Shri Shankara’s works

Shankara's works are generally divided into four parts:- (1) Bhasyas; (2) Mulagranthas; (3) Mantrasastras; and (4) Stotras. I. Bhasyas:- (1) Brahmasutra Bhasya; (2) Bhagavadgitabhasya; (3) Isavasyopani sadbhasya; (4) Kenopani sadbhasya; (5) Kathopani sadbhasya; (6) Prasnopani sadbhasya; (7) Mundakopani sadbhasya; (8) Mandukyopanisadbhasya; (9) Aitareyopani sadbhasya; (10) Taittiriyopanisadbhasya; (11) Chandogy opani sadbhasya; (12) Brhadaranyakopanisadbhasya; (13) Nrsimhatapaniyopani sadbhasya; (14) Visnusahasranamabhasya; (15) Sanatsujatiyabhasya; (16) Lalitatrisatibhasya. II. Mulagranthas: (1) Vivekacudamani; (2) Upadesasahasri; (3) Aparoksanubhuti; (4) Vakyavrtti; T (7) Satasloki; sarasangraha; (5) Svatmanirupana; (6) Atmabodha; (8) Dasasloki; (9) Sarvavedantasiddhanta- (10) Prabodhasudhakara; (11) Svatmaprakasika; (12) Mani sapancaka; (14) Nirvanastaka; (13) Advaitapancaratna; (15) Advaitanubhuti; (16) Brahmanucintana;

: 40 : (17) Prasnottaramalika; (18) Sadacaranusandhana; (19) Yogataravali; GOMB (21) Dhanyastaka; (23) (25) (20) Upadesapancaka; (22) Jivanmuktanandalahari; Anatmasrivigarhanaprakarana; (24) Svarupanusandhana; Yatipancaka; (26) Pancikarana; (27) Tattvopadesa; (29) Mayapancaka; (30) Praudhanubhuti; (28) Ekasloki; (31) Brahmajnanavalimala; (32) Laghuvakyavrtti; and (33) Nirvanamanjari. 51 Stotrakavyas (with Special reference to S.I):Tradition ascribes the following stotrakavyas to Sankara- (1) Ganesabhujanga; (2) Ganesapancaratna; (3) Subrahmanyabhujanga; (4) Sivabhujanga; (4) Sivabhujanga; (5) Sivanandalahari; Sivapadadikesanta- (6) Sivaparadhak samapanastotra; (7) varnanastotra; (8) Vedasarasivastotra; (9) Sivakesadipadantavarnanastotra; (10) Swarnamalastuti; (11) Dasaslokistuti; (12) Gangastakam; (13) Daksinamurtistotra; (14) Mrtyunjayamanasapujastotra; (15) Sivanamavalystaka; (16) Sivapancaksarastotra; (17) Umamahesvarastotra; (18) Devibhujangastotra; (19) Anandalahari; (20) Tripurasundarivedapadastotra; (21) Tripurasundarimanasapujastotra; (22) Devicatuhsastyupacarapujastotra; (23) Tripurasundaryastaka; 51. (24) Lalitapancaratna; Dr.S.Vishvasara Iyer K.Saundaryalahari - A bibliography Dr.E.Easwaran Namputiri Kerala Sanskrit Literature—A Bibliography

: 41 : (25) Kalyanavrstistava; (26) Kanakadharastava; (27) (29) Mantramatrkapuspamalastava; (28) Navaratnamalika; Gayatryastaka; (30) Sriramabhujanga; (31) Laksminr simhapancaratna; rasastotra; (35) (37) (32) Laksminrsimhakaruna- su (33) Ambastaka; (34) Sri-Visnubhujanga; Visnupadadikesantastotra; (36) Pandurangastaka; Acyutastaka; (38) Narayanastotra; (38) Krsnastaka; (39) Haristuti or (40) Govindastaka; (41) Bhagavanmanasapuja; (42) Mohamudgara (Bhajagovindan or Carpatapancarika;) (43) Acyutastaka; (44) Annapurnastaka; (45) Minaksipancaratnastotra; (46) Minaksistotra; (47) Daksinamurti stotra; (48) Kalabhairavastaka; (49) Narmadastaka; (50) Yamunastaka; (51) Manikarnikastaka (52) Sivamanasapuja; (53) Pratahsmaranastotra; (54) Jagannathastaka; (55) Satpadi stotra; (56) Bhramarambastaka; (57) Sivapancak saranaksatramalastotra; (58) Dvadasalingastotra; (59) Ardhanarisvarastotra; (60) Saradabhujahga; (61) Gurvastaka; (62) Lalitapancaka; (63) Bhavani bhujanga; and (64) Saundaryalahari. Whether Sankara himself had composed so much is a question, for which, the reply one receives from most of the scholars is negative. The fact is that, while making great propoganda for his Advaitic exhortations, his disciples made the world forget his poetic compositions, and many of his good literary contributions sank deep into the ripples of

: 42 : monistic teachings. Still, even in explaining the ultimate truth of monism, he did not forget to describe it in the In the words of P. Sesadri SHOP Though most simple and pleasing way where his felicity of expression is feflected. "Young in years, but ripe in wisdom, self confident and self-reliant, yet gentle and tolerant, his influence was irresistible. he had soared the highest pinnacle of realization, he oned himself with the humblest and mingled in all harmless forms of worship seeing Brahman everywhere, even in rivers and mountains, sacred ghats and other places, thus objects sanctified by the devotion of ages were glorified by him in sweet and charming verses, breathing the fragrance of pure and exalted emotion as is born out by his stotras on Annapurna, Viswanatha, tutelary deities of Kasi, Manikarnika etc. 52 The composition on Prasthanatraya can claim priority to the composition of Stotrakavyas, for it is seen that after accepting ascetic life he proceeded to Kasi and composed the Prasthanatraya on the advice of Govinda, his preceptor. after meeting Siva in the guise of Candala, Shankara was advised to meet Vyasa, who doubled his span of life; then he went to 9 Later, Kasi and began working on his compositions. During Digvijaya (whirl-wind campaign) he pointed out the identity of each and every object of worship with Brahman, so as to make the great advaitic teachings, more simple in the Stotrakavyas for the common people to understand. 52. Sankaracarya, p.15 P. .Sesadri.

: 43: 1. Ganesabhujanga is a work in nine stanzas in Bhujanga prayata metre. Each stanza ends with 'Ganadhisamisanasunum tamide'. Almost all the lines show a high degree of excellence. E.g. 'Prakasajjaparatnaratnaprasunapravalaprabhatarunajyotirekam.... 2. E.g. 3. 4. Ganesapancaratna is a beautiful literary piece brimming with musical rythm. The recital of the lines itself gives a melodious fluency. "Nitantakantadantakantimantakantakatmajan acintyarupamantakinamantarayakrntanam hrdantare nirantaran vasantameva yoginam tamekadantameva tam vicintayami santatam." Subrahmanyabhujanga: In 34 stanzas the eulogy of Kumara is composed. It seems that the deity mentioned here, is that of Skanda at Kukke in Western Ghats, as, is said in the 10 th stanza "Bhujangesa, bhutesa, bhringesa tasmai namaste, namaste namah kukkelinga" Some stanzas are highly rich with prasa. 9 "Kumaran varenyan saranyam supunyam 9 sulavanyapanyam suresanuvarnyam lasatpurnakarunyamasmaddhiranyam sukarunyamaryagraganyam namami." Sivabhujanga is composed in 15 stanzas in Bhujangaprayata metre. The poetic skill in displaying the world of 'words' magic, is evident in many places. f

: 44: E.g. 5. E.g. 6. "Jagannatha, mannatha, gauri sanatha namaste namaste punaste namostu prasida, smara, trahi, pasya, ava, pusya, ksamasva, apnuhiti ksapa hi ksipamah." Sivanandalahari - Bhakti is dealt with in its extreme degree here. Whatever the devotee does, is considered as offering to Almighty. The aspects of Samipya (nearness), Sarupya (identity with the form of God), Salokya (identity with the attributes of God), etc., are depicted in the most pleasing way. "Margavartitapadukah pasupaterangasya kurcayate gandusambuni secanam puraripordivyabhisekayate kimcid bhaksitamamsasesakabalam navyopaharayata bhaktih kim na karotyaho vanacarobhaktavatamsayate." Sivaparadhak samapanastotra: - All the 14 stanzas in the work end with "Ksantavyo me " 9 paradhah, siva, siva sivabhih, srimahadeva sambho!' The philosophic aspect of placing Siva as the super excellent power is found in this poem. Shankara seems to regret for the negligence he had shown to worship, from his childhood. E.g:

: 45: E.g: "Snatva pratyusakale snapanavidhi vidhan na Shrtam gangotoyan pujar tham va kadacit bahutaragahanat kn 7. 8. khandabilvidalani//nanita padmamala sarasi vikasita gaudhapuspaih tvadartham/ksantavyo me es paradhah siva T su siva sivabhih srimahadeva sambho: "// Sivapadadikesantavarnanastotra is an excellent devotional poem in 41 stanzas praising Lord Siva from foot to head. Vedasarasivastotra is a work in 11 stanzas composed in Advaitic teachings are expressed Bhujangaprayata metre. in this work. E.g: "Paratmanamekan jagadbijamadyam 9. nirihan nirakaran omkaravedyam yato jayate palyate yena visvan na bhumir naca po na vahnirna vayuh na cakasamaste na tandra na nidra." "Sivake sadipadantavarnanastotra: Lord Siva is praised from head to foot. Here too, we can find excellent examples in prasa:E.g: "Bhumna yasyastasimna bhuvanamanusrtam yat parandhama 10. dhamnam samnamamnayatattvan yadapi ca paran yad gunatitamadyam.... Suvarnamalastuti: In alphabetical order beginning from A to ksa, Siva and His spouse Siva are praised, in 50 stanzas. #*

11. E.g. : 46 : Dasaslokistuti:- Siva with His other half Amba, is described as Parabrahman, in 10 stanzas. Sambasiva (the hermaphrodite form of Siva) is considered to be Parabrahman in whom everything originates, developes and ceases. 'Akasasca kuthayate dasadi sabhogo dukulayate sitamsuh prasavayate sthirataranandah svarupayate vedanto nilayayate suvinayo yasya svabhavayate " tasmin me hrdayam sukhena ramatam sambe parabrahmani.' 12. E.g. 13. Gangastaka:- This astaka type of stotra praises Goddess Ganga who is having divine power to remove all the sins on earth (in 8 stanzas). "Brahmandan khandayanti harasirasi jatavallimullasayanti svarlokadapayanti kanakagiriguhagandasailat skhalanti ksoniprsthe luthanti duritacayacamunirbhar an bhartsayanti pathodhim purayanti suranagar asaritpavani nah punatu." Daksinamurtistotra is a philosophical poem in 15 53 stanzas praising Daksinamurti, an incarnation of Lord Siva. 53. Usually pictured as in Yogic pose sitting on the shadow of Banyan tree expounding Vedantic principles to the disciples turning His face towards South.

: 47: 14. Mrtyunjayamanasapujastotra:Lord Siva who is the captivator of death is presented in this poem. Mental worship with offerings like gheer, cardomom, ginger, spinache, etc., is done in the feast arranged for the Lord. Most of the stanzas (23 to 33) are allotted for description of the variety of offerings served to the Lord. 15. Sivanamavalyastaka:In this astaka, the 8 stanzas 9 contain the various requests to Lord Siva to save the devotee from the worries of the world. 16. Sivapancaksarastotra As the name denotes, the poem is composed of 5 stanzas, in which each stanza begins with each alphabet in 'Pancaksaramantra' ("Namah Sivaya") in order, from na to ya and all the stanzas end in pancaksara i.e., 'namah sivaya'. E.g. "Nagendraharaya vilocanaya 17. bhasmangakaraya mahesvaraya nityaya suddhaya diganbaraya tasmai nakaraya namah sivaya. 9 Umamahesvarastotra:- 11 The peculiarity of this praise of Uma and Mahesvara is that, every word in the poem ends with the declension Caturthi dvivacana (dative case se »).

