नराभरणम् /7
This page has not been fully proofread.
(vi)
one manuscript of a short work, suitable for publishing here, is
available, attempts will be made to present a collated, critical
text. Bibliographical and historical data on the works and
authors will be given very briefly in the footnotes, which may,
where needed, include some explanatory notes also on the textual
passages.
Each issue of the Malayamaruta is appropriately called a
Spanda and in this, the inaugural number, nine short works have
been offered. The volume opens with a Stotra on Ganapati in
one of his rare forms considered especially efficacious. The
second is a hymn from Kashmir to the supreme Mother Goddess,
Mahārajñi, who is also the presiding deity of art and letters.
The Dasaśloki, a poem on the state of Śivādvaita-realisation, is
by Vidyacakravarttin, the well-known Saiva teacher, poet and
critic of the 14th century; it is from a manuscript in the Madras
Government Oriental Manuscripts Library. The Upadeśašikhāmaņi
of Tyagaraja, in the manner of Sankara's Bhaja Govindam, is
included next; it is found in the Adyar Library and the Tanjore
Maharaja Sarfoji Sarasvati Mahal Library, Tanjore, (Tanjore
Descriptive Catalogue, Vol. XIII, No. 1745). The anonymous
description of the six seasons Şaḍrutuvarṇana is from the Sarasvati
Mahal Library, Tanjore. The Kavitāmṛtakupa of Gauramohana is
based on a manuscript in the Madras Government Oriental Manu-
scripts Library; this compilation is reported to have been printed
in Calcutta in 1826. The anonymous anthology of Subhāṣitas
called Narabharaṇa is also taken from a manuscript in the Madras
Government Oriental Manuscripts Library; the manuscript is
defective but the collection contains many popular verses, and
shows that, as in certain other branches of Sanskrit literature, in
Subhāşita also, which throve on the common man's tongue, a
popular form of Sanskrit was in vogue. The Somanāthasataka is
by a well-known poet-musicologist; it is full of Ślesa most of
which I have explained in the footnotes. The concluding piece
based on
an unsatisfactory manuscript from Bikaner is the
Vibudhamohana, depicting the Vidvad-goşthis held in royal courts,
by Harijivana Miśra of the 17th century who specialised in
composing Prahasanas; some more of these Prahasanas, the
condition of their manuscripts permitting, will be offered in the
subsequent issues.
one manuscript of a short work, suitable for publishing here, is
available, attempts will be made to present a collated, critical
text. Bibliographical and historical data on the works and
authors will be given very briefly in the footnotes, which may,
where needed, include some explanatory notes also on the textual
passages.
Each issue of the Malayamaruta is appropriately called a
Spanda and in this, the inaugural number, nine short works have
been offered. The volume opens with a Stotra on Ganapati in
one of his rare forms considered especially efficacious. The
second is a hymn from Kashmir to the supreme Mother Goddess,
Mahārajñi, who is also the presiding deity of art and letters.
The Dasaśloki, a poem on the state of Śivādvaita-realisation, is
by Vidyacakravarttin, the well-known Saiva teacher, poet and
critic of the 14th century; it is from a manuscript in the Madras
Government Oriental Manuscripts Library. The Upadeśašikhāmaņi
of Tyagaraja, in the manner of Sankara's Bhaja Govindam, is
included next; it is found in the Adyar Library and the Tanjore
Maharaja Sarfoji Sarasvati Mahal Library, Tanjore, (Tanjore
Descriptive Catalogue, Vol. XIII, No. 1745). The anonymous
description of the six seasons Şaḍrutuvarṇana is from the Sarasvati
Mahal Library, Tanjore. The Kavitāmṛtakupa of Gauramohana is
based on a manuscript in the Madras Government Oriental Manu-
scripts Library; this compilation is reported to have been printed
in Calcutta in 1826. The anonymous anthology of Subhāṣitas
called Narabharaṇa is also taken from a manuscript in the Madras
Government Oriental Manuscripts Library; the manuscript is
defective but the collection contains many popular verses, and
shows that, as in certain other branches of Sanskrit literature, in
Subhāşita also, which throve on the common man's tongue, a
popular form of Sanskrit was in vogue. The Somanāthasataka is
by a well-known poet-musicologist; it is full of Ślesa most of
which I have explained in the footnotes. The concluding piece
based on
an unsatisfactory manuscript from Bikaner is the
Vibudhamohana, depicting the Vidvad-goşthis held in royal courts,
by Harijivana Miśra of the 17th century who specialised in
composing Prahasanas; some more of these Prahasanas, the
condition of their manuscripts permitting, will be offered in the
subsequent issues.