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. 220- 221); Vişnu Purāṇa, 1.2 (Wilson, vol. 1, p. 38); J. Dahlmann, Mahabha- rata-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 mean- ing 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 Vat- sabhatti (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 'Thousand- rayed' in stanzas 17 (sahasratviş), 52 (daśafataruci), and 100 (daśasa- tābhīşu); 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 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 upanayatäntülikevä- tulam; 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 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 Kādra- veyas 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 'Sub- duer 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 pre- vailed 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 green- ness 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 scat- tered 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 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 buffalo- demon; 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 hasten- ing 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 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 sup- posedly 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 buf- falo; 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 iron- ically 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 at- tendants; 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 Pārva- tiparinaya, 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 jātasamdhyāpra- mohaḥ 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 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 cir- cumstance 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 viśrab- dham aśvāiḥ śṛngäbhyām viśvakarman ghatayasi na navam śārngiṇaḥ śārngam anyat äibhī tvan niṣṭhureyam bibhṛhi mṛdum imām īśvarety āttahāsā gauri vo 'vyāt kṣatāriḥ svacaraṇagarimagrastagīrvāṇagarvā