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<p>(vi)
 
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<p>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'&apos;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

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'&apos;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

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.
 
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