: 48: E.g. 18. "Namah sivabhyam navayauvanabhyan parasparaslista vapurdharabhyan nagendrakanyavrsaketanabhyam namonamah sankaraparvati bhyan." "Devibhujanga-stotra having 28 stanzas is an exposition of tantric philosophy. The way of getting supreme bliss through the 6 cakras (plexuses) in human body and the role of Pranayama, etc., are explained here. E.g. "Samakuncya mulan hrdi nyasya vayun 19. E.g. mano bhrubilan prapayitva nivrttih tatah saccidanandarupe pade te bhavantyamba jivah sivatvena kecit." Anandalahari having 20 stanzas, resumbles Saundaryalahari in beauty of style as well as it's metre (sikharini) "Bhavani stotum tvan prabhavati caturbhirna vadanaih prajanamisanah tripuramathanah pancabhirapi na sadbhih senani dasasatamukhairapyahipatih tadanyesam kesan kathaya kathamasminnavasarah." 20. "Tripurasundarivedapadastotra The tantric philosophy of Hamsa, Kundalini, Mulatrikona, etc. are explained in 16 stanzas.

: 49 : E.g. "ya devi hansarupa bhavabhayaharam sadhakanam vidhatte (2) laksya ya cakraraje navapuralasite yoginivendagupte 21. laksya mulatrikone guruvarakarunalesatah kamapithe Cente (4) yasya visvam samastan bahutaravitatan jayate kundalinyah yasyah saktiprarohat aviralamamrtam vindate yogivrndam tam vande nadarupam pranavapadamayin praninam pranadatrin."(10) Tripurasundar imanasapujastotra is comparatively more lengthy than other stotras, and more elaborately descriptive. External form of worship in gross form in nature with mental offerings and upacaras like arghya (respectful reception with water), acamaniya (offering holy water in the palm to sip) etc., and internal form of worship of the subtle form of the Goddess i.e., through cakras (plexuses) are depicted here. In style and sense, similarity with S.I. can be seen. E.g. "Mukham bindun krtva kucayugamadhah tasya tadadho harardhan dhyayedyo haramahisi te manmathakalam sa sadyah saksobham nayati vanita ityapi laghu trilokimapyasu bhramayati ravindustanayugam."(Saundaryalahari19) "Ikaror dhvagabindurananamadho bindudvayam ca stanau trailokye gurugamyametadakhilam hardam ca rekhatmakam ittham kamakalatmikan bhagavatimantah samaradhayan cf: anandambudhimajjane pralabhatan anandathun sajjanah." (Tripurasundarimanasapuja.,) (103)

: 50 : 22. Devicatuhsastyupacarapujastotra describes the 64 upacaras 23. 24. 25. performed to the Goddess (in 72 stanzas) like Vasagrha (residence), Pitha (seat), Snana (bath), Paduka (sandals), Anjana (collyrium), Abharana (ornaments), etc. Tripurasundaryastaka:- This is an astaka in which all the 8 stanzas end with the line "tripurasundarimasraye." Lalitapancaratna:Goddess Lalita is praised in 5 stanzas, as mother of Heramba (Ganapati). E.g. 'Mamambapuravasini bhagavati herambamata (vatu". Kalyanavrsti stava is a stotra in 15 stanzas, in which some tantric aspects are dealt with. She who resides in the trikona (cosmic triangle) expells the fear of death from the minds of devotees. She is the spouse of Bhairava who performs the tandava (dance of destruction performed by Siva) and She has Pasa (noose), ankusa (goad) iksusarasana (bow of sugarcane) and puspabana (arrows of flowers). E.g. "Hrinkar ameva tava nama grhnanti vedah matastrikonanilaye, tripure, trinetre tvatsamsmrtau yamabhatabhibhavan vihaya divyanti nandanavane saha lokapalaih." "Kalpopasamhrtisu kalpitatandavasya devasya khandaparasoh parabhairavasya pasankusaiksavasarasana-puspabana sa saksini vijayate tava murtireka. (5) (13)

