STOTRAS

OF
- - ..
RAMAPANIVADA

. . THESIS SUBMITTED TO THE UNIVERSITY OF KERALA

FOR THE AWARD OF DOCTOR OF PHILOSOPHY
IN THE FACULTY OF ORIENTAL STUDIES

O.MAHESWARI

ORIENTAL RESEARCH INSTITUTE

AND MANUSCRIPTS LIBRARY
TH IRUVANANTHAPURAM
2000
Dr. P. VISALAKSHY ORIENTAL RESEARCH
READER IN CHARGE INSTITUTE AND MANUSCRIPTS
LIBRARY
UNIVERSITY OF KERALA
KARIAVATTOM
THIRUVANANTHAPURAM

CERTIFICATE

This is to certify that this thesis "STOTRAS OF

RAMAPANIVADA" submitted by Smt. o. MAHESWARI for the

award of the DEGREE OF DOCTOR OF PHILOSOPHY in the

Faculty of Oriental Studies of the University of Kerala

is a bonafied record of the research carried out by her

under my supervision.

'lJ, ·so.Q�.-1"_��
Kariavattom Dr. P. VISALAKSHY

1--1-2000
 DECLARATION

I, O.Maheswari, hereby declare that this thesis

.
"STOTRAS OF RAMAPANIVADA" has not previously formed the

basis for the award of any degree, diploma,

associateship, fell�hip or other similar title or

recognition.

Kariavattom 0. MAHESWARI

Bo .. 8' - 2000
 CONTENTS

PREFACE
SCHEME OF TRANSLITERATION
ABBREVIATIONS
INTRODUCTION 1-5
CHAPTER I 6- 30
STOTRA LITERATURE- COTRIBUTION OF KERALA
STOTRAKAVY AS 6 - 20
BHAKTIKAVYAS 21- 24
MODERN POEMS 25- 30
CHAPTER II 31- 59
RAMAP A�IV ADA- HIS LIFE AND DATE 31- 38
PATRONS- RELATIONSHIP BETWEEN-
RAMAPA�IV ADA AND DEVANARA YA�A 39- 45
IDENTITY/ NON IDENTITY WITH KONCAN NAMBIAR 46- 59
CHAPTER III 60- 95
WORKS OF RAMAP AijIV ADA 60- 95
CHAPTER IV 96-119
STOTRA WORKS
CHAPTER V 120-143
THE CONCEPT OF BHAKTI 120- 131
LITERARY MERITS 132- 143
CONCLUSION 144-150

APPENDIX 151- 227

SELECT BIBLIOGRAPHY 228 - 236

 PREFACE
The "Stotras of Ramapanivada" as a bulk, is a collection of a

magnificent piece of work, sowing the seed of Bhakti in the hearts of

devotees to the supreme soul by reciting and worshipping in its full

fathom. As a great scholar and poet, Ramapal)ivada is well known in

Sanskrit Literature of Kerala. He has to his credit about thirty works

I

which include Campu, Mahakavyas, Prakrt Kavyas, Nataka, V1th1s,

Prahasana, Stotra works, Commenteries and treatises on Grammo.r,

Prosody, Dance and Music. He had lived in the latter half of 18th century

A.D., in the middle part of Kerala.

This work consists of five chapters. A general survey of the

major works and poets of Kerala who has contributed to Stotra

Literature is mentioned in the first chapter. The second chapter deals

with the life patrons and date of the poet Ramapal)ivada. The identity /

non - identity of the poet with Kunchan Nambiar is briefly explained in

this chapter. An out look of the works of the author in different branches

of Sanskrit Literature is dealt in the third chapter. The fourth chapter

covers the Stotra works of the poet enriched with the blending of poetic

merits and high vedantic Ideals. Stotras have to be studied in deep for
religious and intellectual upheaval of human beings. An exhibit of the

poetic, devotional and philosophical skill of composing works can be

vividly seen. A glimpse of his literary merits can be viewed in the fifth

chapter. Generally speaking, all of his works especially Stotras are

like diamonds which shine with glory to its zenith

And also a general survey of almost all stotrakavyas 1e. an

Appendix is being added herewith.

First of all , I greatefully remember Dr. K. Vijayan former

Director of ORI & MSS Library, Trivandrum enabling me to select this

topic

And I have immense pleasure to acknowledge my indebtedness

to my research guide Dr. P, Visalakshy, Reader - in - charge, ORI &

MSS. Lirbrary, University of Kerala, for her valuable and sincere

guidance at every step in car(ing out this research project.

It is my privilege to thank the staff of the Teaching,

Administrative and Library departments in ORI & MSS .. Library for

their kind help and Co-operation.

And also I thank University of Kerala for providing adequate

research facilities for the smooth running of this project.

 I express gratitude to my friends also who helped me directly /

indirectly in the preparation of this thesis.

Finally, I appreciate Gayathri Communications, for the neat and

prompt execution of the word processing job of this research project.

0.MAHESWARI.
 SCHEME OF TRAN SUTERATION

Vowels

The vowel sound occurring in initial syllables or associated with consonants

are written as

a, a, I, I, u, u, f, f, If, e, ai, o, au.

( e and o are always long in sanskrit.)

Consonants

Basic form to which Vowels are added

Gutterals k, kb, g, gh, ri

Palatals c, ch, j, jh, n

Linguals .t, .th, d,. db,
• ')

Dentals t, th, d, db, n

Labials p, ph, b, bh, m

Semi vowels y, r, 1, V

Sibilants S, �. s
Aspirate h

Anuswara m

Visarga t)
 ABBREVIATIONS

ALB Adyar Library Bulletin.

ALS Adyar Library Series, Adyar, Madras.

Anon Anonymous.

BKSL Bibliography of Kerala Sanskrit

Literature

BOAi Bhandarkar Oriental Research

Institute,

CKSL Contribution of Kerala to Sanskrit

Literature

Com. Commentary

CP Charchayum PuraQavum

Ed. Edition.

GOML Government Oriental Manuscripts

Library, Madras

HCSL History of Classical Sanskrit Literature

HSL History of Sanskrit Literature

 JTUOML Journal of the Travancore University

Oriental Manuscripts Library,

Trivandrum

KK Kf9Qakan:,amrta,

KN Kunchan Nampiyar.

KSC Kerala Sahitya Charitram

KSLB Kerala Sanskrit Literature,

A Bibliography

KSSC Kerala Samskrta Sahitya Charitram

KUS Kerala University Series.

Ms Manuscript.

Mss Manuscripts.

ORI &MSS Oriental Research Institute and

Manuscripts Library, Trivandrum.

p ",
Page

POC Proceedings of ALL India Oriental

Conference.

pp Page to page.

RPV Ramapa,:1ivada,

SNT Sr T N Tlakantat
. . Trthapada Svami Carita
Samuccaya. (Samuccaya)
 SPT Sahityaparf�at Traimasikam,

Ernakulam

TMSSM Tanjore Maharaja Serfogi's Saraswati

Mahal Library, Tanjore.

Tp Trippunithura Govt. Oriental

Manuscripts Library.

TSS Trivandrum Sanskrit Series

Tvm Trivandrum, Kerala University

Manuscripts Library (including the

palace collection of manuscripts)

Uty University

V Verse

Vol Volume.
INTRODUCTION
 INTRODUCTION

The term Kavya literally and in its widest sense denotes

all that is the work of a poet. In that sense Kavya is a subject of

classical Sanskrit Literature and the terms poet and poetry are

mutually related. According to the opinion of Mamma�a, Kavya is

described as follows : "Kavya is that one which touches the

inmost cords of a human mind and diffuses itself into the cervices

of the heart, working up a lasting sense of delight. It is an

expression in the beautiful form and melodious language of the

best thoughts and noblest emotions, which is the spectacle of life

awakening the finest Souls".

Kavyas are of two types. Sravya and Drsya, i.e. audible

and visible. Sravya - where connoisseur is the audience and

Drsya, - where connoisseur is the spectator. Sravya kavya is of

two kinds, verse and prose. Sravya Kavya fall under different

1 HCSL. Krishnamacharyar. P. 79
 2

categories like Mahakavya, Laghukavya, Campukavya,

Gadyakavya, and Stotrakavya, according to their characters,

defined by rhetoricians.

A large number of devotional hymns are written in

Sanskrit and they never received much recognition from literary

critics. In fact, this branch of literature namely stotrakavya were

almost ignored by Sanskrit poeticians. However, they represent

an important phase of Indian literature and certainly deserve

adequate study and appreciation with special care.

Stotrakavya i.e. devotional works are supposed for

"Sivetarak9anti", i.e. removal of inauspicious matters. Among the

devotional poetry itself we can find many subdivisions. Some

may be of laudatory type - i.e. more praise of the deity. Some

may be in the form of earnest request. For e.g.:- request to

destroy all the sins, enemies, diseases, the poet or any person is

suffering from. Some may be earnest requests to pardon the

wrong doings. Some may be purely tantic, some technical terms,

 3

and some me nearly narrative, some lyrical, while some are

expository and there are various deities accordingly. The deity of

Vinayaka is supposed to remove obstacles and hence the name

VidJ,esvara
" came to Him. The deity Siva is supposed to bless one

with salvation, i.e., "Sivalokaprapthi". The deity goddess

Sarasvati is supposed to bless one with scholarships in arts and

science.

ORIGIN OF STOTRAKAVYA

In the first place, the hymns composed and recited in

the homes of all Vedic tribes shows that the origin of stotras

started from the ancient f3g Vedic age. Every Vedic tribe Uana)

possessed a family of singers who attended the King, praising

his deeds as well as composing hymns to accompany the

sacrifice in honour of the Gods. The four Vedas are "collections"

called "samhita" of hymns and prayers made for different ritual

purposes which are of varying and significant.

The most important and oldest of all Vedas is the f3g

II
 4

Veda" the foundation of all Vedic literature 1• f3g Veda is the "Veda

of Verses" ( from fk, a laudatory stanza ) consisting entirely of

lyrics, mainly in praise of different gods. Hence f3g Veda can be

considered as the book of hymns2 .

Sama Veda is called the book of chants (Saman) which

consists entirely of stanzas taken from the f3g Veda meant to be

sung to certain fixed melodies in the Soma sacrifice. Yajur Veda

contains stanzas mostly borrowed from f3g Veda which is a book

of sacrificial prayers (yajus). The fourth collection, Atharva Veda is

a book of spells and incantations appealing to the demon world.

Thus it is clearly observed that Vedas are poetical in

matter through hymns in praise of Gods. Hence stotrakavya, i.e.

devotional works have a strong basis and origin from Vedas

which can be seen from the Vedic period itself.

EARLY TRADITIONS

The hymns of f3g Veda being mainly invocations of the

------
1 - HSL - Macdonell. P. 25
2 - HSL - Macdonell. P. 25
 Gt3J.3G,
5

Gods and contents are largely mythological. Mythology

represents an earlier stage of thought than is to be found in any

other literature. It is very much primitive to enable us to see

clearly the process of personification by which natural

phenomena developed into Gods. f3g Veda consisting of

religious lyrics and hymns is addressed to various Gods of Vedic

pantheon, praising their mighty deeds, greatness and requesting

them for health, prosperity, long life, wealth, offsprings etc. As

an earlier period of sanskrit studies, f3g Vedic hymns are meant

to accompany the soma oblation, and the fire sacrifice of melted

butter, which are offered according to a ritual. The "NitimanjarT"

or cluster of "blossoms of conduct" consisted of two hundred

slokas, which are taken exclusively from the f3g-Veda.

CHAPTER I
 6

CHAPTER ONE

STOTRA LI.TERATURE - contribution of Kerala.

Th e contribution of Kerala to stotra literature is very

substantial. Th e works of Kulasekhara, Vilvamarigala1 Narayar:,a

Bh aHa, and Ramapar:,ivada to stotra literature deserve special

mention in the h istory of Kerala. And also th e great Advaita

teach er Sarikaracarya has also written several stotra works like

Sivanandalah arT, 8aundaryalahad etc. Svati Tirunal's work

Padmanabh a�faka, B h akti ManjarT and many anonymous

stotras, wh ich refer to the various temples of Kerala like

Guruvayoor, Thiruvalla, Varkala etc. are worth reading 1•

Amongst the stotrakavya, th e earliest work seems to

be th at of th e great Advaitin Sankara wh o is suppose to h ave

lived during t he 7 th or ath century AD. We have about five

1 -CKSL. P.241
 7

hundred stotrakavyas, in general, besides these works 1•

Narayar:, iya of Melputtur, Sdkr9r:,akarr:,amrta of

Vilvamarigala and many other stotra works of Shri. Sankara,

dominate a prominent place in the place of stotra literature in

Sanskrit Kavyas. 2 For prosperity, wordly pleasures, wealth and

birth of children, and for salvation, etc. prayers are written in the

form of stotras. It is said that stotras are having six forms:

"Namaskarat:1 tathasTt:1 ca siddhantoktit:l parakramat:1

Vibhutit:l prarthana ca iti 9atvidihm stotralak9a,:,am3"

The devotional lyrics are otherwise known as

stotrakavyas. In India the literature began in the form of stotras.

The word stotra is derived from the word "Stu" meaning, "to

praise".

1 - BKSL. S. Venkitasubramonia Iyer. 1976

2 - Samskrta Sahitya Caritram of K.C. Pillai, P.133
3 - Samsk[ta Sahitya Caritram. II K.Kunjunni Raja & M.S. Menon.
1991. March; Kerala Sahitya Accademy Publications, Trissur. P.284.
 8

STOTRAKAVYA

According to form and ideas, stotras can be divided

, l
into Muktakas, A��takas, Dasakas, Satakas, A�,o�arasatakas,

Sahasranamastotras and Mantraksarastotras 1• Many stotras like

Suprabat�astotras, Kfrtanas and songs also have a prominent

place among stotrakavyas.

In the field of devotional poetry, the BhaktimanjarT of

Svati Tirunal is a unique work, which has as important place

among the stotrakavyas. It has e�rned its own reputation in the

development of devotional literature in Kerala. It is written on the

model of Narayar:1Tya of Melputtur Narayar:1a Bhana.

The word Bhakti is devotion or unselfish love. It comes

from the root "Bhaj" (to serve). "Bhaj sevayam" is the Sanskrit

root. Bhakti is an intense attachment to God or deep interest in

God and things concerned with God2 . According to Satasmin

Paramapremarupa in Naradabhakti Sutra, Bhakti is defined as

1 - Sarhskrta Sahitya Caritram. II .K.Kunjunni Raja & M.S.Menon.

1991. march; Kerala Sahitya Accademy Publications, Trissur.P.285
2 - Essence of Bhakti Yoga, Svami Sivananda P.3
 9

the profound and immortal love for God 1 •

Bhaktimanjari of Svati Tirunal is divided into ten

satakas, each sataka being composed in a different metre. The

same metre is being kept up throughout each sataka, except in

the eight and tenth. The royal poet SrT Svati Tirunal begins with

a prayer to the Deity for the infusion of devotion {Bhakti).

11 Anandamrtasarasantatimaya svarajyamOrdhabhi�i­

ktatmannambujanabha !

te carar:,ayoh nat�va muhutl sadaram.

etavat punararthaye kuru krpamapatsu

bhuyat tvatpadapatmayotl sampatsu va

aviratam bhaktitl mama accuncata." (1 .1)

The towering prominence of Bhakti leads to the means

of attaining the objects of life, i.e. "puru�artha". The poet

classifies devotion (Bhakti) at the end of the fourth sataka into

nine kinds.

1 - N aradabhaktisOtram V. 2.
 10

"Sruti� varada k I rtanam smarar:,amarighrisam:Sevanam

ramavara ! tatharcanam tvapi ca vandanam dasata

tvayaiva saha sakhyamacyuta ! nivedanam ca atmanat:,

tvayhi navadha smrta bhavati bhakti atyuttama" 1

It is said that the matter of this work has been

abstracted from Bhagavata, Vi9r:,upurar:,a, and like works. The

very name Bhaktimanjar I plainly indicates the subject with which

the book deals.

Q.
"Padmanabhastaka" of Sd Svati Tirunal is another
(\

stotrakavya on Lord Padmanabha of Thiruvananthapuram.

Among the several scholars of the Royal family of Travancore, His

Highness Sri Svati Tirunal Ramavarma Maharaja (1813-184 7 AD)

has the highest place2 . The supreme quality and quantity of his

works are still appreciated.

1 - Preface. P . 2 - Bhaktimanjan of Svati Tirunal, Com. Sree Rama

Varma
Kulas'ekhara Perumal, Edited by T. Ga�apat�i Sastri, Travancore Govt.
Press. 1904.
2 - lntbduction
,...
PP 1-5. -"Padmanabha§taka"
/\
of Sd Svati Tirunal Ed. ORI
& MSS.Library Tvm
 11

q_

"
Padmanabhastaka is modelled more or less on the

Narayao Tya (Bhagavat�a in a nutshell) of MelputtOr. Both works

,,
i.e., Bhaktimanjad and Padmanabhastaka of Svati Tirunal contain

1 000 and 1 00 verses 1 respectively.

The first dasaka describes the greatness and glory of

the Lord Padmanabha in general. The second is a prayer for

Bhakti. and the third is a description of Padmanabha from the

foot to the head, and the fourth gives an account of the creation

of the world by Brahman. From the fifth dasaka the different

avatars of Visnu are detailed. Matsya, KOrma and Varaha are

given in the fifth, Narasimha, Vamana, and Parasurama in the

sixth, and Rama in the seventh and eighth. The ninth deals with

SrTkri9,:1a. The tenth dasaka is an elucidation of Bhaktimarga

from a philosophical point of view. The whole work is suffused

with -deep devotion. This work is written in a simple and elegant

style with good poetry. The influence of Bha��atiri's Naraya,:1Tya is

1 - lntbduction PP 1- 5. -"Padmanabhahlaka" of SrT Svati Tirunal Ed,

� �
r
ORI & MSS,Libra y Tvm
 12

clearly seen in this work both in form and in metre.

"Srtkr9r:,akarr:1amrtam of Lllasuka is as the name itself

suggests, a book of living and passional songs in praise of the

beauties and glories of Srtkri9r:,a's physical form and its limbs

which fill the ear with the rapture of their melody. The poet was

enabled by this divine vision, to sing in such rapturous and stirring

strains, the bewitching form of the sublime and beautiful standing

before his very eyes. The divine form of SrTkrsna is

unapproachable even by studying all Vedas, and for the minds of

great souls. But according to the poet he feels the appearance of

this divine form for long before his eyes while writing the poem

The essence of beauty, the beginning and the end, the

power, prosperity, virtue knowledge, and good repute - in one

word of what we call - Aisvarya - can be seen in the supreme

lordship SrTkf9Qa

Vasudeva is alone spoken of directly as the male

.. . .
1 - Sdkrsnakarnamritam . Casaka.
- Com. Suvarna .
 13

principle - the entire universe, from Brahma downwards which is

related to him as the female principle. It is said in Bhagavat G Tta

"Sa yeva vasudevo asau sak9at puru9a ucyate

Striprayamitaratsarvam jagat brahmapura$saram"

(Gita XIV, 3,4.)

These are several collections of stotra verses attributed

to Vilvamarigalam or Bilvamarigala who is also known as LTlasuka

or Kr9r:1al1lasuka. Vi9r:1ustuti 1 , Balagopalastuti, the Kr9r:1astotra,

and the Sumarigalastotra, the Bilvamarigalastotra and the

Bilvamarigalakosakavya are the important stotra works attributed

to Bilvamarigala2 .

The Kr9r:1akarr:1amrta of Lllasuka is a "remarkable

collection of eroticomystic lyrics of considerable devotional

fervour on the romantic theme of Kr9r:1a"3•

"Mukundamala" of Kulasekhara Alwar stands as a

1 - Adyar Library Bulletin. VIII PP 43-45

2 - CKSL.. P. 47
3 - Ibid P.49
 14

stotra literary composition. This work is a heart felt prayer to Lord

Mukunda where the poet craves for an uplift from sorrows. Two

sanskrit commentaries on the Mukundamala are also known.

They are Tatparyad1 pika of Raghavananda, a scholarly

commentary giving Advaitic interpretation to the verses, and a

manuscript work TiruverikatasOri available in the Madras

Government Oriental Manuscripts Library. The works of

Kulasekhara Alwar are equivalent to the works of Sr I Sankara,

Lllasuka or Vilvamangalath Svamiyar, MelputtOr, POntanam,

Ezhuthachan , Jayadeva, Caitanya, Thyagaraja Svami, Svati

Tirunal etc., relating to Bhakti movement.

According to tradition, Kulasekhara, the Vaishnava saint

was born as an incarnation of Vi9r:,u 's Kaustubha 1• He was born in

3075 B.C2 in Tiruvenneikkulam as the son of Drqhavrata, the King

of Kerala3 • Mukundamala is a short lyrical poem of devotional

fervour. Raghavananda, the commentator opines that this

Mukundamala is an exposition of the two mystic mantras

1 - The Holy lives of Alwars, Mysore, PP, 116-133
2 - HCSL P.277
3 - CKSL P.1
 15

. � dasaksara
"Mukundasta . mantra and Astaksara
.. . mantra" and also

he blends th e Advaitic system of metaph ysics with th e B h akti

cult, making Vi9Qu, th e 'SaguQabrah man'.

Th ere is identity of Kulasekh ara with th e Alwar 1• As a

King of Kerala,Kulasekh ara and Alwar are same. And also both

were staunch Vai9Qava devotees, composers of devotional

songs; h ence th e popularity of Mukundamala attributes to the

work of Alwar, both were known as Kulasekhara's. Hence all the

above facts sh ow th at Kulasekhara Alwar is the author of

Mukundamala.

"NarayaQ Tyam" is th e famous stotrakavya of Melputtur

NarayaQa Bh aHatiri. This work contains h undred and one

dasakas h aving th e lofty and not easily comprehensible ideas of

th e great work B h agavata in a nutsh ell. And this work written in

15th century A.02 describes Lord Kr9Qa, the deity of Guruvayur in

North ern side of Kerala. NarayaQ Tyam or the glory of Lord Vi9,:,u

1 - CKSL P.3.
2 - Naraya�Iyam edited by P.N. Menon, Palghat.
 16

is written by the poet for his recovery from rheumatism. The fame

of Guruvayur temple rests in the divine power of the deity to cure

all virulent ailments to which human flesh is heir to, and bless the

devotees with sound health and prosperity. This work shows the

spontaneous outburst of a fervent appeal of a sincere and ardent

aspiring soul in distress.

The author's devotional love to God reflects through his

writings as booklets. This work is acknowledged to be one of the

greatest masterpiece of Kerala.

The works of Melputtur include literary works on prose,

epics like RamayaQa, Mahabharat�a and PuraQas.

NarayaQ Iyam is a combination with poetic excellence, sublime

ideas, beautiful style, and melodious diction. The work is more

charming due to the overwhelming sentiments of devotional love

to God which never failed to appeal to the devotees. After the

restoration of health from the disease rheumatism, he passed his

days as a saintly devotee.

 17

The Lord Vi9QU who is identical with Kr 9,:1a is depicted

as in Bhagavata to be not as a conception of God, but the very

God of whom all other deities are expressions. This is elaborately

argued in Cantos 89 and 90. According to the philosophical

outlook of Naraya,:11yam, MelputtOr goes with Sankara's

Advaitism and upholds the doctrine of Impersonal Absolute

(Nirvise9a Brahman).

This work consists 1036 verses 1 in various Sanskrit

metres divided into 100 Cantos of approximately 10 verses each.

Every Canto ends with a Prayer to Lord Kr9,:1a to cure the poet

from his crippling ailment. Anyway, this is a unique work in

Sanskrit language because of many distinct features.

Devaraja, a Tamil Brahmin of Palakkad, the author of

Ramayar:iasataka has written a stotra namely

"Gurupavanapuresastotra" 2• Devadevasanubhuti, a sanyasin of

1 - Naraya,:,Tyam translated by Swami Tapasyananda of Sri Ramakrishna

Math Publications, Madras.
2 - KSC Ill P. 329
 18

one of the mutts of Trichur has written eight stotra works namely

Narayar:1amrta, Rama9taka, Kf9Qa9taka, Vasudeva9taka,

Padmanabhastuti, Bharatasamk9epa Vasudeva9taka, and two

Kr9r:,astut Is. The Ramapancasati of Rama Variyar of lrinjalakkuda

is also a famous stotrakavya.

Bilvamarigala or Vilvamarigalam also known as Lllasuka

or Kr9r:,alllasuka is a famous writer in the field of devotional lyrics

in Sanskrit. His work Kr9r:,akarr:,amrta is a very famous devotional

work on Lord Kr9r:,a.

The Bilvamarigalastotra manuscript of Bikaner contains

several verses from the Kr9r:,akaroamrta. Bilvamarigala has

written many stotra works like Sumarigalastotra etc.

Kr9r:,akarr:,amrta. forms the main source of all stotra works

attributed to Bilvamarigala

llathur Ramasvami Sastri is one of the remarkable

scholar poets of modern times. He flourished in the 19th century

 19

under the patronage of the King of Travancore. He was born in

November 1823 in the Western Agraharam of llathur in

Shenkotta. Among the stotra works of Ramasvami

Sastri, the following works are important. They are

Devya9t,aprasasataka, Siva91aprasasataka, DevTvarr:tamuktavalT,

Aryasatakadvaya, - _ _ _ �

TripurasundarTpadadikesastotra SrTramasraya stotra,

Madhusudana9taka, Kalinasanastotra, PuogarTkapuru9a stotra,

h
A -
vr i kantesvarastotra, Dharmasamvardhin i stotra, and
• 1\

Ramavariyar of Kaikkulangara (1832-1896) was one of

the most outstanding Sanskrit scholars of his time 1• His original

works in Sanskrit consists of stotras also. His stotra works like

Vaganandalahar i, Vamadevastava, Vidyunmatastuti and

Vidyak9aramatastuti are written in Sanskrit.

Ca,:id isataka of Baoa, a collection of hundred and two

stanzas in sragdhara metre is one of the earliest religious poetry

1 - CKSL , P.258.
 20

invoking Goddess Parvathy, Siva's consort, to protect her

worshippers. A poet namely Matarigadivakara contemporary of

BaQa, adorned the court of Har9a who is identified with the Jain

writer Manaturiga has written Bhaktamara stotra. This stotra is

written in honour of the Jain saint f3 9abha. To Harsavardhana are

ascribed certain Buddhist hymns namely A9�amakacricaitya stotra

and the Suprabat�a stotra 1•

A later writer Sarvajfnamitra has written

Sragdharastotra praising the mother Goddess and savior as his

favourite deity. Ratnakara, a Kashm i ran poet has written a

religious poem namely Vakroktipancasika.

Sivaparadhak9amapaQastotra is a hymn praising the

deity Devi, the mother Goddess as the expression of the highest

power in the universe written by the philosopher Sankara. Among

many other works of Sarikara, Bhavanya9taka and

AnandalaharI stotra occupy a prominent place. Other famous

hymns to Devi are the Amba9taka and Pancastavi, five hymns to

1 - A History of Sanskrit Literature, P 215 - 216
 21

Durga of unknown authorship are also other important works fn

this field.

To Kalidasa are ascribed the Sarasvath i stotra and the

Marigala91aka which can be reconstructed from the Tibetan of

the Tanjur. Utpaldeva's stotravali consists of a series of twenty

five short hymns praising Siva.

BHAKTIKAVYA (Devotional Lyrics)

A devotional poetry is closely connected with the erotic

sense. The tradition of elaborate stotras of a descriptive or

philosophical character is on one side, and the other side we

have the steady development of highly impassioned devotional

poems which pass through the whole gamut of erotic motif,

imagery and expression. The intellectual satisfaction and moral

earnestness inspire the high toned traditional stotras. Poems like

GI tagovinda of Jayadeva reflects both as a religious and an erotic

work from different aspects 1

1 - H.S.L.P. 376
 22

GITAGOVINDA

G hagovinda of Jayadeva is a love episode between

SrikP?r:-ta and Radha on the banks of the river Yamuna. This well

known dance drama ranks in poetic beauty. The spigara leelas

of Kr9r:-ta are described in 24 A91apadies or songs in eight line and

about 60 slokas in different metres. The work is being divided

into twelve Adhyayas1•

In the first two A91apadies ten Avataras of Mahavi9Qu

and some incidents in the more important Avataras are

described.

Kr9r:-ta and Gop is are dancing the rasa dance in

Vasanta rtu (Spring season). SrTkr9r:1a captivates Gop is with his

muralTgana and his superbly attractive form. He moves freely

among the Gop is indulging in all kinds of love pranks. Each

A91apadi is composed in a different raga2 • The ragas and talas

are all mentioned by the author himself.

1 - G hagovinda with Abhinaya. Edited by, K. Vasudeva Sastri,
Introduction P.3
2 - Ibid P.5
 23

A91apadies are composed for the expressive purpose of

being used for nrtya (dance with abhinaya). Jayadeva sang these

A91apadies to the accompaniment of nrtya by his devoted wife

Padmavati 1 • Hence this work contains the Bharat�anajya

tradition in a very pure form according to the Na!yasastra of

Bharata muni.

DEVOTIONAL SONGS

A large number of vedantastotras, Ka$mirian Saivite

poems, the Jaina and the Buddhist Mahayana hymns, the South

Indian Vai?Qava and Saiva panegyric of deities or the Bengal

Tantrik and Vai9r:iava eulogies are inspired by the different

religious tendencies of the time.

The Puraoas and the Tantra works abound in stotras.

The peculiarly titled Sivamahima stotra of Pu�padanta is perhaps

1 - GTtagovinda with Abhinaya. Edited by, K. Vasudeva Sastri,

Introduction P.3
 24

earlier in date. The Narayao 1ya of NarayarJa BhaHa of Kerala

composed in 1585 AD is an important Bhakti kavya consisting of

thousand learned verses addressed to the deity of Guruvayur

temple through which the author got recovery from rheumatism.

The greatest philosopher srT Sankara gives emphasis

on the knowledge that helps the union of individual soul with the

supreme soul. In his treatises, "advaita" doctrine shows the

importance of Bhakti in many of his stotras like Soundaryalahar 1.

According to srT Sankara, "Bhakti" is the state of mind, when it

dwells at the feet of God, just like the seeds of the Ankole tree,

unite with the tree as a pin attracted by a magnet, as a pious wife

attached to her husband, as the creeper climbing up the tree and

as rivers flow into the ocean1•

The seed of Bhakti is prema" or affection, due to the

0

grace of God which gradually develops through seven stages in

ascending order, which are bhava, prema, prar:,aya�, sneha,

1 - SivanandalaharT M.N. Ramaswamy Iyer Memmorial Edition, Madras

V.61- P 29,.
 25

raga, anuraga and vyasana. Th e last one is th e deepest

manifestation of affection and is th e state of inability to remain

with out God.

Ramanuja, a Visi�ladvaita ph ilosoph er treats B h akti as

a special kind of joy, which bestows unlimited joy and bliss th at

h elps to forego all oth er desires. According to traditions, .

Bh agavata cult was very prevalent in South India. The

emotionalism in Vai�oa1\vism is first met within the works of

Alvars in South India.

MODERN POEMS

Among th e modern poets, Godavarma yuvaraja or

Vidvan l!aya Tampuran, as h e is popularly known, is one of th e

distinguish ed sch olar poets of Kerala of th e 19th century. His

"Tripuradah ana" is a short poem and th e Dasavatarada,:i9aka is a

fine stotra work. Sripadasaptaka, Muraripustotra and

Sudh anandalah ad are oth er stotra works attributed to him.

Ramavarma Koccu[lr:,i Tampuran of th e Cranganur (1858-1926

 26

AD) has written a stotra called "Devadevesvara91aka. Kerala

Varma Valiyakoil Tampuran or Kerala Kalidasa, as he is known,

has also written many stotra works. "Gurupavanapuresa stotra"

of Kerala Kalidasa deals with fifty-one verses on God Kr9r:1a of the

temple at Guruvayoor, Skandasataka on the diety of the temple

of Harippad, LalitadaQc;fakastotra written at the request of his

wife in 1875, and the Narad1yamahimanuvarr:1ana are his other

works. He composed Yamaprar:1amasataka in hundred and one

verses which deals with the invocation to Yama the God of death.

His Lalitambastotra, Dar:19anathastotra and

SatrOsamharaprarthanC'astaka are his other works.

Among the works of T. Ganapathi Shastri, the former

curator of ORI & MSS .library Trivandrum, Aparr:,astava a stotra

on Godess Parvathi has a prominent place.

•• Tampuran as he
Manavikrama Kavirajakumara or Ettan

was popularly known, belonged to Zamorin's family. He has

written several Sanskrit stotra works. Many of his stotra works

 27

.-
like Kp?Qa91apad1, Kr9r:1akesadipadavaroana, Kirata91apadi and

StavamanjarTare also known.

Rajaraja Varma of Vatakkekottaram a talented research

sch olar of th e Pantalam royal family in th e 19 th century A.D,

I , - -
wrote stotras like Dh arma Sasta91aka, Kr9Qal i la, Devistotra
YI - I
Sab�ir i sa stotra, and Panta�amah adevasataka. The great

Malayalam poet Kerala Varma (1879-1918) wh o was a great

Sanskrit sch olar wrote two sanskrit stotras namely

"-
Dh armasastasataka and Srikr9r:1astotra. 1

Ravivarma Koil Tampuran of. Laksh m1puram Palace in

Canganasseri h as also written stotras in Canskrit. They are

Katyayana91aka, LalitambadaQc;iaka and Nak9atramala2.

.
_i � -
Niakanta Tirth apada was a famous scholar and social
" .,..
reformer of Kerala. He was born in 1871 at Muvattupuzh a and

became a dtsciple of Kunjan Pillai wh o was very famous as

1 - K.S.C. IV, P. 683

2 - K.S.C IV. P. 550
 28

Cattambi Svamikal. He has to his credit several works, mostly

philosophical and devotional stotras. They are Advaitaparijata,

Saubhagyalahar T, Sr Tstavaratnakara, Sarikalpalatika,

Svarajyasarvasva, Srika"1t.ha111rtalahar T, Yogamrta,

Karr:,amrtatararigir:,T Kaivalyakandali, Sisubhagavat�a pancika,

Vidhunavasudhalahari, Vidhustavamadhudrava, Sattvasudhakara,

J

.
·- -
Haribhaktimakaranda, Atmadarsa Laksm .
. Tkataksamala,
- • - - I -
Acyutanandalahar i, Ambakrpambuvaha, and Prasnottaramanjar i,

etc.

Parameswaran Patti of Tazhman wh o lived in the

beginning of 19th century AD. wrote a stotra in 1000 verses on

th e deity of the temple at Ch engannur1 • The work is known by

�
.
th e three names Sah asrika, As. takamalika and also Sonadrisa .
stotra

Udaya Varma of Puttan Kottaram

•• (1844-1920) in

1 - K.S.C.IV, P.116
 29

Mavelikkara was a musician and Sanskrit scholar. His sanskrit

works are the stotras namely RamanamavaiT, Kp?,:,alTlastuti, and

Anandapanjara1. Kr9,:,a Varrier of Pantalam (1859-1932)2 has

writen a stotra called $a9� stotra on the deity at Vayaskara

temple. Avinasi Ezhuttassan (1864-1909) belonged to

Kurittikkatavat Valayil house in South Malabar3 • He wrote two

stotra works in sanskrit namely MOkambika stotra and

Guruvayupuresastava.

In Kasarkode taluk at Kuttamat, there had been many

Sanskrit Scholars4 • Kunjuni Kurup (1813-1885) of that place had

written a stotra namely DevTmahatmya in hundred and thirty

verses divided into twelve Cantos.

His nephew Rama Kurup was a well known Yamaka

poet in Sanskrit. He has written short stotras like Anandajanani,

Sarasvata, Lak�niT Jrasasti, Girikanya�taka, Devistotra

1 - Ibid P.542
2 - Ibid P. 561
3 - