93; Peterson, Search for Skt. MSS, Second Report, p. 33. GENERAL INTRODUCTION 41 made authority for the belief that Mayūra was a Jain, especially as it is certain that Bhartṛhari, Gunāḍhya, Kālidāsa and Rājaśekhara were orthodox Brāhmans¹; and as concerns the accuracy of the statement itself, I would say that in reading the Süryaśataka and the other writings of Mayūra, I have not noted, even 'here and there,' as Somadeva asserts, any commendation of the Jainas or their system. On the whole, the evidence which we have is altogether opposed to Ettinghausen's view that Mayūra was a Jain, and until some new and reliable testimony to the contrary is forthcoming, I think we are not warranted in placing our poet among the followers of Mahavīra. King Bhoja. With regard to the king Bhoja whom the Jaina tale substitutes for Harṣa as the patron of Bāṇa and Mayūra, two of our versions call him vyddhabhoja, or the elder Bhoja,' king of Ujjain²; but in a third version, the Prabandhacintāmaṇi of Merutunga, he is called Bhoja of Dhārā. The last-named is a king well-known in later Indian history both as an author and, more especially, as a patron of literature, and he ruled over Mälava in the eleventh century of the Christian era. Since Ujjain and Dhārā are both cities of Mälava, we may fairly conclude that Bhoja of Ujjain is identical with Bhoja of Dhārā, the more so since Abu-l-Faḍl in his A'in-i Akbari states that Bhoja moved his capital from Ujjain to Dhārā.' 1 This information about Bhartrhari, etc., was given me by Dr. Louis H. Gray. & See above, p. 21 and 24-25. & See above, p. 29. See Vincent Smith, Early History of India, p. 395-396, 3d ed., Oxford, 1914; Duff, Chronology, p. 109 and references; Rajendraläla Mitra, Bhoja Raja of Dhär and his Homonyms, in JASB, vol. 32 (1863), p. 91-110; and Hoernle and Stark, History of India, p. 73, 90, 4th edition, Cuttack, 1909. 5 Aufrecht (Catalogus Catalogorum, vol. 1, p. 418) believes that all the works attributed to Bhoja's pen-he lists more than twenty such-were written by authors who lived during Bhoja's reign or some time later. For the date, see the references cited in the second note preceding. 7 Cf. Lassen, Indische Alterthumskunde, vol. 3, p. 848, Leipzig, 1858. 42 GENERAL INTRODUCTION THE BHOJAPRABANDHA¹ In this connection it is interesting to note that the literary composition Bhojaprabandha, a highly legendary history of Bhoja of Dhärā, written by Ballāla in the sixteenth century, associates Bāṇa and Mayūra with that monarch. Like the first anonymous commentary on the Bhaktămarastotra, referred to above,³ it states that these two poets were among five hundred men of letters who received support and maintenance at the hands of this generous Mālava king, the only difference in the two accounts being that in the commentary on the Bhaktamarastotra the king is called Bhoja of Ujjain, while the Bhojaprabandha terms him Bhoja of Dhārā. This little volume-the Bhojaprabandha which may be a work of Jain origin, is divided into two parts. The first part gives a narrative of events, showing how Bhoja succeeded his uncle Muñja on the throne of Mälava. The second part consists largely of a series of anecdotes about Bhoja, 1 This work has been edited by K. P. Parab, 2d revised edition, Bombay, 1904; cf. the articles, containing some text, and translations in French, of extracts from the Bhojaprabandha, by Théodore Pavie, in Journal Asiatique, as follows: Bhodjaprabandha, histoire de Bhodja, vol. 64 (1854), p. 185230; Le Poète Kalidasa à la cour de Bhodja, vol. 65 (1854), p. 385-431; Les Pandits à la cour du roi Bhodja, vol. 66 (1855), p. 76-105. See also the monograph, Die Rezensionen des Bhojaprabandha, by Ludwig Oster, Darmstadt, 1911. 2 Of Ballāla practically nothing is known. Aufrecht (Catal. Cod. Skt. Bibl. Bodl., p. 151, a) determines his date as follows: 'De Ballälae aetate haec comperi. Filium Ranganatham, nepotem Viśvarūpam habuit, qui astronomi seculo septimo decimo ineunte vixerunt. Ipse igitur exeunte seculo sexto decimo floruit.' 8 See above, p. 25. + See below, p. 43. 5 Bhau Dāji, On the Sanscrit Poet, Kalidasa, in JBRAS, vol. 6, p. 222, makes the following statement which has, apparently, not received later contradiction: 'According to tradition, the poets Bāṇa and Mayūra were contemporaries to Bhoja. Some Jain records make them contemporaries of a Vrddha, or elder Bhoja; others, such as the author of the Bhojaprabandha, bring them down to the age of Muñja and Bhoja, in the eleventh century of the Christian era.' This Muñja, the Paramāra king of Mälava, must not be confounded with the eighth-century writer Muñja, who composed the Gaüdavaho; cf. Haas, Dasarupa, introd., p. 22, note 5, New York, 1912. GENERAL INTRODUCTION 43 and his relations with the many poets and literary lights that were wont to throng his court. Mayūra is mentioned a number of times, principally in the anecdotes, and it has seemed best to me simply to record here these references to him, although I realize their probable utter lack of value as real historical and biographical data. In perusing them, the reader must always bear in mind that Ballāla is dealing with fictitious events, possibly leavened, here and there, with a germ of truth, and that the Bhojaprabandha is universally condemned¹ for its anachronisms and inaccuracies. The allusions, however, are as here recorded. ALLUSIONS TO MAYŪRA IN THE BHOJAPRABANDHA In the following extracts, taken mostly from the anecdotes contained in the Bhojaprabandha, I have given text and translation of such passages as actually include the name of Mayura. Of other parts, introduced merely for the purpose of making clear the context, only synopses or abridgments are given. A list of poets at Bhoja's court. The text runs as follows:tataḥ kramena pañcaśatāni viduşām vararuci-bāṇa-mayüra-rephana-harifamkara-kalinga-karpura-vinayaka-madana-vidya-vinoda-kokila-tärendramukhaḥ sarvaśastravicakşaṇaḥ sarve sarvajñaḥ śrībhojarajasabhām alamcakruḥ² 'Then there ornamented the court of the illustrious King Bhoja all the five hundred omniscient savants, versed in all the fastras, chief of whom, in order, were Vararuci, Bāṇa, Mayūra, Rephaṇa, Hari, Samkara, Kalinga, Karpūra, Vinayaka, Madana, Vidyā, Vinoda, Kokila and Tärendra.' The poet Kriḍācandra joins the court circle of Bhoja. One day an unknown poet, clothed in a loin-cloth only, seeks admission to Bhoja's presence. Upon being admitted, he takes a seat, unbidden, and recites a stanza. Bhoja inquires his name, and after slight demur he confesses-in verse-that his name is ¹ Cf. Hall, Vasavadattă, introd., p. 7, note; Bhãu Dāji, On the Sanscrit Poet, Kalidasa, in JBRAS, vol. 6, p. 23, footnote; M. Sashagiri Sastri, On some Eminent Characters in Sanskrit Literature, in IA, vol. 1, p. 340; A. Weber, History of Indian Literature (translated from the German by Mann and Zachariae), p. 215, note 225, Boston, 1878; Krishnamacharya, Sanskrit Literature, p. 148. 2 Parab's 2d edition, p. 14. 44 GENERAL INTRODUCTION Krīḍācandra. Kālidāsa, who is present, vouches for Krīdācandra's ability and reputation as a poet, and Kriḍācandra thereupon proceeds to justify Kālidāsa's opinion of him by reciting several stanzas whose purpose is to praise Bhoja and cause the royal purse-strings to loosen. One of these stanzas runs:jñayate jätu nama 'pi na rājñaḥ kavitām vina kaves tadvyatirekena na kirtiḥ sphurati kşitdu ¹ 'The name even of a king is not ever known without poetry; Without that, the fame of a poet on earth is not manifest.' On hearing this, Mayūra adds as his quota to the conversation the following śloka in praise of poets:- te vandyas te mahātmānas teşām loke sthiram yaśaḥ yair nibaddhani kavyani ye ca kavye prakirtitaḥ ² 'Those by whom poems are composed, and who are celebrated in the realm of poetry, Are to be respected, are great-souled, and in the world their fame is lasting.' After Vararuci has likewise uttered a stanza in praise of poets and poetry, Bhoja expresses his delight by presenting to Kriḍācandra a quintet of villages and twenty elephants. The banishment of Kalidāsa. Some of the pandits, jealous of Kālidāsa's prestige, and of his influence with the king, seek to bring about his undoing. They conspire, with the help of a female slave, the royal betel-bearer, to discredit the famous poet in the eyes of his royal patron. This slave makes the king believe that Kalidasa has been having a liaison with the queen. Kālidāsa is banished, but his reputation is cleared soon after by the queen, who, to prove her innocence, undergoes the ordeal of fire. The king would recall Kālidāsa, but cannot discover his whereabouts. As a matter of fact the poet is still living in Bhoja's capital, in concealment, in the house of a courtezan. 1 Parab's 2d edition, p. 23, stanza 120. 2 Parab's 2d edition, p. 23, stanza 121. This śloka is quoted, though without mention of the name of the author, in Vallabhadeva's Subhaşitavali, stanza 146 of Peterson's edition. See also Ludwig Oster, Die Rezensionen des Bhojaprabandha, p. 22, Darmstadt, 1911. See Parab's 2d edition, p. 25-32. GENERAL INTRODUCTION 45 The king mopes, pining for his favorite. One night he composes a half-stanza. Next day he assembles the poets, recites to them the half-stanza, and enjoins them to complete it under pain of being banished from the kingdom. They go home and seek to compose the missing part, but none of them is successful. Finally they send Bāṇa as spokesman to request a delay of eight days, promising to give the desired missing part on the ninth day, or else to depart. Eight days pass. On the ninth, Bāṇa tells the assembled poets, who have meanwhile been unable to complete the stanza, that the reason of their failure is the fact that they caused the banishment of Kālidāsa. At this point in the story Mayūra is introduced as an active or leading spirit, but it is uncertain whether, on the strength of mayürādayaḥ, 'beginning with Mayūra,' we are justified in attributing the following remarks and śloka to the mouth of that poet alone. At any rate, I will append them as such, and the reader may exercise his judgment in the matter :tataḥ sarve gāḍham kalahayante sma mayürādayaś ca tatas te sarvän kalahan nivärya sadyaḥ prahuḥ-adyāiva ʼvadhiḥ pūrṇaḥ । kalidāsam antarena na kasyacit samarthyam asti samasyapurane sangrame subhaṭendrāṇām kavīnām kavimaṇḍale diptir va diptihānir va muhürtenäiva jāyate yadi rocate tato 'dydiva madhyarătre pramuditacandramasi nigūḍham eva gacchamaḥ sampattisambhāram adaya । yadi na gamyate śvo rājasevakā asmān balān niḥsarayanti । tada dehamātreṇāivăā 'smäbhir gantavyam । tada 'dya madhyarătre gamişyāmaḥ । iti sarve niścitya grham agatya balivardavyadhesu sakateşu sampadbhāram dropya rātrāv eva nişkrāntaḥ¹ 'Then all, beginning with Mayūra, kept bickering much. Then these, suddenly suppressing all their bickerings, said: "To-day, indeed, time is up. No one, with the exception of Kālidāsa, is able to complete the stanza; [for it is said] :'For Indra-like warriors in the battle, for poets in the circle of poets, Fame, or loss of fame, is born just in a moment.' ""If it pleases you therefore, just to-day, at midnight, in the gladsome moonlight, we will go forth secretly, taking what is needful for our welfare. If we do not go, to-morrow the servants of the king will cause us to leave by force; in that case, we shall verily have to go with our bodies only [i.e. without our possessions]. So to-day, at midnight, we 1 Parab's 2d edition, p. 30-31. The stanza is no. 151 of the Bhojaprabandha. 46 shall start." All, having decided [to act] in accordance [with this advice], went home, and having placed the bulk of their possessions on ox-drawn vehicles, departed in the night.' GENERAL INTRODUCTION But Kalidasa, who, as noted above, was still in the city, heard the noise of their passing wagons, and having learned who the fugitives were, determined to find out the reason for their flight. So, putting on a disguise, he ran ahead, taking a roundabout course, and met them face to face. Having ascertained the trouble, he supplied them with the missing half-stanza, and left them. They, believing they had met the goddess Sarasvati incarnate, returned joyfully, and recited the missing part of the troublesome stanza to Bhoja. The latter was convinced that no one but Kālidāsa could have supplied the missing part, and concluded that that poet must be somewhere at hand. He accordingly made further, and this time successful, efforts to find his favorite, with the result that Kalidasa was soon found and restored to his former position at court. The poet Sukadeva joins the court circle of Bhoja. One day, when Bhoja was sitting on his lion-throne, a povertystricken poet, who announced his name as Sukadeva, requested admission to the court. Bhoja asked his poet-friends what they knew of Sukadeva's reputation. Kālidāsa and the poetess Sītā spoke of Sukadeva in the highest terms, and then Mayūra uttered the following śloka, which is evidently an adaptation of Pañcatantra 1. 32, or, more probably, a quotation with variant readings¹ :aprstas tu naraḥ kimcid yo brüte rajasamsadi na kevalam asammānam labhate ca viḍambanām² 'The man who, unasked, says anything in the assembly of the king, Gets not only dishonor, but also mockery.' This śloka Mayūra immediately follows up by the recitation of another, and concludes by urging the admission of Sukadeva to the assembly :1 See edition of the Pañcatantra by F. Kielhorn, Bombay, 1885. Cf. also Indische Sprüche, vol. 1, no. 453, 2d ed., St. Petersburg, 1870. 2 Parab's 2d edition, p. 42, stanza 193. GENERAL INTRODUCTION deva tatha 'py ucyate kā sabhā kim kavijñānam rasikāḥ kavayaś ca ke bhoja kim nama te danam śukas tuşyati yena saḥ tatha 'pi bhavanadvāram agataḥ śukadevaḥ sabhayam anetavya eval 47 'Sire, it is also said :"What court [is there], what poetic knowledge, what esthetic poets, And what gift of thine, pray, O Bhoja, by which this Suka can be satisfied?" 'However, Sukadeva, since he has come to the door of the palace, must be brought into the court.' Bhoja, following this suggestion of Mayūra, had Sukadeva admitted, listened to but one of his stanzas, and gave him four hundred elephants and a gold dish full of rubies. Mayūra in disfavor. It appears, for some unstated reason, that Mayura had fallen into disfavor. The text of the passage relating to this occurrence runs as follows:ekada krīḍodyānapāla āgatyāikam ikşudaṇḍam rajñaḥ puro mumoca । tam rājā kare grhītavān । tato mayürakavir nitāntam paricayavaśād ātmani rājñā kṛtām avajñām manasi nidhãyekşumişeṇa "ha kanto 'si nityamadhuro 'si rasākulo 'si kim ca'si pañcaśarakārmukam advitiyam ikşo tava 'sti sakalam param ekam unam yat sevito bhajasi nīrasatām kramena raja kavihṛdayam jñātva mayüram sammānitavān² 'Once upon a time, the gardener of the pleasure-garden, going up to a single stalk of sugar-cane, broke it off in the presence of the king. The king took it in his hand. Then the poet Mayura, relying on [lit. on account of] his great intimacy, [and] having in mind the disesteem felt [lit. made] by the king towards himself, said, under pretext of [addressing] the sugar-cane, [but really referring to the king] :"Thou art lovely, thou art mellifluous ever, thou art filled with syrup; Moreover thou art the incomparable bow of the Five-arrowed (Kāma). O sugar-cane stalk, everything about thee is of the highest quality; [but] one thing is lackingIn that thou, though cultivated, becomest, by degrees, insipid." 'The king, realizing the feelings of the poet, treated Mayūra with respect.' Incidental mention of Mayūra. Once upon a time, Bhoja 1 Parab's 2d edition, p. 42, stanza 194. Parab's 2d edition, p. 52, stanza 235. The stanza is written in the vasantatilakā meter. I have emended -kärmakam of the text to -kärmukam. 48 was walking alone at night through the city, and overheard a väisya saying to his wife:GENERAL INTRODUCTION käiścit stotraparāyaṇāir mayürādikavibhir mahimanam prapito bhojaḥ¹ 'Bhoja attains greatness by [the help of] certain poets, Mayura and others, who are engaged in praising him.' In another passage we read that Kālidāsa is disobedient, but Mayura obeys:tataḥ kadacid raja vidvadvyndam nirgatam kalidasam ca 'navaratavefyalampatam jñatva vyacintayat-ahaha bāṇamayuraprabhṛtayo madiyam ajñām vyadadhuḥ । ayam ca veśyālampaṭataya mamā "jñām nā "driyate । kim kurmaḥ itia 'Then once on a time, the king, noticing the assembled crowd of savants, and [knowing] that Kālidāsa was constantly lustful after courtezans, pondered: "Ah, Bāṇa, Mayura and the others have performed my command; but this (Kälidāsa), because of his lustfulness for courtezans, does not heed my command. What shall I do?" Elsewhere we are told that another poet is admitted to the court:tataḥ kadacit simhasanam alamkurvane śribhoje kalidasa-bhavabhūtidandi-bana-mayüra-vararuci-prabhṛtikavitilakakulalamkṛtāyām sabhāyām dvarapala etya "has 'Then once on a time, when the illustrious Bhoja was ornamenting his lion-throne, and when the court was adorned by the assemblage of poetornaments, at whose head were Kālidāsa, Bhavabhūti, Daṇḍin, Bāṇa, Mayura and Vararuci, the door-keeper, entering, said':Then follows the usual story of a poet being introduced, reciting verses, and receiving gifts. This completes the references to Mayura in the Bhojaprabandha. COMMENT ON THE BHOJAPRABANDHA Bhoja not a contemporary of Mayūra. Having, with the help of the Bhojaprabandha, fixed the personality of the Bhoja mentioned in our Jaina tale, we are next face to face with the 1 Parab's 2d edition, p. 38. 2 Parab's 2d edition, p. 62. s Parab's 2d edition, p. 78. 49 chronological difficulty of making Bāṇa and Mayura, of the seventh century, contemporaries of Bhoja, who reigned four hundred years later. A search of the historical records¹ reveals no Bhoja as early as the seventh century, with whom the well-known Bhoja of Dhärā and Ujjain might have been confounded in the minds of Ballala, Merutunga, and the Jain commentators, and we are therefore prone to conclude that the association of Mayūra and Bāṇa with Bhoja is perhaps another of those fabrications of the Jains, who have taken as great liberties with the king of Dhārā as they did with Manatunga, bringing the one from the eleventh century and the other from the third, and making them associate as contemporaries in the seventh. GENERAL INTRODUCTION THE CREDIBILITY OF JAINA TRADITION Bühler's opinion. As a matter of fact, our Jaina tale and the Bhojaprabandha illustrate so well what Bühler has said of the credibility, or rather, incredibility, of the Jain historical works, that I cannot refrain from quoting the most pregnant of his words in support of some of the conclusions I have here reached. 'The objects,' he says, 'with which the Caritas and Prabandhas were composed, were to edify the Jain community, to convince them of the glory and power of the Jain religion, or, in cases where the subject is a purely secular one, to provide them with an agreeable entertainment. . . . In particular, must it be admitted that the persons introduced in the older, as well as in the more recent narratives, are really historical characters. Although it is frequently the case that an individual is introduced at a period earlier or later than that to which he really belonged, or that the most absurd stories are told with regard to him, yet there is no case forthcoming in which we could affirm with certainty that a man named by these chroniclers is a pure figment of the imagination. On the contrary, nearly every freshly discovered inscription, every collection of old manuscripts, and every really his¹ Cf. Duff, Chronology, Index. I have given above (p. 42, note 5) my authority for classifying the Bhojaprabandha as a Jain work. 5 50 torical work that is brought to light, furnishes confirmation of the actual existence of one or other of the characters described by them."¹ GENERAL INTRODUCTION THE FAMILY OF MAYURA SANKU, SON OF MAYURA Direct allusion to the family of Mayūra is confined to the statements, already noted, which make him either the father of Bana's wife, or the brother of Bana's wife, or the husband of Bāṇa's sister that is, Bāṇa's father-in-law or his brother-in-law.² There is, however, a possibility that Mayura had a son, who was also a poet, for in the Paddhati of Sarngadhara, and also in the Saktimuktavali, there is found a stanza ascribed to śankukaḥ mayūrasūnuḥ, 'Sankuka, son of Mayūra.' The stanza is lyrical in character, written in the färdülavikrīḍita meter, and is not without poetic merit. It runs as follows:durvārāḥ smaramārgaṇaḥ priyatamo dûre mano 'py utsukam gadham prema navam vayo 'tikaṭhinaḥ praṇaḥ kulam nirmalam stritvam dhairyavirodhi manmathasuhṛt kalaḥ kṛtanto 'kşami soḍhavyaḥ sakhi sampratam katham ami sarve 'gnayo duḥsahaḥ 1 This quotation is given by Tawney, in his Prabandhacintamani (introd., p. 6), and is a translation from the German of Bühler's article, Ueber das Leben des Jaina Mönches Hemacandra, which is published in Denkschriften der kaiserlichen Akademie der Wissenschaften, Philosophisch-Historische Classe, vol. 37, p. 171-258, Wien, 1889. See above, p. 21, 26, and 29. 3 See the references in the note following. The text quoted above is that given by Peterson in his Paddhati of Sarngadhara, no. 3753; cf. Aufrecht in ZDMG, vol. 27, p. 91, where text and German translation are given. The stanza is also quoted in the Subhaşitävali (Peterson's edition, no. 1156-it is there ascribed to Sankuka, but without mention of the latter's relationship Mayura), in the Kavyaprakasa, 10. 507 (edition of Jhalakikara, p. 835), in Parab's Subhaşitaratnabhändägara, p. 458, stanza 34, and also, according to Peterson (Subhasitävali, introd., p. 127), in the Suktimuktavali. The following variants occur: (a) Kavyaprakāśa, Subhāşitāvali and Subhaşitaratna-: mano 'tyutsukam. (c) Kavyaprakasa and Subhasitavali: krtanto 'ksamo. (d) Kavyaprakaśa and Subhaşitävali: no sakhyaf caturaḥ katham nu virahaḥ soḍhavya ittham fathaḥ; Subhasitaratna-: the same except that at the end it reads ittham mayd instead of ittham śathah. 51 'Irresistible are the arrows of Käma; my dearest is far away; my heart is repining; Strong is my love; fresh is my youth; [yet] my life is exceedingly hard. My family[-name] is spotless; GENERAL INTRODUCTION My womanly nature is opposed to constancy; the time is ripe for amorous passion; death is impatient. O friend, how are all these unendurable fires now to be endured?' As regards the date of this author, whom we may assume to have been the son of our Mayūra, it can only be said that the stanza just cited is found in the Kāvyaprakāśa and must therefore be earlier than 1050-1100 A.D., which is the date, as we have seen above,¹ of the composition of the Kavyaprakāśa. It must, however, be borne in mind that we have records of the existence of two other poets bearing the name Sankuka or Sanku, who may, or may not, be the same as the author of the durvärāḥ stanza just cited. One of these is described in the Rajatarangini as the author of a poem entitled Bhuvanabhyudaya, and his date is fixed by Jacob³ as about 816 A.D., a date that would preclude his being a son of our Mayūra. In the Subhāṣitāvali¹ several stanzas are ascribed to him, even including our durvārāḥ verse. The Paddhati of Sarngadhara places one stanza (ed. Peterson, no. 3894) under his name, and the Kāvyaprakāśa cites him as a rhetorician and an authority on kävya. The remaining, or third, Sanku was likewise a poet, and his name is listed the astrological work Jyotirvidabharaṇa (22. 8, 1 For the date of the Kavyaprakaśa, see above, p. 30, note 2. Kalhana's Rajatarangini, 4.705 (edited by Durgaprasāda, Bombay, 1892), has the following śloka:kavir budhamanaḥsindhuśaśankaḥ śankukabhidhaḥ yam uddifya 'karot kävyam bhuvanābhyudayābhidham 'With reference to that (battle), the poet named Sankuka, the moon of the ocean of learned minds, composed a poem entitled Bhuvanabhyudaya. 8 G. A. Jacob, Notes on Alankara Literature, in JRAS, new series, vol. 29 (1897), p. 287. * Peterson, Subhaşitävali, introd., p. 127. 5 In the Subhaşitävali, this stanza (ed. Peterson, no. 1787) is ascribed to Mudraka. See Kavyaprakāśa, 4. 28-29 (edition of Jhalakikara, p. 104-105); cf. Aufrecht, Catalogus Catalogorum, vol. 1, p. 629. GENERAL INTRODUCTION 52 10, 19), as one of the nine gems' that graced the court of the celebrated Vikramaditya. The stanza of the Jyotirvidābharaṇa that refers to Sanku is as follows:dhanvantariḥ kşapanako 'marasimhafańkū vetalabhaṭṭaghaṭakarparakālidāsāḥ khyato varahamihiro nrpateḥ sabhāyām ratnāni vai vararucir nava vikramasya¹ 'Dhanvantari, Kşapaṇaka, Amarasimha, Sanku, Vetālabhatta, Ghaṭakarpara, Kālidāsa, The celebrated Varāha Mihira, and Vararuci Are the nine gems at the court of Vikrama, Lord of Men.' Chronological considerations would, of course, forbid the placing of a son of our Mayura either in the ninth century or in the age of Vikrama. Therefore, if the author of the durvārāḥ stanza be the son of our poet, he cannot be identified with either of the other two writers who bear his name. The whole matter, however, is little more than guesswork, and whether the author of the durväraḥ stanza is a son of Mayūra, or a 'gem' of Vikrama, or the author of the Bhuvanabhyudaya can, in the present state of our knowledge, be only food for conjecture.³ MAYŪRA AS VIEWED BY LATER POETS To make complete the tale of references that I have gathered on the subject of Mayura, I append a list of seven stanzas by ¹ Cited by A. Weber, Ueber das Jyotirvidabharaṇam, in ZDMG, 22. 722-723. 2 Hoernle and Stark, History of India, 4th edition (Cuttack, 1909), p. 60, make Vikrama a near predecessor of Harşa's father on the imperial throne, and give his date as 529-585 A.D. Vincent Smith, Early History of India, 3d edition (Oxford, 1914), p. 290, identifies Vikrama with Chandragupta 2d, who came to the throne about 375 A.D. 8 The Harihärävali of Harikavi contains a stanza beginning mayürād asamo jajne manyaḥ kulicurih kaviḥ, 'from Mayūra there sprang the unequaled, revered poet Kulicuri' (cf. Peterson, Report of Operations in Search of Skt. MSS, vol. 2, p. 59). From this it was supposed that Mayura had a son, or a descendant, or perhaps a pupil, by the name of Kulicuri. This supposition vanishes, however, in the light of a revised reading of the line, which should run: mäyürajasamo jajñe na 'nyaḥ karaculih kaviḥ, 'no other poet of the Karaculi family was born equal to Mayūrāja'; cf. Bhattanatha Svamin, Mayuraja, in IA, vol. 41 (1912), p. 139; and also Thomas, Kavindravacanasamuccaya, introd., p. 87, foot. GENERAL INTRODUCTION 53 various authors who testify to his ability as a poet, and who show that, in the estimation of later generations, he was deemed worthy to be classed with such names as Kālidāsa, Bhavabhūti, Subandhu, and the ever-present Bāņa. Two of these stanzas have already been given (p. 5 and 12), but for convenience they may be repeated here. The list follows. • THE STANZAS ASCRIBED TO TRILOCANA¹ hṛdi lagnena bāṇena yan mando 'pi padakramaḥ bhavet kavikurangāṇām capalam tatra kāraṇam tavat kavivihangānām dhvanir lokeşu śasyate yāvan no višati frotre mayüramadhuradhvaniḥ² 'When slow is the step of deer-like poets by reason of the arrow (Bāṇa) Clinging in their hearts, agitation is the cause of it. The noise of bird-like poets is praised in the world until The honied notes of the peacock (Mayüra) enter our ears.' 1 Of Trilocana but little is known. A poet of that name is said, in the Jyotirvidabharaṇa (Weber, in ZDMG, 22. 722), to have adorned the assembly-hall of Vikramaditya, but if this statement is correct, it must have been a different Trilocana who praised Bāņa and Mayüra, since Vikramaditya antedates (cf. above, p. 52, note 2) the seventh century, according to the conclusions of modern scholars. Besides the stanzas hrdi, etc., here cited, the Paddhati of Särngadhara ascribes to Trilocana a stanza beginning uccaiḥ sthana- (Peterson, Paddhati, no. 764); so also the Subhasitaratnabhāṇḍāgāra, p. 332, stanza 37. He is also said to have composed a work entitled Parthavijaya, as the following stanza of Rajasekhara testifies:kartum trilocandd anyaḥ kaḥ parthavijayam kşamaḥ tadarthaḥ śakyate draştum locanadvayibhiḥ katham 'Who else but Trilocana is able to compose a Parthavijaya? How can its purport be perceived by the two-eyed?' [i.e., if it took a three-eyed (trilocana) man to compose it, how can a two-eyed mortal understand it?] This stanza is ascribed to Rajasekhara in the Saktimuktavali (cf. Peterson, in JBRAS, vol. 17, part 1, p. 58) and in the Hariharavali of Harikavi (cf. Peterson, Search for Skt. MSS, vol. 2, p. 63). Concerning the date of Trilocana, it can only be said that he antedates Rajasekhara, 900 A.D. (cf. above, p. 5), who mentions him in the stanza just cited. These stanzas are ascribed to Trilocana in the Paddhati of Särngadhara (cf. Peterson's edition, no. 186-187, from which I quote the text here given, and Aufrecht, ZDMG, vol. 27, p. 32), and in the Subhasitaratnabhandagara (p. 53, stanzas 24 and 34). In the Saktimuktavali (cf. Peterson, in JBRAS, vol. 17, part 1, p. 59, no. 17), the first stanza, referring to Bāṇa, is ascribed to Rajasekhara. Ettinghausen cites the second floka, 54 GENERAL INTRODUCTION THE STANZA ASCRIBED TO RAJASEKHARA, 900 A.D.¹ darpam kavibhujanganam gata śravanagocaram vişavidyeva mayûrî mâyürī vāñ nikṛntati The voice of Mayūra, when it reaches the range of hearing, destroys the conceit> of poets, As Mayūra's knowledge of poison destroys the of snakes.' THE STANZA ASCRIBED TO VĀMANABHATTABĀNA, 1441 A.D.³ pratikavibhedanabāṇaḥ kavitätarugahanaviharaṇamayūraḥ sahrdayalokasubandhur jayati śrībhaṭṭabāṇakavirājaḥs 'An arrow (Bāṇa) for piercing hostile poets, a peacock (Mayūra) for wandering through the forest of the trees of poetry, A goodly kinsman (Subandhu) for all connoisseurs, is the noble Bhattabāna, king of poets. Glory to him!' THE STANZA OF JAYADEVA, 1500-1577 A.D.* yasyaś coraś cikuranikaraḥ karnapuro mayūro bhaso hasaḥ kavikulaguruḥ kalidāso vilasaḥ harşo harşo hrdayavasatiḥ pañcabāṇaś ca bāṇaḥ keşām nāişā kathaya kavitākāmini kautukäya5 referring to Mayūra, from the Subhasitaratnakośa, giving as authority Bhandarkar, Report on the Search for Skt. MSS, 1883-1884, p. 360; cf. Ettinghausen, Harşa Vardhana, p. 124, notes 2-3. For other stanzas attributed to Trilocana, see the list given by Thomas, in his edition of the Kavindravacanasamuccaya, introd., p. 42, Calcutta, 1912. 1 For the date of Rajasekhara the dramatist, and for the ascription to him of this stanza, see above, p. 5, note 1. The date of this author is given by Krishnamacharya, Sanskrit Literature, p. 104. Krishnamacharya also states (loc. cit.) that Vāmana probably received the cognomen of Bāņa because his work, the Viranarayanacarita, was modeled on Bana's Harşacarita. He is sometimes called Abhinavabhaṭṭabāṇa, 'the modern Bhaṭṭabāṇa,' to distinguish him from his more illustrious namesake, Mayūra's rival. 8 I cite this stanza from L. H. Gray's Vasavadatta (introd., p. 5, New York, 1913). Dr. Gray refers it to the Viranārāyaṇacarita of Bhaṭṭabāṇa, on the authority of Krishnamachariar's edition of the Vasavadatta (introd., p. 41, Srirangam, 1906-1908). This date for Jayadeva is given by Paranjpe and Panse, in the introduction (p. 7-11) of their edition of Jayadeva's Prasannaraghava, Poona, 1894; cf. Krishnamacharya, Sanskrit Literature, p. 108. 5 This stanza is found in Jayadeva's Prasannaraghava, act. 1, stanza 22; cf. edition by Parab, Bombay, 1893, and that by Paranjpe and Panse, Poona, 1894. It is quoted by Aufrecht (Catal. Cod. Skt. Bibl. Bodl., p. 142, a), by the Subhasitaratnabhāṇḍāgāra (p. 56, stanza 67), and by Ettinghausen (Harşa Vardhana, p. 99, note 1). 55 'Oh, say, to whom would not Poetry as a mistress be an object of admiration, GENERAL INTRODUCTION Since she has Cora (Bilhana) as her mass of hair, Mayura as her earrings, ¹ Bhasa as her laughter, Kālidāsa, guru of the race of poets, as her grace, Harşa as the joy dwelling in her heart, and Bāṇa as her god of love?' THE STANZA SUPPLIED BY JAYAMANGALA bhaktamayüravak trābjapadavinyāsaśālinī nartaki 'va narīnartti sabhāmadhye sarasvati 2 'Sarasvati, abiding in the arrangement of the verses from the lotus mouth of the beloved Mayūra, Sports in the midst of the assembly-hall, like a dancing-girl.' AN ANONYMOUS STANZA maghas coro mayüro muraripur aparo bharaviḥ säravidyaḥ friharşaḥ kalidasaḥ kavir atha bhavabhūtyahvayo bhojarajaḥ śridandi dindimakhyaḥ śrutimukuțagurur bhallațo bhaṭṭabāṇaḥ khyataś ca 'nye subandhvadaya iha kṛtibhir viśvam ahlādayantis 'Magha, Cora, Mayūra, the second Muraripu (i.e. Murari), Bhāravi whose knowledge is renowned, The illustrious Harşa, Kālidāsa, and also the poet named Bhavabhūti, Bhojarāja, The illustrious Dandin, called the Drum', Bhallata, weighty with the diadem of fame, Bhaṭṭabāṇa, And other celebrities, chief of whom is Subandhu, gladden the universe here by [their] compositions.' ¹ Mayūra is called Poetry's 'earrings' simply because, in the Sanskrit, karnapuro rhymes with mayüro. So also, harşo harşo, for 'Harşa' and 'joy,' etc. See above, p. 12, note 1. It is probable that Jayamangala is quoting this stanza from some other writer. This stanza is found in the Subhāşitaratnabhāṇḍāgāra (p. 56, stanza 70), where it is given anonymously. It is cited and translated by Gray, Vasavadatta, introd., p. 5. The dramatist Murãri is doubtless meant, but murariḥ would not suit the meter, which is sragdhara. The first Muraripu was, of course, Vişņu (Kṛṣṇa) who slew the demon Mura. I need hardly add that ripu and ari both mean 'foe,' so that Muraripu and Murari may both be rendered 'Foe of Mura.' 56 GENERAL INTRODUCTION SUMMARY OF THE LIFE OF MAYURA The traditions concerning Mayūra fall into two classes: traditions separate from the Jaina tale, and traditions in the Jaina tale itself. If we are to construct even a tentative biography, it seems justifiable to accept as facts any reasonable statements that are made in the former of the two classes, provided that we always bear in mind that there is no evidence contemporary with Mayūra himself, except Bāṇa's statement that Mayüraka was a friend of his youth. Furthermore, as regards the Jaina tale, we must reject at once palpable fabrications, such as the miracles and the gross anachronisms which associate Mayūra with Manatunga and Bhoja. On the other hand, I am inclined to accept as credible data for our poet's biography all those statements in Jaina tradition which relate to events that may in all likelihood have occurred, especially when such statements receive support from evidence external to the tale. To come now to the actual summary. On the evidence of the Harşacarita, which mentions Mayūraka as the friend of Bana's youth, and also from the fact that the names of Bāṇa and Mayūra are so often associated in literature, I believe that we are justified in fixing Mayura's Blütezeit as the first half of the seventh century. Of his birthplace and early life no one, so far as I have been able to discover, has given us even a hint, and we first meet him on the threshold of his public career. It is Madhusudana who tells us that he was summoned to court because King Harsa was pleased with some verses that he had delivered at a public recital, and we saw that a possible support of this statement was found by identifying with the public recital a literary contest at Benares, in which, as we learn from Jagannatha, Mayura came off the victor. The evidence, however, on this point is not altogether convincing. We are not sure that the literary contest at Benares is the same as the public recital described by Madhusüdana, and we must also take into account the fact that Madhusüdana, though he makes no mention of Mänatunga, and though 57 most of his statements are entirely reasonable, nevertheless describes Mayūra's miraculous manner of recovery from leprosy, and must therefore be regarded with suspicion. Even if we cannot be sure as to the exact way in which Mayůūra gained the emperor's favor, we stand on firmer ground in saying that he actually became one of Harṣa's courtiers, for this is attested for us not only by the commentator Madhusudana, but also by the much more reliable statement of Rajasekhara to the effect that Bāṇa, Mayūra, and Divākara were all in attendance at Harṣa's sabha. There can also be no doubt that the king who became Mayura's patron was Harșa, and not Bhoja of Dhārā, as the Jain writers would have us believe. Bhoja may be eliminated, because he belongs in the eleventh century, whereas Harsa, besides being especially mentioned in the Harsacarita as the patron of Bāṇa, belongs, as is certain, in the seventh. Still further confirmatory evidence on this point, if any be needed, may be found in the stanza quoted above (p. 13) from the Navasähasänkacarita of Padmagupta, which speaks of intimate relations existing between Harṣa and the poets Bāṇa and Mayūra. The statement that Bāṇa and Mayūra were rivals in the literary field is found in all three of the Jain accounts of our story,¹ as well as in the commentary of Madhusudana, and is moreover confirmed by the stanza of Padmagupta just referred to in the preceding paragraph, where it is explicitly stated that Harṣa was the cause of their rivalry in connection with disputes of a literary nature. Nothing, indeed, seems more likely than a jealous falling out between the two poets who were both striving for the royal favor, and the existence of such a feeling in the case of Bāṇa and Mayūra may, on the evidence adduced, be set down as an accepted fact. On the other hand, the tradition that one of the two rivals was related by marriage to the other is not so well attested. One of the Jain commentators, as already shown, states that Mayūra was Bāṇa's father-in-law, and this is supported by a similar statement GENERAL INTRODUCTION ¹ Yajñeśvara's version of the Prabandhacintamani (see above, p. 29), however, represents Bāṇa and Mayura as the firmest of friends. 58 in Madhusudana's account. The Prabandhacintāmaṇi, which has thoroughly confused the details of the story, in one version represents Mayūra as married to Bāṇa's sister, and in the other makes Bāṇa out to be the husband of Mayūra's sister. It is, of course, not unlikely that Mayūra may have given a daughter in marriage to his friend, and some later discovery may prove the truth of the Jaina record, but at present, in the light of the evidence we have, the statement must be regarded as belonging to the class of unproved possibilities. Nor, as regards other suggested ties of relationship, can it be proved that Sanku was a son of Mayūra. It is very likely that Mayura engaged in literary contests, for besides the testimony of Jagannātha, to which we have already referred, and which makes him a victor at Benares, we have put forward several allusions to affairs of this kind in which he is said to have participated. For example, the statement of the Samkṣepaśamkarajaya that he and Bāṇa were defeated in philosophical discussion by Samkara, though in itself false, is probably based on the fact that the poets of Harsa's court were wont to exhibit their literary prowess in public competition. Then, too, the whole Jaina tale may preserve, under its guise of fable and miracle, the record of some kind of contest in which the popular religious systems of the age were championed by their respective devotees. On such a hypothesis, Mayūra represented the Säuras, or Sun-worshipers, with the Süryaśataka, Bāṇa, the Säivites, with his Candiśataka, while Manatunga, with his Bhaktāmarastotra, was added by the Jains for the glorification of their religion. Though this theory of Peterson's, and the assumption we have drawn from the statement of the Samkṣepaśamkarajaya, may seem to some too speculative, there is no good reason for rejecting the testimony of Jagannatha that Mayūra entered at least one contest, that at Benares, where he was victor. GENERAL INTRODUCTION As regards the story of Mayura's affliction with leprosy, we are compelled to acknowledge that the tale of his miraculous recovery from that disease is probably not of Jaina origin, for it is referred to in the Kävyaprakāśa, which, as we saw above, antedates by a century or more the Prabhāvakacaritra where the Jaina ac59 count of the tale is first told. Bana's miracle is not mentioned in the Kavyaprakāśa, though it, as well as Mayūra's, may with equal fairness be ascribed to the effects of poetry. Yet it is by no means impossible, I fancy, to infer from this that Mayūra's supposed cure was the kernel from which grew the whole Jaina tale. As a confirmation of this suggestion, the Jaina commentary translated above (p. 21-24) clearly implies that the miracle of our poet was the central point of the theme, and that the miracles of Bāṇa and Manatunga were mere adjuncts. If we accept the supposition that Mayura's alleged cure was the starting-point of the Jain legend, it is quite possible to conceive that the story of this cure may trace its origin to the fact that Mayura really was a leper. Moreover, Jagannātha, whose statements about Mayura are most sanely put, and whom we have no special reason to discredit, tells us that Mayūra was afflicted with this disease, and tried to effect a cure by praising the sun with a hundred ślokas. It may possibly be that Jagannātha has preserved a true account of the matter, and that what Mayūra attempted to do was magnified by someone of a later generation into actual achievement. Our evidence on this point is, however, not altogether convincing, and the most we can say is that the reality of Mayura's affliction with leprosy lies somewhere between the realms of the possible and the probable, the balance inclining, in my judgment, to the latter. GENERAL INTRODUCTION It need hardly be added that Mayura actually wrote the Süryaśataka-tradition and the manuscripts prove this but we cannot say with certainty that the poem was written with any particular object in view. That the Mayūrāṣṭaka also is attributable to our poet there can be little question, as I have shown below (p. 71), nor is there any reason to doubt the authenticity of the various stanzas that appear under Mayūra's name in the anthologies. That Mayura ranked high in literary merit is proved by the testimony of later writers who class him with Kalidasa, Bhavabhūti, Bāṇa, and the other names that compose the honor-roll in the history of Sanskrit literature. A summary in a paragraph would be as follows: Mayura 60 GENERAL INTRODUCTION flourished in the first half of the seventh century A.D. Of his birthplace and early life nothing is known. His earliest vocation seems to have been that of a jängulika, 'snake-doctor.' His poetical ability, exhibited at a public recital, attracted the attention of the reigning emperor, Harșa, and Mayūra was summoned to court, where he seems long to have enjoyed the favor of his royal patron. He became the rival of Bāṇa, and may have been the father-in-law of that poet. Other details of his family life are lacking, nor can it be proved that 'Sankuka, son of Mayura,' was his son. It is likely that he engaged in literary contests, and at one of these, held at Benares, he is said to have carried off the first honors. He wrote the Süryaśataka and the Mayurāṣṭaka, and several scattered stanzas in the anthologies are attributed to him. His literary qualities are highly praised by later poets. It is possible that he may have been a leper. He was not a Jain, but probably a Saura, or Sun-worshiper. MAYURA'S EXTANT WRITINGS THE MAYURASTAKA We must not leave Mayura without taking note of what he has written. Perhaps the earlier of his two complete poems that have come down to us is the little poem Mayūrāṣṭaka, consisting of eight stanzas and presenting the charms of a certain young woman who, according to the statement of a Jain commentator (see above, p. 25), was Mayūra's own daughter. The work exists, so far as I have been able to discover, in but a single manuscript, which is in the library at Tübingen. A special interest attaches to this poem, because it is popularly supposed to be the cause of Mayūra's affliction with leprosy, having roused his daughter's anger to such an extent that she cursed him with that loathsome malady (see above, p. 25). Since in the legend the Mayūrāṣṭaka caused the leprosy which the Süryaśataka cured (see above, p. 24), it may be tentatively regarded as chronologically antecedent to the Süryaśataka. For the text and a translation of the Mayurāṣṭaka, see below, p. 72–79. 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 comprises, 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 composition 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 miscellaneous 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. 62 are descriptions of genre scenes. They are veritable word-pictures, characterized by the usual Hindu wealth of detail, and are excellent specimens of descriptive poetry. The twelfth stanza, for lack of a better name, I have called the Maxim on Separation.' " Four of the five remaining stanzas deal with mythological subjects. They are found in the Saduktikarṇāmṛta¹ (one of them is found as well in the Padyavali and in the Krṛṣṇakarnāmṛta), and the names I have given them are in keeping with the titles of the Saduktikarṇāmṛta chapters in which they are included. I have called them 'The Burning of the City of Tripura,' 'The Anger of Umā,' 'The Claws of Narasimha,' and 'The Dream of Krsna.' GENERAL INTRODUCTION The sixteen stanzas just mentioned will be found reproduced and translated on pages 229-242 of this volume. The seventeenth stanza is found in the hitherto unpublished Sūktimuktāvali of Jalhana, and I have, unfortunately, been unable to secure a copy of it. THE ARYAMUKTĀMĀLĀ WRONGLY ASCRIBED TO MAYŪRA A work entitled Āryamuktāmālā has been ascribed to Mayura's pen by Bühler; and Aufrecht and Ettinghausen, evidently accepting Bühler's statement, have included the Āryamuktāmālā in the lists which they have given of Mayura's writings. This view is, however, certainly incorrect, for the Aryāmuktāmālā is, 1 The Saduktikarnāmṛta, an anthology, compiled by Sridhara Dāsa, and completed by him in 1205 A.D. (cf. Rājendralala Mitra, Notices of Skt. MSS, vol. 3, p. 134, no. 1180, Calcutta, 1876), has been partially edited (376 out of 2380 stanzas) by Rāmāvatāra Śarmā, in the Bibliotheca Indica Series, Calcutta, 1912. Thomas (Kavindravacanasamuccaya, introd., p. 67-68) shows that only the four stanzas I have cited are ascribed to Mayura in the Saduktikarnāmṛta. Bühler, Catalogue of Skt. MSS contained in Private Libraries of Gujarat, etc., Fascicle 2, p. 72, Bombay, 1872. & Ettinghausen, Harşa Vardhana, p. 96, 124; cf. Aufrecht, Catalogus Catalogorum, vol. I, p. 432. 63 in the catalogue of the India Office library,¹ ascribed to a certain Ramanandana Mayūra or Moropant (i.e. Mayūra Pandit), a Marathi writer of the eighteenth century (1729-1794), who wrote both in Marathi and in Sanskrit. In like manner Barnett makes Moropant the author of the Muktāmālās (ed. by Vāman Dāji Oka, Bombay, 1896)-doubtless the same as the Aryamuktāmālā and places him under the heading 'Mayūra,' the Sanskrit equivalent of his Marathi name Moro (pant). This identity of name probably led Bühler wrongly to ascribe the Aryāmuktāmālā to our Mayūra-a view which I find is also held by Mr. F. W. Thomas, librarian of the India Office, London. I therefore conclude that the Aryāmuktāmālā must be stricken from the list of Mayura's works. GENERAL INTRODUCTION A COMMENTARY ASCRIBED TO MAYURA There is also attributed to Mayura the composition of a prose commentary (tika) on a work of Dhanamjaya. The commentary is entitled Sabdalingärthacandrika. The ascription of this work to Mayūra is, however, made by William Taylor, in his Catalogue Raisonné, a work not altogether reliable, so that it is somewhat 1 See Catalogue of the Library of the India Office, vol. 2, part 1, Sanskrit Books (London, 1897), p. 14, s.v. An edition (Poona, 1882) of the Āryamuktāmālā is there recorded. 2 See G. A. Grierson, Linguistic Survey of India, vol. 7, p. 14, Calcutta, 1905. 3 L. D. Barnett, Supplementary Catalogue of Sanskrit, Pali and Prakrit Books in the Library of the British Museum, p. 385, 391, London, 1908. For an edition (Bombay, 1892) of Moropant's Kṛṣṇavijaya, see OB, vol. 6, no. 1909; for an edition (Bombay, 1899) of his Kekavah, see OB, vol. 13, no. 4271. In reply to an inquiry on this point, Mr. Thomas wrote: 'Curiously enough, I had myself quite recently noted for verification Mayūra's supposed authorship of an Aryamuktamala. Bühler's catalogue contains no further information, and I have no doubt that what his ms really contained was Moropant's work of that name, often called Muktamala simply.' 5 William Taylor, Catalogue Raisonné of Oriental MSS in the Govern ment Library, vol. 2, p. 131, no. 862, Madras, 1860. Aufrecht, in compiling his Catalogus Catalogorum, used neither vol. 2 nor vol. 3 of Taylor's work, and of vol. I he remarks (Cat. Cat. vol. 1, introd., p. 6) : 'This book 64 GENERAL INTRODUCTION doubtful if Mayūra can rightfully be credited with the authorship of such a composition. OTHER MAYŪRAS In the course of my investigation into the life of the seventhcentury poet Mayūra, I have discovered the existence of a number of kings, princes and writers bearing this name. It does not seem amiss to make brief mention of them here. The list is as follows. Mayūra, a prince or chieftain, living in the ninth century. He is mentioned in an inscription recorded in JRAS, new series, vol. 26 (1894), p. 3 and 8; cf. EI, vol. 5, appendix, p. 47, no. 330. The inscription states that Mayura defeated Nandāvalla, and was himself afterwards defeated and slain by Bauka, one of the Pratihāra chieftains, in a battle that was fought near Bhūakupa. Mayūra, father of Sankuka. Of this Mayūra nothing is certainly known, as has been pointed out above (p. 52), though I have there suggested the possibility of his being identified with our seventh-century poet. Mayūra, author of the Padacandrika, a collection of synonyms; cf. A. C. Burnell, A Classified Index to the Skt. MSS in the Palace at Tanjore, p. 48, a, London, 1880. In the index to this catalogue, Burnell distinguishes between this Mayura and Mayūra kavi, the author of the Süryaśataka, but he does not state on what grounds he makes the distinction. It is interesting to note that in the opening lines of the Padacandrikā-Burnell supplies the text of the beginning and ending of the work-there is found a list of synonyms, or rather epithets, of Surya. Mayūrabhaṭṭa, author of a commentary on one of the works of Lakṣmaṇa Giri; cf. Ernst Haas, Catalogue of Sanskrit and Pali Books in the British Museum, p. 72 and 88, London, 1876. is almost useless without the assistance derived from the Alphabetical Catalogue of the Oriental MSS in the Library of the Board of Examiners, by T. S. Condaswami Jyer, Madras, 1861'. This Alphabetical Catalogue is not available, and I have been unable to get any light from other sources on the reliability of Taylor's work. 65 Mayūrākṣaka, a minister of king Viśvavarman. He is mentioned in an inscription dated 424 A.D.; cf. CII, vol. 3, p. 74, and EI, vol. 5, appendix, p. 2, no. 2. The inscription, which belongs to the Gupta period, records that he built a temple of Vişnu, and also a temple of the divine Mothers. GENERAL INTRODUCTION Mayūravarman, a name applied to three kings belonging to the Kādambas of Hãngal, who flourished in the eleventh and twelfth centuries, and perhaps much earlier; cf. IA, 4. 203; 6. 23; 10. 249, 253-254; EI, 5. 259; 6. 82-83; 7, appendix, p. 37, no. 210; JBRAS, vol. 9, p. 233-234, 317, 325; and vol. 12, p. 302, 304-305, 307; Aufrecht, Catalogus Catalogorum, vol. I, p. 432; Lewis Rice, Mysore Inscriptions, p. 53, 59, and introd., p. 37-38, Bangalore, 1879; Duff, Chronology, p. 117, 146, 292. Mayūraśarman, a Kadamba king, earlier than the sixth century A.D.-perhaps identical with one of the Mayuravarmans; cf. EI, vol. 8, p. 28-31, especially footnote 6 on p. 28; and vol. 7, appendix, p. 105, no. 603, and footnotes. Mayurapāda Thera, the well-known Sinhalese writer, who flourished in the second half of the thirteenth century and wrote the Pajavaliya and the Yogärnava; cf. IA, 35. 166; JRAS, new series, vol. 26, p. 555, and vol. 28, p. 215; Orientalische Bibliographie, vol. 18, no. 3653, and vol. 19, no. 3663; Wickremasinghe, Catalogue of Sinhalese Printed Books in the Library of the British Museum, p. 125-126, London, 1901; Wickremasinghe, Catalogue of Sinhalese MSS in the British Museum, p. 31 and 188, London, 1900; W. Geiger, Litteratur und Sprache der Singhalesen, in Bühler's Grundriss der Indo-Arischen Philologie, p. 5 and 8, Strassburg, 1901. Mayūrapanta or Moropant (i. e. Mayura Pandit) the wellknown Marathi writer of the eighteenth century, author of the Kekāvalī, Āryamuktamala, etc. He has been discussed above, p. 63. Mayūravaha, author of the Kalpakärikäsära, a work dealing with Vedic subjects. A manuscript of this work is recorded by Kävyatirtha and Shastri, in their Catalogue of Printed Books and 6 66 GENERAL INTRODUCTION Manuscripts in Sanskrit belonging to the Oriental Library of the Asiatic Society of Bengal, p. 37 and 121, Calcutta, 1904. Mayuradhvaja, a king; cf. JASB, vol. 69, p. 78. Mayureśvara, father of Khaṇḍabhaṭṭa; and Mayūravācaspati, also called Vācaspatimiśra; cf. Aufrecht, Catalogus, vol. 1, p. 432–433. Mayūrapoșaka, father of Candragupta; cf. Monier-Williams, Skt.-Engl. Dict. s. v. mayüra. THE MAYŪRĀṢṬAKA OF MAYŪRA वर दिक नभরदनो" लाकम अधिक पत्रिवेगकापेको दलल अमवृदयो । प्रयोद नितीगल भयुगमोडेलभ বঙ্গ मदन पर विव भकिलठीडिदरशियन लामि सुरुभुष लडरमः ग्रीन झण्टभोलअन दमली प ম उसनधयडी पदवीड वर्लभदसुय्वना विम उलगडल A LEAF OF THE BIRCH-BARK MANUSCRIPT CONTAINING THE MAYŪRĀṢṬAKA (THE MAYURASTAKA BEGINS IN THE FIFTH LINE FROM THE BOTTOM, AND THIS LEAF CONTAINS STANZA 1 AND PART OF STANZA 2. SEE PAGE 69.) THE MAYŪRĀṢṬAKA OF MAYŪRA¹ INTRODUCTION The reader will probably remember that in one version of the Jaina tale about Bāṇa, Mayūra, and Mānatunga, it is recorded how Mayura once wrote, in verse, a licentious description of the charms of his own daughter, Bāna's wife. The lady, enraged, cursed her father, who, in consequence of the curse, became a leper and was banished from court. One version of the legend, namely, that given by the first anonymous commentator on the Bhaktämarastotra, tells us that the name of this obnoxious poem was the Mayurāṣṭaka.³ In the course of my study of the life and writings of Mayūra, I noted that a poem of this name was listed in Professor Garbe's catalogue of the Sanskrit manuscripts at Tübingen University. Through the kindness of Professor Garbe and of Dr. Geiger, the librarian at Tübingen, the manuscript containing the Mayurāṣṭaka was forwarded to Professor Jackson for my use. The material is birch-bark, folded in book form, each leaf being 7 by 6 inches, with 16 lines of writing to a full page. The writing is in the farada script, and the date should probably be placed in the seventeenth century.5 1 This account and translation of the Mayürüşṭaka is here reprinted, with some minor changes, from JAOS, vol. 31, p. 343-354, where I published it in 1911, under the title, The Mayaraşṭaka, an unedited Sanskrit poem by Mayüra. 2 See above, p. 25. 3 See above, p. 25. Richard Garbe, Verzeichniss der indischen Handschriften der königlichen Universitäts-Bibliothek, Tübingen, 1899, no. 182, F. 5 The ms, 182 F in Garbe's Verzeichniss (see note preceding), was one of those purchased in 1894 by Marc Aurel Stein at Srīnagar in Kaśmir (Verzeichniss, p. 3), and the date is according to the Saptarşi era (ibid., p. 5, n. 1; personal letter from Prof. Garbe, April 4th, 1911). At the end of the Durgaştaka [one of the pieces in the collection contained in the manuscript in question] the copyist gives the date (laukika) samvat 87, 69 THE MAYŪRĀṢṬAKA OF MAYŪRA The Mayurāṣṭaka, which covers one full leaf and parts of two other leaves, consists, as its name implies, of eight stanzas. Of these, the first and the sixth are incomplete, owing to a tear in the manuscript. Stanzas 1, 2 and 4 are in the sragdharā meter, the others in färdülavikridita. The dedication is to Hari and Hara (Vişņu and Siva), and at the end is the colophon iti śrīmayūrāṣṭakaṁ samāptam. After the colophon comes a kind of diagram, which may be something astrological, though I have been unable to decipher anything from it except the words 70 samvat 2. The theme of the poem is the description of a girl or young woman, and at times, especially through the double entendres and puns, the sentiment is decidedly erotic, and might very well have given offence to the person portrayed. In a general way the style is not unlike the style of other compositions ascribed to Mayūra. For example, the puns and double entendres, already referred to, besides other Kävya elements, are common to it and to the Süryaśataka, and that Mayūra did not disdain the erotic sentiment elsewhere is shown by a perusal of the descriptive verse on two asses, which is found under his name in the Subhāṣitāvali of Vallabhadeva and also in the Paddhati of Särngadhara.¹ It cravati 5, çandu' (Stein, in Garbe, Verzeichniss, p. 78), and, as Prof. Garbe writes me, 'die Ähnlichkeit der äusseren Beschaffenheit aber zeigt, dass die beiden darauf folgenden Stücke [Vetalastotra, Mayürüşṭaka] in annähernd derselben Zeit geschrieben sein müssen.' The Saptarsi era began B.C. 3076 (Bühler, in Weber, Indische Studien, vol. 14, Leipzig, 1876, p. 407-408). During the centuries which, in consideration of the average age of birch-bark manuscripts (see Bühler, Indische Palaeographie, Strassburg, 1896, p. 88), can alone be here taken into account, the fifth of Srāvana fell on Saturday in the year 87 of any century of this Saptarsi era only in 4687 and 4487-Saturday, Srāvaņa 5, 4687 corresponding to Aug. 13, 1611 (Gregorian calendar), and Saturday, Srāvaṇa 5, 4487 to July 25, 1411, of the Julian calendar (as reckoned according to Robert Schram, Kalendariographische und chronologische Tafeln, Leipzig, 1908). Since of these two dates the former is the more likely, we may ascribe the completion of our manuscript to Aug. 13, 1611. (On the Saptarşi era, see Sewell and Dikshit, The Indian Calendar, London, 1896, p. 41; Ginzel, Handbuch der mathematischen und technischen Chronologie, Leipzig, 1906, vol. 1, p. 382-384; A. Cunningham, Book of Indian Eras, Calcutta, 1883, p. 6-17.) 1 This stanza will be found edited and translated below, p. 237-238. 71 may count for something, too, that the meter of three of the stanzas is the sragdharā, the same as that in which the Süryasataka is composed, as well as a number of the anthology stanzas attributed to Mayūra. In view of all the facts and circumstances as set forth, it seems not unreasonable to believe that the poem Mayūrāṣṭaka, contained in the Tübingen manuscript, is a creation of the poet Mayura, although it must be acknowledged that the evidence is not especially strong. It might be argued, for example, that the name Mayūrāṣṭaka may mean 'the aṣṭaka on the peacock,' or that the commentator on the Bhaktamarastotra ascribed it to Mayura merely because of its name, or that it is the composition of another Mayūra, not the seventh-century poet of that name. But on the other hand stand the facts that the name śrimayūrāṣṭakam is found in the colophon of the manuscript, that the subject-matter of the manuscript poem harmonizes with the content of the Mayūrāṣṭaka described by the commentator, that there is not the faintest allusion to a peacock in any of the stanzas, and that there is a general similarity in point of style between the manuscript poem and the known writings of Mayūra. The pros are, on the whole, stronger than the cons, and it can at least be said that there is no direct evidence to show that Mayura did not write the Mayürāṣṭaka contained in the Tübingen manuscript. Until such evidence is adduced, I am inclined to accept it as his work. INTRODUCTION THE MAYŪRĀṢṬAKA OF MAYŪRA TEXT AND TRANSLATION om namaḥ śrihariharābhyām eşā¹ kā prastutāmgis pracalitanayanā hamsalīlā³ vrajanti dvau hastāu kuňkumārdräu kanakaviracita* . . ū 'üm [gām]gegatā sā bahukusumayutā baddhavīņā hasantī tāmbūlam vāmahaste' madanavaśagatā gūhya³ śālām praviṣṭā Om! Reverence to the illustrious Hari and Hara! 1 Who is this (maiden), with beautiful limbs and wandering glance, approaching with the gait of a hamsa? Her two hands are moist with saffron, her gold, She has ..... ...... on her [body]; she is decked with many flowers, girt with a lute, and is smiling. Concealing betel in her left hand, and having yielded to the power of love, she enters the [private] chamber. composed of Notes. 1. The meter is sragdhara. 2. In the matter of transliterating nasals, I have faithfully followed the manuscript, which is inconsistent, sometimes writing anusvära instead of the appropriate nasal consonant. Compare, for example, lagnamga (2a), priyamga (3d), and gaganāmgana (8 d), with bhrabhangam and ananga (7b). Note also amtaḥ for antaḥ (3c), caṇpaka with lingual nasal, instead of campaka (8b), and sampakva for sampakva (5b). In the use of the nasal before k, there appear to be no irregularities except famkayanti for fankayanti (2b); cf. kunkuma (1 b), and panka (7 c). 3. The word la is one of the stock terms used to define the natural graces of the heroine; cf. Dasarupa, a Treatise on Hindu Dramaturgy, tr. Haas, New York, 1912, 2. 60, 'Sportiveness (la) is the imitation of a lover in the actions of a fair-limbed maiden.' 4. One, possibly two consonants must come between the a and the; the syllable containing the a must be heavy, and six syllables must be supplied after the #. 5. One syllable is missing. 6. Betel was as much an adjunct of love-making among the ancient Hindus as candy and con72 THE MAYURAṢṬAKA OF MAYÜRA 73 fections are to-day. Usually it was brought by the man to the girl, but here the girl appears to be carrying it as a gift to her lover; cf. Schmidt, Beiträge zur indischen Erotik, Leipzig, 1902, p. 728. 7. Was the left hand the erotic one, as implied, for example, in the epithet 'left-handed,' when used to denote the obscene form of the Tantra cult? 8. I take gühya to be a gerund (cf. Whitney, Skt. Grammar, 992 c), but the author doubtless intended that it should be read also, though with short u, as first member of a compound with falam-guhyaśālām, 'private chamber'; cf. guhyadeśān (4 d). 9. In farada, the same ligature represents both şta and ştha. Prof. Barret, who has transliterated part of the Päippalada Manuscript of the Atharvaveda, which is in śärada (cf. JAOS, vol. 26, 2d part, p. 197-295), writes me: 'about şta and ştha; as far as I have seen, there is no difference made, the same sign serving for both.' 2 eşā¹ kā bhuktamuktā pracalitanayanā sveda³lagnāmgavastrā pratyūṣe yāti bālā³ mṛga iva cakitā sarvataś śamkayanti kenedam vaktrapadmam sphuradadhararasam satpadenāiva* pitam svargah' kena 'dya bhukto haranayanahato manmathah kasya tuṣṭaḥ Who is this maiden that has been enjoyed and [then] let go, and who, with wandering glance, and with garments clinging to her limbs with perspiration, At dawn goes here and there, timid [and] distrustful, like a gazelle? How is this? Has this lotus face, with its lower lip's welling nectar, been sipped by a bee? By whom has heaven been enjoyed to-day? With whom has Kāma, [once] slain by Siva's eye, been pleased? Notes. 1. The meter is sragdhard. 2. For perspiration as a mark of love, see Sappho, frag. 2, v. 4, à dé μ'tôpos Kaxxéera. 3. In erotics, bālā means a young girl under sixteen, who wishes to be loved in darkness, and delights in betel (Schmidt, p. 243-246; especially the citation (p. 244) from Anangaranga, fol. 5 b). She is also a mrgi, 'gazelle' (cf. mrga 2b; harini, 3 b), and has high-set breasts; cf. Schmidt, p.212. 4. Satpada suggests bhramara, which means both 'bee' and 'lover.' 5. In the ligature here transliterated by kk, I have taken the first element to be the sign for jihvamalya, the surd guttural spirant; cf. Whitney, Skt. Grammar, 69, 170 d, 171 c. Prof. Barret, however, in his transliteration of the Päippalāda Manuscript of the 74 THE MAYŪRĀṢṬAKA OF MAYŪRA Atharvaveda, adopted şk as the transcription of the character; compare, for example, JAOS, vol. 26, 2d part, New Haven, 1906, p. 218 foot, v. 18, vaş kämä, and p. 224 foot, v. 25, jätas kaśyapo, with the Päippalāda facsimiles, folios 6 a, line 3, and 7 b, line 12, respectively. But he has since written me: 'The signs which I transliterated şka and spa are not exactly representatives of lingual ş, but that seemed the best rendering.' 3 eşā¹ kā stanapīnabhārakathina² madhye daridrāvati³ vibhrāntā hariņi vilolanayanā samtrasta'yūthodgatā amtaḥsv[e] dagajendragaṇḍagalitā' samlīlayā gacchati dṛṣṭvā rūpam idam priyamgagahanam¹⁰ vṛddho¹¹ 'pi kāmāyate¹s Who is this timid gazelle, with a burden of firm, swelling breasts, With roving glance, and slender of waist, gone forth from the frightened herd? She goes like as she were fallen from the temple of a rutting lord of elephants. Seeing this form, with its adornment of beautiful limbs, even an old man becomes a Kāma. Notes. 1. The meter is śardalavikriḍita. 2. Perhaps, 'stiff with the burden of her swelling breasts'; i.e. she must walk very upright, or the weight of her breasts would make her stoop-shouldered. 3. There may be an obscene pun in madhye daridravati; for the passionateness of the mrgi, see Schmidt, as cited in stanza 2, n. 3. For daridravati, not found in the lexicons, cf. Whitney, Skt. Grammar, 1233 d. 4. For harint, 'gazelle,' see mṛgi, stanza 2, n. 3. 5. The reading of the manuscript is samtrastha. 6. The manuscript is broken above the su ligature, but the restoration of thee is unquestionably correct. 7. According to folk-belief, even in modern India (cf. W. Crooke, The Popular Religion and Folk-Lore of Northern India, 2d ed., Westminster, 1896, vol. 2, p. 240), there is in the forehead of an elephant a magic jewel, the gajamukta, which grants to him who possesses it his every wish. The author seems here to be comparing his heroine to this magic jewel. 8. I have rendered samlilaya as 'like'; cf. St. Petersburg Wörterbuch, unabridged ed., s.v. hla, 3. The compound of hila and sam is not found in the lexicons, but occurs twice in this poem; cf. 8 c. 9. The whole of pada 3 may be read with a second rendering, containing an obscene pun: 'She goes, possessed, through her wanton sport with [her lover], of that which falls from the temple of the rutting lord of elephants,' i.e. possessed of the mada, which also means semen virile and doppodiola voris; this latter, in the case of the mrgi, has the odor of THE MAYŪRĀṢṬAKA OF MAYÜŪRA 75 flowers (Schmidt, p. 213), and would therefore attract bees (or lovers; cf. st. 2, n. 4), just as the mada of a must-elephant does. [Prof. Jackson takes this second rendering to be the correct interpretation, as opposed to that presented in the text and in notes 7 and 8.] 10. The compound priyamgagahanam may be read in two ways. In the first way, take gahanam as from gahand, 'adornment,' and the second reading, which is obscene, may be found by taking gahanam as 'place of concealment,' and priyamga as a tatpuruşa compound, priya denoting the lover. 11. Is vyddho a reference to Bāṇa, the husband of Mayura's daughter? Bāṇa may have been of the same age as Mayūra, and so considerably older than his wife. 12. The regular causative of the root kam is kämayate. I therefore take kāmāyate to be a denominative from Kama; cf. Whitney, Skt. Grammar, 1059 c, and Brugmann, Vgl. Gram. der idg. Sprachen, Strassburg, 1892, 2.769 (p. 1107). The meter requires that the second syllable of kämayate should be long. 4 vāmenā¹ "veṣṭayanti praviralakusumam keśabhāram kareṇa prabhraṣṭam cottariyam ratipatitaguṇām mekhalām dakṣiṇena tāmbūlam codvahantī vikasitavadanā³ muktakeśā narāgā³ nişkrāntā guhyadeśān madanavaśagatā mārutaṁ prārthayantī With her left hand doing up her heavy hair, on which few flowers [now remain], And with her right holding up her upper garment, her girdle, whose cord had slipped down During love, and her betel; with blooming face, with disheveled hair, with passion sated, Coming forth from the private chamber, having yielded to the power of love, she longs for the breeze. Notes. 1. The meter is sragdhara. 2. 'With blooming face,' or, punningly, 'with open mouth,' 'yawning.' 3. The word naraga is not found in the lexicons, but on the analogy of naroga, 'not ill,' I have taken it to mean 'not passionate,' i.e. 'with passion sated.' 5 eṣā¹ kā navayāuvanā śaśimukhī kāntā "pathiª gacchati nidrāvyākulitā vighūrṇanayanā sampakvabimbādharā keśāir vyākulitā nakhāir vidalitā³ dantãiś ca khaṇḍīkṛtā kenedam ratirākṣasena ramitā śārdūlavikrīḍitā 76 THE MAYURAṢṬAKA OF MAYURA Who is this lovely one advancing along the path, moon-faced, in the bloom of youth, Bewildered with sleep, her eye rolling, her lower lip like a ripe bimba fruit, Bewildered by her [disordered] locks, scratched by finger-nails, and torn to pieces by teeth? How is this? By a demon in love has she, imitating tiger-sport, been beloved! Notes. 1. The meter is färdülavikridita. Note the pun possibly implied in fardalavikriditä, line 4. 2. I resolve as kanta apathi. Compare the Vedic apathyo (RV, 1. 64. 11), which evidently means, as Geldner (Der Rig-Veda in Auswahl, Stuttgart, 1909, vol. 1, p. 23) says, 'auf der Strasse fahrend' (cf. also Bezzenberger, in T'épas, Abhandlungen zur idg. Sprachgeschichte Aug. Fick... gewidmet, Göttingen, 1903, p. 175-176), a connotation which is also supported by Sāyaṇa's commentary ad. loc. Or perhaps we should read käntä pathi, with pathi as fem. nom. sing. of *patha (*pathi), with which compare the epithets of the Maruts-apathi, vipathi, antaspatha, anupatha, RV, 5. 52. 10; yet note tripatha. 3. The manuscript reads vimdalita. 4. References to scratching and biting, as concomitants of indulgence in rati, are found throughout Sanskrit erotic literature. For nakhacchedya (scratching with the nails), see Schmidt, p. 478-496, and for dafanacchedya (biting with the teeth), ibid., p. 496-508. Is there not also in khandikṛta a possible punning allusion to the khandabhraka ('broken-cloud') bite on the breast, in the form of a circle, with uneven indentures from the varying size of the teeth (Schmidt, p. 504)? The reference to his daughter's disheveled appearance, as being due to the scratches and lacerations, may have been responsible for that lady's anger and her consequent curse of Mayūra (see Introd., p. 25). And in this connection it may be added that the obscene puns in stanza 3 would probably not tend to lessen her displeasure. 6 eṣā¹ kā paripūrṇacandravadanā gāurīmṛgā² kṣobhini³ līlāmattagajendrahamsagamanā* . n[i]hśvāsādharagandhaśītalamukhi vācā mṛdūllāsinī sa ślāghyaḥ puruṣas sa jīvati' varo yasya priyā hi "dṛśi 5 Who is this frantic tigress, with a face like the full moon, With the gait of the hamsa, or of the lordly rutting elephant in wantonness लवजमजम्मेधद्ग्जैनपीनकोरडे कराय विभिङ्गषकएउव:"१"ए विश्वविदिलेला मरारामुगलिभलील दीपकमायील भक्रमरुपंको भूड्यूँदेरीय रामनवमग मसियापीकनिकलिए विश्वपार किमेलिउपाय केले गिद्वारी (भिऊन प्रत कायद विव याकरि नीलीलण गराइटलगभ लापल्लाभित्री ३६ मीडियममा कलीमल लिउईकणिकाल वडूषऽरुप्वको कुम्भरी A LEAF OF THE BIRCH-BARK MANUSCRIPT CONTAINING THE MAYURAṢṬAKA (THIS LEAF CONTAINS PART OF STANZA 2, STANZAS 3-6, AND PART OF STANZA 7. SEE PAGE 65.) THE MAYŪRĀṢṬAKA OF MAYURA 77 With her face cooled by the perfume of her sighing lower lip, and gently mirthful in her speech? That man is to be envied, that lover [really] lives, who has such a one as his beloved. Notes. 1. The meter is fardalavikridita. 2. I take gaurimṛga to mean 'beast of Gauri' (with a pun on mṛga [cf. above, stanza 2, note 3] as the sort of girl the heroine is), and the beast of Gauri (in her incarnation as Durgā) is the tiger. As Parvati also, Gauri's vehicle is the tiger; cf. Moor, Hindu Pantheon, London, 1810, plates 20, 21, 24. My interpretation as 'tigress' seems also to be strengthened by the allusion to 'tigersport' in the last line of the preceding stanza. 3. The word kşobhini is not recorded in the lexicons except, with lingual nasal, as the name kşobhint of a certain fruti in Samgitasarasamgraha, 23 (cf. St. Petersburg Wörterbuch, abridged ed., s.v. kşobhint); it is here probably best regarded as the feminine of kşobhana or of *kşobhin. 4. In Manu, 3. 10 (hamsavaranagaminim), the gaits of the hamsa and of the elephant are mentioned as among the desirable graces of women. 5. Seven syllables are needed to fill out this päda. 6. The manuscript is broken here, but part of a vertical stroke can be seen, and the restoration of an i seems certain. 7. The manuscript reads jivatih. For the sentiment expressed in jivati compare the well-known line of Catullus (5.1), Vivamus, mea Lesbia, atque amemus. g eşā¹ kā jaghanasthalī sulalitā² pronmattakāmādhikā bhrūbhangam kuṭilam tv anangadhanuṣaḥ prakhyam prabhācandravat rākācandrakapolapankajamukhi kṣāmodarī sundari viņīdaṇḍam idam vibhāti tulitam veladbhujam' gacchati Who is this lovely one that goes, with rounded hips, with an excess of ecstatic loveHer curving frown like the bow of the Bodiless (Kāma), and like the moon in splendorWith cheeks like the full moon, and a lotuslike face, and she [herself] slender-waisted and beautiful? This neck of her lute seems like a raised quivering arm. Notes. 1. The meter is färdalavikridita. 2. Lalita is one of the stock terms used to define the graces of the heroine; cf. Daśarapa, tr. Haas, 2. 68, 'Lolling (lalita) is a graceful pose of one of fair form.' In the ligature here transliterated by hp, I have taken the first element 3. 78 THE MAYŪRĀṢṬAKA OF MAYŪRA to be the sign for the upadhmaniya, or surd labial spirant; cf. Whitney, Skt. Grammar, 69, 170 d, 171 c. In Prof. Barret's transliteration of the Päippalāda Manuscript, this same ligature is transcribed by şp (cf. JAOS, vol. 26, 2d part, New Haven, 1906, p. 213 foot, devas pitaro, and vas pari-, with the Paippalāda facsimiles, folio 4 b, lines 11 and 12), though Prof. Barret says (see above, st. 2, n. 5) that it does not exactly represent sp. 4. The accusatives in line 2 are hard to explain, unless they may possibly comprise an extension of the simple adverbial accusative, on which see Carl Gaedicke, Der Accusativ im Veda, Breslau, 1880, p. 171-175, 215233. Or perhaps bhrubhangam is to be regarded as neuter (cf. note on bhuja below), though it is not found as neuter elsewhere. If it is neuter, it probably becomes the subject of an asti understood. 5. The form vinidanda is not given in the lexicons; the regular spelling is vinadanda, though the word is given only by the lexicographers, and is not found in the literature. 6. In tulitam, the manuscript shows only the upper part of the i, the vertical stroke being missing. 7. Bhuja is not found as neuter elsewhere, but for neuters of this class of compounds (including vinidandam), see Wackernagel, Altindische Grammatik, Göttingen, 1905, II. I. 15 b (p. 39); and on the interchange of masculine and neuter (cf. dandah and dandam), see Delbrück, Vgl. Synt. der idg. Sprachen, Strassburg, 1893, 1.37 (p. 130). 8 eşā¹ kā ratihāvabhāva vilasaccandrānanam bibhrati gātram caṇpakadāmagāurasadṛśam³ pīnastanālambitā padbhyām samcaratī pragalbha¹hariņī samlīlayā svecchayā kim cāiṣā gaganāmganā bhuvitale sampāditā brahmaṇā iti śrīmayūrāṣṭakaṁ samāptam Who is this with her moonlike face shining through her and her amorousness, Drooping from [the weight of] her full-rounded breasts, with a body like the yellowness of a garland of champaka flowers, A wanton 'gazelle,' going on two feet, in dalliance as she feels? Surely this is a celestial nymph, produced on earth by Brahmā. Here ends the illustrious Mayūrāṣṭaka. Notes. 1. The meter is śärdülavikridita. 2. I have rendered bhava in two ways, 'incitement to' and 'state of.' 3. The manuscript reads maurasadṛśam, which is unintelligible. I have emended to gaurasadṛśam, at the suggestion of my friend, Dr. C. J. Ogden, who referred me to the compounds kanakacampakadūmaguurin (Bilhana's Caurapañcāśikā, v. 1), भिविनाविल विलभम्पभिमवीर लागलीलया क्रिक रंगविल समो अनु 3. भीम मेली युन भवडा 3 क केक A LEAF OF THE BIRCH-BARK MANUSCRIPT CONTAINING THE MAYURAṢṬAKA (THIS LEAF CONTAINS PART OF STANZA 7, STANZA 8, AND THE COLOPHON. SEE PAGE 69.) THE MAYŪRĀṢṬAKA OF MAYŪRA 79 4. Pragalbha is defined in Hindu and campakadamagduri (cf. Mahabharata, 15. 25. 13). another of the stock terms (cf. kla, 1 a, and lalita, 7 a) rhetorical treatises; it is translated experienced' by Haas, in his translation of the Daśarapa, 2.29. For pragalbha as a type of heroine, cf. Schmidt, p. 264-266. THE SŪRYAŚATAKA OF MAYŪRA 7 THE SŪRYAŚATAKA OF MAYŪRA INTRODUCTION ANALYSIS OF THE SURYASATAKA ORDER OF THE STANZAS As has been pointed out in the General Introduction, the Süryaśataka comprises 101 stanzas. But the order of the stanzas is not the same in all of the editions. In the preparation of my translation, have used five editions, and have adopted as the norm the second edition of Durgāprasad and Parab, in the Kavyamālā Series, Bombay, 1900. The other four are: (a) the edition included in John Haeberlin's Kavya-sangraha, p. 197-216, Calcutta, 1847; (b) the anonymous edition, probably edited by its publisher, in the library of the India Office, Calcutta, 1874; (c) the edition included in Jivānanda Vidyasagara's Kavyasamgrahaḥ, Calcutta, 1886; and (d) the partial edition, comprising stanzas 1-75 inclusive, published in the Vidyodaya, or Sanskrit Critical Journal, vol. 25, June-September, Calcutta, 1896. In these four last-named editions, I have noted the following departures from the order of the stanzas as given in the edition of Durgaprasad and Parab:Jivananda's edition publishes stanzas 24-30 of Parab's edition in the following order: 24, 25, 29, 26, 27, 28, 30. Jivānanda, Haeberlin, the Vidyodaya, and the anonymous edition in the library of the India Office present the following order of stanzas 61-70 of Parab's edition: 61, 62, 68, 63, 64, 66, 67, 69, 65, 70. FORM OF THE STANZAS Each stanza is in the form of an afis, or 'benediction,' invoking the aid, protection or blessing of Surya, or of his rays, his horses, 1 See below, p. 104. 83 84 THE SURYASATAKA OF MAYŪRA his chariot, his charioteer, or his disk, upon an unnamed plural 'you,' who, according to Jagannatha's commentary on the Süryaśataka, were the poet's relatives.¹ The only stanza that omits the 'you' is the 44th, where the benediction reads: 'May the horses of Patanga (Sürya) protect the worlds!' The favorite request is for protection, which is invoked in 30 stanzas, viz. 3, 16, 19, 29, 30, 37, 44, 46, 50, 53, 57, 58, 59, 61, 65, 69, 71, 75, 80, 81, 82, 83, 84, 85, 88, 91, 92, 96, 97, 99. Deliverance from sin is invoked in 17 stanzas, viz. 6, 10, 11, 21, 27, 35, 36, 39, 47, 48, 51, 56, 63, 64, 67, 68, 74; prosperity, in 15 stanzas, viz. 2, 4, 25, 40, 42, 66, 72, 73, 79, 86, 87, 89, 90, 93, 94; happiness, in 7 stanzas, viz. 8, 15, 18, 41, 49, 55, 62; joy, in 6 stanzas, viz. 9, 23, 26, 34, 70, 78; removal of all troubles, misfortunes and distresses, in 11 stanzas, viz. 5, 7, 14, 17, 22, 31, 32, 45, 54, 60, 98; bestowal of blessings, wealth, welfare, and the satisfaction of desires and requests, in 11 stanzas, viz. 1, 12, 13, 20, 24, 28, 33, 43, 52, 95, 100; cessation of rebirths, in stanzas 38 and 77; and purification, in stanza 76. The asis is regularly expressed by the precative, or by the imperative, and it is perhaps worthy of note that the imperative in -tāt² occurs 21 times, the list being given below (p. 96), under the Grammatica Notabiliora. SUBJECT-MATTER In general, the subject-matter of the Süryaśataka is the praise of Surya, but the following subdivisions of the main theme, presumably based on manuscript authority, are indicated in some of the editions and are referred to, in a general way, in Jagannatha's commentary.³ Stanzas 1-43 are devoted especially to the de1 See above, p. 32. For the imperative in -tät, see Whitney, Sanskrit Grammar, 570-571. Whitney there states that the formation is not rare in the early language, but is rather uncommon in the later period, only one example being quotable from the Mahabharata, and one from the Ramayana. He also says that no instance of its use with benedictive implication, as prescribed by the native grammarians, is quotable. s See above, p. 32. 85 scription and praise of Surya's rays; stanzas 44-49, to the horses that draw his chariot; stanzas 50-61, to Aruna, his charioteer; stanzas 62-72, to the chariot itself; and stanzas 73-80, to the solar disk. The remaining stanzas are miscellaneous in character. In some of them (viz. 91, 92 and 93), Sürya is compared to Siva, Viṣṇu, and Brahmā respectively, and in stanza 88 he is shown to be superior to those divinities in the matter of conferring blessings upon the universe. Stanzas 85, 95 and 96 picture conditions on the earth when Sürya is absent at night, and stanza 87 gives the opposite picture, describing how all nature moves smoothly in its accustomed channels as long as Surya continues to shine. In stanza 94 is attested Sürya's universal supremacy; in 99, he is identified with the principal gods of the Hindu pantheon; and stanza 100 states the incomprehensibility of his nature. INTRODUCTION Among the ideas that a perusal of the Süryaśataka conveys with more or less emphasis to the reader, may be mentioned the following: Sürya is a reservoir of water which is drawn up from the earth and afterwards poured down again in the form of rain (stanzas 9, 14, 30, 73, 91, 93) ; emancipation from rebirth may be obtained through Sürya (stanzas 9, 10, 11, 29, 73, 80, 86, 89); Sürya drives away sin (cf. above, p. 84, where the aśis is discussed); Sürya is the life of the world and the benefactor of the universe (stanzas 59, 77, 80, 87, 88, 97, 100); the nature of Sürya is incomprehensible, except to yogins (stanzas 29, 65, 100); Sürya is responsible for his acts to no one except himself (stanzas 6, 19, 84, 97); he is identical with the Vedas (stanza 89); his twelve personalities will eventually destroy the worlds (stanza 94). Of passing interest, too, is the 6th stanza, in which Sürya is said to cure what are apparently the symptoms of leprosy; also stanza 13, which is a kind of play on the numerals from 1 to 10; stanza 38, showing the unusual doubling of a series of syllables at the beginning and end of each päda; and stanza 50, which contains a rather elaborate simile drawn from the realm of the drama. 86 THE SURYASATAKA OF MAYURA MYTHOLOGICAL ALLUSIONS The Suryaśataka is replete with mythological allusions drawn from the whole range of Hindu mythology. Among them-to name only a few-are included references to the churning of the ocean, and to all the objects produced by the churning; to Brahma's birth from the lotus of Vişnu's navel; to the mundane egg, Vişnu's 'three steps,' and Garuda's enmity to the snakes; to Mts. Meru, Asta, Lokāloka and Käilāsa; to Kṛṣṇa's conquering of the Kaliya snake, and the slaying of Taraka by Kārttikeya; to the Aurva fire, Nārada and the other sages, Aruna's mutilated condition, the semi-divine beings, and so on. The wide range and great number of these allusions make it very evident that Mayūra-as Sarasvatī said in the Jaina tale-was well versed in the śästras.¹ Most of the mythological allusions may be readily traced to their source in the Vedas, Epics and Purāņas. In most cases I have given such sources in the notes to the stanzas, omitting, however, reference to some of the better-known legends, and indicating the few instances where I have been unable to trace an anecdote to its starting-place in śruti or śästra. In the matter of the references to Sürya, it seems almost certain that Mayura must have been familiar with the hymns to Sürya, or with the accounts of that god, found in the Mahabharata,² in the Markandeya Purana, and in the Visnu Purana, for so many of the things that are there said about Sürya find their echo in the stanzas of the Süryaśataka. The author, however, by no means confined himself to these hymns and accounts, for the reader will find scattered through the notes references to other Sanskrit works, including other Purāṇas, the Ramayana, the Vedas, the Sürya Upanişad, etc. 1 See above, p. 22. * Mahabharata, 3. 3. 15-79. 3 Markandeya Purana, 107-110; cf. Pargiter's translation, p. 572-587. Vişnu Purana, 2.8-11; cf. Wilson's translation, vol. 2, p. 237-298. INTRODUCTION 87 EPITHETS OF SURYA In every stanza save one¹ of the Süryaśataka, Sürya is mentioned under some one of his many epithets. These epithets are most frequently descriptive of the beauty or power of his rays, or of his ability to bring heat and the daylight; less often, they refer to his function as stimulator and maintainer of the universe, to his ruddy color, his seven steeds, his overlordship of the planets, etc. I append a full list, as follows, including adjectives derived from the epithets proper. Epithets of Sürya containing reference to his rays. Candārcis (40), Candāmśu (78), Caṇḍabhānu (79), Candarocis (12), Tigmarocis (4), Tigmabhānu (18), Tivrabhānu (5, 11, 69), Tikṣṇatviş (26), Tikṣṇabhānu (42), Gharmāmśu (6), Gharmatvis (15), Kharāmśu (8, 41), Uṣṇatvis (23), Taptāmśu (82), Ahimāmśu (37), Ahimaruci (71), Aśiśiramahas (43), Asisirakirana (72), Sītetarāmśu (56), which all mean 'Hot-rayed One.' To this group may be added Diptāmśu (9, 75, 94), which means 'Flashing-rayed One.' In close relationship to the above are Amśumat (67, 90), which signifies 'Ray-possessor'; Sahasratviş (17), Daśaśataruci (52), Daśasatabhişu (100), all meaning 'Thousand-rayed'; Bhāsām Isa (73), 'Lord of Rays'; and Arciṣām Akara (93), 'Mine of Rays.' Epithets of Surya as the maker of day. Dinakara (10), Dinakṛt (70, 89), Divasakṛt (36), which mean 'Maker of Day'; Divasasyaikahetu (95), meaning 'Sole Cause of Day'; Dinapati (20, 22, 38), Divasapati (57, 66), Ahnam Pati (92), Aharpati (25), signifying 'Lord of Day'; and Hetur Ahnam (97), 'Cause of Days.' Epithets of Sürya as the bringer of heat and light. Arka (28, 30, 31, 34, 35, 49, 83, 85, 86), the adjectives Tapana (19) and Tapani (47), which signify 'Shining One' or 'Heater'; Bhaskara (2), and the adjective Vaibhākarī (33), meaning Maker of Light' or 'Maker of Splendor'; Dhamadhipa (54), 'Lord of 1 In stanza 51, Aruna, Surya's charioteer, takes the place of his master. 88 THE SŪRYAŚATAKA OF MAYŪRA Light'; Bhäsvat (21, 60, 63, 88), 'Possessor of Light'; Bhanu (13), and the adjective Bhānaviya, 'Splendor'; and Timiraripu (16), 'Foe of Darkness.' Epithets of Sürya as the maintainer and stimulator of the universe. These include only Savitar (27, 29, 62), and the adjective Savitra (64), signifying 'Stimulator' or 'Vivifier'; and Puşan (53, 58, 61, 74), meaning 'Prosperer.' Miscellaneous epithets of Sürya. Bradhna (3, 24, 32, 46, 65, 80), signifying, perhaps, 'Ruddy' or 'Yellowish'; Patanga (23), and the adjective Patanga (44), perhaps from roots pat and gam, meaning 'He who goes flying'; Ravi (59, 68, 77, 81, 96), possibly signifying 'Ruddy One'; Mārtanda (14) and the adjective Märtandiya (76), said to be from maritam andam, 'destroyed egg' (cf. Süryaśataka, stanza 14, note 2); Ina (97), and the adjective Aini (39), signifying Master' or 'Mighty'; Grahagramani (98), 'Lord of the Planets'; Eka (99), 'the One'; Saptasapti (45), 'Possessor of Seven Steeds'; Asamahari (48), 'Possessor of Matchless Steeds'; the adjective Häridaśva (7), 'Possessor of Tawny Steeds'; Aryaman (63, 84), seemingly connected with arya, 'Favorable' or 'Master'; Aditya (90), 'Son of Aditi'; and last, Sürya (50, 87, 89, 91, 99, 101), and the adjective Saura (55). Of the hundred and eight names of Sürya given in the Mahabharata (3. 3. 16-28), only the following eight appear in the stanzas of the Süryaśataka: Sürya, Aryaman, Püşan, Arka, Savitar, Ravi, Diptāmśu and Bhanu. But of the list, containing seventy-two names of Sürya, given by Hemacandra in his Abhidhānacintamani (95-98),¹ 20 can be paralleled in Mayūra's poem; viz. Aditya, Savitar, Aryaman, Kharāmśu, Ravi, Mārtaṇḍa, Bhānu, Surya, Arka, Püşan, Patanga, Tapana, Bradhna, Saptasapti, Dinakara, Vibhākara, Bhāskara, Ina, Haridaśva and Bhasvat. ¹ Edited by Sivadatta and Parab, in part 3, no. 6, of their AbhidhānaSangraha, Bombay, 1896. In this connection, see also J. Burgess, Miscellanea, in IA, 33, p. 63, where a long list of Sürya's names has been collected, including those found in the Mahabharata (3.3. 16-28) and those in the Abhidhanacintamani. INTRODUCTION 89 STYLE The riti, or 'style,' of the Suryaśataka is the Gaudi, which is characterized by strength (ojas) and grace (känti), and abounds in compounds and alliteration (anuprāsa).¹ A perusal of the poem shows that it meets these required conditions. The compounds are evident to even the casual observer, and that the language is vigorous, and yet at the same time graceful, no careful student will deny. A list of the more noteworthy cases of alliteration is given in one of the following paragraphs (p. 91). Furthermore, according to Dandin,2 the Gaudi style is apt to affect obscure words that need to be explained etymologically, as e.g. abjanman, 'water-born,' meaning 'lotus.' The Süryaśataka contains many such words; compare, e. g., the epithets of Surya, ahimamśu (stanza 37), aśiśiramahas (stanza 43), ahimaruci (71), and aśiśirakirana (72), which all mean 'he whose ray is not cold'; see also ambhoruha (3), 'water-growing,' for 'lotus'; vişadhara (47), 'poison-bearer,' for 'snake'; hemādri (49), 'golden mountain,' for 'Mt. Meru'; pathyetarāni (60), 'things other than wholesome,' for 'troubles'; kṣmabhṛtaḥ (87), 'earthbearers,' for 'mountains'; and so on-very many instances might be given. Still another characteristic of this riti iş the running together of harsh-sounding syllables, and illustrations of this are seen in Süryaśataka, stanzas 6 and 98. Besides, the Sahityadarpana says that the Gaudi style is adambara, resonant arrangement (of words),' as though it were, as Regnaud puts it," 'le tambour [adambara] de la poésie,' and this quality of it is exemplified in stanzas 33, 36 and 70 of the Süryaśataka, where there is a noticeable prevalence of bh, dy and nd sounds respectively. 6 ¹ For these characteristics of the Gaudi style, see P. Regnaud, Rhétorique Sanskrite, p. 253-255, Paris, 1884; also L. H. Gray, Vasavadatta, introd., p. 16, and the references cited there. 2 Dandin's Kavyadarśa (ed. O. Böhtlingk, Leipzig, 1890), 1.46. 8 See Kavyadarśa, 1. 72. See Sahityadarpana (ed. Jivananda Vidyāsāgara, Calcutta, 1895), 9. 627. 5 Regnaud, Rhétorique Sanskrite, p. 255. THE SŪRYASATAKA OF MAYURA RHETORICAL DEVICES In addition to the asis or 'benediction,' already mentioned as a characteristic of each stanza,¹ I have noted in the Süryaśataka instances of the following figures or devices. 90 First, the rupaka. This is among the most elementary and oldest devices, and is of more or less frequent occurrence in most of the so-called classical Sanskrit works. It corresponds most nearly to our 'metaphor.' As examples of one of the most common types, there may be cited from the Süryaśataka such compounds as īkṣaṇakamalavanam (stanza 58), 'the lotus-cluster of thine eyes'; khuramusalāḥ (stanza 61), 'with club-like hoofs'; dhaḥstambhe (stanza 67), 'pillar-shaped axle-pin'; bahulatamatamaḥpańka (stanza 79), 'very thick pitchy darkness.' Another elementary device is the dipaka, or 'illuminator,' which is said to exist when one noun is found as subject, or object, etc., of many verbs, or when one verb is connected with many nouns in the same case or construction.³ As examples from the Süryaśataka, take stanza 37, where the dawn-splendor of the Hot-rayed (Sürya). . . is inferred to be near, because of the drying up of the moonstones, the dimness of the stars, . . . and the withering of the plants'; or stanza 81, where 'Ravi (Surya) is praised by the Siddhas, by the gods, . by the Cāraṇas, ... by the Gandharvas, by the Serpents, ... by the Yātudhānas, ... by the Sadhyas, ... by the Rsis, . and by the emancipated.' The śleşa, 'pun' or 'paronomasia,' is of very frequent occurrence in the Süryaśataka. In some stanzas only a single word ¹ See above, p. 83. For a definition of the afis, see Kavyādarśa, 2. 357. 2 Johannes Nobel, Beiträge sur älteren Geschichte des Alamkāraśāstra (Berlin, 1911), p. 9, groups the rapaka, dipaka, yamaka and upama as among the earliest devices. See also Kavyaprakaśa, 10.6 (92-93), or in the edition of Jhalakikara, p. 718. 3 See Nobel, as cited in preceding note; and Kavyaprakāśa, 10. 15 (103), or in the edition of Jhalakikara, p. 775. On the fleşa, see Kavyaprakaśa, 9.4 (84), or Jhalakikara's edition, p. 615; Kavyadarśa, 2.310 and 2. 363; Vāmana's Kavyalamkārasütrani (ed. Durgaprasad and Parab, Bombay, 1889), 3. 2.4; and references cited by Gray, Vasavadattā, introd., p. 17. For Vamana's date (eighth or ninth century A.D.), see G. A. Jacob, Notes on Alankara Literature, in JRAS, new series, vol. 29 (1897), p. 288. INTRODUCTION 91 may be found capable of a double rendering; in others, a number of words, and occasionally practically the whole stanza may be translated in two ways. The more noteworthy instances in the Süryaśataka of this form of rhetorical embellishment occur in stanzas 4, 9, 10, 15, 18, 20, 24, 25, 28, 32, 35, 42, 47, 52, 53, 64, 68, 72, 79, 92, 93. In my translation of the śleșas, the two English words that translate a single Sanskrit word are indicated by their inclusion between the symbols < >; and if a second Sanskrit word in the same pada is also capable of a double rendering, the two English words by which it is translated are inclosed by the same symbol doubled, viz. < >; similarly, < is indicative of a third śleşa, << >> of a fourth, and so on. ślesa, the following may be cited from Süryašataka:As an example of stanza 25 of the 'The light of the Lord of Day also , Whereas Guha .' Here the Sanskrit word lilaya is rendered by and ; kurvāṇo . . . adhaḥ śikhinam by > and ; and lasaccandrakāntāvabhāsam by and . The anuprāsa,¹ 'alliteration,' is also of common occurrence in the Süryaśataka. See especially stanza 6, where the letter gh occurs 23 times, and stanzas 12 (c, 26 times), 33 (bh, 29 times), 36 (dy, 20 times), 94 (d, 25 times, and s, 27 times), and 98 (g, 25 times). Closely connected with anuprāsa is yamaka, 'assonance,' described by Dr. Gray as 'repetition' or 'chiming.' It consists in 1 For anuprasa, cf. Kavyaprakaśa, 9.2 (78), or p. 597-599 of Jhalakikara's edition; Kävyādarśa, 1. 55-59; Kavyalamkārasātrāṇi, 4. 1.8; and the references cited by Gray, Vasavadatta, introd., p. 23. For yamaka, see Kavyaprakasa, 9.3 (82), or p. 605 of Jhalakikara's edition; Kavyadarśa, 1.61; Kavyalamkārasütrani, 4. 1.1; and the references cited by Gray, Vasavadatta, introd., p. 20. THE SURYAŚATAKA OF MAYŪRA placing in juxtaposition words or syllables similar in sound but different in meaning. Scarcely a stanza of the Süryaśataka but has instances of the occurrence of this form of literary adornment. For example, see stanza 71:92 cakri cakrarapańktim harir api ca harin dhûrjațir dhurdhvajāntan akşam nakşatranātho 'runam api varuṇaḥ kübaragram kuberaḥ As other good examples, stanzas 81 and 94 may be cited; and note especially also the exaggerated yamaka in stanza 38, where the first two and the last three syllables of each päda are repeated. Another device that is far from uncommon in this poem of Mayūra is utprekṣā,¹ 'poetic fancy'-the imagining of one object in the guise of another. It is usually indicated by the presence, in the text, of an iva, 'as if.' Without attempting to make an exhaustive list, I have noted examples of utprekṣā in stanzas 1, 2, 3, 5, 14, 15, 16, 22, 24, 25, 42, 49, 52, 54, 55, 63, 68, 72, 74, 79. An instance may be cited from stanza 5, as follows:pakşacchedavranasṛksruta iva drşado darśayan prataradrer 'causing the rocks of the Dawn Mountain to appear as if streaming with blood from the wounds [caused by] the cutting off of its wings.' Here the streaming red light of dawn, flooding the sides of Mt. Meru, is imagined to be the blood of the wound resulting from Indra's amputation of the wings of the mountain. The figure called vyatireka, 'contrast or distinction '-the placing of two objects in antithesis and the noting of the difference between them-is found in stanzas 21 and 23 of the Süryaśataka, and there is also an implied vyatireka in stanza 43. Dandin, in the Kävyādarśa (2. 180), defines vyatireka as follows:śabdopătte pratite vä sädṛśye vastunor dvayoḥ tatra yad bhedakathanam vyatirekaḥ sa kathyate ¹ On utprekşd, see Kavyaprakaśa, 10.4 (91), or edition of Jhalakīkara, p. 707-712; Kävyādarśa, 2. 221–234; Kavyālaṇıkārasūtrāṇi, 4. 3. 32. Other authorities are cited by Gray, Vasavadatta, introd., p. 19. 2 For comment on and definition of vyatircka, cf. Anandavardhana's Dhvanyaloka, 2. 23-24 (ed. Durgaprasad and Parab, p. 91-92, Bombay, 1891); Jacobi's translation of the Dhvanyaloka, in ZDMG, 56. 613-614; Kavyadarśa, 2. 180; Kavyalamkārasütrāņi, 4. 3. 22; Kavyaprakaśa, 10. 17 (104), or ed. of Jhalakîkara, p. 783. INTRODUCTION 93 This Böhtlingk, in his edition of the Kavyādarśa (Leipzig, 1890), renders as: 'Wenn bei der ausgesprochenen oder bekannten Gleichheit zweier Dinge ihr Unterschied angegeben wird, so nennt man dieses Vyatireka.' In stanza 21 of the Süryaśataka, Surya, as the eye of the world, is placed in antithesis to an ordinary eye, and stanza 23 notes the distinction between a lamp-wick and Surya's splendor. In stanza 43, there is drawn, by implication, a distinction between the goddess Sri and the śri (splendor) of Surya. There are also found in the Süryaśataka examples of the figure virodha,¹ 'apparent contradiction,' which consists in representing as antithetical objects which are really not so. The incongruity is often merely verbal, depending at times on a śleşa. The presence of the figure is often denoted by api, 'although.' As an example, see Süryaśataka, stanza 80, where the disk of Sürya is placed in antithesis to the eye of Siva:cakşur dakşadviso yan na tu dahati puraḥ parayaty eva kamam '[Surya's disk], which, [although it is] the eye of (Siva), Foe of Dakşa, does not burn [standing] before [it], but verily fulfils < desire >.' Other examples of virodha occur in this same stanza 80, and also in stanza 86. See the notes to those two stanzas. So far as I have noted, only a single instance of the käkākṣigolakanyaya, or 'maxim of the crow's eyeball,' occurs in the Süryaśataka-in stanza 57. This figure, to quote Apte, 'takes its origin from the supposition that the crow has but one eye, and that it can move it, as occasion requires, from the socket on one side into that of the other.' It consists in allowing a word which appears but once in a clause or sentence to be translated twice-both times with the same meaning. It is thus different from the śleșa, where the word that is rendered twice always has two different meanings. In stanza 57 of the Süryaśataka, ¹ On the virodha, see Kavyaprakaśa, 10. 23 (109-110), or ed. of Jhalakikara, p. 807-808; Kavyadarśa, 2. 333-339; Kävyālamkārasūtrāṇi, 43. 12; Gray, Vasavadatta, introd., p. 18; Apte, Skt.-Engl. Dict. s.v. virodha. 2 Apte, Skt.-Engl. Dict. s.v. nyaya; a number of the popular maxims, including the käkākşigolakanyāya, are there grouped and explained. 94 THE SŪRYASATAKA OF MAYŪRA the word sapta, 'seven,' though occurring but once, must be rendered twice, first as a modifier of aśvan, 'horses,' and again as a modifier of kakṣaḥ, 'apartments.' There is also in the Süryaśataka at least one instance of the rhetorical figure tulyayogita, 'grouping together of similar things,' or, as described by Apte,¹ 'the combination of several objects having the same attribute.' In stanza 94 this figure is exemplified by the phrase sädridyūrvīnadīśā daśa diśo, 'the ten quarters, with the mountains, sky, earth and oceans.' Last, but by no means least, either in interest or importance, among the rhetorical figures which I have noted in the Süryafataka, is the upama,' or 'simile.' It exists in our poem in considerable numbers. Some of the instances, such as the 'drama' simile (stanza 50), the simile of the 'painter's brush' (stanza 26), of the 'antidote' (stanza 31), of the garden and trench' (stanza 34), of the 'thirsty man' (stanza 14), are quite elaborate, and are discussed in the notes to the stanzas where they occur. Others, not so elaborate, but still worthy of notice, will be found in stanzas 4, 15, 38, 49, 52, 54, 55, 57, 74, 79, 82. There are, besides, many of minor import which I have not attempted to list. Before leaving this topic of the rhetorical devices, I would say that I have by no means attempted to give an all-inclusive list of those that grace the stanzas of the Süryaśataka, but have merely appended instances of the occurrence of some of the more familiar ones, or of such as have been pointed out by the commentator, or otherwise called to my attention. I frankly confess that I do not readily recognize many of the more obscure ¹ Apte, Skt.-Engl. Dict. s.v. tulyayogita. For other definitions and examples, cf. Kavyddarśa, 2. 330-331; Sahityadarpana (ed. Jīvānanda Vidyāsāgara, Calcutta, 1895), 10. 695; Kävyaprakaśa, 10. 16 (104), or ed. of Jhalakīkara, p. 780; Kavyalamkarasatrani, 4. 3. 26; and especially the admirable monograph of Johannes Nobel, Beiträge zur älteren Geschichte des Alamkarasastra, p. 25-31, Berlin, 1911. 2 Nobel, Beiträge etc., p. 9, states that the upama is one of the oldest rhetorical devices, being mentioned by Bharata, Nāṭyaśāstra (16.41), along with the dipaka, rüpaka and yamaka; see also Kavyaprakāśa, 10. 1 (87), or edition of Jhalakikara, p. 653. INTRODUCTION 95 alamkāras, and subdivisions of the alamkāras, that are set forth, with characteristic Hindu fondness for detail, on the pages of the Sanskrit works dealing with this subject. I have not attempted an exhaustive treatment or discussion, because it seems to me that such would fall rather within the province of a specialist in this department of Sanskrit studies. VEDICISMS Bernheimer, by way of comment on vibhavatu (stanza 33), points out that the use of bha in the active, with prefix vi, is almost exclusively Vedic.¹ The combination of final and initial vowels in caturaṛcām (stanza 40), instead of the more usual caturarcam, is also Vedic,³ and is doubtless employed to meet the requirements of the meter. The indeclinable particle sam, prosperity,' found in stanza 94, is common in the Veda, but rare in the later language.* To these there may also be added the rather extensive use-21 instances of the imperative in -tät. This has been discussed below among the Grammatica Notabiliora, where it is shown that such forms are not of uncommon occurrence in the Vedic literature, though rare in the so-called classical period. GRAMMATICA NOTABILIORA In the notes to each stanza I have called attention to whatever might seem of interest to students of Sanskrit grammar, but for convenience my findings in this line will be grouped together here. In case-constructions I have noted, as possibly worthy of mention, the instrumental of qualification without preposition, apaghanair and kamdharärdhäir (stanzas 6 and 48 respectively; 1 Carlo Bernheimer, Il Saryaśatakam di Mayūra, p. 19, footnote 1, Livorno, 1905. His comment is: 'Si noti l'uso quasi esclusivamente vedico di bha attivo con vi.' * See Whitney, Skt. Grammar, 127, a. See Monier-Williams, Skt.-Engl. Dict. s.v. fam. See below, p. 96. 96 THE SŪRYAŚATAKA OF MAYŪRA cf. bhayacakitadṛśa in Caṇḍiśataka, stanza 100), the genitive of agent with gamya (stanza 23; cf. Candiśataka, stanza 42), the locative (daviyasi) to express the limit of motion (stanza 22), the locative (cakre tṛṣṇām) to express the object of a feeling (stanza 59), the avyayibhava compound adhijaladhi (stanza 88), and the locative absolute with an adverb-usually yatra-forming one member (stanzas 20, 76, 83, 85, 88, 95). There is also the accusative alim (stanza 38), apparently used as a sort of object of the peculiar alīḍhapūrva. Among the verb forms may be noted the combination vitaratitarām (stanza 28), in which the comparative suffix is added to a personal form of a verb; śuska (stanza 83), 'dried,' used with the force of a participle; and the imperative in -tät. This lastnamed form is said by Whitney¹ to be of rather rare occurrence in the later language, but there are 21 instances of it in the Suryaśataka, and 17 in the Candiśataka. In the Süryaśataka the commonest example is stāt, 'may it be,' which occurs in stanzas 5, 16, 21, 27, 35, 51, 70, 78, 87 (v. 1. syāt), 93. The other cases are: avatāt (stanzas 30, 59, 71, 83, 85, 99), upanayatāt (stanza 26), apaharatät (stanza 31), upacinutat (stanza 40), vyasyatāt (stanza 48), and punītät (stanza 76). There is also the imperative jahihi (stanza 59; cf. Canḍiśataka, stanza 34) with short penult, a form allowed by the grammarians and doubtless used here to fit the meter; and the denominative participles, vetrayamāṇāḥ (stanza 11), sūtradhārāyamāṇaḥ (stanza 50), and padmarāgāyamāṇaḥ (stanza 56). To the above list I would add also the double negatives (stanzas 23, 38, 59, 87); the absence of ya as correlative to sa (stanzas 33 and 98); the absence of sa correlative to ya (stanza 24; cf. Candiśataka, stanza 9); the adverb rucimat (28)-an adverb with suffix -mat being, seemingly, a rare occurrence³; the long compounds gadyapadyavyatikaritavacohṛdyam (36) and akṣuṇṇahemopalapaṭalam (44), used as adverbs; the compound alīḍhapūrva (38), the -purva having the force of an adverb; 1 See Whitney, Skt. Grammar, 570, b; and see also p. 84, note 2. * Whitney, Skt. Grammar, 1235, e. 97 and neträhinena (72), an example of the sakapārthiva compound a species of compound that omits its middle member. INTRODUCTION METER The meter of the Süryaśataka is the sragdhara, in which are also composed some of the stanzas of the Mayurāṣṭaka and a number of the anthology stanzas attributed to Mayura. It consists of 21 syllables, with caesural pauses after every seventh syllable, the scheme being as follows:---।-~।-॥~ ~ ~ ~ ~ ~-॥-।-- ।~ - This is not among the most widely-used meters,¹ although employed by Mayūra in the Süryaśataka, and by Bāṇa in the Candidataka. Kālidāsa has occasional recourse to it, as for example in the Sakuntală, act 1, stanzas I and 7, and in the Malavikāgnimitra, act I, stanza 1, and act 2, stanza 12. Bhartṛhari also employs it 22 times in his three śatakas, as noted by Dr. Louis H. Gray, in his article The Metres of Bhartrihari, appearing in JAOS, vol. 20, first half (1899), p. 157-159. For comment on, and discussion of the sragdhară, see the article La metrica degli Indi, parte 2, La poesia profana, by A. Ballini, published in Pulle's Studi Italiani di Filologia IndoIranica, vol. 8, puntata 1 a, 2 a, 3 a, Firenze, 1909, 1910, 1912; especially puntata 3 a, p. 132. See also Pingala's Chandaḥśāstra, 7. 24 (in the edition by Kedāranātha and Paṇashikar, Bombay, 1908, in the Kävyamālā Series), and Albrecht Weber's monograph Ueber die Metrik der Inder, published in Indische Studien, vol. 8, especially p. 400-401, Berlin, 1863. In the Suryaśataka I have not noted any metrical irregularities in the text of Durgaprasãd and Parab's second edition, which I have adopted as the standard. Bühler (IA, vol. I, p. 115, footnote) and Max Müller (India: What Can It Teach Us?, p. 330, note 3) are wrong in stating that the meter of the Süryaśataka is fardulavikriḍita. 1 For a list of the occurrences of the sragdhard meter in the principal works of classical Sanskrit poetry, see Kühnau, Metrische Sammlungen aus Stensler's Nachlass, in ZDMG, vol. 44 (1890), p. 1-82, especially p. 82. 8 THE SŪRYAŚATAKA OF MAYŪRA SANSKRIT WORKS THAT QUOTE THE SŪRYAŚATAKA As indicated in the notes to the various stanzas, I have discovered quotations from the Süryaśataka in the following Sanskrit works which belong, for the most part, to the alamkāra literature. The Dhvanyaloka of Anandavardhana (855-884 A.D.)¹ cites stanza 9 as exhibiting a type of śleșa,³ and stanza 23 as an illustration of the rhetorical figure called vyatireka.³ 98 The Kavikanthabharaṇa of Kṣemendra (1025-1075 A.D.)* cites stanza 18 as an example of a bit of poetry that contains faults as well as excellences.5 The Kavyaprakāśa of Mammaṭa and Allața (1050-1100 A.D.)* quotes stanza 6, seemingly as an illustration of harshness in sound, where harshness is neither a fault nor an excellence, and stanza 71 as an example of a stanza wherein facts are distorted in order to effect a desired alliteration.8 The Ganaratnamahodadhi (2. 149) of Vardhamāna (1140 A.D.) quotes the first pada of stanza 79 to illustrate the use of the dyu stem (for div), signifying 'sky.' 1 For the date of the Dhvanyaloka, see G. A. Jacob, Notes on Alańkāra Literature, in JRAS, new series, vol. 29 (1897), p. 289; Duff, Chronology, p. 77; Krishnamacharya, Skt. Literature, p. 162. 2 The Dhvanyaloka, 2.25-26; cf. ed. by Durgaprasād and Parab, p. 99, Bombay, 1891. See also Jacobi's translation of the Dhvanyaloka, in ZDMG, vol. 56 (1902), p. 764. 8 The Dhvanyaloka, 2. 23-24; cf. Parab's ed., p. 92; and Jacobi's translation in ZDMG, 56. 613-614. For the date of the Kavikaṇṭhābharaṇa, see J. Schönberg, Kşemendra's Kavikanthabharaṇa, in Sitzungsb. Phil.-Hist. Classe der kais. Akad. der Wissensch., vol. 106, p. 477, Wien, 1884; cf. Bühler, Kaśmir, an Account of some MSS, in JBRAS, vol. 12 (extra number, 1877), p. 46. 5 The Kavikanthabharana, 4. 1. 11; cf. ed. by Durgaprasãd and Parab, in Kävyamālā, part 4, p. 133, Bombay, 1887. For the date of the Kavyaprakaśa, see above, p. 30, note 2. 7 The Kavyaprakaśa, 7, stanza 301; cf. edition of Jhalakīkara, p. 507. 8 The Kavyaprakaśa, 10, stanza 580; cf. edition of Jhalakīkara, p. 938. See J. Eggeling's edition of the Ganaratnamahodadhi, part 1, p. 185, London, 1879. For the date of the Ganaratnamahodadhi see G. A. Jacob, 99 The Rasikajivana of Gadadhara, an alamkāra work in 10 books (prabandhas), of the 17th century, cites stanzas I and 2, but in what connection I have been unable to determine, since no complete copy of the text of that work has been published, so far, at least, as I have been able to learn.¹ Stanzas I and 2 of the Süryaśataka are also cited in Särngadhara's anthology, the Paddhati (1363 A.D.).² The Suryaśataka is also said to be quoted in the Ţikasarvasva, Sarvananda's commentary on the Namalinganuśasana of Amarasimha, which is dated by M. S. Sastri as 1417-1431 A.D.³ The Kavindravacanasamuccaya (stanza 53), an anthology of unknown authorship, consisting of 525 stanzas, and dated earlier than 1200 A.D., cites Süryaśataka, stanza 34, in its chapter entitled Suryavrajyā.* And Thomas authorizes the statement that stanzas 19, 42 and 71 of the Süryaśataka are cited by Ujjvaladatta, on Uṇādisutra (Aufrecht's edition, p. 19), 4, 51, 4. 233, and 4. 213 respectively." Among the modern anthologies, it should be noted that the Subhāṣitaratnabhāṇḍāgāra quotes stanzas 1, 2 and 6 of the SüryaNotes on Alankara Literature, in JRAS, new series, vol. 29 (1897), p. 300; cf. T. Zachariae, Die indischen Wörterbücher (in Bühler's Grundriss der Indo-Arischen Philologie), p. 21, Strassburg, 1897. 1 The Rasikajivana exists in several manuscripts, which ascribe it to Gadādhara; cf. Aufrecht, Catalogus Catalogorum, vol. 1, p. 497, and vol. 2, p. 116; Bühler, Two Lists of Skt. MSS, in ZDMG, vol. 42 (1888), p. 554. The first 46 stanzas of the first book of the Rasikajīvana have been edited, from manuscript no. 217 of the collection in the Bibliothèque Nationale in Paris, by P. Regnaud, and published by him, under the title Stances Sanskrites Inédites, in Annuaire de la Faculté des Lettres de Lyon, fascicule 2, p. 201-223, Paris, 1884. Stanza I of the Süryaśataka appears as stanza 32 of the first book of the Rasikajivana, and stanza 2 as stanza 31 of the same book. Regnaud, in the introduction, states that the Rasikajivana is an anthology and consists of 11 prabandhas. Aufrecht (loc. cit.) states that Gadadhara's work is an alamkāra consisting of 10 prabandhas. 2 See Peterson's edition of the Paddhati, nos. 137 and 138. For the date of the Paddhati, see Aufrecht in ZDMG, vol. 27, p. 2. See M. S. Sastri, Report on a Search for Sanskrit and Tamil Manuscripts for the Year 1893-1894, no. 2, p. 23, 24, 32 (no. 184), Madras, 1899. 4 See Thomas's edition of the Kavindravacanasamuccaya, p. 18, and introd., p. 1-5 and 67. 5 See Thomas, Kavindravacanasamuccaya, introd., p. 68. INTRODUCTION THE SŪRYAŚATAKA OF MAYŪRA śataka, but that no citation from Mayūra's writings seems to be found in Böhtlingk's Indische Sprüche (2d ed., St. Petersburg, 1870-1873). Among the grammatical works; I have noted that the Durghatavṛtti of Saraṇadeva cites portions of stanzas 2, 3, 25 and 52 of the Suryaśataka, in connection with comment on certain grammatical peculiarities recorded by Panini. These citations have been discussed in the notes to the stanzas where they occur. As regards lexicographical works, it may be noted that odd or unusual meanings and uses of certain words employed by Mayura have caught the attention of more than one investigator. For example, see Theodor Zachariae, Der Anekarthasamgraha des Hemachandra, herausgegeben mit Auszügen aus dem Commentare des Mahendra (published by the Vienna Akademie der Wissenschaften as Band 1 of the series entitled Quellenwerke der altindischen Lexikographie, Wien and Bombay, 1893), where are given Mahendra's comments on the following words of the Suryaśataka: stanza 1 of the Süryaśataka, the word jambha (see page 47 of the commentary, in Zachariae's volume); stanza 2, kalya and bhāskara (p. 53 and 143); stanza 4, yathā (p. 193); stanza 6, argha, ghrāṇa, ghṛṇā, ghṛṇi, gharma (p. 12, 24, 49); stanza 8, khara (p. 61); stanza 9, go (p. 3); stanza 71, akşa, kübara (p. 79 and 139). See also Theodor Zachariae, Der Mankhakośa (published as Band 3 of the series cited in the preceding paragraph, Wien and Bombay, 1897), the commentary on which cites the following words from Mayura's poem: Süryaśataka, stanza 1, the words bhānu, jambha, udaya (see pages 59, 76, 91 of the commentary, in Zachariae's edition); stanza 2, kroḍa (p. 24); stanza 3, garbha (p. 75); stanza 4, vita (p. 36); stanza 8, udgaḍha (p. 25); stanza II, rãi (p. 94); stanza 12, prac (p. 16); stanza 23, varti (p. 37); stanza 36, gandharva (p. 75); stanza 37, vāna (p. 60); stanza 71, dhur (p. 95). 100 1 See Subhasitaratnabhāṇḍāgāra, p. 40, stanza 11; p. 41, stanzas 12 and 16. The Durghatavrtti was composed in 1172 A.D.; see the edition by T. Ganapati Sāstrī, in the Trivandrum Sanskrit Series, preface, p. 2, Trivandrum, 1909. . INTRODUCTION IOI To the above may be added the word udghatanam (Süryaśataka, stanza 2), cited on page 134, line 8, of Der Dhatupatha des Hemachandra, edited by Joh. Kirste, and published as Band 4 of the series entitled Quellenwerke der altindischen Lexikographie (see second paragraph preceding), Wien and Bombay, 1901. MANUSCRIPTS OF THE SURYAŚATAKA Aufrecht, in his Catalogus Catalogorum (vol. 1, p. 732; vol. 2, p. 175; vol. 3, p. 150), has listed 33 references to manuscripts of the Suryaśataka-or Mayuraśataka, as some of the manuscripts call it and I have been able to add 6 other manuscripts that are mentioned in catalogues issued subsequently to the Catalogus, or else were omitted by Aufrecht.¹ These 6 are as follows. A Sanskrit manuscript listed by Cecil Bendall, in his Catalogue of the Sanskrit Manuscripts in the British Museum, p. 100-101, no. 257, London, 1902; this is accompanied by a verbal explanation, in Sinhalese, by Parakramabāhu Vilgam-mūla. A manuscript listed by M. Rangācārya in A Descriptive Catalogue of the Skt. MSS in the Government Oriental MSS Library, Madras, vol. 5, p. 2135, no. 2886, Madras, 1909. This manuscript is described simply by the title Süryaśataka, without mention of the author's name. I have taken it for granted that Mayūra's Suryaśataka is meant. A manuscript listed by H. Sastri and S. C. Gui in A Descriptive Catalogue of Skt. MSS in the Library of the Calcutta Sanskrit College, vol. 6, p. 108, no. 159, Calcutta, 1903. A manuscript listed by Winternitz and Keith in their Catalogue of Skt. MSS in the Bodleian Library, vol. 2, p. 178, no. 1257, Oxford, 1905. It is accompanied by a Sinhalese commentary. Two manuscripts which Aufrecht has not included-perhaps purposely in his Catalogus. They are listed by William Taylor, 1 Two of the manuscripts listed by Aufrecht have been described in subsequent catalogues; Hultzsch 90 (Cat. Cat., vol. 1) in Winternitz and Keith, Catalogue of Skt. MSS in the Bodleian Library, vol. 2, p. 178, no. 1256, Oxford, 1905; and Oxf., p. 348 b (Cat. Cat., vol. 1) in Keith's Appendix to Vol. 1 (Aufrecht's Catalogue), p. 103, no. 819, Oxford, 1909. THE SŪRYASATAKA OF MAYŪRA Catalogue Raisonné of Oriental MSS in the Government Library, vol. 2, p. 212 and 370, Madras, 1860. The one mentioned on p. 212 is accompanied by the commentary of Gopinātha; the other (p. 370) is described by Taylor as 'Bänuviyam. By Mayura cavi; 100 slocas, complete. Praise of the sun.' Since the subject-matter, and also the number of ślokas, of this Bānuviyam coincide with the subject-matter and number of stanzas of the Süryaśataka, and since the word bhānaviya occurs in stanza I of Mayura's poem, it seems almost certain that we have here a manuscript of the Suryaśataka. Hence my inclusion of it in this list. However, I would add that I have been unable to determine whether Taylor's Catalogue Raisonné has been supplemented, or wholly supplanted, by the later and more elaborate Descriptive Catalogue of the Skt. MSS in the Government Oriental MSS Library, Madras. It is worthy of note, in this connection, that Aufrecht, when compiling his Catalogus, used neither vol. 2 nor vol. 3 of Taylor's work, and his opinion of vol. I is not, as was remarked above (p. 63, note 5), very flattering. It may be that these two manuscripts mentioned in Taylor's second volume are the same as the ones Aufrecht (Catalogus Catalogorum, vol. 2, p. 175) lists from the Alphabetical Index of MSS in the Government Oriental MSS Library, Madras, p. 65 and 109, Madras, 1893. I am unable to say whether the three manuscripts used by Durgaprasad and Parab in preparing their edition of the Suryaśataka (second edition, Bombay, 1900), and mentioned by them in the introduction of that volume, are included among those referred to by Aufrecht or enumerated above, but it seems likely that they are. And the same problem faces me in the matter of the manuscript used by Kälīkṛṣṇabahadur when he edited the Suryaśataka in Haeberlin's Kavya-sangraha (Calcutta, 1847.) According to Weber (Indische Studien, vol. I, p. 472, Berlin, 1850), this manuscript included a commentary in Bengali, but in Haeberlin's Kavya-sangraha the commentary has not been edited. 102 INTRODUCTION 103 COMMENTARIES ON THE SŪRYAŚATAKA Aufrecht, in the Catalogus Catalogorum (s. v. Süryaśataka), lists 7 references to manuscripts of anonymous commentaries and 18 references to commentaries by known authors. The following commentators are mentioned by name: Jayamangala, Tribhuvanapāla, Madhusudana, Yajñeśvara, Vallabhadeva, Srirangadeva, Lingaya, Gangadhara Pathaka, Bālambhaṭṭa, Harivamsa, Gopinatha, Anvayamukha, Jagannātha, and Rāmabhaṭṭa. To Aufrecht's list I would add the anonymous Bengali commentary mentioned by Weber (Indische Studien, vol. 1, p. 472); the Sinhalese verbal interpretation by Parākramabāhu Vilgam-mūla (cf. Bendall, Cat. of Skt. MSS in the British Museum, p. 100, no. 257), probably identical with the Sinhalese commentary attached to manuscript no. 1257 of the Bodleian Library (cf. Winternitz and Keith, Cat. of Skt. MSS in the Bodleian Library, vol. 2, p. 178); and the țīkā of Gopinatha, listed by Taylor¹ in his Catalogue Raisonné of Oriental MSS in the Government Library, vol. 2, p. 212. EDITIONS OF THE SŪRYAŚATAKA I have succeeded in finding record of thirteen editions of the Süryaśataka, and there have doubtless been more. These thirteen are as follows. An edition of 1848, or probably much earlier. In a List of Books in the Pali and Singhalese Languages, read Feb. 26, 1848, by the Rev. R. S. Hardy, and published in JCRAS, vol. 1, no. 3 (1848), p. 200, the name 'Suya-satake, Sans [krit]' appears as the title of vol. 441 of the list. Nothing further is said of the work, so it is barely possible that not Mayūra's Süryaśataka, but another composition bearing the same name, is meant. 1 See above (p. 63, note 5), where the question of the reliability of Taylor's work has been discussed. This commentary of Gopinātha is perhaps identical with the commentary of Gopinātha listed in the Alphabetical Index of MSS in the Government Oriental MSS Library, Madras, p. 65, Madras, 1893 (see Aufrecht, Catalogus Catalogorum, vol. 2, p. 175). THE SÜRYASATAKA OF MAYŪRA An edition, without commentary, by Kälīkṛṣṇabahādur, incorporated in John Haeberlin's Kavya-sangraha: A Sanscrit Anthology, p. 197-216, Calcutta, 1847. There is a copy of this work on the shelves of the Harvard University Library. See also Ernst Haas, Cat. of Skt. and Pali Books in the British Museum, p. 41-42, London, 1876; cf. Indische Studien, vol. 1, p. 471-472. 104 Anonymously edited, in both octavo and duodecimo editions, in a Satakavalt comprising the Amaruśataka, the Santiśataka, the Suryaśataka and the three śatakas of Bhartṛhari. In Bengali character, and published at Calcutta, in 1850; cf. Catalogue of the Library of the India Office, vol. 2, part 1, Sanskrit Books, p. 180, London, 1897. An anonymous edition, without commentary, probably edited by its publisher, Bābū Bhuvanacandra Basāk, and published at Calcutta, in 1874. The volume is entitled Süryaśataka by Mayura Bhaṭṭa; cf. Catalogue of the Library of the India Office, vol. 2, part I, p. 214. An edition in Sinhalese characters (with Sinhalese paraphrase of Vilgammüla Mahã Thera) by Don A. de Silva Devarakkhita Batuvantuḍāve, Colombo, 1883; cf. C. Bendall, Cat. of the Skt. MSS in the British Museum, p. 100-101, no. 257, London, 1902; Wickremasinghe, Cat. of the Sinhalese Printed Books in the Library of the British Museum, p. 125, London, 1901; Wickremasinghe, Cat. of the Sinhalese MSS in the British Museum, p. 23, 101, 102, London, 1900; JRAS, new series, vol. 26 (1894), p. 555, and vol. 28 (1896), p. 215-216. An edition by Yajñeśvaraśāstrī. It is mentioned by Bühler (IA, 1. 115, footnote) in 1872 as being then in course of publication. It was to be equipped with a commentary by its editor, and in this regard the editor seems to have fulfilled his intention, for the commentary is mentioned in Aufrecht's Catalogus and in the introduction to the Kāvyamālā edition of the Süryaśataka, and is quoted, as we saw above (p. 26, note 1), in Jhalakîkara's edition of the Kävyaprakāśa. Edited, without commentary, by Jīvānanda Vidyāsāgara, in 105 his Kavya-samgrahaḥ, p. 271-290, second edition, Calcutta, 1886 (cf. Kävyatirtha and Shastri, Catalogue of Printed Books and MSS in Sanskrit belonging to the Oriental Library of the Asiatic Society of Bengal, p. 43-44, 227, Calcutta, 1904). There is a copy of this in the Harvard University Library. The first edition appeared in 1872; cf. Ernst Haas, Cat. of Skt. and Pali Books in the British Museum, p. 42, top. A third edition, in three volumes, appeared in 1888 (Calcutta); cf. OB, vol. 2, no. 766, and vol. 3, no. 3018. Edited, with the commentary of Tribhuvanapāla, by Durgaprasād and Parab, as vol. 19 of the Kävyamālā Series, Bombay, 1889. A second edition, revised, appeared in Bombay in 1900. This last is the one I have used in preparing my translation of the Süryaśataka. INTRODUCTION A partial edition, comprising the first 75 stanzas, without commentary, appeared serially in the Vidyodaya, or Sanskrit Critical Journal, vol. 25 (1896), June-September, published at Calcutta. TRANSLATIONS OF THE SŪRYAŚATAKA I have discovered only three translations of the Süryaśataka. One is a translation into Italian, with introduction and notes, by Doctor Carlo Bernheimer. It is entitled Il Süryaçatakam di Mayura, and was published at Livorno, in 1905. The notes are not very full, and the translation, so far as my poor knowledge of Italian will permit me to judge, is not intended to be a literal one. I have found this volume a help in many stanzas, though I have not always agreed with its renderings. The second is a translation into Telugu verse. It is entitled Andhra-surya-fatakamu, and is described as 'a century of stanzas to the Sun, rendered into Telugu verse from the Sanskrit of Mayura by V. S. Subba-rayuḍu.' It appeared serially in the monthly periodical Saraswati, vol. 1, nos. 1-5, Rajahmundry, 1898; cf. L. D. Barnett, A Catalogue of the Telugu Books in the Library of the British Museum, p. 121, London, 1912. 106 THE SÜRYASATAKA OF MAYŪRA The third is a Sinhalese translation, found, with text and Sinhalese commentary, in a manuscript of the Süryaśataka. The manuscript is now in the Bodleian Library, and is recorded, together with mention of the translation, by Winternitz and Keith, in their Catalogue of the Skt. MSS in the Bodleian Library, vol. 2, p. 178, no. 1257, Oxford, 1905. OTHER SŪRYASATAKAS Besides Mayūra's poem, we have record of five other compositions bearing the name of Süryaśataka. Three of these are listed in Aufrecht's Catalogus Catalogorum (vol. 1, p. 732, and vol. 2, p. 235), one in Taylor's Catalogue Raisonné, and one in Barnett's Catalogue of Telugu Books in the Library of the British Museum. These five are as follows. A Suryaśataka, or hymn to Sürya, composed by Gopālaśarman, surnamed Upasani, who describes himself in the edition of his work as 'First Master of Sanskrit at the Jay Narain College at Benares.' The edition referred to was published at Calcutta in 1871; cf. Ernst Haas, Cat. of Skt. and Pali Books in the British Museum, p. 39, London, 1876; cf. Catalogue of the Library of the India Office, vol. 2, part 1, p. 214, London, 1897. A manuscript of this Suryaśataka is recorded by Gustav Oppert, Lists of Skt. MSS in Private Libraries of Southern India, vol. 2, p. 489, no. 8421, Madras, 1885. A Süryaśataka, or hymn to Sürya, composed by Śrīśvara Vidyalamkāra. A manuscript is recorded by Rajendralāla Mitra, Notices of Skt. MSS, vol. 7, p. 113, no. 2340, Calcutta, 1884. According to Aufrecht (Cat. Cat., vol. I, p. 675), Śrīśvara was still alive in 1884. A Suryaśataka by Raghavendra Sarasvatī, composed in 1593 (cf. Aufrecht, Cat. Cat., vol. 2, p. 220, s. v. Rāghavendra), a manuscript of which is recorded by Peterson in his Catalogue of the Skt. MSS in the Library of His Highness the Maharaja of Ulwar, no. 2438, and Extracts, no. 676, Bombay, 1892. A Süryaśataka by Linga Kavi. A manuscript of this is re107 corded by Taylor, Catalogue Raisonné of Oriental MSS in the Government Library, vol. 2, p. 370, no. 523. Taylor there describes the poem as 100 slocas with a tica: description of the Sun, and praise, as to a deity.'¹ A Süryaśataka in Telugu, composed by K. R. Lachchana. The work is entitled Süryaśatakamu, and consists of 105 verses addressed to the Sun. Meter, kanda. It was published at Madras, in 1897; cf. L. D. Barnett, A Catalogue of the Telugu Books in the Library of the British Museum, p. 96, London, 1912. I have been told that the group of 108 names of Surya, found in Mahābhārata, 3. 3. 16-28, is sometimes called Süryaśataka, but I am inclined to think that this is more commonly known as Süryastotra, the name by which it is called, for example, in Aufrecht's Katalog der Sanskrit-Handschriften der UniversitätsBibliothek zu Leipzig, p. 37, no. 175, Leipzig, 1901. INTRODUCTION ¹ The statements of Taylor must always be accepted with caution (see above, p. 102). It is possible that this is merely the commentary on Mayura's Süryaśataka by Lingaya, as noted in the Alphabetical Index of MSS in the Government Oriental MSS Library, Madras, p. 109, Madras, 1893. THE SŪRYASATAKA OF MAYŪRA TEXT AND TRANSLATION 1 jambhārātībhakumbhodbhavam iva dadhataḥ sāndrasindūrarenum raktāḥ siktā ivāughāir udayagiritaṭīdhātudhārādravasya āyāntyā tulyakālam kamalavanarucevā 'ruṇā vo vibhūtyāi bhūyāsur bhāsayanto bhuvanam abhinavā bhānavo bhānaviyāḥ The new rays of Bhānu (Sürya) bear dense particles of vermilion like that [which] appears on the frontal globes of the elephant of (Indra), Foe of Jambha, And are red as if moistened by floods of the liquid of the stream of metals on the slope of the Mountain of Sunrise, And glow as if with the luster of the clusters of lotus-a luster that appears simultaneously [with the advent of the sun]." May these rays of Bhānu (Sürya), which illumine the earth, exist for your welfare! Notes. 1. This stanza is quoted in the Paddhati of Sarngadhara, 4. 51 (no. 137 of the edition by Peter Peterson, Bombay, 1888; cf. the partial edition by Th. Aufrecht in ZDMG, vol. 27, p. 70); in the Rasikajīvana (book 1, stanza 32), an alamkara Sanskrit work by Gadādhara (cf. Th. Aufrecht, Catalogus Catalogorum, vol. 1, p. 497, and vol. 2, p. 116), partially edited from manuscript no. 217 of the Bibliothèque Nationale de Paris, with French translation, by P. Regnaud, under the title Stances Sanskrites Inédites (published in Annuaire de la Faculté des Lettres de Lyon, fasc. 2, Littérature et Philologie, p. 217, Paris, 1884); and in the modern anthology, Subhasitaratnabhāṇḍāgāra, p. 40, stanza 11 (ed. by K. P. Parab, 3d ed., Bombay, 1891). 2. The painting of elephants for purposes of adornment or display is still in vogue in India. 3. According to the commentary, the 'Foe of Jambha' was Indra, and this is supported by Mahabharata, 12. 98. 49 (Bombay edition, 1862-1863; cf. the translation by P. C. Roy, Calcutta, 1883-1895), where Indra claims the honor of having slain that demon. Indra's elephant was Airāvaņa or 108 THE SURYASATAKA OF MAYURA Airāvata, a product of the famous churning of the ocean; cf. Mahabhārata, 1. 18. 40. For a picture of Indra mounted on Airāvata, cf. Edward Moor, Hindu Pantheon, pl. 46, p. 176, Madras, 1864. 4. The Mountain of Sunrise' (Udaya-giri) was Mt. Meru, from behind which the sun was said to rise. This was a mythical mountain of gold, 84,000 yojanas high, and the central point of all the dvipas. On its summit Viśvakarman, the artificer of the gods, erected a splendid palace, where dwelt the celestials, both devas and asuras. On it were situated the points of the compass, and so, of course, the seats of Indra and of the other seven lokapālas, the guardians of the eight points of the compass. It contained wonderful lakes, and rivers, and forests full of golden-plumaged birds, and the Ganges was said to flow forth from its summit. The sun, moon, winds, and planets revolved about it as a center, and it contained the court of Brahma, the Creator, and was the source of all gems and precious stones. The personified Meru was the father of Menā, and so the grandfather of Parvati (Candi) and father-in-law of Himalaya. Cf. Mahabharata, 1. 17.5-10; 3. 163. 12-33; 6. 6. 10-31; Rāmāyaṇa (Bombay edition by the Lakşmivenkateśvara Press, 1895; cf. ed. by Gaspare Gorresio, Parigi, 1843-1858; French tr. by Alfred Roussel, Paris, 1903), 1. 35. 12-17; 4. 42. 36-46; Markandeya Purana, 45.65; 54; 55; 56 (tr. F. Eden Pargiter, p. 223, 275-283, Calcutta, 1904); Vişnu Purana, 2.2 (tr. H. H. Wilson, London, 1864-1877, vol. 2, p. 109-126). In the Süryaśataka, Mt. Meru is referred to in no less than 27 stanzas, viz., 1, 5, 12, 27, 34, 37, 38, 39, 41, 44, 46, 48, 49, 50, 56, 61, 62, 65, 68, 69, 74, 75, 82, 83, 93, 97, and 98. In a few of these stanzas mention is made of some of the features of Meru as noted in the Epics and Purāṇas; for example, the trees on the summit of Meru are spoken of in stanza 38; its golden composition in stanzas 41 and 82; its crystal, ruby and emerald slopes in stanzas 46, 56 and 65; and its relation to the dvipas in stanza 97. 5. This appears to be the idea of the commentary, which says: 'With Savitar (Sürya) comes the splendor of the clusters of lotuses.' 6. Note the alliteration (anuprāsa) in the 4th päda, and the assonance or chiming (yamaka) in sändrasindūra, raktaḥ sikta, kalam kamala-, etc. Both of these rhetorical figures are exemplified many times in the stanzas of the Saryaśataka, so hereafter only the more noteworthy examples will be called to the reader's attention. The rhetorical figure known as 'Poetic Fancy' (utprekşa), the imagining of one object under the guise of another, is here illustrated by conceiving the red of the sun to be either glowing streams of molten metal, or vermilion, or the reflected luster of the lotus. Other instances of utpreksä are found in stanzas 2, 3, 5, 14, 16, 22, 42, 49, 52, 54, 55, 63, 64, 68, 72, 74, 79. For further explanation and discussion of all these rhetorical figures and devices, and also for the afis, or 'Benediction,' see the Introduction, P. 90. 109 Variae Lectiones. [In the Variae Lectiones, which will be found grouped together after the notes of each stanza, the letter V indicates the readings of the Vidyodayah edition; J, the readings of the edition by Jivananda Vidyasagara; H, those of the edition included in Haeberlin's : 110 THE SŪRYAŚATAKA OF MAYŪRA anthology; B, those of the anonymous edition (presumably, as is not an uncommon practise in India, edited by its publisher, Bäbü Bhuvanacandra Basāk) of Calcutta, 1874, a copy of which was kindly forwarded to America for my use by the India Office; and K, the variants that are given in the footnotes of the Kāvyamālā edition. For further data on these editions see the Introd., p. 104-105. Where variants from other sources are cit the titles of the works in which they occur are usually given in full. The symbols (a), (b), (c), (d) indicate the pädas of each stanza, taken in order.] For the first stanza the variants are as follows: (a) and (b) Rasikajīvana (see note 1) reads -renuraktaḥ. (b) JHBK saktair iväughäir, V saktair ivoghair, Peterson and Parab (see note 1) raktaiḥ sikta ivaughair. (c) Rasikajivana (see note 1) reads apatya tulyakalam. 2 bhaktiprahvāya dātum mukulapuṭakuṭīkotarakroḍalīnām lakṣmīm ākraṣṭukāmā iva kamalavanodghāṭanam kurvate ye kālākārändhakārānanapatitajagatsādhvasadhvamsakalyāḥ kalyāṇam vaḥ kriyāsuḥ kisalayarucayas te karā bhāskarasya The¹ rays of (Sürya), Maker of Light, cause the unfolding of the clusters of lotuses, as if desirous to take away the and the ² That cling to the hollow interior of the cup-like bud [which constitutes] their house-desirous to take away this wealth, in order to bestow it on the [worshiper] prostrated in devotion; [And they also] are able to destroy [any] fear that the universe has fallen into the maw of a darkness that has the guise of Fate, And they possess the beauty of young sprouts. May these rays of (Sürya), Maker of Light, bring about your prosperity! 2. Notes. 1. This stanza is quoted in the Paddhati of Särngadhara, 4.52 (stanza 138 of ed. by Peterson; cf. Aufrecht, ZDMG, vol. 27, p. 70); in the Rasikajīvana, book 1, stanza 31; and in the Subhasitaratnabhaṇḍāgāra, p. 41, stanza 12; for the editions of these works, cf. stanza 1, note I. The yellow rays of the sun, by their superior brightness, dim the luster of the yellow interior of the lotus, and rob it of its splendor (lakşmi). The idea, however, that the interior of a lotus contains wealth, is not real, but rests upon a word pun, Lakşmi-'Wealth' personified-being the appellative of the goddess of good fortune, who appeared at the Churning THE SŪRYASATAKA OF MAYURA of the Ocean, resting on the expanded petals of a lotus; cf. Vişnu Purana, 1.9 (Wilson, vol. I, p. 144-145); Mahabharata, 1. 18. 34-37. But in order to give sense to bhaktiprahvaya datum, 'to bestow on the [worshiper] prostrated in devotion,' lakşmi must here be rendered as 'wealth,' the picture presented being that of the sun robbing the lotus of its 'wealth,' in order to bestow this wealth,' as a reward, on some sun-worshiper. This imagining of the rays as robbers stealing wealth is an instance of the rhetorical figure known as 'Poetic Fancy' (utprekşã); for a list of stanzas of the Süryafataka where this figure occurs, cf. stanza 1, note 6. 3. The long & in udghatanam (pada b) is noticed as grammatical peculiarity by Saraṇadeva, in his Durghatavṛtti (1172 A.D.), in connection with comment on Panini, 6. 4.92 (cf. the edition of the Durghatavṛtti by T. Ganapati Sastri in the Trivandrum Sanskrit Series, p. 105, line 18, Trivandrum, 1909). III V.L. (a) V -kutikauta-. (b) VJHB akarşṭukama, Rasikajīvana (see stanza I, note 1) reads akṛştukäma. (c) V kalakalandhakārā-; Rasikajivana reads -dhvamsakalpaḥ, B -jagatsädhyasadhvamsakalyāḥ. 3 garbheṣv ambhoruhāṇām śikharișu ca śitāgreșu tulyam patantaḥ prārambhe vasarasya vyuparatisamaye cāikarūpās tathāiva nisparyāyam pravṛttās tribhuvanabhavanaprāṁgaṇe pāntu yuşmān ūṣmāṇam samtatādhvaśramajam iva bhṛśam bibhrato bradhnapādāḥ The rays of Bradhna¹ (Sürya) fall alike on the sharp-peaked mountains and on the interiors of the lotuses²; And are verily also of one form [both] at the beginning of the day, and at the time of [its] ending; And are diffused all at once on the courtyard of their dwelling, the three worlds, And bring [with them] an excessive heat, produced, as it were, by the toil of their continuous journey.* May the rays of Bradhna (Sürya) protect you! Notes. 1. The epithet Bradhna, of doubtful origin, appears to mean 'ruddy' or 'mighty'; cf. Monier-Williams, Sanskrit-English Dictionary, Oxford, 1899, S.V. 2. In this stanza, the rays (pada) of the sun are contrasted, by implication, with the feet (pada) of mortals. For example, THE SŪRYASATAKA OF MAYŪRA the feet of mortals, by choice, are placed only on the soft places, but the rays of the sun fall alike on the soft lotuses and on the sharp-peaked summits of the mountains; cf. the commentary, which says: 'For the feet (pada) of any other [person] step on ground that is covered with green grass plots, and not on that which is stony and thorny, but [the rays (pada)] of Bradhna (Sürya) fall alike on the interiors of the lotuses, which are endowed with exceeding softness, and on the sharp-peaked mountains.' 3. Lit. 'come forth out of order,' or 'come forth not alternately. A human being, as he walks, moves his feet (pada) alternately, but the rays (pada) of the sun alight all at once on a given spot. On this the commentary says: 'For the feet of any other move (lit. go forth) alternately in the courtyard of his dwelling, but of this [Sürya, the rays] verily [come forth] at the same time.' 4. The meaning is that the rays (pada) of the sun, by reason of their constant exercise in moving continuously through space, become warm, just as the feet (pada) of a mortal become warm when he journeys by walking. This imagining of the rays in the guise of human feet is an instance of 'Poetic Fancy' (utprekşā); cf. stanza 1, note 6. 5. The lingual n in prangane (pada c) is noted as a grammatical peculiarity by Saraṇadeva in his Durghatavrtti (cf. Süryaśataka, stanza 2, note 3), when commenting on Panini, 8. 4. 32 (cf. Sāstrī's edition of the Durghaṭavṛtti, p. 130, line 10). II2 V.L. (b) HB cãikarupās. (c) J patantas tribhuvana-; Saraṇadeva (see note 5) prangane. (d) V uşmāṇam, JHB uşmānam. 4 prabhraśyaty uttarīyatvişi tamasi samudvīkṣya vītāvṛtīn prāg jantūms tantün yathā yān atanu vitanute tigmarocir maricin te sāndrībhūya sadyaḥ kramaviśadadaśāśādaśālīviśālam śaśvat sampādayanto 'mbaram amalam alam mangalam vo disantu The¹ Hot-rayed (Sürya), upon seeing mortals without covering at dawn, when darkness, whose guise is that of an upper garment, is slipping away, Spreads wide his rays, just like threads [spread by a weaver]. And these [rays], , >, [Just as the threads], , >. THE SŪRYASATAKA OF MAYŪRA 113 May these rays of the Hot-rayed (Sürya) bestow upon you abundant prosperity! Notes. 1. The picture presented in this stanza is as follows: The sun beholds the nakedness of the world, whose garment, night, has been removed by his arrival, and, like a weaver, he spreads out his thread-like rays, and fashions the sky for its garment-a garment whose fringe is composed of the ten quarters of the sky, or directions of the compass. 2. The commentary glosses by amśukanibhe timire, 'darkness like an upper garment.' 3. The 'ten quarters [of the sky]' doubtless mean the eight points of the compass, together with the zenith and nadir. The Mahabharata (3. 134. 17) allows the existence of 'ten quarters' (difo daśoktāḥ), and likewise the Vetālapañcavimśati, 1, in the prose between stanzas 25 and 26 (cf. the edition by Heinrich Uhle, Leipzig, 1881). In Süryaśataka, stanzas 13 and 58, the 'quarters' are specified as being eight in number, but in stanzas 7, 17, 85, and 94, they are again referred to as being ten. 4. Lit. 'broad by [reason of] the row of fringe [which is] the ten quarters manifested in due order.' The idea to be conveyed by the phrase 'manifested in due order' is that the quarters become visible one after the other, as fast as the rays of the rising sun fall upon them and the earth. 5 nyakkurvann oşadhīśe mușitaruci śucevāuṣadhiḥ proṣitābhā bhāsvadgrāvodgatena prathamam iva kṛtābhyudgatiḥ pāvakena pakṣacchedavraṇāsṛksruta iva dṛṣado darśayan prātaradrer ātämras tivrabhānor anabhimatanude stad gabhastyudgamo vaḥ The ruddy rising of the rays of the Hot-rayed (Sürya) humbles the [splendor¹ of the] plants, whose beauty is effaced as if through their grief at the Moon's being robbed of his splendor,³ And offers at first a greeting of welcome , with a fire that which proceeds from the sun-stone,5³ And causes the rocks of the Dawn Mountain (Meru) to appear as if streaming with blood from the wounds [caused by] the cutting off of its wings.' May the rising of these rays of the Hot-rayed (Sürya) exist for removing whatever is not to your liking! 9 THE SÜRYASATAKA OF MAYŪRA S.V. Notes. 1. The commentary says: 'By the word oşadhi is meant the splendor reposing in plants.' 2. Lit. oşadhifa means 'Lord of Plants,' an epithet applied to the Moon, because as Soma he presides over and feeds the plants; cf. V. S. Apte, Sanskrit-English Dictionary, Poona, 1890, 3. Even before the sun rises, the night-blooming lotuses close, and the glory of the moon begins to fade; cf. Kālidāsa's Sakuntala, 4.2-3. 4. Lit. 'makes at first a rising,' but abhyudgati is glossed by abhyudgamana, 'rising from one's seat to do honor,' and also by vihitasvägata, 'making (or, offering) a greeting.' 5. The first peep or glint of the sun above the horizon is comparable to the tiny flash from the jewel called the sun-stone. This tiny flash is the sun's greeting. On the sun-stone (suryakanta), see Narahari's Rajanighantu, varga 13. 205-207, as published (with German translation) by Richard Garbe, under the title Die indischen Mineralien, p. 27, 88, 89, Leipzig, 1882. Eight Sanskrit names of this gem are recorded by Garbe, who identifies it with the modern sunstone, which is a species of feldspar (adularia). 6. On Meru, see stanza I, note 4. 7. The commentary says: 'Formerly indeed the mountains were winged; Indra cut off these [wings] of theirs.' This familiar legend is recorded in the Maitrayani Samhita (ed. by L. von Schroeder, Leipzig, 1881-1885), 1. 10. 13; cf. C. R. Lanman, Sanskrit Reader, p. 393, Boston, 1898, for references to the myth in the later literature. The imaginin of the streaming dawn-light to be blood is an instance of utprekşa, 'Poetic Fancy'; cf. stanza 1, note 6. 8. For a list of the imperatives in -tät which are found in the Saryaśataka, see the Introd., p. 96. 9. The commentary says that what is not to your liking' may mean either 'sin' or 'an enemy.' " V.L. (c) B pakşacheda-, V pakşacchedaṇasṛk; BH dṛśado. 114 6 śīrṇaghrāṇāńghripāṇīn vraṇibhir apaghanair ghargharävyaktaghoṣān dirghāghrātān aghāughāiḥ punar api ghaṭayaty eka ullāghayan yaḥ gharmāmsos tasya vo 'ntardviguṇaghanaghṛṇānighnanirvighnavṛtter dattārghāḥ siddhasamghāir vidadhatu ghṛṇayaḥ śighram anghovighātam The¹ Hot-rayed (Sürya) alone makes anew and cures those who, because long rank" with multitudes of sins, Have shriveled noses, feet and hands, whose limbs are ulcerous," and who make gurgling indistinct noisesTHE SÜRYASATAKA OF MAYŪRA 115 He alone makes them new, his conduct being free from restrictions, and subject [only] to the abundant compassion [that exists] in two-fold measure in his soul. May the Hot-rayed (Sürya's) rays, to which oblations are offered by hosts of Siddhas, quickly cause the destruction of your sins! Notes. 1. This stanza is quoted in Mammata's Kavyaprakaśća, 7. 301, in the chapter dealing with 'Defects in Poetry'; cf. 2d ed. of Jhalakîkara, p. 507; and cf. also tr. by G. Jhā, Benares, 1898, p. 153. Under the subheading 'Exceptions to Defects in Sense,' the author says (I quote from Jha's translation, p. 151, 153): 'In accordance with the speciality of the speaker, etc., sometimes even faults become excellences, and sometimes they are neither. . . . Where there is no Rasa, the faults cease to be either faults or excellences; e.g., frnaghrana, etc.' Just what estimate the author of the Kavyaprakaśa would place upon this stanza is not made clear to me by the above quotation, but it is fairly obvious, as Jhã points out, that importance seems to be placed upon mere alliteration-the letter gh occurs 23 times-rather than on the kindness of the sun. But perhaps the alliteration of gh is due to a striving for onomatopoeia, for lepers (see note 6) speak with harsh, gurgling notes, and the word gha means 'a rattling or gurgling sound'; cf. Monier-Williams, Skt.-Engl. Dict. s.v. This stanza is also quoted in the Subhasitaratnabhāṇḍagara (cf. stanza I, note 1), p. 41, stanza 16. 2. On eka, 'alone,' the commentary says: 'Rudra, and others also, assuming the incarnation of Surya, verily make [a man] free from disease.' 3. According to the legend, Mayura's miraculous recovery from leprosy was the happy consequence of the recitation by him of this stanza; cf. Introd., p. 24. 4. The commentary regards the 'multitudes of sins' as the cause of the affliction, with leprosy, of hands, feet, throat, etc. It explains: 'In the disappearance of nose, etc., and in the ulcerous condition of neck, lip, etc., he (Mayura) says, describing the cause: "They are long rank with multitudes of sins."" 5. The term aghrata, 'smelled at,' I have rendered as 'rank'; cf. Hamlet, 3.3.36: 'O, my offence is rank, it smells to heaven.' 6. The shriveled limbs, the ulcers, and the raucous voice are concomitants of leprosy. 7. With vranibhir apaghandir, 'ulcerous (lit. wounded) limbs,' the commentary supplies upalakşita, 'characterized [by ulcerous limbs].' Grammatically, apaghandir may be regarded as an instrumental of qualification without a preposition; cf. above, Introduction, p. 95; J. S. Speijer, Sanskrit Syntax, 67, Leyden, 1886. 8. The Siddhas were semi-divine beings of great purity and holiness, and possessed the eight supernatural powers called siddhis (cf. Wilson, tr. of Vişnu Purana, vol. 1, p. 91, footnote); according to Markandeya Puraṇa, 63. 25 (Pargiter, p. 403), the chief of the Siddhas was Vaśiştha. Monier-Williams, Skt.-Engl. Dict. s.v. siddha, states that according to Visnu Purana the Siddhas, 116 THE SŪRYAŚATAKA OF MAYŪRA 88,000 in number, live in the sky (Bhuvarloka), north of the sun and south of the seven Rşis. I have been unable to locate the passage in the Vişnu Purana. The Siddhas are mentioned again in Süryaśataka, stanzas 20, 52, 67 and 81, and it is recorded in stanzas 36, 48, 72 and 81, that Surya is praised by various of the other semi-divine beings, viz., the Cāraṇas, Gandharvas, Ahipatis, Yatudhānas, Sadhyas, and Kimnaras. Bühler also calls attention to the fact that in the Praśasti of Vatsabhatti, a metrical inscription on the temple of the Sun at Mandasor, dated 473-474 A.D. (cf. CII, vol. 3, p. 80), as well as in the Süryaśataka, it is stated that Sürya is praised by the semi-divine beings just mentioned; cf. G. Bühler, Die indischen Inschriften und das Alter der indischen Kunstpoesie, in Sitzungsberichte der Philosophisch-Historischen Classe der kaiserlichen Akademie der Wissenschaften, vol. 122, part 11, p. 1-97, Wien, 1890; see especially p. 8-17. V.L. (a) J, and Jhalakikara (see note 1) in a footnote, read ghṛnibhir apaghandir. (b) Jhã (see note 1) reads aghoghaiḥ punar api. (c) I have adopted tasya vo, the reading of VJHB; the Kävyamālā text reads yasya vo; Jhā reads -ghṛṇāvighna-, V -nighnarnivighna-; VB -vṛttäir. (d) B siddham anghair, J siddhasankhair vadadhatu; the Kävyamālā text reads fighram amho-, but I have adopted fighram angho-, which is the reading of VJHB. ryg bibhrāṇā vāmanatvam prathamam atha tathāivā 'mśavaḥ prāmśavo vaḥ krāntākāśāntarālās tadanu daśa diśaḥ pūrayantas tato 'pi dhvāntād äcchidya devadvişa iva balito viśvam āśv aśnuvānāḥ kṛcchrāṇy ucchrāyahelopahasitaharayo hāridaśvā harantu The rays of (Sürya), Possessor of Tawny Steeds, at first are dwarfish, but afterwards indeed are long; They traverse the intermediate space of the sky, and then also,³ afterwards, fill the ten directions; And they quickly pervade the universe, wresting it from darkness, as if , the Foe of the Gods; And they mock Hari (Viṣṇu) by reason of their contempt at the height [to which he attained]. May these rays of (Sürya), Possessor of Tawny Steeds, destroy your troubles ! Notes. 1. All through this stanza there is an implied comparison between the rays of the sun and Vişņu in the Vamana Avatara, or 'Dwarf THE SÜRYASATAKA OF MAYŪRA 117 Incarnation' (cf. below, note 4). For example, the rays, on first appearing above the horizon, are short, just as Vişnu was at first a dwarf; later in the day, the rays are long-extended, just as Vişņu later extended his dwarfish form into the person of a giant; the rays pervade the universe, and fill the ten quarters [of the sky] (cf. stanza 4, note 3), just as Vișņu did with the second of his three steps'; and the rays snatch the universe from darkness, as Vişņu rescued it from Bali (cf. note 4). The rays, however, mock Vişņu, because they mount higher in the heavens than even that god went when taking his 'three steps.' 2. Lit. 'bear dwarfishness. 3. The commentary makes tato 'pi, 'then also,' connect padas (b) and (c)-'fill the ten regions, and then also quickly pervade.' 4. The story runs that heaven, earth and sky were once in the power of the demon Bali. The gods appealed to Vişnu for aid. That deity assumed the form of a dwarf, and, pretending to be a Brāhman, went to Bali, and asked, as an alms, for as much territory as he could cross over in three steps. This request was readily granted by Bali. Thereupon the dwarf at once became a giant; his first step covered the earth; his second, heaven; and not knowing where to place the third, the god planted it on the head of Bali and sent him to Pātāla; cf. Mahabharata, 3. 272. 62-69; Rāmāyaṇa, 1. 29. 4-21; Harivamśa (ed. by Vināyakarāya, Bombay, 1891), 1. 41. 79-80, 99-103 (cf. transl. by M. N. Dutt, p. 173-175, Calcutta, 1897); see also the illustration in Musée Guimet, Annales, Bibliothèque d'Etudes, vol. 18, p. 101, Paris, 1905. 5. The commentary says that balitas is equivalent to balavatas (abl.), 'from the mighty,' and that it also denotes from Bali' (bali with ablative suffix -tas); hence the double rendering in my translation. 6. The position of vaḥ, 'of you,' in the first päda, so far removed from kṛcchrany, on which it depends, is noteworthy. V.L. (b) J omits diśaḥ. (c) K devadruhaḥ iva; V afruvanaḥ, B aśrubānaḥ. (d) HB kṛcchrany (with dental nasal); VJHB -helävahasita-. 8 udgāḍhenā 'ruņimnā vidadhati bahulam ye 'ruṇasyā 'ruṇatvam mūrdhoddhūtāu khalīnakṣatarudhiraruco ye rathāśvānaneşu śäilānām sekharatvam śritaśikhariśikhās tanvate ye disantu prenkhantaḥ khe kharāmśoḥ khacitadinamukhās te mayükhāḥ sukham vaḥ The rays of the Hot-rayed (Sürya), by their intense redness, produce the deep red of Aruna,¹ (the Dawn), And have the color of the blood from the wounds [caused] by the bits in the mouths of the chariot-horses, when they toss their heads, 118 THE SURYASATAKA OF MAYURA And diffuse a halo about the mountains, as they cling to the pointed summits," And go dancing through the sky, purifying the opening of the day. May these rays of the Hot-rayed (Sürya) bestow happiness upon you! Notes. 1. Aruna, charioteer of the car of Sürya, is the personified Dawn. He is especially praised in stanzas 50-61 of the Süryaśataka, and is mentioned besides in many of the other stanzas. According to the mythology, he was the son of Kaśyapa and Vinata, and brother of Garuda. Vinată, in fulfilment of a divine promise that she should become the mother of twin sons, in course of time gave birth to two eggs. These she kept warm for 500 years; but then, when no progeny appeared, she grew impatient, broke the shell of one egg, and brought to light an embryo Aruna with the lower part of his body in an undeveloped state. From this latter circumstance, Aruna is called 'thighless' (Anuru). At the expiration of another 500 years, Garuda was hatched from the second egg; cf. Mahabharata, 1. 16. 3-25. Another legend tells how Sürya, angered because he received no assistance from the gods when Rähu attempted to devour him, sought to burn up the worlds. In order to prevent such a calamity, the gods placed Aruna in the forepart of Surya's car, to veil that deity's splendor and to absorb some of his heat. Aruna thus became Sürya's charioteer; cf. Mahabharata, 1. 24. 5-20. 2. Stanzas 44-49 of the Saryaśataka are especially devoted to the praise of Surya's horses, and stanzas 62-72 to that of the car. The horses were seven in number; cf. stanzas 45, 57, 92; Rig Veda, 4. 13. 3; 5. 45. 9; Mahabharata, 7.189.54; Markandeya Purana, 107.2 (Pargiter, p. 572); Vişnu Purāṇa, 2.8 (Wilson, vol. 2, p. 239). They are also said to be of a greenish or tawny (harit) color; cf. stanza 7; stanza 46, note 8; Candiśataka, stanza 8, note 2; Rig Veda, 1. 50.8; 7.60.3. And the Vişnu Purana (2.8) states that they are identical with the seven meters of the Veda. The car is said (Vişnu Purana, 2.8) to have been 9,000 leagues in length, with an axle 15,700,000 leagues long. To the car was attached a single wheel; cf. Saryaśataka, stanza 59; Candiśataka, stanza 99; Rig Veda, 4. 28. 2; 5. 29. 10; Mahabharata, 7. 189. 54; 12. 362. 1; Ratnavali (ed. Parab and Josi, Bombay, 1888), 3.5; Kavyadarśa, 2. 328; the Madhuban Plate of Harşa (7th century A.D.), as pub. in Epigraphia Indica, vol. 7, p. 159, note 2. Synopses of other accounts of the car of Surya, as given in several of the Purāṇas, are found in Wilson's translation of the Vişnu Purāṇa, vol. 2, p. 237-239, footnotes. 3. Lit. 'in the tossing of [their] heads.' Lit. diffuse the crownness of the mountains'; for a similar idea, cf. stanza 74, note 6. 5. Or, 'clinging to the summits of the mountains.' 6. The commentary glosses khacita, 'purified,' by spastikṛta, 'made distinct'; if this be adopted, we might render 'illuminating the opening of the day.' THE SÜRYASATAKA OF MAYŪRA 119 V.L. (b) B inserts -racira- between -rudhira- and -ruco; this of course would be metrically impossible. (c) K śritaśikharaśikhaḥ. (d) VB prekhantaḥ. 9 dattānandāḥ prajānām samucitasamayākṛṣṭasṛṣṭāiḥ payobhiḥ pūrvāhne viprakīrṇā diśi diśi viramaty ahni samhārabhājaḥ diptāmśor dirghaduḥkhaprabhavabhavabhayodanvaduttāranāvo gāvo vaḥ pāvanānām param aparimitām prītim utpādayantu The ² that is drawn up and poured down [by them] at suitable times», And are bringers of joy to mortals, by reason of their ; The , at the beginning of the day, are , at the beginning of the day, are «dispersed in all directions, and when day is ended, are [again] «collected; The , and also , are [veritable] ships for crossing the ocean the ocean which is the fear of rebirth, ¹0 the source of long unhappiness, And [both rays and cows constitute] the best of purifications. May the rays of the Hot-rayed (Sürya) produce for you unbounded joy! Notes. 1. This stanza is quoted in the Dhvanyaloka (2. 25) of Anandavardhana (floruit circa 850 A.D., according to Mabel Duff, Chronology of India, p. 77, Westminster, 1899, and M. Krishnamacharya, A History of Classical Sanskrit Literature, p. 162, Madras, 1906). The Dhvanyaloka has been edited in the Kävyamālā Series (no. 25, Bombay, 1891) by Durgaprasad and Parab, and has been translated, with introduction and valuable notes, by Hermann Jacobi, in ZDMG, vol. 56 (1902), p. 392-410, 582-615, 760-789, and vol. 57 (1903), p. 18-60, 311-343. The portion of the text referring to this stanza is found in the Kävyamālā edition, p. 99-100, and its translation by Jacobi in ZDMG, vol. 56 (1902), p. 764. THE SŪRYASATAKA OF MAYŪRA Jacobi's translation of Anandavardhana's comment is as follows: 'In diesen Beispielen gelangt durch die Bedeutung der Wörter ein zweiter Sinn zur Erkenntnis, der aber ausserhalb des Zusammenhanges steht; damit das, was der Satz besagt, nicht ungereimt sei, muss man zwischen dem Sinn, der in den Zusammenhang passt, und dem, der ausserhalb desselben steht, das Verhältnis von Verglichenem und Vergleichsgegenstand annehmen, infolge der Tragweite (der Wörter); somit ist dieser śleşa durch den Sinn nahegelegt und nicht lediglich auf die Wörter gegründet. Dadurch unterscheidet sich von dem eigentlichen śleşa das Gebiet des "Tones," dessen unausgesprochener Sinn gleichsam nachklingt.' 2. The idea that the sun is a reservoir of water that is drawn up from the earth and then poured down in the form of rain, is also found in stanzas 14, 30, 73, 91 and 93; cf. also Mahabharata, 3. 3. 6, 49; 12. 263. 11; Markandeya Purana, 27.23; 104. 39; 108.13 (Pargiter, p. 147, 563, 575). 3. For the milk poured out at the sacrifice, see below, note 8. 4. Lit. 'have recourse to contraction.' 5. The meaning is that the cows are turned out to pasture in the morning. 6. Cows return at night to their stable. 7. With the sentiment expressed in this pada, cf. stanza 80, where the disk of Sürya is called a ship on the ocean of rebirth' (yanapatram bhavabdhäu); and this same idea-that salvation or emancipation is attained through the sun-is found as well in stanzas 10, 11, 29, 73, 80, 86 and 89. Bühler too has noted the existence of this idea in the above stanzas, and he also calls attention to Yogayatra of Varahamihira, stanza I (edited with text and German translation by H. Kern, in Indische Studien, vol. 10, p. 161-212, Leipzig, 1868, and vol. 14, p. 312-358, Leipzig, 1876), where Sürya is called mokşadvāram, 'the door to emancipation' (cf. Suryaśataka, stanza 73, dvaram yan muktibhajam, 'the door for those who attain emancipation'), and to the phrase vidheyavişaydir mokşarthibhir yogibhiḥ, 'die Sinnenlust beherrschenden Büsser, da sie sich nach Erlösung sehnen,' which occurs in stanza I of the Prasasti of Vatsabhatti, a metrical inscription of 44 stanzas, found in the temple of the sun at Mandasor, and dated 473-474 A.D. (cf. CII, 3. 81, and Bühler, Die indischen Inschriften, p. 14-16, 91). In this connection see also Süryaśataka, stanza 29, note 4, and likewise the following: Markandeya Purana, 103. 10 (Pargiter, p. 558), 'ascetics meditate on thee (Sürya). while they desire final emancipation from existence'; ibid. 109. 66 (Pargiter, p. 582), where Surya is said to be the supreme gate to final emancipation'; and Mahabharata, 3. 3. 37, where it is said: gatis tvam mumukşatām, 'thou (Surya) art a refuge for those wishing emancipation.' 8. By way of explaining the part played by cows in freeing mortals from rebirth, the commentary notes: 'Those versed in the sacred traditions say that "people escape metempsychosis (samsara) by means of milk [used as] food [i.e. oblations] in the [sacrificial] fire of the priests (vipra)."' 9. The commentary explains udanvaduttāra as 'rescuing from the ocean.' I have rendered the phrase as 'crossing the ocean.' 10. The commentary glosses bhava, 'worldly existence,' by samsara, 'metempsychosis.' I have rendered by 'rebirth.' Cf. Bhaktāmarastotra (Kāvyamālā edition), stanza 120 THE SÜRYASATAKA OF MAYŪRA 26: tubhyam namo jina bhavodadhifoşandya, 'honor to thee, O Jina, for thy drying up of the ocean of existence.' 121 V.L. (a) The Dhvanyaloka (see note 1) reads -aklistasrstaiḥ, K -aklistasystaiḥ. (b) HB parvahne (with dental nasal). (c) J-prabhavabhayodanvad- (omitting.bhava). 10 śirasi nativaśābaddhasamdhyāñjabandhadhvamsāikahetum līnām lokānām ye prabodham vidadhati vipulāmbhojakhaṇḍāśayeva yuşmākam te svacittaprathimapṛthutaraprarthanākalpavṛkṣāḥ kalpantām nirvikalpam dinakarakiraṇāḥ ketavaḥ kalmaṣasya The rays of (Sürya), Maker of Day, for the knowledge that is the sole cause of the destruction of <>>¹For mortals, who, [with hands] <«to the head>> <2— And, as if in [fulfilment of] the expectation of the large group of lotuses, the expanding»-which is the sole cause of the destruction of <«their condition of having buds>>³ >Of these which, ««at twilight, form [themselves into buds resembling in shape] the añjali, by reason of their proclivity for bending>>.' And these rays are wish-trees for [granting] wishes that extend beyond the range of one's thought." May these rays of (Sürya), Maker of Day, become, in no doubtful fashion, destroyers of your sin! Notes. 1. The commentary says: 'Mundane bondage (bandha) is three-fold-its form is prakṛta [i.e. bondage to the eight prakrtis], väikärika [i.e. bondage to the sixteen vikäras], and dakşina [bondage consisting in fees (dakşind) to priests]. For mortals bound by it are not released.' This is a doctrine of Samkhya philosophy; cf. Max Müller, The Six Systems of Indian Philosophy, p. 357, New York, 1899. 2. Lit. 'fondness for bending.' 3. The commentary glosses bandha, in the second rendering, by mukulavastha, 'condition of being a bud.' As the lotuses expand, the bud-like shape, which they exhibit when closed, of course disTHE SŪRYASATAKA OF MAYÜRA appears. 4. The lotuses close at sundown, and the closed bud-like form resembles two hands folded in the añjali; for a similar conception, see stanza 20, note 4. 5. The meaning appears to be that the lotus blooms 'bend' themselves into different shapes, changing from bud to blossom at sunrise, and from blossom to bud again at sunset. 6. The kalpavṛkşa, one of the five trees that stood in Indra's paradise, was fabled to grant one's every wish; cf. Amarakośa, 1. 1. 50 (ed. by Durgāprasad, Parab and Sivadatta, in the Abhidhana-Sangraha, part 1, Bombay, 1889); Mahabharata, 3. 281. 5; Kumarasambhava, 6.6 (ed. by Vasudev Pansikar, Bombay, 1908); Visnu Purana, 5. 30 (Wilson, vol. 5, p. 95). The other four trees were the mandara, the pārijāta, the samtāna, and the haricandana; cf. Amarakośa, as just cited. The parijata tree, which was a product of the churning of the ocean, cf. Vişnu Purana, 1.9 (Wilson, vol. I, p. 144), is mentioned again in Süryaśataka, stanza 42 (note 14). 7. Lit. 'wish-trees for [granting] wishes more widely extended than one's own thought'; or, if prathita is read instead of prathima (cf. V.L.), we may render as 'wish-trees for [granting] the rather numerous wishes displayed in one's mind.' 8. Lit. nirvikalpam means 'without admitting an alternative'; it is glossed by asamsayam, 'without doubt'; I have rendered as 'in no doubtful fashion.' 9. The term ketavaḥ, which ordinarily means 'rays' or 'flags,' is here glossed by vinafakaḥ, 'destroyers.' The lexicographers give also the meaning 'enemies' for ketavaḥ. 122 V.L. (a) The Kāvyamālā text reads natirasabaddha-, VJ nativaśabaddha-, HB nativasavaddha-. (b) VJHB -ambhojaşandafayeva. (c) VJHB te yuşmakam; the Kävyamālā text and J read -prathitapṛthutara-, VHBK -prathimaprthutara-. 11 dhārā rāyo dhanāyāpadi sapadi karālambabhūtāḥ prapāte tattvālokāikadipās tridaśapatipuraprasthitāu vithya eva nirvāṇodyogiyogipragamanijatanudvāri vetrāyamāṇās trayantām tīvrabhānor divasamukhasukhā raśmayaḥ kalmaṣād vaḥ The rays of the Hot-rayed (Sürya) are streams of wealth [capable of satisfying] at once the pangs of avarice,¹ and are like the support of a hand on a precipice,³ And are the sole lamps [by which] one may discern real truth,³ and are verily paths on the journey to the city of (Indra), Lord of the Thirty" (Gods), And appear as doorkeepers at the door of (Sürya), their own body, which is the pathway for yogins making efforts towards nirvāṇa,8 THE SŪRYAŚATAKA OF MAYŪRA And their delight is the dawn. May these rays of the Hot-rayed (Sürya) protect you from sin! 123 Notes. 1. Lit. 'streams of wealth in the calamity of avarice'; the commentary glosses dhanayapadi by dravyārthakayapīḍāyām (-kaya- is doubtless a typographical error for -käma-), '[streams of wealth] in the pain of love of objects of wealth.' 2. The commentary glosses prapäte, 'on a precipice,' by narake durgatau, in Naraka, in Hell.' 3. Lit. 'sole lamps for the discerning of real truth.' Again, in stanza 18, the rays are compared to a lamp, and in stanza 23, the splendor of Sürya is called 'a lamp-wick,' and Surya 'the lamp of all the dvipas'; cf. also Märkandeya Purana, 107. 10 (Pargiter, p. 574), where Sürya is called 'the lamp of all the worlds.' 4. The city of Indra was Amaravatī, as pointed out in the commentary, and as related in Mahabharata, 3. 42-43, where a description of the town and its delights is given. We are told that no one could enter its gates without having practised rigid austerities. 5. The epithet tridafa, 'thirty,' signifying the gods,' is probably reminiscent of the 'thrice eleven' gods referred to in Rig Veda, 9. 92. 4, and probably comprising the twelve Adityas, eight Vasus, eleven Rudras, Indra and Prajapati; cf. Brhad-Aranyaka Upanişad, 3. 9. 2. 6. The term vetrayamanaḥ, 'appearing as doorkeepers,' appears to be a denominative middle participle derived from vetra, 'staff'; cf. W. D. Whitney, Sanskrit Grammar, 1059, c, 3d edition, Boston, 1896. The gloss of vetrayamanaḥ is prathāraḥ, 'doorkeepers.' For similar forms, cf. sutradharayamāṇaḥ in stanza 50, and padmaragayamaṇaḥ in stanza 56. 7. The commentary glosses pragama by apunaravṛttiḥ, 'a not-turning-back-again,' and also by panthaḥ, 'a path.' In explanation of the latter interpretation, it says: 'pragama is "path," with the idea that on it they go forward (pragacchanti).' I have adopted the second definition. The ordinary lexicons interpret pragama as meaning the first advance in courtship.' 8. For the idea that emancipation, or nirvana, may be attained through the sun, cf. stanza 9, note 7. 9. The commentary glosses divasamukhasukhaḥ, 'whose delight is the dawn,' by divasārambhe sukhakāriṇaḥ, 'causing happiness at dawn.' 6 V.L. (a) HB rayo 'dhanayapadi. (b) H tatvalokaika-; VJHB tridivapati-; J puraḥprasthitau. (c) J-yogipraśamanija-. (d) K tivrabhasaḥ; K kaśmalad vaḥ. 12 prāci prāg ācarantyo 'naticiram acale cărucūḍāmaṇitvam muñcantyo rocanãmbhaḥ pracuram iva diśām uccakāiś carcanāya cāṭūtkäiś cakranāmnām caturam avicalāir locanair arcyamānāś ceṣṭantām cintitānām ucitam acaramāś caṇḍarociruco vaḥ THE SURYASATAKA OF MAYURA The rays of the Hot-rayed (Sürya) at dawn cause (Meru), the Eastern Mountain, to appear for a short time as if surmounted by a beautiful crest-jewel,¹ 124 And [afterwards] they pour out, as it were, a profusion of yellow² pigment water for anointing the quarters* on high," And are knowingly treated with honor by the ruddy-geese, with eyes fixed and [full of] longing for the blandishments [of their mates]. May these eastern rays of the Hot-rayed (Sürya) bring to pass whatever is agreeable to your wishes! 3. The Notes. 1. Lit. 'at dawn, for a not excessively long period, they go to the state of being a beautiful crest-jewel on the Eastern Mountain'; cf. Markandeya Purāṇa, 107.6 (Pargiter, p. 573), where Sürya is called 'the crest-jewel of the Mountain of Sunrise' (udayācalamāulimanih). The 'Eastern Mountain,' or 'Mountain of Sunrise,' was Meru; cf. stanza I, note 4. 2. The commentary notes: 'At first the rays of the Hot-rayed (Sürya) are compared to a crest-jewel, because of their deep-red color; afterwards, having become reddish-yellow, [they are compared] to the water of yellow pigment.' First comes the red of dawn, and later, when the sun has risen, the yellow blaze of full sunlight appears. noun carcana, in the sense of 'anointing,' appears not to be found in the literature, but only in the lexicographers; cf. Monier-Williams, Skt.-Engl. Dict. s.v. The gloss is bhaşana, ' 'adorning.' 4. In stanza 15, the quarters are said to be women; hence the appositeness of their being adorned with pigment. 5. Or else, for the excessive anointing of the quarters'; the adverb uccakdiḥ, 'aloft,' is glossed by atyartham, 'excessively.' 6. The participle arcyamanaḥ, 'treated with honor,' is glossed by saspṛham Ikşyamaṇaḥ, 'wistfully gazed upon.' 7. Lit. 'treated with honor by the eyes, fixed and longing for endearing words, of the ruddy-geese.' The cakravāka, [sometimes, as here, cakrandman], or 'ruddy-goose' (anas casarca), the modern Hindi chakwa, and the 'Brahmany duck' of English writers, was supposed to be separated from its mate between sunset and sunrise. It therefore welcomed the rising sun as the harbinger of reunion. The commentary explains: 'For, when the Blessed (Sürya), garlanded by rays, has risen, there is a mutual reunion of the ruddy-geese who have been separated. Therefore-so it is said-his rays are honored with reverence.' In the classical period, the cakravaka is regarded as the type of conjugal fidelity, and even as early as the Atharva Veda (14.2.64 of the two-volume translation by Whitney and Lanman, Cambridge, Mass., 1905), is held up as a model to the bride and groom in the marriage ceremony. It is mentioned in the Rig Veda (2.39.3); cf. Macdonell and Keith, Vedic Index of Names and Subjects, vol. I, p. 252-253, London, 1912. See also Saryaśataka, stanza 25, note 9. 8. The term carama means 'west125 ern,' and so, presumably, acarama means 'eastern,' although this definition is not found in the ordinary lexicons. The gloss of acarama is aprācīna, " recent.' 9. Note in this stanza the alliteration (anuprāsa) of the letter c, which occurs 26 times. THE SURYASATAKA OF MAYŪRA V.L. (b) J kuñcantyo; J rocanambu, VHB rocanambu (with cerebral nasal). (c) K suciram avicalair. (c)-(d) V arccyamanacceşṭantām. (d) B candarociraco vaḥ. 13 ekam jyotir dṛśāu dve trijagati gaditāny abjajāsyāiś caturbhir bhūtānām pañcamam yāny alam ṛtuşu tathā șațsu nānāvidhāni yuşmākam tāni saptatridaśamuninutāny aṣṭadigbhāñji bhānor yānti prāhne navatvam daśa dadhatu śivam dīdhitīnām śatāni The rays of Bhānu (Sürya) [constitute] the one¹ light, and [are] the two eyes² in the three worlds, being [so] spoken of by the four mouths of the Lotus-born (Brahmā); They also [constitute] the fifth of the elements, and are very various in form in [the course of] the six seasons"; And they are praised by the seven sagess of the Thirty (gods), they dwell in the eight quarters [of the sky], And and
¹0 in the beginning of the day. May these rays of Bhānu (Sürya), ten hundred¹¹ [in number], promote your welfare! Notes. 1. As will be readily seen, the rays of Sürya are in this stanza connected with various numbers. 2. In stanza 32 Sürya is called 'the eye of the three worlds,' and in stanza 21 his light is described as 'the sole eye of the three worlds'; cf. also Markandeya Purana, 107.5 (Pargiter, p. 573), where Sürya is described as 'the eye of all the worlds'; and Atharva Veda, 5. 24. 9, 'lord of eyes,' and 13. 1. 45, 'the one eye of what exists.' 3. The Matsya Purana, as recorded by Vans Kennedy (Ancient and Hindu Mythology, p. 317, London, 1831) and W. J. Wilkins (Hindu Mythology, p. 100, 2d ed., Calcutta and Simla, 1900), tells how Brahma fell in love with Satarūpā and gazed ardently at her. The maiden, in confusion, turned away from the gaze of the god, but no matter in what direction she looked, she was constantly confronted by a new head of Brahmā, produced for the purpose. Thus Brahmã acquired five heads. Subsequently (Wilkins, op. cit., p. 101-103), Bhairava, a product of Siva's anger, cut off one of the heads, leaving the god with only four, the number 126 THE SŪRYAŚATAKA OF MAYURA sprang " with which he is commonly credited. For pictures of the four-headed Brahma, see Moor, Hindu Pantheon, plates 1, 2 and 13. See also stanza 40, note 9. 4. According to some accounts, Brahmã was produced from a lotus that sprang from Vişnu's navel; see, for example, Mahabharata, 3. 203. 14-15: svapatas tasya devasya padmam nabhyam viniḥsytam divyam tatrotpannaḥ.. brahma... caturvedaḥ caturmukhaḥ, 'as that deity (Vişņu) lay asleep, a divine lotus . . . sprang from his navel. From that (lotus). Brahma who is the four Vedas and who has four faces.' Cf. also stanza 88, note 5, and stanza 93, note 2; and Candikataka, stanza 69, note 2. For a representation of Brahmä resting on the lotus, see Moor, Hindu Pantheon, pl. 3 and 4. 5. The fifth of the elements was 'light' (tejas); the other four were 'earth' (prthvt), 'water' (ap), 'air' (vayu), and 'sky' (akāśa); cf. Mahabharata, 12. 248. 3; Markandeya Purana, 45. 40-47 (Pargiter, p. 220221); Vişnu Purāṇa, 1.2 (Wilson, vol. 1, p. 38); J. Dahlmann, Mahabharata-Studien, Band 2 (Die Samkhya-Philosophie), p. 73-79, Berlin, 1902. The Atharva Veda (13.4 31-37) asserts that Sürya is composed of the five elements. 6. The commentary explains that they are various in kind, because of their being divided by partition into hot, weak, etc.' The meaning seems to be that the sun, and so the weather, on some days is hotter than on others. 7. The six seasons were the cold season' (śiśira), 'spring' (vasanta), 'summer' (grişma), 'the rainy season' (varşā), 'autumn' (farad), and 'winter' (hima). For bibliographical references dealing with the Hindu seasons, see Konow and Lanman, Rajaçekhara's Karpura-mañjart, p. 214, Cambridge, Mass., 1901. 8. The names of the seven sages are given differently by different authorities. The list given in Mahabharata, 12. 335. 29, is as follows: Marici, Atri, Angiras, Pulastya, Pulaha, Kratu and Vasiştha. Stanzas 36 and 81 also record that Sürya was praised by the sages, or munis, as does likewise the Praśasti of Vatsabhatti (cf. Bühler, Die indischen Inschriften, as cited in stanza 6, note 8). 9. For the 'thirty gods,' cf. stanza 11, note 5. 10. The idea of 'nine' is applied to the rays only through a word-pun, nava meaning both 'new' or 'fresh,' and 'nine.' II. Sürya is called 'Thousandrayed' in stanzas 17 (sahasratviş), 52 (daśafataruci), and 100 (daśasatābhīşu); and his 'thousand rays' (daśaśati bhäsäm) are mentioned in stanza 15. ... ... V.L. (a) HB -asyafcaturbhir. (c) VB aştadigbhaji. (d) HB prähne (with dental nasal); K dadatu fivam. 14 ävṛttibhräntaviśvāḥ śramam iva dadhataḥ śoṣiṇaḥ svoṣmaṇeva grīşme dāvāgnitaptā iva rasam asakṛd ye dharitryā dhayanti te prāvṛṣy āttapānātiśayaruja ivodvāntatoyā himartāu mārtaṇḍasyā 'racaṇḍās ciram aśubhabhide 'bhisavo VO bhavantu THE SURYASATAKA OF MAYŪRA 127 In¹ summer the rays of Mārtaṇḍa² (Sürya), having become, as it were, wearied from continually wandering over the universe, and as if drying up with their own heat, Repeatedly suck up water from the earth, like [men, who drink water when] heated by a forest-fire; But in the rainy season, as if [they had been] made sick by excessive drinking," they vomit out [this] water, And in winter are, [in consequence], feeble. May these rays of Mārtaṇḍa (Sürya) long be in existence for the destruction of what is inauspicious to you! Notes. 1. In this stanza the rays of Sürya are compared, by a rather elaborate simile (cf. Introd., p. 94), to a human being. In summer, like a thirsty person, they suck up water from the earth. Having drunk too much, they become sick, and in the rainy season vomit out what they have drunk, in the form of rain (cf. stanza 9, note 2). Just as anyone feels weak after vomiting, so also do the rays, and that is why the sun's rays are weak and give but little heat in winter. Other elaborate similes in the Saryaśataka are found in stanzas 26, 31, 34 and 50. The imagining of the rays in the guise of a human being is an instance of the rhetorical figure 'Poetic Fancy' (utprekşã); cf. stanza 1, note 6. 2. A fanciful etymology of the name 'Mārtaṇḍa' is given in the Markandeya Purana, 105.8-20 (Pargiter, p. 564-565). The story accounting for the origin of the name is as follows. The Sauşumna ray of the sun once entered the womb of Aditi. Aditi fasted. Kaśyapa, her husband, said to her: 'Why dost thou destroy the egg that is in thy womb by fasting?' When the child was born, a voice from the air was heard, saying: 'Whereas thou, O Muni, hast spoken of this egg as destroyed, to thee therefore, O Muni, this thy son shall be called Mārtanda [from maritam andam, " destroyed egg"].' For a picture of the ruins of the Märtanda temple of the Sun in Kaśmir, see Vincent Smith, The Early History of India, p. 372, 3d ed., Oxford, 1914. 3. Lit. 'bearing weariness, as it were.' 4. Lit. 'having the universe wandered over with repe on.' 5. Lit. 'having sickness acquired through excess of drinking.' V.L. (a) V dvrttibhrantavimbaḥ; JHB svoşmandiva, V svoşuneva. (b) B davagnitapta isa. (c) B ivodvantate ya himarttau. (d) VJHB martandasya pracandaf; V -bhide 'bhişavo, JHB -bhide bhişavo. 15 tanvānā digvadhūnām samadhikamadhurālokaramyām avasthām ārūḍhaprauḍhileśotkalitakapilimā 'lamkṛtiḥ kevalaiva j 128 THE SŪRYASATAKA OF MAYŪRA ujjṛmbhambhojanetradyutini dinamukhe kimcid udbhidyamānā śmaśruśreņi 'va bhāsām diśatu daśaśati śarma gharmatvişo vaḥ The thousand rays of the Hot-rayed (Sürya) >, [And are therefore] like a ««fringe of down»> , and <«manifest a redness,* since only a part of their development has been attained >>>. [Hence these rays are also] <>, which, >>. May these thousand rays of the Hot-rayed (Sürya) bestow happiness upon you! Notes. 1. The commentary says: 'The quarters, to be sure, are women.' In stanza 12, the quarters are said to be adorned with pigment, as if they were women. Cf. dikkamini,' maiden quarter,' in Kalhana's Rajatarangini (ed. by Durgaprasāda, son of Vrajalāla, in 3 vols., Bombay, 1892-1896), 3.382. 2. Lit. madhura means 'sweet,' 'honied,' but the gloss is mrdu, 'soft.' 3. The word dig- in digvadhanam appears to have no paronomasiac rendering. 4. The dawn color is red; but when the maturity of the rays is attained, and when the sun is above the horizon, the full blaze of its light is yellow. On the form -kapilima, fem. from a -man stem in composition, cf. Whitney, Skt. Grammar, 436, 437. 5. The commentary explains: 'it sprouts out on the face of youths.' The dina- in dinamukhe, and the compound ujjrmbhambhojanetradyutini appear to have no paronomasiac rendering. V.L. (b) HB aruḍhapraudhi-. (c) J aśruśreniva; VJHB tasam diśatu. 16 māulīndor māiṣa moṣīd dyutim iti vṛṣabhāṁkena yaḥ śańkineva pratyagrodghāṭitāmbhoruhakuharaguhāsusthiteneva dhātrā THE SŪRYASATAKA OF MAYŪRA 129 kṛṣṇena dhvāntakṛṣṇasvatanuparibhavatrasnuneva stuto 'lam trāṇāya stāt tanīyān api timiraripoḥ sa tviṣām udgamo vaḥ The¹ rising of the rays of (Sürya), Foe of Darkness, is warmly praised by (Siva), whose attribute is the bull, because [that god is], as it were,2 fearful lest [Sürya] should obscure the splendor of the moon on his head, And is also praised by (Brahmã), the Creator, who is, as it were, comfortably settled in his hiding-place-the hollow of a newly-opened lotus,³ And also by Kṛṣṇa (Viṣṇu), who, as it were, fears the humiliation of his own body, which is black as darkness.* May the rising of these rays of (Sürya), Foe of Darkness, even though their light is dim, exist for your protection ! 2. Notes. 1. In this stanza, Sürya is praised by Siva, Brahma and Vişņu. On this, the commentary notes: 'He (Mayüra) indicates the greatness of Ravi (Surya), through having him praised by the chief gods.' Cf. stanzas 88, 91, 92 and 93, which compare Sürya to Brahma, Vişņu and Siva. As the commentary notes, the iva, 'as it were,' in this, and also in the two following padas, indicates the presence of the rhetorical figure Poetic Fancy' (utprekşd); cf. stanza 1, note 6. 3. Brahma is afraid that the sun may cause the lotus in which he reclines (cf. stanza 13, note 4) to close its petals-some lotuses close in the daytime-and so imprison him; cf. the commentary, which attributes to Brahmã the following thought: 'May he (Sürya) not cause [for me] any uncomfortable position (duḥsthitim) by the contraction [of the lotus].' 4. The commentary attributes the following thought to Kṛṣṇa: 'He (Sürya) may humiliate my body, through mistaking it for darkness.' Since light dispels darkness, Kṛṣṇa, the 'Black One,' is fearful lest his black body should be humiliated by the bright sunlight. Krsna was born with a black body; cf. Mahabharata, 1. 197.32-33, where it is stated that Kṛṣṇa was the product of one of Vişnu's black hairs. 5. Lit. 'may the rising of the rays, although [it (the rising) is] rather slender, exist, etc.' The meaning appears to be that the light shed by the rays at dawn is slight as compared to their mid-day radiance. V.L. (a) VHB mãulīndor mãiva; HB moşidyutim. (b) H pratyagro ghvatitambhoruha-, B pratyagrodhvatitambhoruha-. (c) H kṛṣṇena (with two lingual nasals). 17 vistirņam vyoma dirghāḥ sapadi daśa diśo vyastavelāmbhaso 'bdhin IO THE SŪRYASATAKA OF MAYŪRA kurvadbhir dṛśyamānām naganagaragaṇābhogaprthvim ca prthvim padminy ucchväsyate yair ușasi jagad api dhvamsayitvā 130 tamisrām usrā visramsayantu drutam anabhimatam te sahasratvişo vaḥ The rays of the Thousand-rayed¹ (Sürya) at once make visible the wide-spreading sky, the far-extending ten² quarters, and the oceans with their tide-tossed waters,³ And also the broad earth with [all] the extent of its groups of cities and mountains*; By them, when they at dawn destroy darkness, the lotus-plant is , and the universe also is ." May these rays of the Thousand-rayed (Sürya) quickly destroy what is not to your liking! Notes. 1. For the thousand rays of Surya, see stanza 13, note 11. 2. For the ten quarters [of the sky],' see stanza 4, note 3. 3. Lit. 'oceans, the waters of whose tides are tossed about,' or 'oceans, whose flood-tides are tossed about.' 4. Lit. 'making visible also the earth, [which is] broad by reason of the extent of its groups of cities and mountains.' The reading of the Kävyamālā text (see V.L.) would be rendered as 'making (i.e. creating) the earth, [which is] broad by reason of the extent of its various mountains, cities and trees [thus] made visible.' I take it that the adjective driyamanam, 'visible,' modifies the compound naga. prthvim, and is understood with vyoma, difo and abdhin. 5. Or else, 'is gladdened.' 6. Lit. visramsayantu means 'may they cause to fall asunder.' V.L. (b) The Kävyamālā text reads dṛśyanananaganagaranagabhoga-; I have adopted the reading of VJHB, dṛśyamanām etc., as given above in the text; H prthvin ca prthim. (c) V ucchasyate; HB tamiśram (with palatal sibilant). (d) HB ufravi framsayantu, J usravi sramsayantu, V uśra viśramsayantu, K usra visravayantu. 18 astavyastatvaśūnyo nijarucir aniśānaśvaraḥ kartum iso viśvam veśmeva dīpaḥ pratihatatimiram yaḥ pradeśasthito 'pi dikkālāpekṣayā 'sāu tribhuvanam atatas tigmabhānor navākhyām yātaḥ śātakratavyām diśi diśatu śivam so 'rciṣām udgamo vaḥ THE SŪRYASATAKA OF MAYURA 131 The¹ rising of the rays of the Hot-rayed (Sürya), although fixed in its place, is able to dispel darkness from the universe, as a lamp [dispels darkness from] a dwelling; But the rising of the rays is , ," Whereas a lamp is , , and it is «perishable in a day»>.' In regard to place and time, the rising of the rays makes a fresh appearance in Indra's quarter¹0 [at every dawn]. May that rising of the rays of the Hot-rayed (Sürya), who wanders over the three worlds, bestow happiness upon you! Notes. 1. This stanza is quoted in the Kavikanthabharaṇa (4. 1-2) of Kşemendra (f. 1037 A.D., according to Mabel Duff, Chronology of India, p. 118; or 1050 A.D., according to Krishnamacharya, Sanskrit Literature, p. 43). The Kavikanthabharaṇa has been edited in the Kävyamālā Series, by Durgaprasad and Parab (see part 4, p. 133, Bombay, 1887, for this stanza, and compare article, Kşemendra's Kavikanthabharaṇa, containing analysis and comments, by J. Schönberg, in Sitzungsberichte der Philosophisch-Historischen Classe der kaiserlichen Akademie der Wissenschaften, vol. 106, p. 477-504, Wien, 1884). The subject of chapter 4, where this stanza of the Süryafataka is quoted, is 'Distinction between Faults and Points of Excellence' (atha gunadoşavibhagaḥ). On Mayūra's stanza, Kşemendra says: 'The three good qualities in poetry are clearness in words, sense and sentiment; the faults of poetry are obscurity in words, sense and sentiment. Poetry is possessed of good qualities, or lacks them; is either faulty or lacks faults; or is both faulty and possessed of good qualities. . . . An example of poetry that is both faulty and possessed of good qualities is the stanza of Mayūrabhaṭṭa, beginning astavyasta-.' 2. Lit. 'is able to make the universe to have its darkness destroyed.' 3. For other instances in the Süryaśataka where the rays are compared to a lamp, see stanza 11, note 3. 4. Lit. 'is free from the condition of being tossed about by death'; i.e. is not subject to rebirth. 5. Resolve this pada as asta-vyastatva-fűnyo nija-rucir anisa-anaśvaraḥ. 6. The commentary explains that a lamp's splendor is not innate, 'because of its (the lamp's) having to be supplied with oil, etc.' 7. For the second rendering, resolve as a-stavyas tatva-tanyo 'nija-rucir anisa-naśvaraḥ. The term anisa, in the sense of 'day,' is not found in the lexicons, but the gloss is divasaḥ, 'day,' and nifa, meaning 'night,' is found. The phrase 'perishable in a day' is seemingly synonymous with 'transitory.' 8. Lit. 'in the matter of quarter and time, that rising of the rays has gone to a new name in Indra's quarter.' The commentary notes: 'In the matter of 132 THE SŪRYAŚATAKA OF MAYŪRA quarter and time, quarter" [means] east, etc., [and] "time [means] dawn, etc.; it (the rising of the rays) is called "new," with the idea that it is seen in the eastern quarter at dawn. But in reality this (Sürya), who is deprived of his name (?vyapadeśaśünyo), is not new, but old.' For a similar conception of the relation of Surya to time and place, see stanza 97, note 1. 9. Lit. navakhyam yataḥ means 'gone to a new name.' I have rendered as 'makes a fresh appearance.' 10. Indra's quarter was the east. The lokapālas, or guardians of the eight points of the compass, beginning with the east, and taken in order, were as follows: Indra, Vahni (Agni), Pitrpati (Yama), Näirṛta (the Rākşasas), Varuna, the Marut (Vāyu), Kubera, and Isa (Siva). This is the list as given in Amarakośa (1.3.75), and also found in Süryaśataka, stanza 58. In Manu (5.96), the eight are enumerated as Soma, Agni, Arka (Sürya), Anila (Vāyu), Indra, Vittapati (Kubera), Appati (Varuņa), and Yama. See also Ramayana (2. 16. 24), where the guardians of the north, east, south and west are said to be Kubera, Indra, Yama and Varuna. The eight elephants belonging to the eight regents are enumerated by Amarakośa (1.3.76), in the following śloka :66 diravataḥ pundarīko vamanaḥ kumudo 'ñjanaḥ puspadantaḥ sarvabhāumaḥ supratīkaś ca diggajāḥ "1 V.L. (a) The Kavikanthabharana (see note 1) reads -anifanaśvaram ; B kartum iso. (b) VJHB pradeśe sthito. (c) The Kavikanthabharaṇa (see note 1) reads dikyālāpekş ayāsâu tribhuvanam; H tribhuvanam (with cerebral nasal). (d) The Kavikanthabharana (see note 1) reads sivam focişām udgamo. 19 mā gān mlānim mṛṇālīmṛdur iti dayayevā 'pravisto 'hilokam lokālokasya pārśvam pratapati na param yas tadākhyārtham eva ürdhvam brahmaṇḍakhaṇḍasphuṭanabhayaparityaktadāirghyo dyusīmni svecchāvaśyāvakāśāvadhir avatu sa vas tāpano rociroghaḥ The flood of rays of the Heater¹ (Sürya) does not enter (Pātāla), the Snake-world, as if through pity lest [that world], tender as a lotus stalk, should wither up,² Nor does it illumine the farther side of Mt. Lokāloka³ (Visibleinvisible), for the sake of the name (Invisible) of that [farther side],* And afterwards, [when] on the boundary of the sky," it abandons longness, because of its fear of breaking open a piece of the egg of Brahmā.' THE SURYASATAKA OF MAYURA May the Heater's (Sürya's) flood of rays, the limit of [whose] sphere [of action] is subject [only] to its own will, protect you ¹⁰! 133 Notes. I. Or, the 'Illuminator.' 2. Lit. 'as if through pity, with the thought: "May [that world], tender as a lotus stalk, not go withering." 3. A mythical circular mountain-range, separating the earth from void space, was called Lokaloka, 'Visible-invisible.' It was so high that the light of neither sun, moon nor stars could reach its farther side. Hence the farther side was always wrapped in inky blackness; cf. Bhagavata Purana, 5. 20. 34-37 (ed. Bombay, 1898; cf. tr. by M. N. Dutt, vol. 1, book 5, p. 74-75, Calcutta, 1895); and Visnu Purāṇa, 2.4 (Wilson, vol. 2, p. 204-205). 4. Lit. 'it does not illumine the farther side of Lokāloka, just because of its name.' If Sürya should shine upon the invisible (aloka) side, that side would become visible (loka). 5. That is, at sunset, when the sun is on the western horizon. The horizon, as being the place where sky meets earth, may be called the boundary of the sky.' 6. The rays become shorter as Sürya nears his setting; cf. stanza 7, where it is said that 'the rays at first [i.e. at dawn] bear dwarfishness, but afterwards indeed are long'; and stanza 98, which describes the 'new' rays as 'not having attained their full length.' 7. The fanciful picture presented seems to be that Sürya shortens his rays, fearing lest their heat should cause the mundane egg to break-heat hatches eggs-and so destroy the universe which rests within the egg. But it is not clear to me why the egg should be more endangered when Sürya nears the horizon than at any other time of day. The story of the birth of the universe from the egg of Brahmã is told in all the Purāṇas; cf. for example, Vişnu Purana, 1.2 (Wilson, vol. 1, p. 39-40), or Markandeya Purana, 45. 62-70 (Pargiter, p. 222-223). The 'golden egg' is also mentioned in Manu, 1. 9. 8. Lit. avakaśävadhir means 'limit of [whose] place.' I have rendered as 'limit of [whose] sphere [of action].' 9. That Sürya is responsible for his acts to no one but himself is an idea expressed also in stanza 6. According to F. W. Thomas (ed. of the Kavindravacanasamuccaya, introd., p. 68, Calcutta, 1912), this stanza of the Süryaśataka is cited by Ujjvaladatta, on Unadisutra (Aufrecht's edition, p. 19), 4. 51. IO. V.L. (a) V hi loke, B 'hiloka. 20 aśyāmaḥ kāla eko na bhavati bhuvanānto 'pi vite 'ndhakāre sadyaḥ prāleyapādo na vilayam acalaś candramā apy upaiti bandhaḥ siddhāñjalīnāṁ na hi kumudavanasyā 'pi yatrojjihāne tat prātaḥ prekṣaṇīyam diśatu dinapater dhāma kāmādhikam vaḥ 134 THE SURYASATAKA OF MAYURA When the splendor¹ of (Sürya), Lord of Day, rises, and when darkness disappears, not only does time become , but also the limits of the earth become ; Not only does the ³; Not only is there of the añjali by Siddhas, but also a of the lotus-cluster. May that splendor, lovely at dawn, of (Sürya), Lord of Day, bestow on you more than your desire! Notes. 1. In the expression yatrojjihane (in pada c), yatra appears to be the equivalent of yasmin dhämni, correlative to tat... dhama (in pada d). This, at any rate, is the explanation of the commentary. For a similar use of yatra in a locative absolute construction, cf. stanzas 76, 83, 85, 88, 95, and see Whitney, Skt. Grammar, 1099, b. 2. Time is regarded as being divided into day-time and night-time; consequently, when time is 'free from night,' it must be day-time. 3. Lit. 'not only does the mountain, whose foothills are snowy >, at once go to melting >, but also the moon, whose rays are snowy >, goes to disappearance >.' position of the hands, when folded in making the añjali, resembles the bud-like shape of a closed lotus; cf. stanza 10, note 4. 5. The commentary notes: 'For Siddhas, when approaching the Blessed (Surya), make the añjali.' On the Siddhas, cf. stanza 6, note 8. 6. The white lotus is night-blooming, and closes at sunrise. The commentary says: 'The white lotuses (kumudani) also close at this time.' 4. The V.L. (a) VHB bhuvanante; K vitandhakaraḥ. (b) VJ candramaś ca 'bhyupaiti, HB candrasaś ca 'bhyupäiti. (c) V naddhaḥ, H vaddhaḥ, B baddhaḥ siddhamjalinam. (d) B kamadikam. 21 yat kāntim pańṁkajānāṁ na harati kurute pratyutā "dhikyaramyām no dhatte tārakābhām tirayati nitarām āśu yan nityam eva kartum nā 'lam nimeșam divasam api param yat tad ekam trilokyāś cakṣuḥ sāmānyacakṣurvisadṛśam aghabhid bhāsvatastān maho vaḥ THE SŪRYAŚATAKA OF MAYŪRA 135 The light of (Sürya), the Shining One, [is] the sole eye¹ of the three worlds, [but is] different from an ordinary eye; For it does not take away, but, on the contrary, makes more lovely the beauty of the lotuses,² And it does not support, but indeed always very quickly obscures the splendor of the stars,³ And it is unable to a wink, although it can the noble day.* May that light of (Sürya), the Shining One, be the destroyer of your sin! Note. 1. For other instances where Sürya is called an 'eye,' see stanza 13, note 2. 2. An ordinary eye does appropriate the beauty of a lotus, as evidenced by the common Sanskrit epithet, 'lotus eye.' The commentary, however, says: 'But the other (i.e. the ordinary) eye takes away the beauty of the lotuses, with the idea that it is indeed an imitation of them.' Perhaps this means that the pupil of the eye is like the heart of a lotus, while the lashes are like the petals. Besides, an eye opens and shuts, like a lotus. 3. In this päda, the words dhatte tarakābham are capable of a double rendering, on which is based the distinction between Surya, as the eye of the three worlds, and an ordinary eye; thus: 'Surya does not support the splendor of the stars >, but an ordinary eye does .' 4. An ordinary eye cannot refrain from winking, but is unable, like Sürya, to make day and night. Bernheimer (see Introd., p. 105) sees a slightly different meaning. He renders: 'esso non può battere nel tempo di un istante (come quello dei mortali) ma nel tempo di un giorno'; and in a footnote he explains: 'L'occhio dei mortali batte cioè si apre e si chiude in un istante; quello del sole si apre al mattino e si chiude alla sera, batte dunque in un giorno.' That is, it takes the sun a whole day to make one wink. 5. On the euphonic combination bhasvatastän (for bhasvataḥ stan), cf. Whitney, Skt. Grammar, 173, a. 6. The distinction drawn in this stanza between Surya and an ordinary eye is an instance of the rhetorical figure vyatireka; cf. stanza 23, note 1, where this figure is discussed at length. V.L. (b) K nadhatte tārakābhām; V niratām afu. (c) V trilokyām. 22 kṣmām kṣepīyaḥ kṣapāmbhaḥśiśiratarajalasparśatarṣād ṛteva drāg āśā netum āśādviradakarasaraḥpuṣkarāṇī 'va bodham prātaḥ prollanghya viṣṇoḥ padam api ghṛṇayevā 'tivegād daviyasy 136 THE SŪRYAŚATAKA OF MAYŪRA uddāmam dyotamānā dahatu dinapater durnimittam dyutir vaḥ The splendor of (Sürya), Lord of Day, goes quickly to the earth, as if because of its desire to sip the cool water of the dew,¹ [And also] goes² swiftly to [all] the quarters [of the sky], as if to cause to open the , <[shaped like] pond lotuses>,* of the trunks of the elephant [-guardians] of the quarters,³ And at dawn, impetuously transcending even the step of Vișnu, as if in contempt,' it goes to more remote [places]. May this fiercely-shining splendor of (Sürya), Lord of Day, burn up whatever is of ill omen to you! Notes. 1. Lit. 'because of its desire for touching the rather cool water of the night-water.' This fanciful idea that the hot rays come to earth, in order to satisfy their thirst by drinking the cool dew, is an instance of utprekşa; cf. stanza 1, note 6. 2. The commentary says that ṛtā, 'is gone,' which occurs in pada (a), is to be supplied both here and in pada (c). 3. Lit. 'as if to lead to expanding.' 4. The tip an elephant's trunk opens out to seize objects of food, etc.; the basis of the comparison between the tips and lotuses rests only on this similarity-that they both open. The imagining of the tips in the guise of lotus-blossoms is an instance of utprekşa; cf. note I. 5. On the regents of the eight directions, and their elephants, cf. stanza 18, note 10. 6. The 'step of Vişņu' is poetical for 'sky'; cf. stanza 7, note 4. 7. The contempt is for Vişnu, because the rays go higher in the sky than that deity went; cf. stanza 7. 8. The commentary supplies rta, 'is gone'; cf. note 2. 9. The locative daviyasi denotes here, according to the commentary (cf. note 8), the limit of motion after rta; cf. Whitney, Skt. Grammar, 304, a. V.L. (a) VHBK -sifirataratalasparśa-, J -śiśirataralasparśa-. (b) V präg asa; J -puşkarāṇām vibodham. (c) J-vegãd gariyasy. (d) V udamadyotamana, JHB uddamadyotamānā. 23 no kalpāpāyavāyor adayarayadalatkṣmādharasyā 'pi gamyā gāḍhodgirņojjvalaśrīr ahani na rahitā no tamaḥkajjalena prāptotpattiḥ patangān na punar upagatā moṣam uṣṇatviṣo vo vartiḥ sāivā 'nyarūpā sukhayatu nikhiladvīpadīpasya diptiḥ The¹ splendor of the Hot-rayed (Sürya), the lamp² of all the dvipas, is verily a wick, [but] of a nature different* [from that of an ordinary wick]; THE SŪRYAŚATAKA OF MAYŪRA 137 For it is not assailable even by the wind [that accompanies] the destruction of a kalpa-a wind that rends the mountains with merciless force¹; And in the daytime it pours out a dense shining splendor, and is free from the ink of darkness¹⁰; And it derives its origin , and, moreover, is not subject to being extinguished .¹¹ May that splendor of the Hot-rayed (Sürya) bring you joy! Notes. 1. This stanza is quoted in Anandavardhana's Dhvanyaloka (2.23-24; p. 92 of the Kävyamālā text as cited in stanza 9, note 1) as an example of the rhetorical figure vyatireka, 'distinction. The author's remarks on this stanza of Mayūra are as follows: atra hi samyaprapancapratipadanam vindiva vyatireko darsitaḥ, which Jacobi (ZDMG, 56.614) renders as: 'Hier ist nämlich der vyatireka (die höhere Vortrefflichkeit der Sonne im Vergleich mit einer Lampe) gezeigt, ohne dass die Ähnlichkeit ausdrücklich dargestellt ist.' Jacobi (loc. cit., p. 613, footnote 3) defines vyatireka as follows: 'Vyatireka heisst ein Vergleich, der darauf hinausläuft, das Subjekt als höher oder als geringer denn das Objekt des Vergleiches hinzustellen; der Vergleich fällt also zu Gunsten des Subjekts oder Objekts aus.' Another definition is that of Dandin in the Kavyadarśa (2.180): fabdopätte pratite va sadṛśye vastunor dvayoḥ । tatra yad bhedakathanam vyatirekaḥ sa kathyate. This Böhtlingk, in his edition of the Kavyadarśa, renders as: 'Wenn bei der ausgesprochenen oder bekannten Gleichheit zweier Dinge ihr Unterschied angegeben wird, so nennt man dieses Vjatireka; d.i. Gegenüberstellung mit Angabe des Unterschiedes.' It may be noted in passing that stanza 21, which compares Surya to an eye, is very similar to this stanza in its general arrangement, and presents another instance of vyatireka. 2. For a list of the stanzas where Sürya is compared to a lamp, see stanza 11, note 3. 3. The dvipas were geographical divisions of the terrestrial earth. According to the Purāṇas, they were seven in number, and were grouped around Mt. Meru (see stanza 1, note 4) like the petals of a lotus, each being separated from the other by a distinct ocean. The central one was Jambudvipa, in which was situated Bhāratavarşa, or India; cf. Vişnu Purana, 2.2 (Wilson, vol. 2, p. 109-110, and note); see also stanza 97, note 2. 4. Cf. stanza 21, where the light of Sürya is said to be 'an eye different from an ordinary eye.' 5. With kalpapayavayor gamya, 'assailable by the wind, etc.,' cf. Candidataka, stanza 42, where again is found a genitive of the agent with gamya, gamyam agner, 'assailable by Agni'; so also in Bhaktamarastotra, stanza 16, gamyo na ... marutam, 'not assailable by the winds.' On this genitive, see Speijer, Sanskrit Syntax, 114. 6. A kalpa was a period of 4,294,080,000 years, and constituted one day of Brahma. At the end of every kalpa, the three worlds were all consumed with fire and then immersed in ocean. Chaos then existed for a night of Brahmå, which 138 THE SŪRYASATAKA OF MAYŪRA was as long as one of his days. Then Brahmã awoke from his sleep-he reposed as Nārāyaṇa (Viṣṇu) on the serpent Seșa (stanza 35, note 8) at the bottom of the ocean-and began anew the work of creation; cf. Vişnu Purana, 1.2-3 (Wilson, vol. 1, p. 41-54, and notes). 7. Lit. 'having mountains bursting through its merciless force'; the commentary glosses dalat by firyamana, 'crushed.' The sense of this pada seems to be that the flame of Surya cannot be blown out even by the strongest of winds, but any puff of air will put out a flaming wick. With the sentiment expressed here, compare stanza 16 of the Bhaktamarastotra (cf. Introd., p. 24) gamyo na jatu marutam calitacalanam dipo 'paras tvam asi natha jagatprakaśaḥ, 'Thou, O Lord Jina, art not ever assailable by the winds that move the mountains; thou art a second lamp (Sürya) illuminating the world.' 8. In the full glare of sunlight the light of an ordinary lamp is scarcely discernible. 9. The double negative of course makes an affirmative; I have rendered na rahita no, 'not undeprived,' as 'free from.' For other instances of the use of the double negative in the Saryaśataka, see stanzas 38 (note 3), 59 (note 6), and 87 (note 3). 10. Sürya is free from the ink (kajjala) of darkness, but a lamp-wick is not free from lamp-black (kajjala). 11. A lamp-wick is not descended from Patanga (Sürya), and is subject to extinction by a moth. The meaning appears to be that a moth, fluttering at a light, may extinguish it; cf. Mṛcchakatika, 3. 18+ (in the prose), where the burglar Sarvilaka, embarrassed in his movements by a lighted candle, releases a moth, which he carries for the very purpose, to flutter against and extinguish the flame. See the edition of the Mrcchakatika by Parab, Bombay, 1900, and the translation in the Harvard Oriental Series by A. W. Ryder, Cambridge, Mass., 1905. V.L. (a) HB -dalakṣmadharasya; K and the Dhvanyaloka (see note 1) read 'pi famya. (b) B rahita ne tamaḥ-. (c) V usnatviso va. 24 niḥśeṣāśāvapūrapravaṇaguruguṇaślāghanīyasvarūpā paryāptam nodayādāu dinagamasamayopaplave 'py unnataiva atyantam ya 'nabhijñā kṣaṇam api tamasā sākam ekatra vastum bradhnasyeddhā rucir vo rucir iva rucitasyä "ptaye vastuno 'stu The bright splendor of Bradhna¹ (Sürya) is like desire: For the very nature [of the splendor] is praiseworthy for its good qualities, and is intent on filling [with light] all , Whereas the very nature [of desire] is praiseworthy for its good qualities, and is inclined to fulfil all ; THE SŪRYAŚATAKA OF MAYURA 139 And [the splendor] verily reaches its culmination not at the beginning of its , but at the time of its «disappearance at the close of the day, Whereas [desire] verily reaches its culmination not in the beginning of its , but in its ; [The splendor] , Whereas [desire] .* May [this] bright splendor of Bradhna (Sürya) bring about for you the fulfilment of your desires! Notes. 1. For the meaning of 'Bradhna,' cf. stanza 3, note I. 2. The commentary, which I have followed, takes the long compound in the first pada to be a dvandva. 3. Lit. paryaptam. ... unnata means 'is fully upraised'; I have rendered as 'reaches its culmination.' 4. Lit. 'is not able to be, even for a moment, in one place with lack.' 5. There is no demonstrative in this troublesome stanza, to act as correlative to the ya; cf. Candiśataka, stanza 9 (note 4), for a similar omission; and see stanzas 33 and 98, where there is no relative to match the demonstrative. 6. Lit. 'may it be for the acquisition of your desired object.' V.L. (b) J paryapta; HB unnateva. (d) K rucirasya "ptaye, B racitasya "ptaye. 25 bibhrāṇaḥ śaktim āśu praśamitabalavattārakāurjityagurvīm kurvāṇo līlayā 'dhaḥ śikhinam api lasaccandrakāntāvabhāsam ādadhyād andhakāre ratim atiśayinīm āvahan vīkṣaṇānām bālo lakṣmīm apārām apara iva guho 'harpater ātapo vaḥ The light of (Sürya), Lord of Day, is like a second Guha (Kārttikeya)¹: For it quickly brings a >, Whereas Guha bears a "; The light of the Lord of Day also ,' THE SŪRYAŚATAKA OF MAYŪRA Whereas Guha >; The light of the Lord of Day brings superabundant joy to the eyes , Whereas Guha brings superabundant joy to the eyes .¹¹ May the light of (Sürya), Lord of Day, bring¹2 you unbounded prosperity! 140 Notes. 1. For the birth and origin of Kärttikeya, his appointment to be commander of the army of the gods, and his slaying of Mahisa and other demons, see below, in the introd. to the Candiśataka, p. 248, 272; Mahabharata, 3. 223-232; Rāmāyaṇa, 1. 37. 1-33; on his parentage, see Candidataka, stanza 5, note I, and stanza 28, note 2. See also the section Skanda or Karttikeya, in the latest addition to Bühler's Grundriss, the volume by R. G. Bhandarkar, entitled Väişnavism, Säivism, p. 150-151, Strassburg, 1913. He was called Guha, 'secret-born,' because born in the solitude of a forest; cf. Mahabharata, 13. 86. 14. 2. The commentary explains that this mighty power' was 'the ability to illumine the universe.' 3. The commentary explains as a power, mighty because of extinguishing, etc.' 4. Kärttikeya's peculiar weapon was the fakti, 'spear,' cf. Mahabharata, 3. 231. 95-99. 5. For the slaying of Taraka by Kärttikeya, cf. Mahabharata, 13. 86. 29. 6. Lit. 'making the fire subsidiary,' or 'making the fire down.' 7. Or, as noted in the commentary, we may render: 'the lovely splendor of the shining moon'; or, the lovely splendor of glittering gold.' On the moon-stone, see stanza 37, note 5. 8. Lit. 'makes a peacock [to be] beneath him.' As is well known, the peacock was the vehicle of Kärttikeya; cf. W. Crooke, The Popular Religion and Folk-Lore of Northern India, vol. 2, p. 156 (Westminster, 1896), where are listed the vehicles of all the Hindu deities-a hamsa for Brahma, Garuda for Vişņu, the bull Nandi for Siva, a buffalo for Yama, a peacock for Kärttikeya, a rat for Gaṇeśa, etc. Crooke (loc. cit.) suggests that in the vahanas, or vehicles,' there may be indications of totemism, or that the vehicles may represent tribal deities imported into Hinduism. 9. The commentary explains that the 'eyes' here mentioned refer to the eyes of the ruddy-goose; cf. stanza 12, where the eyes of the ruddy-geese are said to be '[full of] longing for blandishments.' 10. Siva was the reputed father of Kärttikeya; cf. Candiśataka, stanza 5, note 1, and stanza 28, note 2. 11. It is stated several times in the Mahabharata-e.g. 7. 155. 44-that Siva killed the demon Andhaka, and the preface (p. 79 and 82) of Wilson's translation of the Vişnu Purana records that descriptions of the fight between Siva and this demon are given in the Karma and the Matsya Puranas. 12. Saraṇadeva's Durghaṭavṛtti (cf. Süryaśataka, stanza 2, note 3), in connection with comment on Pāṇini, 1. 3. 12 and 6.1.10 (see Sastri's edition of the Durghatavṛtti, p. 13, line 22, and p. 93, line 20), notes THE SŪRYASATAKA OF MAYŪRA 141 as grammatical peculiarities that adadhyat is in the active voice, and that it is an optative (instead of the more usual precative or imperative) to express benediction. V.L. (a) HB -gurvi. (b) -käntāvabhasam. (c) K adeyat andhakare, Saraṇadeva (see note 12) adheyat; K avahan ikṣaṇānām. 26 (27 in J) jyotsnāmśākarṣapāṇḍudyuti timiramaṣīśeṣakalmāṣam īṣaj jṛmbhodbhūtena pingam sarasijarajasā samdhyayā śoṇaśociḥ prātaḥ prārambhakāle sakalam iva jagaccitram unmilayanti kāntis tīkṣṇatviṣo kṣṇām mudam upanayatāt tūlikevā 'tulāṁ vaḥ At¹ the time when dawn begins, the splendor of the Hot-rayed (Sürya), like a painter's brush,³ Portrays, as it were, the whole universe , [like] ; For it [the universe] is of a white luster through its having appropriated particles of moonlight; it is mottled with black owing to the remnants of the ink of darkness; Is yellow because of the lotus-pollen that is [just] becoming visible through the slight expansion® [of the petals]; and possesses a red glow by reason of the [dawn]-twilight. May the splendor of the Hot-rayed (Sürya) bring unbounded joy to your eyes! Notes. 1. In J this stanza is no. 27, no. 29 of the Kävyamālā text appearing as no. 26 in J. The resultant order in J is therefore 25, 29, 26, 27, 28, 30, 31, etc. For other changes in the order of the stanzas cf. Introd., p. 83. I have adopted throughout the order of stanzas that is given in the Kävyamālā edition. 2. Lit. 'at dawn, at the time of the beginning.' 3. There is presented here the simile of a painting. The universe is the canvas, and Sürya's splendor is the paint-brush. The colors are the white of fading moonlight, the black, or gray, of departing night, the yellow of the lotus-pollen, and the red of dawn. For a list of the more noteworthy similes in the Süryaśataka, see stanza 14, note 1. 4. Or, if instead of -äkarşapāṇḍu- we read -äkṛtsnapāṇḍu-, which the commentary and J offer as a variant, we should render 'is of a whitish color (lit. a color not all white), etc.' This, the commentary informs us, is due to the littleness (i.e. the dimness) of the moonlight.' 5. The gray vestiges of departing night are meant. 6. Lit. 'lotus-pollen proceeding from the slight expansion.' THE SÜRYASATAKA OF MAYŪRA V.L. (a) The commentary offers as a variant jyotsnämśakṛtsna-, J jyotsnämsäkṛtsna-, HB jyotsāmśākṛtsa-, V jyotsnāmśākṛt sapāṇḍu-; VJHB timiramast-; B -kalmāşam işacch. (c) I have adopted sakalam iva, which is the reading of VJHB; the Kävyamālā text reads sakalam api. (d) H tīkşnatvişokşnām; VHB upanayatānnalikevatalām, J upanayatäntülikevätulam; B va (for vaḥ). 142 27 (28 in J) āyāntī kim sumeroḥ saraṇir aruṇitā pādmarāgāiḥ parāgāir āhosvit svasya māhārajanaviracitā vāijayantī rathasya mäñjişthi praşṣṭhavāhāvalividhutaśiraścāmarālī nu lokāir āśankyā "lokitäivam savitur aghanude stāt prabhātaprabhā vaḥ The dawn-splendor of Savitar (Sürya) is gazed on by mortals who are doubtful Whether it is a pathway, reddened with ruby dust, coming from [Mount] Sumeru,¹ Or perhaps the banner of [Sürya's] own chariot,³ made of [cloth] dyed in saffron, Or the madder-red row of streamers on the tossing heads of his line of noble steeds.³ May the dawn-splendor of Savitar (Sürya) remove your sin"! Notes. 1. For a description of Meru, or Sumeru, which was composed of gold, and was the source of all precious stones, see stanza I, note 4. 2. For Surya's chariot, see stanza 8, note 2. 3. For Sürya's seven horses, see stanza 8, note 2. 4. Lit. 'may the dawn-splendor of Savitar exist for the removing of your sin.' 5. For the position of this stanza in f's text, see stanza 26, note 1. V.L. (a) V saranim, B saranir unita; V padmaragaiḥ. (b) VHB maharajaniviracita. (c) VJB -vidhrtafiraf-; K -camaraliva; B lokaur. (d) J syät (for stat); VJHB prabhate prabha vaḥ. 28 (29 in J) dhväntadhvamsam vidhatte na tapati ruciman nā 'tirūpam vyanakti nyaktvam nitvā 'pi naktam na vitaratitarām tāvad ahnas tviṣam yaḥ sa prātar mā viramsīd asakalapaṭimā pūrayan yuşmadāśām āśākāśāvakāśāvataraṇataruṇaprakramo 'rkaprakāśaḥ THE SŪRYASATAKA OF MAYŪRA 143 At dawn the splendor of Arka (Sürya) does not possess its full intensity, But [gains] fresh strength in the crossing of the intermediate space between the sky and the directions; [At dawn] , but , but «does not willingly cause pain», nor «does it display excessive conceit»*; And, although it has humiliated night, it does not yet pour out in full measure the light of day. May that splendor of Arka (Sürya) not cease to fulfil your expectation¹! 4. The Notes. 1. The commentary glosses rucimat, which is not found in the lexicons, but appears to be an adverb, by diptimat, ' brilliant,' and kathoram, 'piercingly.' For the suffix -mat used to form adverbs-a rare formation-see Whitney, Skt. Grammar, 1235, e. 2. Error, or ignorance, which is synonymous with error in Hindu philosophy, is spiritual darkness. 3. The commentary here glosses rucimat by svecchaya, 'in accordance with its own will,' apparently taking ruci in the sense of 'desire.' commentary here glosses na 'tirapam vyanakti by ätmanam na ślaghate, 'does not praise itself'; I have rendered as 'does not display excessive conceit.' 5. I have rendered the suffix -taram as 'in full measure,' taking it to be the suffix of comparison in the feminine adverbial form. For the attaching of this suffix to personal forms of verbs, cf. Whitney, Skt. Grammar, 473, c. 6. The commentary, omitting the na and the api, obtains a second rendering of this pada, interpreting it as follows: naktam rūpam vipakşam pratikşipya divasakalyamitrasya tejovṛddhim karoti [read kalya for kalpa], 'disregarding night, its contrary form, causes an increase of the splendor of its friend, the dawn of day.' 7. For the position of this stanza in J's text, see stanza 26, note 1. V.L. (a) J dhväntadhvasam; VJHB tapati nitarām na 'tirapam. (b) K nyaktām; K ahni tvişam. (c) VHB ma vyaramsid; VHB yuşmadaśa. (d) V ajakaśa cakaśāvataraṇa-. 29 (26 in J) tīvram nirvāṇahetur yad api ca vipulam yat prakarṣeņa cā 'ņu pratyakşam yat parokşam yad iha yad aparam naśvaram śāśvatam ca THE SŪRYASATAKA OF MAYŪRA yat sarvasya prasiddham jagati katipaye yogino yad vidanti jyotis tad dviprakāram savitur avatu vo bāhyam ābhyantaram ca 144 The¹ two-formed splendor of Savitar (Sürya) is both external and internal²: For it is hot,³ [yet] also the cause of final beatitude*; it is widely expansive, [yet] also exceedingly atomic; It is perceptible, [yet] imperceptible®; it is near, [yet] remote; it is transitory, and [yet] eternal; It is well known to everyone in the universe, [yet only] some yogins [really] know it. May that splendor of Savitar (Sürya) protect you! Notes. 1. The apparent contradictions in this stanza rest on a distinction made between the physical nature of Sürya as known to ordinary mortals, and his metaphysical nature which is known only to those practising yoga meditation. 2. The commentary defines 'external' (bahyam) as 'definable by external means,' and 'internal' (abhyantaram) as 'attainable by yoga meditation.' 3. The distinction apparently rests on a kind of pun-it is hot, or sharp (tivram), yet also the cause of nirvana, the state wherein all senses are dulled. 4. For other passages where Sürya is said to be the cause of emancipation, see stanza 9, note 7. Cf. also Kennedy, Hindu Mythology, which quotes (p. 348) the Brahma Purāṇa as saying 'by devotion to whom (Sürya) alone can final beatitude be obtained'; and the same work (p. 346), which quotes from the Sarya Upanişad the thought that 'from Sürya proceed existence and non-existence.' 5. The commentary explains as perceptible and imperceptible by the senses; cf. stanza 96 (note 4) for a similar idea. 6. Kennedy, op. cit. (see note 4), p. 347, quotes the Brahma Purana as saying that Sürya is 'the witness of everything, but himself unseen and incomprehensible.' 7. The commentary explains: 'The twice-four yogins, headed by Vyāsa, know [it].' 8. For the position of this stanza in J's text, see stanza 26, note 1. V.L. (a) VHB prakarşena ca 'tha. 30 ratnānām maṇḍanāya prabhavati niyatoddeśalabdhāvakāśam vahner dārvādi dagdhum nijajaḍimatayā kartum ānandam indoḥ yat tu trailokyabhūṣāvidhir aghadahanam hlādi vṛṣṭyā "su tad vo bāhulyotpadyakāryādhikataram avatād ekam evä 'rkatejaḥ THE SŪRYAŚATAKA OF MAYURA The¹ [splendor] of jewels, whose part is played in a circumscribed place, is for adornments [only]; The [splendor] of fire can burn up wood and the like; [and] the [splendor] of the moon is able to bring joy by its innate coldness; 145 But the splendor of Arka (Sürya), being the means of adornment of the three worlds, the burner-up of sin, and the swift bringer of joy through rain, Is alone greater [than the other splendors] by reason of its abundantly performing [all their] functions.5 May that splendor of Arka (Sürya) protect you! Notes. 1. The meaning of this stanza seems to be as follows: Jewels are for personal adornment only, but Sürya adorns the whole world; fire burns wood, but Sürya burns up sin; the moon gives joy by its cold rays, but Sürya gives joy by the rain that he draws up and pours down. Jewels can only adorn, not burn; fire can only burn, not adorn; the moon can only give joy, not burn or adorn; but Sürya, or Surya's splendor, can both adorn, burn, and give joy; therefore the splendor of Sürya is greater than the splendor of jewels, fire, or moon. 2. Lit. 'whose opportunity is grasped in a circumscribed place,' the meaning being that jewels perform their function of adorning only in some little place, as on the finger, in the ear, or around the neck. 3. Lit. 'is able for adorning,' or 'avails for adorning.' 4. The commentary quotes from an unnamed source, which I find to be Mahabharata, 12. 263. 11: adityaj jayate vrstiḥ, 'from Aditya (Sürya) rain is produced.' The same passage is quoted again in the commentaries on stanzas 77 (see note 1) and 93 (see note 5). For other places in the Süryafataka where the idea is expressed that Sürya is a reservoir of water, see stanza 9, note 2. 5. Lit. 'greater because of [these] actions produced in abundance,' or 'greater because it commonly produces [all these] actions.' V.L. (a) HB maṇḍalaya prabhavati; VHB niyate deśa-. (b) V vahner davagni-; VHB-dagdham. (c) VJHBK read yat tu, which I have adopted; the Kävyamālā text reads yac ca. 31 mīlaccakṣur vijihmaśruti jaḍarasanam nighnitaghrāṇavṛtti svavyāpārākṣamatvak parimușitamanaḥ śvāsamātrāvaseṣam visrastāngam patitvā svapad apaharatād aśriyam vo ʼrkajanmā kālavyālāvalīḍham jagad agada ivotthāpayan prākpratāpaḥ II 146 THE SŪRYASATAKA OF MAYŪRA The¹ dawn-splendor of Arka (Sürya), like an antidote, rouses the universe which, bitten by ,³ And to the Yamunā . May the Heater's (Sürya's) row of horses destroy your sins! Notes. 1. Or, tapant may mean 'the Illuminator's.' 2. The term helalolam, which I have rendered as 'with sportive restlessness,' and 'with restless dalliance,' is here taken adverbially, as the commentary suggests; for compounds used as adverbs, cf. Whitney, Skt. Grammar, 1311. 3. The 'Tamer of Snakes' was Garuda. The story of the origin of his enmity for the tribe of serpents is told in Mahabharata, 1. 20-34, and runs as follows: Once on a time Vinatã, mother of Aruna and Garuda (cf. stanza 8, note 1), had a wager with her sister and co-wife Kadru over the color of the tail of Indra's horse Uccäiḥśravas. The Kädraveyas (i.e. sons of Kadrü), who were serpents, at Kadrü's bidding changed themselves into black hairs on Uccãiḥśravas's tail, and so enabled their mother to win the wager. Vinata, having lost, became the slave of the serpent Kādraveyas. They, however, promised Garuda to set his mother free from slavery, if he would bring to them the immortality-causing ambrosia (amṛta) which was produced in the Moon. After a series of exploits and adventures, Garuda actually succeeded in purloining the amṛta, and was returning with it, when first Vişnu, and then Indra, interfered. The upshot of the matter was that Garuda, in exchange for the gift of immortality, became Vişnu's vehicle (Mahabharata, 1. 33. 16-17), and that Indra made him promise not to let anyone drink the precious nectar. In return for this promise, Garuda was granted permission to feed perpetually on THE SURYASATAKA OF MAYŪRA 165 the snakes (Mahabharata, 1. 34. 13-14). It was arranged that Garuda should present the amṛta to the Kädraveyas, thus securing the freedom of Vinata, but that Indra should snatch it away before any of it could be taken. This program was duly carried out. Garuda presented the amṛta, and the Kädraveyas declared Vinată free. Then, while the Kādraveyas were performing ceremonial ablutions preparatory to quaffing the sacred beverage, Indra, unseen, bore it away. The Kādraveyas licked the grass on which the amṛta had been resting, and in consequence their tongues were cleft. As a whole the anecdote is probably to be regarded as the later form of the Vedic myth of the theft of Soma by the Eagle; cf. Macdonell, Vedic Mythology, p. 111-112, 152. 4. The reference is to Balarama, elder brother of Kṛṣṇa. The story is told that Balarama, when intoxicated, summoned the Yamunā (Jumna) to come to him, that he might bathe. His command being unheeded, he dug a furrow, or channel, with his plowshare, from the bank of the river, thus deflecting the waters and dragging them after him, until the Yamunā, assuming the shape of a human being, asked for his forgiveness; cf. Vişnu Purana, 5.25 (Wilson, vol. 5, p. 65-67). 5. Kṛṣṇa is entitled to be called 'Subduer of the Snake,' because of his victory over the serpent Käliya. The latter was a denizen of the River Yamunā, whose waters he caused to boil with the fires of passion, thus blighting the trees along the river's bank, and killing the birds by the engendered heat. Kṛṣṇa, in order to rid his friends, the cowherds of Vṛndāvana, of the presence of the hated monster, plunged into the stream and challenged Käliya. After a struggle, the god gained the upper hand, and was about to slay the serpent, but was prevailed upon by the entreaties of the female serpents to spare his life. Käliya, although escaping death, was banished to the depths of ocean; cf. Visnu Purana, 5.7 (Wilson, vol. 4, p. 286-296); Bhagavata Purana, 10. 16 (Dutt, vol. 2, book 10, p. 79-87). There is also another story of a victory by Kṛṣṇa over a serpent, told in the Bhagavata Purana, 10. 12. 12-36 (Dutt, vol. 2, book 10, p. 54-56); there it is related that Kamsa, king of Mathura, having been warned that Kṛṣṇa was destined to cause his death, sent a demon to destroy the god. This demon, assuming the form of a serpent, made a sudden and unexpected assault, and swallowed Kṛṣṇa and his friends the cowherds. The deity, however, as soon as he realized his predicament, at once expanded himself and burst the serpent, thus at the same time regaining his liberty and destroying his foe. 6. Lit. suduram means 'in a high degree'; I have rendered as 'decisive.' 7. The 'River of Heaven' is the Ganges, which originated in heaven and descended to earth; cf. Candidataka, stanza 3, note 2, and stanza 4, note 3. It is mentioned in the Süryaśataka, stanzas 45, 61, 66, 68, 70, 83, 95. 8. Lit. 'truly having a beauty imparted by copious froth, their own greenness being spread [around].' The commentary, and also Bernheimer (see Introd., p. 105) would read nijasphita-, 'their own copious froth, etc.' The meaning is that as the horses toss their heads, the froth or saliva, that has gathered on their lips as a result of champing their bits, is scattered about, and lands here and there on their bodies, flecking them with white. For the green (harit) color of Sürya's steeds, cf. stanza 8, note 2. THE SŪRYAŚATAKA OF MAYURA V.L. (a) JHB -ävakṛṣṭām. (b) VJHB svarvahinyaḥ (with lingual nasal); H sudraram; VJHB janitajavapayāḥ. (c) V nirvydjan täyamāne, J nirvyājam tāpamane; VHB haritamani (with lingual nasal); K sphitaphenasmitasrih. (d) JH samayatu (with dental nasal). 166 48 mārgopānte sumeror nuvati kṛtanatāu nākadhāmnām nikāye vīkṣya vrīḍānatānām pratikuharamukham kimnarīņām mukhāni sūte 'sūyaty api "șajjaḍagati vahatām kamdharārdhāir valadbhir vāhānām vyasyatād vaḥ samam asamaharer heşitam kalmaṣāṇi While the assemblage of the gods, [gathered] along the road¹ up Sumeru, is making obeisance and uttering [hymns of] praise, The horses [of Sürya], catching sight of the faces of the Kimnara women, who are modestly bowed at the entrance of every cavern, Proceed at a slightly slackened pace, with necks half-turned* [to look at the Kimnaras], although [such action] angers their driver." May the simultaneous neighing of these horses of (Sürya), whose steeds are uneven [in number], take away your sin! Notes. 1. Lit. 'on the border of the road.' 2. The Kimnaras were mythical semi-divine beings, described in Hemacandra's Abhidhānacintamani, 194 (ed. by Sivadatta and Parab, in Abhidhana-Sangraha, part 6, Bombay, 1896), as turamgavadana, 'horse-faced.' So also in Amarakośa, I. 1. 71. They are frequently mentioned in the Mahabharata, often in connection with Yakşas, Rākşasas, or other semi-divine beings; cf. Sörensen's Index, s.v. See also Manu, 1. 39, where they are classed with fish, cattle, men, etc., as products of Brahma's creative power. For other passages where it is said that Sürya is praised by the Kimnaras, see stanza 36, note 3. Lit. 'proceeding with a slightly torpid gait.' The term sajjadagati is best regarded as an adverb; or else, read işajjaḍagativahatām as a compound. 4. Lit. 'with turning half-necks,' the instrumental being one of qualification, without governing preposition; cf. Whitney, Skt. Grammar, 279, and Speijer, Skt. Syntax, 67. 5. The meaning of the stanza seems to be as follows: The car of Sürya is being driven up the slope of Meru through the midst of the gods, who offer praise and oblations as it passes; but when the horses attached to the car catch sight of the horse-faced Kimnara women, they mistake them for other horses, and 2. THE SURYASATAKA OF MAYŪRA 167 so slacken their pace, and turn to look, and neigh. This action on their part arouses the anger of Aruna, their driver, who desires to drive past the assembled gods in dashing style. 6. Or, 'matchless.' V.L. (b) VJHB brīḍāvatīnām pratikuhara-. (c) VH kandharörddhäir, K kamdharagraiḥ; VHB vahadbhir. (d) VHB asamaharad hreșitam, J asamaharer hreşitam. 49 dhunvanto niradālīr nijaruciharitāḥ pārsvayoḥ pakṣatulyas tālūttānāiḥ khalīnāiḥ khacitamukharucaś cyotatā lohitena uḍdiyeva vrajanto viyati gativaśād arkavāhāḥ kriyāsuḥ kṣemam hemādrihṛdyadrumaśikharaśiraḥśreṇiśākhāśukā vaḥ (ity aśvavarṇanam) The horses of Arka (Sürya), [resting] on the row of the summits of (Meru), the Golden Mountain,¹ are like parrots [perched] on the branches in the top of a favorite tree,³ [For] they agitate the line of clouds that [project] like wings on either side, and that have a greenish tinge [reflected] from their own [i. e., the horses' own] color,5 And their beautiful mouths are flecked' with the blood that trickles out because of the bits stretched across their palates,³ And, in conformity with their [usual] behavior, they, as it were, fly up and move about in the sky. May these horses of Arka (Sürya) bring you happiness! (Here ends the description of the horses.) ¹⁰ 2. The Notes. 1. For a description of Meru, see stanza 1, note 4. commentary supplies iva, 'like.' 3. Lit. 'parrots on the brancheswhich branches are the row of summits-in the top of a favorite treewhich tree is the Golden Mountain'; the compound is of unusual form, with the words curiously intermingled. 4. That is, as the horses fly through the clouds, the latter appear to be the wings of the horses. The commentary notes that parrots also flap their wings. 5. On harit, green,' as applied to the horses of Sürya, see stanza 8, note 2; stanza 46, note 8; and Candiśataka, stanza 8, note 2. The commentary notes that parrots also are green (harit). 6. Lit. 'the beauty of their mouths.' 7. Lit. khacita means 'inlaid.' 8. For this same picture-the mouths of the horses stained with blood from the wounds caused by the bits-see stanza 8. The commentary notes that parrots also have red on their beaks. 9. Parrots also of course fly. 10. For the divisions of the " THE SURYASATAKA OF MAYŪRA subject-matter of the Süryaśataka, see Introd., p. 84. The following twelve stanzas-viz. 50 to 61-are devoted to the praise of Aruna, the charioteer. 168 V.L. (b) VJHB tanattanaiḥ; VHB -mukharucacyotata, J -mukharucahś cyotata. (d) B hemadrihṛdyadradruma-. 50 prātaḥśäilāgrarange rajanijavanikāpāyasamlakṣyalakṣmir vikṣipyā 'pūrvapuṣpāñjalim uḍunikaram sūtradhārāyamāṇaḥ yāmeṣv ankeṣv ivā 'hnaḥ kṛtarucișu caturṣv eva jātapratiṣṭhām avyāt prastāvayan vo jagadaṭanamahānāṭikāṁ sūryasūtaḥ The¹ charioteer of Sürya [appears] on the top of (Meru), the Dawn Mountain, [as on] a stage, with his splendor revealed by the removal of the curtain of night, And, coming forward² as the director, scatters multitudes of the stars as handfuls of wonderful flowers,* And utters the prologue of the great drama [whose action comprises] the wandering [of Sürya] over the universe[A drama] that verily produces fixed arrangement in the four divisions of the day," whose splendor is [successively] unfolded as if in [four successive] acts. May (Aruna), the charioteer of Surya, protect you! Notes. I. Stanzas 50-61 are especially devoted to the praise and description of Aruna, the charioteer of Sürya's car; cf. stanza 8, note 1. In this stanza appears another of the rather elaborate similes that occur here and there in the Süryaśataka (cf. stanza 14, note 1). The 'Wandering of Sürya over the Universe' forms the subject of a drama. The stage is the top of Mt. Meru. Night is the curtain. Aruna, the Dawn, is the director, who appears on the stage, scattering the stars instead of the customary flowers, and utters the prologue. It is of course quite apropos that Dawn, the forerunner of Sürya, should give the prologue where Sürya is to be the chief actor. The four periods of the day are the four acts. The technical words națika, 'drama'; ranga, 'stage'; javanika, 'curtain'; sutradhara, 'director'; anka, 'act'; and prastavayan, ''uttering the prologue,' are readily recognized by students of the Sanskrit dramatic literature. With sutradhārāyamaṇaḥ, 'coming forward as the director,' compare the similar formations, vetrāyamāṇāḥ, 'appearing as the doorkeepers,' in stanza II (note 6), and padmaragayamaṇaḥ, 'appearing as the ruby,' in stanza 56 (note 5). 3. I have rendered sutradhara by 'director.' It is more commonly translated as 'stage-manager,' but the real term for the latter seems to have been sthapaka; cf. Konow and Lanman, Rajaçekhara's Karpura2. 169 THE SŪRYAŚATAKA OF MAYURA mañjari, p. 217, and p. 223, note 8. 4. It was customary for the 'director' (sutradhära), or the leading performer, to scatter handfuls of flowers when beginning the prologue; cf. H. H. Wilson, Theatre of the Hindus, vol. I, introd., p. 67, 3d ed., London, 1871. 5. That is, divides the day into four fixed periods. The word yama denotes a period of three hours, like the vigilia of the Romans. 6. The natika regularly had four acts; Wilson, Theatre of the Hindus, vol. 1, introd., p. 31; Sylvain Lévi, Le Théatre Indien, p. 146, 155, Paris, 1890; Daśarüpa, ed. Haas, 3. 48, p. 96, where full references to Hindu dramaturgic treatises are given. V.L. (a) HB -failagravange. (b) V uḍanikaram. (c) VK eva yātaḥ pratiştham, JHB eva yataḥ pratişṭām. 51 ākrāntyā vāhyamānam paśum iva hariņā vāhako 'gryo harīṇām bhrāmyantam pakṣapātāj jagati samaruciḥ sarvakarmāikasākṣī śatrum netraśrutīnām avajayati vayojyeṣṭhabhāve same 'pi sthāmnām dhāmnām nidhir yaḥ sa bhavadaghanude nūtanaḥ stād anūruḥ (Aruna), the Foremost Driver of Horses, is superior¹ to (Garuda), who is forcibly ridden by Hari² (Viṣṇu), like a brute beast, And (Aruna), the Sole Witness of Every Deed, whose splendor is equally [diffused] over all the world [without ], is superior to (Garuḍa), who wanders over the world , And (Aruna) is superior to (Garuda), Foe of Serpents, even though , is the same as that of (Aruna), . May that [ever] new Thighless' (Aruna), the repository of eternal splendors, bring about the removal of your sin! Notes. 1. As the commentary notes, the superiority here mentioned lies in a word-pun-the idea being that Aruna, who drives the hari (horses) of Surya, is better off than Garuda, who is driven by Hari (Vişnu). For somewhat analogous puns on the word hari, cf. stanzas 53, 64, 71, 72, and Candidataka, stanzas 15 and 19. 2. For Garuda as the vehicle of Vişnu see Mahabharata, 1.33. 16-17; cf. stanza 47, note 3, where a summary of Garuda's adventures is given; cf. also Wilkins, Hindu Mythology, p. 451-453. 3. Cf. stanzas 21 and 32, where Sürya is called the 'Eye of 170 THE SŪRYASATAKA OF MAYŪRA the Three Worlds,' and also an anonymous commentator on the Bhaktamarastotra (cf. Introd., p. 24), who calls Sürya the 'Witness of the World's Deeds.' 4. As the commentary again points out, there is here another word-pun-though only implied-to account for Aruna's superiority over his brother, the idea being that Aruņa diffuses light without pakşapāta (partiality), but Garuda must use pakşapāta (wing-flapping) in moving about. 5. Garuda was the inveterate foe of all serpents; cf. stanza 47, note 3. Lit. netraśrutinam means of those whose ears are eyes,' but the gloss is sarpanam, 'of serpents.' 6. The nature of Aruna and Garuda was the same, since they were both born of the same parents. In fact, they would have been twins, but for the impatience of their mother Vinată, who brought forth Aruna in an imperfect state-thighless-some 500 years before the birth of Garuda; cf. the story related above in stanza 8, note 1. 7. Aruna was thighless (anüru); cf. the citation in note 6. 8. The word sthamnam, according to the lexicons, is a noun and means 'of strengths' or 'of places'; the gloss, however, is sthiraṇam, an adjective meaning of fixed,' 'of eternal.' V.L. (a) VJHB harinam vahako. (c) VB fatram netra-. (d) VJHB sthamna dhamnam; JHB natanastad. 52 dattārghāir dūranamrāir viyati vinayato vīkṣitaḥ siddhasārthāiḥ sānāthyam sārathir vaḥ sa daśaśataruceḥ sātirekam karotu āpīya prātar eva pratatahimapayaḥsyandinir indubhāso yaḥ kāṣṭhādīpano 'gre jaḍita iva bhṛśam sevate pṛṣṭhato 'rkam (Aruna), the charioteer of the Thousand-rayed (Sürya), is gazed on in the sky by troops of Siddhas,' who respectfully present oblations and make deep obeisance, And indeed, after having, at dawn, swallowed up the splendors of Indu (the Moon), which oozes with the water of the snow that overspreads it, [He becomes], , [and] worships Arka (the Sun) with his back" [to it], , , who worships Arka (the Sun) with his back [to it], and . May this (Aruna), the charioteer of the Thousand-rayed' (Sürya), afford you abundant assistance! THE SŪRYASATAKA OF MAYURA 171 Notes. 1. On the Siddhas, see stanza 6, note 8. 2. The term vinayatas appears to be an adverb formed, with the ablative -tas ending, from vinaya, 'propriety of conduct,' 'decency'; the gloss is praśrayat, 'with respectful demeanor'; I have rendered as 'respectfully.' 3. Lit. dpiya means 'having drunk.' Saraṇadeva in his Durghaṭavrtti (cf. Süryaśataka, stanza 2, note has noted as a grammatical peculiarity (see Panini, 6. 4. 69) the gerund apiya, with instead of a (see Sastri's edition of the Durghatavrtti, p. 104, line 9). 4. The fanciful idea that Aruna, the Dawn, becomes chilled from drinking the melted snows of the Moon, is an instance of the rhetorical figure utprekşă; cf. stanza 1, note 6. 5. Lit. prsthatas means 'behind the back,' 'secretly'; I have rendered 'with his back [to it],' the idea seeming to be that Aruna has his back to Surya, his passenger, and while facing ahead to direct his horses, sheds light on the regions in front of the car. 6. The commentary quotes the following floka from an unnamed source: prsthato 'rkam nişeveta jatharena hutafanam, 'one should worship Arka (Sürya) with his back [to it], but (Fire), whose food is oblations, facing it (literally, with the belly). This quotation is probably to be referred to Hitopadeśa, 2.2.3 (see 3d revised edition by Godabole and Parab, Bombay, 1890), where the words are almost identical: prsthataḥ sevayed arkam jatharena hutaśanam. 7. For the thousand rays of Sürya, cf. stanza 13, note 11. V.L. (a) V dattäghair, JH dattargher, B dattarghedrüranamrdir, H drüranamrair; VJB siddhasanghaiḥ, H siddhasamghaiḥ, K siddhasadhyaiḥ. (b) J samarthyam sarathir; VB vaḥ sudaśafataruceḥ; H karottu. (c) V pratatahimamayaḥ-; VHB -syandanir indubhāso. (d) B jadina iva bhṛśam. 53 muñcan raśmin dinādāu dinagamasamaye samharams ca svatantras totraprakhyātavīryo 'virataharipadākrāntibaddhābhiyogaḥ kālotkarṣāl laghutvam prasabham adhipatāu yojayan yo dvijānām sevāpritena pūṣṇā "tmasama iva kṛtas trāyatām so 'ruṇo vaḥ Aruna has been made by Püşan (Sürya), who was pleased with his (Aruna's) devotion, the equal,¹ as it were, of (Pușan) himself: For Puşan ,³ And Aruna ; 172 THE SÜRYASATAKA OF MAYURA Pūşan's , and ,* And Aruna ,³ and "; Puşan ," And Aruna .⁹ May that Aruna protect you! Notes. 1. The 'equality,' like the similarity' in stanzas 25 and 47, rests only on word-puns. 2. Grammatically, svatantras, 'independent' or 'relying on one's own will,' is nominative, modifying 'runo. 3. The words svatantrastotra-, when referring to Aruna, must be resolved as svatantras totra-, but when applied to Puşan, svatantra stotra- must be read. For the omission of visarga, when, as in the latter case, an initial sibilant is followed by a surd mute, cf. Whitney, Skt. Grammar, 173, a. If it is permissible to read svatantrastotra...viryo as one compound, we might render '(Püşan), whose power is celebrated in hymns and tantras of his own.' Püşan is celebrated in 8 hymns of the Rig Veda; cf. for example 6. 53 and 10. 26. For the etymology of Püşan, from the root pus, see Macdonell, Vedic Mythology, p. 37. 4. Literally, haripada means 'a step of Hari (Vişnu),' but the gloss is akaśa, 'sky.' Vişnu once covered the sky with one of his famous 'three steps'; cf. the anecdote related in stanza 7, note 4; for other puns on hari, meaning 'Vişnu' and 'horse,' cf. stanza 51, note 1. 5. The commentary offers, as an alternate rendering, turagapadair akranto baddha udyamo, 'whose concentrated (baddha) exertion is outdone by the feet (or footsteps) of the horses.' 6. A Brāhman is said to be 'twice-born,' because he is supposed to undergo spiritual regeneration at the time of his investiture with the sacred thread -the upanayana ceremony; cf. Manu, 2. 36, and Monier-Williams, Indian Wisdom, p. 201, 3d ed., London, 1876. The commentary states that adhipatau dvijānām, in its second rendering, means 'the Moon, (Candra), the Lord of Brāhmans (dvijänām brāhmaṇānām adhipatau candre)'; cf. Vişnu Purana, 1.22 (Wilson, vol. 2, p. 85), and 4.6 (Wilson, vol. 4, p. 2). 7. The commentary explains: 'The time of the rising of the rays of (Sürya), Maker of Day, is protracted (prakṛşta)'; this means, perhaps, that the moon gets dimmer and dimmer as time (i.e. daylight) advances. 8. Birds are 'twice-born,' being born once in the egg and a second time from the egg. 9. Lit. 'because of pre-eminence in time,' but the commentary explains: 'Because of his birth at a previous time (pūrvakalotpannatvät).' Aruna was born 500 years before Garuda; cf. stanza 8, note 1. THE SŪRYASATAKA OF MAYŪRA 173 V.L. (a) B muñcannaśmin; V samharaś ca; VJ svatantraḥ stotra-, HB svatandrastotra-. (b) K vitataharipad-. (d) VJHBK paşna svasama iva. 54 śātaḥ śyāmālatāyāḥ paraśur iva tamo'raṇyavahner ivā 'rciḥ präcyevā 'gre grahitum grahakumudavanam prāg udasto 'grahastaḥ äikyam bhindan dyubhūmyor avadhir iva vidhāteva viśvaprabodham vāhānām vo vinetā vyapanayatu vipan nāma dhāmādhipasya The driver of the horses of (Sürya), Lord of Splendor, is like a sharp ax, [ready to cut] the vine of night, or like the gleam of a fire in the forest of darkness,¹ Or like the fingers of a hand, raised at dawn to grasp, [as if they were] a bunch of lotuses, the planets [that lie] in front of the eastern quarter,³ Or like a boundary line, breaking the unity of earth and sky, or like , the awakening of the universe. May this driver of the horses of (Sürya), Lord of Splendor, verily remove your misfortunes'! Notes. 1. Bernheimer (see Introd., p. 105) renders: 'che abbrucia l'oscurità come il fuoco la foresta.' 2. The commentary glosses 'grahastaḥ, 'fore-hand,' by hastagraḥ, 'tip of a hand'; I have rendered as 'fingers of a hand.' 3. The commentary has pracya parvaya disa 'gre purastat, which seems to mean 'in front of the eastern quarter.' 4. Owing to the darkness of night, the place on the horizon where earth ends and sky begins cannot be distinguished; earth and sky are therefore seemingly unified; but when the light of Dawn (Aruna) approaches, the horizon becomes visible, and the ap ent unity of earth and sky is broken. The horizon-line, being on the boundary, ordinarily breaks this unity, but since it is also broken by Dawn (Aruņa), this Aruna, the driver of Surya's steeds, may be compared, as he is here, to the horizon-line. 5. Brahma, at every creation, quickens the void slumbering mass of matter into life; cf. Vişnu Purana, 1.5 (Wilson, vol. 1, p. 68-88); Manu, 1I. 1-13. Dawn, since he rouses the sleeping world to life, is comparable to Brahma, who puts life into dormant matter. 6. The imagining of Dawn (Aruna) under the guise of an ax, fire-light, a hand, a boundary-line, or Brahmă, exemplifies the rhetorical figure utprekşd, or 'Poetic Fancy'; cf. stanza 1, note 6. 7. Note that vipad, which is regularly feminine, is here apparently neuter. V.L. (a) J fata śyāmalatāyāḥ. (b) HB pracy agre prag grahitum. 174 THE SŪRYASATAKA OF MAYŪRA 55 pāurastyas toyadartoḥ pavana iva patatpävakasyeva dhūmo viśvasyevā "disargaḥ praṇava iva param pāvano vedarāśeḥ samdhyānṛtyotsavecchor iva madanaripor nandināndīninādaḥ sāurasyā 'gre sukham vo vitaratu vinatānandanaḥ syandanasya (Aruna), who rejoices Vinată,¹ [standing] the forepart of Surya's chariot, Is like the east wind of the rainy season, like the smoke of the fire that has descended* [from heaven], Like the original creation of the universe, like Om, the supreme purifier of the compilation of the Vedas, And like the sound of the drum' of Nandi, preceding (Siva), Foe of Madana, [when he is] desirous of the twilight dance.¹⁰ 9 May [Aruņa] bestow happiness upon you! Notes. 1. Vinata was the mother of Aruņa; cf. stanza 8, note I. 2. Aruna and the east wind are said to be alike for the following reason. Aruna (Dawn) is the herald of the sun, and his coming is the signal for mankind to begin their daily round of the ordinary duties of life, whereas the east wind is the herald of the rainy season, and its coming is the signal for mankind to begin plowing and other agricultural tasks. This seems to be the meaning of the commentary, from which I quote as follows: 'Just as verily the east wind, perceived in the beginning of the rainy season, and indicating the rains, causes mortals to busy themselves with their plowing and the other duties incident to that time, even so this (Aruņa) also, when perceived in the forepart of [Sürya's] car, indicating [i. e. heralding] Sürya's car, causes mortals to busy themselves with the duties, in city or village, that occur at that time.' 3. Aruna and the smoke are alike, because both precede the kindling of the sacrificial fire. When the sacrificial fire is kindled by attrition with the twirling-stick (arant), smoke comes before the flame or spark appears; and Aruņa (Dawn) must come before the sacrificial fire may rightfully be kindled. This is the explanation of the commentary, which says: 'Just as, when the twirling-stick (arant) is twirled, the smoke, perceived first, indicates the descent of Väiśvānara (Agni, or Fire), even so this (Aruņa), causing the sacrificer to busy himself with the sacrifices of the new moon and the full moon, is like smoke, with the idea (iti) that there is non-performance of these [sacrifices] while Sürya is [yet] unrisen.' 4 The god Agni (Fire) descends from heaven to the sacrifice. 5. The commentary, in explaining why Aruna is like the original creation, says: 'Like the original creation of the three worlds, composed of the five elements, and characterized by the following [development]: From the primal element THE SÜRYASATAKA OF MAYÜRA 175 (pradhana) [came] intelligence (mahat); from intelligence [came] individualization (ahamkāra) [cf. Vişnu Purana, 1.2 (Wilson, vol. 1, p. 2933)]. By the employment of the word adi ('original'), he distinguishes the creations of [i.e. that follow] the secondary destructions of the world [at the end of every kalpa]. Just as the original creation, approaching the causation of the manifestation of the universe, arrives at the condition of causing mortals to be intent on the objects of their respective pursuits whose end is final beatitude, even so this (Aruņa) also, placed in the forepart [of Sürya's car], approaching the state of being the cause in regard to the knowledge of the manifestation of Surya's car, marks [i.e. is the distinguishing characteristic of] the state of the 'half-risen' time [i.e. twilight, when neither stars nor sun are visible]. Verily at this time the sacrifice of these begins, not [at the time] when he is [yet] unrisen.' 6. Aruna is like Om. The former stands in the forepart of Sürya's chariot, and the latter stands at the beginning of the Vedas. Aruņa really purifies a man who engages in ceremonial bathings, sacrifices, the presenting of oblations, and the like, because these forms of worship are not efficacious till Aruņa (Dawn) has appeared; and Om purifies a man who engages in the utterance of mantras and prayers extracted from the Vedas, because such mantras and prayers are not efficacious unless prefaced by the pronouncement of the syllable Om. On this the commentary says: 'For it (Om) is indeed uttered at the beginning of the Vedas, and it purifies a human being by means of the pronouncing of muttered prayers and precepts. Even so Anūru (Aruņa) also stands in the front part of the car of Surya, and purifies a human being by means of the performance of ceremonial bathing, gifts, muttered prayers, oblations, etc. Thus [Aruņa is said to be the purifier], because of the nonoccurrence of ceremonial bathings, etc., while he is [yet] unrisen; therefore he is like Om.' 7. The ordinary lexicons do not give the meaning 'drum' for nandi, but the gloss is murajavišeşa, 'a kind of drum.' Nandi, as is well known, was one of Siva's attendants. 8. 9. Madana is a name of Kāma, the god of love. The story is told that on one occasion this Hindu Cupid dared to shoot the arrows of love at the great god Siva. The latter wandered everywhere, seeking rest for his love-harried soul, and constantly calling for his dead wife Sati. Upon meeting Kāma some time afterwards, he recognized in him the cause of his unhappiness, and burnt him to ashes with his third eye. Such is the story told at length in the Vamana Purana (cf. Kennedy, Hindu Mythology, p. 297-300), and briefly alluded to in Rāmāyaṇa, 1.23. 10-14. A different account is given in other Purāṇas, which state that the gods, oppressed by the demon Taraka, could not be freed unless a son of Siva should come into existence and slay the demon. Siva, however, since the demise of his wife Sati, was utterly insensible to the tender passion. So the gods urged Kāma to shoot an arrow at Siva when deep in meditation, and thus inflame him with love for Pärvatī, who was standing nearby and was pining with love for the great god. Kāma, persuaded, shot the bolt, but paid dearly for his temerity, for Siva, angered at the disturbance of his meditations, 176 THE SŪRYAŚATAKA OF MAYŪRA turned on the disturber the full blaze of his third eye and reduced him to ashes; cf. Kennedy, Hindu Mythology, p. 300, footnote. This latter version of the legend is a favorite one with the Sãiva Purāṇas (cf. Wilson's translation of Vişnu Purana, vol. 5, p. 76, note 1), and is prettily told by Bāṇa, in the third act of his Parvatiparinaya (ed. by M. R. Telang, Bombay, 1892; cf. the German translation, under the title Parvati's Hochzeit, by K. Glaser, Triest, 1886), and by Kālidāsa, in the third canto of his Kumarasambhava. See also the illustration in Wilkins, Hindu Mythology, p. 258. It may be noted, in passing, that apparently no mention of the Kāma legend is found in the Vedas, there being no reference to it, at any rate, in Macdonell's Vedic Mythology; and, judging by the references in Sörensen's Index, it receives but the barest mention in the Mahabharata (12. 190. 10). Kāma, after his body had been burnt, became known as Ananga, Bodiless One'; cf. Ramayana, 1.23. 14. Reference to Kāma's unhappy fate is made in Süryaśataka, stanza 80, and Candifataka, stanza 49. 10. Aruna and the sound of Nandi's drum are alike, for Aruna (Dawn) heralds the approach of the sun in the morning-twilight, and Nandi's drum heralds the approach of Siva for the evening-twilight dance. In Candiśataka, stanza 16, Siva's fondness for the twilight dance is again mentioned. V.L. (a) VHBK patan pävakasyeva. (b) V pravanam vedaraseḥ, JHB pavanam vedaraśeh. (c) B sandhyanṛtyoatsav-. 56 paryāptam taptacāmīkarakaṭakataṭe śliṣṭaśītetarāmśāv āsīdatsyandanāśvānukṛtimarakate padmarāgāyamāṇaḥ yaḥ sotkarṣām vibhūṣāṁ kuruta iva kulakṣmābhṛdiśasya meror enāmsy ahnāya dūram gamayatu sa guruḥ kādraveyadviṣo vaḥ (Aruna), the Elder Brother¹ of (Garuda), Foe of the Kādraveyas, constitutes, as it were, the most splendid ornament of Meru, Lord of the Principal Mountains³; For on the slope of its ridge of molten gold, to which the Hotrayed (Sürya) closely clings, He appears as the ruby," while the emerald is the reflection of the approaching chariot-horses." May that (Aruna), Elder Brother of (Garuda), Foe of the Kādraveyas, speedily remove your sins afar! I. 3. Notes. 1. For the relationship of Aruna and Garuda, cf. stanza 8, note 2. For Garuda, and his enmity to the Kädraveyas, see stanza 47, note 3. Lit. kulakşmabhṛt means 'Family Mountain.' The principal ranges THE SŪRYASATAKA OF MAYŪRA 177 supposed to exist in each varşa, or continental division, are meant. The seven ranges of Bharatavarşa (India) are enumerated in the Vişnu Purana, 2.3 (Wilson, vol. 2, p. 127, note 2). 4. On Meru's composition of gold and precious stones, cf. stanza 1, note 4. 5. With the compound padmaragdyamaṇaḥ, 'appearing as the ruby,' compare the similar formations, vetrayamāṇāḥ, 'appearing as the doorkeepers,' in stanza 11, and satradhärāyamāṇaḥ, 'appearing as the director,' in stanza 50. 6. The horses of Sürya were supposed to be greenish in color (cf. stanza 8, note 2); hence it is quite appropriate that they be compared to emeralds. 7. The commentary notes: 'Just as a golden sort of ornament, inlaid with emeralds and rubies, often constitutes the adornment of any overlord of earth-bearing kings, even so of this (Meru) also.' That is to say, Meru is the king, the gleaming sunlight is the golden ornament, the dawn (Aruņa) is the ruby, and the green (harit) horses are the emeralds. For other similes contained in the Saryaśataka, cf. stanza 14, note 1. V.L. (a) V-katakatato; HB taptathamikarakaṭakatatiślişṭaftetaraṇeśa rasidat (B -anesa rasidat), VJ -fitetaramsor. (b) K-asvanukṛtamarakate. (d) JH enamsy ahvaya; JH samayatu, VB famayatu. 57 nitvā 'śvān sapta kakṣā iva niyamavaśam vetrakalpapratodas tūrṇam dhvāntasya rāśāv itarajana ivotsärite dūrabhāji pūrvam praṣṭho rathasya kṣitibhṛdadhipatīn darśayams trāyatām vas trailokyāsthānadānodyatadivasapateḥ prākpratīhārapālaḥ [Aruna],¹ exercising a restraining control over his seven steeds,³ as [a doorkeeper would] over seven³ apartments, and possessing a goad like a [porter's] staff, Quickly drives away to the far distance the [dark] mass of night, as though [it were] a common person*; [And], as the conductor from of old of [Surya's] car, he ushers into view the lordly mountains, And is the principal doorkeeper of (Sürya), Lord of Day, [when that deity is] intent on granting audience to the three worlds. May [Aruna] protect you! Notes. 1. Note throughout the stanza the comparison between Aruņa and a doorkeeper. 2. Lit. 'having led the seven steeds to the control of a restraint'; on the seven steeds, cf. stanza 8, note 2. 3. According 13 178 THE SÜRYAŚATAKA OF MAYURA 6 to the commentary, the word sapta, 'seven,' must be taken as modifying both afvan, 'steeds,' and kakşaḥ, 'apartments.' This is in accordance with the rhetorical figure known as the maxim of the crow's eyeball (kākākşigolakanyaya),' a figure that, to quote Apte (Skt.-Engl. Dict. s.v. nyāya), 'takes its origin from the supposition that the crow has but one eye, and that it can move it, as occasion requires, from the socket on one side into that of the other; and the maxim is applied to a word or phrase which, though used only once in a sentence, may, if occasion requires, serve two purposes.' 4. Lit. 'the mass of darkness, like an "outsider," being driven away, possessing distance.' The commentary notes: 'Just as an outsider" is driven away, [and], being held by the throat, is thrown out.' 5. I have rendered präkpratīhārapalaḥ as 'principal doorkeeper,' following the commentary, whose gloss is mahapratīhāraḥ. 6. Or, a possible alternate rendering may be: 'intent on [distributing] gifts in his audience-hall, the three worlds.' 66 V.L. (a) K sapta kakşyaḥ. (d) J tailokyasthāna-. 58 vajrin jātam vikāsī "kṣaṇakamalavanam bhāsi nā "bhāsi vahne tātam natvā 'évapārśvān naya yama mahiṣam rākṣasā vīkṣitāḥ stha saptin sinca pracetaḥ pavana bhaja javam vittapā "veditas tvam vande śarveti jalpan pratidiśam adhipān pātu pūṣṇo 'granīr vaḥ (Aruna), who precedes Püşan (Sürya), addresses the regentguardians [of the quarters], region by region, saying: 'O Vajrin¹ (Indra), the lotus-cluster of thine eyes has opened; O Vahni (Agni), thou dost not shine in complete splendor³ ; O Yama, after making obeisance to thy father (Sürya), lead thy buffalo away from the horses; O Rākṣasas, ye are glanced at; O Pracetas (Varuṇa), sprinkle the horses'; O Pavana (Wind), shed [on us] the vehemences [of thy breath]; O Vittapa (Kubera), thou art announcedº; O Sarva (Siva), I greet¹⁰ [thee].' May (Aruna), who precedes Pūṣan (Sürya), protect you! Notes. 1. On the eight guardians of the points of the compass, here addressed by Aruna, cf. stanza 18, note 10. 2. According to the comTHE SŪRYAŚATAKA OF MAYŪRA " mentary, the d- of abhasi is equivalent to samantat, 'completely.' MonierWilliams, Skt.-Engl. Dict. s.v. d (4), recalls another instance of the same usage in a commentary on Raghuvamsa, 3.8. 3. The commentary explains: 'O Vahni (Agni), now that thy master (Sürya) is risen thou dost not shine exceedingly splendidly (abhasi adverbially) [by contrast with him].' 4. According to the Rig Veda (10. 14. 5; 10. 17. 1-2), Yama was the son of Vivasvat (Sürya) and Saraṇyü, the daughter of aştar. 5. The buffalo was Yama's vehicle; cf. Crooke, Popular Religion and Folk-Lore of Northern India, vol. 2, p. 156; Monier-Williams, Brāhmanism and Hinduism, p. 104, note 3. The lexicons give mahişavahana, 'whose vehicle is a buffalo,' and mahişadhvaja, 'whose emblem is a buffalo,' as epithets of Yama, but I have been unable to learn how the buffalo came to be associated with Yama. The command here addressed to Yama, to lead his buffalo away from the horses, was prompted, the commentary says, by the endless enmity of these towards each other.' Cf. Candikataka, stanza 8, where the buffalo-demon Mahişa threatens to attack the buffalo of Yama. 6. The meaning seems to be that though Sürya regards the demon Rākşasas as the dust under his feet, he yet deigns to notice them with a word and a glance. The commentary explains: 'These, although the lowest caste of the gods, are made happy by the [meager] greeting, "ye are glanced at," [which is vouchsafed them] because of their appointment to the guardianship of a quarter [of the heavens]. For a servant, when commended by his master according to his deserts, becomes attentive to his duties with a deathless devotion.' The Räkşasas were the guardians of the southwest quarter; cf. stanza 18, note 10. With vikṣitāḥ stha, 'ye are glanced at,' cf. no driyase, 'thou art not seen' (i.e. 'thou art disdained'), in Mayūra's stanza entitled 'The Dream of Kṛṣṇa,' translated below, p. 241. 7. The commentary explains: 'He (Varuna) is verily obliged [to fulfil] this command because of his being the generator of water. He is honored by this master (Sürya), for a servant deems himself happy upon receiving a command from his master.' 8. The meaning seems to be that Pavana (Wind) is requested to blow hard, and so to cool the horses by causing the water, with which they have been sprinkled by Varuņa, to evaporate. The commentary says: 'O Pavana (Wind), shed [on us] the vehemence [of thy breath], because of which the horses proceed gladly, after having received the sprinklings from Varuna, enjoying the coolness [bestowed] on thy part.' 9. The commentary says: 'Inasmuch as this (Kubera), being attentive to his own duty, is the sole cause of stability in the three worlds, and is also intent on the protection of his pair of treasures, named 'Shell' (fankha) and 'Lotus' (padma), therefore he is respectfully announced to the blessed Ravi (Sürya).' In the literature the two treasures of Kubera are often personified, and often grouped together; cf. e.g. Mahabharata, 2. 10. 39; Ramayana, 7. 15. 16; Harivamsa, 1. 44. 17; Rajatarangini, 1. 30. In later literature Kubera is often credited with the possession of nine treasures (nidhi), which, in the Tantrik system, are worshiped as demi-gods; cf. Dutt's translation of Harivamśa, p. 188, footnote 3. 10. Siva is saluted 179 THE SURYASATAKA OF MAYURA as an equal. The commentary explains: 'Ravi (Sürya) is Sarva (Siva) through having 8 forms. For it is said: adityam ca fivam vidyac chivam adityarūpinam [ubhayor antaram na 'sti adityasya śivasya ca], "One should know Aditya as Siva, and Siva as the incarnation of Aditya (Sürya); [there is no difference between these two-Aditya (Sürya) and Siva]."' The commentary does not name the source of the śloka. 180 V.L. (a) VB vajrin jätam (with dental nasal); VJHB vikaśikṣaṇa(with palatal sibilant); VJHBK bhasi no bhasi. (b) HB yama hişam. (c) J saptan siñca. (d) HB vande favväiti. 59 pāśān āśāntapālād aruṇa varuṇato mā grahīḥ pragrahārtham tṛṣṇām kṛṣṇasya cakre jahihi na hi ratho yāti me nāikacakraḥ yoktum yugyam kim uccãiḥśravasam abhilaṣasy aṣṭamam vṛtraśatros tyaktānyāpekṣaviśvopakṛtir iti raviḥ śāsti yam so 'vatād vaḥ Ravi¹ (Sürya), who requires no assistance from others in bestowing his benefits on the universe, instructs (Aruna), saying: 'O Aruna, do not take for thy reins the nooses of Varuna, guardian of the [western] end of the sky; Abandon thy yearning for the disk of Kṛṣṇa (Vișnu), for my car moves on only one wheel®; Why dost thou desire to yoke up, as an eighth steed, Uccāiḥśravas,' [the horse] of (Indra), Foe of Vrtra?' May that (Aruna) protect you! Notes. 1. The meaning of this stanza appears to be as follows: Aruna desires to borrow the nooses of Varuna for reins, Vişnu's disk for a second wheel, and Indra's horse Uccãiḥśravas, to be added to the seven that regularly draw the sun's car. Ravi (Sürya), however, who wishes to bestow his benefits without the aid of any other divinity, forbids his driver to add in any way to the usual equipment of the car by borrowing from the other gods. 2. Lit. 'who abandons [the bestowing of] benefits on the universe in association with others. The commentary explains: 'The meaning is that in the matter of showing favor to the universe, he does not require as his helper any person, such as some protector of the quarters.' 3. The noose (pasa) was Varuna's attribute and weapon. It is associated with him even in the Rig Veda (cf. 10. 85. 24, varunasya pasat), and seems to have been used by him as a means for punishing the wicked; cf. Manu, 9. 308, varunena yatha pāśair baddha eva 'bhidriyate, THE SŪRYASATAKA OF MAYŪRA 4. 'just as [the sinner] is verily seen, bound with nooses by Varuṇa' ['sinner' is supplied from the context]. In Atharva Veda, 16. 6-7, the nooses of Varuna are said to be 'seven by seven,' and they are all especially invoked to bind those that speak untruths. In Kumārasambhava, 2. 21, and Candidataka, stanza 23, may be found further references to Varuna's nooses. For Varuņa as guardian of the west, see stanza 18, note 10. The form jahihi, 'abandon,' with short penult, is required here by the meter; the regular form is jahihi, with long penult, although jahihi is allowed by the grammarians; cf. Whitney, Skt. Grammar, 665. The form jahihi occurs again in Candiśataka, stanza 34. 5. The locative cakre is seemingly here used to express the object of a feeling, and depends upon trsnam, 'yearning for the disk'; cf. Whitney, Skt. Grammar, 304, b. For a representation of Vişnu holding on one finger the small wheel-shaped discus, see Moor, Hindu Pantheon, pl. 6, p. 22. 6. Lit. 'for my car does not go [if] not on one wheel.' For other double negatives, see stanza 23, note 9; for the one wheel' cf. stanza 8, note 2. 7. Uccaiḥśravas, 'Long Ears' or 'Loud Neigher'-so the etymology is given by Monier-Williams, Skt.-Engl. Dict. s.v.-was Indra's steed, and was one of the products of the churning of the ocean; cf. the references cited in stanza 42, notes 3 and 14. 181 V.L. (c) V yaugyam kim, J yogyam kim, B yugmam kim; K tvästrajatroh. (d) B fastri yam so 'tad vaḥ. 60 no mūrchächinnavāñchaḥ śramavivaśavapur näiva nã 'py āsyasosi pānthaḥ pathyetarāṇi kṣapayatu bhavatām bhāsvato 'gresaraḥ saḥ yaḥ samśritya trilokīm aṭati paṭutarāis tāpyamāno mayūkhāir ārād ārāmalekhām iva haritamaṇiśyāmalām aśvapańktim That (Aruna), who precedes the Shining (Sürya), and wanders over the three worlds as a traveler, Does not [ever] lose consciousness by swooning,¹ nor is his body [ever] helpless from fatigue, nor does his mouth become parched³; But, when heated by the very intense rays, he has recourse to his row of steeds, dark-colored as the emerald,* Just as [any traveler would have recourse] to the [green] row [of trees] in a nearby grove." May that (Aruna) destroy whatever is not conducive to your welfare! 182 THE SŪRYAŚATAKA OF MAYŪRA Notes. 1. Lit. 'whose desire is not cut off by swooning.' 2. Lit. asyafoşi means 'possessing dryness of the mouth.' 3. The commentary explains that an ordinary traveler is subject to swooning, fatigue and parched tongue, discomforts that are presumably due to the heat of the sun. 4. For the emerald-colored steeds, cf. stanza 8, note 2. commentary explains: 'Just as any traveler, when heated by the rays [of Sürya], has recourse to the shade of the trees of a grove that is situated nearby, and then traverses his path, even so does Aruņa. 6. Lit. 'may he destroy things other than wholesome to you!' 5. The V.L. (a) HB -chinnavañcaḥ; VHB -vapur naivam apy asya foşt. (b) J pathyatarani; V kşamayatu; B bhāśvato (with palatal sibilant). (c) VHB patutaraiḥ sthäpyamano. (d) H aradadamalekhām, J ārādārāmarekhām, B aramadāmalekhām; K haritatṛṇa-. 61 sidanto'ntar nimajjajjaḍakhuramusalāḥ sāikate nākanadyāḥ skandantaḥ kandarālīḥ kanakaśikhariņo mekhalāsu skhalantaḥ dūram dūrvāsthalotkā marakatadṛṣadi sthāsnavo yan na yātāḥ pūṣṇo 'śvāḥ pūrayams tāis tad avatu javanāir humkṛtenā 'grago vaḥ (ity aruṇavarṇanam) The steeds of Püşan (Sürya) lie down on the sandy bank of the River of Heaven,¹ with their club-like hoofs, insensible [to feeling], immersed in [the stream], [Or else] go leaping over the series of valleys of (Meru), the Golden-crested Mountain, and stumble up its slopes; But on the emerald ledge they stand still, being exceedingly desirous [to remain on] the place [where the] dūrvā grass [grows]. [However, when they stop], (Aruņa), the Guide of Püşan (Sürya), by [uttering] a 'get up,' causes that place which the horses have not reached to be pervaded by these [same] swift coursers.Ⓡ May (Aruna), the Guide of Pușan (Sürya), protect you! (Here ends the description of Aruna.) Notes. I. The 'River of Heaven' is the celestial Ganges; cf. stanza 47, note 7. 2. The accusative kandarath is seemingly the object of skandantaḥ. The root skand, however, appears elsewhere to be only intransitive. 3. For Meru's composition of gold and precious stones, cf. 183 THE SŪRYAŚATAKA OF MAYURA stanza I, note 4. 4. The horses mistake the green of the emerald for green grass. 5. The indeclinable daram, which commonly means 'to a distance,' is here glossed by atyartham, 'exceedingly.' In stanza 66 (see note 2), it is glossed by ativataya, 'exceedingly.' 6. When the horses stop to feed on the darva grass, Aruņa urges them forward over the remaining part of their course. Bernheimer's translation (cf. Introd., p. 105) adopts the reading prerayams tän for pürayams taiḥ, for he renders, 'e dovunque da sè non penetrano li spinge veloci coll' urlo il cocchiere del sole. I have followed the commentary and its rendering. V.L. (a) JHB fidanto (with palatal sibilant); VJHB -muşalāḥ (with lingual sibilant); B nakanadya. (b) J kandarah. (c) HB draram drürvasthalotka; VHB -drśadi (with palatal sibilant); H sthamuro yan na, B sthasuro yan na. (d) K prerayams tän; V hamkṛtenagrago, HB hamkrtenagrargo, J hünkatenägrago, K humkrtair agranih. K iti satavarnanam (for ity arunavarnanam). 62 pinoraḥpreritābhrāiś caramakhurapuṭāgrasthitāiḥ prātaradrāv ādīrghāngāir udasto haribhir apagatāsanganiḥśabdacakraḥ uttānānūrumūrdhāvanatihaṭhabhavadvipratīpapraṇāmaḥ prähne śreyo vidhattām savitur avataran vyomavithim ratho vaḥ The¹ car of Savitar (Sürya), ascending the pathway of the sky in the morning, is drawn upwards by his horses, Who, on (Meru), the Dawn Mountain, dispel the clouds with their rounded chests, and rear up on the tips of their hollowed hind hoofs, Extending their bodies to full length. The wheel is noiseless, being free from contact [with the ground], And the car tips back-the result of the force of the [backward] bending of the head of Anūru (Aruṇa), who is supine." May this car of Savitar (Sürya) cause you happiness! Notes. 1. Stanzas 62-72 inclusive are devoted especially to the description and praise of Sürya's chariot; cf. stanza 8, note 2. 2. Lit. avataran means 'descending,' but the gloss is adhirohan, 'ascending.' 3. Lit. adirghangdir means 'with long bodies.' 4. For the single wheel of Surya's car, see stanza 8, note 2. 5. Lit. possessing an inverted bending arising from the force of the bending of the head of the supine Anūru.' As the car mounts straight upwards, Aruņa, although standing upright in the car, assumes a horizontal position with reference to the 184 THE SŪRYAŚATAKA OF MAYŪRA earth. The weight of his body, his head being the point of greatest leverage, makes the car tip back. Bernheimer (see Introd., p. 105) would render this difficult pada as follows: 'mentre è necessariamente invertito il vostro inchino ad Anūru, che vi giace supino, col capo ripiegato indietro.' V.L. (a) VHB -putaprasthitaiḥ. (b) VH adirghamfor udasto, B ddirghanfor udasto, J ddirgham dägdir udasto; H upagatasan-. (d) B prahne (with dental nasal); K preyo vidhattam. 63 (64 in VJHB) dhvāntāughadhvamsadīkṣāvidhipatu vahatā prāk sahasram karāṇām aryamṇā yo garimṇaḥ padam atulam upānīyatā 'dhyāsanena sa śrāntānām nitāntam bharam iva marutām akṣamāṇāṁ visodhum skandhāt skandham vrajan vo vṛjinavijitaye bhāsvataḥ syandano 'stu The car of the Shining (Sürya) has been brought to an incomparable position of dignity through the occupation [of it] by Aryaman (Sürya), Who at dawn ushers in his thousand rays that are skilled in the performance of their initiatory rite,³ [which is] the destruction of the mass of darkness; And it passes from shoulder to shoulder of the Maruts (Winds), who become, as it were, weary and unable to bear its excessive weight.5 May this car of the Shining (Sürya) make you triumphant over your sins! Notes 1. This stanza is no. 64 in VJHB; cf. Introd., p. 83. 2. The term garimnaḥ, 'dignity,' has punningly the meaning of 'weight,' the thought being that the car has been brought to such a degree of weight' that the Maruts are unable to hold it up. 3. Just as boys, at the beginning of their life as adults, undergo the initiatory rite of investiture with the Brāhmanical thread, so the rays, at the beginning of each day, perform an initiatory rite, which, in their case, is the destruction of the darkness of night. 4. The commentary says: 'The shoulders of the Vayus (Winds) are subject to the car of Ravi (Sürya), [are], indeed, its supports. And these [shoulders] are many. The Blessed (Sürya) goes around Meru from left to right, passing over these [shoulders] in due order. So say those versed in the sacred lore.' 5. The commentary notes: THE SŪRYAŚATAKA OF MAYŪRA 185 'Just as one [burden] is unable to be borne by one [person] because of the excessive weight of the burden, [and as] it, [therefore], goes from shoulder to shoulder, being carried by many in turn, even so this [car] also. This imagining of the Winds in the guise of human beings who become weary carrying burdens, is an instance of the rhetorical figure utprekşa, 'Poetic Fancy'; cf. stanza 1, note 6. V.L. (a) VJHBK -vidhiguru vahata; K drak sahasram, H sahaśram (with palatal sibilant). (b) VJHB aryamna (with dental nasal); VHB garimnaḥ (with dental nasal). (c) V akşamānam (with dental nasal); H vişothum, B vişotum. (d) VHB vrjinavihataye; HB bhasvataḥ (with palatal sibilant). 64 (65 in VJHB) yoktrībhūtān yugasya grasitum iva puro dandaśükān dadhāno dvedhāvyastāmbuvāhāvalivihitabṛhatpakṣavikṣepaśobhaḥ savitraḥ syandano 'sāu niratiśayarayaprīṇitānūrur enaḥ kṣepīyo vo garutmān iva haratu harīcchāvidheyapracāraḥ The¹ car of Savitar (Sürya) is like Garutmat (Garuḍa). For [the car] , [and Garuḍa] , to devour³; [The car] ,³ [And Garuda] ; [The car] , [and Garuda] ; [The car's] , [and Garuda's] . May that car of Savitar (Sürya) speedily destroy your sin! Notes. I This stanza is no. 65 in VJHB; cf. Introd., p. 83. 2. The Vişnu Purana, 2. 10 (Wilson, vol. 2, p. 289), states that 'the serpents draw [Sürya's chariot] (vahanti pannagaḥ),' which is explained by its commentary as meaning 'harness the chariot (ratham samnahyanti). A literal translation of the pada would be: 'Bearing snakes in front, like the 186 THE SŪRYAŚATAKA OF MAYŪRA thongs of a yoke, as if to devour.' For Garuda's diet of snakes, cf. stanza 47, note 3. 3. The sun's beauty, and so also the beauty of his car, is revealed as that luminary breaks through a cloud. The two parts of the cloud then appear to be like wings of the sun. 4. Aruna's pleasure is natural, since he is the brother of Garuda, and driver of the car; cf. stanza 8, note I. 5. As was pointed out above (stanza 47, note 3), meaning of hari, Garuda was the vehicle of Vişnu. For other puns on cf. stanza 51, note 1. V.L. (c) HB -rayaprinita (with dental nasal). 65 (69 in VJHBK) ekāhenāiva dīrghām tribhuvanapadavim langhayan yo laghiṣṭhaḥ prsthe meror garīyān dalitamanidṛṣattvimṣi pimşañ śirāmsi sarvasyäivopariṣṭād atha ca punar adhastäd ivä 'stādrimūrdhni bradhnasyā 'vyāt sa evam duradhigamaparispandanaḥ syandano vaḥ The¹ car of Bradhna (Sürya) [is] very light, [for] it verily traverses in one day the long path of the three worlds, [Yet it is also] very heavy, [for] on the top of Meru it crushes the summits which [consequently] sparkle with pulverized precious stones²; Moreover it is above the universe, and yet is also, as it were, beneath [it] when on the summit of the Sunset Mountain.³ May this car of Bradhna (Sürya), whose movements are thus so inscrutable, protect you! Notes. I. This stanza is no. 69 in VJHBK; cf. Introd., p. 83. 2. For Meru's composition of gold and precious stones, see stanza I, note 4 3. The astādri, Sunset Mountain,' behind which the sun was supposed to set, is mentioned frequently in the Mahabharata; cf. e.g. 1.3. 52; many other references are given in Sörensen's Index to the Names in the Mahabharata; cf. also stanza 42, note 11. 4. Lit. parispandanaḥ means 'throbbing,' 'vibration.' I have rendered as movements. The movements, or nature, of Sürya's car are inscrutable, because it is both light and heavy, both above and beneath. " " V.L. (a) K kṛtsnäm tribhuvana-, V dirghaḥstribhuvana-. (b) H -dṛśattvimşi, VB -dṛśattvimşi. (c) VJHB yaḥ sarvasyopariştad atha ca. (d) V -parispandanaḥ (with lingual sibilant), HB -parişyandanaḥ. THE SŪRYAŚATAKA OF MAYŪRA 66 187 dhurdhvastāgryagrahāṇi dhvajapaṭapavanāndolitendūni dūram rāhāu grāsābhilāṣād anusarati punar dattacakravyathāni śrāntāśvaśvāsahelādhutavibudhadhuninirjharāmbhāmsi bhadram deyasur vo daviyo divi divasapateḥ syandanaprasthitāni The car of (Sürya), Lord of Day, in its journeys scatters the principal planets¹ with its pole, and violently agitates the moon by the wind of its cloth flags; And its wheel fills with fright anew [the demon] Rāhu, who pursues [Sürya] with intent to swallow [him], While the water of the cascades in the River of the Gods is sportively agitated by the panting of the tired horses. May the journeys, far off in the sky, of this car of (Surya), Lord of Day, bestow prosperity upon you! Notes. I. Lit. 'the journeys of the car of the Lord of Day scatter the principal planets, etc.' 2. I have rendered daram, which commonly means 'to a distance,' by 'violently.' The gloss is ativataya, 'excessively.' For a similar usage of düram, cf. stanza 61, note 5. 3. After the nectar had been produced by churning the ocean with Mount Mandara, the demon Rähu attempted to swallow some of it, and so attain to immortality. While in the act of drinking, he was seen by the Sun and Moon, who called Vişnu's attention to the theft about to be perpetrated. Vişņu at once cut off Rähu's head with his discus (cakra). Since the nectar had got no farther than Rähu's throat, only his head became immortal, and this head still seeks to revenge itself on the Sun and Moon by swallowing those luminaries in eclipses; cf. Mahabharata, 1. 19. 1–9, and Süryaśataka, stanza 79, note 1. In this stanza the poet points out that Rähu, in his pursuit of Sürya, has a wholesome fear of the cakra (wheel) of Surya's car, presumably because it reminds him of the cakra (discus) of Vişņu, which had cut off his head. 4. The 'River of the Gods' is the celestial Ganges; cf. stanza 47, note 7. 5. The commentary says that daviyo, 'far off,' may be taken adverbially as equivalent to afivatarām, 'more excessively,' and construed with bhadram deyasur-'may they grant you excessive prosperity.' V.L. (a) VJHB dhürdhvastagragrahāṇi; K -ândolitendūni dūrat. 67 akṣe rakṣām nibadhya pratisaravalayāir yojayantyo yugāgram dhuḥstambhe dagdhadhūpāḥ prahitasumanaso gocare kübarasya THE SŪRYAŚATAKA OF MAYŪRA carcaś cakre carantyo malayajapayasā siddhavadhvas trisamdhyam 188 vandante yam dyumärge sa nudatu duritany amsumatsyandano vaḥ Along the pathway of the sky, Siddha¹ women worship the car of the Ray-possessing (Sürya) at the three twilight periods,² Tying their amulets to the axle, encircling the end of the yoke with their [nuptial] thread-bracelets,³ Burning incense on the pillar-shaped axle-pin, placing flowers along the pole," And anointing the wheel with sandal water. May this car of the Ray-possessing (Sürya) remove your sins! Notes. 1. On the Siddhas, see stanza 6, note 8. 2. According to the commentary, the word trisamdhyam, which I have rendered at the three twilight periods,' is used as an adverb (kriyaviteşanam).' The three samdhyds, or twilights,' came at dawn, noon, and sunset. They are mentioned also in Candiśataka, stanzas 4 and 49. 3. I have rendered pratisaravalaydir as '[nuptial] thread-bracelets,' following the gloss käutukornakańkandir, 'wool bracelets [constituting] the marriage-threads.' On this kind of adornment, see Alfred Hillebrandt, Ritual-Litteratur (in Bühler's Grundriss), p. 65, sec. 6, Strassburg, 1897; cf. also Kumārasambhava, 5.66, and Raghuvamsa, 8.1 (third ed. with Engl. transl. by G. R. Nandargikar, Poona, 1897). 4. Lit. dhuḥstambhe means 'on the pillar of the axle-pin,' but the commentary explains as stambha iva dhaḥ, an axle-pin like a pillar.' 5. Lit. placing flowers in the realm of the " pole.' 6. Lit. 'making anointings on the wheel with sandal water.' V.L. (a) HB pratisavavalaydir. (b) VJHB dhastambhe; VJHB pratihatasumano gocare. (c) K carcam cakre; VJHB dadatyo malayajarajasă; VJ siddhasadhyas, HB siddhasadhvyas. (d) VJHB dahatu duritany. 68 (63 in VJHB) utkīrṇasvarṇareṇudrutakhuradalitā pārśvayoḥ śaśvad aśvair aśrāntabhrāntacakrakramanikhilamilanneminimnā bhareṇa meror mūrdhany agham vo vighaṭayatu raver ekavithi rathasya svoṣmodaktāmburiktaprakaṭitapulinoddhūsarā svardhuni 'va The¹ single track of the car of Ravi (Sürya) on the summit of Meru is, because of the weight³ [of the car], Indented by the felly which is connected in its entirety with the course of the wheel that is unweariedly revolving; 189 THE SŪRYASATAKA OF MAYŪRA And it is like the River of Heaven"; for [the ground] , While [the ground] ; [Moreover the track] , [And the river] . May the single track of the car of Ravi (Sürya) destroy your sin! Notes. 1. This stanza is no. 63 in VJHB; cf. Introd., p. 83. 2. The track of Surya's car is single, because the car had but one wheel; cf. stanza 8, note 2. 3. I have rendered bharena by 'because of the weight'; its gloss, however, is pragbharena hetund, 'because of the slope,' and the reference would seem to be to Mount Meru, with the idea that the track has a downward trend (-nimna) because of Meru's slope. It is difficult, however, to connect the remainder of the päda, referring to the felly, etc., with this conception. 4. I have rendered -nimna by 'indented.' A more literal translation would be 'bent.' The gloss is avanata, 'bent down.' 5. The 'River of Heaven' was the celestial Ganges; cf. stanza 47, note 7. 6. I have rendered udakta by 'evaporated'; literally it means 'drawn up.' V.L. (a) K-svarnareņur druta. (b) V abhrantabhränta-; J -cakrabhramanikhila-; VJH -nemni nimna, B -nemnimna. (c) H raver ekadvithi. (d) VHB svoşnodastämbu-, K svoşmodastambu-, J svoşnodaktambu-; VHB -pulinoddhüşara (with lingual sibilant); VJHB svardhunt vaḥ. 69 (68 in VJHB) nantum nākālayānām aniśam anuyatām paddhatiḥ pańktir eva kṣodo nakṣatrarāśer adayarayamilaccakrapiṣṭasya dhūliḥ heṣāhrādo harīṇāṁ suraśikharidarīḥ pūrayan neminādo yasyā 'vyāt tivrabhānoḥ sa divi bhuvi yathā vyaktacihno ratho vaḥ The¹ car of the Hot-rayed (Sürya) exhibits the [same] characteristics in the sky, as if [it were running along] on the earth. THE SURYAŚATAKA OF MAYŪRA [For] its roadway is the line of the heaven-dwellers that follow continually to render obeisance, And its dust is the pulverized bits of the masses of the stars, ground off by the wheel that is endowed with merciless speed³; [It is also accompanied by] the sound of the neighing of horses, and the noise of the felly with which it fills the caverns of (Meru), the Mountain of the Gods. May that car of the Hot-rayed (Sürya) protect you! 190 Notes. 1. This stanza is no. 68 in VJHB; cf. Introd., p. 83. 2 These characteristics are that it moves on a roadway, raises dust, and is accompanied by the neighing of horses and the sound of wheels. 'joined with merciless speed' (adayarayamilac-). 3. Lit. 4. Here the noise of the felly is mentioned, but in stanza 62 we are told that 'the wheel is noiseless (niḥfabdacakraḥ).' V.L. (a) VJHB aniśam upanatam, K anisam upayatām. (b) VHB kşode nakşatra-; VJHB akṛśarayamilac-. (c) VJB hreşâhrado, K heşānādo. (d) H yas pavyat turabhānoḥ. 70 niḥspandānām vimānāvalivitatadivām devavṛndārakāṇām vṛndāir ānandasāndrodyamam api vahatām vindatām vanditum no mandākinyām amandaḥ pulinabhṛti mṛdur mandare mandirābhe mandārāir maṇḍitāram dadhad ari dinakṛtsyandanaḥ stān mude vah Not slow is the car of (Sürya), Maker of Day, [as it runs] over the Celestial Ganges and its sand-banks, but [it does go] slowly over [Mount] Mandara which is like a city¹; [And] it bears a wheel whose spokes have been adorned with coral-tree blossoms by multitudes Of the foremost of the gods, who fill the sky with the rows of their vehicles, but who, having become wearied,³ Do not succeed in [overtaking and] paying homage [to the car], although riding along with joyful effort.³ May the car of (Sürya), Maker of Day, bring you joy! THE SURYASATAKA OF MAYŪRA 191 Notes. 1. The idea in this päda seems to be that the sun quickly passes over and floods with light any flat surface like a river or sand-bank, but in a city there is more or less shadow, and the sunlight is slow in reaching all the nooks and crannies. Mount Mandara, with its dells, ravines and lesser peaks, in this respect resembles a city. Similarly, a car moves rapidly over flat places, but its speed is retarded as it passes through the crowded and contracted confines of a city. The commentary says: 'For a city causes the speed of a car to slacken (lit. stumble) because of its unevenness (or, crowded condition). For this reason, slowness is connected with it.' 2. Lit. niḥspanda means 'motionless,' but is here glossed by franta, 'wearied.' 3. If the gods cannot move fast enough to overtake Sürya, we must conclude that they adorned the wheel with the coraltree blossoms before the car started on its daily round. Or, as is also suggested in the commentary, we could take devavṛndārakāṇām vrndair vindatam as genitive absolute, and render: 'while the principal gods, in troops, do not succeed, etc.' 4. Note in this stanza the alliteration (anuprāsa) of v and m, and the assonance (yamaka) occasioned by the prevalence of vnd and mnd sounds. V.L. (a) VJHB nişpandanam; K vimänavalivalitadiśam; VHB devavṛndarakanam. (c) VJHBK mandare mandarabhe. (d) J mandārāir mandito ; VJ dadhad api, HB dadhad avi; VJHB dinakṛtsyandanastan. 71 cakri cakrārapańktim harir api ca harīn dhūrjațir dhūrdhvajāntān akşam nakṣatranātho 'ruņam api varuṇaḥ kūbarāgram kuberaḥ ramhaḥ samghaḥ surāṇām jagadupakṛtaye nityayuktasya yasya stāuti prītiprasanno 'nvaham ahimaruceḥ so 'vatāt syandano vaḥ A¹ multitude of gods, filled with joy,2 day after day praises the speed of the car of the Hot-rayed (Sürya), Which is ever employed in benefiting the universe: (Viṣṇu), Possessor of the Discus, praises the row of wheelspokes, Haris (Indra) praises the horses, and Dhūrjați* (Siva) praises the ends of the flags on the yoke; The (Moon), Lord of the Stars, praises the axle, Varuṇa praises Aruna, and Kubera praises the tip of the pole. May that car of the Hot-rayed (Sürya) protect you" ! THE SŪRYASATAKA OF MAYURA Notes. 1. This stanza is quoted in the Kavyaprakasa of Mammaţa, 10. 56. 1 (stanza 580). Chapter 10 of that work deals with 'Ideal Figures of Speech,' and Mayūra's stanza is given as an example of 'Defects of Alliteration. After quoting the stanza, Mammața says (p. 268 of the translation by Gangānātha Jhā, Benares, 1898): 'Here the nominatives and objectives of the "eulogy" are made such only for the sake of Alliteration; they [i.e. the gods] are not so described in the Purāṇas, and thus this is contrary to generally recognized facts.' It will be noticed by the reader that each god praises that part of the car which most nearly resembles in sound his own name, e.g. Hari praises the hari, Cakrin praises the cakra, Varuna praises Aruna, etc. Mammaţa would seem to imply that the Purāṇas nowhere state that Hari praises the horses, or Cakrin the wheel, etc., but that Hari is made to praise the horses here merely because hari (horses) resembles in sound his own name Hari, and so on. For somewhat similar cases of assonance (yamaka), cf. stanza 81, and Candidataka, stanzas 36 and 52. 2. Lit. pritiprasanno means 'bright with joy.' 3. The term Hari is more often applied to Vişņu, but here, and also in stanza 72, and in Caṇḍiśataka, stanzas 15 and 19, it is used to designate Indra. For other word-plays involving hari in its double sense of 'horse' and 'Indra' (or, 'Vişnu'), cf. stanza 51, note I. term Dhūrjați (Siva) means, according to Monier-Williams, Skt.-Engl. Dict. s.v., 'He who has matted locks like a burden'; but in Mahabharata, 7. 202. 129, it is said: dhūmrarüpam ca yat tasya dhurjatis tena cocyate, 'and since his form is [like that of] smoke, he is for that reason called Dhurjati.' In stanza 99 also, and in Candiśataka, stanza 80, Siva is designated by this epithet. 5. According to Thomas (Kavindravacanasamuccaya, introd., p. 68), this stanza of the Süryaśataka is cited by Ujjvaladatta, on Uṇādisutra, 4.213 (Aufrecht's edition, p. 19). 4. The 192 V.L. (a) VJHB and Jhalakīkara's edition of the Kavyaprakaśa (see note 1) read dhürdhvajāgrän. (c) HB jagadupakutaye; VHB nityamuktasya. (d) K ahimarucaḥ. 72 netrāhinena müle vihitaparikaraḥ siddhasādhyāir marudbhiḥ pādopānte stuto 'lam baliharirabhasā karṣaṇābaddhavegaḥ bhrāmyan vyomāmburāśāv aśiśirakiraṇasyandanaḥ samtatam VO diśyāl lakṣmīm apārām atulitamahimevā 'paro mandarādriḥ (iti rathavarṇanam) The car of the Hot-rayed (Surya), like a second Mount Mandara, continually¹ turns about in the ocean² of the sky; Moreover, the car ,³ THE SŪRYASATAKA OF MAYŪRA 193 And Mandara ; The car , And Mandara ; The car ," And Mandara . May that car of the Hot-rayed (Sürya), which possesses incomparable majesty, bring you unbounded prosperity! (Here ends the description of the car). Notes. 1. The commentary authorizes the translating of samtatam, 'continually,' both with bhramyan, 'continually wandering about,' and also with difyat, 'may it continually bring.' 2. For the twirling of Mount Mandara in the milky ocean, cf. stanza 42, notes 3, 6, 12, 14. 3Lit. 'has its girding up attended to by its driver, who is mutilated at the root.' Aruna was legless; cf. stanza 8, note 1. Resolve netrahinena here as netra hinena, but in the second rendering as netra-ahinena. 4. In the churning of the ocean (cf. note 2), Väsuki, or Ahina (King of Serpents), acted as the twirling-cord which was pulled by the gods and demons, the former holding the tail of the serpent king, and the latter the head. In this stanza Indra and Bali are to be taken as representatives of their respective classes, gods and demons. The compound netrāhinena, 'by Ahina [serving as] twirling-cord,' is an example, as noted by the commentary, of the type of compound that omits its middle member. Such composites are called fakaparthiva, from faka-[priya]-parthiva, 'a king [dear to] his era'; cf. Vamana's Kavyalamkarasatrani, 5.2. 15 (ed. by Durgāprasad and Parab, in the Kävyamālā Series, Bombay, 1889), and the commentary thereon. Monier-Williams, Skt.-Engl. Dict. s.v. fakapārthiva, states that Patañjali explains as fākabhoji pārthivaḥ, 'a king fond of vegetables.' 5. Or, perhaps, siddhasadhyair is to be taken as meaning 'Siddhas and Sadhyas'; the gloss is devaviteşäiḥ, 'kinds of gods.' For the Siddhas, see stanza 6, note 8. According to Monier-Williams, Skt.Engl. Dict. s.v. sådhya, the Sãdhyas are mentioned as early as Rig Veda, 10.90. 16; they lived in the Bhuvarloka (Yaska, Nirukta, 12. 41) and had exquisitely fine natures, like the gods (Manu, 1. 22); in the Purāņas, their number is usually 12 or 17, and in the later mythology they are superseded by the Siddhas. 6. The term pada in pädopante is glossed by carana, 'foot,' but must certainly mean 'wheel'; cf. stanza 82 (see note 6), where anga, 'limb,' is used to designate the wheel. 7. Lit. 'obtains 14 194 THE SÜRYASATAKA OF MAYŪRA its speed from the pulling, because of the impetuosity of the strong horses.' The commentary and Bernheimer (see Introd., p. 105) read -rabhasakarşand-. 8. For Bali and Hari, see note 4. For the use of the epithet Hari to designate Indra, see stanza 71, note 3. For word-plays on the double meaning of hari, see stanza 51, note 1. V.L. (b) H karşandvaddha- (with dental nasal). (c) HB vyomombu-; VJ santatam vo, B samtatam voḥ. (d) VJHBK lakşmim atulyām; HB atunitamahimevoparo; B mandadriḥ (one syllable too few to suit the meter). 73 yaj jyāyo bījam ahnām apahatatimiram cakṣuṣām añjanam yad dvāram yan muktibhājām yad akhilabhuvanajyotişām ekam okaḥ yad vṛṣṭyambhonidhānam dharaṇirasasudhāpānapātram mahad yad diśyād īśasya bhāsām tad avikalam alam mangalam mandalam vaḥ The¹ disk of (Sürya), Lord of Rays, is the pre-eminent cause of days, and destroys as an eye-salve [destroys] of the eyes²; It is [also] the doorway for those who obtain emancipation, and is the sole abode of the splendors of the entire universe; It is the reservoir of rain-water, and the mighty drinking-cup [full] of the water [that is as] ambrosia to the earth. May that disk of (Sürya), Lord of Rays, bestow upon you a very full [measure of] prosperity! Notes. 1. Stanzas 73-80 inclusive are devoted especially to the description and praise of Sürya's disk. 2. Lit. 'is the timira-destroying eye-salve of the eyes.' The term timira means both 'darkness' and 'semiblindness.' 3. For the idea that the sun is the doorway to emancipation, cf. stanza 9, note 7, and Bühler, Die indischen Inschriften, as cited above in stanza 6, note 8. 4. For the notion that the sun 'draws water' from the earth, and afterwards pours it down again in the form of rain, cf. stanza 9, note 2. V.L. (a) K jyāyo yat bijam, B yaj jydyo vijanmahām; VJHBK apahṛtatimiram; VJHB añjanam yat. (b) J yadvaram mukti-, VH yad dvaram mukti-, B yad dvaram mukti-. (c) J vrstyambho-. (d) K disyäd devasya bhanoḥ tad adhikamam alam, J bhasam satatam avikalam mandalam mangalam, VHBK mandalam mangalam. THE SŪRYAŚATAKA OF MAYŪRA 195 74 velāvardhişņu sindhoḥ paya iva kham ivā 'rdhodgatägryagrahodu stokodbhinnasvacihnaprasavam iva madhor asyam asyan manāmsi prātaḥ pūṣṇo 'śubhāni praśamayatu śiraḥśekharibhūtam adreḥ pāurastyasyodgabhasti stimitatamatamaḥkhaṇḍanam mandalam vaḥ The disk of Pūşan (Sürya) ¹ is like the water of the ocean ; And since it , it is like the dome of heaven ; And while ,³ It captivates the minds [of men], like the advent of spring . May this radiant disk of Pūşan (Sürya), which at dawn destroys the very thick darkness [of night], And which appears as a diadem on the head of (Meru), the Eastern Mountain, blot out your sins! Notes. 1. That is, the disk seems to grow larger, for as time advances more of it appears above the horizon. 2. Lit. possessing half-risen eastern planets and constellations. The commentary explains: 'They, [the planets], are said to be somewhat perceived [i. e. dimly seen] because of being outshone [lit. excelled] by the brightness of that (disk).' The commentary glosses agrya, 'principal,' by paurastya, 'eastern.' 'the manifestation of its own characteristic is broken out a little'; i.e. the splendor, which is the disk's innate characteristic, is just beginning to appear. 4. Lit. 'mouth of spring.' 5. Lit. stimitatamatamaḥ means 'very fixed darkness.' 6. Lit. 'becoming the head-diadem of the Eastern Mountain'; for a similar conception, cf. stanza 8, note 4. 3. Lit. V.L. (a) J-ardhodgato 'gragrahodu, VHB -ardhodgatogragrahodu. (b) The reading stokodbhinnasvacihnaprasavam is that of JH and the commentary; the Kävyamālā text reads stokodbhinnasya cihnaprasavam, B reads stomodbhinnasvacihnaprasavam, and V reads stomodbhinnasvacihnaprabhavam; VJHBK asyan mahämsi. (d) VHB paurastyasyodgabhastestimita-. 196 THE SÜRYASATAKA OF MAYŪRA 75 pratyuptas taptahemojjvalarucir acalaḥ padmarāgeṇa yena jyāyaḥ kimjalkapuñjo yad alikulaśiter ambarendivarasya kālavyālasya cihnam mahitatamam ahomūrdhni ratnam mahad yad diptāmsoḥ pratar avyāt tad avikalajaganmaṇḍanam maṇḍalam vaḥ The disk of the Hot-rayed (Sürya) [constitutes] at dawn the entire ornament of the universe; Because of it, Mount (Meru), which possesses the dazzling splendor of molten gold, [appears to be] studded with ruby; [And] it is beautiful¹ [like] the mass of the filaments of the celestial blue lotus that is black with a swarm of bees³; [And] it [also serves as] the most revered crest-ornament of the Serpent of Time,' [and] as a mighty jewel on the head of Day. May that disk of the Hot-rayed (Surya) protect you! Notes. 1. The term jyayaḥ, which I have rendered as 'beautiful,' regularly means 'elder,' 'superior.' 2. The commentary supplies iva, 'like.' 3. Apparently the yellow disk of Sürya is here compared to the round yellow cluster of filaments and anthers in the center of a lotus. The surrounding blue petals, covered with the dark-colored bees, may be likened to the blue-black sky which serves as background for the solar disk. 4. The commentary, which I have followed, glosses cihnam by firoratnam, 'crest-jewel.' 5. By 'Serpent of Time' is perhaps meant the thousandheaded serpent Seșa (cf. stanza 35, note 8), who served as Vişnu's couch at the bottom of the ocean. He was regarded as the emblem of eternity, one of his epithets being Ananta, 'Endless One.' He was said to have a thousand jewels on his crest, and to bear the entire world on his diadem (cf. Vişnu Purana, 2.5 [Wilson, vol. 2, p. 211-213]), but I have nowhere seen it stated that Sürya's disk formed his crest-jewel. 6. The commentary quotes from an unnamed source, which I find to be Satapatha Brahmana, 10. 5. 2. 1: yad etan mandalam tapati iti śrutih. It is worthy of note that stanza 89 of the Süryaśataka opens with nearly the same words, viz. 'ctad yan mandalam khe tapati.' V.L. (a) HB padmaragena (with dental nasal). (b) VJHB kimjalkapunjam; VJHB alikulasiter (with dental sibilant). (c) HB ratnam mahat tat. (d) H -jaganmandanam (with last nasal a lingual), B -jaganmandalam; VJHB mangalam vaḥ. THE SŪRYASATAKA OF MAYŪRA 197 76 kas trātā tārakāṇāṁ patati tanur avaśyāyabindur yathendur vidrāṇā dṛk smarārer urasi muraripoḥ kāustubho nodgabhastiḥ vahneḥ sāpahnaveva dyutir udayagate yatra tan mandalam vo mārtandiyam punitād divi bhuvi ca tamāmsi 'va muṣṇan mahāmsi The disk of Mārtaṇḍa¹ (Sürya) destroys, in heaven and on earth, all splendors as if [they were] darknesses²; For when this [disk] has risen,³ the splendor of fire [becomes], as it were, concealed, And the moon, like a tiny drop of dew, disappears, leaving the stars without a protector," The eye of (Siva), Foe of Smara, is feeble,' and the kaustubha jewels on the breast of (Vișnu), Foe of Mura, is not radiant.¹0 May that disk of Mārtaṇḍa (Sürya) purify you! Notes. 1. On the etymology of Mārtaṇḍa ('destroyed egg '), cf. stanza 14, note 2. 2. That is, the sun's splendor outshines all splendors. 3. In udayagate yatra, 'when this [disk] has risen,' we have a locative absolute construction with one member (yatra) an adverb; cf. Whitney, Skt. Grammar, 303, d; and for other instances of the same usage, see stanza 20, note 1. 4. Lit. patati means 'falls' or 'flies [away]'; I have rendered as 'disappears.' 5. Lit. 'who is the protector of the stars?' The moon is called Nakşatranātha, 'Lord of the Stars,' as e.g. in stanza 71. 6. Smara is Kāma, who, as is well known, was burnt up by Siva's third eye; cf. stanza 55, note 9. 7. Lit. vidrand means 'roused from sleep,' or 'run away'; the gloss, however, is mland, 'weak,' 'faded'; I have rendered as 'feeble.' 8. The kaustubha jewel was one of the products of the churning of the ocean. It was appropriated by Vişņu, and worn by him on his breast; cf. stanza 43, note 4. 9. The slaying of the demon Mura by Kṛṣṇa (Viṣṇu) is mentioned in Mahabharata, 5. 158. 7. 10. The term udgabhasti, which is apparently not found in the ordinary lexicons, is here glossed by unmayükha, ʻradiant,' a meaning which I have adopted. V.L. (a) HB tarakānam (with dental nasal); H yathendrur, J yathendu. (b) J nidrana drk, HB vibhrana drk; J smardrer uşasi; HB madhuripoḥ kaustubho no gabhastiḥ. (c) By an evident typographical error, B has inserted pada (c) of stanza 77 between padas (b) and (c) of stanza 76, thus giving stanza 76 an extra pada, and making stanza 77 one pada short. JHB vahneḥ sapahnutäiva. (d) JHB puniyad divi. 198 THE SŪRYASATAKA OF MAYURA rayray yat pracyām prāk cakāsti prabhavati ca yataḥ pracy asāv ujjihānād iddham madhye yad ahno bhavati tatarucā yena cotpadyate 'haḥ yat paryāyeṇa lokān avati ca jagatām jīvitam yac ca tad vo viśvānugrāhi viśvam sṛjad api ca raver maṇḍalam muktaye 'stu The disk of Ravi (Sürya) first shines in the east, and that east attains pre-eminence because of the [disk's] rising out of it; In the middle of the day it is blazing, and by it, through the diffusion of its splendor, day is produced; It also protects mortals by its regular recurrence, and is the life of the worlds¹; And shows favor to the universe, which it also creates.² May that disk of Ravi (Sürya) bring about your emancipation ! Notes. 1. Bühler (Die indischen Inschriften, cf. stanza 6, note 8), has noticed the expression of a like sentiment, viz. that the Sun is the life of the world, in the Prasasti of Vatsabhatti. A similar idea is expressed also in stanza 87 (note 1). In this connection the commentary quotes from an unnamed source the following verse: adityaj jayate vrstir vrster annam tataḥ prajaḥ prajāsäukhyac ca devanam para trptir iti frutiḥ, 'From Aditya (Sürya) rain is produced; from rain, food; from that (food), creatures; and the chief satisfaction of the gods [arises] from the comfort of their creatures; so says revealed tradition.' The first half of this śloka is found in Mahabharata, 12. 263. 11; I have failed to locate the source of the second half. The first three words of the floka-adityaj jayate vrstih-are quoted in the commentaries on stanzas 30 and 93; cf. those stanzas, notes 4 and 5, respectively. 2. Lit. May that disk of Ravi (Sürya), which, besides creating the universe, shows favor to the universe, bring about your emancipation.' 3. The commentary quotes the Veda (Satapatha Brahmana, 10. 5. 2. 3) as follows: vede: etasmin mandale puruso 'py etad amrtam yad etad arcir dipyate iti śrutiḥ. This is rendered by J. Eggeling in his translation of books 8-10 of the Satapatha Brahmana (pub. in Sacred Books of the East, vol. 43, p. 366, Oxford, 1897) as follows: 'and that man in yonder (sun's) orb [is no other than Death]; and that glowing light is that immortal element.' For the idea that the way to emancipation is through Sürya, cf. stanza 9, note 7. V.L. (b) B digdham madhye yad ahno. (c) This third pada is found, in B, between padas (b) and (c) of stanza 76; see note in V.L. of stanza 76. THE SÜRYASATAKA OF MAYŪRA 199 78 śusyanty ūdhanukārā makaravasatayo māravīņām sthalīnām yenottaptāḥ sphutantas taḍiti tilatuläm yanty agendra yugante tac cand for akāṇḍatribhuvanadahanāśańkayā dhāma kṛcchrät samhṛtyä "lokamātram pralaghu vidadhataḥ stän mude mandalam vaḥ At the destruction of the world, the habitations of the seamonsters are dried up [by the disk of Sürya], and bear resemblance to desert places, And the lordly mountains are scorched, rent asunder with a crash, and ground to dust*; [But now], through fear of an untimely" burning up of the three worlds, The Hot-rayed (Sürya) modifies his effulgence, [though] with difficulty, and reduces the intensity of his splendor. May that disk of the Hot-rayed (Sürya) bring you joy! Notes. 1. Lit. 'at the end of a yuga.' The universe was supposed to be destroyed and recreated at the end of every yuga or 'age'; cf. stanza 23, note 6. 2. By 'habitations of the sea-monsters' the ocean is meant. 3. In Mahabharata, 3. 3. 57, it is said: samhārakale samprapte tava krodhavinihsrtaḥ samvarttakägnis trailokyam bhasmikṛtyd 'vatişthate, 'when the time of universal dissolution cometh, the fire samvartaka, born of thy [i.e. Surya's] wrath, consumeth the three worlds and existeth [alone].' 4. Lit. go to the resemblance of small particles.' 5. By untimely' is meant that the burning up and destruction of the world might occur before the end of a yuga or kalpa; cf. note 1. 6. Lit. 'making small the measure of his splendor.' I have departed here from the commentary, which would render this pada as follows: 'making small his effulgence (dhama), whose measuring-standard (matra) is visibility, having modified [it] with difficulty.' V.L. (a) Jadhandhakara, HB atandhakara. (b) K catiti tilatulām. (c) JHBK dhama kṛtsnam. (d) K ahṛtyaloka-, B mamhrtyaloka-. The reading of JHB and the commentary, adopted here, is -matram pralaghu; the Kāvyamālā text reads -matra pralaghu; K pratanu vidadhataḥ; J vidadhatastän mude, HB nidadhatastan. 200 THE SÜRYASATAKA OF MAYŪRA 79 udyad dyūdyānavāpyām bahulatamatamaḥpańkapūram vidārya prodbhinnam pattrapārśveṣv aviralam aruṇacchāyayā visphurantyā kalyāṇāni kriyād vaḥ kamalam iva mahan mandalam candabhänor anvītam trptihetor asakṛd alikulākāriņā rāhuṇā yat The disk of the Hot-rayed (Sürya) is like a lotus, [for] it is oft pursued by Rahu as [a lotus is visited] by a swarm of bees,¹ And it , while a lotus ³; Moreover, it , as a lotus ; And it is constantly reflected on the flanks of the horses by the flashing splendor" of Aruņa>, While a lotus . May this mighty disk of the Hot-rayed (Sürya), [who is] the cause of happiness, bring you prosperity! Notes. 1. Lit. 'followed by Rāhu possessing the semblance of a swarm of bees.' The term akarina is presumably a possessive formation from akāra, 'form' or 'semblance'; the gloss is vibhramena, which sometimes has the meaning of 'illusion' or 'semblance.' On Rähu, and his pursuit of Sürya, see stanza 66, note 3. 2. Vardhamana's Ganaratnamahodadhi, 2.149 (p. 185 of the edition by Julius Eggeling, part 1, London, 1879), quotes the first pada of this stanza of Mayūra as an illustration of the use of the dyu- stem (for div-) meaning 'sky.' 3. That is, the pool, or well, is round, like the firmament. The word gagana, here used as the gloss of dyu, 'sky,' means both 'sky' and 'cipher.' A cipher, of course, is round. 4. Lit. 'germinated (prodbhinnam) on the flanks of the horses.' 5. The term chaya, which I have rendered here as 'splendor,' more commonly means 'shadow'; but the gloss is prabha, 'splendor.' 6. The word prodbhinnam, 'germinated,' is glossed by ranjitam, tinted or 'colored.' 7. Or, trptihetor may mean for the sake of satisfaction,' and be construed, as it is in the commentary, with anvitam rahuṇā. V.L. (a) JH udyadyūdyānavāpyam, B udyadyūdyānavāyyām; K baha" THE SÜRYASATAKA OF MAYŪRA latama-, H vahulatatamataḥ pankapurram, B bahulatatamataḥpańkapüram. (b) B patrapärfveşv; JHB avimalam arunac-. (c) K mandalam candaraśmeḥ. 201 80 cakşur dakṣadvişo yan na tu dahati puraḥ pūrayaty eva kāmam na 'stam justam marudbhir yad iha niyaminām yānapäātram bhavābdhāu yad vītaśrānti śaśvad bhramad api jagatām bhrāntim abhrānti hanti bradhnasyā 'vyäd viruddhakriyam atha ca hitādhāyi tan mandalam vaḥ (iti maṇḍalavarṇanam) Though the disk of Bradhna (Sürya) is inconsistent¹ in its actions, it is also a bestower of benefits; Though it is the eye of (Siva), Foe of Dakşa, it does not burn [standing] before [it], but verily fulfils ; Though it is, in this world, a ship for the yogins on the ocean of transmigration, yet it is not driven by the Maruts (Winds), but is worshiped [by them]; Though it wanders unceasingly without weariness, yet, being free from sin, it destroys the sin of the [three] worlds. May this disk of Bradhna (Sürya) protect you! (Here ends the description of the disk.) Notes. 1. The inconsistencies are noted in the course of the stanza; e.g. 'though the disk is Siva's eye, it does not burn'; 'though it is a ship, it is not driven by the wind,' etc. In the third and fourth padas, however, the inconsistencies noted are such only by virtue of word-puns. Thus, in pada (c), if the inconsistency is to be made apparent, bhramad api abhränti should be rendered 'though sinning, yet free from sin'; but bhramad is not applicable to Sürya in the sense of 'sinning,' but only in its meaning of 'wandering [over the universe].' Again, in pada (d), to apprehend the inconsistency, viruddhakriyam would have to be rendered 'hostile in its actions,' thus forming a contrast to hitadhãyi, 'bestower of benefits,' but since Sürya is not 'hostile in his actions,' the translator must confine himself to the rendering 'inconsistent in his actions.' Such inconsistencies as are here set forth, inconsistencies which are not real, but only apparent, are examples of the rhetorical figure virodha, 'apparent contradiction'; cf. Dandin, Kavyadarśa, 2. 333-339, and Mammaţa, Kavyaprakāśa, THE SURYAŚATAKA OF MAYŪRA 10. 23 (p. 233-235 of translation by Jhã; ed. of Jhalakikara, 166 [110], stanzas 482-491), for explanation and examples; cf. also stanza 86, note 4; Candikataka, stanza 62, note 2; and Introd., p. 93. 2. Siva is called the 'Foe of Dakşa,' since he interrupted Dakşa's sacrifice, and pierced the embodied Sacrifice with his arrow; cf. Mahābhārata, 10. 18. 13; 13. 161. 10-24; Bhagavata Purana, 42-6 (Dutt, vol. 1, book 4, p. 6-25); Väyn Purana, 30 (cf. synopsis of this Purana by Th. Aufrecht, Catalogus Cod. Sanscriticorum Bibliothecae Bodleianae, p. 54, Oxford, 1864, and translation of the account of Dakşa's sacrifice, taken therefrom by Wilson, and included in his translation of the Visnu Purana, vol 1, p. 120-134); Candisataka, stanza 62, note 5. 3. The burning of Kama by Siva's third eye, which here is said to be the disk of Surya, has already been referred to in the Saryaśataka; cf. stanza 55, note 9. 4. I have rendered iha, 'here,' by 'in this world.' 5. In stanza 9, the rays of Surya are said to be ships for crossing the ocean of the fear of transmigration'; cf. stanza 9, note 7. 6. The adjective niyaminam, 'of the controlled ones,' is glossed by yoginam, 'of the yogins. 202 V.L. (a) K na dahati nitarām (for na tu dahati puraḥ); K punaḥ parayaty, JHB pura purayaty.. (b) HB nastam yuştam; B yānapatram. (c) J yad vitabhranti fafvad; B bh(?)mad api; JHB jagatām bhräntimadbhranti. 81 siddhāiḥ siddhāntamiśram śritavidhi vibudhäiś cāraṇāiś cāṭugarbham gityā gandharvamukhyāir muhur ahipatibhir yātudhānāir yatātma särgham sādhyāir munīndrāir muditatamamano mokṣibhiḥ pakṣapātāt prātaḥ prārabhyamāṇastutir avatu ravir viśvavandyodayo vaḥ Ravi¹ (Sürya), at his rising, is worthy of being adored by the universe, and [unto him], at dawn, hymns of praise are begun; [He is praised] by the Siddhas, with various canonical texts³; by the gods, with performance of ceremonial rites*; By the Caraṇas," with full measure of flattery; by the foremost of the Gandharvas,' with song; by the Lords of the Serpents, again and again; By the Yātudhānas, with [proper] restraint; by the Sadhyas,¹⁰ with oblations¹¹; by the chief Rṣis, with feelings of great joy¹2; and by those seeking emancipation, with partiality.¹4 May Ravi (Sürya) protect you! 10 203 THE SÜRYASATAKA OF MAYŪRA Notes. 1. Lit. 'may Ravi, whose rising is worthy, etc., protect you.' It is worthy of note that in the first three padas of this stanza the words are arranged in pairs, a noun with an adverb, and that in each pair the adverb begins with the same letter as the noun, or else some word or syllable in the noun-compound imitates in sound some word or syllable in the adverb-compound. This constitutes an interesting example of yamaka, 'assonance'; cf. Introd., p. 91, and, for somewhat analogous instances of assonance, cf. Süryaśataka, stanza 71, and Candidataka, stanzas 36 and 52. 2. The Siddhas have been mentioned in stanzas 6 (see note 8), 20, 52, 67 and 72 (see note 5). Bühler, when comparing the opening stanzas of the Prasasti of Vatsabhatti with the Saryafataka (cf. Die indischen Inschriften, as cited in stanza 6, note 8), notes how in both poems it is stated that Sürya is praised by the semi-divine beings, such as Siddhas, Gandharvas, etc. In this connection, cf. Mahabharata, 3. 3. 40, where it is said that the Siddhas, Cāraṇas, Gandharvas, Yakşas, Guhyakas, and the Nāgas (Serpents), desirous of obtaining boons, follow the course of Surya's car through the sky; see also Vişnu Purana, 2. 10 (Wilson, vol. 2, p. 284-289), which tells us that the Adityas, Rşis, Gandharvas, Apsarases, Yakşas, Serpents and Rākṣasas guide the car of Sürya, one of each class being assigned to this service during each of the twelve months. 3. Lit. 'with a mixture of established truths.' The commentary, however, explains this as meaning 'accompanied by the ceremony called siddhanta. The commentary further notes that siddhantamiśram, 'with a mixture of established truths,' and fritavidhi, 'with performance of ceremonial rites,' are adverbs (kriyaviseşaṇam). 4. Lit. fritavidhi means ceremonial acts having been resorted to.' 5. The Caraṇas, according to the commentary, were the 'bards of the gods (devavarnakaih). In the Mahabharata they are often mentioned as praising or worshiping some person or object, especially in company with the Siddhas and Gandharvas; cf. Sörensen, Index to the Names in the Mahabharata, s.v. Carana. 6. Lit. 'with a fulness of flattery'; this the commentary amplifies into 'with flattery, chiefly consisting of a reiteration of his good qualities.' 7. According to the commentary, the foremost of the Gandharvas was Viśvāvasu. He is the reputed author of Rig Veda 10. 139, being mentioned in that hymn (stanza 5) as its composer. For the Gandharvas as a class, cf. stanza 36, note 2. 8. According to the commentary, the Yātudhānas were the goblin Piśācas. They are mentioned in the Rig Veda (1.35. 10; 7. 104. 15; 10. 87. 12-13), and appear to have been flesh-eaters and causers of disease; cf. Macdonell, Vedic Mythology, p. 163. 9. Lit. 'with self-restraint.' 10. The Sadhyas are mentioned in stanza 72 (see note 5). 11. The argha (sometimes spelled arghya), which I have rendered as oblation,' is defined in Yajñavalkya's Smrti (ed. in 2 vols. by H. N. Apate, Poona, 1903-1904), 1.289: dürvasarşapapuspanām dattva 'rgham ('rghyam) pürnam añjalim, 'having given as an oblation a full handful of dürva grass, mustard and flowers.' 'with very joyful mind.' cipated' are the yogins. 12. Lit. 13. According to the commentary, the 'eman14. The term pakşapatat, which I have renTHE SÜRYASATAKA OF MAYŪRA dered as 'with partiality,' is glossed by atmabhavat, 'with attachment.' V.L. (b) J gandharvaműkhyðir, H gandharvamurkhyer; JB yatātmā. (c) JHB sarghyam sadhyair; K mokşubhiḥ pakşapātät. (d) HB prarabhyamanastutir (with dental nasal). 204 82 bhāsām āsannabhāvād adhikatarapatoś cakravālasya tāpāc chedad acchinnagacchatturagakhurapuṭanyāsaniḥśańkaṭankāiḥ niḥsangasyandanāṁgabhramaṇanikaṣaṇāt pātu vas triprakāram taptāmśus tatparīkṣāpara iva paritaḥ paryaṭan hāṭakādrim The Hot-rayed (Sürya), traveling completely over (Meru), the Golden Mountain,¹ [is], as it were, intent upon a threefold testing of it; [For it tests the gold] by the heat [arising] from the nearness of the excessively intense multitude of its rays, By cutting with the firm chisels [which are] the blows of the hollow hoofs of the horses that continually bound along, And by the touchstone, [which in this case is] the wandering of the wheel of the freely-moving chariot. May the Hot-rayed (Sürya) protect you! Notes. 1. For the golden composition of Meru, cf. stanza 1, note 4. 2. Lit. 'having the testing of it as its chief object.' 3. The commentary notes: 'Gold is tested in three ways-by burning, cutting, and by the touchstone.' 4. Lit. 'fearless (niḥśanka) chisels.' 5. Lit. 'the placing down of the hollows of the hoofs, etc.' 6. I have rendered anga, 'limb,' by 'wheel'; cf. stanza 72 (note 6), where pada, 'foot,' is used in the sense of 'wheel.' V.L. (a) JHB -bhavadhikatarapatulaś cakravālasya; B patat (for tapac). (b) B cheddc chinnagacch- (one syllable short); HB -turagakhara-; K -puțanyasta-. (c) HB niḥfankasyandan-; K pätu vas triprakārdiḥ. 83 no śuşkam nākanadyā vikasitakanakāmbhojayā bhrājitam tu pluṣṭā nāivopabhogyā bhavati bhṛśataram nandanodyānalakṣmiḥ no śṛngāṇi drutāni drutam amaragireḥ kāladhāutāni dhāutāTHE SURYASATAKA OF MAYŪRA ni 'ddham dhama dyumärge mradayati dayayā yatra so 'rko 'vatād vaḥ 205 Since¹ Arka (Sürya), through pity, softens his blazing splendor in the pathway of the sky, The River of Heaven' does not dry up, but is embellished by the expanding of its golden lotuses³; The beauty of the garden of Nandana* [in Indra's paradise] is not scorched, but becomes indeed much more enjoyable; And the golden peaks of (Meru), the Mountain of the Immortals, do not melt, but are quickly made to glisten. May that Arka (Sürya) protect you! Notes. 1. The construction here is locative absolute-mradayati yatra -with the adverb yatra as one member; for similar usages, cf. stanza 20, note I. 2. The 'River of Heaven' is the celestial Ganges; cf. stanza 47, note 7. 3. Lit. 'it is not dried up, but is embellished by the River of Heaven, whose golden lotuses are expanded.' According to the Hindu grammarians, śuşka, 'dried up,' is reckoned as a participle; cf. Whitney, Skt. Grammar, 958. 4. The grove in svarga (Indra's paradise) was called Nandana; cf. V. Fausböll, Indian Mythology, p. 86, London, 1903. It is so designated, as Fausböll points out, in Mahabharata, 3. 43. 3; 3. 168. 44. 5. The term kaladhäutäni, 'purified by time (?),' is glossed by hiranmayani, 'golden.' 6. The dividing of dhautäni, so that its last syllable is carried over into pada (d), is unusual. V.L. (a) JHBK -kanakambhoruha; H bhrajitantu, B bhrajitantuḥ, J bhrajitantum. (b) B -odyānalakşmi. (c) HB śrngani (with second nasal dental); HB kamadhautāni. (d) HB dayaya yaḥ sa vo vyäd ino vaḥ, J dayaya yatra so 'vyad ino vaḥ. 84 dhväntasyāivā 'ntahetur na bhavati malināikātmanaḥ pāpmano 'pi prāk pādopāntabhājām janayati na paraṁ pańkajānām prabodham kartā niḥśreyasānām api na tu khalu yaḥ kevalam vāsarāṇām so 'vyād ekodyamecchāvihitabahubṛhadviśvakāryo 'ryamā vaḥ Aryaman (Sürya) arranges many and great activities in the universe in accordance with [his own] will, and by the efforts of [himself] alone¹ : 206 THE SÜRYAŚATAKA OF MAYÜRA He is not only the cause of the destruction of darkness whose nature is one with vileness, but also [the cause of the destruction] of sin; He not only brings about the of the lotuses at dawn, but also [brings] to those who enjoy proximity to his rays; He is verily not only the of days, but also the of final beatitude." May that Aryaman (Sürya) protect you! Notes. 1. Bernheimer (cf. Introd., p. 105) renders this pada as follows: 'Vi protegga il sole che pur essendo solo, al suo levare molte e grandi cose compie nel mondo.' 2. The commentary, which I have followed, takes the epithet malinäikātmanaḥ as a modifier of dhvantasya. Bernheimer (see note 1) makes it modify papmano, and renders: 'ma anche al maleficio dalla nera anima.' 3. I have rendered prabodham as 'enlightenment,' taking it to mean intellectual or spiritual enlightenment. The gloss is tattvadarśanam, 'perception of truth.' 4. The reference is probably to the yogins, who enjoy proximity to the sun's rays in a metaphysical or spiritual sense. 5. Lit. nihfreyasanam means of final beatitudes.' V.L. (a) H dhvantasyäiväntahettur. (b) B pankajānam mabodham. (d) B-vitvakäryyoryyabhāvaḥ. 85 lotaml lostāviceṣṭaḥ śritaśayanatalo niḥsahibhūtadehaḥ samdehī prāṇitavye sapadi daśa diśaḥ prekṣamāṇo 'ndhakārāḥ niḥśvāsāyāsaniṣṭhaḥ param aparavaśo jāyate jivalokaḥ śokenevä 'nyalokān udayakṛti gate yatra so 'rko 'vatad vaḥ When Arka (Sürya) has gone to other worlds,¹ to make his appearance [there], Mortals become, as it were, very miserables with grief, and prone to sighing and weariness; They lie on their beds and toss about, as incapable of exertion as a clod, their bodies without power, And doubtful as to the duration of their lives, as they see the ten quarters [of the sky] all at once plunged in darkness." May that Arka (Sürya) protect you! THE SÜRYASATAKA OF MAYŪRA 207 Notes. 1. Lit. 'when he, making a rising, has gone to other worlds.' When Sürya rises on other worlds, it is night on the earth. Note the locative absolute construction gate yatra, with the adverb yatra as one member; for similar constructions, cf. stanza 20, note 1. 2. Lit. 'the world of mortals (jivalokaḥ).' 3. Taken literally, aparavasa seems to mean 'subject to others,' but the gloss, which I have followed, is duḥsthita, 'miserable.' 4. it. 'having recourse to surface of their beds.' The compound loştaviceştaḥ is glossed by loştavac ceştarahitaḥ, 'deprived of motion, like a clod.' 6. For the 'ten quarters,' cf. stanza 4. note 3. 7. Lit. 'seeing the ten quarters all at once as darknesses.' 5. V.L. (a) HB lothal loşta-. (c) K -nişthaḥ cirataram avaso. (d) J fokenanyatra lokabhyudayakṛti, K fokenevänyalokabhyudaya-, HB śokendivanyalokobhyudaya-. 86 krāmaml lolo 'pi lokāms tadupakṛtikṛtāv āśritaḥ sthāiryakoţim nṛṇām drstim vijihmām vidadhad api karoty antar atyantabhadrām yas tāpasyā 'pi hetur bhavati niyaminām ekanirvāṇadāyī bhūyāt sa prāgavasthādhikatarapariņāmodayo 'rkaḥ śriye vaḥ The rising¹ of Arka (Sürya) effects a transformation superior to the previous condition; Although he passes over the worlds [with constant] coming and going, he yet attains the acme of fixity in bestowing favors upon them¹; Although he causes the eye of man to look sidelong, yet he makes the [eye] within³ exceedingly happy; Although he is the cause of heat, he is also, to the yogins, the sole giver of final beatitude.* May that Arka (Sürya) bring you prosperity! Notes. 1. The idea is that Sürya, though transitory (lola), is fixed (sthairya); though he constantly moves, yet he attains fixity. Such apparent contradiction is an instance of the rhetorical figure virodha; cf. stanza 80, note 1. Other instances of the same figure are found in the two following padas of this stanza; cf. notes 3 and 4. 2. Lit. 'makes the eye turned away.' No one can look straight at the mid-day sun without painful results. 3. The antar, '[eye] within,' is the soul; so, at any rate, I gather from the commentary, which explains: antaḥkaraṇānurūpām, '[the eye] assuming the form of the seat of feeling.' The virodha (cf. note 1) lies in the conception that Sürya causes both misery and hapTHE SURYAŚATAKA OF MAYŪRA piness; misery to the physical eye that tries to gaze on the sun's dazzling splendor, and happiness to the soul, man's inner eye. 4 To make the virodha (cf. note 1) apparent, tapa, 'heat,' must be taken in its other meaning, 'pain.' The sun gives pain, and also gives extinction of pain, or final beatitude. For the idea that the way to emancipation is through Surya, cf. stanza 9, note 7. 208 V.L. (a) HB krämal lolo; JHB -asthitaḥ sthäiryakofim. (b) JHB dystim vijihnām. 87 vyāpannartur na kālo vyabhicarati phalam nāuṣadhir vṛṣṭir iṣṭā neştäis trpyanti devă na hi vahati marun nirmalābhāni bhāni āśāḥ śāntā na bhindanty avadhim udadhayo bibhrati kṣmābhṛtaḥ kṣmām yasmims trailokyam evam na calati tapati stāt sa suryaḥ śriye vaḥ When¹ Surya shines, the seasons succeed each other at their regular time, the fruit does not fail [to grow on] the plants, The wished-for rain [comes], the gods are not without pleasure in sacrifices, the wind blows, the constellations are of spotless splendor, The quarters [of the sky] are tranquil, the oceans do not break their bounds, the mountains [continue to] support the earth; And thus, [through Sürya's aid], the [regular course of events in the] three worlds goes on undisturbed.* May Surya bring you prosperity! Notes. 1. This stanza is quoted by Bühler in Die indischen Inschriften (cf. stanza 6, note 8). He there comments on the emphasis here laid on the conception of Surya as the nurturer of gods and men, and as the maintainer of the universe. In this regard, see stanza 77, where Sürya is called the life of the worlds (jagatām jivitam).' Compare Surya's name Paşan, which probably means 'Nourisher' or 'Prosperer'; cf. Macdonell, Vedic Mythology, p. 37. In stanza 2 of the Gwalior Stone Inscription of Mihirakula (cf. CII, vol. 3, p. 162), Sürya is said to be artihartă, 'a dispeller of distress' or 'remover of assailants'; and King Harşavardhana, the emperor of Northern India in the seventh century, says, in stanza 3 of his Madhuban Plate (cf. EI, 7. 157), his father Prabhākaravardhana was ekacakraratha iva prajānām ārtiharaḥ, 'like (Sürya), the possessor of THE SURYASATAKA OF MAYURA the one-wheeled car, relieving the distress of mortals.' 2. Literally, 'time is not possessed of disarranged seasons.' 3. Note the double negative in neştäis trpyanti deva na hi, 'the gods are not un-pleased with sacrifices'; for other double negatives in the Saryaśataka, cf. stanza 23, note 9. 4 Literally, the three worlds do not tremble.' 209 V.L. (a) HB vyapannarttun na. (b) JHB neştais tuşyanti. (c) JHB and Bühler in Die indischen Inschriften (see note 1) read bhindanty, which I have adopted; the Kävyamālā text reads bhindaty. J kşmabhytakşmām, B kşmabhṛtākṣmām. (d) Bühler, in Die indischen Inschriften (cf. note 1), reads tapati syat. 88 käilāse kṛttivāsā viharati virahatrāsadehoḍhakāntaḥ śräntaḥ śete mahāhāv adhijaladhi vinã chadmanā padmanābhaḥ yogodyogāikatāno gamayati sakalam vāsaram svam svayambhūr bhūri trailokyacintābhṛti bhuvanavibhāu yatra bhāsvān sa vo 'vyāt While the Shining (Sürya), Lord of the Universe, is constantly taking thought for [the good of] the three worlds, (Siva), who is covered with a skin, takes his diversion on Mount Kailasa, carrying in his body his beloved (Parvatī), because of his fear of being separated [from her], (Vişņu), whose navel is a lotus, wearied, reposes on the Great Serpent (Seșa) in the ocean,' without disguise,³ And the Self-existent (Brahmā) passes the whole of his own day intent only on the effort [involved] in meditation.¹⁰ May that Shining (Sürya) protect you¹¹! Notes. 1. Note the locative absolute construction with yatra, an adverb, as one member; cf. stanza 20, note 1. 2. Siva's epithet kṛttiväsas, whose clothing is a skin,' is presumably traceable to his wearing the skin of an elephant; cf. Candiśataka, stanza 29, where Siva is advised to exchange his elephant's skin for the softer hide of the buffalo-demon Mahişa. Siva is referred to as kṛttiväsas in Mahābhārata, 2. 46. 14 and 8. 33. 59, and in other places noted in Sörensen's Index. 3. Mt. Käiläsa is sometimes called the abode of Siva, as e.g. Mahabharata, 3. 109. 17, but more often (cf. Sörensen's Index, s.v.) the home of Kubera; cf. e.g. Mahabharata, 3. 139. II-12. See, however, the illustration in Moor, Hindu Pantheon, pl. 11, 15 THE SURYASATAKA OF MAYŪRA where Siva and Pärvati are pictured sitting together on Mt. Käiläsa. 4. This is a reference to Siva's ardhanarita form, wherein he appears as half man and half woman; cf. Monier-Williams, Brahmanism and Hinduism, p. 85, 225, London, 1887. The conception of Siva as the ardhanārīśća is seemingly a late one, finding no place, so far as I have been able to discover, in either Vedas or Epics. Further reference to this form of Siva is found in Candifataka, stanzas 26, 28 and 80, and also in Mayura's stanza entitled 'The Anger of Umã,' translated below, p. 240. 5. According to one account, Brahmã was unfolded from a lotus that grew from Vişnu's navel; cf. stanza 13, note 4 6. Vişņu becomes wearied by the effort expended in the work of creation; therefore, in the intervals between the creations, he reposes on the great snake Seşa, in the depths of the ocean; cf. stanza 35, note 8. 7. The compound adhijaladhi, as noted in the Introduction (cf. p. 96), belongs to the class of composites called avyayibhāva; cf. Whitney, Sanskrit Grammar, 1313, b. 8. The meaning of vind chadmand, which I, following the gloss avydjena, 'without deceit,' have rendered without disguise,' is not quite clear to me. The commentary explains by the gloss yogas tapadicchalam vina, which seems to mean 'meditation without pretense of austerities, etc.' 9. A day of Brahmã equaled approximately four and one third billion years of mortals; cf. stanza 23, note 6. 10. The commentary quotes, though without so stating, from Patañjali's Yoga Satra, 1.2: yogas citta- [vṛtti-] nirodhas, 'meditation is the hindering [of the working] of thought,' meaning that spiritual consciousness is gained by control of the versatile psychic nature; cf. the translation of the Yoga Satra by Charles Johnston, New York, 1912; but see also the more recent translation by James H. Woods, appearing as volume 17 of the Harvard Oriental Series, Cambridge, Massachusetts, 1914. And the commentary adds, by way of explanation: tatrodyoga udyamas tatraikatāna ekāgraḥ, 'intent on the effort involved in that [i.e. in meditation].' 11. The commentary notes: These [i.e. Siva, Vişņu and Brahmä] are earth-protectors in name [only], being intent only on their own affairs, but this Blessed (Sürya) is [really an earth-protector], being girded up for action. V.L. (b) J vina cchadmana. (d) HB bhuvanavidhāu. 210 89 etad yan maṇḍalam khe tapati dinakṛtas tā ṛco 'rcīmṣi yāni dyotante tāni sāmāny ayam api puruṣo maṇḍale 'nur yajūmşi evam yam veda vedatritayamayam ayam vedavedi samagro vargaḥ svargāpavargaprakṛtir avikṛtiḥ so 'stu sūryaḥ śriye vaḥ All the host versed in the Veda knows that Sürya consists of the threefold Veda²; That which blazes in the sky as the disk of (Sürya), Maker of Day, [constitutes] the Verses (i. e. Rig Veda); THE SŪRYAŚATAKA OF MAYŪRA The rays which scintillate [constitute] the Songs (i. e. Sama Veda); and that atomic Souls in the disk [constitutes] the Sacrificial Formulas (i. e. Yajur Veda).* 211 May that Sürya, who is Unchangeableness [personified], and who is also the fundamental cause of heaven and emancipation, bring you prosperity ! Notes. 1. Lit. 'all this host, etc.' 2. The identification of Surya with the Vedas is a conception found also in Markandeya Purana, 103.6 (Pargiter, p. 557), Vişnu Purana, 2.11 (Wilson, vol. 2, p. 294-295), and according to Kennedy, Hindu Mythology, p. 346, in the Sürya Nārāyaṇa Upanişad. With reference to this identification, Wilson in his translation of the Visnu Purana (vol. 2, p. 295, footnote) suggests that 'this mysticism originates, in part, apparently, from a misapprehension of metaphorical texts of the Vedas, such as säişa trayy eva vidya tapati, "that triple knowledge (the Vedas) shines," and rcas tapanti, "the hymns of the Rich shine," and, in part, from the symbolization of the light of religious truth by the light of the sun, as in the Gayatri.' 3. The conception of purusa as the 'Soul' seems to have originated in the teachings of Sāmkhya philosophy, a conception seemingly distinct from that found in the Puruşa hymn (10.90) of the Rig Veda; cf. A. A. Macdonell, Skt. Literature, p. 132-133, 137, New York, 1900; id., Vedic Mythology, p. 166; cf. also Paul Deussen, The Philosophy of the Upanishads, p. 239-250, Edinburgh, 1906. According to the commentary, the 'Soul' or puruşa is 'attainable by yoga (yogagamyaḥ).' 4. The commentary quotes the following phrases, which I find occur in Satapatha Brahmaṇa, 10. 5. 2. 1-2 (cf. Eggeling's translation in Sacred Books of the East, vol. 43, p. 366): trayī va eşā vidyā tapati (cf. note 2), 'this threefold knowledge shines'; ta rcaḥ sa rcăm lokaḥ, 'the verses: this is the realm of the Rig'; yad etad arcir dipyate tan mahāvratam tāni sāmāni sa sāmnām lokaḥ, 'that which shines as the ray is a great religious observance, the hymns: this is the realm of the Saman'; ya eşa etasmin mandale puruşaḥ so 'gnis tani yajūmşi sa yajuşām lokaḥ iti śrutiḥ, 'that which is the man in this disk is Agni, the sacrificial formulas: this is the realm of the Yajus; so says tradition.' 5. Bernheimer (Introd., p. 105) takes avikṛtiḥ, 'unchangeableness,' to be an adjective, and renders: 'immutabile causa della beatitudine celeste.' 6. For the idea that Sürya is a means for the attaining of emancipation, cf. stanza 9, note 7, and stanza 29, note 4. 90 nākāukaḥpratyanīkakṣatipaṭumahasām vāsavāgresarāṇām sarveṣām sādhu pātām jagad idam aditer ātmajatve same 'pi yenā "dityābhidhānam niratiśayaguṇāir ātmani nyastam astu THE SÜRYASATAKA OF MAYŪRA stutyas trailokyavandyais tridaśamunigaṇāiḥ so 'mśumāñ śreyase vaḥ Although sonship to Aditi¹ is common to all [the deities] who well protect this universe, Who are led by Vāsava² (Indra), and whose might is able to destroy the foes of those dwelling in heaven, [Yet] the Ray-possessing (Sürya), who is worthy to be praised by troops of the gods and sages that are revered in the three worlds, 212 [Is the only one who], because of his matchless qualities, [rightly] applies to himself the name of 'Son of Aditi.' May that Ray-possessing (Sürya) bring you prosperity! Notes. 1. Aditi, whose name may mean 'boundless' or 'endless' (Fausböll, Indian Mythology, p. 76), was the mother of the Adityas; cf. Macdonell, Vedic Mythology, p. 120-121, and Mahabharata, 1.65. 14. Sürya was one of the Adityas, or perhaps it is more accurate to say that the twelve Adit (cf. stanza 94, and Candiśataka, stanza 42) were but manifestations of Sürya in the twelve months of the year. The names of these deities, as given in Mahabharata, 1.65.15-16, are: Dhatar, Mitra, Aryaman, Sakra (Indra), Varuṇa, Amśa, Bhaga, Vivasvat, Püşan, Savitar, Tvaştar, Vişņu. According to Visnu Purana, 2. 10 (Wilson, vol. 2, p. 284-289), where a slightly different list is given, 84 special attendants were assigned to the care and superintendence of Surya's car, one for each month of the year, from each of the following seven groups: Adityas, Rşis, Gandharvas, Apsarases, Yakşas, Sarpas (Serpents), and Räkṣasas. Indra was called Väsava as being chief of the Vasus, or closely associated with them; he is invoked along with them in Rig Veda, 7. 10.4 and 7.35.6. In the Mahabharata, Vasava is one of Indra's most common designations; cf. Sörensen's Index, s.v. Indra. 2. V.L. (a) The Kävyamālā text reads nakdukaḥ pratyanika-; I have emended to nakaukaḥpratyanika-, which seems to receive support from the gloss devapratipanthi-. We cannot look to J or H or B for help on such a point, because in those texts the words are frequently crowded together or very oddly divided. B-paṭamahasam. (c) JHBK niratiśayagunena "tmani. (d) HB stutyatrailokyavandais. 91 bhūmim dhāmno 'bhivṛṣṭyā jagati jalamayim pāvanīm samsmṛtāv apy ägneyim dāhaśaktyā muhur api yajamānām yathāprārthitārthäiḥ THE SŪRYASATAKA OF MAYURA līnām ākāśa evā 'mṛtakaraghaṭitām dhvāntapakṣasya parvany evam sūryo 'ṣṭabhedām bhava iva bhavataḥ pātu bibhrat svamūrtim 213 Sürya, like Bhava (Siva), possesses an eightfold form.¹ [As Siva] is the , [so Sürya] is the of splendor; [As Siva is water, so Sürya] consists of water, [as proved] by his shedding rain upon the universe³; [As Siva] is ³, [so Sürya] is a , even in recalling [his name]; [As Siva is fire, so Sûrya] is fiery, [as proved] by his ability to burn; [As Siva is the sacrificing priest, so Sürya] is frequently like the sacrificer because of the desired gifts [which he bestows]; [As Siva is ether, so Sürya] is identical with the sky in which he is merged; [And as Siva is the sun and moon, so Sürya, the sun], is united with the moon at the conjunction in the dark half [of the lunar month]. May Sürya protect you'! Notes. 1. The commentary quotes from an unnamed source: kşitijalapavanahutafanayajamānākāśasomasüryakhyaḥ, 'Earth, Water, Wind, Fire, the Sacrificer, Sky, Soma (Moon), and Sürya [are] the names [of the eight forms of Siva]. These eight forms or aspects are also allotted to Siva in the opening verse of Kālidāsa's Sakuntala; see also Mahābhārata, 3.49.8, where Maheśvara (Siva) is called aştamurti, 'possessing eight forms.' 2. For the idea that Sürya is a reservoir of rain-water, see stanza 9, note 2. 3. The term pavanim, ordinarily meaning 'purifying,' is here, punningly, to be regarded as an adjective from pavana, 'wind,' and to mean 'consisting of wind.' Its gloss is väyumayim, 'consisting of wind,' and a footnote to the commentary points out that there is a pun involved. The far-fetched likeness to the wind is probably not real, but only such by virtue of the word-pun, although there may possibly be involved a reference to the inspiration of the breath, or of air, as a stimulator of thought and of the intellectual faculties-like the 'rhythmic breathing of the present-day swamis. The literal translation of pāvanim samsmrtav apy is 'purifying, even in remembering,' and this doubtless means that a devotee of Surya gains purification by merely recollecting, or meditating on, that deity. The gloss smarane 'pi krte sati pavanim THE SÜRYASATAKA OF MAYŪRA fuddhikarim, 'purifying, even when remembrance is made,' seems to bear out this idea. Bernheimer (Introd., p. 105) also is in accord, and renders: " come purificazione, nell' espressione del suo nome.' 4 As the sacrificer bestows gifts on the officiating priests, so Sürya on his devotees and worshipers. 5. It is of passing interest that this stanza compares Surya with Siva, and that the two following stanzas, 92 and 93, compare Surya with Vişnu and Brahmã, the other members of the so-called 'Hindu Trinity'; cf. stanzas 16 and 88, where is attested Sürya's superiority over these three deities. 214 V.L. (a) HB dhamnabhivystya, K dhamno 'tha vrstyä. (b) JHB dahaśaktim muhur; J yajamānātmikām prārthitänäm, HB yajamānātmikāprarthitānām, K yajamānātmikām prārthitārthaiḥ. (c) JHB hilam akaśa; HB-mrtakaraghatitam. (d) JHB saryo 'stabhedo. 92 prākkālonnidrapadmākaraparimalanāvirbhavatpādaśobho bhaktyä tyaktorukhedodgati divi vinatāsūnunā niyamānaḥ saptāśvāptāparāntāny adhikam adharayan yo jaganti stuto lam devāir devaḥ sa pāyād apara iva murārātir ahnām patir vaḥ The divine (Sürya), Lord of Days, is like a second (Vişņu), Foe of Mura¹; For the beauty of the feet [of Vişnu] is made apparent by massage at the hands of Padmā³ (Sri), [who] from of old [has been] attentive [to his wishes]>, And ; [Vişnu] ,³ [And Surya] ; [Vişnu] , [And Sürya] .12 May that (Sürya), Lord of Days, protect you! 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 rendering its gloss is avagahana, 'plunging.' I have followed the commentary in the first rendering, but in the second, I translate by 'perfume,' thinking it possibl that parimalana may be a variant form of parimala, 'perfume.' It seems to me also possible that the original reading 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 Bernheimer (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.' Bernheimer (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) renders: '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, maharloka 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 saptaaśva-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 THE SŪRYAŚATAKA OF MAYŪRA sadyaḥ siddhyāi prasannadyutiśubhacaturāśāmukhaḥ stād vibhakto dvedhā vedhā ivā 'viṣkṛtakamalaruciḥ so 'rciṣām ākaro vaḥ (Sürya), the Mine of Rays, is like (Brahmä), the Creator, who was divided into two parts¹; 216 [For Brahmä] ,³ [and Surya] ³; [Brahmä] ," [And Surya] ; [Brahmä] , [And Surya] ; , [And Sürya, as he rises], . May that (Sürya), Mine of Rays, speedily bring you prosperity! Notes. 1. The golden egg, created by Brahmã, regarded as identical with Brahma, and from which Brahma and the universe were evolved, was divided into two parts by the power of that god's meditation as the Selfexistent One, one part becoming heaven, the other, earth; cf. Manu, 1. 9-13. Hence Brahmã is here said to be 'twofold' or 'divided into two parts." For Sürya's superiority over Brahmã, as attested in the Süryaśataka, see stanza 91, note 5. 2. According to some accounts, Brahmã was produced from a lotus that grew out of Vișnu's navel; cf. stanza 13, note 4. 3. The meaning is that the light of the sun causes lotuses to open. 4. The Principal Mountains' were the kulaśailas, or kulakşmabhṛtas, which have been discussed above; cf. stanza 56, note 3. 5. The commentary quotes for the third time: adityāj jayate vṛṣṭiḥ, 'from Aditya (Sürya) rain is produced'; cf. stanza 30, note 4, and stanza 77, note 1. For the conception of Sūrya as a reservoir from which the earth is supplied with water, cf. stanza 9, note 2. 6. According to the commentary, the 'Best Mountain' is Meru. The commentary explains: 'For Meru is brought to fame (gauravam) as the "Sunrise Mountain" through the rising of the Blessed (Sürya)'; cf. stanza I, note 4. 7. Lit. 'stands above the three THE SŪRYASATAKA OF MAYURA 217 worlds.' 8. The gloss of dhamna is sthänena, 'place,' 'position.' The meaning is that Brahmā has reached brahmaloka, or satyaloka (cf. stanza 92, note 11), the seventh heaven, which is far above the three lowest worlds. 9. For the four heads of Brahmã, and the anecdotes accounting for the loss of an original fifth head, cf. stanza 13, note 3. V.L. (a) HB parastād; J -samamyunnater, HB -samabhyunnatehāitur. (b) JHB upari pade durvi-. (c) B prasannadyati-, K prasannadyutiśucicatur-; JHB -mukhastad vibhakto. 94 sādridyūrvīnadiśā diśati daśa diśo darśayan prāg dṛśo yaḥ sādṛśyam dṛśyate no sadaśaśatadṛśi trāidaśe yasya dese diptāmśur vaḥ sa diśyād aśivayugadaśādarśitadvādaśātmā sam śāsty aśvāmś ca yasyā "śayavid atiśayād dandaśūkāśanādyaḥ The Hot-rayed (Sürya) at dawn bestows [on us] the power of sight, revealing the ten quarters, with the mountain sky, earth, and oceans³; His like is not to be seen in the realm of the gods, presided over by the Thousand-eyed* (Indra); His twelve personalities will be made manifest by fate at the destruction of the world; And (Aruņa), the elder brother of (Garuda), Devourer of Snakes, curbs his steeds, knowing well their [every] intention. May that Hot-rayed (Sürya) bring you prosperity'! Notes. 1. Lit. 'bestows eyes.' The meaning, of course, is that Surya brings light whereby we are enabled to see. 2. For the ten quarters of the sky, see stanza 4, note 3. 3. The commentary notes that the compound sadridyūrvinadifa, 'with the mountains, sky, earth, and oceans,' embodies an instance of the rhetorical figure tulyayogita. This is defined by Apte (Skt.-Engl. Dict. s.v.) as the combination of several objects having the same attribute, the objects being either all relevant or all irrelevant'; cf. also Dandin, Kavyadarśa, 2. 48; and Viśvanātha Kaviraja's Sahityadarpana, 10, stanza 695 (ed. by Jivananda Vidyāsāgara, Calcutta, 1895). The rhetorical figures occurring in the Süryaśataka have been grouped and discussed in the Introduction, p. 90-95. 4 Lit. 'with its Thousand-eyed One.' In Mahabharata, 1.211.22-28, it is related that Indra's eyes (like Brahma's heads-cf. stanza 13, note 3) were multiplied THE SÜRYAŚATAKA OF MAYŪRA so that he might see the maiden Tilottamã, whichever way she turned. Another account says that Indra once violated Ahalya, the wife of the sage Gautama (Mahabharata, 5. 12. 5-6; 12. 266. 45-50; Ramayana, 7. 30. 25-34). Gautama thereupon cursed the god, ordaining, among other things, that his body should be disfigured with a thousand 'sex-marks' (so Roy renders bhaga, meaning perhaps the pudendum muliebre; cf. Mbh., 13. 41. 21). Afterwards the sage relented, and allowed the thousand disgraceful marks to be turned into eyes; cf. Mbh., 13. 41. 21; 13. 34. 28? (13.2137 of the Calcutta text, which is cited here because the latter part of 13. 34 is out of place, and apparently missing, in the copy that I have used of the Bombay text). It is worthy of note too that the Skanda Purāṇa, 17-18, (quoted by Kennedy, Hindu Mythology, p. 363) records how Indra, on one occasion, in order to escape from the demons who had besieged him and other gods in the city of Amaravatī, turned himself into a peacock, a bird that, as noted in Süryaśataka, stanza 25, has many 'eyes in its tail.' See Candiśataka, stanza 42, and also stanza 57, which refers to Indra's 'row of eyes.' ⁹ 5. The 'twelve personalities are the twelve Adityas, on whom comment has been made in stanza 90, note 1, and Candidataka, stanza 42. From Venisamhāra, 3.8 (ed. Parab and Mädgåvkar, Bombay, 1898), dagdhum viśvam dahanakirandir nodita dvadaśa 'rkā 'the twelve Arkas (Süryas) have not [yet] risen to burn up the universe with their scorching rays,' we may infer that the twelve Adityas formed one of the destructive forces that became active at the end of every kalpa. In this connection, compare also Mahabharata, 3. 3. 59, kṛtva dvadaśadha "tmanam dvadaśadityatām gataḥ samhṛtyaikārṇavam sarvam tvam śoşayasi raśmibhiḥ, 'having divided thyself into twelve parts, and becoming as many suns, thou (Sürya) destroyest the whole ocean and driest it up with thy rays.' 6. On Aruna's relationship to Garuda, see stanza 8, note 1; and on Garuda's fondness for devouring snakes, see stanza 47, note 3. 7. The indeclinable particle fam, 'prosperity,' used substantively, is common in the Veda, but rare in the later language; cf. Monier-Williams, Skt.-Engl. Dict. s.v. Note in this stanza the alliteration (anuprāsa) of d, and the assonance (yamaka) due to the prevalence of d and sounds. The letter d occurs twenty-five times, and occurs twenty-seven times. 218 V.L. (a) J sadridyarvinadīkā; J and the Kävyamāla text read prak drśo, K darśayan drak dṛśo. (b) B sadaśaśatadrşi (with last sibilant lingual). (d) HB sam fasty (with dental sibilant in sam); JHB atiśayam dandaśūkasanadyaḥ. 95 tirthäni vyarthakāni hradanadasarasīnirjharāmbhojinīnām nodanvanto nudanti pratibhayam aśubham śvabhrapātānubandhi āpo nākāpagāyā api kaluṣamuṣo majjatām nāiva yatra trātum yāte 'nyalokān sa diśatu divasasyāikahetur hitam vaḥ THE SŪRYAŚATAKA OF MAYŪRA 219 When¹ (Sürya), the Sole Cause of Day, has gone to other worlds, in order to afford [them] protection, The sacred bathing-places at pools, rivers, lakes, waterfalls and lotus-ponds are of no avail,² The oceans do not wash away the fearful sin that has as its consequence a descent into hell, And even the waters of the River of Heaven do not absolve from impurity those that take ceremonial baths [in them]. May that (Sürya), Sole Cause of Day, bestow upon you what is salutary! Notes. 1. Note the locative absolute construction with yatra as one member; cf. stanza 20, note 1. When the sun has gone to other worlds, it is night on the earth; cf. stanza 85, which, like this stanza, describes the effects and consequences of Sürya's absence from the world of mortals; cf. also Mahabharata, 3.3.53: tava yady udayo na syad andham jagad idam bhavet । na ca dharmarthakāmeşu pravartteran manişinaḥ, 'If thou (Sürya) shouldst not rise, this universe would be blind, and the learned would not employ themselves in [the attainment of] virtue, wealth and pleasure.' 2. The purport of this stanza is that ceremonial bathing is not efficacious as an absolver from sin, except in the daytime when Sürya is shining. In the commentary to stanza 55 (cf. note 3) we are told that sacrifice also is fruitless if performed before the coming of dawn. 3. The commentary takes pratibhayam as a noun meaning 'sin' (papam), and reads aśubhasvabhra- as a compound meaning 'inauspicious abysm,' glossing it by naraka, 'hell.' 4. The 'River of Heaven' is the celestial Ganges, whose descent from heaven is recorded in the Mahabharata, 3. 108-109, and in Ramayana, 1. 43. 35-38; cf. Candiśataka, stanza 3, note 2, and Suryaśataka, stanza 47, note 7. V.L. (b) JHB nudanti pratidinam; JHB aśubham śubhra-; the commentary suggests aśubhasvabhra-. (c) K apo svargapagāyaḥ. (d) K yate 'nyalokam. 96 etat pātālapańkaplutam iva tamasāivāikam udgāḍham āsīd aprajñātāpratarkyam niravagati tathā 'lakṣaṇam suptam antaḥ yādṛk sṛṣṭeḥ purastān niśi nisi sakalam jāyate tādṛg eva trailokyam yadviyogād avatu ravir asāu sargatulyodayo vaḥ The entire three worlds, when separated from Ravi (Sürya), whose rising is like creation,¹ Become, each night, such as they were before the creation; THE SŪRYAŚATAKA OF MAYŪRA [For then] they were utterly [plunged] in darkness, [being] indeed one [mass], and, as it were, submerged in the mire of Pātāla, 220 Uncomprehended and incomprehensible; also, incapable of perception by the senses, without distinguishing marks, and immersed in sleep.* May that Ravi (Sürya) protect you! Notes. 1. The rising of Sürya is like creation, for as creation quickened into life the dormant mass of matter, so Sürya arouses the sleeping universe to activity. 2. Lit. 'they were as if submerged in the mire of Pātāla, being indeed utterly one because of darkness.' 3. I have rendered niravagati by 'incapable of perception by the senses'; its gloss is pratyakşasya 'visayam, 'beyond the reach of perception by the eye.' This stanza recalls Manu, 1.5, where the condition preceding creation is described as follows: asid idam tamobhūtam aprajñātam alakṣaṇam । apratarkyam avijñeyam prasuptam iva sarvataḥ, 'This (universe) existed as darkness, uncomprehended, without distinctive marks, incomprehensible, unknowable, and, as it were, wholly immersed in sleep.' Lit. suptam antaḥ means 'asleep within.' V.L. (a) JHB iva tamasā sākam udgaḍham. (c) JHB niti nikhilam jayate. 97 dvipe yo 'stacalo 'smin bhavati khalu sa evã 'paratrodayādrir yā yāminy ujjvalendudyutir iha divaso 'nyatra tīvrātapaḥ saḥ yadvaśyāu deśakālāv iti niyamayato no tu yam deśakālāv avyāt sa svaprabhutvähitabhuvanahito hetur ahnām ino vaḥ The Mighty (Sürya), the Cause of Days, by his own power brings about the welfare of the world, And he is not held in restraint even by time and place, for time and place are subject to him¹; For what in this quarter of the earth is the Sunset Mountain, in another, indeed, is (Meru), the Mountain of Sunrise ; And when here it is night with brilliant moonlight, elsewhere it is day with intense heat.² May that Mighty (Sürya) protect you! Notes. 1. The commentary explains that 'time' means 'dawn, etc.,' and 'place' means ( east, etc.' For a similar conception of the relation of THE SURYASATAKA OF MAYŪRA Sürya to time and place, cf. stanza 18, note 8. 2. The divisions (dvipas) of the terrestrial world were, according to different authorities, four, seven, nine, or thirteen in number, and were grouped around Meru as lotus petals are grouped around a lotus; cf. stanza 23, note 3. The commentary explains: 'When indeed the blessed Thousand-rayed (Sürya) rises in the south of Meru, then it goes to its setting in the north of Meru; [it goes to] mid-day in the east of Meru, and [it goes to] midnight in the west [of Meru]; from this as a cause, these two-place, beginning with the east, and time, beginning with the dawn-twilight-are dependent on this Ravi (Sürya), but Ravi is not dependent on these two-time and place. Therefore the measuring severally of time and place by the revolving of the wheel of Sürya is renowned in the mathematical science of computation. On the 'Sunset Mountain,' cf. stanza 42, note 11. 221 V.L. (a) HB 'stacalesmin bhavati. (b) HB ujvalendudyutir; JHB 'nyatra diptatapaḥ saḥ. (c) K no nu yam, HB niyamato no bhayam deśakālāv (one syllable short), J hi niyamato no bhayam deśakalav. (d) H svapnabhävahitabhuvanahito, B svaprabhāvāhita-. 98 vyagrāir agryagrahendugrasanagurubharāir no samagrair udagrāiḥ pratyagrair işadugrāir udayagirigato gogaṇāir gāurayan gām udgāḍhārcirvilināmaranagaranagagrāvagarbhām ivā 'hnām agre śreyo vidhatte glapayatu gahanam sa grahagrāmaṇīr vaḥ (Sürya), Lord of Planets, as he approaches (Meru), the Mountain of Sunrise, at the beginning of each day,¹ gilds² the sky with quivering multitudes of rays. [These rays] are new, and shoot upwards, and [yet] have not attained their full length, and are [only] slightly hot; Their difficult task is to eclipse the moon and the principal planets, and, [as the sun rises higher], They dissolve, as it were, with their intense splendor, the offspring [of the sky], the clouds [that cling] about the mountain [which constitutes] the city of the gods. May (Sürya), Lord of Planets, [who] bestows prosperity, cause [all] your distress¹⁰ to vanish¹¹! Notes. 1. The phrase ahnam agre, 'at the beginning of days,' should perhaps, from its position, be taken with the benediction glapayatu gahanam, 'may he cause your distress to vanish.' The commentary, however, THE SŪRYASATAKA OF MAYŪRA 2. The pardoes not so take it, and I have followed the commentary. ticiple gaurayan, 'gilding,' is seemingly a denominative formation from gaura, 'yellow.' 3. Bernheimer (Introd., p. 105) takes gam, which I have rendered as 'sky,' to mean 'earth,' and renders: 'indorando la terra, per modo che coi suoi monti e roccie immerse nelle fiamme ardenti, sembra la città degli dei.' 4. Lit. vyagrair means 'confused,' 'agitated,' 'bewildered'; I have rendered as 'quivering.' 5. Lit. no samagrair, which I have rendered 'have not attained their full length,' means 'not entire.' The full length of the rays cannot be seen, because the disk of the sun is still below the horizon; cf. stanza 19, note 6. 6. Lit. -gurubhardir means 'heavy burden'; I have rendered as 'difficult task.' 7. Lit. vilina means 'melted,' the idea being that the clouds and mists appear to melt away under the action of the sun's rays. 8. Lit. 'gilding the sky, whose offspring, the clouds [that cling to] the mountain [that is] the city of the gods, are melted by [their] intense splendor.' For Bernheimer's rendering of this pada see note 3. It may be remarked that garbha, which I have rendered as 'offspring [of the sky],' is used in a somewhat similar sense in Ramayana, 4. 28. 3, to denote the fogs and vapors that are drawn up by the sun's rays during nine months, to be poured out again from the clouds upon the earth in the form of rain: navamäsadhṛtam garbham bhaskarasya gabhastibhiḥ pitva rasam samudrāṇām dyduḥ prasate rasayanam, 'The sky, having drunk the moisture of the oceans by means of the rays of (Sürya), Maker of Light, brings forth the elixir [of rain] as an offspring, which it has carried for nine months.' 9. The omission of a yah as correlative to the sa in pada (d) is unusual and leaves vidhatte, 'bestows,' grammatically without a subject. I would suggest emending the text so as to read sam yo for śreyo. A similar omission of the relative occurs in stanza 33. Cf. stanza 24 (note 5), and Candiśataka, stanza 9 (note 4), where the demonstrative has been omitted. may mean 'sin'; its gloss is papam, 'sin.' alliteration (anuprasa) of g, which occurs 25 times, and the assonance (yamaka) occasioned by the numerous recurrences of gr sounds. 10. Or, gahanam, 'distress,' 11. Note in this stanza the 222 V.L. (a) JHB vyagrair ugragrahoḍugrasanagurutardir, K -gurutardir; the Kävyamālā text reads -guru bhardir; I have emended as above. (c) Juddhümārcirvilina-; J -nagaranagagrāmagarbham, H -nagaranagagrăgarbham, B -nagaranagaragragarbham; J -garbhām ivahram. (d) HB agre 'śreyo (with avagraha). 99 yoniḥ sāmnām vidhātā madhuripur ajito dhūrjatiḥ śamkaro 'sāu mṛtyuḥ kālo 'lakāyāḥ patir api dhanadaḥ pāvako jātavedāḥ ittham samjñā davitthādivad amṛtabhujām yā yadṛcchāpravṛttās THE SURYASATAKA OF MAYŪRA tāsām eko 'bhidheyas tadanuguṇaguṇāir yaḥ sa sūryo 'vatād vaḥ 223 (Brahmā),¹ Creator, [is called] the Originator of the Songs, (Vişnu), Foe of Madhu, [is called] the Invincible; (Siva), who has a burden of matted locks, [is called] the Beneficent; Mṛtyu (Yama) [is called] Time; (Kubera), Lord of Alakā,5 [is called] the Giver of Wealth; and Jätavedas (Agni) [is called] the Purifier; These names of the gods thus originate by chance, after the fashion of Davittha' and the like, And Surya alone is signified by them, by virtue of [his] qualities which are in accord with those [names]. May that Sürya protect you! Notes. 1. This stanza offers difficulties at best, and the explanation of the commentary is not quite clear to me, but the meaning seems to be as follows: The epithets of the gods, such as Samkara, Pavaka, etc., are, by convention, arbitrarily applied to Siva, Agni, etc., but are pre-eminently applicable to Sürya only, because Sürya alone is really the Beneficent (Samkara), the Purifier (Pavaka), etc. Thus, by virtue of having the same name, Sürya is to be identified with all these deities. With reference to this identification, Bühler (Die indischen Inschriften, as cited in stanza 6, note 8) notes, in connection with this stanza, that Sürya, in the Prasasti of Vatsabhatti, is extolled as Creator and Destroyer of the universe and so is identified there also with Brahma and Siva. Cf. also Sürya Upanişad (as quoted by Kennedy, Hindu Mythology, p. 346), where it is said: 'Praise, therefore, be to thee, O Aditya (Sürya), who art manifestly Brahmā, Vișņu, Rudra (Siva), and all the gods.' 2. The commentary notes that by Songs (sämnäm)' is meant the Sama Veda; Brahma is usually credited with the production of the Vedas, as e.g. in Vişnu Purana, 1.5 (Wilson, vol. I, p. 84-86). 3. The slaying of the demon Madhu by Vişnu is described in the Markandeya Purana, 81. 50-76 (Pargiter, p. 469-472); cf. Mahabharata, 3. 203.9-35- 4. On the etymology of Dharjati, 'Possessor of a burden of matted locks,' cf. stanza 71, note 4. 5. Kubera's city Alakā, which stood on a peak of the Himalayas, is described in the Mahabharata, 3. 160. 36-41, as embellished with golden houses and crystal palaces, surrounded by a golden wall, and peopled by dancing, jesting women; cf. V. Fausböll, Indian Mythology, p. 186. 6. On the etymology of Jätavedas (Agni), see stanza 44, note II. 7. The term davittha, which is said to mean 'wooden antelope,' is glossed by dittha. The latter is defined in the major St. Petersburg lexicon as 4 ANTHOLOGY STANZAS ATTRIBUTED TO MAYŪRA ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA INTRODUCTION The stanzas attributed to Mayūra, both in the published and also in the unpublished anthologies, have been listed by Thomas in his recent edition of the Kavindravacanasamuccaya.¹ They are seventeen in number, not counting citations from the Süryaśataka, and of these seventeen, sixteen are found in anthologies that have been already published. The exception is a stanza in Jalhana's Saktimuktāvali (1247-1260 A.D.), an anthology as yet unedited. I have not been able to secure a copy of this verse, but from its opening words, sabhiprāyam praṇayasarasam (quoted by Thomas, op. cit., p. 67), it appears to have been composed in the mandäkräntä meter. Of the sixteen published stanzas, some are quoted here from the Subhasitavali (after 1469 A.D.) of Vallabhadeva, others from the Paddhati (1363 A.D.) of Sārngadhara, and still others from the Saduktikarnāmṛta (1205 A.D.) of Sridhara Dāsa.³ The other anthologies which also cite some of these stanzas of Mayūra are, as listed by Thomas (loc. cit.), the Padyavali of Rūpagosvämin* (reported published in Calcutta)," and the following, which are as yet unpublished: the Padyamṛtatarangini of Haribhāskara, the Sarasamgraha of Sambhudāsa, and the Subhasitaratnakośa of Bhaṭṭa Srikṛṣṇa.Ⓡ 1 F. W. Thomas, Kavindravacanasamuccaya, introd., p. 67-68, Calcutta, 1912. 2 See above, Introduction, p. 9, note 3. 8 For the date of the Saduktikarnāmṛta, see above, Introduction, p. 62, note I. The Padyavalt is earlier than 1541 A.D.; cf. J. Eggeling, Catalogue of the Skt. MSS in the Library of the India Office, Sanskrit Literature: B. Poetical Literature, part 7, p. 1534-1537, no. 4034, London, 1904. 5 See Thomas, Kavindravacanasamuccaya, introd., p. 11. * Thomas, op. cit., Corrections and Additions, p. xi, states that one stanza of Mayura is quoted in the unpublished Saktiratnaval of Vaidyanātha. 229 230 ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA The titles appended below to these miscellaneous stanzas have been supplied by myself, except that in the case of those quoted from the Saduktikarṇāmṛta, the titles I have used are suggested by the headings of the Saduktikarnāmṛta chapters in which Mayūra's stanzas appear. I have not included in the following group the four stanzas attributed to Mayūra in the Bhojaprabandha. These were given above,¹ and one of them, it will be remembered, was a quotation from the Pañcatantra (1. 32). SIVA AND PĀRVATĪ 1 vijaye kusalas tryakṣo na krīḍitum aham anena saha śaktā vijaye kusalo 'smi na tu tryakṣo 'kṣadvayam idam pāṇāu 2 kim me durodareṇa prayātu yadi gaṇapatir na te 'bhimataḥ kaḥ pradvesti vināyakam ahilokaḥ kim na jānāsi 3 vasurahitena krīḍā bhavatā saha kīdṛśī na jihreși kim vasubhir namato 'mūn surāsurān eva paśya puraḥ 4 candragrahaṇena vinā nā 'smi rame kim pravartayasy evam devyāi yadi rucitam idam nandinn āhūyatām rāhuḥ 5 hā rāhāu śitadamṣṭre bhayakṛti nikaṭasthite ratiḥ kasya yadi necchasi samtyaktaḥ sampraty evāiṣa hārāhiḥ 6 āropayasi mudhā kim nā 'ham abhijñā kila tvadańkasya divyam varşasahasram sthitveti na yuktam abhidhātum 1 See above, Introduction, p. 44, 46, 47. ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA ng ittham pasupatipeśalapāśakalīlāprayuktavakrokteḥ harşavasataralatārakam ānanam avyād bhavānyā vaḥ 1¹ PĀRVATI': 'O Vijayā,³ the Three-eyed (Siva) is [too] skilful; I cannot play with him.' SIVA: 'I am skilful at winning, but I am not supplied with three dice*; here are [but] a pair of dice in [my] hand.' 2 PĀRVATI: 'Why do I bother with this dice-play?' SIVA: 231 95 'Let Ganapati (Gaṇeśa)* depart if he is not wanted by you.' PĀRVATI: 'Who hates [i. e. wants to get rid of] Vinayaka' (Gaṇeśa)?' SIVA: "The snake-world [hates Vinayaka' (Garuda)]. Do you not know that?' 3 PĀRVATI: [Now], what sort of play is this with Your Highness minus funds [to stake]? Are you not ashamed?' SIVA: 'What [do you want] with the Vasus, [my attendants]? Just see before [you] those gods and demons making obeisance.' 4 PĀRVATI: 'I have no joy, if I don't get the moon.¹⁰ Why are you thus devising [puns] ?'¹¹ SIVA: 'Nandin,¹2 let Rähu¹ be summoned, since it [so] pleases Devi (Pārvati).' 232 ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA 5 PĀRVATI: 'Mercy! Who can take any comfort," when that sharp-fanged, awe-inspiring Rähu is present?' SIVA: 'If you do not like [my] snake-necklace,¹5 I'll take it off at once.'10 6 PĀRVATI: 'Why do you uselessly produce [these puns]?¹7 I made no reference to your ornament.' SIVA: '[What! not know my lap?] ¹0 That's not a nice thing to say when you have been sitting in it¹ for a divine millenium.' 18 ng BENEDICTION: So may the face of Bhavani (Pärvati), the pupil of whose eye is tremulous with joy, protect you! [This is that Pārvatī] to whom (Siva), the Lord of Cattle, uttered puns, nooses», ,20 ."¹ Notes. 1. These seven stanzas are given under Mayura's name in the Subhasitavali of Vallabhadeva, 123-129 (ed. Peterson, Bombay, 1886), and also, but without indication of the name of their author, in the Alamkarasarvasva of Rājānaka Ruyyaka (fl. between 1128 and 1149 A.D.; cf. Duff, Chronology, p. 142, and especially H. Jacobi, in ZDMG, vol. 62, p. 291). In Ruyyaka's work they are given as an illustration of vakrokti, which is defined in the Alamkārasarvasva (translated by Jacobi in ZDMG, vol. 62, p. 609) as follows: 'Wenn ein in bestimmtem Sinne gesprochener Satz durch Betonung oder Sleşa in anderem Sinne genommen wird, (so ist das die Figur) Vakrokti. Perhaps 'punning in dialogue' best expresses in English the idea of vakrokti. For an exhaustive treatment of this rhetorical device, see the articles by Carl Bernheimer and Hermann Jacobi, in ZDMG, 63 (1909), p. 797-821; 64 (1910), p. 130-139, 586-590, 751-759. The Alamkārasarvasva has been edited, with the commentary of Jayaratha, in the Kävyamālā Series, by Durgāprasad and Parab, Bombay, 1893 (see p. 176-177 for Mayūra's stanzas), and translated, with valuable introduction and notes, by Hermann Jacobi, in ZDMG, 62 (1908), p. 289-336, 411-458, 597-628 (Mayūra's stanzas on p. 610); cf. also Lüders, Würfelspiel im alten Indien, p. 66, note 1. 2. I have adopted, in general, the text and ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA " 233 arrangement of stanzas as given in the Subhasitavali (see note 1). Departures are indicated in the notes or in the Variae Lectiones. For convenience, in giving the variant readings, S is used to indicate the Subhasitavali text, and A the Alamkarasarvasva. The stanzas portray Siva and Pārvati engaged in the pastime of throwing dice, and in the estimation of Peterson (Subhaşitävali, p. 8 of the notes at the end of the volume), they formed the introduction of some by Mayūra, now lost. 3. Vijayā was one of Parvatī's attendants; cf. Candiśataka, stanza 15, note 7. The pun rests on vijaye (vocative), 'O Vijayā,' and vijaye (locative), 'in winning'; for a similar pun involving the two meanings of this term, see Candidataka, stanza 12. 4. The term tryakşa means both 'Three-eyed (Siva)' and 'supplied with three dice.' 5. Lit. 'what is there of me with [this] dice-play?' 6. By kim me durodarena, 'What is there of me with dice-play?', Siva pretends that he understands kim meduraudarena, 'Away with Fat-belly (Gaṇeśa).' 7. The pun rests on vindyaka, 'Remover (of obstacles),' meaning Gaṇeśa, and vi-nayaka, 'Chief of Birds,' denoting Garuda. The latter was the inveterate enemy of all snakes, which formed the principal article of his diet; cf. Süryaśataka, stanza 47, note 3. 8. In the arrangement of stanzas as given in the Alamkārasarvasva, this couplet is the fifth, and not the third, as it is in the Subhasitavali. 9. The pun here rests upon vasurahitena, 'without funds,' and secondarily, without Vasus.' 10. Lit. without the seizing of the moon, I am not in joy.' Peterson (p. 8 of the notes at the end of his edition of the Subhaşitävali) renders: 'Unless you stake the moon, I do not play.' Siva wore the moon on his diadem; cf. Saryasataka, stanza 42, note 10. 11. Jacobi reads pratarayasy and renders: 'Warum hintergehst du mich so?' 12. Nandin was one of Siva's attendants. 13. Siva wilfully understands candragrahaṇa, 'seizing of the moon,' to mean 'Seizer of the moon,' i.e. the demon Rähu, who is said to swallow the moon in eclipses; cf. Saryafataka, stanza 66, note 3. 14. Lit. 'whose is the pleasure?' 15. Śiva pretends he understands not ha when your snake-necklace is present.' rahau nikaṭasthite, 'mercy! when Rähu is present,' but harahau nikatasthite, 16. Lit. 'if you do not like [it], this snake-necklace is just at once abandoned.' 17. Or perhaps, 'Why do you attribute falsely?', meaning 'Why do you put a false construction on everything I say?' Jacobi, however, reading mudram (unmetrically) for mudha, renders: 'Was gebrauchst du als Siegel?', and in a footnote says: 'mudha ist wohl verlesen aus mudräm. Die Situation ist wohl die, dass Pārvati Siva's Siegelring besehen will.' 18. Lit. 'I am not knowing of thy ornament.' By 'ornament,' Pärvati means the hardhi, 'snakenecklace.' 19. Siva interprets tvadanka, 'your ornament,' as meaning 'your lap.' 20. The puns are comparable to nooses, because they entangle. 21. The meter of these vakrokti stanzas is the äryä. V.L. [In the following list of variants, the Subhasitavali text is indicated by S, and that of the Alamkarasarvasva by A (cf. above, note 2).] Stanza 3: S has vasubhinnamato; A has surdsurän näiva pafyasi puraḥ. ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA 234 Stanza 4: A has pratarayasy evam. Stanza 5: S has nikatasthe sitadamstre bhayakrti ratiḥ kasya; S has necchasi tattyaktaḥ; A has sampraty eşdiva. Stanza 6: S omits kila; S has sthitvdivam yuktam abhidhatum. Stanza 7: A has iti kṛtapaśupatipelavapāśakahlaprayuktavakrokti. STANZA IN PRAISE OF HARSA bhūpālāḥ śasibhāskarānvayabhuvaḥ ke nāma nā "sāditā bhartāram punar ekam eva hi bhuvas tvām deva manyāmahe yenā 'ngam parimṛśya kuntalam athā "kṛṣya vyudasyāyatam colam prāpya ca madhyadeśam adhunā kāñcyām karaḥ pātitaḥ What¹ earth-protecting [kings] are there not found, forsooth, descended from the sun and moon? Yet we regard you, Your Highness, alone indeed as the [real] husband of the earth; For, having touched her person, and caressed her hair, and thrown aside her long robe,³ And seized [her round] the waist, your hand is now laid upon her girdle. [Or, punningly], What earth-protecting [kings] are there not found, forsooth, descended from the sun and moon? Yet we regard you, Your Highness, alone indeed as the [real] master of the earth; For, having seized Anga, and drawn Kuntala [under your sway], and scattered the uncontrollable Colas,³ And taken possession of the Madhyadeśa, your hand is now laid upon Kanci. Notes. 1. This stanza is quoted, under Mayüra's name, in the Subhasitavali of Vallabhadeva (stanza 2515 of Peterson's edition), and is supposed by Peterson (op. cit., introd., p. 86) to refer to the conquests of the emperor Harşa, Mayūra's patron. It should be noted, however, that Harşa never extended his dominions so far to the south as to include the Colas and Käñci, for he was prevented from entering Southern India by his rival, Pulakeśin II, the emperor of the South; cf. Vincent A. Smith, The Early History of India, p. 340, 3d ed., Oxford, 1914. Ettinghausen, ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA 235 who notes and translates the stanza in his Harşa Vardhana (p. 47), believes it to be a stanza written before a campaign, forecasting what Harşa intended to do. If this is so, the date of its composition may be approximately set as a little before 620 A.D., the probable year of the defeat of Harşa by Pulakeśin II; cf. Vincent Smith, op. cit., p. 340, 425. The meter of the stanza is the fardalavikridita. According to F. W. Thomas, in his Kavindravacanasamuccaya (Calcutta, 1912), introd., p. 68, this stanza of Mayūra is also quoted in the following unpublished anthologies: Under the name of Vidya in the Saduktikarṇāmṛta (book 3, stanza 71) of Sridhara Däsa (the Bibliotheca Indica edition of this work has not reached book 3); anonymously in the Padyamṛtatarangint (2.7) of Haribhaskara; anonymously in the Subhasitaratnakośa (4.41) of Bhaṭṭa Srikṛṣṇa; and anonymously in the Sarasamgraha (2.36) of Sambhudāsa. According to Thomas, op. cit., introd., p. 107, this stanza is likewise quoted anonymously in the Padyaracanã (3.1). This metrical treatise by Lakşmaṇa Bhatta has been edited in the Kävyamālā Series, no. 89 (Bombay, 1907-1908), but this edition is not accessible to me. 2. Resolve vyudasyayatam of the text as vyudasya ayatam. 3. Resolve vyudasyayatam of the text as vyudasya ayatam. V.L. The text reads parimrşya; I have emended to parimṛśya. " THE COW AND HER CALF āhatyā "hatya mūrdhnā drutam anupibataḥ prasnutam mātur ūdhaḥ kimcitkubjāikajānor anavaratacalaccărupucchasya dhenuḥ utkarṇam tarṇakasya priyatanayatayā dattahumkāramudrā visramsatkṣīradhārālavaśabalamukhasyā 'ngam ātrpti ledhi While the calf repeatedly butts with its head, as it greedily drinks from its mother's dripping udder, With one knee slightly bent, and its pretty tail ceaselessly swishing, The cow, contentedly lowing over her dear offspring, whose ears are upraised, And whose nose is flecked by drops of the stream of milk falling [upon it], licks its body to her heart's content. Notes. 1. This stanza is quoted, under Mayüra's name, in Särngadhara's Paddhati (stanza 597 of Peterson's edition; cf. Aufrecht's partial edition in ZDMG, vol. 27, p. 70), in Vallabhadeva's Subhasitavali (stanza 2425 of 236 Peterson's edition), and in Parab's Subhasitaratnabhändagara (p. 326, stanza 16). I have adopted the reading as given by Parab. The variants are given below. The meter of the stanza is sragdhard. 2. Lit. 'lowing contentedly because of having a dear offspring.' ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA V.L. (a) Peterson (Subhas.), prasrutam matur. (b) Aufrecht, kimcitkumcãikajānor; Aufrecht, -puchasya. (c) Peterson (Paddhati), uttīrṇām tarnakasya; Peterson (Subhas.) and Aufrecht, uttīrṇam tarṇakasya. (d) Peterson (Subhaş. and Paddhati) and Aufrecht, visramsikşīra-. THE TRAVELER samvisto grāmadevyāḥ kaṭaghaṭitakutikuḍyakoṇāikadese śīte samvāti vāyāu himakaṇini raṇaddantapanktidvayāgraḥ pānthaḥ kantham niśīthe parikuthitajarattantusamtānagurvīm grīvāpādāgrajānugrahaṇacaṭacaṭatkarpaṭām prāvṛṇoti Having¹ gone to rest in a certain spot in the angle of the wall of the straw-built house of the tutelary goddess of the village, While the wind, mixed with snowflakes, blows cold, and the edges of his two rows of teeth are chattering, The traveler, at midnight, wraps about him his patched cloak, heavy with its texture of very malodorous old threads, [And] whose tatters crackle whenever he grasps his neck, or his toes, or his knees.³ Notes. 1. The text of this stanza is given, under Mayüra's name, in the Paddhati of Sārngadhara, 138. 13 (stanza no. 3947 of Peterson's edition), in Parab's modern anthology, the Subhaşitaratnabhāṇḍagāra (p. 567, stanza 21), and in Vallabhadeva's Subhäşitävali. It is not, however, included in Peterson's edition of the Subhasitavali, because of its being in a corrupt state in Peterson's manuscript; cf. Peterson, Subhaşitävali, introd., p. 86. According to Thomas (Kavindravacanasamuccaya, introd., p. 56), the Saduktikarnamṛta (2.870) ascribes it to Bāṇa. The text I publish here is, with the exception of two words, that given in Peterson's Paddhati. The meter is sragdhard. 2. Perhaps wandering ascetic,' rather than 'traveler,' would better fit the individual here described as panthaḥ; and the word kantha, which I have rendered 'patched cloak,' is often used to denote the patched garments of a certain class of ascetics; cf. Monier-Williams, Skt.-Engl. Dict. s.v. kantha. 3. A stanza very suggestive of this one by Mayūra, but attributed to Bāṇa, is given in the Paddhati (stanza 3946 of Peterson's edition; cf. Aufrecht's partial edition, ZDMG, vol. 27, p. 52). The occurrence in both stanzas of the words panthaḥ, gramadevyāḥ, vati, 237 himakanini, karpața, jarat, and kona, makes one wonder if they were not both worked out from the same samasya (cf. above, Introd., p. 22, note 1). Because of the alleged rivalry of Bana and Mayura, I have thought it would not be amiss to present here this stanza of Bana's, which runs as follows, the meter being sragdhara :ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA punyagnau parnavāñchaḥ prathamam agaṇitaploşadoşaḥ pradoşe panthaḥ suptva yatheccham tadanu tanutrne dhamani grāmadevyāḥ utkampi karpațärdhe jarati parijade chidrini cchinnanidro väte vāti prakāmam himakaṇini kanan konataḥ konam eti 'The traveler, his desire [for warmth] satisfied at the public fire, [but] not at first taking into account the danger of being scorched, Forthwith at evening goes to sleep at his pleasure in the thinly-thatched dwelling of the tutelary goddess of the village, But when his slumber is broken, as the wind, mixed with snowflakes, blows at will through his old, cold, Half [-length] ragged garment that is full of holes, he, shivering and crying, goes from corner to corner.' It may be noted that this stanza is cited under Bāņa's name in the Saduktikarṇāmṛta (2.869), and the Saktimuktavali (127, b); and anonymously in the Saktimuktavali-samgraha (104, a) and the Subhasitāvali (no. 1857), cf. Thomas, in his Kavindravacanasamuccaya, introd., p. 55-56. It is also cited by Parab in his Subhasitaratnabhändagara (567. 20). V.L. to Mayüra's 'Traveler.' (a) The reading kata- (for Peterson's kuta-) is supplied by Aufrecht (ZDMG, vol. 27, p. 71). (d) The reading -karpatam (for Peterson's -karpatam) is that of Parab. V.L. to Bana's 'Traveler.' (b) I have adopted Peterson's yatheccham; Aufrecht reads yathecham. (c) Peterson reads cchinnanidre, and Aufrecht reads chinnanidro. I have emended as above, the double cch in cchinna-, being necessary for metrical reasons. (d) Peterson reads kanat konataḥ. THE TWO ASSES āghrāyā "ghrāya gandham vikṛtamukhaputo darśayan dantapańktim dhāvann unmuktanādo muhur api rabhasā "kṛṣṭayā pṛṣṭhalagnaḥ gardabhyāḥ pādaghātadviguṇitasurataprītir ākṛṣṭaśiśno vegād āruhya muhyann avatarati kharaḥ khaṇḍitecchaś cirāya 238 ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA An¹ ass, repeatedly sniffing the scent of a she-ass, his hollow mouth distorted, displaying a row of teeth, Lets out a bray again and again as he runs along, eagerly following close at her heels because of [her] attraction* [for him], And, with his amorous delight redoubled by her kicks, he [at length], with membrum virile extended, Mounts [her] with impetuosity. [Finally], stupefied [by his ecstasy], he descends [again to the ground], his desire at last sated. Notes. I. This stanza is assigned to Mayura in Vallabhadeva's Subhāşitavali (stanza 2422 of Peterson's edition), in Sarngadhara's Paddhati (stanza 585 of Peterson's edition), and in Parab's Subhasitaratnabhāṇḍāgāra (p. 327, stanza 17). I have adopted the text as given in the Subhaşitävali, and have given the variants below. The meter of the stanza is the sragdhara. 2. Lit. 'with hollow of mouth distorted,' the meaning being that the lips are drawn back and the jaws held apart. 3. The compound prsthalagnaḥ, which I have rendered 'following close at her heels' (cf. Monier-Williams, Skt.-Engl. Dict. s.v. prştha), may perhaps be taken literally, meaning 'clinging to her back [in copulation],' but such a rendering rather anticipates vegad āruhya, 'having mounted [her] with impetuosity,' of the fourth pada. 4. The word akṛṣṭaya appears to be an instrumental from a hypothetical nominative akṛşta; I have rendered by 'attraction.' 5. Lit. 'with desire destroyed.' 6. For the salacity of the ass as noted in Sanskrit literature, see Pischel and Geldner, Vedische Studien, vol. I, p. 82, Stuttgart, 1889. This stanza of Mayūra is cited anonymously in the Saktiratnävalt (423); cf. Thomas, Kavindravacanasamuccaya, Corrections and Additions, p. xi. V.L. (a) Peterson (Paddhati) and Parab, vikatamukhaputo. (b) Peterson (Paddhati) and Parab, dhavaty unmuktanado muhur api ca rasād bhraşṭayā pṛṣṭhalagnaḥ. (c) Peterson (Paddhati), gardabhya půda-. (d) Peterson (Paddhati) and Parab, cireṇa (for cirāya). MAXIM ON SEPARATION anudinam abhyasadṛḍhaiḥ sodhum dirgho 'pi śakyate virahaḥ pratyāsannasamāgamamuhūrtavighno 'pi durvişahaḥ Separation¹ [of lovers], even though long, can be borne by those who are persevering at their studies day by day; [But] even a momentary hindrance to a reunion that is close at hand is intolerable.² ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA 239 Notes. 1. Text given in Peterson's edition of the Subhasitavali, stanza no. 2045, where it is ascribed to Mayura. However, in the introduction to the Subhaşitävali (p. 86), Peterson marks this stanza with a (?), but gives no reason why he questions its authorship. This stanza is also given, though anonymously, in the Paddhati of Sarngadhara (no. 3958 of Peterson's edition), which reads -vighnas tu durvirahaḥ for vighno 'pi durvişahaḥ. 2. The meter of this stanza is dryd. THE BURNING OF THE CITY OF TRIPURA samvyānāmśukapallaveşu taralam venīguneşu sthitam mandam kañcukasamdhișu stanatatotsangeşu dīptārcişam ālokya tripurāvarodhanavadhūvargasya dhūmadhvajam hastasrastasarāsano vijayate devo dayārdrekṣaṇaḥ Glory¹ to the God (Siva), whose bow fell from his hand, and whose eye became moist in pity, As he saw the fire trembling on the scarfs of the mantles of the crowd of women in the inner apartments of Tripura,² Running up their rope-like braids, slowly [creeping] over the folds of their bodices, And flaming brightly on their laps and their rounded breasts.³ Notes. 1. This stanza is attributed to Mayüra's pen in the Saduktikarnamṛta (1. 15. 3), an anthology consisting of a collection of 2380 miscellaneous stanzas by 446 different poets. The stanzas deal with various subjects, five stanzas being devoted to each subject. The collection was compiled by Sridhara Dasa, and was completed by him in 1205 A.D. (cf. Rajendralala Mitra, Notices of Skt. MSS, vol. 3, p. 134, no. 1180, Calcutta, 1876). The Saduktikarnāmṛta is being edited in the Bibliotheca Indica Series by Rämävatāra Śarmā; the first fascicle, containing 376 stanzas (seventy-five full divisions of five stanzas each, and the first stanza of the seventy-sixth division), was published in Calcutta, in 1912. Thomas's analysis (given in his Kavindravacanasamuccaya, introd., p. 67-68) shows that only four stanzas in the Saduktikarnamṛta bear Mayūra's name. These four occur in the first part of that work, and I cite them here from Sarma's edition. 2. On the burning of Tripura, the triple city of the demons, by the flaming arrows of Siva, see Candīšataka, stanza 16, note 3. 3. The meter of this stanza is the fardalavikridita. The following variant is given by Thomas, who cites the stanza in his Kavindravacanasamuccaya, introd., p. 67, n. 3: (c) aloke. 240 ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA THE ANGER OF UMĀ anyasyai samprati 'mam kuru madanaripo svāngadānaprasādam nã 'ham sodhum samarthā śirasi suranadīm nā 'pi samdhyām praṇantum ity uktvä kopaviddhām vighaṭayitum umām ātmadeham pravṛttām rundhānaḥ pātu śambhoḥ kucakalasahaṭhasparśakṛṣṭo bhujo vaḥ 'Now¹ bestow upon another woman this favor of giving [a dwelling-place in] thy body, O (Siva), Foe of Madana; I am not able to carry on my head the River of the Gods, nor can I make obeisance to Samdhi." As Umā, full of anger, and bent upon separating [her] own body [from Siva's], was saying these words, The arm of Sambhu (Siva), [though] strained by violent contact with her jar-like breasts, held her in check.5 May the arm of Sambhu (Siva) protect you! Notes. 1. This stanza is given under Mayüra's name in the Saduktikarnāmṛta, 1. 28. 5. 2. On the ardhanarifa form of Siva, see Saryaśataka, stanza 88, note 4. 3. Ganga (Ganges), the River of the Gods, and Samdhi, or Samdhyā, the personification of Twilight, were other wives of Siva; cf. Candifataka, stanzas 3 (note 2), 27 (note 3), 61 (note 4), and 74 (note 5). Siva seems to have paid adoration to Samdhi at the twilight periods, and he is said to have been fond of the twilight dance; cf. Süryaśataka, stanza 55, note 10, and Candidataka, stanza 16, note 4. 4. On Umã, see Candikataka, stanza 17, note 4. 5. The picture presented is that of the enraged Umā pushing her breast against Siva's encircling and detaining arm in her efforts to escape from his body. 6. The meter of this stanza is sragdhard. The following variants are given by Thomas, who cites the stanza in his Kavindravacanasamuccaya, introd., p. 67, note 1: (b) vodhum, suradhunim. (d) rundhanaḥ pantu sambhoḥ kucakalasahathasparśahṛṣṭā. THE CLAWS OF NARASIMHA asrasrotastarańgabhramiṣu taralitā māṁsapaṁke luthantaḥ sthūlāsthigranthibhangair dhavalavisalatāgrāsam ākalpayantaḥ ANTHOLOGY STANZAS ATTRIBUTED TO MAYŪRA māyāsimhasya śäureḥ sphuradaruṇahṛdambhojasamśleșabhājaḥ pāyāsur däityavakṣasthalakuharasarorājahaṁsā nakhā vaḥ The¹ nails of Sāuri (Viṣṇu), [who had assumed] the guise of a lion, dabbled in the whirlpools and waves of the stream of [Hiranyakaśipu's] blood, And wallowed in his flesh, [as if in] mud, and with fragments of the joints of his massive bones made a mouthful of white lotus-stalks, And they enjoyed their tight clutch on his red and palpitating lotus-like heart,³ 241 And were the king-flamingos of the pool-like hole in the breast of that Daitya. May the nails of Säuri (Viṣṇu) protect you*! Notes. 1. Mayūra is said to be the author of this stanza, which is recorded under his name in the Saduktikarnamṛta, 1. 41. 3. 2. Vişņu, in his incarnation as the Narasimha, or Man-lion, tore open with his nails the body of the demon Hiranyakaśipu; cf. Candḍiśataka, stanza 11, note I. 3. Literally, 'enjoying close contact with the red and palpitating lotus of his heart.' 4. The meter of this stanza is the sragdhard. The following variants are given by Thomas, who cites the stanza in his Kavindravacanasamuccaya, introd., p. 67, note 2: (a) mamsapanke 'bhyatantaḥ. (b) -bhange dhavalabisalata-. (d) daityavakşaḥsthala-. THE DREAM OF Krsna sambho svāgatam āsyatām ita ito vāmena padmodbhava krāuñcāre kuśalam sukham surapate vitteśa no dṛśyase ittham svapnagatasya kāiṭabharipoḥ śrutvā yaśodā giraḥ kim kim bālaka jalpasi 'ty anucitam thūthūkṛtam pātu vaḥ 'O Sambhu¹ (Siva), welcome! Be seated here; and thou, here on my left, O Lotus-born (Brahmā).² Hail to thee, O (Kārttikeya), Foe of Krāuñca,³ and happiness to thee, O (Indra), Lord of the Gods! O (Kubera), Lord of Wealth, thou art not seen." 17 242 ANTHOLOGY STANZAS ATTRIBUTED TO MAYURA When Yaśodas heard these words of Kṛṣṇa), Foe of Käitabha, as he lay dreaming, She said, with the indecorous accompaniment of a sound as of spitting: 'What possibly art thou babbling, child?' May Yaśoda protect you'! 2, 4. The Notes. 1. This stanza is attributed to Mayura in the Saduktikarnāmṛta (1.53. 1), and also, according to Thomas (Kavindravacanasamuccaya, introd., p. 67), in the Krşnakarnāmṛta (2.59), and in the Padyavak (stanza 146) of Rūpagosvămin. This last-named work is reported to have been published at Calcutta (Thomas, op. cit., introd., p. 11), but neither this edition nor any edition of the Krşṇakarṇāmṛta is available for my use. Siva appears to have the place of honor on Kṛṣṇa's right hand, while Brahmä must be content with a seat on his left. 3. In Mahabharata, 9. 46. 80-92, it is related that Kärttikeya pierced with his weapons the mountain Kräuñica, son of Himalaya, in order to get at the demon Bāņa who had taken refuge within that mountain; cf. Mahabharata, 3. 225. 33. words no dṛśyase may possibly signify 'thou art disdained'; compare Saryaśataka, stanza 58, where the phrase vikşitäḥ stha, 'ye are glanced at,' embodies a gracious compliment addressed by Surya to the Rākşasas. 5. Yaśodā was foster-mother to Kṛṣṇa; cf. the anecdote related in the notes to Candijataka, stanza 25. 6. In Mahabharata, 3. 203.9-35, it is related that when Vişņu (Kṛṣṇa) was reposing on the great snake Seşa in the depths of the ocean, two demons, Madhu and Käitabha, attempted to slay Brahmå as he lay in the lotus that grew from Vişņu's navel. Vişņu, awakened by the trembling of Brahmā, arose, and after some parleying, obtained from the demons the boon that he (Vişņu) should be their slayer. He thereupon cut off their heads with his discus. A similar account of Käitabha and Madhu is given in Markandeya Purana, chapter 81 (Pargiter's translation, p. 465-472); see also Süryaśataka, stanza 99, note 3. 7. The meter of this stanza is fardalavikridita. THE CANDĪŠATAKA OF BĀŅA THE CANDĪŠATAKA OF BĀŅA INTRODUCTION ANALYSIS OF THE CANDĪŠATAKA NUMBER AND FORM OF THE STANZAS Although supposed to contain a hundred stanzas, as the term śataka implies, the Candidataka really consists of one hundred and two stanzas. Of these, all but eight are in the asis or 'benedictive' form, like the stanzas of the Suryaśataka, and these eight (viz. stanzas 3, 4, 21, 33, 38, 54, 71, 102) invariably contain, as substitute for the asis, a jayati or jayanti, 'Hail to,' 'Glory to,' 'Victorious is,' etc. The asis, or 'benediction,' usually assumes some such form as 'May Candi protect you,' or 'May Candi grant you prosperity,' 'destroy your sins,' 'purify you,' 'grant your desires,' 'ward off troubles,' further your joy,' etc. Protection seems desired most, and is asked for in 55 stanzas. Sometimes it is not the goddess herself who is invoked to grant the protection, prosperity, etc., but some part of her body, as, for example, her foot (stanzas 10, 12, 22, 92, 101), her lotus face (53), her toe-nails (9), or else some other agency, as her utterances (59), or her arrow (18). In some instances the boon is invoked through the medium of her son Kärttikeya (5, 67), her handmaid Jaya (19), Jayā's amazement (69), and even through the slain Mahişa's blood (40). The benediction is commonly expressed by a present imperative, active or middle, but seventeen times (stanzas 1, 5, 12, 22, 27, 29, 31, 42, 50, 62, 63, 69, 73, 77, 79, 82, 87) by a precative or root aorist optative, and seventeen 245 1 246 THE CANDIŚATAKA OF BĀŅA times by the imperative in -tät¹ (stät in stanzas 17, 19, 36, 39, 58; avatāt in stanzas 20, 28, 48, 51, 65, 75, 89, 93, 96, 97, 99, 100). Mention should also be made of the dramatic touch given to nearly half of the total number of stanzas by the introduction into them of a character speaking in the first person. There is, however, no dialogue, since no reply is made to any utterance in any of the stanzas. As an illustration in point, we note that Candi is introduced as speaker in ten stanzas (viz.. 1, 20, 24, 29, 31, 47, 48, 59, 60, 61). Her utterances may be classified as (a) taunts to the gods for having run away in the battle (stanzas 24, 29, 59, 60, 61); (b) an address to her limbs (stanza 1); (c) a rebuke to Mahişa (31); (d) a speech to Siva (48); and (e) soliloquies (stanzas 20, 47). Mahisa is the speaker in 19 different stanzas. He taunts, reviles, or derides the gods in general, and Viṣṇu, Siva and Indra in particular, in stanzas 23, 34, 35, 57, 62, 65, 80, 83, 85, 91, 92, 99, 100; and he heaps opprobrium on Candi and her sons in stanzas 27, 28, 76, 77, 81, 82. Many of his taunts are coupled with boasts of his own prowess, but in every instance his words are cut short by the coup de grâce from the foot of Candi. Jaya, Candi's handmaid, is the speaker in 7 different stanzas. She at times jests with (stanza 32), or praises (89) Candi, or consoles the wives of the gods (33); at other times, she mocks the gods (15, 69, 86), or incites them to greater efforts against Mahişa (38). Vijayā, a second handmaid of Candi, taunts the gods in stanza 21. Siva is quoted in 5 stanzas (12, 14, 16, 30, 88), and all his speeches are either addressed to, or are in praise of, Candi. The other speakers include Kärttikeya, Candi's son (67), the gods (4), the gods and demons (70), the sages of the three worlds (97), the foot of Candi (90), and even the toe-nails of Candi's foot (11). In all, 48 different stanzas contain a speaking character. 1 See above, p. 96, where this construction has been discussed in connection with the analysis of the Saryaśataka. INTRODUCTION 247 SUBJECT-MATTER All but four of the stanzas of the Candisataka picture some detail of the prolonged struggle between the goddess Candi, who is more generally known as Pärvatī, wife of Siva, and the buffaloshaped demon Mahişa. The struggle of course ended with the death of the demon at Candi's hands, or in this instance we might rather say at Candi's feet, for it is worthy of remark that in more than 60 of the stanzas of this poem the killing of Mahisa is attributed directly to the power of the goddess's kick.¹ Of the four stanzas excepted, three (25, 45, 54) deal with the legend that portrays Kamsa's attempted slaying of Candi (Yoganidrā), and one (49) describes Siva on his knees, begging Candi's pardon for the humiliation caused her by the burning up of Kāma. THE LEGEND OF THE DEMON MAHISA This legend of the demon Mahișa, the chief topic of the Candiśataka, can be traced to its source in the Mahabharata and Purāṇas, but not until the Puranic period of the literature does 1 See below, p. 251, and Candikataka, stanza 4, note 4. Apropos of this glorification of Candi's foot or kick, I cannot refrain from hazarding the suggestion that perhaps the Candiśataka was written by Bāṇa to propitiate the anger of his wife by praising the foot with which she had spurned him. The reader will remember (see above, p. 22-23) how Mayūra, while eavesdropping, heard a lover's quarrel in progress between Bāṇa and his wife. Bāna was saying: 'O faithful one, pardon this one fault; I will not again anger thee.' But she spurned him with her foot, and Mayūra heard her anklet tinkling (the tinkling of Candi's anklet is mentioned in stanzas 6, 13, 43 and 44 of the Candidataka). Then Bāṇa recited a propitiatory stanza in which he addressed his angry spouse as subhra, 'fairbrowed.' Thereupon Mayūra, unable to restrain his propensity for punning, interrupted the quarrel and said: 'Don't call her Subhrú (Subhrū was one of the six kṛttikäs, the Pleiades, who were accounted the six mothers of Skanda; Caṇḍī was his seventh mother; cf. Candidataka, stanza 28, note 2), but Candi,' which, punningly, means 'Don't call her fairbrowed, but a vixen.' May not therefore the title Candikataka have the underlying meaning of 'The Hundred Stanzas to the Vixen?' The matter is all legend, or mostly all; but speculation, even in legend, is not without interest. 248 THE CANDIŚATAKA OF BĀŅA Candi make her appearance as the opponent of the buffalo-shaped demon. In the Mahabharata¹ we are told that on one occasion Indra appointed Skanda (Kärttikeya) to be commander-in-chief of the army of the gods, and sent him forth to do battle against the hosts of the demons. In the contest the gods first swept everything before them, and were slaughtering their foes with unexpected success, when the champion of the demons, Mahișa, rushed forward to stem the tide. In his hand he carried a mass of rock as big as a mountain, and throwing it, he killed ten thousand of the celestial army. Then even Indra fled, and the chariot of Rudra fell into the hands of the raging demon. But just at this critical juncture, when the day seemed lost to the gods, Skanda, encased in golden armor, and riding in a golden car, came flying to the rescue, and hurling his fakti, severed Mahişa's head. And this head, we are told, 'falling on the ground, barred the entrance to the country of the Northern Kurus, extending in length for sixteen yojanas, though at present the people of that country pass easily by that gate." Again, in another book of the Mahabharata, it is related in similar fashion that Skanda was made general of the army of the gods, and in one battle slew the demons Tāraka, Mahişa, Tripāda and Hradodhara, and, according to Aufrecht, the Vāmana Purāṇa 1 Mahabharata, 3. 229-231. I quote from the English translation of the Mahabharata, by P. C. Roy, vol. 3, p. 706, Calcutta, 1884. & W. Crooke, The Popular Religion and Folk-Lore of Northern India, vol. I, p. 45, 2d ed., Westminster, 1896, with evident reference to this passage, says: 'But besides these dragons which infest rivers and lakes, there are special water gods, many of which are the primitive water monster in a developed form. Such is Mahishasura, who is the Mahishoba of Berår, and like the Bhainsäsura already mentioned, infests great rivers and demands propitiation. According to the early mythology this Mahisha, the buffalo demon, was killed by Kärttikeya at the Krauncha pass in the Himalaya, which was opened by the god to make a passage for the deities to visit the plains from Kailāsa." See Mahabharata, 9. 44-46, especially 9. 46.74-75; and cf. Mahabharata, 8.5.57 and 7.166. 16. In a late book of the Mahabharata (13. 14. 313), Siva is addressed as Mahişaghna, 'Slayer of Mahişa.' 249 likewise credits the six-faced, Skanda with the killing of the buffalo-shaped Mahisa.¹ Literature subsequent to the Mahābhārata, however, notably the Puranic, is, with the exception of the passage in the Vamana noted above, see ingly unanimous in ascribing the death of Mahişa not to the prowess of Skanda, but to that of Skanda's mother, Siva's wife, who is variously denominated, although her most common appellatives are Devi, Pärvatī, Kāli, Candi, or Durga. Even in the Mahabharata, Durgā is once addressed as 'Slayer of the Demon Mahișa (mahiṣāsuranāśini)," though the passage is supposed to be an interpolation." Elsewhere in the Epic it is Skanda, as we have seen, who is described as Mahişa's conqueror. As there seems to be no way of surely settling the rival claims of Durga and Skanda to the honor of having killed the demon in question, we must either suppose that Durga has usurped the fame originally belonging to her son, or else that Mahisa, after being once killed by Skanda, was obligingly born again in a second incarnation, so that the goddess might gain glory by bringing about his death a second time. INTRODUCTION The best account of Candi's struggle with Mahişa is given in the Devimahatmya section of the Märkandeya Purana. A syn1 Th. Aufrecht (Catalogus Codicum Sanscriticorum Bibliothecae Bodleianae, p. 46, b, line 29, Oxford, 1864) says that the birth of Kärttikeya and the death of Mahişa are described in chapters 57-70 of the Vamana Purana. 2 For Candi's relationship to Skanda (Kärttikeya), see Canḍiśataka, stanza 28, note 2. & Once, so far as I have discovered; there may be other references that I have failed to unearth, but no other instances are given in Sörensen's Index to the Names in the Mahabharata. The vocative mahişasykpriye, though addressed to Durga in Mahabharata, 6. 23.8, I take to mean 'O thou fond of buffalo's blood.' It is not cited by Sörensen as a proper name. 4 See Mahabharata, 4. 6. 15. 5 See B. C. Mazumdar, Durga: Her Origin and History, in JRAS, 1906, P. 355-362. In the Skanda Purana it is related that the demons Canda and Munda, who had been slain by Caṇḍī, were born again and subsequently slain a second time by Siva; cf. Vans Kennedy, Ancient and Hindu Mythology, P. 339-340, and footnote. 250 THE CANDIŚATAKA OF BĀŅA opsis of this account is as follows. Once, during a conflict between the gods and demons, Indra and the gods were vanquished and driven from heaven by the buffalo-demon Mahişa. Appeal for help was made to Viṣṇu and Siva. As these two divinities listened to the tale of the defeat of their fellow-immortals, a great energy, full of intense anger, issued from their faces. This energy, amalgamating with the energies that proceeded from the bodies of the rest of the gods, became incarnate as the goddess Candi ('Angry One'). She was hailed by the gods as their champion against Mahișa, and weapons and gifts were showered upon her. Siva gave her his trident; Kṛṣṇa (Viṣṇu), his discus; Agni, a spear; the Maruts, a bow and arrows; Indra, the thunderbolt; Yama, a staff; Varuna, a noose; Kāla, a sword; Himavat, her father, a lion to ride on; and Viśvakarman, an ax and many jewels, including armlets and anklets. Candi, thus equipped, uttered a loud shout, and rushed forth to give battle to the army of the demons. Her thousand arms were kept busy hurling weapons, and immense numbers of the demons were slain. At length came the duel with Mahişa himself. The struggle was prolonged. In the form of a buffalo (mahişa), the demon bit, kicked and gored to death hundreds of the celestials immediately surrounding Caṇḍī, or lashed them with his tail, bellowing loudly meanwhile. Then, as he caught sight of the lion of the goddess, he pawed the ground, and tossed huge mountains. When he had approached within range of the goddess, and she had succeeded in entangling him with her noose, he on the instant turned himself into a lion, and the fight began anew. After a further exchange of blows, and as Caṇḍi was severing his head from his body, he became a man, then an elephant, and finally was metamorphosed into his original shape that of a buffalo-and began to toss hills and mountains at Candi with his horns. The goddess, pausing only long enough to drink some intoxicating liquor, 1 See the translation of the Markandeya Purana by F. Eden Pargiter, in the Bibliotheca Indica Series of the Asiatic Society of Bengal, chapters 82-84. Cf. also Ludovicus Poley, Devimahatmyam (Sanskrit text and Latin translation), Berlin, 1831. INTRODUCTION 251 sprang at Mahişa, her eye red with anger, and struck him with her foot. Then, as he lay stunned upon the ground, she pierced him with her trident and cut off his head.¹ In this account of the duel as given in the Märkaṇḍeya, emphasis seems to be laid on the efficacy of Candi's kick as the final coup de grâce that ended the struggle. The same emphasis appears in the Candiśataka. As already pointed out, this little poem consists merely of a series of stanzas of which nearly every one contains a reference to, or pictures some incident in this battle between Candi and Mahișa, the dominant thought that gives unity to the whole being the glorification of the foot of Caṇḍī, and it is the kick of the goddess, rather than the goddess herself, that is praised in a majority of the stanzas as the conqueror of Mahisa. Prominence is also given to the foot of Candi as Mahisa's executioner in the following prayer addressed to Durga (Candi) by a character in one of the anecdotes of the Kathäsaritsägara :namas tubhyam mahādevi pādāu te yavakäńkitäu mrditasuralagnāsrapańkāv iva namāmy aham paritratas tvayãā lokā mahişāsurasüdani² Homage to thee, O Mahadevi (Candi); I worship thy feet that are stained with lac-dye, As if with the clinging, clotted blood [lit. mud of the blood] of the demon that was crushed [by them] The worlds were protected by thee, O Slayer of the Demon Mahişa. 1 For a picture of this combat, see E. B. Havell, Indian Sculpture and Painting, plate 20, p. 61, London, 1908. Here is represented a stone relief, found at Singasari (Java), and now in the Ethnographic Museum at Leyden. It belongs to the period of Brahmanical ascendancy in Java, 9501500 A.D. The goddess is portrayed standing over the prostrate carcass of a buffalo, under which form Mahişa had concealed himself, and having seized the real dwarf-like person of the demon, who had issued from the buffalo, is preparing to deal him his death-blow. A somewhat similar picture is found in Moor's Hindu Pantheon, plate 19. According to an account given in EI, vol. 9, p. 160-161, the cult statue in one of the temples at Dantewarā (near Jagdalpur) shows the goddess, with eight arms, in the act of slaying the buffalo-demon. 2 See Hermann Brockhaus, Katha Sarit Sagara, 7. 37. 44-46, Leipzig, 1862; cf. C. H. Tawney, Katha Sarit Sagara (Engl. tr.), vol. I, p. 337, Calcutta, 1880. THE CANDĪŠATAKA OF BĀŅA Again, in two other passages of the Kathāsaritsägara, the achievement of the goddess is mentioned; in one of these allusions Durgā (Candi) is addressed in the following words:jaya mahişăsuramāriņi 252 jaya jagadarcitacarane 1 Hail thou Slayer of the Demon Mahisa; Hail thou whose foot is worshiped by the universe. In the other passage it is said of a devotee of Durgā (Candi) :pravisya "yatanam tasyaḥ pranamya ca vibhavya ca padapadmatalakṣiptamahişāsuramardinim Having entered her temple, and having worshiped, and having meditated on her. As the Crusher of the Demon Mahişa who was spurned by her lotus foot. Compare also, in this connection, Bāņa's Kādambari, where a certain candala maiden is said to be aciramṛditamahişăsurarudhiraraktacaraṇām iva kāṭyāyanim ³ like Katyayani (Candi), whose foot was reddened by the blood of the demon Mahişa who had recently been crushed [by it], and see the stanza in Padmagupta's Navasähasänkacarita which reads:mahamahişanişpeşakeliḥ pāram agad dvayoḥ rajñas tasya 'ticandasya candikācaraṇasya ca The sport of clashing [in fight] with a mighty buffalo (mahişa) reached its culmination [in the case] of [these] twoThat very angry king and the foot of Candikā. In two inscriptions we find the same emphasis laid on the foot, or kick, of Candi. One is an undated copper-plate inscription found in the district of Gorakhpur, and now the property of 1 See Brockhaus, 12. 78. 90-91; Tawney, vol. 2, p. 255. 2 See Brockhaus, 12. 80. 27-28; Tawney, vol. 2, p. 263. 3 See Peterson, Kadambari, p. 11, 2d ed., Bombay, 1889; cf. also C. M. Ridding, Kadambarit (Engl. tr.), p. 9, London, 1896. See the edition of the Navasahasankacarita by V. S. Islāmpurkar, part I, chapter 2, stanza 25 (p. 24), Bombay, 1895. INTRODUCTION the Asiatic Society of Bengal. The inscription is in Sanskrit, and is metrical, consisting of 23 stanzas. Its purport is the grant by Madoli, minister of a certain prince Jayāditya, of the village of Dummuddumāka to Durgā (Candi), the intent of the donor presumably being that the income derived from the village should be applied to the support of that goddess's worship. The invocation, consisting of four stanzas, is addressed to several deities, and the fourth of these stanzas, the one which invokes Pârvati, runs as follows:namo 'stu nirjitāśeşamahişāsuraghatine pārvatipadapadmāya jagadanandadãyine¹ 253 Salutation to the lotus foot of Parvati (Caṇḍī), which gives joy to the world, And which destroyed the demon Mahişa by whom all had been overcome. The other inscription, in Sanskrit, and metrical, but undated, was discovered in 1785 A.D., cut in the rock near the entrance to a cay of the Nägar Hill in the Gaya District of the Bengal Presidency. It records the installation in the cave, by the Maukhari chieftain Anantavarman, of an image of Candi under the name of Katyayanī, and the grant of a village to the same goddess. The opening stanza, in the śärdūlavikriḍita meter, is as follows:unnidrasya saroruhasya sakalām ākṣipya śobhām rucā sāvajñam mahişăsurasya tirasi nyastaḥ kvaṇannapuraḥ devya vaḥ sthirabhaktivadasadrsim yuñjan phalena 'rthitam disyad acchanakhāṁśujālajațilaḥ padaḥ padam sampadam ² The foot of Devi (Candi), [which] excels in splendor the entire beauty of a full-blown lotus, Was, with its tinkling anklet, disdainfully placed on the head of the demon Mahişa; And it endows with a [suitable] reward [that] state of supplication which is such as bespeaks firm devotion. May [this] foot of Devi (Candi), fringed with the rays of [its] pure nails, point out to you the path to prosperity! 1 Edited, with text and translation, by H. T. Colebrooke, Miscellaneous Essays, 2.220, 222, 225, London, 1873; edited later by Prof. Kielhorn, IA, vol. 21 (1892), p. 169. Kielhorn believes the inscription may be dated as belonging to the beginning of the tenth century A.D. Text, translation and comment in CII, vol. 3 (Gupta Inscriptions), p. 226-227. THE CANDIŚATAKA OF BĀŅA But to return to the legend. According to Aufrecht, the origin of Katyayani (Caṇḍī), and her killing of Mahișa, are also related in the Vamana Purana, chapters 19-21.¹ As I have no text or translation of the Vamana accessible, I shall have to give the substance of the account as taken therefrom by Kennedy, and included by him in his Hindu Mythology. It differs somewhat from the account given in the Markaṇḍeya, and runs as follows. Mahiṣāsura defeated the gods in battle, and they thereupon hastened to Viṣṇu to implore aid. As they were all gathered together, there issued from their eyes and faces a mountain of effulgence, and from it Kätyāyani (Caṇḍī) became manifest, blazing like a thousand suns, and having three eyes, hair black as night, and eighteen arms. The gods presented to her their several weapons, and thus equipped, she proceeded to the Vindhya Mountain. There she was seen by two demons, Caṇḍa and Munda, who reported to their master, Mahișa, the existence of a lovely maiden dwelling alone on the Vindhya. Mahişa sent forthwith, proposing marriage, but the wily goddess replied that the custom of her family required that its daughters should marry only those who were able to conquer them in battle. Mahişa accepted the challenge and marshaled his forces. The battle raged long and fiercely, and Candi had to contend against the great difficulty that Mahișa had been rendered invulnerable by a boon of Siva. Finally, however, she sprang upon the demon's back, and with her tender feet so smote his head that he fell senseless to the ground. She then cut off his head with her sword. 254 For still another account of the slaying of Mahișa, the reader is referred to the Varaha Purana, where, according to Aufrecht's 1 Aufrecht, Cat. Cod. Bibliothecae Bodleianae, p. 46, b, lines 10-12. As was noted above (p. 249), the Vamana, in a later chapter, ascribes the death of Mahişa to the prowess of Skanda. 2 V. Kennedy, Ancient and Hindu Mythology, p. 335-337. In the Märkandeya Purana (chapters 85-92), there is a legend similar to this, but the demon who sues for Candi's hand is there said to be Sumbha, not Mahişa, and the mountain is Himalaya, not Vindhya; Canda and Munda play the same part in both accounts. INTRODUCTION 255 synopsis I have no text from which to quote-the story is told in chapters 92-94. We should also note the stanza in Kṛṣṇamiśra's Prabodhacandrodaya, where it is said:krodham... kätyäyanı ʼva mahişam vinipātayāmi³ I will destroy Anger, as Katyayani (Candi) [destroyed] Mahişa. See likewise the major St. Petersburg Sanskrit lexicon, where the following cognomina ex virtute are listed as appellatives of Candi in recognition of her victory over the great demon: mahişaghni, mahişamathani, mahişamardini, mahişăsuraghatini, mahişăsurārdinī,' mahiṣāsurasüdant; mention is also made there of the mahișamardinītantra, -mantra, -stotra.º As regards other references to Mahișa in Sanskrit literature, the Bhagavata Purana states that he was one of the demons who fought with the gods for the possession of the nectar produced at the churning of the ocean, and that on that occasion his opponent was Vibhāvasu (Agni, Soma, or Kṛṣṇa-the epithet is applied to all three), while Bhadrakali (Candi) fought with Sumbha and Niśumbha.¹0 The Bhagavata also gives Mahişa's ¹ Aufrecht, op. cit., p. 59, a, line 12. 2 See the ed. by H. Sastri, Calcutta (undated), act 4, stanza 45, p. 106. 8 In Durgotsavapaddhati and Devipurana, which are cited in the Sabdakalpadruma (vol. 3, p. 678, a), a modern encyclopedic work by Rådhåkåntadeva. * See an inscription recorded in EI, vol. 4 (1896-1897), p. 317-318. 5 See Hemacandra's Abhidhanacintamani, 205 (ed. by Sivadatta and Parab, in the Abhidhana-Sangraha, no. 6, Bombay, 1896); see also Aufrecht, op. cit., p. 94, b, line 44. At Rämtek, in the Central Provinces, there is a temple dedicated to an eight-armed Mahişãsuramārdini; cf. IA, vol. 37 (1908), p. 203. See Harivamsa, 9428, or 2. 107. II. 7 See Harivamśa, 10274; but the text which I am using-ed. by Nārāyaṇātmaja Vināyakarāya, Bombay, 1891-reads here (2. 120.43): bandhanamokşakārini. 8 See Kathasaritsägara, 7. 37. 46; cf. above, p. 251. Aufrecht, op. cit., p. 104, a, line 14 (tantra); p. 93, b, line 2 (mantra); p. 94, a, line 32 (stotra). 10 See Bhagavata Purana, 8. 10. 31-32; ed. by Tukārāma Jāvaji, Bombay (?), 1898. ! । 256 THE CANDIŚATAKA OF BĀŅA genealogy, making him the son of Anuhrāda, grandson of Hiranyakaśipu, and greatgrandson of Kaśyapa and Diti. He was first cousin to Rāhu, and had a brother named Başkala.¹ In the Saura Purana² there is described a combat between Candi and Raktāsura, a son of Mahișa, but I have found no further reference to a family of the demon. In the Vamana Purāṇa he is said to be the son of Rambha, and according to popular belief in India to-day, he was the son of Jambha." The reason why Mahişa is presented to us in the form of a buffalo is given by Crooke in his Popular Religion and Folk-Lore of Northern India. I quote from this work as follows: 'According to the legend as told in the Markandeya Purana,' Diti, having lost all her sons, the Asuras, in the fight with the gods, turned herself into a buffalo in order to annihilate them. She underwent such terrible austerities to propitiate Brahmā, that the whole world was shaken and the saint Supārśva was disturbed at his devotions. He cursed Diti that her son should be in the shape of a buffalo, but Brahmã so far mitigated the curse that only his head was to be that of a buffalo. This was Mahiṣāsura who is supposed to be the origin of the godling Mahasoba, worshiped in Western India in the form of a rude stone covered with red lead.' In modern times Mahișa still lives in fame,' for Maisur, or ¹ See Bhagavata Purana, 6. 18. 10-16. 2 Wilhelm Jahn, Das Saurapuranam, ein Kompendium spätindischer Kulturgeschichte und des Sivaismus, chap. 49, Strassburg, 1908. This is doubtless the same as the demon Raktabija, whose death at the hands of Candi is described (Markandeya Purana, chapter 88) as an incident in the battle between Candi and the demons Sumbha and Niśumbha. The death of Raktabija is celebrated to-day in the Shyāmā Pūjā in honor of Kali (Candi), India's most terrible and gruesome festival; cf. W. J. Wilkins, Modern Hinduism, p. 231-232, London, 1887. In chapter 18 of the Vamana, according to the synopsis given by Aufrecht, op. cit., p. 46, b, lines 10-11, cf. Sabdakalpadruma, vol. 3, p. 679, a. 5 See the English translation of the Mahabharata, by P. C. Roy, vol. 4, P. 15, footnote. Crooke, vol. 2, p. 237. I have been unable to locate the passage in the Markandeya. 257 Mysore, is certainly derived from Mahișăsura,¹ and the great festival of the Durga-Pūjā is annually celebrated in Bengal during the month aśvina (Sept.-Oct.), to commemorate the demon's death at the hands of Durga or Candi. At this festival the goddess is represented, both in painting and image, with her many arms brandishing various weapons, in the act of slaying the buffalo-demon; and the festival is regarded as such an important event, that the government offices are closed and business is suspended so long as the holiday is in progress. It is also recorded that at Sapta Srig, in the Chandor range of hills, a spot is pointed out where Mahișa, in the course of his struggle with Candi, flew directly through a rock.³ And it may be noted, too, that the Candi-Mahişa legend is probably responsible for the fact that even to-day buffalos are sacrificed to the goddess Durga (Candi).* INTRODUCTION MYTHOLOGICAL ALLUSIONS Apart from references to the legend of Mahișa, mythological allusions are very common throughout the Candikataka. They are connected not only with Candi's life and acts, but also with many of the oft-told tales that form the basis of the Vedic, Epic, and Puranic mythology. To name only a few, there might be mentioned the allusions to the slaying of Hiranyakaśipu by Viṣṇu, to the descent of the Ganges from heaven, to the growth of the Vindhya mountain, the destruction of Tripura by Siva, Vişnu's plunge into the waters of primeval chaos, Skanda and his fostermothers, the thousand eyes of Indra, and so on. The more obscure allusions will be explained in the notes to the various stanzas. ¹ Crooke, vol. 2, p. 237; cf. Lewis Rice, Mysore and Coorg from the Inscriptions, p. 14, note 1, London, 1909, where the derivation of Mysore is given as from Maisūru, meaning 'Buffalo-town.' 2 B. C. Mazumdar, Durga: Her Origin and History, in JRAS, 1906, p. 355; W. J. Wilkins, Modern Hinduism, p. 227-231; Monier-Williams, Hinduism, p. 183, London, 1877. 8 Cf. IA, vol. 2 (1873), p. 163. 4 Crooke, op. cit., vol. 2, p. 237; cf. Colebrooke, Essays, vol. 1, p. 101, note I. 18 THE CANDISATAKA OF BĀŅA EPITHETS OF CANDI Although Bāṇa's poem is entitled Candiśataka, the name Candi, or Caṇḍikā, occurs in but five of the stanzas, and only 28 different appellatives in all are used in referring to the goddess, who is mentioned by some title in every stanza. These 28 epithets or titles are as follows. 258 Epithets belonging to Caṇḍī as the daughter of Himalaya. These include Pārvati, 'Daughter of the Mountain' (a patronymic derived from parvata, 'mountain'; it is found in stanzas 10, 13, 16, 18, 20, 34, 37, 47, 56, 60, 65, 72, 73, 74, 77, 80, 90, 97, 100, 101, and in stanza 23 as V.L.-21 stanzas in all); Haimavati, 'Daughter of Himavat' (stanzas 19, 33, 38, 59); Kanya 'dreḥ (35, 84); Suta 'dreḥ (68); Sailaputrī (82); Adrija (28), all of which mean 'Daughter of the Mountain'; and Umā (stanzas 17, 24, 27, 31, 36, 39, 57, 58, 62, 63, 85, 91-12 times in all), which is etymologically explained as from u mã, 'O don't!' (cf. Candiśataka, stanza 17, note 4). Epithets belonging to Candi as the wife of Siva. These include Sivā (stanzas 2, 6, 23, 30, 32, 88, and stanzas 7, 11 and 39 as V.L.); Bhavani (21, 66, 79, 81, 94, and 30 as V.L.); Rudrāṇi (70, 78, 92, 98); Sarvāṇī (64, 83, 95); they signify the female counterparts of Siva, Bhava, Rudra and Sarva, respectively. To these should be added Smararipumahişi (69), 'Consort of (Siva), Foe of Smara (Kāma),' and Mātṛ (5, 67), 'Mother (of Kärttikeya).' Epithets belonging to Candi in her horrific aspects. These include Kāli (11, 26, 41, 61) and Kalika (51 as V.L.), which mean 'Black One'; Bhadrakāti (22, 76, 89), meaning 'Honored Black One'; Kalaratri (53), 'Night of Fate'; Durgā (8), 'Inaccessible One'; Candi (9, 71) and Caṇḍikā (46, 49, 102), meaning 'Angry One'; Lohitä (41), 'Red One'-the redness being due to anger; and Katyayani (14, 25, 43), referring, perhaps, to her fiery aspect. Epithets belonging to Candi in her benign aspects. These include Devi (1, 4, 7, 10, 15, 40, 42, 44, 50, 52, 97, and 8 as V.L.), 259 signifying 'Goddess'; Ambikā (12, 48, 51, 75, 86, 93, 96, 99), meaning 'Mother' or 'Good Woman'; Saptalokījananī (54), 'Mother of the Seven Lokas'; Arya (3, 55), 'Noble One'; Kşamā (45), 'Patience,' or 'Earth,' or 'Able One,' or 'Mighty One'; and Gauri (29, 41, 87), 'White One.' INTRODUCTION EPITHETS OF MAHISA Mahişa is mentioned by name or epithet in all of the stanzas, except five, viz., 25, 45, 49, 54, 71. He is regarded by the poet as having but three aspects-that of the buffalo, that of a, descendant of Diti and Danu, and that of a foe of the gods. His epithets may therefore be conveniently grouped under these three headings, although it should be noted that the epithets belonging to each group are often intermingled with those belonging to the other groups. Epithets belonging to Mahisa by virtue of his buffalo form. These include Mahişa (stanzas 2, 3, 4, 8, 9, 15, 16, 19, 22, 24, 29, 30, 31, 39, 41, 42, 44, 48, 50, 51, 55, 58, 63, 66, 67, 68, 88, 92, 93, 96), meaning 'Buffalo'; Lulaya (102), signifying 'Wallower'; Pasupati (37), 'Lord of Cattle'; Mahişăsura (72), 'Buffalo-demon'; Mahișasuraripu (5, 17, 77, and 6 as V.L.), 'Buffalo [-shaped] Foe of the Gods.' Epithets belonging to Mahişa by virtue of his being a descendant of Diti and Danu. These include Ditija (21), Dititanaya (60), and Däitya (35), which all signify Offspring of Diti'; Daityadhiśa (7), Däityapati (56), Däityanātha (84), and Daityendra (80), all meaning 'Lord of the Daityas'; Daityasenādhinātha (83), 'Overlord of the Army of the Däityas'; Daityaḥ janamahiṣaḥ iva (79), 'Daitya like an Ordinary Buffalo'; Daityaḥ mahişavapuḥ (38), 'Daitya with the Body of a Buffalo'; Daityaḥ mahişitavapuḥ (52, 67, 74), 'Daitya whose Body had been changed into that of a Buffalo'; Daityaḥ chalamahişatanuḥ (86), 'Daitya in the Guise of the Body of a Buffalo'; Daityaḥ girvāṇaśatruḥ (87), 'Daitya, Foe of the Gods'; THE CANDIŚATAKA OF BĀŅA Mahādāityaḥ tridaśaripuḥ (43), 'The Great Daitya, Foe of the Gods'; Danuja (24, 27), and Dänava (62, 70), 'Offspring of Danu'; Dänavaḥ mahişatanubhṛt (82), Offspring of Danu, bearing the Body of a Buffalo'; Asura (57, 85, 91), 'Demon'; and Asurapati (47), 'Lord of the Demons.' 260 Epithets belonging to Mahişa by virtue of his being a foe of the gods. These include Devāri (76, 93), Devadvis (40), Surāri (13, 94, 97, 99), Suraripu (20, 90, 97, 100), Girvāṇāri (28), Amararipu (24, 98), Marudasuhṛt (1), and Diväukoripu (23), which all mean 'Foe of the Gods'; Tridaśaripupati (59), and Vibudharipupati (78), both meaning 'Lord of the Foes of the Gods'; Tridaśapatiripu (6), 'Foe of the Lord of the Gods'; Duṣṭadevārinātha (81), 'Lord of the Wicked Foes of the Gods'; Devāriḥ mahisacchadmă (69), 'Foe of the Gods, disguised as a Buffalo'; Devāriḥ kāitavāviṣkṛtamahiṣavapuḥ (75), 'Foe of the Gods, who had assumed as Disguise the Body of a Buffalo'; Surāriḥ mişamahişatanuḥ (95), 'Foe of the Gods, disguised under the Body of a Buffalo'; Surariḥ mahişitavapuḥ (101), 'Foe of the Gods, whose Body had been changed into that of a Buffalo'; Girvāṇaśatruḥ mahișatanubhṛt (73), 'Foe of the Gods, bearing the Body of a Buffalo'; Mahiṣākāraḥ suradveși (32), 'Foe of the Gods in the Form of a Buffalo'; Dyudhamnām vidviṭ mahisitavapuh (18), 'Foe of the Gods, whose Body had been changed into that of a Buffalo'; Chalamahişatanuḥ nākalokadvit (10), 'Foe of the Heavenly World, disguised under the Body of a Buffalo'; Triviṣṭaparipu (55), 'Foe of Indra's Heaven'; Gotrasya śatruḥ (24), 'Foe of the Family (of the Gods)'; Ari (11, 12, 15, 21, 29, 37, 46, 60, 94), Ripu (30, 33, 34, 38, 65, 88, 89), Satru (11, 26, 58, 61, 64, 90), Dviș (12), Dvișat (14), Arāti (31), and Dveșin (67), all meaning 'Foe'; Dvit mahişavapuḥ (36), 'Foe who had the Body of a Buffalo'; and Käitavāviṣkṛtamahişatanuḥ vidvişan (35), 'Foe who had assumed as Disguise the Body of a Buffalo.' INTRODUCTION 261 STYLE AND RHETORICAL DEVICES¹ The style of the Candidataka appears to be the Gaudi, like that of the Süryaśataka, for it abounds in compounds, has strength and grace, and has a fair number of instances of anuprāsa, 'alliteration.' As regards rhetorical figures and devices, the poem presents examples of such as are typical of every kavya composition. For instance, the asis, as was noted above,³ occurs in almost every stanza. The fleșa, or 'pun,' is also of frequent occurrence, and occasionally the paronomasia is carried to such an extent that nearly a whole stanza may be rendered throughout in two ways (see stanzas 13, 21, 27, 30, 34, 41, 55, 69, 77, and especially stanzas 8, 46, 62, 65, 68, 70, 88). Frequent use is also made of yamaka, or 'assonance,' the placing in juxtaposition of words or syllables having similar sounds (cf. stanzas 36 and 52); and the kindred device, anuprāsa, or 'alliteration,' is not uncommon (cf. stanzas 38 and 70). Worthy of remark, too, are the examples of citra ('picture'), and venikā ('braid'), types of varnanuprāsa, or 'syllable alliteration' (cf. the notes to stanzas 40 and 66), of virodha, or 'apparent contradiction' (stanza 62), and of utprekṣā,³ or 'poetic fancy' (stanzas 1, 22, 40). Noticeable is the absence of the elaborate similes that appear here and there in the text of the Saryaśataka. GRAMMATICA NOTABILIORA Among the more or less unusual grammatical constructions occurring in the Candidataka, I would call attention to the following: the imperative in -tät (discussed above, p. 96); the imperative jahihi, with short penult for metrical reasons (stanza 34; cf. Suryaśataka, 59); the accusative devān (stanza 38), used as a sort of object of the compound jayokte, 'in the address of Jaya 1 For explanation of the various rhetorical devices that are mentioned in this paragraph, see above, p. 89-95, where the style of the Süryaśataka has been discussed in detail. 2 See above, p. 245. 8 Attention has been called to most of these rhetorical devices of the Candiśataka in the notes to the stanzas in which they occur. 262 THE CANDIŚATAKA OF BĀŅA to the gods'; the genitive of the agent with gamya (stanza 42; cf. Süryaśataka, 23)-gamyam agner, 'assailable by Agni'; the imperative with na (stanza 57)-na avata, 'do not protect'; the phrase sthätum gatabhayam (stanza 86), 'unafraid to stand,' with the infinitive depending on the compound; the adverbial gerund dhyayam dhyayam (stanza 97); the absence of a demonstrative correlative to the ye in stanza 9; the use of the particle pura (stanza 33) to give to a present tense the force of a future. For further discussion of these constructions, see the notes to the stanzas in which they occur. METER All the stanzas of the Candisataka, except six, are composed in the sragdhara meter, which, as will be remembered, is likewise the meter of the Süryaśataka. The six exceptions-stanzas 25, 32, 49, 55, 56 and 72-are written in śärdülavikrīḍita. SANSKRIT WORKS THAT QUOTE THE CANDĪŠATAKA The Candisataka seems not to be widely cited either in the anthologies, the alamkāras, or in other Sanskrit works. The Paddhati of Sarngadhara quotes but one stanza (no. 66), and none of the verses appear to have found their way into Vallabhadeva's Subhāṣitāvali. King Bhoja's rhetorical work, the Sarasvatikanṭhābharaṇa, cites stanzas 40 and 66 as illustrations of the rhetorical devices citra and venikā (see below, in the notes to Candiśataka, stanzas 40 and 66), and also stanza 49, but I have not discovered any other citations in the alamkāra literature¹. In Mahendra's commentary on Hemacandra's lexicographical work, the Anekarthasamgraha, the use, in stanza 1, of anghri (or, amhri) for päda, 'foot,' is considered worthy of note.² Stanza 66 1 The editors of the Kävyamälä edition of the Candidataka state (p. 1, note 2) that this work of Bāṇa is cited in the Kavyānufäsana of Vägbhaṭa, and in Arjunavarmadeva's commentary on the Amaruśataka. 2 See p. 59 of Zachariae's edition (cf. above, p. 100). 263 appears to have been a favorite, for besides being quoted in the Paddhati and in the Sarasvatikaṇṭhābharaṇa, it is found in the Hariharavali of Hari Kavi, in the Saduktikarṇāmṛta of Sridhara Dasa, and in the Subhasitaratnabhāṇḍāgāra, Parab's modern anthology. References to these citations will be found in the notes to stanza 66. INTRODUCTION MANUSCRIPTS AND COMMENTARIES Aufrecht, in the three volumes of his Catalogus Catalogorum (vol. I, p. 177; vol. 2, p. 36; vol. 3, p. 38), lists six references to catalogues recording the existence of manuscripts of the Candidataka. Possibly there are to be added to this list the manuscripts used by the editors of the Kävyamālā edition of this work of Bana's, and the manuscript acquired and read by Bühler (cf. IA, vol. 1, p. 111), but it is more reasonable to suppose that these are included among those to which Aufrecht refers. In a manuscript of the Whish collection (cf. Aufrecht, vol. 3, p. 38), the Candidataka is called the Caṇḍikāsaptati, apparently because it there contains only about the first seventy stanzas. Of commentaries on the Candiśataka there appear to have been discovered two, or possibly three. One of these is by Dhaneśvara, son of Someśvara of Daśakurajñāti (cf. Aufrecht, vol. 1, p. 177; S. R. Bhandarkar, Report of a Second Tour in Search of Skt. MSS made in Rajputana and Central India in 1904-5 and 1905-6, p. 52, Bombay, 1907), and was used by the editors of the Kävyamālā edition, as noted by them on p. 1, note 2. A second, anonymous commentary, which was also used by the editors of the Kävyamālā edition, is possibly the same as that recorded by Kielhorn in his Report on the Search for Skt. MSS in the Bombay Presidency, during the year 1880-1881, p. 84, no. 31, Bombay, 1881. A third, of Jain authorship, and comprising marginal glosses for verses 1-84 (cf. Bühler in IA¹, vol. 1, p. 111; J. Eggeling, Catalogue of the Skt. MSS in the Library of the India Office, part IV, no. 2625, or 2538a), is perhaps identical with the foregoing anonymous ķīkā. THE CANDISATAKA OF BĀŅA EDITIONS AND TRANSLATIONS The only edition I have been able to find recorded is that printed in Kävyamālā, IV (1887), p. 1-37, edited by Durgaprasāda and Paraba, with an abridged commentary extracted from the tīkd of Dhaneśvara and the anonymous commentary mentioned in the preceding paragraph. I have not discovered the existence of any translation from the original Sanskrit. 264 COMPARISON OF THE SŪRYAŚATAKA WITH THE CANDIŚATAKA The Süryaśataka and Candikataka, though by different authors, exhibit in some regards noteworthy similarity. Both are fatakas, the Suryaśataka containing 101 stanzas, and the Candiśataka, 102. The meter in both is the sragdharā, except that six stanzas of the Candisataka are composed in färdülavikriḍita. In both poems the stanzas, except eight in the Candisataka that contain a jayati or jayanti, are in the asis, or 'benedictive,' form. In both the asis is expressed by a precative or imperative, and the imperative in -tät is a feature in both, occurring 21 times in the Suryaśataka and 17 times in the Candiśataka. As regards subject-matter, both poems deal with well-worn themes the praise of the deities Surya and Candi respectivelyand both authors, Mayura and Bāṇa, have embellished their productions with numerous allusions drawn from the vast and seemingly inexhaustible storehouse of Vedic, Epic and Puranic mythology. In the matter of style, both poems are in the Gaudi riti, and both exhibit the usual kavya elements, such as śleşsa, yamaka, etc.; but the rhetorical devices are on the whole more marked and more numerous in the Süryaśataka than in the Candiśataka. Especially noticeable in this regard is the absence in the Candisataka of the rather elaborate similes that occur here and there in the stanzas of the Süryaśataka. The use of descriptive epithets to 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 measured 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 Candiśataka, if we may judge by the greater number of times it is found quoted in Sanskrit literature. INTRODUCTION COMPARISON OF THE SŪRYAŚATAKA AND CANDIŚATAKA 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 Mānatunga, 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 sragdhara in which the other two poems are composed. The Sanskrit, in spite of the numerous compounds, is comparatively simple, and 266 THE CANDIŚATAKA OF BĀŅA there seems to be an almost utter absence of śleșa, or paronomasia, a fact that may perhaps be adduced as an argument in favor of adopting the earlier date-3d or 4th century A.D.which I have advocated above (p. 18) for the Bhaktāmarastotra. There are numerous mythological allusions, as in the Süryaśataka and Candisataka, and in several stanzas praise is heaped without stint upon Sürya. On the whole, the Bhaktamarastotra is a much less elaborate work than either of its alleged rival poems. THE CANDĪŠATAKA OF BĀŅA TEXT AND TRANSLATION 1 mā bhānkṣir vibhramam bhrūr adhara vidhuratā keyam āsyā 'sya rāgam pāṇe prāṇy eva nã 'yam kalayasi kalahaśraddhayā kim triśülam ity udyatkopaketūn prakṛtim avayavān prāpayantyeva devyā nyasto vo mūrdhni muṣyān marudasuhṛdasūn samharann anghrir amhaḥ 'Spoil¹ not thy coquetry, O brow; O lower lip, why this distress? O face, banish thy flushing; O hand, this (Mahişa) is not indeed living; why dost thou brandish a trident, with desire for combat?'8 While Devi (Candi) caused by these words, as it were, the parts of her body that displayed signs of rising anger to resume their normal state, Her foot, which took away the life of (Mahișa), Foe of the Gods, was set down upon his head." May the foot of Devi (Candi) destroy your sin! Notes. 1. Professor G. Bühler, in a short article entitled On the Chandikaśataka of Banabhaṭṭa, in Indian Antiquary, vol. 1, p. 111-115, gives the transliterated text and the translation of stanzas 1-5, 9 and 102. 2. The commentary offers also the alternative of taking na as meaning puruşaḥ, 'male,' and paraphrases: 'O hand, this male, a mere insect, is to be slain by a mere blow from my foot.' 3. Such personifying of parts of the body is an instance of the rhetorical figure called utprekşă, 'Poetic Fancy'; cf. Introd., p. 92. 4. The use here of anghri (or, amhri) for pada, 'foot,' is considered worthy of note by Mahendra in his commentary on Hemacandra's lexicographical work, the Anekārthasamgraha; see p. 59 of the edition of Zachariae, mentioned above, Introd., p. 100. 5. Bühler (IA, 1. 113) renders as 'placed on your heads,' but I have followed the commentary. 267 THE CANDISATAKA OF BĀŅA Variae Lectiones. [Variant readings taken from Bühler's transliteration (cf. note 1) are indicated by B. The great majority of the variants are those found in the footnotes of the Kävyamālā edition, and they are given without distinguishing letter, except that they are indicated by K in stanzas 1-5, 9 and 102, to distinguish them from the variants given by Bühler. The letters (a), (b), (c), (d) refer to the padas of the stanzas, taken in order.] For the first stanza the only variant is found in (c), the reading of K being sthapayantyeva devya. 268 2 humkāre nyakkṛtodanvati mahati jite śiñjitāir nūpurasya ślişyacchṛngakṣate 'pi kṣaradasṛji nijälaktakabhrāntibhāji skandhe vindhyādribuddhyā nikașati mahişasyā "hito 'sūn ahărşid ajñānād eva yasyāś caraṇa iti śivam sā śivā vaḥ karotu While the mighty bellowing [of Mahişa], which [ordinarily] surpassed the [roar of the] ocean, was outdone by the tinkling of [Candi's] anklet,¹ And while the wound [caused] by his horn that encircled [her foot], created, with its flowing blood, the mistaken impression that it was her own lac-dye,² Her foot, being set down on Mahişa's scraping shoulder, in the belief that it was the Vindhya Mountain,³ All unawares took away his life. May that Siva (Candi) bring about your happiness! Notes. 1. The usual mighty bellowing had sunk to a dying moan. 2. As Siva's (Candi's) foot rested on the demon's shoulder, it was encircled by his long horn (cf. stanzas 41 and 44), whose tip inflicted an insignificant wound as he writhed in the death agony. The wound was scarcely noticed by the goddess, who mistook the slight flow of blood for her foot-lac. 3. The commentator sees in vindhyadribuddhya a śleşa, and would permit a double rendering of it, as follows: 'Her foot, , was set down on Mahişa's shoulder, that rubbed against it, .' The reciprocal error whereby the foot of Siva (Candi) mistook Mahişa for the Vindhya, and vice versa, was due, the commentator informs us, to the dark color both of the buffalo-demon and of the foot of the goddess. Siva (Candi), it will be remembered, was once taunted by Siva because of her dusky complexion; cf. Wilkins, Hindu Mythology, p. 289. The Vindhya range was one of the abodes of Siva, and if we adopt the double THE CANDIŚATAKA OF BĀŅA 269 rendering here suggested, we shall have to suppose that Mahişa was wont to use it as a rubbing-post. 4. The explanation of 'unawares' (ajñānāt) seems to be as follows: The foot of Siva (Candi) cannot believe that Mahişa is present; first, because of the absence of any bellowing; secondly, because so powerful a demon would certainly have inflicted a much more serious wound than the slight scratch it has received; and in the third place, though the foot does see Mahişa, it mistakes his dark body for the familiar Vindhya. Being thus unconscious of Mahişa's presence, it 'unawares,' or 'unwittingly,' takes away his life. This appears to be the idea of the commentator, who concludes: 'Thus the error arose from the triple cause that has been mentioned.' V.L. (a) B nudati jite. (b) B ślişyachṛngakşitepi, emended by Bühler to ślişyacchṛngakşatât prakşaradasṛji. 3 jāhnavyā yā na jātā 'nunayaparaharakṣiptayā kṣālayantyā nūnam no nūpureṇa glapitaśaśirucā jyotsnayā vā nakhānām tām śobhām ādadhānā jayati navam ivā 'laktakam piḍayitvā pādenāiva kṣipantī mahişam asurasādānaniṣkāryam āryā [There is a beauty of Candi's foot]' that was not produced by the purifying Jahnavi (Ganges), when sent by Hara (Siva), intent on conciliating her, Or indeed through her anklet that dims the luster of the moon, or through the gleam of her toe-nails. [But] Arya (Candi) acquired this beauty in her victory, by crushing Mahisa and tossing him aside merely with her foot , like a fresh lac-branch .* [In this stanza the usual benediction is omitted.]³ Notes. 1. Three of the recognized means of adorning the feet among the ancient Hindus were anklets, polishing the toe-nails, and staining with red lac-dye. If we bear this in mind, the meaning of the stanza seems to be as follows: The beauty of foot which the wife of Siva never acquired by anklet or toe-nail, or by washing in the Ganges (also a wife of Siva), whose stream was sent by him to pacify her jealousy, she does acquire when, as Arya or Candi, she slays the demon Mahişa and receives the red stain of his blood, which, like lac, gushes over her foot as she stamps on him and crushes out his life. 2. The Ganges was brought down to earth 270 THE CANDIŚATAKA OF BĀṆA by Bhagiratha, to purify the ashes of the sixty thousand sons of King Sagara. In order to lessen the force of its fall, Siva caught it on his head and checked its course by his matted locks. He afterwards sent it on its way to earth by way of the Himalaya Mountain. This descent of the Ganges disturbed the sage Jahnu as he was performing a sacrifice, and in his anger he drank up its waters; but afterwards, relenting, he allowed the river to flow from his ear; hence the Ganges is called Jähnavi, 'Daughter of Jahnu'; cf. Mahabharata, 3. 108-109; Ramayana, 1. 43. 35-38; Moor, Hindu Pantheon, pl. 7, 9, 11; John Dowson, A Classical Dictionary of Hindu Mythology, p. 108, London, 1879. 3. Lit. 'is victorious, appropriating this beauty.' 4. I have treated the compound asurasädänanişkaryam as a śleşa, and have given it a double rendering, following the suggestion of the commentary, which reads: 'Just as anyone, having crushed lac with his foot, and having extracted its juice, throws away the sapless part, so Devi (Candi), having taken the life, which corresponds to the juice [in lac], threw away Mahişa.' For a similar conception, cf. stanza 39, note 4. 5. A similar omission of the benediction occurs in stanzas 4, 21, 33, 38, 54, 71 and 102. In all of these stanzàs, however, there is found, as substitute for the benediction, either a jayati or a jayanti, 'victorious is (or, are),' 'glory to,' 'hail to.' V.L. (a) B jatänunayaparihara-, K jätä ʼnavamapurahara-. (c) B nijam iva 'laktakam. 4 mṛtyos tulyam trilokim grasitum atirasan niḥsṛtāḥ kim nu jihvāḥ kim vā kṛṣṇānghripadmadyutibhir aruṇitā viṣṇupadyāḥ padavyaḥ prāptāḥ samdhyāḥ smarāreḥ svayam uta nutibhis tisra ity ühyamānā deväir devītriśūlāhatamahiṣajuṣo raktadhārā jayanti 'What? Have the tongues of Mṛtyu (Yama) issued [from his mouth] in his excess of greed to devour the three worlds all at once? Or are the streams of Viṣṇupadi (Ganges) reddened by [contact with] the splendor of the lotus feet of Kṛṣṇa (Viṣṇu)? Or have the three twilights appeared voluntarily [in response] to the worship of (Siva), Foe of Smara?'¹ Such was the speculation of the gods in regard to the victorious THE CANDĪŠATAKA OF BĀŅA 271 jets of blood welling from Mahișa who was slain by the trident of Devi (Candi).* [In this stanza the usual benediction is omitted.]" Notes. 1. The epithet Smara denotes Kāma, the Hindu Cupid. For Siva's hostility to Kāma, see Süryafataka, stanza 55, note 9. 2. Lit. 'victorious are the jets of blood dwelling in Mahişa.' 3. The jets of blood issuing from the triple wound caused by the three-pronged trident are three in number and are red; we should therefore expect the tongues of Yama, the streams of Ganges, and the twilights, which are all compared to the jets of blood, to be likewise three in number and red. As for the tongues of Yama, they may be assumed to have been red, like ordinary tongues, but I have been unable to find any reference to their number. The streams of Vişnupadi (Ganges) are three, for it is stated in the Mahabharata (3. 109. 10) that Gangã, on her descent from heaven (cf. stanza 3, note 2), divided herself into three streams; cf. also Rāmāyaṇa, 1. 44. 6. It may be significant, too, that the most sacred spot along the Ganges is Allāhābād, or Triveni ('Triple-braided'), where the Ganges, Yamunā (Jumna), and the alleged subterranean Sarasvati come together into one stream. Jacobi explains the three streams of Ganges as the three manifestations of Gangã-in heaven, on earth, and in Pätāla; cf. Jacobi, Brahmanism, in Hastings's Encyclopaedia of Religion and Ethics, vol. 2, p. 809. The text of the stanza tells us that the Vişnupadi (Ganges) was reddened by contact with the lotus foot of Vişņu; cf. Vișnu Purana, 2.8 (Wilson, vol. 2, p. 271-272), where it is said that Gangā has 'her source in the nail of the great toe of Vişnu's left foot.' We must assume that the lotus foot was a rosy pink color. As regards the twilights, there were three the morning, noon and evening periods-and two of these, namely, the dawn and evening twilights, were marked by the red glow of sunrise and sunset. The commentary adds: 'The twilights also are red-colored.' 4. No mention of the foot of Candi is made in this or in the following forty-two stanzas: 14, 15, 16, 18, 19, 21, 23, 24, 25, 26, 27, 31, 33, 34, 35, 38, 40, 45, 50, 51, 53, 57, 58, 59, 60, 61, 62, 63, 65, 66, 67, 69, 70, 71, 72, 77, 80, 85, 87, 91, 96, 100. In several of these stanzas, however, the action of the foot is suggested in such expressions as 'trampled on' (51), 'crushed' (15, 24, 35, 62), etc. 5. For a similar omission of the benediction in other stanzas, cf. stanza 3, note 5. V.L. (a) K yamyas tulyam; B atirasan nişkṛtaḥ. (d) K devyäs triśülakşatamahişa-. 5 datte darpāt prahāre sapadi padabharotpiṣṭadehāvaśiṣṭām śliṣṭām śṛngasya koṭim mahiṣasuraripor nūpuragranthisīmni musyād vaḥ kalmaṣāṇi vyatikaraviratāv ādadānaḥ kumāro mātuḥ prabhraṣṭalilākuvalayakalikākarṇapūrādareņa THE CANDIŚATAKA OF BĀŅA ,¹ , The Foe of the Gods, which had clung to the edge of the knot of her anklet-being all that was left of his body, Which had been crushed on the spot by the weight of her foot, when he presumptuously struck a blow. May Kumāra destroy your sins! Notes. 1. Kumāra is one of the names of Kärttikeya, reputed son of Siva and Parvati (Candi). His parentage, however, is variously given. He is usually called the son of Agni and Svähä, according to the story of his birth as given in Mahabharata, 3. 225. 15-17; but in Mahabharata, 6. 23. 12, Durga (Candi) is identified with Svähā, and in 6. 23. 11 is addressed as Skandamatar, Mother of Skanda (Kärttikeya)'; and again, in Mahabhārata, 3. 229. 27-31, it is explained that Rudra, who is Siva, is sometimes regarded as the father of Skanda (Kärttikeya). See also Süryaśataka, stanza 25, notes 1, 4, 8; and Candiśataka, stanza 28, note 2. 2. An earornament in the shape of a lotus. 3. The word vyatikara, 'contact,' appears not to be generally used in the sense of 'battle'; but the commentary here glosses it by yuddha, 'battle,' and in stanza 72 also it must have that meaning. 4. The implication that the tip of the horn was shaped like a lotus-bud is plain. 5. According to the commentary, kumaro is not the logical, but only the grammatical, subject of musyad, 'may destroy.' It reads: 'If any logical connection is intended in the words "may Kumāra destroy your sins," then there would exist the condition of a logical connection with what is irrelevant, by reason of Kumāra's not being connected with the subject-matter. Therefore we must paraphrase by supplying the following: "May that Mother, whose son picked up, etc. . . . destroy your sins."" V.L. (c) K musyad vaḥ kilbişāni. 6 śaśvad viśvopakāraprakṛtir avikṛtiḥ sā 'stu śāntyāi śivā vo yasyāḥ pādopaśalye tridaśapatiripur dūraduṣṭāśayo 'pi nāke prāpat pratiṣṭhām asakṛd abhimukho vādayañ śṛngakoṭyā hatvā konena vīņām iva raṇitamanim mandalim nūpurasya Siva (Candi) is unchangeable, and is a perpetual source of benefits to the universe.² THE CANDĪŠATAKA OF BĀŅA 273 Through contact with her foot, (Mahişa), Foe of the Lord of the Gods, although of utterly depraved mind, Obtained a place in heaven, [for], when facing her [in battle], he repeatedly caused her circular anklet, With its tinkling jewels, to resound, striking it with the tip of his horn, as if [he were striking] a lute with a quill.5 May Siva (Candi) bring you prosperity! Notes. 1. In Süryaśataka, stanza 89, Sürya is called avikṛtiḥ, 'the unchangeable.' 2. Or, 'is continually the source of all benefits.' 3. Lit. 'in the suburbs of whose foot.' The commentary reads: 'He became an inhabitant of heaven through an excess of merit engendered by contact with her foot.' This contact occurred through his repeatedly striking her anklet with the tip of his horn. 4. Mahişa, foe of Indra, who was the leader of the gods in their struggle with Mahişa. 5. The commentary says: 'What one, indeed, causes a lute to sound on the sole of the foot of Devi (Candi), that one, when dead, reaches heaven.' The noise of the anklet is referred to again in stanzas 13, 43 and 44. V.L. (b) mahişasuraripur. ryg nisthyūto 'ngustṭhakoṭyā nakhaśikharahataḥ pārṣṇiniryātasāro garbhe darbhāgrasūcīlaghur iva ganito nopasarpan samipam nābhāu vaktram praviṣṭākṛtivikṛti yayā pādapātena kṛtvā dāityādhiśo vināśam raṇabhuvi gamitaḥ sā 'stu devi śriye vaḥ Spurned by the tip of [Candi's] great toe, struck by the point of her toe-nail, robbed of his strength by her heel, (Mahişa), Lord of the Daityas, who had been accounted as no more worthy of notice than the prick of a tip of darbha grass on one's foot,² Came creeping [back] into her presence. [But then], after she had doubled him up with a kick, so that his face, Which had taken on an altered appearance, was against his navel, she put him to death on the field of battle. May that Devi (Caṇḍī) bring you prosperity! Notes. 1. Literally the word nişthyata means 'spat out,' 'ejected.' I have rendered as 'spurned.' 2. Lit. 'he, being as it were insignificant as the needle of a tip of darbha grass on the interior [of her foot19 274 THE CANDIŚATAKA OF BĀŅA garbhe is glossed by padamadhye], was not taken into account.' Candi was not hurt by stepping on or kicking Mahișa, any more than anyone would be hurt by stepping on a sharp spear of grass. It will be remembered (cf. stanza 2) that she received a scratch on the foot from the tip of Mahişa's horn. See also stanza 51, where again Mahişa is compared to a spear of grass. 3. Lit. 'by her, having by a blow of her foot made his face, into which a change of appearance had entered, in his navel, he was put to death.' The commentary regards praviştakṛtivikṛti as an adverb (may it not better be neuter, modifying vaktram?)—and connects pravişta with nabhau. It reads: 'In the first place, his face was caused to enter his navel by a blow of her foot; then afterwards, he was put to death; or, in what [face] there was an alteration of its own appearancethe appearance that had entered [into it]-such a [face], the face of Mahişa, she caused to enter his own navel by a blow of her foot.' I suggest the following as another possible rendering of this third pada: 'Having, by a blow of her foot on his navel, made his face to assume an alteration of appearance.' V.L. (a) pārşninişnātasaraḥ. (c) pratişthakṛtivikṛti. (d) sa 'stu śāntyai siva vaḥ. 8 grastāśvaḥ śaspalobhād iva haritaharer aprasodhānaloṣmā sthāṇāu kaṇḍūm vinīya pratimahiṣaruṣevā 'ntakopāntavarti kṛṣṇam pańkam yathecchan varuņam upagato majjanāyeva yasyāḥ svastho 'bhūt pādam āptvā hradam iva mahiṣaḥ sā 'stu durgā śriye vaḥ Mahisa¹ devoured the horses of Sürya² as if through his longing for young grass, and would not brook the fiery pride of Anala (Agni); On Sthāņu (Siva) he removed his itch, and came near to Antaka (Yama) as if in anger at a rival buffalo*; He sought out Kṛṣṇa (Viṣṇu) as if he were mud," and approached Varuna (Ocean) as if for the purpose of plunging [into him]; But when he came in contact with the foot [of Durga (Candi)], as with a sacred pool, he became emancipated. May that Durga (Candi) bring you prosperity'! Notes. 1. The meaning of this stanza seems to be that Mahișa treated the gods with indifference and contempt, till he was brought to himself THE CANDIŚATAKA OF BĀŅA (svastha) with a round turn by Candi. There is also the underlying meaning that after many wanderings (in sin), which consisted in mistaking the gods for something they were not, he finally came to rest, and obtained emancipation (svastha) [the commentary glosses svastho by nirvrtaḥ svargasthaḥ, 'obtains nirvana, is placed in heaven'] by touching the foot of Candi (cf. above, stanza 6, note 3). This latter interpretation, which appears to be that of the commentary, is more readily grasped if it is remembered that the Sanskrit root bhram means both 'wander' and 'err,' and the Hindu mind would supply the idea of bhram as soon as the force of svastha, 'coming to rest,' 'emancipation,' struck home in his intellectual consciousness. 2. Lit. 'of Him whose horses are green.' Because the horses were greenish-yellow in color, Mahişa shows his contempt for Surya by carelessly devouring them as if they were blades of fresh young grass. On the color of Sürya's steeds, see Süryaśataka, stanza 8, note 2, and stanza 46, note 8. 3. Mahişa wilfully mistook Sthāņu (Siva) for a sthanu (rubbing-post). For similar puns on the term sthanu, cf. stanzas 88, 92, 100 and 10I. 4. Yama's vehicle was a buffalo (cf. Süryaśataka, stanza 58, note 5), and so would be a rival of Mahişa, whose name signifies 'buffalo.' 5. The dark color (krsna) of Vişņu in his incarnation as Kṛṣṇa led to the suggestion of mud in which Mahișa might wallow. 6. Varuņa was Ocean. Mahişa lost sight of the person of the god, and saw only the 7. This stanza, as implied in part by the commentary, admits of a double rendering, except in the first part of pada (a). Even there I have sought to find a fleşa, though my translation of grastāśvaḥ by 'outdoes a horse' is hardly warranted by the Sanskrit. The second rendering runs as follows:water. 275 A buffalo outdoes (?) a horse in his greed for young grass, and cannot endure the heat of the fire of the sun; He dispels his itching on a rubbing-post, and comes near to death in his rage, as it were, at rival buffaloes; He is, as it were, fond of [wallowing in] black mud, and goes to water, as if for the purpose of plunging [into it]; And having found a pond he is content, as if he had found the foot [of Durgā (Candi)]. May Durga (Candi) bring you prosperity! V.L. (d) sa 'stu devi mude vaḥ. 9 trailokyātańkaśāntyāi praviśati vivase dhatari dhyanatandrīm indrădyeşu dravatsu dravinapatipayaḥpālakālānalesu ye sparsenäiva piṣṭvā mahiṣam atiruşam trātavantas trilokim pāntu tvām pañca candyāś caraṇanakhanibhenā 'pare lokapālāḥ 276 THE CANDIŚATAKA OF BĀŅA When the Creator (Brahmā), helpless,¹ entered into the lassitude of meditation for alleviating the distress of the three worlds, And when the Lord of Wealth (Kubera), the Guardian of Waters (Varuṇa), Kāla (Yama), and Anala (Agni), headed by Indra, ran away,² Five other world-protectors, under the guise of the [five] toenails on the foot of Candi, Became guardians of the three worlds by crushing with a mere touch the exceedingly angry Mahișa. May [these] other world-protectors protect thee! Notes. 1. The commentary says: 'For he who is a prey to lassitude is verily helpless,' implying that the helplessness of Brahmã was due to the lassitude of meditation; but it seems more natural to suppose that Brahmā retired to meditate because he was helpless to offer aid against Mahişa. 2. It was because the gods had been defeated in battle and put to rout by Mahişa that Candi was created to save them; cf. Introd., p. 250. 3. For a list of the world-protectors (lokapālas), or guardians of the eight points of the compass, cf. Süryaśataka, stanza 18, note 10. 4. There is no te correlative to the ye in päda (c), but in Bühler's text (cf. stanza I, note 1) there occurs an ime in pada (d). For another instance of the omission of the demonstrative, cf. Süryaśataka, stanza 24. The relative has been omitted in Süryaśataka, stanzas 33 and 98. V.L. (a) B trailokyatankanaśye; B dhyanatandräm. (c) B sparsenaivatra pistva (omitting initial ye); K tratavanto jaganti, B trasayantam jaganti. (d) B pätu tvam; B carananakham ime na 'pare lokapalāḥ, K caraṇanakhamisena 'pare. 10 prāleyotpīḍapīvnām nakharajanikṛtām ātapenā 'tipāṇḍuḥ pārvatyāḥ pātu yuşmān pitur iva tulitādrīndrasāraḥ sa pādaḥ yo dhairyān muktalīlāsamucitapatanāpātapītāsur āsīn no devyā eva vāmaś chalamahişatanor nākalokadviso 'pi Very white is the foot of Parvati (Candi) because of the luster of the moon [-shaped whites] of her toe-nails-which whites are in a healthy state by reason of their pressing against the snow¹; And that foot is like the foot of her fathers (Himalaya), and equals in strength the (Himalaya), Indra of Mountains: THE CANDIŚATAKA OF BĀŅA 277 With resoluteness it took away the life [of Mahişa] in the instant of its descent upon him-a descent that was suited to an absence of [any feeling of] playfulness"; Nor was this the foot of Devi (Candi), although it was to (Mahișa), Foe of the Heavenly World, who was disguised in the body of a buffalo. May that foot of Parvati (Candi) protect you! Notes. 1. The commentary says: 'Snow is white; there is a healthy condition of the whiteness [of the nails] through [their] pressing against that (snow); Bhagavatī (Candi) as a rule walks about on the Snowmountain (Himalaya).' The meaning seems to be that the snowy whites of the nails are kept in a fresh or healthy condition by contact with the snow that presses against them as Candi walks barefoot on the snows of Himalaya. Apparently the only reason offered by the commentator to explain why snow benefits the whites of the nails is that both are whitethe action of the snow is in the direction of keeping the whites of the nails white. 2. The commentary says that the word padaḥ is to be read twice. It also suggests the following rendering: 'Her is, as it were, the ,¹ there is no sheen of lac-dye glistening on this victorious [foot], which is [already] smeared with blood , And a massaging with the fingers of this [foot] that has destroyed its enemy (Mahisa), mighty as (Himalaya), Indra of Mountains, would be mockery; THE CANDIŚATAKA OF BĀŅA 279 And today everyone, merely out of fear because of this killing [of Mahişa], is making obeisance [to it].' By Tryambaka (Siva), smiling as he uttered the above words in private, the foe-slaying foot of Ambikā (Caṇḍī) was kissed.² May the foot of Ambika (Candi) protect you! Notes. 1. Vijayã was one of Candi's attendants; she is mentioned again in stanza 21; see also stanza 15, note 7, where Jaya and Vijayā are discussed at length. Here, vijaye may likewise be a locative, meaning in victory'; for a similar pun, see above (p. 230), in stanza 1 of the vakrokti stanzas of Mayūra. 2. The thought conveyed by the stanza seems to be that Siva kisses the foot of Candi, because all the ordinary attentions by which one would honor a foot are in this case either superfluous or are being done by someone else. Thus, there is no use in anointing Candi's foot with lac, because it is already stained red with the blood of Mahişa; and a foot so mighty as to be able to destroy a Mahişa would scorn such tender caresses as massaging; and since the whole world is making obeisance to her foot, Siva, who prefers to be more individual, does not care to honor it thus, and therefore kisses it. This seems to be the interpretation of the commentary, which says: 'In [the case of] a foot, coloring with lac-dye, massaging with the fingers, and making obeisance are the three things suitable; but by Mahadeva (Śiva) just a kissing of it is made, with the thought: "In this case (i.e. in my case), even those three things do not take place." V.L. (b) tulitädrindrasaradviso. 13 bhango na bhrūlatāyās tulitabalatayā 'nästham asthnām tu cakre na krodhāt pādapadmam mahad amṛtabhujām uddhṛtam śalyam antaḥ vācālam nūpuram no jagad ajani jayam śamsad amsena pārṣṇer muṣṇantyā 'sūn surāreḥ samarabhuvi yayā pārvatī pātu sā vaḥ By¹ Pārvati (Caṇḍī), as she, on the field of battle, destroyed with a part of her heel the life of (Mahișa), Foe of the Gods, There was made not only of her creeper-like brows, but also of his bones without concern, owing to her mastery of his might²; THE CANDĪŠATAKA OF BĀŅA Not only was her lotus foot in anger, but also the great thorn in [the side of] the gods was ; Not only was her anklet , but the universe was , extolling her victory. May that Parvati (Candi) protect you! 280 Notes. 1. For convenience, I have translated the fourth pada first. 2, Lit. 'because of his strength being equaled.' 3. The commentary says: 'For the gods regarded Mahişa as a thorn [sticking] in [them].' Cf. Mahabharata, 3. 231. 106: so 'yam tvaya mahabaho samito devakantakaḥ, 'this thorn of the gods has been tamed by thee, O Strong-armed (Skanda),' addressed to Skanda (Kärttikeya) after he had killed Mahişa. In the Epic, Skanda, and not Caṇḍī, is recognized as the conqueror of the buffalodemon; cf. Introd., p. 248. In stanza 56 also, Mahişa is called a 'thorn.' Reference to the tinkling of the anklet is made also in stanzas 6, 43 and 44. 14 niryan nānāstraśastrāvali valati balam kevalam dānavānām drän nite dirghanidrām dviṣati na mahişī 'ty ucyase prayaso 'dya astrisambhāvyavīryā tvam asi khalu mayā nāivam ākāraṇīyā kātyāyany āttakelāv iti hasati hare hrīmati hantv arīn vaḥ 'The army of the Dänavas,¹ which advanced with its ranks [equipped with] various arms and missile weapons, is hastening away, leaderless,² And since thy foe (Mahişa) has been quickly despatched [by thee] to his long sleep, thou art not called "Mahişi" by me today, [as] generally,³ Nor indeed art thou, who hast strength not to be expected in a woman, to be thus summoned hither by me.'* As Hara (Siva) was laughing at his jest" made in those words, Katyayani (Candi) [became] embarrassed. May Katyayani (Caṇḍī) slay your foes! Notes. 1. The army of Mahişa, who was lord of the Dānavas. 2. The word kevalam literally means 'alone,' but the commentary glosses by svamisanyam, 'without a leader.' 3. There is a pun here which it is difficult to bring out in the translation, mahişt meaning both 'consort queen' and 'female buffalo.' It would not be proper to address Caṇḍī as THE CANDIŚATAKA OF BĀŅA 'female buffalo,' since she had slain a male buffalo (Mahişa). On this the commentary says: 'How can she, who kills a male buffalo, be spoken of by the term "female buffalo"? A female buffalo is weaker in strength than the male, but thou art of a strength which is ten million times superior to that of a male buffalo (meaning Mahişa).' 4. Candi had performed so manly an act in slaying Mahişa that she is no longer regarded by her husband Siva as a woman. Nor does Siva exercise the usual privilege of a husband that of summoning his wife to wait on his needs. So the commentary, which reads: 'Summoning a wife who is a woman is proper, but thou hast the behavior of a man; therein lies the jest.' 5. For the explanation of the jest, see note 4. V.L. (a) tiryak nandstraśasträvali. 281 15 jātā kim te hare bhir bhavati mahişato bhir avaśyam harīņām adyendor dvāu kalańkāu tyajati patir apām dhäiryam ālokya candram vāyo kampyas tvayā 'nyo naya yama mahiṣād ātmayugyam yayā 'rau piste naṣṭam jahāsa dyujanam iti jayā sā 'stu devī śriye vaḥ 'Why is fear born in thee, O ¹? Surely there is fear of , , on the part of ²; On the Moon today there are two spots; and (Varuņa), Lord of Waters, on seeing the Moon [running away], loses his courage*; O Vāyu (Wind), another should be shaken by thee; [thou thyself shouldst not tremble]"; O Yama, lead thy vehicle away from Mahisa." With these words, after Devi (Candi) had crushed her foe (Mahişa), Jaya¹ mocked the inhabitants of heaven who had run away. May that Devi (Candi) bring you prosperity! Notes. 1. According to the commentary, the epithet Hari may signify either Vişņu or Indra; this is supported by Sörensen, Index to the Names in the Mahabharata, s.v. Hari. Indra is called Hari in Saryafataka, stanzas 71 and 72, and Candidataka, stanzas 19 and 59. 2. It is difficult to bring out the pun in the translation, the idea being that Hari (Vişņu or Indra) should not be afraid of Mahişa, even if hari (a horse) is usually afraid THE CANDIŚATAKA OF BĀŅA of mahişa (a buffalo). For other puns involving the two meanings of hari, cf. Süryaśataka, stanza 51, note 1. 3. One of these spots is supposedly the dark blotch that can be plainly seen on the white disk of the full moon; the other is the stigma incurred by his defeat in the battle with Mahişa, a blot, as it were, on the Moon's escutcheon. This is the expla- . nation of the commentary, which says: 'One [of the two spots] is, to be sure, innate; but the second assumes the form of a reproach because of his having fled in the battle with Mahişa.' 4. The commentary points out a second rendering for this half of the second pada: 'The Lord of Waters, the Ocean, upon beholding the moon, would abandon his stability -i.e. would move in the direction of the tide.' 5. The Wind (Väyu) usually shakes others and causes them to tremble, as, for example, the leaves and boughs of trees. Now he is taking his turn at trembling, through his fear of Mahişa. The commentary says: 'But thou thyself art trembling-that is the meaning.' 6. The vehicle of Yama was a buffalo; cf. Süryaśataka, stanza 58, note 5. The commentary says: 'A buffalo, seeing another buffalo, gets angry,' and the implication is that Yama and his vehicle were so thoroughly frightened that they are ironically warned to keep away from the dead Mahişa (buffalo), lest the latter should attack the buffalo of the god. 7. Jaya was one of Candi's attendants; she is mentioned also in stanzas 19, 32, 33, 38, 69, 86 and 89, and appears to be not the same person as Vijayā who is mentioned in stanzas 12 and 21. In the Mahabharata, Durgā (Candi) is twice at least addressed as Jaya and Vijayā (4. 6. 16, jaya tvam vijaya ca, 'thou art Jaya and Vijayā'; and 6. 23.6, vijaye jaye, 'O Vijaya, O Jaya'), and nowhere in the Epic does either name appear to be applied to any of Candi's attendants -not being so recorded, at any rate, in Sörensen's Index, nor in the index of A. Holtzmann's Das Mahabharata, Kiel, 1895. But in Bana's Pārvatiparinaya, acts 4 and 5 (ed. M. R. Telang, Bombay, 1892), both Jaya and Vijayā appear as separate and distinct persons, attendants of Parvati (Candi). In the Kathasaritsägara, 1.7. 107 (ed. Brockhaus, Leipzig, 1839), Jaya is represented as wife of Puşpadanta, and portress, or doorkeeper, of Parvati (Candi). 282 16 śülaprotād upantaplutamahi mahiṣād utpatantyā sravantyā vartmany ärajyamāne sapadi makhabhujām jātasamdhyāpramohaḥ nṛtyan hāsena matvā vijayamaham aham mānayāmī 'ti vādī yām āśliṣya pranṛttaḥ punar api purabhit pārvatī pātu sā vaḥ When the pathway of the gods¹ was quickly reddened by the stream [of blood] that inundated the earth in the vicinity,² As it spouted from Mahisa who had been stabbed by the trident, THE CANDIŚATAKA OF BĀŅA 283 Purabhid³ (Siva), under the mistaken impression that [the red of] Twilight had fallen, began to dance; but when he realized [his mistake], he said, with a smile: 'I am honoring a festival of victory,' and having embraced Parvati (Candi), he began to dance again. May that Parvati (Candi) protect you! 3. Siva Notes. 1. The 'pathway of the gods' is the sky. 2. In the commentary it is stated that the compound upantaplutamahi is an adverb, and the translation which I have adopted for it is suggested there. acquired the title of Purabhid, 'Destroyer of Cities,' by burning with a flaming arrow the three cities built of gold, silver, and iron, in the sky, by Maya for the Asuras; cf. Mahabharata, 13. 161. 25-31. See also Mayura's stanza, entitled 'The Burning of the City of Tripura,' translated above, p. 239. 4. The commentary says: 'And furthermore, after taking thought, he realizes [the truth]: "The sky is really reddened by a stream of blood spouting from Mahişa who has been stabbed by the trident of my wife; it is not the twilight-time." Siva's fondness for the twilight-dance has been referred to in Süryaśataka, stanza 55, note 10. V.L. (a) The Kävyamālā text reads upattaplutamahi; following the commentary, I have emended to upantaplutamahi. 17 nākāukonāyakādyāir dyuvasatibhir asiśyāmadhāmā dharitrīm rundhan vardhiṣṇuvindhyācalacakitamanovṛttibhir vikṣito yaḥ pādotpiṣṭaḥ sa yasyā mahiṣasuraripur nūpurāntāvalambi lebhe lolendranīlopalaśakalatulāṁ stād umā sā śriye vaḥ [Mahişa], who possessed the dark-blue sheen of a sword, seemed to the gods, at whose head was Indra,¹ To cover the earth, and their minds were agitated at [what they supposed was] the Vindhya Mountain beginning to grow.³ But he, this buffalo [-shaped] Foe of the Gods, after being crushed by the foot of Uma (Caṇḍī), took on the appearance Of a dangling piece of sapphire-stone, as he clung to the edge of her anklet. May that Uma (Candi) bring you prosperity! Notes. 1. Lit. 'was viewed by the inhabitants of heaven, beginning with the Lord-of-those-whose-dwelling-is-the-sky.' 2. The gods mistook the 284 THE CANDIŚATAKA OF BĀŅA great dark-blue bulk of Mahişa for a mountain, an addition to the Vindhya range, and they were alarmed, fearing a repetition of an unpleasant experience which they had had with the Vindhya on a previous occasion. 'According to a legend related in Mahabharata, 3.8782 seq. [i.e. 3. 104. 1-15], the personified Vindhya, jealous of Himalaya, demanded that the sun should revolve round him in the same way as about Meru, which the sun declining to do, the Vindhya then began to elevate himself, that he might bar the progress of both sun and moon; the gods, alarmed, asked the aid of the saint Agastya, who approached the Vindhya and requested that by bending down he would afford him an easy passage to the South country, begging at the same time that he would retain a low position till his return; this he promised to do, but Agastya never returned, and the Vindhya range consequently never attained the elevation of the Himālaya'; cf. Monier-Williams, Skt.-Engl. Dict. s.v. Vindhya. 3. The comparison of Mahişa with the sapphire, as with the blade of a sword, or a distant mountain-range, was due to the bluish color of his skin. 4. In Harivamsa, 1. 18. 13-22, it is related that when Parvati (Candi) began a rigorous course of austerities, her mother, Menā, seeking to dissuade her, said: u ma, 'Oh don't!' Hence her epithet of Umã, which is first applied to her in the Kena Upanişad (3. 11. 12); cf. J. Muir, Original Sanskrit Texts, 4. 420-421, 2d ed., revised, London, 1873. The same account is given by Kälidāsa in the Kumarasambhava, 1. 26. 18 durvārasya dyudhāmnām mahişitavapuso vidviṣaḥ pātu yuşmän pārvatyā pretapālasvapuruṣaparuṣaḥ preșito 'sãu pṛṣatkaḥ yaḥ kṛtvā lakṣyabhedam hṛtabhuvanabhayo gām vibhidya praviṣṭaḥ pātālam pakṣapālīpavanakṛtapatattārkṣyaśaṁkākulāhiḥ An arrow, sharp as the very messengers¹ of (Yama), Keeper of the Dead, was sped by Parvati (Candi) At the irresistible (Mahişa), Foe of the Gods, who had changed his body into that of a buffalo; And this [arrow], by hitting its mark, removed the anxiety of the world, and piercing the earth, entered Pātāla,* Where it agitated the serpents with the fear that Tärkṣya (Garuda) was descending-a fear caused by the wind of its fringe of feathers. May that arrow [of Parvati (Candi)] protect you! THE CANDISATAKA OF BĀŅA Notes. 1. Sharp as Death, the messenger of Yama. The commentary glosses svapuruşaḥ, 'his own men,' by svakiyadütaḥ, 'his own messengers.' 2. The genitive vidvişaḥ, 'Foe,' appears to be an objective genitive depending on preşito, 'was sped.' 3. Lit. 'having made a cleaving of the mark'; the 'mark' was Mahişa. 4. The words gam... . pätālam occur again in stanza 39, in the same order as here, and in the same position in the pädas. 5. Tärkşya was Garuda, the inveterate foe of all serpents; cf. Suryaśataka, stanza 47, note 3. The commentary says: 'Formerly the snakes were frightened by Garuda's entering Pātāla, because of the wind [stirred up] by his wings; even so by the [winged] arrow of Parvati (Candi).' 285 19 vajram vinyasya hāre harikaragalitam kaṇṭhasūtre ca cakram kesän baddhva 'bdhipäśäir dhṛtadhanadagadā prāk pralīnān vihasya devān utsāraṇotkā kila mahiṣahatāu mīlato hrepayanti hrīmatyā hāimavatyā vimativihataye tarjitā stāj jayā vaḥ Jaya,¹ by placing in her garland of pearls the thunderbolt² , and on her necklace the discus , By binding up her hair with the nooses of (Varuṇa), the Ocean, and by carrying the mace of (Kubera), Giver of Wealth, mocked the gods who had formerly fled, And with pretended desire to drive them away, put them to shame as they reassembled On [the occasion of] the death of Mahișa. But she was rebuked by the modest Häimavati" (Candi). May that Jayā remove your errors of judgment ! Notes. 1. Jaya was one of Candi's attendants; cf. stanza 15, note 7. 2. The gods had abandoned their weapons in their flight from Mahişa; Jaya, who had picked up these weapons, now flaunts them in the faces of their quondam owners. 3. Hari is an epithet both of Vişņu and of Indra; cf. stanza 15, note I. 4. The particle kila seems to have an ironical force here. 5. A patronymic from Himavat, 'Snow-possessing,' an epithet of Himalaya, who was Candi's father. 20 khadge pānīyam ählādayati hi mahiṣam pakṣapātī pṛṣatkaḥ śüleneśo yaśobhāg bhavati parilaghuḥ syād vadhārhe 'pi daṇḍaḥ 286 THE CANDIŚATAKA OF BĀŅA hitvä hetīr iti 'vā 'bhihatibahalitaprāktanäpāṭalimnā pārṣṇyāiva proṣitāsum suraripum avatāt kurvatī pārvati vaḥ 'On the sword there is that which may be drunk; but it would indeed refresh Mahisa¹; The arrow [him] ; [if killed] by the trident, he would become Īśa³ (Siva), and entitled to fame; And in the case of one who is deserving of death, a staff [as instrument of punishment] would be too light.' . With this thought, as it were, Parvati (Caṇḍī) laid aside her weapons, and simply with her heel, whose previous redness* was increased by striking him, made (Mahișa), Foe of the Gods, reft of life. May Parvati (Candi) protect you! Notes. 1. There is blood on the sword, and Mahisa would be refreshed by any kind of drink. 2. The arrow is pakşapātī, 'flying,' but in order to bring the translation into harmony with the sentiment, the meaning 'siding with,' 'partial to,' must be used. 3. Mahişa, if the trident were sticking in his body, would be a 'trident-bearer'; but fülin, 'Trident-bearer,' is one of Siva's epithets; Mahisa would thus become Siva (Isa). See the illustration in Moor, Hindu Pantheon, pl. 6, p. 22, where Siva is pictured holding a trident. 4. The commentary says: 'In the case of Devi's foot, its natural reddishness was increased by the slaying of Mahişa.' 21 kṛtvedṛk karma lajjājananam anaśane śakra mā 'sūn vihāsir vitteśa sthāṇukaṇthe jahi gadam agadasyā 'yam evopayogaḥ jātaś cakrin vicakro ditija iti surāms tyaktahetin bruvantyā vrīdām vyāpāditārir jayati vijayayā nīyamānā bhavānī 'O Sakra (Indra), ,¹ even though thou hast committed such a shame-causing deed, do not, , abandon thy life; O (Kubera), Lord of Wealth, dispel the disease on the neck² of Sthāņu (Siva), for that is surely the [proper] employment of , and of ; O (Vişņu), Bearer of the Discus, (Mahișa), Offspring of Diti, is , but thou art .' THE CANDIŚATAKA OF BĀŅA By Vijaya, uttering these words to the gods who had abandoned their weapons, Bhavani (Candi), who destroyed her foe (Mahişa), was put to the blush. Glory to Bhavānī (Caṇḍī)! 287 [In this stanza the usual benediction is omitted.]¹ Notes. 1. The pun depends on anaśane (loc.), 'in fasting,' and anafane (voc.), 'O thou deprived of the thunderbolt.' The meaning is that Indra should not starve himself to death in chagrin, merely because he abandoned his weapon and ran away in the battle with Mahişa. The commentary says: "For he who commits a shame-causing deed abandons life by fasting.' 2. Siva drank the poisonous fluid kalakūta that was produced at the churning of the ocean, and its virulence was such as to stain his neck dark-blue; hence one of his epithets is nilakantha, 'whose neck is darkblue'; cf. Mahabharata, 1. 18. 41-43 and Süryaśataka, stanza 42, note 12. 3. The pun rests on agada, meaning 'medicine' and 'deprived of the mace." Kubera lost his weapon, the mace (gada), in the battle with Mahişa. 4. The pun rests on vicakra, 'without an army' and 'without the discus.' 5. Vijayā was one of Candi's attendants; cf. stanza 12, note 1, and stanza 15, note 7. 6. Candi is ashamed because her handmaid thus presumes to taunt the gods. 7. For the omission of the benediction, cf. stanza 3, note 5. V.L. (b) artheśa sthanukanthe. (d) lajjam vyäpäditärir. 22 deyād vo vāñchitäni cchalamayamahişotpeṣaroṣānuşangān nītaḥ pātālakukşim hṛtabhuvanabhayo bhadrakālyāḥ sa pādaḥ yaḥ prādakṣiṇyakāṁkṣāvalayitavapuṣā vandyamāno muhūrtam śeşeņevendukāntopalaracitamahānūpurābhogalakṣmīḥ Because of its connection with anger,¹ in crushing Mahișa, who was full of deceit, The foot of Bhadrakālī (Caṇḍī), which had taken away the fear of the world, was brought to the depths of Pātāla, Where, resplendent with the circle of its mighty anklet that was made of moon-stone² jewels, It seemed to be for an instant adored by Seșa, whose body entwined it out of a desire to circumambulate it properly.* May that foot of Bhadrakali (Candi) grant your desires! Notes. 1. The commentary seems to imply that the foot of Candi was THE CANDIŚATAKA OF BĀŅA brought to Pätāla as a punishment for the loss of merit engendered by yielding to anger, but it may be that the idea involved is simply that, in killing Mahişa, the foot struck so hard a blow in its anger, that it crashed through the earth's surface, and momentarily entered the lower world. Seşa, the serpent king of Pätāla, mistaking the circular anklet on this foot for a serpent, and being desirous of treating his visitor with proper hospitality, circumambulated the anklet-and so the foot of Candi at the same time by entwining his body about it. Thus the mighty Seşa became but the foot-ornament of the goddess. On Seșa, see Süryaśataka, stanza 35, note 8, and stanza 75, note 5. 2. On the moon-stones, see Saryafataka, stanza 37, note 5. 3. Respectful circumambulation required that the object honored should be kept to the right of the circumambulator. The fanciful picture portrayed in this stanza is an instance of utpreksa, 'Poetic Fancy.' 4. V.L. (a) -doşānuşangan. (b) kṛtaparamabhayo bhadrakālyāḥ. 288 23 śūlam tūlam nu gāḍham prahara hara hṛṣīkeśa keśo 'pi vakraś cakreṇā kāri kim me pavir avati na hi tvāṣṭraśatro dyurāṣṭram pāśāḥ keśā 'bjanālāny anala na labhase bhātum ity ättadarpam jalpan devān divāukoripur avadhi yayā sā 'stu śāntyāi śivā vaḥ 'O Hara (Siva), is thy trident nothing but cotton? [therefore] strike hard¹; , , Is my hair also made twisted by thy discus? O (Indra), Foe of Tvaştar's Son, thy thunderbolt does not indeed protect thy quarter of the sky; O (Varuṇa), Lord of Waters, thy nooses are but lotus-stalks ; O Anala (Agni), thou canst not [longer] shine." As with these words (Mahişa), the Foe of the Gods, was proudly addressing the gods, he was put to death by Siva (Candi). May that Siva (Candi) bring you prosperity! Notes. 1. Siva's trident made no more impression on Mahişa than would a flock of cotton. 2. The compound hrşikeśa may be resolved into hṛşika-isa, 'Lord of the Senses,' and hrşi-keśa, 'whose hair is his joy.' In the latter sense, it probably contains an allusion to the frivatsa, a curl of hair, the result of Siva's spear-thrust in Vișņu's breast, and worn by the latter as a treasured possession over the wounded spot; cf. THE CANDIŚATAKA' OF BĀŅA 289 Mahabharata, 12. 342. 132-133. In Mahabharata, 1. 64. 53, vatsanko hystkeśaḥ is read, with these two words in juxtaposition, among a series of epithets applied to Vişņu; so also in Mahabharata, 13. 147.3. But in Mahabharata, 12.342. 66-67, the etymology of hrşikeśa is explained as 'whose hair is [Agni and Soma], the two joys,' hrst being taken as dual. 3. The taunt is intended to shame Vişņu, who abandoned his weapon, the discus, in his flight from the battle. 4. In Rig Veda, 10.8.8-9, it is recorded that Viśvarūpa, the three-headed son of Tvaştar, was slain by Indra and Trita; but in the Bhagavata Purana, 6.9. 11-18, the son of Tvaştar is identified with Vrtra, Indra's celebrated adversary; cf. stanza 60, note 3. 5. The noose was Varuna's weapon and attribute; cf. Saryaśataka, stanza 59, note 3. 6. That is, they have no more strength than the stalks of a lotus. 7. The commentary notes: 'Thou art slain [outshone?] by the splendor of me.' 8. On the analogy of attagarva and attagandha, 'humiliated' (cf. Böhtlingk and Roth, PWB, and MonierWilliams, Skt.-Engl. Dict. s.v.-cf. also attamanaska, attavacas, etc.), one might render attadarpam, which the commentary says is to be taken adverbially, as 'shorn of pride'; but it is probably used here to mean 'with an assumption of pride.' In stanza 57, where attadarpam refers to Mahişa, the meaning 'with an assumption of pride' best fits the sense, and in stanza 29, attahasa must mean 'assuming mockery,' 'mocking'; cf. pwb, s.v. attavidya, 'having gained knowledge,' and attavibhava, 'having attained wealth.' V.L. (d) yaya pärvat pätu să vaḥ. 24 śärngin bāṇam vimuñca bhramasi balir asãu samyataḥ kena bāṇo gotrāre hanmy aham te ripum amararipus tv esa gotrasya śatruḥ dāityā vyāpādyatām drāg aja iva mahişo hanyate manmahe 'dyety utprāsyomā purastād anu danujatanum mṛdnatī trāyatām vaḥ 'O Bowman (Viṣṇu), let fly thine arrow; thou art mistaken [in supposing¹ that] this' (Mahișa) is Bali; why is thy arrow held back²? O (Indra), Foe of the Gotras (Mountains), I am slaying thy foe; [for] this (Mahișa), Foe of the Gods, is also a Foe of the Gotra (Family); O ye Daityas, today at my festival a buffalo (Mahişa) is sacrificed like a he-goat*; let him be quickly despatched.' 20 290 THE CANDIŚATAKA OF BĀŅA Having in these words first derided [the gods], Umā (Caṇḍī) then crushed the body of the Dänava" (Mahișa). May Uma (Candi) protect you! Notes. 1. The commentary supplies iti. 2. This pada may also be read as follows: 'O Vişņu, let Bāņa go; thou art mistaken [in supposing that] this [thy captive] is Bali; why is Bāṇa held in captivity?' The demon Bāṇa, who was Bali's son (cf. Mahabharata, 1. 65. 20), was, like his father, an enemy of Vişnu. The struggle in which Bāna was worsted by Kṛṣṇa (Vişņu) is described in the Vişnu Puraṇa, 5. 32-33 (Wilson, vol. 5, p. 107-120). The commentary says: 'Thou art the cause of the confining of Bali, therefore the setting free of Bāṇa is [a] suitable [act] for thee.' For Bali, and his relations with Vişņu, see Süryaśataka, stanza 7, note 4. 3. Indra is called Gotrari, 'Foe of the Mountains,' because, as is told in familiar legends, he cut off their wings and cleft the hills with his thunderbolt (cf. Süryaśataka, stanza 5, note 7, and stanza 40, note 7), but in the epithet gotrasya fatruḥ, as applied to Mahişa, gotra must be taken to mean family,' the explanation, as given by the commentary, being as follows: 'This foe of the gods, Mahişa, is a foe of the gotra, that is, of his own family, since both gods and demons are descendants of Kaśyapa; therefore he also is a gotrari, and I therefore, thinking it not suitable that there should be two gotrāris, am putting to death this one, thy foe.' 4. The commentary says: 'At the festival of Devi (Candi), a he-goat is slain.' To-day, at the Durgā festival, held in Bengal and other parts of India, buffaloes, as well as goats, are sacrificed as victims; cf. Introd., p. 257. Blood sacrifices to Caṇḍī are authorized by the Kalika Purāṇa; cf. the Rudhiradhyaya, 'Blood-chapter,' of that Purana, translated by W. C. Blaquière in Asiatic Researches, vol. 5, p. 371-391, London, 1799. 5. The Dänavas were sprung from Danu, wife of Kaśyapa and daughter of Dakşa. V.L. (b) ripum asuraripuḥ. 25 spardhāvardhitavindhyadurbharabharavyastād vihāyastalam hastād utpatitā prasādayatu vaḥ kṛtyāni kātyāyani yām śūlām iva devadārughaṭitām skandhena mohandhadhir vadhyoddeśam aśeṣabāndhavakuladhvamsāya kamso 'nayat From¹ [Kamsa's] hand, crushed by her weight that was as hard to supports as the Vindhya, Which expanded itself in emulation [of Himalaya], up to the sky rose Katyayani (Candi), Whom Kamsa, with mind blinded by error, had carried on his shoulder, like a spear" made of devadāru wood, THE CANDIŚATAKA OF BĀŅA To the place of execution, in accord with his [purpose of] destroying the entire family of his relative." May Katyayani (Candi) make successful your acts! 291 Notes. 1. The events narrated in this stanza are doubtless to be referred to the following story given in the Harivamsa, 2. 1-4 (ed. Nārāyaṇātmaja Vinayakarāya, Bombay, 1891; cf. Engl. transl. by M. N. Dutt, p. 244-259, Calcutta, 1897), in the Vişnu Purana, 5. 1-3 (Wilson, vol. 4, p. 245-271), and referred to in Mahabharata, 4. 6. 1-3: Kamsa was king of Mathura, and the sage Närada had foretold that the eighth child of Kamsa's aunt (or, cousin) Devaki should kill Kamsa. By divine appointment, this eighth child was to be an incarnation of Vişnu (Kṛṣṇa). Kamsa, having heard the prophecy, had the children of Devaki put to death as soon as they were born, and in this way the first seven were disposed of. But Vişnu, who was destined to be the eighth, arranged for his own preservation in the following manner. He ordained that Nidrā (whom the context shows to be identical with Durga or Candi) should be born of Yaśodā, wife of Kamsa's herdsman, the same night on which he himself was to be born of Devaki. Vasudeva, the husband of Devaki, managed, under cover of the darkness, to exchange the two babes, taking Kṛṣṇa to Yaśodā, and bringing back the girl child Candi to the bed of his wife Devaki. Kamsa was informed by Vasudeva, who was under obligation by promise to announce the birth of every child of Devaki, that a girl child had been . born, and that he was earnestly begged by the parents of the infant to spare its life. This, however, Kamsa refused to do, and seizing the babe by its foot, he dashed out its brains against a stone. Then, instantly, the goddess rose from the ground, full-grown and in full panoply, and after telling Kamsa that his crime in killing her should be expiated by his own death, she mounted up to the sky. Stanzas 45 and 54 of the Candidataka contain further reference to this same anecdote, as does also Mayura's stanza entitled 'The Dream of Kṛṣṇa,' translated above, p. 241. 2. Lit. vyasta means 'scattered'; it is glossed by vikala, 'maimed'; I have rendered by 'crushed.' 3. The idea perhaps is that Candi, though but an infant, was nevertheless a goddess, and therefore of weight sufficient to crush a mortal hand; or perhaps the hand was symbolically crushed, looking forward to the time when Kamsa would be wholly crushed by the weight of her anger, in accord with her prophecy that he should atone for her murder with his own death (see note 1). 4. For the story of the growth of the Vindhya, see stanza 17, note 2. 5. He carried the infant as easily as one would carry a spear. 6. The Pinus Devadaru or Deodar (also Avaria Longifolia and Erythrosylon Sideroxyloides); so Monier-Williams, Skt.-Engl. Dict. s.v. devadaru. 7. Devaki, whose children Kamsa had been killing, was his father's sister (or, his cousin), and so his relative. 8. It is noteworthy that this stanza contains no mention of Mahişa, and the same is true of stanzas 45, 49, 54 and 71. The meter of this stanza is śārdalavikrīḍita. THE CANDISATAKA OF BĀŅA 26 tūrṇam toṣāt turāṣāṭprabhṛtiṣu śamite śātrave stotrakṛtsu kläntevopetya patyus tatabhujayugalasyā 'lam ālambanāya dehärdhe gehabuddhim prativihitavatī lajjayā "līya kālī kṛcchram vo 'nicchayaivā "patitaghanatarāśleṣasāukhyā vihantu 292 While those who are led by Indra,¹ quickly, and because of joy over their fallen enemy (Mahișa), compose hymns of praise [in honor of Candi], That goddess flies for refuge, as one who is weary, to her husband, who has a pair of arms outstretched for her secure protection,² And, seeking to conceal any knowledge of [the whereabouts of] her homes in one half of his body,' she clings to him in her bashfulness. Thus, without design, she verily enjoys the felicity of a more than close embrace.5 May Kali (Candi) ward off trouble from you! Notes. 1. The compound turăşat, 'he who overcomes the mighty,' is here, according to the commentary, an epithet of Indra. 2. Lit. 'for her excessive support.' 3. Lit. 'guarding against knowledge of her home.' 4. A reference to Siva's manifestation as the Ardhanartsa, half man and half woman; cf. stanzas 28, 80 and 91, and Saryafataka, stanza 88, note 4. 5. Lit. 'to whom indeed has fallen, without design, the felicity of a rather close embrace'; this is the result, of course, of her living in one half of Siva's body. V.L. (a) türnam roşat. 27 āstām mugdhe 'rdhacandraḥ kṣipa surasaritam yā sapatnī bhavatyāḥ krīḍā dvābhyām vimuñcā 'param alam amunāikena me pāśakena śūlam prāg eva lagnam śirasi yad abalā yudhyase 'vyād vidagdham sotprāsālāpapātāir iti danujam umā nirdahantī dṛśā vaḥ THE CANDIŚATAKA OF BĀŅA 293 'O¹ lovely lady (Candi), leave the and alone, but throw [at me] the (Ganges), River of the Gods, who is thy co-wife; The game [is played] with two or ; throw another one; have done with that one or for me; [As for your ], a has just come into my head, since thou, [though Mahisa was] with these shafts of derisive" speech, Umā (Candi) with her eye burnt up that Dānava, [who was accordingly] . May Umã (Candi) protect you! Notes. 1. Each of the first three padas contains, punningly, a reference to some one of Candi's weapons-the arrow, noose and trident-and this underlying notion of the weapons, together with Mahişa's scorn of them, is the only thing that gives coherence to the stanza. 2. A certain type of arrow is called ardhacandra, 'half-moon,' presumably because its barb is shaped like the cusp of the crescent moon. 3. Siva wore both the crescent moon and the Ganges on his head; cf. Süryaśataka, stanza 42, note 10, and Canḍiśataka, stanza 3, note 2. Mahişa implies that there is jealousy between Ganga and Candī, inasmuch as they are rival wives of Siva. See Mayūra's stanza, entitled 'The Anger of Uma' (p. 240, above), where Uma's (Candi's) jealousy of Ganga is again alluded to. 4. According to the commentary, fala means 'a weapon and a disease.' 5. The commentary reads: 'Since thou, a woman, fightest with me, this is a śala having the form of a disgrace; or, since I have an army (sabalaḥ sasainyaḥ), and thou art alone, without an army, this is indeed a fala having the form of a disgrace clinging to my head.' As applied to the weapons, fala means 'trident,' and we may translate: 'A trident entered my head, when you fought [historical present] with me.' This pada offers difficulties at best. 6. The cleverness refers to Mahişa's ability to pun. 7. The scorn was for Candi's weapons. 28 vaktrāṇām viklavaḥ kim vahasi bata rucam skanda ṣaṇṇāṁ viṣaṇṇām anyāḥ ṣaṇ mātaras te bhava bhava sakalas tvam śarīrāndhalabdhyā jihmām hanmy adya kālīm iti samam asubhiḥ kaṇṭhato nirgatā gir THE CANDĪŠATAKA OF BĀŅA girvāṇārer yayecchāmṛdupadamṛditasyä 'drijā sā 'vatād vaḥ 'O Skanda (Kārttikeya), why, alas, dost thou, so distressed, wear a despondent expression¹ on thy six faces? Thou hast six other mothers.² 294 O Bhava (Siva), become thou whole by taking possession of the [other] half of thy body, for today I shall slay the false Kali (Candi).' These words went out from the throat of (Mahişa), Foe of the Gods, together with the [breath of his] life, As he was crushed at her pleasure by the tender foot of (Candi), the Daughter of the Mountain." May (Candi), Daughter of the Mountain, protect you! Notes. 1. I have rendered rucam by 'expression,' although its literal meaning is 'luster.' 2. Skanda is Kārttikeya, usually called the son of Agni and Svähä, but sometimes of Siva and Parvati (Candi); cf. the account given above, in stanza 5, note 1. He really had no mother, as the story related in Mahabharata, 3. 225, and Rāmāyaṇa, 1.37, points out, but he was fostered by the six Krttikäs (the Pleiades), who from this circumstance are called his six mothers; cf. Mahābhārata, 3. 226. 22-25, and Ramayana, 1. 37. 24-29. He was born with six faces; cf. Mahabharata, 3. 225. 17, and Rāmāyaṇa, 1. 37. 29. Mahişa is here seeking to console Skanda for the death of Candi, which he (Mahişa) claims to be on the point of bringing 3. Candi occupied one half of Siva's body; cf. stanza 26, note 4. The commentary attributes the following thought to Mahişa: 'She is dishonest and black (kali), but you are honest and white; hence the union of you two is not fitting; therefore I am slaying her.' 5. Candi, or Pārvatī, was the daughter of Himalaya. to pass. 4. V.L. (d) girvandrer yadṛcchamṛdu-. 29 gāhasva vyomamārgam gatamahiṣabhayāir bradhna viśrabdham aśvāiḥ śṛngäbhyām viśvakarman ghatayasi na navam śārngiṇaḥ śārngam anyat äibhī tvan niṣṭhureyam bibhṛhi mṛdum imām īśvarety āttahāsā gauri vo 'vyāt kṣatāriḥ svacaraṇagarimagrastagīrvāṇagarvā THE CANDIŚATAKA OF BĀŅA 295 'O Bradhna (Sürya), roam confidently over the pathway of the sky¹ with thy horses that need now have no fear of Mahisa; O Viśvakarman,³ art thou not fashioning another new bow for the Bowman (Viṣṇu) from the two horns³ [of Mahişa] ? O īśvara (Siva), that elephant's skin [thou art wearing] is rough; take this soft [skin of Mahişa].' Thus in derision* Spake Gauri (Candi), who slew her foe (Mahisa) and humbled the pride of the gods by the weight of her foot. May Gauri (Candi) protect you! Notes. 1. Lit. 'plunge confidently into the pathway of the sky.' 2. Viśvakarman was the artificer of the gods, and in the Epic and Puranic periods is invested with the functions of the Vedic Tvaştar; cf. Dowson, Hindu Mythology, p. 363-364. He corresponds to the Vulcan of the Romans, and to the Hephaestus of the Greeks. 3. The implication is that Vişņu needs a new bow, since he lost his old one in the battle with Mahişa. But if we render as 'thou art not fashioning, etc.,' the idea would be that there is no need to fashion a new bow for Vişnu, since Candi, by killing Mahişa, had recovered his old one which Mahişa had won from him in the battle. 4. On attahäsa, and its meaning, see stanza 23, note 8. 5. Lit. 'devoured the pride.' 30 kṣipto bāṇaḥ kṛtas te trikavinatitato nirvalir madhyadeśaḥ prahrādo nūpurasya kṣataripuśirasaḥ pādapātāir diśo 'gāt sangrāme samnatāṁgi vyathayasi mahiṣaṇ nāikam anyān api tvam ye yudhyante 'tra näivety avatu patiparīhāsahṛṣṭā śivā vaḥ ', and «thy abdomen», «stretched taut by the twisting of thy shoulders»>, <>,¹ While , and >, <<> ; Because of the stampings of thy foot on the head of thy slain foe (Mahișa), the of thy anklet, and also , went to the skies; O (Candi) of the contracted limbs, [thus] in the battle thou THE CANDIŚATAKA OF BĀŅA didst discomfit not Mahișa alone, but also others who did not fight there at all.' With these witty speeches of her husband (Siva), Siva (Candi) was delighted. May Siva (Candi) protect you! 296 Notes. 1. Owing to the muscular effort put forth in drawing a bow, the shoulders are thrown back, and the trivali, or triple wrinkle over the abdomen-considered a mark of beauty in women-is momentarily smoothed out. This seems to be the explanation of the commentary, which reads: 'For at the moment of despatching an arrow, the abdomen, owing to the upright position (ardhvottambhana) of the body, becomes free from wrinkles.' 2. The Middle Region (Madhyadeśa) comprised the north central part of India. 3. The three sacred syllables (vyährti) are the names of the first three of the seven worlds-bhar, bhuvas and svar-and are pronounced after om by every Brāhman on commencing his daily prayers; cf. Monier-Williams, Skt.-Engl. Dict. s.v. vyährti. 4. The 'others' were the demons Bāṇa, Bali and Prahrada, who are referred to, punningly, in the words 'noise' (prahrada), 'arrow' (bana), and 'wrinkle' (bali or vali). According to the commentary, the wit or jest lies in the conception that Candi discomfited three people who were really not present in the battle at all. Prahrada was Mahişa's uncle; Bali was grandson of Prahrada, and father of Bāņa; cf. Bhagavata Purana, 6. 18. 10-19, where the genealogy of the Däityas is recorded. V.L. (c) sangrame samtata vo. (d) ye vidyante 'tra; patiparīhāsatuṣṭā bhavant. 31 merāu me rāudraśṛngakṣatavapuși rușo nāiva nītā nadīnām bhartāro riktatām yat tad api hitam abhūn niḥsapatno 'tra ko 'pi etan no mṛṣyate yan mahişa kaluṣitā svardhuni mürdhni mānyā sambhor bhindyād dhasantī patim iti śamitārātir ītīr umā vaḥ 'When Meru¹ had its body wounded by thy cruel horns,³ I felt no anger; and when the (Oceans), the Lords of Rivers, Were brought to a state of emptiness, that too was agreeable, [for] then a certain person came to be without a rival; But this, O Mahișa, is not forgiven-that the revered (Ganges), River of Heaven, on the head of Sambhu (Siva) should be defiled." THE CANDĪŠATAKA OF BĀŅA With these words Umā (Caṇḍī), who slew her foe (Mahisa), mocked her husband (Siva). May Uma (Candi) destroy your distresses! Notes. 1. Meru, the Dawn Mountain (cf. Süryaśataka, stanza 1, note 4), was Candi's grandfather, the father of Candi's mother Menā; cf. Ramayana, 1. 35. 16-17. 2. The Markandeya Purana, 83. 24-26 (Pargiter, p. 480), in describing the battle between Mahişa and Candi, says: 'And he [Mahişa], great in valour, pounding the surface of the earth with his hooves in his rage, tossed the mountains aloft with his horns, and bellowed; ... and the sea, lashed by his tail, overflowed in every direction; mountains fell in hundreds from the sky, being cast down by the blast of his breath.' 3. Lit. 'no angers at all.' 4. The 'certain person was Siva. On this the commentary says: 'Ocean and Mahadeva (Siva) were [both] husbands of Ganga (Ganges), but on Ocean's being made empty, Mahadeva's (Siva's) husbandship of Gangã came to be without a rival.' 5. The commentary says: 'She became impure by touching another man.' On Siva's relation to Ganges, cf. stanza 3, note 2. 6. She ironically pretends to be solicitous only for her rival Gangā. ' 297 V.L. (a) The Kävyamālā text reads nadina; following the commentary, I have emended to nadīnām. 32 sadyaḥ sādhitasādhyam uddhṛtavatī śūlam śivā pātu vaḥ pādaprāntavişakta eva mahiṣākāre suradveṣiṇi diṣṭyā deva vṛṣadhvajo yadi bhavān eṣā 'pi naḥ svāmini samjātā mahiṣadhvajeti jayayā kelāu kṛte 'rdhasmitā Just when Siva (Candi) had pulled out [from Mahişa's body] the trident that had effected its object, And while the tip of her foot was resting on (Mahişa), Foe of the Gods, who was in the form of a buffalo, She half smiled when a jest was made by Jaya, who said: 'Is it not auspicious, O God (Siva), that whereas Your Excellency's emblem is a bull, (Caṇḍī), this mistress of ours, has also acquired an emblem, namely, a buffalo (mahişa)?" May Siva (Candi) protect you! Notes. 1. Mahişa had had a taste of all of Candi's weapons before he received the final coup de grâce from her foot. 2. Lit. 'while the foe 298 THE CANDIŚATAKA OF BĀŅA of the gods, in the form of a buffalo, was adhering to the edge of her foot.' The picture presented in the first two pādas is that of Candi bracing her foot against Mahişa's body in order to pull out the trident. While in this position, she appears to be standing upon or mounted on him, thus giving rise to Jaya's little jest which compares her to Siva, since the latter is often represented as mounted on his bull. 3. Jaya was Candi's handmaid, as already explained in stanza 15, note 7. 4. The commentary says: 'Proper is the union of you two, for you both have cattle as your emblems; this, however, is the laughable thing that you are mounted on a bull, but she on a buffalo.' 5. The meter of this stanza is färdülavikridita. V.L. (b) protaprāntavişakta. 33 vidrāṇendrāṇi kim tvam draviṇadadayite paśya samkhyam svasakhyāḥ svāhe svasthā svabhartary amṛtabhuji mudhā rohiņī roditi 'va lakṣmi śrīvatsalakṣmorasi vasasi purety ārtam āśvāsayantyām svargastrāiņam jayāyām jayati hataripor hrepitam hāimavatyāḥ 'O Indrāṇī,¹ why art thou perplexed? O wife of (Kubera), Giver of Wealth, behold the [successful] conflict of thy friend (Candi); O Svāhā, compose thyself, for thy husband (Agni) [will soon be] enjoying the residue of sacrifices³; Rohiņi is weeping, as it were, without cause; O Lakṣmi, thou wilt soon [again] be reposing on the breast of (Vişnu), whose emblem is the frivatsa." As Jaya' in these words Was consoling the unhappy women of heaven, a modest feeling [arose in] Häimavati (Candi), who slew her foe (Mahişa).¹0 Glorious is the modesty of Häimavati (Caṇḍi)! [In this stanza the usual benediction is omitted.] ¹¹ Notes. 1. The wife of Indra. 2. The wife of Agni. 3. Usually, amṛtabhuj means 'nectar-enjoyer,' 'god,' but I have rendered as 'enjoying the residue of sacrifice'-a meaning allowed by the lexicons-because the commentary says: 'Now, since Mahişa is slain, he (Agni) will be worshiped with joy by Brahmans.' 4. The wife of the Moon. 5. The particle pura, when used with a present tense, sometimes gives to that THE CANDIŚATAKA OF BĀŅA tense the force of a future; cf. Monier-Williams, Skt.-Engl. Dict. s.v. 6. Vişņu wore on his breast the curl of hair known as the frivatsa, which was produced by a thrust of Siva's lance; cf. stanza 23, note 2. On Lakşmi, and her relation to Vişnu, see Süryaśataka, stanza 2, note 2, and stanza 42, notes 3 and 6. 7. On Jaya, see stanza 15, note 7. 8. The wives of the gods were unhappy because they believed that their husbands had perished in the battle with Mahişa. 9. I have taken hrepitam to be a participial noun, meaning 'modest feeling' (cf. stanza 38), although it is not so recognized in the lexicons. 10. Candi was overcome with emotion at the thought that she had saved the husbands of all these women. The commentary says: 'Devi (Candi), on hearing all this consolation of the women of heaven, blushed (or, was ashamed).' Owing to her excessive modesty, she desired no praise for her acts. 11. For similar omission of the benediction, cf. stanza 3, note 5. 299 V.L. (b) svabhartary amṛtasrji. (d) The Kävyamālā text reads haimavatyä; I have emended to haimavatyāḥ, which is the reading of the commentary and of a similar passage in stanza 38. 34 nirvāṇaḥ kim tvam eko raṇaśirasi śikhiñ śārngadhanvā 'pi vidhyams tat te dhairyam kva yātam jahihi jalapate dīnatām tvam nadinaḥ śakto no śatrubhange bhayapiśuna sunāsīra nāsīradhūlir dhig yāsi kveti jalpan ripur avadhi yayā pārvatī pātu sā vaḥ 'O Sikhin (Agni), art thou alone ¹ in the forefront of the battle? [Nay, for] he (Vişnu) whose bow is the śärnga is also , having shot [them away]. O (Varuņa), Lord of Waters, where has that bravery of thine gone? Give over thy timidity, [for] thou art , and . O cowardly , , the dust of thy vanguard is not effective in defeating [me, thy] foe.³ Out upon thee! Where canst thou go?" While uttering these [taunting] words, the Foe (Mahişa) was slain by Parvati (Candi). May that Parvati (Candi) protect you! 300 THE CANDIŚATAKA OF BĀṆA Notes. 1. The force of the pun is lost in the translation; as applied to Agni (fire), nirvāṇaḥ means 'extinguished.' 2. The imperative jahihi, 'abandon,' 'give over,' usually has a long penult-jahihi; cf. Whitney, Skt. Grammar, 665. The form with short penult is found also in Saryakataka, stanza 59. 3. The commentary says: 'Just as formerly [thy] enemies fled upon merely catching sight of the dust arising from the vanguard of thy army, even so now [they do] not.' 4. These same words-dhig yäsi kveti-occur, with similar meaning, in stanza 82. The 'thee' and 'thou' refer to Candi. The commentary explains: 'Wherever thou wilt go, just there thou art slain.' 35 nandinn änandado me tava murajamṛduḥ samprahāre prahāraḥ kim dante romņi rugne vrajasi gajamukha tvam vašībhūta eva nighnan nighnann idānīm dyujanam iha mahākāla eko 'smi nā 'nyaḥ kanya 'drer däityam ittham pramathaparibhave mṛdnatī trāyatām vaḥ 'O Nandin, in the battle thy blow, soft as [the noise¹ of] a drum, was to me a giver of joy; O Elephant-faced (Gaṇeśa), why dost thou wander about, absolutely subdued, with thy hair-like tusk broken off? I alone am , ; there is no other here now who keeps constantly slaying the folk of heaven.' As he was thus insulting her attendants," (Candi), Daughter of the Mountain, crushed the Däitya (Mahisa). May (Candi), Daughter of the Mountain, protect you! Notes. 1. The commentary supplies dhvani, 'noise.' 2. Gaṇeśa's corpulence did not permit of his running far or fast, so, although he attempted to flee, he was easily overtaken and subdued by Mahişa. The commentary says: 'Because of having a protuberant belly, it is not possible [for thee] to make a distant flight.' 3. Lit. 'thy tusk, a hair,' but the commentary supplies 'like.' Presumably the tusk was comparable to a hair, either because it curled or because it was slender. The cause of the loss of Ganesa's tusk is variously given; the Brahmavaivarta Purana (3.40) tells how it was lost in conflict with Paraśurāma (cf. stanza 67, note 2), the SiśupalaTHE CANDIŚATAKA OF BĀŅA vadha (1.60) states that it was cut off by Ravaṇa, and the Haracarita (18.23) says that it was lost as the outcome of a wager between Kumāra and Ganesa as to which of them could most quickly encircle the earth; cf. H. Jacobi, Brahmanism, in Encyclopaedia of Religion and Ethics, vol. 2, p. 799-813, sub-heading Ganesa (p. 807), ed. James Hastings, New York, 1910. The Candiśataka, stanza 67, tells us that the tusk was broken off by the demon Mahişa. 4. Mahākāla was the name of one of Siva's attendants, as well as being an epithet of Siva himself. 5. Nandin, Gaṇeśa and Mahākāla were all attendants of Siva, and so also of Candi, Siva's wife. Gaṇeśa was the reputed son of Siva and Pärvati (Candi); for his parentage, see Kennedy, Ancient and Hindu Mythology, p. 352-356, and especially H. Jacobi, Brahmanism, as cited in note 3; see also Moor, Hindu Pantheon, pl. 9, p. 42, where the infant Gaṇeśa is pictured held in Pârvati's (Candi's) arms. 301 36 vajram majño marutvān ari harir urasaḥ śūlam iśaḥ śirasto dandam tundāt kṛtāntas tvaritagatigadām asthito 'rthādhinäthaḥ präpan yatpädapiṣṭe dviși mahişavapusy angalagnāni bhūyo 'py ayumşi 'vā "yudhāni dyuvasataya iti stād umā sā śriye vaḥ When¹ Umā (Candi) crushed with her foot the Foe (Mahişa) who had the body of a buffalo, The inhabitants of heaven again their weapons their lives ] glance [in affection], [and on glance in anger], thus facing them face to face at the outset, as it were, Smiling [affectionately when ] ] , Adding even more words worth listening to [when ] [and when ] , just as formerly [she had been intent upon carrying on the sport of love] , Doing everything triflingly [, but with real affection ], Killed the Foe (Mahișa), and became smeared, as it were, with lac-dye on her foot.² May Parvati (Candi) protect you! Notes. 1. This is a troublesome stanza, but it seems to be clear that there is a pun, running all through, on the two meanings of the term Pasupati-Siva and Mahişa. 2. After killing Mahişa, Candi found her foot smeared with blood, as if with lac-dye; cf. stanzas 2, 3, 12 and 44. V.L. (a) -drstiḥ kṛtamukhavikṛtiḥ sammukhina. (c) pasupateḥ. THE CANDIŚATAKA OF BĀŅA 38 daityo dordarpaśālī na hi mahiṣavapuḥ kalpanīyābhyupāyo vāyo vārīśa viṣṇo vṛṣagamana vṛṣan kim viṣādo vṛthāiva badhnīta bradhnamiśrāḥ kavacam acakitāś citrabhāno dahā 'rin 303 evam devāñ jayokte jayati hataripor hrepitam hāimavatyāḥ 'The¹ Daitya (Mahişa), in the form of a buffalo, and full of pride in his prowess, is not indeed one in whose case the [ordinary] expedients are effective; [Therefore], O Vāyu (Wind), O Lord of Waters (Varuņa), O Vişņu, O Bull-rider (Siva), O Bull (Indra), why [this] wholly vain despòndency ?* Gird on your armor, together with Bradhna (Sürya), ceasing to be cowards; O thou (Agni) whose luster is variegated, burn up thy foes.' While Jaya was thus speaking to the gods,' a modest feelings [arose in] Häimavati (Caṇḍī), who slew her foe (Mahisa). Glorious is the modesty of Häimavati (Caṇḍi)! [In this stanza the usual benediction is omitted.] Notes. 1. The sense of this stanza is that the gods must make special efforts to subdue Mahișa, since none of the ordinary means for subduing enemies are effective against him. 2. Lit. full of pride in his arm.' 3. The four recognized upayas, or means of subduing an enemy, were 'conciliation' (saman),'bribery' (dana), 'sowing dissension' (bheda), and 'open assault' (daṇḍa); cf. Manu, 7. 107-109, 198, and Candidataka, stanza 46, note 1. The commentary says: 'He (Mahişa) is incapable of being subdued by the employment of saman, etc.' 4. That is, despondency does no good; it is time for strenuous effort. The alliteration (anuprāsa) in this pada is noteworthy. 5. Lit. 'without fear.' 6. On Jaya, see stanza 7. The accusative devän must be taken as a sort of object of jayokte used with a verbal force-' in the utterance of Jaya to the gods.' The commentary glosses devan by devan prati, 'to the gods.' 8. For the construction of hrepitam, see stanza 33, note 9. 9. For the omission of the benediction, cf. stanza 3, note 5. 15, note 7. V.L. (b) bṛhat kim vişādo. (d) hataripur hrepitasvarnikāyā. 39 a vyoma vyāpisīmnām vanam atigahanam gāhamāno bhujānām THE CANDIŚATAKA OF BĀŅA arcirmokṣeņa mūrchan davadahanarucām locanānām trayasya yasyā nirmajjamajjaccaraṇabharanato gām vibhidya praviṣṭaḥ pātālam pańkapātonmukha iva mahiṣaḥ stād umā sā śriye vaḥ Mahisa, plunging into the very impenetrable forest [composed] of [Uma's (Candi's)]¹ arms whose extremities reached to the sky,³ Became dazed at the emission of flame from the triad of her eyes that gleamed like a fire in a burning forest; [Then], bowed by the weight of her foot which sank into his lifeless [body], he clove the earth, And entered Pātāla," as if expecting to wallow in its mud. May that Umā (Candi) bring you prosperity! 304 Notes. 1. The commentary says: 'Of the arms, that is to say, [the arms] of Devi (Candi).' 2. I have changed the division of the words in the reading of the Kävyamālā text, from a vyomavyāpi sīmnām into a vyoma vyapisimnām, which is the reading of the commentary. This is, I confess, open to the objection that vyapin appears not to be used at the beginning of compounds (cf. pwb, s.v.). As another alternative, one might read avyomavyapisimnam as a compound word. For the forest of arms of Candi, cf. stanza 64, and Moor, Hindu Pantheon, pl. 19. 3. In the Devi Upanişad, Candi is addressed as 'thou represented with three eyes'; cf. Kennedy, Hindu Mythology, p. 492; her three eyes are also mentioned in the account of her birth given in the Vamana Purana; cf. Kennedy, ibid., p. 335. See also Candiśataka, stanzas 40 and 51. It may likewise be noted that since Siva had three eyes, Candi, who is Siva's sakti-i.e. the female personification of his 'energy'-is also entitled to the possession of a like number. 4. Lit. 'marrowless,' meaning deprived of the life or the blood; for a similar conception, cf. stanza 3, note 4 5. The words gam... patalam occur in the same order, and in the same position in the padas, in stanza 18. 6. The commentary notes an implied simile in this stanza. It reads: 'Just as any other buffalo (mahişa), when wandering in a forest, and heated by a forest-fire, enters a hollow, expecting to wallow in the mud, even so also this [buffalo-i.e. Mahişa], completely scorched by the flame of the eyes of Devi (Candi), enters Pätäla.' For the fire in Candi's eyes, cf. stanza 51. V.L. (a) The Kävyamālā text reads a vyomavyapi simnām; following the commentary, I have emended to a vyoma vyapisimnam. (b) locanānām trayena. (d) sa fiva 'stu śriye vah. THE CANDIŚATAKA OF BĀṆA 40 nite nirvyājadiīrghām aghavati maghavadvajralajjānidāne nidrām drāg eva devadviși mușitaruṣaḥ samsmarantyāḥ svabhāvam devyā dṛgbhyas tisṛbhyas traya iva galitā rāśayo raktatāyās trāyantām vas triśūlakṣatakuharabhuvo lohitāmbhaḥsamudrāḥ 305 When the sinful (Mahișa), Foe of the Gods, who had put to shame the thunderbolt of the Munificent (Indra);¹ Had been brought full quickly to the sleep that is ineffably long,³ Devi (Candi), reft of her anger, came back to herself³; And the oceans of flowing blood, issuing from the holes of the wounds [caused] by the trident [in Mahişa], Became, as it were, three masses of the redness [of anger] streaming from her three eyes." May these oceans of blood protect you! Notes. 1. Indra's thunderbolt was ashamed because it had been unable to subdue Mahişa. 2. Lit. 'long beyond semblance.' 3. Lit. 'recollecting her own nature.' 4. Lit. 'blood-water oceans.' 5. Upon seeing the blood, Candi realized that the killing had been effected, her rage subsided, and the red of anger faded from her eyes. The fanciful imagining of the red blood flowing from Mahişa to be the redness of anger receding from the eyes of Candi, is an instance of the rhetorical figure utpreksa, 'Poetic Fancy.' For Candi's three eyes, cf. stanza 39, note 3, and stanza 51, note 1. 6. This stanza is quoted in the Sarasvatikanthabharaṇa (2. 296) of Bhojadeva (fl. 1010-1042 A.D.; cf. Mabel Duff, Chronology of India, p. 109, Westminster, 1899), as an illustration of the rhetorical figure citra, 'picture,' a type of varnanuprāsa, or 'syllable alliteration' (see the 2d ed. of this work by Jivananda Vidyāsāgara, p. 255, Calcutta, 1894). Stanza 66 of the Candifataka is also quoted in the Sarasvatikanthabharaṇa as an illustration of the venika ('braid') type of varnanuprāsa; cf. stanza 66, note I. V.L. (b) muşitabhiyaḥ. (c) raśayo śoṇitasya. (d) rakşantu tväm trisalakşata-. The text as given in the Sarasvatikanthabharaṇa (see note 6) shows the following variants: (a) vajranidränidane. (d) rakşantu tvam trisalakşatikuhara-. 41 kālī kalpāntakālākulam iva sakalam lokam älokya pūrvam paścāc chliṣṭe viṣāṇe viditaditisutā lohitā matsareņa 21 THE CANDĪŠATAKA OF BĀŅA pādotpiṣṭe parāsāu nipatati mahişe prāksvabhāvena gāurī gāurī vaḥ pātu patyuḥ pratinayanam ivā "viṣkṛtānyonyarūpā [Candi], on seeing the whole world as if confounded by Fate at the end of a kalpa, became at first , and so ¹; Afterwards, when she perceived (Mahișa), Son of Diti, with his horn encircling2 [her foot], she became with anger, and so ; 306 But when Mahișa, crushed by her foot, fell lifeless, she became, by [virtue of] her original nature, , and thus . May this Gauri (Candi), whose forms are but reciprocal manifestations of the eyes of her husband (Siva)³May she, Gauri (Candi), protect you! Notes. 1. The meaning is that Candi, on seeing the destruction wrought by Mahişa, assumed her dark, horrific aspect of Kälī, 'The Black One.' For the periodic destructions of the world at the end of every kalpa, cf. Suryaśataka, stanza 23, note 6. 2. See stanzas 2 and 44, where the same is said of Mahişa's horn. 3. Lit. 'whose reciprocal form is manifested, as it were, according to the eyes of her husband.' That is to say, the three eyes of Siva, the black (kan), the red (lohita), and the dazzling white (gauri), became incarnate as Candī, under the names, which she bore, of Kälī, Lohita and Gäuri. It should be noted, however, that Lohitā seems not to occur elsewhere as a name of Candī, although it is found, along with Kāli and Karälī, two recognized epithets of Candi, among the names of the seven tongues of Agni; cf. Mundaka Upanişad, 1.2.4, as quoted by J. Muir, Original Sanskrit Texts, vol. 4, p. 429, London, 1873; cf. also H. Jacobi, Durga, in Encyclopaedia of Religion and Ethics, vol. 5, p. 117-119, ed. James Hastings, New York, 1912. V.L. (d) pratinayana iva "vişkṛtänyonyabhāvā. 42 gamyam nā 'gner na cendoḥ sapadi dinakṛtām dvādaśānām asahyam śakrasyā 'kṣṇām sahasram saha surasadasā sādayantam prasahya utpātogrāndhakārāgamam iva mahiṣam nighnatī śarma diśyād devī vo vāmapādāmburuhanakhamayāiḥ pañcabhiś candramobhiḥ THE CANDIŚATAKA OF BĀŅA Mahisa, who was assailable¹ neither by Agni nor by Indu (Moon), and who could not be resisted for an instant by the twelve Suns,³ 307 Who violently destroyed the thousand eyes of Sakra (Indra) together with the assembly of the gods, And who was like the approach of the terrible darkness of some [evil-boding] portent, was killed by Devi (Candi) With the five moon-like toe-nails of her left lotus foot. May Devi (Candi) bestow happiness upon you! Notes. 1. In Süryaśataka, stanza 23, gamya, 'assailable,' is again found with a genitive case. 2. By the 'twelve Suns' are meant the twelve manifestations of the Sun in the twelve months of the year; cf. Saryaśataka, stanza 90, note 1, and stanza 94, note 5. 3. For Indra's thousand eyes, cf. Saryaśataka, stanza 94, note 4, and Candidataka, stanza 57, note 6. 4. Lit. with the five moons constituting the nails of her left foot-lotus.' Stanza 10 says that Candi killed Mahişa with her right foot, but elsewhere in the Candidataka, whenever specific mention is made, it is always said that she used her left; cf. stanza 10, note 6. V.L. (a) na 'gner jitendum; dvādaśānām aśakyam. 43 dattvā sthūlāntramālāvalivighasahasadghasmarapretakantam kätyāyanyā "tmanāiva tridaśaripumahādāityadehopahāram viśrantyai pātu yuşmān kṣaṇam upari dhṛtam kesariskandhabhitter bibhrat tatkesarālim alimukhararaṇannūpuram padapadmam After Katyayani (Candi) had verily in person offered as an oblation the body of the great Dāitya (Mahiṣa), the Foe of the GodsAn oblation that roused the mockery of the voracious female ghouls, since the residue [for their consumption] was [merely] the series of the festoons of his large intestine,³ Her lotus foot, possessed of a jingling anklets that hummed like a bee, was placed for a moment, for the purpose of resting [it], 308 THE CANDIŚATAKA OF BĀṆA On the wall-like surface of the shoulder of her lion, [and therefore seemed to be] wearing a fringe of his mane. May the lotus foot [of Kätyāyani (Candi)] protect you! Notes. 1. Lit. 'wives of the ghouls.' 2. The residue of the oblation, usually eaten. 3. The commentary says: 'There is cause of mockery by the wives of the ghouls, with the thought: "There has been left over for us by Devi (Candi) merely the sapless pile of entrails." The implication is that the body of Mahişa had been reduced to a shapeless mass by the force of Candi's kick, nothing being left but one intestine. 4. According to the commentary, the term 'lotus foot' is aptly applied here, because it has an anklet that hums (lit. 'is mouthy') like a bee, while a lotus is always surrounded by bees, and because the foot has a fringe of kesara (mane), while a lotus has kesara (filaments). 5. The noise of Candi's anklet is mentioned also in stanzas 6, 13 and 44. V.L. (c) upari kṛtam. 44 kopenevā 'ruṇatvam dadhad adhikatarālakṣyalākṣārasaśrīḥ ślişyacchṛngāgrakoṇakvaṇitamaṇitulākoṭihumkāragarbhaḥ pratyāsannātmamṛtyupratibhayam asurăir īkşito hantv arīn vaḥ pādo devyāḥ kṛtānto 'para iva mahiṣasyopariṣṭān niviṣṭaḥ The foot of Devi (Candi) is, as it were, red from anger, and the sheen of its lac-dye becomes [thereby]¹ more apparent²; And it diffuses sounds from its jeweled anklet that is twanged by the tip of [Mahişa's] encircling horn, as with a quill; And it is gazed on by the demons with fear that their own death is imminent"; And it is placed on Mahişa>, [being thus also] like a second Kṛtānta (Yama), [for the latter] . May the foot of Devi (Candi) destroy your foes! Notes. 1. The commentary introduces ata eva, 'just thereby.' 2. Lit. 'possessing a more apparent lac-juice sheen'; for other passages in the Candidataka where mention is made of the practise of staining the feet with lac-dye, cf. stanza 3, note I, and stanza 37, note 2. 3. Lit. 'is filled with the sound.' 4. For the 'encircling horn,' cf. stanzas 2 and 41, and for the noise of the anklet, cf. stanzas 6, 13 and 43. 5. Following the commentary, I take the compound pratyäsanna . . . bhayam to be an adverb. 6. Yama's vehicle was the buffalo (mahişa); cf. Saryaśataka, THE CANDIŚATAKA OF BĀŅA 309 stanza 58, note 5. The commentary calls attention to the various points of comparison between Candi's foot and Yama, as follows: 'Yama also is red from anger, makes a sound (humkara-the death rattle?), is seated on a buffalo, and is gazed on by mortals fearful that death is imminent.' V.L. (a) dadhad adhikam alam. 45 āhantum niyamānā bharavidhurabhujasramsamānobhayāmsam kamsenäināmsi sã vo haratu hariyaśorakṣaṇāya kṣamā 'pi prāk prāṇān asya nā "syad gaganam udapatad gocaram ya śilāyāḥ samprāpyā "gāmivindhyācalaśikharaśilāvāsayogodyateva , when carried off to be slain¹ by Kamsa³-his two shoulders stooping as his arms were burdened by her weight³Although of defending the renown of Hari (Vișņu),* did not at once despatch his (Kamsa's) life, But after having, [at his hands], come into forcible contact with a rock, rose up to heaven, As if intent on meditation in her future home of rock on the summit of the Vindhya Mountain." May that Kṣamā (Caṇḍī) destroy your sins! Notes. 1. For the story of Kamsa's attempt to destroy Candi, see stanza 25, note 1. 2. It is worthy of note perhaps that Kşamā' and 'Kamsa contain similar sounds. The epithet Kşama is applied to Durga (Candi) in the Devi Purana; cf. PWB, s.v. 3. The body of Candi as a baby, though not actually heavy, was figuratively so, because Kamsa was destined in the future to be crushed by the weight of her might; cf. stanza 25, notes 2 and 3. 4. Candi, in the incarnation here referred to, was Krşṇa's (Vişnu's) substitute, having elected to be killed in Vişnu's stead; cf. stanza 25, note 1. 5. Lit. 'in the first place,' 'at first.' 6. Lit. 'having attained the realm of rock,' the meaning being that Kamsa dashed out Candi's brains against a stone. 7. When Kṛṣṇa (Vişņu) persuaded Candi to be born of Yaśodā as a mortal, he promised her as a reward that she should be the adored of gods and mortals and should have a dwelling-place on the Vindhya; cf. Harivamsa, 2. 2. 30, 49 (Dutt, cap. 57, p. 249-250). 8. Note in this stanza the absence of any reference to Mahişa; cf. stanza 25, note 8. V.L. (a) aghātam niyamānā. 9 THE CANDIŚATAKA OF BĀNA 46 sāmnā nā "mnāyayoner dhṛtim akṛta harer nã 'pi cakreṇa bhedāt 310 sendrasyāirāvaṇasyā 'py upari kaluşitaḥ kevalam dānavṛṣṭyā dānto daṇḍena mṛtyor na ca viphalayathoktābhyupāyo hato 'rir yenopāyaḥ sa pādaḥ sukhayatu bhavataḥ pañcamaś caṇḍikāyāḥ [Mahişa]¹ either in the «conciliation or in the , ; * Indra's [elephant] Airāvaṇa, he was simply by the flow of ichor» [from its forehead]; Nor was he subdued by the and the of Death (Yama), these expedients, as described, being all ineffectual; But he, the Foe (Mahișa), was slain by a fifth expedient-the foot of Candika (Candi). May that foot of Candika (Candi) prosper you! Notes. 1. The meaning of this stanza is that the gods were unable to subdue Mahişa by any of the four recognized means of success against an enemy, and so employed a fifth-the foot of Candi. The four recognized means (upayas) of subduing a foe were 'conciliation' (saman), 'sowing dissension' (bheda), 'bribery' (dana), and 'open assault' (danda); cf. Manu, 7. 107-109, 198. In this stanza there is a pun on each of these four terms. In stanza 38, Mahişa is said to be 'not one in whose case the ordinary expedients (abhyupayas) are effective.' 2. The word akyta appears to be a root-aorist middle used in Vedic literature; cf. W. D. Whitney, Roots, Verb-Forms, and Primary Derivatives of the Sanskrit Language, s.v. 1st kr, Leipzig, 1885; but it is recognized by the grammarians as forming a part of the s-aorist; cf. Whitney, Skt. Grammar, 881, c. 3. Brahma is usually credited with the production of the Vedas; cf. Süryaśataka, stanza 99, note 2. 4. I have regarded Airavaṇasya as governed by upari, 'in regard to'; the commentary, however, makes Airāvaṇasya depend upon danavrştya, and it takes upari closely with kalusitaḥ, in the THE CANDIŚATAKA OF BĀŅA sense, apparently, of 'smeared over.' The commentary does not authorize a double rendering of upari. 5. On Airāvaņa, see Süryaśataka, stanza I, note 3. 6. For kaluşitaḥ, the commentary gives a double gloss-defiled' (malinatvam gataḥ), and 'angered' (krodham gato na tu tuşṭaḥ); so also Apte, Skt.-Engl. Dict. s.v. V.L. (b) pulakitaḥ kevalam. (d) padaḥ nudatu bhavadagham. 311 47 bhartā kartā trilokyās tripuravadhakṛti paśyati tryakṣa eşa kva strī kvā "yodhanecchã na tu sadṛśam idam prastutam kim mayeti matvā savyājasavyetaracaraṇacalānguṣṭhakoṇābhimṛṣṭam sadyo yā lajjitevā 'surapatim avadhit pārvatī pātu sā vaḥ 'The three-eyed (Siva), [my] husband, creator of the three worlds, and the bringer of destruction to the three cities,¹ is looking on here. What has a woman to do with the lust for battle? But this is not seemly; why did I undertake it?' Being abashed, as it were, at such a thought, Pārvati (Candi) slew in an instant² (Mahișa), Lord of the Demons, Who had been struck by the sharp point of the quivering great toe of her left foot. May that Parvati (Candi) protect you! Notes. 1. The triple city of the demons is meant; cf. stanza 16, note 3. 2. Candi slew Mahişa at once, so as to bring to an immediate close the spectacle of a woman engaged in a matter so far outside her normal sphere as fighting. 3. According to the commentary, which I have followed, savyāja is here taken adverbially with savyetaracaraṇa-, the literal rendering being a foot falsely other than left'; that is, 'falsely right,' and therefore 'left.' The commentary glosses by vamapadasya, 'left foot.' It may be noted that, according to stanza 10, Candi killed Mahişa with her right foot; but all other stanzas, when specific mention is made, say she used her left; cf. stanza 10, note 6. V.L. (c) savyājasavyetaracaraṇanakhāṁguṣṭhakonena pistva. 48 vṛddhokso na kşamas te bhavatu bhava bhavadvāäha eşo 'dhuneti 312 THE CANDĪŠATAKA OF BĀŅA kṣiptaḥ pädena devam prati jhaṭiti yayā kelikāntam vihasya dantajyotsnävitāänāir atanubhir atanur nyakkṛtārdhendubhābhir gauro gaur eva jātaḥ kṣaṇam iva mahiṣaḥ sã 'vatād ambikā vaḥ 'Thy old bull,¹ O Bhava (Siva), is no [longer] capable; let this one now be the vehicle of Your Highness.' As [Ambikā (Candi)] uttered these words, laughing in pleased amusement, [Mahişa] was at once kicked over to the god (Siva) by her foot; [For] the mighty Mahisa, by reason of the not small masses of light [emanating] from his teeth-masses that dimmed the splendor of the crescent moonBecame shining white (gäura), and so actually a bull' (gaur) for an instant, as it were. May that Ambikā (Candi) protect you! Notes. 1. The bull was Siva's vehicle. 2. 'In pleased amusement' is my rendering of kelikantam, which I take to be an adverbial accusative. 3. The word atanur, 'mighty,' despite its position, must modify mahişaḥ; if, however, any hesitation is felt about so taking it, an emendation to atanunyakkṛtä-, forming a compound, may perhaps be suggested. This change would not affect the meter, and the translation would be: 'that dimmed in no slight degree, etc.' 4. For the splendor of Mahişa's teeth, cf. stanza 50. 5. Lit. '[being] shining white, became actually a bull.' 6. The reason for Ambika's (Candi's) amusement lies in a pun whose force it is very difficult to convey in translation. It consists in the idea that the black buffalo (mahişa) turns into a white bull (gäur), the metamorphosis being attained as follows: A buffalo, being a gaura (the bos gaurus, a species of buffalo), is therefore momentarily a bull (gdur); momentarily, because gaura is gaur, before its final syllable -a is pronounced. The rendering of the pun is further complicated by the fact that the other meaning of gaura-shining white'-must be used in the translation in order to make the stanza read intelligibly. It may be added that as Siva's bull was white, a white (gaura) substitute would be acceptable to him. V.L. (c) dantajyotsnävitānāir alabhata tanubhir. 49 prāk kāmam dahatā kṛtaḥ paribhavo yena trisamdhyānatāiḥ serṣyā vo 'vatu caṇḍikā caraṇayoḥ svam pātayanti patim THE CANDĪŠATAKA OF BĀṆA 313 kurvatyä 'bhyadhikam kṛte pratikṛtam muktena māulāu muhur bāṣpeṇā "hitakajjalena likhitam svam nāma candre yayā The jealous Candika (Candi) caused her husband (Siva), by whom she had been formerly humiliated through his burning up of Kāma,¹ To fall at her feet with prostrations at the three twilights; And, having [thus] exacted excessive retribution for [his] action, she wrote her own name on the moon³ With the tears mixed with collyrium that were repeatedly shed upon his diadem." May Caṇḍikā (Candi) protect youⓇ! Notes. 1. As is well known, Kāma was reduced to ashes by Siva's third eye, because he interrupted Siva's meditations and called his attention to Pärvati (Candi); cf. Süryafataka, stanza 55, note 9. 2. Lit. 'causing an excessive counter-deed in his deed.' 3. Siva wore the moon on his diadem (cf. Süryaśataka, stanza 42, note 10), and perhaps we have here a fanciful Hindu explanation of the darkish blotch visible on the full orb of the moon. I have, however, been unable to find any allusions in Hindu mythology to support such a view. 4. Lit. 'tears in which collyrium has been placed.' 5. We must imagine Siva kneeling at Candi's feet, and her tears dropping on his head, and so on the moon-diadem with which his head was adorned. The collyrium, which was lampblack, when washed from her eyelids by the tears, formed with the tears a dark fluid akin to ink, with which Candi could write her name. Just why Candi wept is not apparent, but the fact that she was humiliating the mighty Siva may have been too much for her emotions. It will be remembered that, as Kāli, she is often represented with her tongue out-a sign of overwhelming shame because on one occasion she found herself dancing on her husband's (Siva's) body; cf. Wilkins, Hindu Mythology, p. 309 and 311. 6. Note in this stanza the absence of any reference to the demon Mahişa; stanza itself is cited in the Sarasvatikanthabharaṇa, 5. 633, as an example of the mṛdvika ('grape') variety of paka ('consequence'); cf. ed. of Jivānanda Vidyāsāgara, p. 752-3. The commentary on this stanza in the Sarasvatikanthabharaṇa authorizes the following rendering for the first two padas: Candikā, jealous because her husband Siva, by whom she had been formerly humiliated through his burning up of Kāma, Was bowing before Samdhyā, caused him to fall at her feet. V.L. (a) trisamdhyanateḥ. (d) likhitam nameva candre. The text as given in the Sarasvatikanthabharaṇa (see note 6) shows the following 314 THE CANDISATAKA OF BĀŅA variants: (a) yena 'tha sandhyanatau. (b) caranayos tam. (c) kurvantyä. (d) vaspena "hrṛtakajjalena likhitam lakşmeva. 50 tungām śṛngāgrabhūmim śritavati marutām pretakāye nikāye kuñjāutsukyād viśatsu śrutikuharapuṭam drāk kakupkunjareşu smitvā vaḥ samhṛtāsor daśanarucikṛtākāṇḍakāilāsabhāsaḥ pāyāt pṛṣṭhādhirūḍhe smaramuși mahiṣasyoccahāseva devī When the assembly of the gods, on the dead body of Mahisa, resorted to the lofty ground of his horn-tipOf Mahișa, whose life had been taken away, and who had unexpectedly assumed the splendor of Käiläsa owing to the gleam of his teeth²And when the elephants of the sky-regions, through longing for a [shady] bower, entered quickly into the hollow cavity of his ear, Devi (Candi) smiled; but when (Siva), the Destroyer of Smara,* mounted on his back, she laughed outright, as it were. May Devi (Candi) protect you! Notes. 1. The mighty body of Mahişa is mistaken for Mt. Käilāsa, a favorite resort of the celestials (cf. Süryaśataka, stanza 88, note 3). Some of the gods think his horn a lofty peak, and the elephant guardians of the eight points of the compass take the interior of his ear for a shady bower, while Siva, who had a dwelling on Käiläsa, climbs on his back, believing it to be one of the ridges of that mountain. Candi laughs at their blunders. 2. For the radiance of Mahişa's teeth, cf. stanza 48. 3. These were the elephants of the lokapālas, or regents; they are mentioned again in stanzas 57, 59 and 100; see also Süryaśataka, stanza 18, note 10. 4. Smara is a name of Kāma, whom Siva destroyed by the fire of his third eye; cf. stanza 49, and Suryaśataka, stanza 55, note 9. V.L. (a) tungaḥ śṛngāgrabhūmiḥ; protakaye nikaye. 51 kṛtvā pātālapanke kṣayarayamilitāikārṇavecchāvagāham dāhān netratrayāgner vilayanavigalacchṛngaśūnyottamāngaḥ krīḍākroḍābhiśańkām vidadhad apihitavyomasīmā mahimnā vikṣya kṣuṇno yayā 'ris tṛṇam iva mahiṣaḥ sā 'vatād ambikā vaḥ THE CANDĪŠATAKA OF BĀŅA 315 Mahişa, whose head had been shorn of its horns that trickled away when melted by the heat of the fire of [Candi's] triad of eyes,¹ Made a plunge into the mud of Pātāla, in accord with his desire for the general inundation that accompanies the onrush of [the final] destruction,² And thus sought to create the impression of a mock-boar." But, though he filled the sky to its borders with his great bulk, Ambikā (Caṇḍī), beholding the Foe (Mahișa), trampled on him as if he were a [mere] blade of grass". May that Ambikaã (Caṇḍī) protect you! Notes. 1. See stanza 39, where a similar scorching of Mahişa is recorded; for the three eyes of Candi, cf. stanza 39, note 3, and stanza 40, note 5. 2. At the end of a kalpa the earth is destroyed by being immersed in ocean. Brahma, the Creator, then begins the work of re-creation; cf. Süryaśataka, stanza 23, note 6. At the beginning of the present kalpa, Brahmã created himself as Vişnu, and the latter, in his incarnation as a boar (vardha), descended into the flood, and raised the earth out of it on his tusks; cf. Vişnu Purana, 1.4 (Wilson, vol. 1, p. 55-65). Mahişa is here represented as being so scorched by the fire of Candi's eyes (cf. stanza 39), that he desires an ocean large enough to drown the whole world in order to have sufficient cooling water to relieve his burns. Being a buffalo (mahişa), his instinct teaches him that wallowing in mud will bring relief; so he plunges down to muddy Pätäla-descending to Pātāla is synonymous with death-and his descent thither is sarcastically compared to Vişnu's plunge into the waters of primeval chaos. The commentary says: 'Just as the First Boar (Vişnu) made a plunge into the inundation accompanying the destruction [of the world], even so by this (Mahişa) [a plunge] is made into the mud of Pâtāla.' 3. Lit. ' suspicion of a play-hog.' The meaning is that Mahişa is seeking to be a 'makebelieve' Vişnu, as pointed out in note 2. 4. Mahişa again (see note 2) seeks to imitate Vişnu by filling the sky. It will be remembered that Vişnu, in his dwarf incarnation, filled the sky with one of his famous 'three steps'; cf. Süryaśataka, stanza 7, note 4 Candi, however, is not deceived by this false Vişņu, and slays the impostor. 5. In stanza 7 also Mahişa is compared to a blade of grass. V.L. (a) patalapańkāiḥ kṣayarayamilitair arṇavecchavagaham. (b) vilayanavilasat-. (d) kalika vaḥ. THE CANDIŚATAKA OF BĀŅA 52 śūle śäilāvikampam na nimișitam iṣāu paṭṭiśe sāṭṭahāsam präse sotpräsam avyākulam api kuliśe jätaśankam na sankau cakre 'vakram kṛpāṇe na kṛpaṇam asurārātibhiḥ pätyamāne dāityam pādena devī mahiṣitavapusam pimṣati vaḥ punātu 316 The Daitya¹ (Mahişa), whose body was changed into that of a buffalo, was firm as a rock² when the trident was hurled [at him] By the enemies of the demons; he was unwinking when the arrow was sped, and loud in his laughter at the spear; Scornful of the dart, not stunned by the thunderbolt, and having no fear of the pike"; Unbending before the discus, and untroubled by the sword." But Devi (Candi) crushed him with her foot. May Devi (Candi) purify you! Notes. 1. For convenience, I have rendered daityam, and its modifiers, failavikampam, nimişitam, etc., as subject, though they really constitute the object of pimşatt. 2. The commentary glosses faila by failavat, 'like a rock.' 3. Grammatically, fale, işau, etc., the names of the weapons, are in the locative absolute construction with patyamane. 4. The 'enemies of the demons' are the gods. 5. Or, 'staff'; śanku may mean any sort of weapon. 6. Lit. 'not crooked.' The commentary glosses by saralam eva sthitam, 'standing straight.' The meaning is that he did not dodge or stoop. 7. The instances of assonance (yamaka) in this stanza are noteworthy. Each adjective that modifies daityam has much the same sound as the name of the weapon with which it is coupled in the sentence. For a somewhat similar use of this rhetorical device, see stanza 36, and Süryafataka, stanzas 71 and 81. V.L. (b) avyakulam iva kulife. (c) cakre vaktram krpanam. 53 cakre cakrasya nā 'śryā na ca khalu paraśor na kṣuraprasya nā 'ser yad vakram kāitavāviṣkṛtamahiṣatanāu vidviṣaty ājibhāji protāt prāsena mūrdhnaḥ saghṛṇam abhimukhāyātayā kālarātryāḥ kalyāṇāny ānanābjam sṛjatu tad asṛjo dhārayā vakritam vaḥ THE CANDIŚATAKA OF BĀŅA 317 The lotus face of Kälarātrī (Candi)-which displayed no emotion¹ either because of the edge of [Mahişa's] discus, Or for that of his ax, his sharp arrow, or his sword, as long as that Foe (Mahişa), disguised in the body of a buffalo,³ Was intent on the combat-became softened in pity because of the stream of blood Coming out before her eyes from [Mahişa's] head, which had been pierced by her dart. May that lotus face of Kälaratri (Candi) shed blessings upon you! Notes. 1. Lit. 'that was not made wry' (reading vakram-cf. V.L.). The sense is 'altered by emotion'; cf. vakritam saghṛṇam, 'altered by compassion,' or 'softened in pity,' as I have rendered it in pädas (c) and (d). 2. Referring, according to the commentary, to the time when these weapons were hurled at Candi by Mahişa. 3. Lit. 'manifesting the body of a buffalo for [the purpose of] deceit.' 4. Lit. 'wry,' 'crooked'; cf. note I. 5. The commentary says that saghṛṇam is to be taken adverbially. 6. The word dhara, here rendered by 'stream,' also means 'edge,' and hence punningly refers back to afri, 'edge,' in päda (a). V.L. (a) The Kävyamālā text reads nā ʼsryd na ca; I have emended to na 'śrya na ca. (b) The Kävyamālā text reads yad vaktram; following the commentary, I have emended to yad vakram. (c) The Kävyamālā text reads kälaratryd; I have emended to kälarātryāḥ. 54 hastad utpatya yāntyā gaganam agaṇitādhāiryavīryāvalepam väilakṣyeņeva pāṇḍudyutim aditisutārātim āpādayantyāḥ darpānalpāṭṭahāsadviguṇatarasitāḥ saptalokījananyās tarjanyā janyadūtyo nakharucitatayas tarjayantyä jayanti Hail to those emissaries¹ of war, those masses of splendor of the nail of the menacing forefinger of (Candi), Mother of the Seven WorldsWhich masses had become doubly white by reason of her loud laughter excessive through pride, As she sprang away from the hand [of Kamsa]* and went to the sky, after making pale," as if through shame,Ⓡ 318 THE CANDIŚATAKA OF BĀŅA That [Kamsa], Foe of the Sons of Aditi,' whose pride in his own cowardly strength was [by her] disregarded.Ⓡ [In this stanza the usual benediction is omitted.]⁹ Notes. 1. The commentary glosses by dutyaḥ sangrāmasūcikāḥ, ' female messengers, indicative of conflict.' 2. The commentary glosses: 'menacing the Däityas.' 3. The meaning seems to be that when Candi smiled, the splendor of her gleaming teeth was added to the splendor of her flashing nails. 4. The commentary says that the hand of Kamsa is meant, and for that reason I have so interpreted it. For the story of Candi and Kamsa, see stanzas 25 and 45, and notes. 5. Lit. 'having caused the Foe of the Sons of Aditi to assume a white splendor.' 6. We of the Occident associate blushing with shame, and pallor with fear. As Candi rose from Kamsa's hand, she threatened him with his coming doom, and this threat may have made him pale with fear. Or else we are to understand that Kamsa was flooded with light reflected from the nails of Candi, and so appeared white or pale. 7. The Sons of Aditi' were the gods; cf. Süryaśataka, stanza 90, note 1. 8. The commentary renders: 'that Foe of the Sons of Aditi, by whom pride in strength was, because of cowardice, disregarded'; but this seems doubtful to me, and I have not adopted it. 9. For the omission of the benediction, cf. stanza 3, note 5. Note also the absence of any mention of Mahişa; cf. stanza 25, note 8. V.L. (c) darpānalpaṭṭahasad dvigunitarasitaḥ. (d) The Kävyamālā text reads janyadato; following the commentary, I have emended to janyadutyo; nakharucirarucaḥ. 55 prāleyācalapalvalāikabisinī sā "ryā 'stu vaḥ śreyase yasyāḥ pādasarojasīmni mahişakṣobhāt kṣaṇam vidrutāḥ nispiste patitās triviṣṭaparipāu gītyutsavollāsino lokāḥ sapta sapakṣapātamaruto bhänti sma bhṛngā iva Arya¹ (Candi) is the sole lotus in the pool of (Himalaya), the Snow Mountain, And the seven worlds on the edge of her lotus foot seemed like bees; For the seven worlds , but when (Mahişa), the Foe of Indra's Heaven, had been crushed," They fell [again into position]», as bees , and [afterwards] ; THE CANDIŚATAKA OF BĀŅA 319 The seven worlds ,' and bees ; The seven worlds , and bees . May that Arya (Candi) bring you prosperity! Notes. 1. The meter is fardalavikriḍita. 2. That is, only daughter of Himalaya; see, however, Rāmāyaṇa, 1. 35. 17, where Umã and Gangā, who are both regarded as wives of Siva, are said to be the two daughters of Himavat (Himalaya). 3. Since the commentary, in drawing a comparison between the seven worlds and bees, contains the phrase padmasthita bhramaraḥ, 'bees stand on a lotus,' we may perhaps be justified in seeking to render the compound pādasarojasīmni, punningly, as '[like bees] on the border of a lotus-petal.' Such a rendering, however, seems to do violence to the order of the words pādasaroja; sarojapāda would more naturally be rendered 'lotus-petal.' 4. The foot of Candi is resting on the shoulder of Mahişa (cf. stanzas 2, 32 and 79), and as the body of Mahişa quivers in its dying throes, the foot of Candi, as well as the seven worlds that rest on her foot, are agitated, and disturbed in their position. Or, perhaps, the words are to be taken figuratively, meaning that the seven worlds were agitated (i.e. made anxious) while Mahişa was engaged in his campaign of destruction. On the 'seven worlds,' see Süryaśataka, stanza 92, note II. 5. The words nispiste trivistaparipau, 'when the Foe of Indra's Heaven was crushed,' appear to have no paronomasiac rendering. 6. That is, a buffalo on which they happen to have alighted. The meaning is that insects, such as flies or bees, fly off from an object when it moves, and return again when it is still. 7. That is, songs of victory over the fall of Mahişa. 56 aprāpyeṣur udāsitāsir aśaner ärāt kutaḥ śankutaś cakravyutkramakṛt parokṣaparaśuḥ śūlena śūnyo yayā mṛtyur daityapateḥ kṛtaḥ susadṛśaḥ pādāṁguliparvataḥ pārvatyā pratipālyatām tribhuvanam niḥśalyakalyam tayā The death of (Mahişa), Lord of the Daityas, although not brought about by the arrow, nor participated in by the sword, And far from [being caused by] the thunderbolt, still less by the spear, being out of range of the discus, and beyond the aim of the ax," not caused by the trident, Was [nevertheless] a death very similar [to such], and was THE CANDIŚATAKA OF BĀṆA brought about by Parvati (Candi) through the joint of her toe. The three worlds [were thus made] healthy by being freed from (Mahişa), the thorn [in their flesh]. May the three worlds be protected by Parvatī (Candi) ! 320 Notes. 1. The meter is fardalavikridita. 2. Reading aprapyeşuḥ; cf. V.L. 3. Lit. 'how [could it be done] by the spear?' 4. Lit. 'causing an overstepping of the discus.' 5. Lit. 'in which the ax was invisible.' 6. The 'thorn' was Mahişa; he is similarly spoken of in stanza 13, and in Mahabharata, 3. 231. 106. V.L. (a) aprapteşuḥ; the Kävyamālā text reads aprapyeşuḥ; following the commentary, I have emended to aprapyeşuḥ. (c) padanguliparvaṇā. 57 naṣṭān aṣṭāu gajendrān avata na vasavaḥ kim diśo drāg gṛhītāḥ śārngin sangrāmayuktyä laghur asi gamitaḥ sādhu tārkṣyeṇa taikṣṇyam utkhātā netrapańktir na tava samarataḥ paśya naśyad balam svam svarnāthety ättadarpam vyasum asuram umā kurvatī trāyatām vaḥ 'O ye Vasus, do not¹ protect the eight lordly elephants³ [of the sky] that have fled. What! Have the regions been suddenly seized? O Bowman (Viṣṇu), thou, being swift in preparation for battle, art fittingly carried swiftly [in flight] by Tärkṣya (Garuda)*; O (Indra), Lord of Heaven, thy row of eyes has not been gouged out; behold thine own army vanishing from the combat.' Just as the Demon (Mahișa) was saying these words with an assumption of pride,' Uma (Candi) took away his life. May Uma (Candi) protect you! Notes. 1. The imperative with na is worthy of note. 2. These are the elephants belonging to the eight regents of the directions of the compass; cf. stanzas 50, 59 and 100, and Saryaśataka, stanza 18, note 10. 3. THE CANDĪŠATAKA OF BĀŅA 321 The commentary says: 'Why are ye also fled?' The meaning of this pada is not clear to me, and the whole stanza is troublesome. The principal idea seems to be that Mahişa is seeking to deride the Vasus, Indra and Vişnu for having run away from the battle where they had been fighting with Mahişa. 4. Lit. 'caused by Garuda to go to swiftness.' The commentary glosses täikşnyam, which ordinarily means 'sharpness or 'severity,' by fighratam, 'swiftness.' 5. The bird Garuda was Vişnu's vehicle; cf. Saryaśataka, stanza 47, note 3. 6. Indra is sometimes represented as 'the thousand-eyed,' with eyes all over his body; cf. Süryaśataka, stanza 94, note 4, and Candiśataka, stanza 42, note 3. 7. Or, attadarpam may mean 'reft of his pride'; cf. stanza 23, note 8. V.L. (c) tava surapate pasya. 58 śrutvā satrum duhitrā nihatam atijado 'py ägato 'hnāya harṣād āśliṣyan chailakalpam mahişam avanibhṛdbāndhavo vindhyabuddhyā yasyāḥ śvetikṛte 'smin smitadaśanarucā tulyarūpo himādrir drāg drāghīyān ivā "sīd avatamasanirāsāya sā stād umā vaḥ The Snow Mountain (Himalaya), although very sluggish [with cold], came quickly in joy, upon hearing that the Foe (Mahişa) had been slain by his daughter (Candi), And, since his relatives were mountains, he embraced Mahisa, who resembled a mountain, under the impression that he (Mahişa) was the Vindhya; And so, since this (Mahisa) was made white by the [dazzling] splendor of [Uma's (Candi's)] teeth, as she smiled,¹ The Snow Mountain (Himalaya), whose form was similar [to Mahişa's], quickly appeared to become more extended.² May that Uma (Candi) remove your ignorance³! Notes. 1. Candi smiled at her father's mistake. 2. The flash of dazzling light emanating from Candi's teeth (cf. stanza 67) enveloped Mahişa and made him seem white by its gleam. Being of mountainous size to begin with, and now being made white by the dazzling splendor of Candi's teeth, he appeared, when embraced by the snow-covered Himalaya, to be an extension of that mountain, or, as the text has it, 'the Snow Mountain appeared to become more extended.' 3. Lit. 'darkness,' but the commentary says: 'the darkness of ignorance.' According to Hindu philosophy, the darkness of ignorance was sin, and prevented the merging of the individual soul in the All-soul of the Creator. V.L. (d) atanujanuniräsaya. 22 THE CANDIŚATAKA OF BĀŅA 59 kṣipto 'yam mandarādriḥ punar api bhavatā veṣṭyatām vāsuke 'bdhāu 322 priyasvā 'nena kim te bisatanutanubhir bhakṣitāis tārkṣya nāgāiḥ aṣṭābhir diggajendrāiḥ saha na harikarī karşati 'mam hate vo hrīmatyā hāimavatyās tridaśaripupatāu pāntv iti vyähṛtāni 'Let this Mount Mandara,¹ thrown into the ocean, again be twirled by thee, O Vāsuki, [King of the Serpents]. O Tārkṣya (Garuḍa), be pleased [to partake] of this [buffalo]*; why dost thou, [O Garuda], eat snakes whose bodies are thin as lotus-stalks? The elephant of Haris (Indra), together with the eight lordly elephants of the quarters [of the sky], does not drag away this (Mahisa).' These were the utterances of the modest Häimavati (Candi), after (Mahişa), Lord of the Foes of the Gods, had been slain. May these utterances of Häimavati (Candi) protect you! Notes. 1. Mahişa, who was bulky as a mountain, is meant. Väsuki, or Ahina, King of the Serpents, was used as a twirling-cord when Mount Mandara was twirled in the celebrated churning of the ocean; cf. the references cited in Süryaśataka, stanza 42, notes 3 and 14, and stanza 72, note 4. 2. Lit. 'be pleased with this; what is there of you with [these] devoured snakes whose bodies, etc.' Garuda is invited to abandon his customary diet of snakes (cf. Süryaśataka, stanza 47, note 3), and to partake of a choice morsel of buffalo-meat (mahişa). 3. According to the commentary, the allusion here is to Airāvaṇa, the elephant of Indra; this animal is mentioned in Süryaśataka, stanza I, and Candikataka, stanza 46, and was one of the products of the churning of the ocean; cf. Saryafataka, stanza I, note 3. The epithet Hari is applied to both Vişņu and Indra; cf. stanza 15, note I. 4. The elephants of the lokapalas are meant; they are mentioned in stanzas 50, 57 and 100; see also Süryaśataka, stanza 18, note 10. V.L. (a) väsuke 'sau. (b) prito 'nendiva kim te. (d) tridivaripuhatau. THE CANDIŚATAKA OF BĀŅA 60 323 eṣa ploṣṭā purāṇām trayam asuhṛduraḥpāṭano 'yam nṛsimho hantā tvāṣṭram dyurāṣṭrādhipa iti vividhāny utsavecchāhṛtānām vidrāṇānām vimarde dititanayamaye nākalokeśvarāņām aśraddheyāni karmāṇy avatu vidadhatī pārvati vo hatāriḥ '[Can] this [be] (Siva), Burner of the Triad of Cities?¹ [And is] this the Man-lion (Viṣṇu), who rent open the breast of his foe (Hiranyakaśipu)? [And can] this [be] (Indra), Lord of the Realm of Heaven, and Slayer of the Son of Tvastar?" Thus spake Pārvati (Candi), who slew her foe (Mahişa), And did various deeds that were incredible to the [aforesaid] Lords of the Sky-world, who ran away in the battle with (Mahişa), Son of Diti, But were brought back by a desire for the festival [of victory over their foe Mahisa]. May Parvati (Candi) protect you! Notes. 1. That is, can it be possible that the courageous destroyer of Tripura, the three cities' of the demons, should have run away in the battle with Mahişa? The commentary says: 'If by this one a burning of Tripura was made, why (kim) did he flee in the battle with Mahişa?' On the destruction of Tripura, see stanza 16, note 3. Although in the text there is no kim, or other particle of interrogation, I have thought it best to follow the commentary in regarding the clauses in the first two padas as questions. For the omission of kim in interrogative sentences, cf. J. S. Speyer, Vedische und Sanskrit-Syntar, 255, in Grundriss der IndoArischen Philologie, ed. G. Bühler, Strassburg, 1896. 2. On the slaying of Hiranyakaśipu, cf. stanza 11, note 1. 3. Indra slew Vrtra, son of Tvaştar; cf. stanza 23, note 4 61 satrau śātatriśülakṣatavapuși rușă preșite pretakāṣṭhām kāli kīlālakulyātrayam adhikarayam vīkṣya viśvāsitadyāuḥ trisrotās tryambakeyam vahati tava bhṛśam paśya raktā visesan no mūrdhnā dhāryate kim hasitapatir iti prītaye kalpatām vaḥ 324 THE CANDIŚATAKA OF BĀNA When the Foe (Mahișa), whose body was wounded by the sharp trident, had been despatched, through her anger, to the realm of the dead, Kāli (Candi), who inspired heaven with confidence,¹ gazing upon the swift-flowing triple stream of blood,² Said, mocking her husband: 'O Three-eyed (Siva), see! This Triple-streamed³ (Ganges) of thine, exceedingly red, Is flowing impetuously along. Why is she not being carried on thy head?" May Kali (Candi) further your joy! Notes. I. The commentary takes viśväsitadyāuḥ, 'who inspired heaven with confidence,' to be a modifier of trisrotaḥ, 'Triple-streamed,' but from its position in the second pada I have regarded it as more properly modifying kali. 2. Lit. 'gazing on the triad of rivers of blood, whose speed is excessive.' The number of streams of blood corresponds to the number of the prongs on the trident; hence their confusion with the three streams of Ganges. To be in keeping with the idea of 'three,' Siva is called 'Three-eyed' (tryambaka). 3. On the three streams' of Ganges, cf. stanza 4, note 3. 4. Siva wore the Ganges on his head; cf. stanza 3, note 2, and Moor, Hindu Pantheon, pl. 7, 9 and 11. V.L. (a) proşite pretakaştham. (b) adhikataram vikşya. 62 śṛnge paśyordhvadṛṣṭyā 'dhikataram atanuḥ san na pușpāyudho 'smi vyālāsange 'pi nityam na bhavati bhavato bhir na yajño 'smi yena tvam muñcoccāiḥ pinäkin punar api viśikham dānavānām puro 'ham pāyāt sotprāsam evam hasitaharam umā mṛdnatī dānavam vaḥ Gaze more intently on my two horns with thy upper eye, for I, , am not one >,¹ and though I am ,² yet I am not «Kāma> ; Nor have I ever fear of thee, even ,* seeing that I am , seeing that I am «versed in the mantras [that control snakes]> ; THE CANDIŚATAKA OF BĀŅA 325 O (Siva), Bearer of the bow Pināka, again , for I am «the cities of the Dänavas>, and , for I am «at the front of the Dänavas>.' 8 While the Dänava (Mahiṣa) was derisively saying the above words in mockery of Hara (Siva), Umā (Caṇḍī) crushed him. May Umã (Candi) protect you! ( Notes. 1. The meaning appears to be that if Siva wishes to subdue Mahişa, he must put forth greater efforts than were required to kill Kāma (cf. Süryaśataka, stanza 55, note 9), who was burnt up by Siva's 'upper eye-that is, his third eye, which was situated in his forehead. Mahişa here implies that Siva's destructive eye has no terrors for him, and he further hints that Siva will find his horns more dangerous weapons than the weapons of Kāma. The latter was armed with flowers, as his epithet puspayudha, 'he whose weapons are flowers,' implies. 2. The epithet atanu, 'bodiless,' like ananga, 'bodiless,' was applied to Kāma after his body had been destroyed by Siva's eye. As applied to Mahişa, 'bodiless' may refer to his frequent metamorphoses during the battle with Candi; cf. Introd., p. 250. Note the apparent contradiction-though I am Kāma (Atanu), yet I am not Käma (Puşpayudha)'-an instance of the rhetorical figure virodha; cf. Süryaśataka, stanza 80, note 1. 3. Lit. 'even in contact (or, in connection) with thy arrow.' 4. The commentary glosses vyāla by bana, 'arrow,' on the basis of a lexicographical quotation to the effect that vyala means both "arrow" and "snake" (vyalaḥ syad banasarpayoh).' The ordinary lexicons do not give the meaning 'arrow' for vydla, nor does the Amarakośa nor the Sabdakalpadruma. 5. The commentary says: 'Just as Yajña ran away out of fear of the descent of thy arrow, even so do not I.' The allusion appears to be to 'Sacrifice' (Yajña) personified, whom Siva slew with an arrow at the sacrifice of Dakşa; cf. Süryaśataka, stanza 80, note 2. 6. Siva wore a necklace of snakes; cf. stanza 5 of the vakrokti stanzas of Mayūra, p. 232, above. 7. Read naya-jña, 'knowing maxims.' This the commentary glosses by gāruḍaśāstrajña, 'versed in the Garuda śastras.' Garuda was an authority on snakes, since they formed the principal article of his diet; cf. Süryaśataka, stanza 47, note 3. For the formulas or mantras used to cure snakebites, cf. Garuda Purana, cap. 19-20 (ed. by Pañcanana Tarkaratna, and revised by Virasimhaśāstri and Dhīrānandakāvyanidhi, Calcutta, 1890; cf. transl. by M. N. Dutt, p. 53-58, Calcutta, 1908). 8. Siva was the possessor of the bow Pinaka, and is also called Sarva, 'the god who kills with arrows.' Ordinarily, the term 'Bowman' is applied to Vişnu. destroyed Tripura, the triple city of the Dänavas, by setting it on fire with a flaming arrow shot from his bow; cf. stanza 16, note 3. 9. Siva V.L. (a) yasyordhvadṛṣṭyadhikataram. 326 THE CANDĪŠATAKA OF BĀŅA 63 nandiśotsāryamāṇāpasṛtisamanamannākilokam nuvatyā naptur hastena hastam tadanugatagateḥ şanmukhasyā 'valambya jāmātur mātṛmadhyopagamaparihṛte darśane śarma diśyān nediyaś cumbyamānā mahiṣavadhamahe menayā mūrdhny umā vaḥ At the celebration of the slaying of Mahișa, Uma (Candi) was kissed on the head by Mena,¹ in the presence of² [her (Mena's)] son-in-law (Siva), His eye being averted upon the approach of the mother (Menā) into their midst, Grasping with her hand the hand of (Kärttikeya), her six-faced grandson, whose footsteps followed hers, And praising the gods, who did homage as they withdrew when ushered out by Nandiśa (Siva). May Uma (Candi) bestow happiness upon you! Notes. 1. Mena was the wife of Himalaya and mother of Umā (Candi); cf. Harivamsa, 1. 18. 13-22. 2. The commentary glosses nediyas, 'near,' by samipam, 'in the presence of,' and supplies jämätur, 'of the son-in-law.' 3. The commentary takes jämätur with darśane, 'eye,' and supplies another jämätur with nediyas; cf. note 2. 4. Siva, remembering his defeat at the hands of Mahişa, averts his glance in shame. 5. The six-faced Kārttikeya was the reputed son of Siva and Parvati (Candi); cf. stanza 5, note 1, and stanza 28, note 2; see also Moor, Hindu Pantheon, pl. 11, p. 44, where is pictured the family group, consisting of Parvati (Candi), Siva, Gaṇeśa and Kärttikeya, at home on Mt. Käiläsa. V.L. (a) nakinṛtyam nuvatya. (d) devi samtusyamāṇā mahişavadha-. The Kävyamālā text reads nediyac cumbyamand; following the commentary, I have emended to nediyaś cumbyamanā. 64 bhaktyā bhṛgvatrimukhyāir munibhir abhinutā bibhrati näiva garvam śarvāṇī śarmaṇe vaḥ praśamitasakalopaplavā sā sadā 'stu yā pārṣṇikṣuṇṇaśatrur vigalitakuliśaprāsapāśatriśūlam nākaukolokam eva svam api bhujavanam samyuge 'vastv amamsta THE CANDIŚATAKA OF BĀŅA Sarvani (Candi), who allays all misfortune, and who is praised with devotion 327 By the sages¹ headed by Bhṛgu and Atri, does not indeed assume pride, [though it was she] Who, after crushing the Foe (Mahișa) with her heel, regarded as a useless thing her own forest of arms,² As well, indeed, as [those belonging to] the world of the gods, [for from their arms, as from hers], there fell in the battle the thunderbolt, the javelin, the noose and the trident.³ May that Sarvāṇī (Caṇḍī) ever promote your welfare! Notes. 1. For a list of the seven sages, see Süryaśataka, stanza 13, note 8. 2. For Candi's 'forest of arms,' cf. stanza 39, note 2. 3. The commentary explains: 'The thunderbolt, etc., fell from the hands of the gods because of fear, and from the hands of Bhavani (Candi) for the purpose of [delivering] blows.' V.L. (c) vigalitakuliśāpāstaśastrīpinākam or naganitakuliśaprāsasastrīpinākam. (d) evam svam api bhujavanam samyuge or drtam drutam iti rabhasa samyuge. 65 cakram śāureḥ pratīpam pratihatam agamat prāg dyudhāmnām tu paścād āpac cāpam balārer na param aguṇatām pūstrayaploşiņo 'pi śaktyā 'lam mām vijetum na jagad api śiśāu ṣaṇmukhe kā katheti nyakkurvan nākilokam ripur avadhi yayā sā 'vatāt pārvatī vaḥ 'First the of Sauri (Viṣṇu),, of the gods, > ; Not only did the of Bala's² Foe (Indra) attain , but also the of (Siva), Burner of the Triad of Cities, attained ; The world was not able to conquer me with its ; far less the Six-faced Boy (Kärttikeya) with his ." 328 THE CANDIŚTAKA OF BĀṆA As with these words the Foe (Mahisa) was humbling the godworld, he was slain by Parvati (Candi). May that Parvati (Candi) protect you! Notes. 1. Lit. 'went backward.' 2. Bala was a demon, brother of Vrtra; cf. Mahabharata, 1. 65. 33; he was conquered by Maghavan (Indra), according to Mahabharata, 3. 168. 81. 3. Siva burnt Tripura; cf. stanza 16, note 3. 4. Lit. 'what is the tale in [the case of] the Six-faced Boy?' -the meaning being that Kärttikeya would be even less able to conquer him; this is implied also in the commentary. For Kärttikeya and his six faces, cf. Saryaśataka, stanza 25, notes 1, 4, 8 and 10, and Candisataka, stanza 5, note 1, and stanza 28, note 2. V.L. (a) pratihatam apatat. 66 vidrāṇe rudravṛnde savitari tarale vajriņi dhvastavajre jātāśanke śaśānke viramati maruti tyaktaväire kubere väikuṇṭhe kuṇṭhitāstre mahiṣam atirușam pāurușopaghnanighnam nirvighnam nighnati vaḥ śamayatu duritam bhūribhāvā bhavani When the troop of the Rudras ran away, when Savitar (Sürya) trembled, when Indra lost his thunderbolt, When fear was born in the Hare-marked² (Moon), when Marut (Wind) stopped, when Kubera was deserted by his courage, And when the Sharp One's (Viṣṇu's) weapon was blunted, [then] Bhavani (Candi), whose existences are manifold, Easily slew the enraged Mahișa, who depended for safeguard on his own prowess. May Bhavani (Candi) destroy your sin! Notes. 1. This stanza is quoted in the Paddhati (4.26) of Särngadhara (no. 112 of the ed. by Peterson; cf. the partial edition by Aufrecht in ZDMG, vol. 27, where text and translation are given on p. 53-54), in the Hariharavali, or Subhasitahārāvali (13 b), of Hari Kavi (cf. Peterson, Second Report of Operations in Search of Skt. MSS, p. 57-58, Bombay, 1884; see also Thomas's edition of the Kavindravacanasamuccaya, introd., p. 56, Calcutta, 1912; Peterson, loc. cit., states that this anthology is later than the Subhaşitävali [1450 A.D.], or the Paddhati [1363 A.D.] of Sārngadhara), in the Saduktikarṇāmṛta (1.25.5) of Sridhara Dasa (ed. in the THE CANDIŚATAKA OF BĀŅA 329 Bibliotheca Indica Series by Rāmāvatāra Sarmã, the first fascicle having appeared at Calcutta in 1912; cf. Rajendraläla Mitra [Notices of Skt. MSS, vol. 3, p. 134, no. 1180, Calcutta, 1876], who gives the date of the Saduktikarnāmṛta as 1205 A.D.), in the Sarasvatikanthabharaṇa (2.295) of Bhojadeva (p. 254 of the edition by Jivananda Vidyāsāgara, Calcutta, 1894), and in Parab's modern anthology, the Subhāşitaratnabhāṇḍāgāra (p. 19, stanza 48). The reason for its citation by the Sarasvatikanthabharana is to illustrate the rhetorical device venika ('braid'), a type of varṇānuprāsa (syllable alliteration'); on p. 254 of Vidyasagara's edition, venika is defined as follows: a vākyaparisamāpter varnanuprāsanirvaho venika, 'venika is the bringing about of the repetition of sounds as far as the close of what is said.' Stanza 40 of the Candiśataka is similarly cited in the Sarasvatikaṇṭhābharaṇa as an example of the citra type of varnanuprāsa; cf. stanza 40, note 6. 2. For the 'Hare-marked (Moon),' cf. Saryaśataka, stanza 42, note 7. 3. Literally, 'unobstructedly.' V.L. (b) The Hariharavali (see note 1, above) reads viramati mahati. (c) Aufrecht (see note 1) reads mahişam ahiruşam, and the Harihārāvali reads mahişam atiruşd; the Hariharavali and the Saduktikarṇāmṛta (see note 1) read -opaghnavighnam. (d) the Hariharavali reads śamalam (for duritam). 67 bhūṣām bhūyas tavā 'dya dviguṇataram aham dātum evāiṣa lagno bhagne däityena darpān mahiṣitavapuṣā kim visāṇe viṣaṇṇaḥ ity uktvā pātu mātur mahiṣavadhamahe kuñjarendrānanasya nyasyann äsye guho vaḥ smitasitarucini dveșino dve visāne 'I¹ am indeed resolved to give back again [to thee] today thy adornment in twofold measure; Why [then] art thou despondent over thy tusk's having been arrogantly broken by the Daitya (Mahiṣa), who changed his body into that of a buffalo?' So speaking at the festival [of rejoicing] over the killing of Mahisa, Guha (Kärttikeya) flung into the faces of (Ganesa), who has the visage of a lordly elephant, The two horns of his mother's (Candi's) foe (Mahișa)-horns made dazzling white by her smile." May Guha (Kärttikeya) protect you! Notes. 1. Guha (Kārttikeya), the speaker, is here addressing his brother Ganesa, whose adornment was a tusk; he had but one, the other having 330 THE CANDĪŠATAKA OF BĀŅA been broken off. Guha now promises to give him two tusks, namely, the two horns of Mahişa, in place of the one he had lost. 2. This is not the usual cause assigned to explain the loss of Ganesa's tusk. According to the story told in the Brahmavaivarta Purana, Gaņeśa and Paraśurāma once came to blows because the latter attempted to force his way past the former into Siva's presence. In the course of the struggle, Paraśurāma threw his ax at Gaṇeśa, and the latter, recognizing it as his her's weapon -Siva had given it to Paraśurāma-received it humbly on his tusk, which it forthwith severed; cf. Wilkins, Hindu Mythology, p. 327. For other accounts of the manner in which Gaņeśa lost his tusk, cf. stanza 35, note 3. 3. Or, 'placed them on the face'; that is, adjusted them to Ganesa's physiognomy. 4. Kärttikeya was the reputed brother of Gaṇeśa, and son to Siva and Parvati (Candi); cf. stanza 5, note 1, stanza 28, note 2, and stanza 35, note 5. 5. For the power of Candi's smile to make objects brilliant, cf. stanza 58. 68 viśrāmyanti śramārtā iva tapanabhṛtaḥ saptayaḥ sapta yasmin suptāḥ saptā 'pi lokāḥ sthitimuși mahişe yāminidhāmni yatra dhārāṇām rāudhirīņām aruṇimani nabhaḥsāndrasamdhyām dadhānas tasya dhvamsāt sutā 'drer aparadinapatiḥ pātu vaḥ pādapātāiḥ When ,¹ «possessing the appearance of night», destroyed the settled order of things>>,³ The seven horses of (Sürya), Bringer of Heat, sought repose, as if oppressed with weariness, and the seven worlds [had recourse to] sleep; [but] (Candi), Daughter of the Mountain, a second (Sürya), Lord of Day, produced a deep twilight in the sky By the redness of the streams of blood [that arose] from the destruction of >. May (Candi), Daughter of the Mountain, protect you! [And, punningly] After the powerful> >,' The seven horses of (Sürya), Bringer of Heat, seek repose, as if oppressed with weariness, and the seven worlds [have recourse to] sleep; [but] THE CANDIŚATAKA OF BĀŅA 331 (Sürya), Lord of Day, produces a deep twilight in the sky by the redness of the blood [-colored] streams [of the dawnlight], [Which arise] from the destruction of , are you amazed -that the Lotusdweller (Brahmä) here ran quickly away from (Mahişa), Foe of the Gods, who was disguised as a buffalo? Are you amazed , seeing that he, although ? 8 He (Brahma) was [indeed] ,* but I am amazed that you also, like the Self-existent (Brahmā), were on the field of battle.' 332 THE CANDIŚATAKA OF BĀŅA So spake Jaya, who was amazed at the prowess of (Candi), the queen-consort of (Siva), Foe of Smara. May that amazement of Jayā protect you! " Notes. 1. According to the commentary, atra is a vocative, meaning 'O Siva.' Etymologically it may mean 'non-protecting,' as it does, according to PWB, in Brhad Aranyaka Upanişad, 5. 13.4. Such a meaning would be apposite here, since Siva had failed to protect the three worlds in the conflict with Mahişa. It should be noted, however, that the term atra seems not to be used elsewhere as an epithet of Siva. 2. The commentary connects danavarer, 'of the Foe of the Dänavas,' with nabhijato, sprung from the navel,' and although its position seems against this, the grammatical construction and the sense demand that it be so taken. For an account of Brahma's birth from a lotus growing out of Vişnu's navel, cf. Saryaśataka, stanza 13, note 4. 3. The commentary says: 'For one well-born, running away is not becoming.' 4. The full force of the pun in nabhitas is lost in translation. Jaya is amazed that Siva, as well as Brahma, should be nabhitas, 'sprung from the navel [of Vişnu]'; but of course, apart from the pun, nabhītas as applied to Siva must be taken only in its other sense of 'not fearless' (na-abhitas). 5. On Jaya, see stanza 15, note 7. V.L. (c) and (d) vismitäsmāmstyaktva or vismitäsity uktva. (d) jaya vah (at the end of the pada). 70 nistrimśe nocitam te viśasanam urasaś caṇḍi karmā 'sya ghoram vrīḍām asyopari tvam kuru dṛḍhahṛdaye muñca śastrāṇy amūni ittham däityaiḥ sadāinyam samadam api suräis tulyam evocyamānā rudrāṇī dāruṇam vo dravayatu duritam dānavam dārayanti ',¹ the cutting open of the breast [of Mahisa] is a proper [thing] for thee [to do]; «O Angry One», «give over» [this] ««awful deed >>> ; Do thou have shame ‹in regard to [killing] him>2; «O Hardhearted One», «lay aside» those weapons.' [Thus spake the demons; But the gods said]: «O Candi», the cutting open of the breast [of Mahisa] ¹ is a proper [thing] for thee [to do]; <«awful [are] the deeds>» «of him»; THE CANDIŚATAKA OF BĀŅA Do thou have shame *; .' Thus addressed in the same words-by the demons piteously. and by the gods joyously-Rudrāṇī (Caṇḍī) split open the Dänava (Mahisa). May Rudrāni (Caṇḍi) remove your dire sin"! 333 2. Notes. 1. Resolve here as nistrimée na-ucitam, but in the second rendering as nistrimśena-ucitam. For the second meanings of the śleşas in the first two padas, see the second rendering, beginning «O Candi >.' Lit. 'do thou make shame in regard to him.' The commentary says: 'Through the killing of an animal there is shame.' Mahişa, being a buffalo, was an animal, and the demons remind Candi that she, a good Hindu, should be ashamed to kill an animal. 3. The word dṛḍhahrdaye, 'O Hard-hearted One,' is here glossed by aparadhasahiṣṇu hṛdayam, 'a heart patient of sin,' and in the second rendering by kathinahṛdaye, 'O Firm-hearted One.' 4. The commentary says: 'If the killing of Mahişa is not brought about, then great will be thy shame.' That is, if Candi did not kill Mahişa, she would have failed to accomplish what she had attempted to do, and so would be open to ridicule. 5. The alliteration (anuprasa) of the letter d in the last pada is perhaps worthy of note. V.L. (b) drdhahrdayam. 71 cakṣur dikṣu kṣipantyāś calitakamalinīcārukoṣābhitāmram mandradhvānānuyātam jhaṭiti valayino muktabāṇasya pāṇeḥ candyāḥ savyāpasavyam suraripușu śarān prerayantyā jayanti trutyantaḥ pinabhāge stanavalanabharāt samdhayaḥ kañcukasya Candi casts her glance out over the regions-a glance red as the beautiful bud of the tremulous lotusAnd it is instantly¹ followed by the deep humming sound of the arrow that is sped from her braceleted hand; And, as she despatches her shafts right and left at the foes of the gods, The joints of her corselet gape open at the part where it bulges out from the bulk of her swelling breasts. Glory to these joints of Candi's corselet! [In this stanza the usual benediction is omitted.]² THE CANDIŚATAKA OF BĀŅA Notes. 1. Instantly,' because she shoots as soon as she glances. The commentary, however, would take jhatiti, 'instantly,' with mukta, 'sped,' and regards the humming sound as that made by the bracelet. It would render as follows: 'A glance, followed by the deep humming sound of her braceleted hand that instantly speeds an arrow.' 2. For the omission of the benediction, cf. stanza 3, note 5; and for the omission of any mention of Mahişa, cf. stanza 25, note 8. 72 334 bāhūtkṣepasamullasatkucataṭam prāntasphuṭatkañcukam gambhirodaranābhimaṇḍalagalatkāñcīdhṛtārdhāmśukam pārvatyā mahiṣāsuravyatikare vyāyāmaramyaṁ vapuḥ paryastāvadhibandhabandhuralasatkeśoccayam pātu vaḥ In¹ the conflict with the Buffalo-demon (Mahișa), the body of Parvati (Candi) [appeared] lovely in its exertion; [For] her corselet gaped open at the edges, and her rounded breasts came into view by the raising of her arm, And the girdle-supported half of her upper garment slipped down to the circle of the navel deep-set in her abdomen, And the shining mass of her hair, adorned with fillets to confine it, was disheveled. May the body of Parvati (Candi) protect you! Notes. 1. The meter here, as also of stanzas 25, 32, 49, 55 and 56, is fardalavikridita. 2. For vyatikara used in the sense of 'battle,' or 'conflict,' see stanza 5, note 3. 3. Lit. 'slope of the breast.' 4. A deep-set navel was a mark of beauty. 5. Lit. 'adorned with fillets as limits.' 6. A stanza not unlike this as regards subject-matter, but in the sragdhara meter, is found under Bāṇa's name in the Saduktikarnāmṛta (1.25.4), and runs as follows:- padavaştambhanamrikṛtamahişatanor ullasadbahumalam śülam prolläsayantyāḥ saralitavapuso madhyabhāgasya devyāḥ viśliştaspastadṛstonnataviralabahuvyaktagāurāntarālās tisro vaḥ pantu rekhaḥ kramavaśavikasatkañcukaprāntamuktāḥ 'When Devi (Candi), with tense body, crushed the form of Mahisa with her pillar-like foot, She brandished her trident, making visible her arm-pit, and the three wrinkles over her abdomen Came into view by reason of the opening of the edges of her corselet as she took a [forward] step, And the very beautiful white spaces [of flesh] between [the wrinkles appeared], disunited, clearly seen, raised, and separated by intervals. May the three wrinkles of Devi's (Candi's) abdomen protect you!' THE CANDIŚATAKA OF BĀŅA 335 The Sarasvatikanthabharana (3. 10) of Bhojadeva also cites this stanza, but anonymously; cf. p. 439 [=339], ed. by Jīvānanda Vidyāsāgara, Calcutta, 1894. The variants are -valivyakta- (for -bahuvyakta-) and lekhāḥ (for rekhah). The commentary in the Sarasvatīkaṇṭhābharaṇa says that the compound ullasadbahumalam is to be taken adverbially. Further reference to the trivali, or triple wrinkle over the abdomen, is found in Candisataka, stanza 30. V.L. (c) rudrānṇyāḥ mahişăsura-; śṛngāraramyam. 73 cakram cakrāyudhasya kvaṇati nipatitam romaņi grāvaṇī 'va sthāṇor bāṇaś ca lebhe pratihatim uruṇā carmaṇā varmaņeva yasyeti krodhagarbham hasitahariharā tasya girvāṇaśatroḥ pāyāt pādena mṛtyum mahişatanubhṛtaḥ kurvati pārvatī vaḥ 'The discus of (Vișnu), the Thrower of the Discus, when it descended on the hair [of Mahișa], rang out¹ as if [it had descended] on a stone, And the arrow of Sthāņu (Siva) rebounded from the broad hide [of Mahişa], as if from a coat of mail.' Pārvati (Caṇḍī), having mocked Hari (Viṣṇu) and Hara (Siva) with these words in her anger,³ Brought about with her foot the death of that (Mahişa), Foe of the Gods, who bore the body of a buffalo. May Parvati (Candi) protect you! Notes. 1. Lit. 'rings out.' a. Lit. 'took a rebound by the broad hide.' 3. The word krodhagarbham is best regarded as an adverbial accusative. 74 kṛtvā vaktrendubimbam caladalakalasadbhrūlatācāpabhangam kṣobhavyālolatāram sphuradaruṇarucisphāraparyantacakṣuḥ samdhyāsevāparāddham bhavam iva purato vāmapādāmbujena kṣiptam dāityam kṣipantī mahiṣitavapuṣam pārvatī vaḥ punātu After¹ Parvati (Candi) had, on the moon-like disk of her face, knitted her creeper-like, bow-shaped eyebrow that moved like a tremulous leaf,² 1 1 336 THE CANDIŚATAKA OF BĀŅA And after she had, in her agitation, caused the pupil of her eye to roll about, and when her eyelid was expanded, red-colored and quivering, She spurned with her left³ lotus foot the Däitya (Mahişa), whose body had been changed into that of a buffalo, As if [he were] Bhava (Siva), who formerly was spurned [by her] for having committed a fault by his adoration of Samdhyā." May Parvati (Candi) purify you! 5. Notes. 1. Lit. 'Pārvati, having caused the moon-like disk of her face to have the knitting of its brow moving, etc., and to have its eye-pupil rolling about, etc.' 2. Or, 'which shines like the asvattha tree'; caladala, 'whose leaf is tremulous,' is an epithet of the asvattha tree (ficus religiosa). The derivative form dalaka for dala, 'leaf,' happens not to be found in the ordinary lexicons. 3. On the question which foot Candi used when she kicked Mahişa to death, cf. stanza 10, note 6. 4. The commentary reads kşipram, 'quickly,' for kşiptam, 'spurned.' If kşipram be adopted, the sense would be: 'quickly spurning, as she did Bhava.' Apparently Candi was jealous because Siva was paying too much attention to Samdhyā (Twilight personified, a daughter of Brahma, and wife to Siva-so Dowson, A Classical Dictionary of Hindu Mythology, p. 277), and too little to herself, but I have been unable thus far to find any reference in the mythology to such an incident as that here described; in the following stanza, however, mention is again made of this spurning of Siva. Compare also the rendering of stanza 49 suggested in note 6 thereon. In Mayūra's stanza entitled 'The Anger of Uma' (see above, p. 240), Uma's (Candi's) jealousy of Samdhi (Samdhyā) is again alluded to. V.L. (b) kopat vyalolataram. 75 gangāsamparkaduṣyatkamalavanasamuddhūtadhūlivicitro vāñchāsampūrṇabhāvād adhikatararasam tūrṇam āyān samipam kṣiptaḥ pädena dūram vṛṣaga iva yayā vāmapādābhilāṣī devāriḥ kāitavāviṣkṛtamahiṣavapuḥ sā 'vatād ambikā vaḥ (Mahișa), Foe of the Gods, who had deceitfully assumed the body of a buffalo, THE CANDIŚATAKA OF BĀŅA 337 Was, like the Bull-riding (Siva), spurned¹ to a distance by the foot of Ambika (Caṇḍī), even though, [like him], desirous of her left foot,² And he was by the pollen that was shaken off from the lotus-cluster damaged by [his] contact with Ganga (Ganges), [Whereas Siva was] ³; [the other, Siva], approached [her] .³ May that Ambika (Candi) protect you! Notes. 1. See stanza 74 (note 5), where a similar spurning of Siva is recorded. Can this possibly be a veiled allusion to the kick Bāņa received from his wife (cf. Introd., p. 22) ? 2. The commentary explains: 'Desirous to cling to [her] left foot, in order to propitiate and to injure [it].' Mahişa, of course, was the one who wished to injure the foot, for it was Candi's foot that was destined to cause his death; cf. stanza 10, note 6. 3. Lit. 'with anger more than superior to the full state of his desire,' and in the second rendering, 'with sexual desire more than superior, etc.' 76 bhadre bhrūcāpam etan namayasi nu vṛthā visphurannetrabāṇam nā 'ham kelāu rahasye pratiyuvatikṛtakhyātidoṣaḥ pināki devi sotprāsam evam dhṛtamahişatanum dṛptam antaḥsakopam devārim pātu yuṣmān atiparuṣapadā nighnatī bhadrakālī O my dear madam (Caṇḍī), vainly indeed dost thou bend [at me] that bow of thy brow, whose arrow is thy quivering glance; I am not Pinäkin (Siva) making a mistake in [using] the name of a co-wife, while [engaged] in secret amorous play."¹ While he was thus derisively speaking, proud and inwardly full of anger, and wearing the form of a buffalo, 23 338 THE CANDĪŠATAKA OF BĀŅA The goddess Bhadrakālī (Caṇḍī) killed with her excessively hard foot [this] (Mahişa), Foe of the Gods. May Bhadrakali (Candi) protect you! Notes. 1. Mahişa implies that Candi, when dealing with him, was not handling some little cause of misunderstanding in the domestic circle, as, for example, when her husband Siva called her by the name of the co-wife. The commentary explains: 'I am not Siva, making a blunder in a name.' V.L. (a) śamaya mama ruşa visphuran- or śamayasi tu ruşă. (c) mahişitavapuşam drptam. 77 anyonyāsangagāḍhavyatikaradalitabhraṣṭakāpālamālām svām bhoḥ samtyajya śambhāu khurapuṭadalitaprollasaddhūlipāṇduḥ bhadre krīḍābhimardī tava savidham aham kāmataḥ prāpta iśo 'trãivam sotprāsam avyān mahișasuraripum nighnatī pārvati vaḥ 'I have abandoned to Sambhu (Siva) his garland of skulls that fell, crushed by the close contact of [our] clinching one another, And I am white with the eddying dust that is pulverized by the hollow of my hoof, [and thus look like the ascetic Siva]; And, gracious lady (Candi), I have come into thy presence here , ."¹ As (Mahișa), the buffalo [-shaped] Foe of the Gods, was thus derisively speaking, Pārvati (Candi) killed him. May Parvati (Candi) protect you! Notes. 1. Mahişa claims to be Siva-first, because he has crushed Siva's necklace of skulls; secondly, because he is white with dust, like Siva, who, as an ascetic, is smeared with dust and ashes; and in the third place, because he acts like Candi's lord, 'hugging [her] in amorous play,' though this phrase is applicable to Mahişa only in its other meaning, namely, 'oppressing [her] for [his] amusement.' There may also be another double rendering as follows: 'And, gracious lady (Candi), since [in the battle] THE CANDIŚATAKA OF BĀŅA 339 I oppressed [thee] for my amusement >, I have been obtained by due rite as thy lord», «after [my] desire», and so in this case also am [like] , who, because of [his] desire », .' V.L. (a) and (b) -kāpālamālam svängam vinyasya. (b) fambho. (c) kroḍabhimardi. (d) atra omitted. 78 jvālādhārākarālam dhvanitakṛtabhayam yam prabhettum na śaktam cakram viṣṇor dṛḍhāśri prativihatarayam däityamālāvināśi kṣuṇṇas tasyā 'sthisāro vibudharipupateḥ pādapātena yasyā rudrāṇī pātu sā vaḥ praśamitasakalopaplavā nirvighātam The hard-edged discus of Vișņu, terrible as a stream of flame, inspiring fear by its noise, annihilating hosts of demons, Was not able to pierce that (Mahișa), and had its impetuous onset warded off [by him]; But the [very] marrow of the bones of that (Mahişa), Leader of the Foes of the Gods, Was crushed with a blow of her foot by Rudrāṇī (Candi), who alleviates all distress. May that Rudrāṇī (Candi) unfailingly¹ protect you! Notes. 1. Lit. 'unhinderedly.' V.L. (a) svanitakrtabhayam yatra kartum na faktam. (b) The Kävyamālā text reads drdhäsri, but I have changed to drdhafri, which is one of the variants given in the footnotes, and which seems to be the preferred spelling, according to the recognized lexicons, PWB, etc. (b) sṛtivihatarayam daityamayavilavi. (c) vibudharipuvibhoh. (d) praśamitabhuvano padrava. 79 gāḍhāvaṣṭambhapādaprabalabharanamatpūrvakāyordhvabhāgam dāityam samjātaśikṣam janamahişam iva nyakkṛtāgryāngabhāgam ārūḍhā śūlapāṇiḥ kṛtavibudhabhayam hantukämam sagarvam deyād vas cintitāni drutamahiṣavadhāvāptatuṣṭir bhavānī 340 THE CANDIŚATAKA OF BĀṆA Bhavani (Candi), trident in hand, mounted on the Daitya (Mahişa), who had filled the gods with fear, and was proud and eager to slay, [But] who had the upper surface of the forepart of his body bending beneath the great weight of her firmly planted foot, And his head¹ brought low, like an ordinary buffalo that has been trained. [She then] obtained satisfaction by quickly despatching Mahisa. May Bhavani (Candi) mow down your cares! Notes. 1. Lit. 'chief part of the body.' 2. Lit. 'in whom learning has been produced.' The meaning seems to be that, as a trained buffalo will lie down and put his head on the ground at the command of his master and trainer, so Mahişa's head is brought to the ground by Candi, who lays him low after proving herself his master in the battle. 3. The form deyat appears to be a precative from the root do or da, which means 'divide' or 'mow'; cf. Saryafataka, stanza 36, where dyatu, also from the root do or dā, is used in the sense of 'mow down.' V.L. (a) -padapracurabharanamat-. (b) nijñdatafikşam or nirjñātafisyam or niryātasäram or nirjatašiştam; prakṛtāgryāngabhagam. (c) kṛtavibudharuşam. 80 brahmā yogāikatāno virahabhavabhayād dhūrjațiḥ strīkṛtātmā vakṣaḥ śāurer viśālam praṇayakṛtapadā padmavāsā 'dhiśete yuddhakṣmām evam ete vijahatu dhig imam yas tyajaty eşa śakro drptam däityendram evam sukhayatu samadā nighnatī pārvatī vaḥ 'Brahmā is intent on yoga meditation; (Siva), with his burden of matted locks, has had [half of] himself made into a woman through fear of becoming separated¹; And (Lakşmi), whose dwelling is a lotus, reclines upon the broad breast of Sauri (Vișnu), having gained a footing in his affection. Let these abandon the battle-field in that way, [if they choose], but fie upon him, namely, Sakra (Indra) here, who deserts it!"2 THE CANDIŚATAKA OF BĀŅA 341 As (Mahişa), the proud Indra of the Daityas, was uttering these words, Pārvati (Caṇḍī), enraged, put him to death. May Parvati (Candi) bring you welfare! Notes. 1. A reference to Siva in his ardhandrika form, half male and half female; cf. stanza 26, note 4, and Süryaśataka, stanza 88, note 4. For the etymology of dhurjati, 'possessing a burden of matted locks,' cf. Suryaśataka, stanza 71, note 4. 2. The thought seems to be that the other gods have duties, attractions or occupations elsewhere that may have called them from the battle, but Indra, the war-god, has no such excuse, since fighting is his principal business. V.L. (a) brahman; bhavavirahabhayad; svikṛtätma. (c) dhig imăn yat tyajaty eşa śatruḥ or vidiśam drāk tyajatv eşa śakraḥ. (d) dṛstam däityendram. 81 evam mugdhe kilā "sīḥ karakamalarucā mā muhuḥ keśapāśam so 'nyastrīņām ratādāu kalahasamucito yaḥ priye doşalabdhe väidagdhyād evam antaḥkaluşitavacanam duṣṭadevārinātham devi vaḥ pātu pārṣṇyā dṛḍhatanum asubhir mocayanti bhavānī 'O lovely (Candi), pray do not thus repeatedly, with thy lovely lotus hand,¹ throw [at me] thy noose of hairThat [noose it is] which is suitable for chastising thy beloved (Siva), when he has incurred a fault [by indulgence] in love's pleasures, and the like, with other women.'² As the massive-bodied (Mahişa), Lord of the Vile Foes of the Gods, was cleverly making this utterly foul speech, The goddess Bhavani (Candi) deprived him of life with her heel. May Bhavani (Candi) protect you! Notes. 1. Lit. 'with the beauty of thy lotus hand.' 2. Mahisa would say that the noose with which Candi was trying to entangle him was commonly used by her as a means of chastising Siva on the occasions when he was guilty of infidelity. V.L. (a) karakamalataya. (b) kopalabdhe. 82 bālo 'dyā 'pī "śajanmā samaram uḍupabhṛt pāmsulīlāvilāsī nāgāsyaḥ śātadantaḥ svatanukaramadād vihvalaḥ so 'pi śāntaḥ 342 THE CANDIŚATAKA OF BĀŅA dhig yāsi kveti duṣṭam muditatanumudam dānavam sasphuroktam pāyād vaḥ śāilaputrī mahişatanubhṛtam nighnati vāmapārṣṇyā 6 (Kärttikeya), the son of Īsa (Siva), has become a child¹ again today, as regards combat²; the Crescent-bearing (Siva) is devoting himself to playing with dust; The Elephant-faced (Gaṇeśa), of sharp tusk, exhausted by his intoxication for his own slender trunk, is also subdued; And where out upon thee!-art thou going?" As the wicked Dänava (Mahișa), bearing the body of a buffalo, and delighting in the horripilating of his body," Was saying these words in a vibrant tone, (Caṇḍī), the Daughter of the Mountain, killed him with her left heel. May (Candi), Daughter of the Mountain, protect you! 4. Notes. 1. A sarcastic reference by Mahişa to Kärttikeya's epithet Kumara, which means 'child' or 'son.' For Kärttikeya's relationship to Siva, see stanza 5, note 1, and stanza 28, note 2. 2. The commentary glosses samaram, which I take to be an adverbial accusative, by sangrāmam prati, in the matter of battle.' 3. The commentary glosses: 'Intent on sprinkling [himself] with ashes.' The meaning is that Siva, having failed to overcome Mahişa in battle, has recourse to ascetic practices. Mahişa, after stating that Candi's husband, Siva, and her two sons, Kärttikeya and Gaṇeśa (cf. stanza 5, note I, and stanza 35, note 5), have given up the struggle and gone their respective ways, asks Candi where she intends to go after he has defeated her. The phrase dhig yäsi kveti, 'and where out upon thee!-art thou going?' occurs also in stanza 34. 5. Lit. muditatanumudam means 'whose joy is a joyful body,' but the commentary glosses mudita, 'joyful,' by romañcita, 'horripilated.' 6. For the 'left' foot, cf. stanza 10, note 6. V.L. (a) samarasurapatir bhasmalilavilasi; -lilabhiyogyaḥ. (c) kveti drstam; mrditatanumudam; sasphutoktam. 83 mūrdhnaḥ śūlam mamãitad viphalam abhimukham śamkarotkhātaśūlam sangrāmād dūram etad dhṛtam ari hariņā manmanaḥ karşatī 'va THE CANDIŚATAKA OF BĀŅA garväd evam kşipantam vibudhajanavibhūn däityasenādhinātham śarvāṇī pātu yuṣmān padabharadalanāt prāṇato dūrayanti 'Useless is this trident (śūla) brandished¹ by Samkara (Siva) before my face, it [merely causes] an ache (śüla) in my head; 343 And this discus, borne by Hari (Vișņu) far from the battle,² draws, as it were, my sensibilities [after it]." As (Mahişa), the Overlord of the Army of the Dāityas, was thus in his pride reviling the sovereigns of the race of the gods, Sarvāṇī (Candi) removed him from life by crushing him with the weight of her foot. May Sarvāṇi (Candi) protect you! Notes. 1. The word utkhata, 'eradicated,' is here glossed by prahārārtham uttambhitam, 'raised for the purpose of [delivering] a blow.' I have rendered as 'brandished.' 2. According to the commentary, the phrase sangrāmad düram, 'far from the battle,' is to be taken with harina dhrtam, 'borne by Hari,' and not with manmanaḥ karşati, 'draws my mind.' 3. That is, draws one's thoughts (or, sensibilities) to it by yoga meditation. 4. The punning meaning seems to be that the trident (sala), which Siva had thrust into Mahişa's head, did not cause the latter any more serious inconvenience than a headache (śüla), and the discus of Vişnu he regarded not as a weapon for him to fear, but merely as an object of meditation. For a similar pun on the meanings of the word sala, cf. stanza 27, note I. V.L. (b) düram asmat sthitam ari. 84 bhrāmyaddhāmāurvadāhakṣubhitajalacaravyastavīcin sakampān kṛtvāivā "su prasannān punar api jaladhin mandarakṣobhabhājaḥ darpād āyāntam eva śrutipuṭaparuṣam nādam abhyudgirantam kanyā 'dreḥ pātu yuṣmāmś caraṇabharanatam pimṣatī dāityanātham When (Mahişa), Lord of the Daityas, had indeed quickly caused the clear¹ [waters of the] oceans to be again disturbed [as if] by [Mount] Mandara344 THE CANDĪŠATAKA OF BĀŅA While they heaved and their waves were tossed about by the aquatic animals that were agitated by the submarine conflagration with its flickering blaze, He (Mahişa) approached [Candi] in his pride, giving voice to a bellow that pierced the hollow of her ear; But (Candi), Daughter of the Mountain, crushed him as he bowed beneath the weight of her foot. May (Candi), Daughter of the Mountain, protect you! Notes. 1. The word prasanna means both 'clear' and 'calm,' but the commentary prefers the former sense, for it glosses prasanna by nirmala, 'spotless.' 2. That is, the disturbance caused by Mahişa when he plunged into the ocean equaled that which had formely been made by Mount Mandara when used as a churning-stick (cf. Süryaśataka, stanza 42, notes 3 and 14). 3. An allusion to the durva fire; cf. Saryafataka, stanza 35, note 9. V.L. (a) bhrāmyadbhimorudehakşubhitacalajala-. (b) krtva dräg aprasannan. 85 mainām indo 'bhinaisīḥ śritapṛthuśikharām śṛngayugmasya pārsvam yuddhakṣmāyām tanum svām ratimadavilasatstrīkaṭākṣakşameyam bhāno kim vikṣitena kṣitimahişatanāu tvam hi samnyastapādo darpād evam hasantam vyasum asuram umā kurvatī trāyatām vaḥ 'O Indu (Moon), do not bring that body of thine, which [usually] clings to the broad mountain-summits, near my pair of horns On the battlefield, [for] that [body of thine] can endure [only] women's sidelong glances¹ agleam with ardent passion for love's pleasures ; O Bhānu (Sun), what [canst thou do to me] with thy glance? Thou mayest, perhaps, cast thy rays upon the body of an ordinary buffalo, [but not on me].'s As the Demon (Mahișa) was thus mocking [the gods] in his pride, Umā (Candi) made him lifeless. May Uma (Candi) protect you! THE CANDĪŠATAKA OF BĀŅA 345 2. Lit. Notes. 1. Lit. 'is patient of women's sidelong glances, etc.' 'buffalo of earth,' but the commentary glosses by prakṛtamahişa, 'ordinary buffalo.' 3. The commentary explains: 'Thou possessest rays cast down upon an earthly, that is, ordinary, buffalo; I am not such a buffalo on whom thou desirest to make a casting down of thy rays. V.L. (a) mäinām mugdhe; śrngayugmasya pätryam. 86 sangrāmāt trastam etam tyaja nijamahişam lokajiveśa mṛtyo sthātum śülāgrabhūmāu gatabhayam ajayam mattam etam gṛhāṇa dāitye pädena yasyāś chalamahiṣatanāu śāyite dirghanidrām bhāvotpattāu jayāivam hasati pitṛpatim sã 'mbikā vaḥ punātu 'O Death (Yama), Lord of the Life of the World, abandon that buffalo of thine own,' who was frightened from the battle, And take this one [i. e. Mahișa], who is not afraid to stand² on the ground [in front] of the spear-points, who is invincible and furious in rut.' In these words Jayā, in an outburst of feeling, mocked (Yama), Lord of the Manes, as the Daitya (Mahiṣa), in the guise of the body of a buffalo, Was caused to lie down in his long sleep by the foot of Ambikā (Candi). May that Ambikā (Caṇḍī) purify you! Notes. 1. The buffalo was Yama's vehicle; cf. Süryaśataka, stanza 58, note 5. 2. The infinitive sthätum depends upon the compound gatabhayam, 'with fear-to stand-absent.' 3. That is, in the forefront of the battle, facing the enemy's spears. 4. Jaya was Candi's handmaid; cf. stanza 15, note 7. 5. I have rendered bhavotpattäu by 'in an outburst of feeling,' though I am not at all sure that such is the proper translation for it. 6. In fayite we have a causative participle of the root st. V.L. (b) fastragrabhūmau. (c) prapite dirghanidrām. (d) dragdurbhede jayaivam; hasitapitṛpatim. 87 śrutvāitat karma bhāvād anibhṛtarabhasam sthāṇunā 'bhyetya dūrāc chliṣṭā bāhuprasāram śvasitabharacalattārakā dhūtahastā 346 THE CANDIŚATAKA OF BANA dāitye girvāṇaśatrāu bhuvanasukhamuși preșite pretakāṣṭhām găuri vo 'vyān milatsu tridivișu tam alam lajjayā vārayantī After the Däitya (Mahișa), Foe of the Gods, who destroyed the happiness of the world, had been despatched to the realm of the dead Gauri (Candi), her hand trembling, and the pupil of her eye rolling because of her labored breathing, was embraced with outstretched arms By Sthāņu (Siva), who had heard of that deed, and who came from afar with unconcealed impetuosity because of his love; [But] before the assembled inhabitants of heaven she restrained him because of her extreme bashfulness. May Gauri (Candi) protect you! Notes. 1. Lit. 'weight of her breathing.' V.L. (a) śrutvedykkarma; śambhuna "gatya dürac. (b) bahupasādam ; uddhatahasta. (c) daitye samtapitārdu; proşite. (d) gauri vo 'vyat svarūpam tridaśapatipuro lajjaya dharayanti. 88 bhadre sthāņus tavā 'nghriḥ kṣatamahiṣaraṇavyājakaṇḍūtir eşa trailokyakṣemadātā bhuvanabhayaharaḥ śamkaro 'to haro 'pi devānām nāyike tvadguṇakṛtavacano 'to mahādeva eşa kelāv evam smarārir hasati ripuvadhe yām śivā pātu sā vaḥ 'O lovely lady (Candi), that foot of thine is [really] , for it is the that destroyed Mahişa's itch¹ which took the form of [love of] fighting³; And since it bestows felicity upon the three worlds, it is therefore , ; and since it destroyed the fear of the world, it is also , ; And, O (Candi), Heroine of the Gods, it is obeyed because of thy greatness; therefore it is , .' THE CANDĪŠATAKA OF BĀŅA 347 In these words (Siva), Foe of Smara (Kāma),³ playfully jested with Siva (Candi) on [the subject of] the killing of the Foe (Mahişa). May that Siva (Candi) protect you! Notes. 1. Cattle affected with the itch rub themselves on a post, and Mahişa, being a buffalo, belonged to the cattle family. For other puns involving the meaning of sthanu, cf. stanza 8, note 3. 2. Or perhaps 'pretended itch for battle'; this, however, does not seem to fit the sense required here; but see the compounds quoted in the lexicons: vydjakheda, 'pretended weariness,' and vyajatapodhana, 'pretended ascetic,' etc. 3. On Siva's hostility to Kāma, cf. Süryaśataka, stanza 55, note 9. V.L. (a) -kandutir eva. (b) trailokyaksemadānāt. (c) devānăm nàyakatvad guna- or deväir brahmadibhis tvadguna-. (d) smarārāu vadati ripuvadhe pärvati vaḥ punātu. 89 khadgaḥ kṛṣṇasya nūnam rahitaguṇagatir nandakākhyāṇ prayātaḥ śatror bhańgena vāmas tava muditasuro nandakas tv eṣa pādaḥ bhāvād evam jayāyāṁ nutikṛti nitarām samnidhāu devatānām savrīḍā bhadrakālī hataripur avatād vīkṣitā śambhunā vaḥ 'The sword of Kṛṣṇa has attained the title of "Joy-bringer," although its conduct now [in the battle with Mahișa] was without [that] quality; But that left foot of thine [is really] the "Joy-bringer," since it brought joy to the gods by the destruction of their foe (Mahişa).' 1 While Jayā³ thus, in the presence of the gods, was, because of her affection, paying deep adoration [to Candi], The modest Bhadrakali (Candi), who had slain the Foe (Mahişa), was gazed on by Sambhu (Siva). May Bhadrakali (Candi) protect you! Notes. 1. In Mahabharata, 5. 131. 10, the nandaka, 'Joy-bringer,' is mentioned among the weapons of Kṛṣṇa. 2. For the left' foot, see stanza 10, note 6. 3. On Jaya, see stanza 15, note 7. 4. The word bhavat is glossed by bhaktiviseşat, a kind of devotion'; I have rendered by 'affection.' V.L. (c) bhävad evam gatänām. THE CANDIŚATAKA OF BĀŅA 90 ekenāivodgamena pravilayam asuram prāpayāmī 'ti pādo yasyāḥ käntyā nakhānām hasati suraripum hantum udyan sagarvam visņos triḥ padapadmam baliniyamavidhāv uddhṛtam kāitavena 348 kṣipram să vo ripūṇām vitaratu vipadam pārvatī kṣuṇṇaśatruḥ 'With only one raising [of myself] I will cause the Demon (Mahişa) to attain utter dissolution.' In these words The foot of Parvatī (Caṇḍī), with [all] the splendor of its nails, as it rose proudly' to slay (Mahisa), Foe of the Gods, Mocked the lotus foot of Viṣṇu, which was three times raised in bringing about through a ruse the suppression of Bali.² [This was] that Parvati (Candi), who crushed the Enemy (Mahişa). May Parvati (Candi) quickly effect the ruin of your foes! Notes. 1. Or, sagarvam may be taken as an adjective with suraripum -proud Foe of the Gods.' 2. For the story of Vişnu's 'three steps,' and of how he overcame the demon Bali by deception, cf. Süryaśataka, stanza 7, note 4. V.L. (a) udgatena pravijayam aparam. (b) nakhänām saha vibudharipum or nakhanam hasitasuraripum. (c) udgatam kaitavena. (d) kşiptam să vo. 91 khadgam khaṭvāngayuktam yuvatir api vibho te śarīrārdhalinā hāsyam prāg eva labdham surajanasamitāu duṣkṛtena tvayāivam jātā bhūyo 'pi lajjā raṇata iyam alam häsyatā śūlabhartar darpād evam hasantam bhavam asuram umā nighnati trāyatām vaḥ 'O Trident-bearing (Siva), thy sword is combined with a skulltopped club; and, O All-pervading (Siva), a young woman is united with one half of thy body¹; Formerly indeed, in the assembly of the gods, ridicule was encountered by thee who hadst thus done wrong,² THE CANDIŚATAKA OF BĀŅA 349 And now again shame has arisen [for thee] from the battle. This is cause enough for ridicule.' As the Demon (Mahişa) was thus in his pride mocking Bhava (Siva), Umā (Candi) put him to death. May Uma (Candi) protect you! Notes. 1. For the ardhandrifa manifestation of Siva, see above, stanza 26, note 4, and Süryaśataka, stanza 88, note 4. 2. The reason for the ridicule is not clear to me, though it seems to be connected in some way with the ardhandrita form of Siva; cf. note 1. 3. According to the commentary, the shame was due to Siva's having run away from the battle. V.L. (a) ganga māulāu vilagnā yuvatir iti or khatvangam khadgayuktam yuvatir api. (b) prag eva lagnam. (c) yata bhayo 'pi. (d) haram asuram uma. 92 sthāṇāu kaṇḍūvinodo nudati dinakṛtas tejasā tāpitam no toyasthāne na cā "ptam sukham adhikataram gāhanenā 'ngajātam śūnyāyām yuddhabhūmāu vadati hi dhig idam māhiṣam rūpam evam rudrāṇyā "ropito vaḥ sukhayatu mahişe prāṇahṛt pādapadmaḥ 'There is no¹ removal of my itch on a by removing [it], and my limbs are not warmed by the splendor of (Sürya), Maker of Day, Nor is excessive pleasure gained by plunging into the abode of Water (Varuṇa). Out upon this buffalo form [of mine]!' As Mahisa was saying these words upon the deserted* battlefield, The lotus foot of Rudrāni (Candi) was placed [on him] and took away [his] life. May that lotus foot of Rudrāni (Candi) prosper you! Notes. 1. The commentator, apparently reading naḥ for no in his text, takes the first pāda to mean that the itch is removed on Sthāņu, and the limbs are warmed by Surya. Regarding sthanu, the commentary says: 'If a removal of the itch is made on sthanu, i.e. Śiva and a rubbing-post, then he (?) removes it, for this Sthanu (Immovable One) is not motionless (sthira).' For similar puns on the term sthāṇu, cf. stanza 8, note 3. 2. Mahişa's limbs can get no heat, because Sürya, the Sun, has run away. 3. Varuņa (Water personified) having fled, Mahişa can find no refresh350 THE CANDIŚATAKA OF BĀŅA ing pool in which to take a plunge or wallow. 4. Deserted, because the gods had fled, leaving Mahişa alone in possession of the field. V.L. (a) kandavinodat; tapitam naḥ or tapitam vaḥ. (c) The Kävyamālā text has rūpam ekam. I have adopted the variant rapam evam. 93 pimşañ chailendrakalpam mahişam atigurur bhagnagīrvāṇagarvam Sambhor jāto laghīyāñ chramarahitavapur dūram abhyūhyapātaḥ vāmo devāripṛṣṭhe kanakagirisadām kṣemakāro 'nghripadmo yasyā durvāra evam vividhaguṇagatiḥ sā 'vatād ambikā vaḥ The irresistible ¹ lotus foot of Ambikā (Caṇḍī), a bestower of happiness to those dwelling on the Golden Mount (Meru),³ to the back of (Mahisa), Foe of the Gods, has a gait possessing manifold excellent qualities, as follows: Although excessively heavy when crushing Mahiṣa, who resembled [in size] (Himalaya), Indra of Mountains, and who had humbled the pride of the gods, It became nimbler than Sambhu (Siva), with a form freed from weariness, and with a kick that was to be apprehended afar off. May that Ambika (Candi) protect you! Notes. 1. On the 'left' foot, cf. stanza 10, note 6. 2. Those who dwell on the Golden Mountain' are the gods. For Meru's composition of gold and precious stones, cf. Saryaśataka, stanza 1, note 4. 3. Lit. 'possessing a gait of manifold ex es.' 4. Lit. 'whos descent is to be inferred far off.' On düram abhyühya- the commentary says: 'For he who is heavy gets tired, and does not go far; but this [foot of Candi] has its form free from weariness, and alights at a distance.' V.L. (a) firnagirvanagarvam or firnagirvanagarvaḥ. (b) sambhor yato gariyan; -vapur nyasta utpatya kopat. (c) and (d) kşemakāro hi yasyaḥ pado 'tulyaprabhāvaḥ. 94 märgam śītāmśubhājām sarabhasam alaghum hantum udyan surārim THE CANDIŚATAKA OF BĀŅA netrāir udvṛttatārāiḥ sacakitam amarāir unmukhāir vīkṣyamāṇaḥ yasyā vāmo mahīyān muditasuramanāḥ prāṇahṛt pādapadmaḥ prāptas tanmürdhasīmām sukhayatu bhavataḥ sã bhavani hatāriḥ 351 Impetuously mounting the pathway of (the stars) who are devoted to the Cold-rayed (Moon), in order to slay the bulky (Mahişa), Foe of the Gods,¹ And being gazed upon in awe by upward-looking immortals with eyes whose pupils were dilated, The very mighty left² lotus foot of Bhavani (Candi)-a foot that rejoiced the hearts of the gods³— After taking away the life [of that foe], rested on the edge of his head. May that Bhavani (Candi), who slew her foe (Mahișa), prosper you! Notes. 1. The meaning of the bombastic image is that when Candi raised her foot to bring it down upon Mahișa, it mounted the sky, which is the pathway of the stars. The length of Candi's stride did not, of course, conform to mortal standards. 2. On the left' foot, cf. stanza 10, note 6. 3. The commentary regards the epithet muditasuramanāḥ as modifying bhavant; it would render as 'Bhavānī, who rejoiced the hearts of the gods.' 4. Lit. 'attained to the edge of his head.' V.L. (b) asurair unmukhäir. 95 mūrdhany äpätabhagne mişamahiṣatanuḥ sannaniḥśabdakaṇthaḥ śoṇābjātāmrakāntipratataghanabṛhanmaṇḍale pādapadme yasyā lebhe surãrir madhurasanibhṛtadvādaśārdhāṁghrilīlām śarvāṇī pātu sā vas tribhuvanabhayahṛt svargibhiḥ stūyamānā (Mahişa), Foe of the Gods, disguised under the body of a buffalo, his throat bent over and voiceless, his head crushed by a kick,¹ Assumed, [as he lay] on Sarvāṇi's (Candi's) lotus foot, which diffused a large thick circle of reddish³ splendor, [like]³ a red lotus, 352 THE CANDIŚATAKA OF BĀŅA The semblance of a six-footed (bee),