: 51 : 54 26. Kanakadharastava: - There is a legend behind the instant composition of this beautiful melody having 22 stanzas. During the days of tutelage, Sankara happened to enter an Illam (house of Namputiris) and meet the old lady there; he asked for alms from that lady. She had nothing to give, except some dried goose berries, which she generously gave to Sankara. Pleased at her generosity, Sankara requested Goddess Laksmi to bless the lady with wealth. This request emanated in the form of a poem. Laksmi means Sri (wealth) and hence the name Sristuti to this composition. goose berries occurred there and the house, came to be known as Svarnattumana later on, (which is located near Cottanikkara) in Kerala. The poem as a whole, is an A shower of gold earnest request to remove starvation and bless the generous person with gold. The aspect of erotism in the first few lines is notable. E.g. "Mugdha muhurvidadhati vadane murareh prematrapapranihitani gata (gatani maladr sormadhukariva mahotpale ya sa me sriyam dibatu sagarasambhavayah". 27. Mantramatrkapuspamalastava:- The poet contemplates the Goddess in the wish-yielding island, surrounded by Kadamba trees, as depicted in Tantras. His offering of oblations in mind x is expressed in 17 stanzas. 54. T.M.P. Mahadevan, Sankaracarya, p.11.

: 52 : 28. Navaratnamalika:- As the name indicates, nine lines are jewelled in praise of Kali, giving importance to tantric concepts like lunar plane, solar plane, fiery plane, etc. 29. Gayatryastaka:- Gayatri, as worshipped by Yogins is extolled in eight stanzas. E.g. "Pranayamaparayanaih budhaganaih sansevyamanan sivam 30. Sriramabhujanga is composed in Bhujahgaprayata metre in 29 lines, and is highly rich in prasa. "Namo visvakartre, namo visvahartre Namo visvabhoktre, namo visvabhartre Namo visvanetre, namo visvajetre Namo visvapitre, namo visvamatre." 31. Laksminrsimhapancaratna in five stanzas explains the illusory world, in which the devotee's function is to meditate upon Goddess Laksmi and God Nrsimha. 32. 80 "Tava hitamekan vacanan vaksye, srnu sukhakamo yadi satatan svapne drstan sakalan hi mrsa jagrati ca smara tadvaditi cetobhrnga bhramasi vrtha bhavamarubhumau virasayan bhaja bhaja lakeminarasimhanagha sarasijamakarandah." Laksminrsimhakarunarasastotra: - Detachment from worldly life is instructed in the thirteen stanzas of this work, because worldly life never gives pleasures to one; worldly life is compared to several unpleasant things like a deep cave, a deep well, an ocean, a tree of sins, a serpent, a wild fire, a spider-web, a wild elephant etc.

33. Ambastaka:- : 53 : This astaka type of stotra is very fluent in style and rich in vrttyanuprasa. E.g. "Yatrasrayo jagati tatra (gaja vasatu kutrapi nistulasuka sutramakalamukha satrasana-prakara sutranakari carana chatranilatiraya patrabhiramaguna mitravari-samavadhuh kutrasahanmani vicitrakrtih sphurata putradi dananipuna." 34. Sri Visnubhujanga:- This poem in 14 stanzas, is in the form of a monologue where Sankara reminds us of the sad plight, one has to suffer during old age. E.g. "sarirah kalatram sutan bandhuvargan vayasyam dhanai sadma bhrtyan bhuvan ca 35. 35. samastan parityajya ha kastameko gami syami duhkhena duran kila ham jareyan pisaciva ha jivito me vasamatti raktam ca mansam balam ca aho deva, sidami dinanukampin kimadyapi hanta tvayodasitavyah." Visnup adadikesanta-stotra:- This poem, is comparatively a lengthy one in fiftyone stanzas. Lord Visnu is praised from foot to head. His Sankha (conch-shell), Padma (lotus) Gada (club), and cakra (discuss) are also described. Yamaka is rich in this poem.

: 54 : E.g. "Ya vayavanukulyat sarati maniruca bhasamana samana 36. 37. 38. 39. sakan sakampamamse vasati vidadhati vasubhadran subhadran saran saranga samghair mukharita-kusuma mecakanta cakanta mala malalitasmanna viramatu sukhair yajayanti jayanti." Pandurangastaka depicts the beauty of Lord Krsna in eight stanzas. Acyutastaka too is a praise of Lord Krsna in eight stanzas. Krsnastaka:- It is said that when Sankara sang this praise of Lord Krsna and Goddess Laksmi, they appeared before Shankara while staying near his mother at her death-bed, to give liberation to her. "Iti harirakhilatmaradhitah sankarena srutivisadaguno sau matrmoksarthamadyah yativaranikate, ariyukta avirbabhuva svagunavrta udarah sankhacakrabjahastah." There is another Krsnastaka composed by Sankara praising Krsna, having different forms like (1) King, (2) Teen-ager, (3) Cowherd, (4) One surrounded by Gopas and Gopikas, (5) Small child stealing butter and milk, (6) Infant and (7) Lastly as God Almighty. Haristuti or Narayanastotra: In simple and fluent style Lord Narayana is praised in thirty stanzas.

: 55 : 40. Govindastaka:- Though this astaka, charming with a melodious fluency, was composed in praise of Sankara's preceptor, it is counted among stotras, since Govinda is a synonym of Lord Krsna also. 41. 42. Bhagavanmanasapuja:- In eleven stanzas Lord Krsna is worshipped with mental offerings like asana (seat), acamaniya (water to drink), tambula (betal-wine and pan), mala (garland) and payasa (milk gruel). Lord is imagined as bearing flute surrounded by Gopikas. Mohamudgara (Bhajagovindam ) This philosophical poem in twenty-five stanzas is considered generally as a devotional work. The literary relish in contents is so highly admirable that, one will, undoubtedly appreciate the poetic fancies lying hidden in the philosopher. E.g. "Nalinidalagatajalan atitaralan T tadvad jivitan atisayacapalam viddhi vyadhyabhimanagrastan lokan sokahatam ca samastam". 43. Acyutastaka:- This devotional piece in praise of Lord Krsna in eight stanzas is quite different from the Acyutastaka mentioned as the 37 th one.

: 56 : 44. Annapurnastaka praises Goddess Visalaksi of Kasi. All the lines in the poem end in ikara and are having a melodious construction, the recital of which reminds one of the musical tone of the ringing of bells. E.g. "Bhiksan dehi krpavalambanakari kasi-puradhi svari." 45. Minaksipancaratna in five stanzas and 46. Minaksistotra in eight stanzas are eulogies of Goddess Minaksi. 47. Daksinamurtistotra consists of nineteen stanzas, Sankara pictures God Daksinamurti as sitting near the root of the Banyan tree wearing parasumudra (position of axe) on one hand, mrgamudra (position of deer) on the other hand, moon as crest and bearing lute in hand. E.g. "ekena mudran parasuh karena 48. karena canyena mrgam dadhanah carusthitam somakalavatamsan vinadharan rong liang Kalabhairavastaka:- The mention of Kasikapuradhinatha" in all the eight stanzas, shows that it refers to 'Kasi Viswanatha' (incarnation of Lord Siva) whom the poet considers as Kalabhairava (god of destruction). 49. Narmadastaka:- Narmada river which is at the confluence of River Ganges and River Gomaty, is supposed to give the effect of "Agnisomayajana" to the devotee who takes a plunge in its waters. Here the greatness of River Narmada is brought out in eight stanzas.

: 57 : 50. Yamunastaka:- Here River Yamuna is praised in eight stanzas. 51. Manikarnikastaka:- Manikarnikaghat, which is having the holy power of removing the sins of man, is eulogised in eight stanzas. Even Gods, who are forced to take birth on earth, attain the greatness and holyness of Lord Narayana by a dip in this ghat. E.g. "Indradayah tridasah patanti niyatam bhogaksaye te punah jayante manujastato pi pasavah kitah patangadayah ye matarmanikarnike tava jale majjanti niskalmasah sayuje pi kiritakaustubhadharah narayanah syurnarah. U 52. Sivamanasapuja is a minor work in five stanzas. fourth stanza is quoted from Sivanandalahari viz., atma tvan girijapatih, sahacarah pranah The 53. Pratahsmaranastotra:There is nothing notable in this devotional piece having three stanzas, when compared with the other works of Sankara. It speaks of the veneration shown to Parabrahman viz., Smarana (rememberance), bhajana (meditation) and manana (thinking). 54. Jagnnathastaka is an astaka in praise of Lord Jagannatha of Puri. 55. SatpadIsastotra which is notable for its richness in prasa and yamaka is composed in six stanzas in praise of 'Lord Visnu'

: 58 : "Bhutadayan vistaraya taraya sansara-sagaratah (1) Uddhrta-nagabhidanuja danuja kulamitra mitrasasidrste (4) Bhavalabdhimathana mandara paraman daramapanaya tvan me. (6) 56. $8 Bhramarambastaka is in praise of the Goddess at Srisaila i.e., Bhramaramba. "Srisailasthalavasinin Srimataran bhavaye." There are some tantric indications in some parts of the poem. E.g: "Satcakrantarasamsthitan varasudhan sadyoginivestitam."(4) 57. "Sivapancaksar anak satramalastotra: - The twenty-eight stanzas in the poem end with sivapancaksara (namah sivaya) The style is very simple, fluent and can be easily understood. 58. Dvadasalingastotra:- The twelve jyotirlingas situated in twelve temples, famous for bestowing their wishes to devotees are mentioned here. They are in (1) Somanatha temple (Saurastra) (2) Mallikarjuna temple (Sri saila) (3) Mahakala temple (Avanti) (4) Onkaranatha temple (at the confluence of River Kaveri and River Narmada in Mandhatrpura) (5) Naganatha temple (Prajvalika) (6) Kedaranath temple (Mahadri) (7) Naganatha temple (Sadanga) (8) Tryambakesa temple (Sahyadri on the banks of river Godavari)

: 59 : (9) Ramesvara temple (on the banks of River Tamraparni) (10) Siva temple (Takini sakinika) (11) Visvanatha temple (Varanasi) (12) Ghrsnesvara temple (Ilapura). 59. Ardhanarisvarastotra is a lengthy poem in 89 stanzas, praising the hermaphrodite form of Siva and Siva. 60. Saradabhujanga, having eight stanzas is peculiar in its fluency of style. E.g. "Lalatankaphalan lasadganalolam Svabhaktaikapalan yasahsrikapolam kare tvaksamalan kanatpratnalolam, bhaje saradambah ajasran madamban." 61. Gurvastaka is composed, extrolling the greatness of the preceptor showing the necessity for veneration due to him in ten stanzas. 62. Lalitapancaka is supposed to bless the devotee with The poem learnedness, if recited in the morning. depicts the Goddess in five stanzas. 63. Bhavani bhujanga expounds the tantric concept of the Goddess in seventeen stanzas composed in bhujangaprayata metre. 64. Saundaryalahari is a devotional piece on Goddess Parvati. The whole poem is composed in Sikharini metre in 100 stanzas.* * Some manuscripts contain hundred and three stanzas.

: 60 : It is important, both, as a stotrakavya as well as an epitome of Saktatantras. The poem plays a significant role in the practical side of life also. It is seen that the principles enshrined in Saundaryalahari are practised by people for the fulfilments of their various wishes. The reason for such high popularity for Saundaryalahari is that the text prescribes many modes of worship for various fulfilments which are very simple, and can be easily followed by common people. Even by a The recital of the mere recital of the verses with concentration and true faith, one's desires get fulfilled. text is considered auspicious, itself acting as a Kalpaka tree (wish-yielding) to devotees. Among the many modes of worship usually followed, tantric practice is also notable. It is said that hundred and three yantras are prescribed for hundred and three stanzas for various fulfilments. 103 yantras which are traditionally handed down, are extracted from 103 authoritative Tantras, most of which are, anonymous. 55 S.I., as a whole, is divided into three parts. From stanzas 1 to 41 it is termed Anandalahari, 42 to 91 Saundaryalahari, 92 to 103 Svarupalahari. It is believed that Gaudapada, the preceptor of Govindabhagavadpada (Sankara's preceptor) had composed a tantric work called Subhagodaya and 55. K.R.Namputiri, Saundaryalahari Introduction.

: 61 : that Sankara had composed Saundaryalahari in paying homage to his preceptor's preceptor. 56 Sankara had great influence on the Saiva leaders (the term he used to denote Brahman is Siva) 57 and had formed the Pratyabhijna system (Advaita system arranged through Saivatattvas). This pratyabhijna system has another portion called Sakta Advaita. 58 It was this system that Sankara revived through Saundaryalahari The idea of higher conception of the Goddess is seen in Samaya worship, specified in Saundaryalahari It must be noted that Saundaryalahari is rich in tantric principles as well as in devotional spirit and poetic relish. Devotional aspects are very well exemplified in the last few stanzas especially, which lead the devotee to the advaitic concept of the attainment of supreme bliss and realisation Paranandabhikhyam rasayati rasam tvadbhajanavan (Saundaryalahari99). The devotee after winning over Goddess Laksmi and of Brahman. M 1 Goddess Saraswati attains supreme bliss which is held as the super excellent in Upanisads 'Raso vai Sah' 59 The devotee who meditates on the Goddess enjoys Parananda (supreme bliss) "Paranandabhikhyan rasayati rasam tvad bhajanavan" - (99 Saundaryalahari) D GOLD 56. See Rangaswami Iyengar Q Saundaryalahari, 57. 58. Introduction. "Tadeko vasistah Sivah kevalo (ham. Dasasloki - 1. Venkitaraman Shankara and his Saradapitha in Srngeri., p.64. QUED 59. Taittiriyopanisad 117

: 62 : It is said that by ardent faith and incessant meditation one attains such an identity that he gets transformed as This arouses a suspicion in Siva's mind, Goddess Herself. whether it is devotee or Goddess Herself. Shankara says:- "Harasya tvadbhrantim janayanti sma vimalah bhavatya ye bhaktah parinatiramisan iyamume" Saundaryalahari102 the The easiness in attainment of liberation is also described. L An aspirant desirous of liberation, wishing to say 'Be thou kind enough to shower your merciful glance on me, 60 May I says only Be thou ......... (Bhavani tvam). Before completing the sentence, the Goddess presumes it " 11 to be Bhavani tvam aham asi ie. another form of the great Aham Brahma smi ('I am Brahman'). Upanisadic teaching:B 61 The identity of devotee with Brahman is thus easily attained and the devotee enjoys supreme bliss all of a sudden through tattvajnana by the grace of the Goddess. 60. "Bhavani tvam dase mayi vitara drstim sakarunan iti stotum vanchan kathayati bhavanitvamiti yah tadaiva tvan tasmai disasi ni jasayujya-padavin mukunda-brahmendra sphuta mukutanirajitapadan." S.I., 22 61. Saundaryalahari, 22 - Laksmidhara ComMENTARY See Chapter VII. Pp 361, 362