such a nature still holding in control lower susceptibili- ties, once indulged, by the dawning possibilities of a life of Yoga. And though it is difficult to ascertain how far this life of Yoga had advanced behind the role of the poet representing different stages of wisdom, it is fairly presumptive that the poet's voice gradually merged in the silence of the highest spiritual realizations.
The hundred verses of the Vairagya-Satakam are di- vided into ten groups under the following ten headings : तृष्णाढूषणम् condemntion of desire ; विषयपरित्यागविडम्बना, futile efforts to give up sense-objects : याञ्चादैन्यढूषणम्, condemnation of the poverty of a supplicant attitude ; भोगस्थैर्यवर्णनम्, delineation of the evanescene of enjoy- ments ; कालमहिमानुवर्णनम् description of the working of Time, or the principle of change ; यतिनृपतिसंवादवर्णनम्, a comparision as to how a monk stands to a king ; मन:संबोधननियमनम्, control of mind by stimulating wisdom in it ; नित्यानित्यवस्तुविचारः, discrimination of the immutable reality from the mutable ; शिवार्चनम्, worship of Siva ; अवधूतचर्या, the way of life for ar Avadhuta, or a self- realized ascetic characterized by the highest spiritual freedom.
With these few remarks of a prefatory nature, we send for this English translation of an important poetical production of Mediaeval India into the world of modern readers. The translation has been made rather too closely literal, specially to suit the con- venience of these readers who want to follow the original Sanskrit with its help.