Chapter 1 - Life, date and works of Trivikrama Pandita

Trivikrama Pandita has been recognised in the history of the Dvaita School of Philosophy as a philosopher-poet, though less known in the Classical Sanskrit literature, yet can be placed on par with other great poets like Kalidasa etc. However, the poetry of passion is rather immediately received by the readers than the poetry of reflection. On the contrary, the Usaharanakavya of Trivikrama Pandita excels as the poetry of reflection. And because of this reason, it seems, Trivikrama and his poetry have been less identified in the field of Sanskrit literature. But, the truth remains unshakable that Trivikrama Pandita's poetic genius is a fine amalgam of religious ardour and an ardent love of beauty. Life and Date of the Author Regarding the life-history of Trivikrama Pandita, it is but necessary to refer to the Sumadhva Vijaya, the epic-poetry composed by Narayana Pandita, the youngest son of Trivikrama Pandita. This poetry has been accepted as authentic source of Trivikrama Pandita's biography. As found in the Sumadhva Vijaya, Trivikrama Pandita hailed from Likuca family of great renown. He was the son of Subrahmanya Pandita, a highly reverenced veteran controversialist. He belonged to the Angirasa gotra. This family itself had gained wide fame for its excellences like austere penance and poetic talent. 1 He was fortunate in having a devoted wife befitting his virtues, a votary of Lord Krsna. As she had repeatedly lost her issues, she began to serve Hari and Hara with intense desire to 1. sutapah kavitadisadgunanam likucanam kulajo'ngironvayanam | abhavadguhanamako vipascit kavivaryo'khilavadivandaniyah || Sumadhva Vijaya (XIII. 43 )

2 beget a son gifted with a long life.2 In course of time, due to the divine grace of Hari and Hara, she gave birth to a gifted child, whose brilliance could not be adjudged by the council of the wise, like a priceless gem not fittingly evaluated by the gem-experts in the town.³ Then Subrahmanya Pandita was overwhelmed with joy to see the beaming moon-like face of his son. He considered his son as capable of redeeming his clan. He then performed the religious rites related to the child -birth and named him appropriately as Trivikrama. 4 Surprisingly, Trivikrama even as a child was a gifted poet. Even when he lisped, he gave out flawless verses describing the glory of the early rising Sun, shining with his innate lustre.5 He became well-versed in all branches of Vedas including its auxiliaries (and so specialised in Advaita Vedanta) as to command the respect of the then expert exponents of the diverse doctrines. Trivikrama Pandita in his early age, composed a delightful poem called Usaharana, full of poetic sentiments for the benefit of the virtuous like the Likuca tree refreshing the way-farers with its pleasant shade and covetable fruits. Trivikrama Pandita's preceptor was incompetent to reconcile the contradictions suggested by the former, in the Advaita Vedanta. Therefore he took up a deep study of the Advaita." Then, Trivikrama coming of age, 6 7 abhajadbhuvanaprabhu harisau sutakama vasudevasunubhakta || Ibid., (XIII. 44 ) 2. dayitasya sati gunanurupa vidhivirpena muhurmrtapraja'pi | 3. paramesvarayoh prasadayogat sutaratnam tadasuta suripatni | parisatpadapattanesu nargho vivide yasya samah pariksakamyaih || Ibid., (XIII.45 ) 4. vadanendumaveksya nandanasya svakulottaranadaksalaksanasya | 5. krtakrtyataya kriyah prakurvan kavirakhyaducitam trivikramakhyam || Ibid., (XIII.46) kalabhasana eva suripotah kavirasidanavadyapadyavadi | avabhati nanu prabhaprabhavi bhagavan balataro'pi tigmabhanuh || Ibid., (XIII.47) sakalangayutavabhatasakhah samaye prapta udarapaksisevyah | 6. 7. sa sasarja sadadhvagopakrtyai likucah kavyaphalam rasabhiramam || Ibid., (XIII.48) pratipaditamatmana yatharthaprthumayasamayasya durghatatvam | svagurau parihartumaksame'pi srutavamstam sa vayasyabodhito'lam || Ibid., (XIII.49)

3 gained proficiency in the scriptures. He subdued the living scholars with his elegance of speech. Thus, Trivikrama became a dexterous dialectician gifted with skilled talent in the Advaita Vedanta. Observing Trivikarma Pandita as being very much devoted to Advaita Vedanta, his father Subrahmanya Pandita desired to make him alert of the Truth. Therefore, once Subrahmanya Pandita called his son in privacy and advised him thus: "O son, listen to my wise words, and meditate on Lord Krsna endowed with auspicious qualities to get liberation. But contemplation on Brahman as attributeless is improper."8 Listening to the words of his father, Trivikrama Pandita got himself shaken in his mind.9 Though his mind was distracted by the power of the Kali-age, Trivikrama being intellectually acute, contemplated thus .10 "The Brahmasutras composed by Lord Vedavyasa are undoubtedly the authentic test to decide the true nature of the things in the universe. But, there are twenty-one different commentaries on it, disagreeing with each other, can never gain validity. When considered with an unprejudiced mind, not even one commentary amongst them, gives the correct meaning of the Brahmasutras. We study the commentary of Sankara, though illogical and unpromising one, only because it is handed down to us in succession." When the enlightened persons who have realised the truth, advise to meditate on Brahman who is All-pervasive, 11 8. srnu vacamimam vicaritartham na kalau nirgunabhavana sukhaya | iti gaunavimuktaye gunadhyam smara devam vasudevasunumeva || Ibid., (XIII. 52 ) 9. iti tatavaco nisamya kincittaralatma'pi vicarya sastrasaram | 10. 11. parameva sa paramaruruksurvigunopastimupasrnotparemyah || Ibid., (XIII. 53 ) nijadharmarato grhiprabarhah kalikalakulitantaro 'pi hanta | nitaram nisitatmana nisargat sphutamalocayadityasau kadacit || Ibid., (XIII. 54) racitam nanu sutramatra manam vidusa satyavatisutena saksat | aparasparasangatani bhasyanyatha sarvani na manatam vrajeyuh || yadi tesu niragrahantarah smah sughatam nopalabhamahe hi kincit | na tathapi paramparopayatam na pathamah pranayena sankariyam || Ibid., (XIII. 55-56) &

4 full of knowledge and bliss and who is without superior to Himself, then Brahman in Advaita will have to forgo even His resplendence. 12 And if Brahman meditated upon is non-resplendent, then, He will reduce himself to pitchy darkness. And He who meditates on this Brahman, will be dammed in dark hell. 13 Therefore let us follow our religious rites as laid down in Manusmrti and the like. Let us have considered reflection on the scriptures including the Vedas, Mahabharata, the Puranas etc., and meditate on Lord Mukunda, the treasure of auspicious attributes. 14 With such profound recollections, when Trivikrama Pandita resolved to take up a careful study of the scriptures, he came to know about Madhvacarya's chaste repute which has diffused all over the world. 15 Then, Trivikrama's fellow Mayavadins entreated him earnestly to vanquish Madhva, the antagonist elephant. Accordingly, he with his commanding self-esteem distressed the disciples of Madhva, and blinded them by his bewildering counter-replies. 16 Once Trivikrama during midnight, without being known to others, looked over the essence of the philosophy of Madhva. He was wonderstruck and delighted by the profound thoughts couched in superb expressions in his works. 17 He was thoroughly convinced that Madhva's philosophy was profound and flawless. Yet he did not venture to embrace Dvaita philosophy forth-with. 12. ghatanopanisatsu nalpabuddheh sughatetyabhyupagamya cintayamah | 13. 14. na vimuktimupaiti ko'pi maktva samayoktamiha yamimamupastim || Ibid., (XIII. 57 ) vitatah sukhasaccidadvayatma samupasyo vihito hi tattvavidbhih | sa ca navayavi nirupyate cet dyutimatram ca na hityado rahasyam || Ibid., (XIII.58) atha vedapuranabharatadi svayamalocya yatha'vabodhamatra | gunavantamupasmahe mukundam smrtidharman bhrsamacaranta eva || Ibid., (XIII. 60) 15. avadharya yadeti karyamaryah sa vivekadupacakrame vidhatum | 16. 17. paripurnamaterjagatsu kirtim paripurnamasrnottada visuddham || Ibid., (XXIII.61) sitamadhvavacah srniprayoktrn purusanesa visadayan kavibhah | vividhottaradhulipatanena pratighenadhikamandhyamcakara || Ibid., (XIII. 66 ) ksanadasu vicaksanah sa viksya pracuraprajnamanojnasastrasaram | aparaviditah prasadagarbham vidadhe vismayamantaram mahantam || Ibid., (XIII.67)

5 He was a formidable controversialist who was a master in logic and who could wield the weapon of logical technique with the decided effect. Therefore, Trivikrama wished to investigate the Dvaita Philosophy. The judicious people always act after a close investigation. 18 Then, Trivikrama approached Madhva who had camped at Visnumangala temple. With great respect and reverence, Trivikrama prostrated before him for his blessings. 19 During his stay, Trivikrama started attending Madhva's discourses on the Bhagavata at Visnumangala temple. He used to sit at a distance quietly listening to the discourses. He could not find any fault in the discourses delivered by such an erudite personality. Being a great scholar, Trivikrama had the greatness of recognising the scholarship in others. It is suggested that, once Madhva's library was stolen by Padmatirtha and other jealous opponents by crooked means. The king Jayasimha helped Madhvacarya in getting back his stolen library from Padmatirtha and begged the pardon the Acarya for the mischievous acts of sum unscrupulous persons. Trivikrama was also not happy with the incident of stealing the manuscripts from the library. He was pleased to know that the stolen manuscripts had found their proper place under the custodianship of his brother, Sankara Pandita. 20 No wonder that Trivikrama although not very familiar till then with Madhva could well comprehend the essence of the inmost secret his divine qualities. 21 Once, Madhva started giving discourses in another temple called Amaralaya. The topic of the discourse was his commentary on the 18. 19. viditavan vyavahrtya sudarsanam bahulabodhamaveksya sa niscayat | api na tasya matam sahasa''dade nanu vimrsya krti kurute'khilam || Ibid., (XIII.68) tam visnumangalagatam bahulaprabodham prapyabhyavandata tada'yugavikramaryah | anandadam sa caturananahasalaksmya tattvam pravettumamaremdra ivabjayonim || Ibid., (XIII.69) 20. krtamapakrtamayaih ksamyatam ksantibhusairiti mrdu vadatam samprarthanabhih prabhunam | 21. apahrtamaparesam mantrato granthajatam dasahrdayaniyogadagrahicchankararyah || Ibid., (XIV.2) anatiparicitasyapyasya so'yam kavimdro gunarasamatigudham jnatavanityacitram | madhu madhukararajo nispatan pauspamasum nanu paricayahinah kanane'pi prabhuh syat || Ibid., (XIV.5),

6 Brahmasutras. 22 Trivikrama met Madhva with an intention of having a debate with him. Madhvacarya saw Trivikrama Pandita face to face just as a valiant enemy mounting the chariot of hostile philosophy, armed with powerful missiles of pungent logic. 23 But Madhvacarya did not get scared by any argument of Trivikrama. Madhva upheld the thesis of Tattvavada that Lord Narayana, the abode of infinite auspicious qualities laid down in the scriptures as the Supreme, is the Creator, Sustainer and Destroyer of the universe. He showed that Lord Narayana alone is the Supreme God who brings the universe into existence. He critically reviewed the contentions of Sankhya, Bhaskara, Vaisesika, Madhyamika, Prabhakara, Mayavada among others. He upheld his all-encompassing theory of Visnusarvottamatva. (XV.3-61) 24 Trivikrama Pandita was a curious and keen listener in the solemn assembly. Trivikrama with his vast knowledge argued with Madhva sternly on various points. He gave no quarter. Thus Trivikrama and Madhva were drawn into metaphysical encounter, and the controversial exchange of arguments, and counter-arguments went on for a period of fifteen days. But he found that all his arguments were shattered to pieces by Madhva. He found himself unable to defend Advaita against the attacks levelled by Madhva.24 The termination of the debate saw Madhva 22. bhuyobodhastato bhuyo vyacakhyau bhasyamadutam | grame graminasamanye vasamstatramaralaye || Ibid., (XV.1) parapaksaratharudham kharatarkamahayudham | 23. trivikramaryam so'pasyat prativiramivagratah || Ibid., (XV.2) 24. saptastani dinanyevam vadam krtva sahamuna | niruttaram tam niscodyam cakre cakrayudhapriyah || Ibid., (XV.69) [In his introduction to Tattvapradipa of Trivikrama Pandita, Dr. Nagaraja Sarma (p.3) interprets the term "Saptastani dinani" to me 'fifty-six days' by multiplication of seven and eight. He says further that "I am aware others interpret it differently, but I have indicated my personal view.]

7 crowned with glorious victory. Trivikrama gave up his Advaita not under compulsion, nor under external force, nor under the urge of emotionally dominated moment. He had the sportsman-like honesty, grace and magnanimity to recognise the victory of Madhva in the only grand and spectacular manner in which it could be. He readily and willingly became a convert to the school of Madhva. Trivikrama's conversion to Dvaita was not the mechanical and lifeless proselylization, but it was a conversion of faith brought about by intellectual understanding of inherent untenability of the cult of Advaita, and logical conviction of the tenability and validity of the philosophy of Madhva. Madhva's magnificent arguments based on the scriptures and irrefutable logic made Trivikrama dumb and he prostrated at Madhva's lotus-feet begging his pardon. 25 Madhva accepted Trivikrama as his disciple and expounded to him the Brahmasutrabhasya. Madhva himself had selected Trivikrama for the signal honour of writing a gloss on his Brahmasutrabhasya. This would certainly show the respect Madhva had for the scholarship of Trivikrama, and absolute confidence that Madhva had reposed in him. With due reverence to the order of Madhva, Trivikrama wrote a gloss on the Brahmasutrabhasya, named Tattvapradipa. 26 Trivikrama should have felt specially honoured by Madhva in this manner. Further, Trivikrama openly proclaimed in admiration something like a public review of all the works of Madhva and observed that it would be difficult to isolate logical arguments from such an inexhaustible mass 25. pranamyacasta sisto'sau ksamyatam natha capalam | padapadmarajodasyam dhruvam me diyatamiti || Ibid., (XV.70) 26. gurvajnagauravattikam kurvan bhasyasya duskaram | sadardhavikramaryo'sau mahacaryamavocata || Ibid., (XV.72)

8 of literature. So, Trivikrama prayed that Madhva would be pleased to write another treatise which would be thoroughly and throughout dominated by logical technique. 27 Trivikrama should have thought that only such fighting treatise would enable the disciples of Madhva effectively to answer all objections and counteract all opposition. Madhva readily agreed and wrote at one stretch the celebrated polemical treatise called Anuvyakhyana. 28 Thus among the householders-disciples, Trivikrama Pandita of the Likuca family shone like one of the three fires.29 A perusal of highly devotional panegyric stanzas in the beginning of the Tattvapradipa of Trivikrama, makes it amply clear that he had firm faith in the triple incarnation of Mukhya Vayu as Hanuman, Bhima and Madhva. 30 Such enthusiastic devotion is quite understandable; because Trivikrama who had been trained long in the lore of Advaita, was convinced of correctness of cherished system of Dvaita philosophy of Madhva. In fine, unique qualities like intellectual satisfaction, loyalty, mastery over logic, creative spirit, facile and forcible expression, and unstinted devotion to Dvaita philosophy of Madhvacarya have verily gained for Trivikrama Pandita, universal recognition and reputation as illustrious disciple of Madhva. 27. granthebhya ebhyo'gadhebhyo yuktayo na duruddharah | manomandyattato grantham vyaktatarkatatim kuru || Ibid., (XV.87) 28. yugapadracayannenam kadacitsa nirantaram | caturascaturah sisyamllilaya lekhayat khalu || Ibid., (XV.89) 29. bahavo grhino'pyasmatsamagranugraham yayuh | 30. dipta yatragnaya iva trayo likucasekharah || Ibid., (XV.135) tredha'vataramavanaya satam balitthetyadya srutirbhagavati gurumenamaha mukhyanilo'tibalavan matirisadhena neteti prksa iti madhva iti || Dr. Nagaraja Sarma, Tattvadipika, p.5

9 It is evident from foregoing life-account that Trivikrama was a contemporary of Madhva. Dr. B.N.K. Sharma has placed him between c. 1238-1320 A.D.31 Trivikrama Pandita seems to have had three sons, whom Narayana Pandita was the youngest. 32 Works of the Author of In the history of Sanskrit Literature, Trivikrama Pandita occupies the position of a writer who contributed substantially to manifold branches of knowledge. He composed independent works in praise of Lord Hari and Mukhya Vayu. He wrote significant commentary to adjudicate the doctrines of Dvaita Vedanta. He wrote a Mahakavya also which witnesses Trivikrama's wide knowledge. Here, an attempt has been made to give in brief, the salient features of Trivikrama's works which are five in number : 1. Tattvapradipa : This is a monumental work of Trivikrama Pandita, running into five thousand granthas. The Tattvapradipa barring the Sattarkadipavali of Padmanabhatirtha is the first and foremost running commentary on the original Brahmasutrabhasya of Madhavacarya. The full text of this work was first published in 1958 by the Akhila Bharat Madhva Mahamandala, Udupi. Trivikrama's sense of logic and logical justification of the Dvaita Vedanta has been well reflected throughout this work. With regard to the title of this work, Dr. Nagaraja Sarma remarks: "In the edition of the work by Mr.(now Dr.) B.N.Krishnamurthy Sarma, the name is given as TATTVA PRADEEPAH (in masculine gender). 31. Dr. B.N.K. Sharma, History of the Dvaita School of Vedanta & Its Literature, Motilal Banarasidass, Delhi, 1981, p. 214. 32. trivikramagunanidheh susisyah sutah sanamabhimatastrayo yastrtiyo'tra narayanah | Narayanapandita, Sumadhvavijaya-bhavaprakasika, (concluding verse)

10 "In the present edition the name given is TATTVA DEEPIKA (feminine gender)." It may be assumed that evidence afforded by different manuscripts may justify the different titles given. " I shall draw the attention of two lines of evidence or testimony which would enable one easily to identify the correct title". "One is external. It is contained in Madhvavijaya. The reference made is TATTVA PRADEEPAKRITI-GO-GANENA. From this, it is very naturally suggested that the title of the work is TATTVAPRADDEEPAH. "The other is internal. Towards the end of the work, in the course of devotional dedication of his treatise to the Supreme lord, Trivikrama refers to the work as SATTATVADEEPA (p.500, stanza-6) 33 "Surely, Trivikrama should have been acquainted with the work of senior disciple of Madhva-Padmanabhatirtha, written on similar lines. It was SATTARKA-DEEPAVALI "Having modelled the title of his own work, after that of Padmanabhatirtha, it is quite a reasonable conjecture that Trivikrama might have named his work SATTATVA-DEEPA. I have used the title TATTVAPRADEEPA. "Evidently, the manuscripts used in the editing of the present text, contain the title of the work as TATTVA-DEEPIKA, and that would explain its having been adopted finally." » 34 Whether the title be Tattvapradipa or Tattvadipika, in no way it affects the theme of the work. To me, either of the titles hold good. Hence the discussion on the title of the work is not necessary here. 33. prapya prakasitamaham paramakhyavidyaprasadavaryasadanasya padaravindam | sampritaye bhagavatah paramasya bhaktya sattattvadipamimamatra samarpayami || 34. Tattvadipika, Ed. Nagaraja Sarma, Akhila Bharata Madhva Mahamandala, Udupi, 1958, pp. 4-5.

11 In the Tattvapradipa, forcible and stately style of Trivikrama stands revealed at its best. Some of the following remarkable points reveal the salient features of the Tattvapradipa : 1. 2. 3. The conclusion of the given by Trivikrama is delightful dissertation. He has arrestingly argued and shown that the author of the Vedantasutras has refuted the Advaita Vedanta. Trivikrama has shown that in all the five opening Adhikaranas, the Purvapaksa, to be and that has been actually refuted, is the system of Advaita. Trivikrama has brilliantly set forth his discussion and final conclusion that Brahman cannot be regarded as the Upadanakarana of the universe. 4. Buddhism is elaborately refuted. In the same spirit, it is shown that Advaita which is doctrinally not different from Buddhism stands automatically refuted. 5. 6. In the III Chapter, Trivikrama has highlighted the relative importance of Jnana and Karma. It constitutes a brilliant exposition of the views of Dvaita Vedanta. Trivikrama has given an exposition of the eschatalogical doctrines relating to enjoyment of eternal and everlasting bliss after complete exhaustion of the stock of Karma. Thus, Trivikrama has displayed great dialectic ability and erudition. He has thrown light on some of the untracable passages cited by Madhva. All the discussions on different topics herein, are really marvellous in their penetrating perception of doctrinal subtleties. A close study of Madhva's Anuvyakhyana and Trivikrama's Tattvapradipa, makes it clear that after having had the benefit of going

12 through the Anuvyakhyana and other works of Madhva, and after having enjoyed the rarest and most unique privilege of personal teaching and instruction from Madhva, Trivikrama set to write this work, and because of which, the value of this work has been enhanced. 2. Vayu-stuti : It is a popular stotra comprising of forty-one verses in Sragdhara metre. It projects and elaborates the glory of the three incarnations of Mukhya Vayu as Hanuman, Bhima and Madhva. Regarding the composition of the Vayustuti, there are some anecdotes. As found in Chalari Sesacarya's commentary on the Vayustuti, it is that, once at Badarikasrama, Madhva was performing puja in the Garbhamandira with its doors closed. Out of curiosity to know what Madhva could be engaged in, Trivikrama peeped through the hole of the closed doors. He was wonderstruck to see Madhva in other forms too i.e. Bhima and Hanuman; these forms were perceived as respectively worshipping Vedavyasa, Krsna and Rama. He was overwhelmed with joy. In ecstasy, he started adoring the glory of Mukhya Vayu with his three incarnative forms Hanuman, Bhima and Madhva. This spontaneous flow of adoration itself is the Vayustuti. Besides, the Madhva tradition finds another popular story: Once Madhva was performing puja. The doors were closed. It was the time of Naivedya-samarpana. All disciples including Trivikrama were waiting for ringing the bell (Gantanada) by Madhva (which is to be done usually soon after Naivedya-samarpana). Even after long time, they did not hear the sound of the bell. Out of curiosity of knowing what Madhva could be doing inside, Trivikrama peeped through the hole and found Madhva in his other forms too as Bhima and Hanuman, worshipping Vedavyasa, Krsna and Rama respectively. Being overjoyed at it, a poetic adoration to Mukhya Vayu instantly started flowing from his mouth. And this poetic manifestation itself is the Vayustuti.

13 Trivikrama submitted his composition of Vayustuti to Madhva. The latter found a lack of invocatory verses to Lord Hari in its beginning. Therefore Madhva himself composed and added in the beginning, two verses glorifying the brilliance of nail of Lord Narasimha, which came to be known as Nakhastuti. 35 It has been a practice amongst Madhvaites that these two verses are uttered in the beginning and at the end of the Vayustuti. The Vayustuti has been regarded as fruit-yielding stotra. The very utterance of each verse brings about particular fruit. This power of bestowing the devotees with particular fruit was graced by Madhva himself, when he went through this Vayustuti at the behest of Trivikrama.36 However, the text of Vayustuti extols the glory of Mukhya Vayu with the incarnative forms, - Hanuman, Bhima and Madhva. Apart from this, all verses herein, represent the glory of Lord Hari as well. This view is expressed by Vyasaraja Bhattopadhyaya in the commentary. A thought of having double meaning of Vayustuti is suggested by Trivikrama himself in the last verse of Vayustuti : "stutimakrtahareh vayudevasya " Commentaries on Vayustuti : 1) A commentary by Vedatmatirtha (c. 1460) happens to be the oldest one among the available commentaries. Vedatmatirtha is 35. "visnustutim vina kevalamatmastutimasahamanah sarvaristanivartaka srinrsimhanakhastutipratipadakam slokadvayam viracayya mamgalacaranarupatvena tadadau nibamdhanam kuru, samputakarena'davante ca pathatam phalam bhavisyati ityuktva slokadvayam daduriti " | Bannanje Govindacharya, Hari-Vayustuti, Udupi, 1996, p. 30. 36. "trivikramapanditacaryavaryah ......vayustutipunascaranakarinam tattatkamyaphalapradatvarupam varam prarthayamasa | tatah srimadhvacarya ..... grantham drstva prasannah santah ekaikaslokasya ekaikabhistapradatvarupam varam datva .... srinrsimhanakhastutipratipadakam slokadvayam daduriti " | Ibid., p. 26. 37. "nanvevamapi granthakartrbhih visnuparataya stutirna krteti visnuparataya vyakhyanam tesamanabhimatamiti cet, na | taireva subrahmanyeti T caramasloke 'harervayudevasya ca stutimakrta ' iti visesokteh ...." | Ibid., p. 29.

14 said to be the tenth pontiff in succession to Visnutirtha of Sode Math. 38 His commentary brings to light the beauty of Vayustuti in the light of Vyakarana and Alankara-sastras. It shows how this stuti is profound in its thought content. This commentary was first published from Palimaru Math, Udupi in 1972. 2) Another commentary is written by written by Visvapati-tirtha, the nineteenth pontiff in succession to Adhoksajatirtha of Pejavar Math.39 This commentator belongs to 17 th century. 40 This commentary is very simple in style and language. It is quite useful for beginners. 3) Chalari Sesacarya has written a commentary on the Vayustuti. This commentary also is simple in style. It gives in a lucid style a beautiful enumeration of the significance of the Vayustuti. 4) The fourth commentary is found to be written by Vyasaraja Bhattopadhyaya. This commentary excludes two verses of Nakhastuti from its pervasion. This commentary rather applies the meaning of the Vayustuti to Lord Hari than to Mukhya Vayu. 41 5) Besides these four, another commentary is said to be written by Lingeri Vyasacharya, son of Srinivasacarya.42 3. Nrsimha-stuti : It is another popular stotra running to twenty-two verses in Malini metre. Trivikrama has made a garland of twenty-two flowers - like - verses, and offered it unto the lotus feet of Lord Nrsimha. Thus the Malini metre in which, all verses are composed by Trivikrama, is quite significant. Each 38. Dr. B.N.K. Sharma, A History of Dvaita School of Vedanta and Its Literature Vol.1 Bombay, 1960, p. 269. 39. Ibid., Vol. I, p. 270. 40. Bannanje Govindacharya, Hari-Vayustuti, Udupi, 1996, p. 27. 41. Ibid., p. 27 42. Op.cit, B.N.K. Sharma, Vol. II, 1961, p. 381.

15 verse of this stotra describes the glory of the divine limbs of Lord Nrsimha. Trivikrama has displayed his skill in employing at proper places, different Alankaras like Upama, Utpreksa, Apahnuti, Rupaka, Atisayokti, Drstanta, Yathasankhya, Slesa, Parikara, Svabhavokti, Mudra, Kavyalinga, Vrttyanuprasa, Chekanuprasa etc. This Stuti is commented upon by Sumatindratirtha; it is published from Mantralayam (AP) in 1966. 4. Visnu-stuti : This stotra runs into thirty-two verses in Sragdhara metre. This work with its commentary by Vijayindratirtha was published from Vidyaratna R.S. Panchamukhi, Oriental Research Centre, Dharwad in 1990. It describes Lord Visnu's supreme unsurpassable glory of His endless attributes (6-8), His feet (9, 11-13), His nails of feet (10), His thighs (14, 15), His girdle (16), His navel (17), His stomach (18), His chest (20, 21), His pearl necklace (19), His shoulders (22), His disc, conch, mace and lotus (23), His Vaijayanti & utterance of Vedas (24), His face (25, 26), His smile (27, 28), His glance (29), His hair and Cudamani (30). Last two verses (31 & 32) describe poet's total surrender to Lord Visnu. 5. Ushaharana-kavya : 43 It is the only literary work of Trivikrama, consisting of nine cantos in ornate style. The central theme of the poem is the union of Usa, the daughter of Banasura and Aniruddha, the grandson of Lord Krsna. This work is commented upon by Sumatindra-tirtha (1692-1725) of Raghavendraswamy Math. The details of this Kavya may be understood from the succeeding chapters of the thesis. 43. Note Bannanje Govindacharya wrongly states in his introduction to NakhastutiVayustuti (p.16) that there are eight cantos in the Usaharana. This mention strongly contradicts what exactly exists i.e. nine cantos.