The Tripura-mahimna-stotra and the Saundaryalahari

The Tripura-mahimna-stotra supposed to be of Sage Durvasas, claims similarity to Saundaryalahari Both the works praise the Goddess who is the ambrosia to the devotee, got by the churning of the ocean of beauty, and who is of the colour of red hibiscus having the lustre of the rising sun. 76. Rajarajeshvari-stava 6. 77. Saundaryalahari 75.

402 G 20740 The Goddess who is lustrous by the jewels in the garland made of the alphabets from A to Ksa and who is seated in the Sahasradala above the six plexuses, is meditated by both Durvasas and Sankara: "Adiks antasamastavarnasumaniprote vitanaprabhe brahmadipratimabhi kilitasadadharabjakaksonnate 78 brahmandabjamatasane janani te murtim bhaje cinmayim sausumnayatapithapankajam aham adhyatri konasthitam 5.L. depicts this idea of Her dwelling in the greatest lotus as follows: "Nisannam sannamapy upari kamalanam tava kalam mahapadmatavyam... #79 The Sodasaksari vidya connoted by the 32 nd stanza of Saundaryalahari is fully explained in Tripuramahimnastotra, depicting the three kutas in the seventh, eighth and ninth stanzas. It advocates the attainment of the powers of creation, preservation and destruction. is explained as follows: This "Ittham trinyapi mulavagbhavamaha sri kamarajasphurat saktyakhyani catuh srutiprakatitanyutkrstakutani te bhutartusruti samkhyavarna vid tanya raktakante sive yo janati sa eva sarvajagatam arstisthitidhvamsakrt #80 78. Tripuramahimnastotra 2. 79. Saundaryalahari 21. 80. Tripuramahimnastotra 14. UNIVERSITY EX BRARY ★ * TRIVANTIRUM

- 40 a The effect of the contemplation of the Goddess, is that the devotee is blessed with handsome form. This is depicted in the 13 th stanza of Saundaryalahari The same is seen in the 40 th stanza of Tripuramahimnastotra as follows: "Evam yah smarati prabuddha sumatih srimatsvarupam param viddhopyasu yuva bhavaty anupamah strinaman angayate sostaisvaryatiraskrtakhilasurah srijambhitatmalayah prthvipalakiritakoti valabhipusparcitanghrirbhavet" It can be noted that various compositions followed the model of Srisankara's Saundaryalahari Many scholars tried to name their compositions with the suffix 'Lahari' like Anandalahari, Amptalahari, Sudhalahari, Gangalahari, etc. Some adopted its style while others adopted its sense. Still Saundaryalahari stands second to none in its divine excellence. The highly attained popularity of the work in each and every part of India highlights the fact that the work has captivated the hearts of a large number of people in India and that it is a desire-yielding chant to the devotees of Goddess Tripurasundari.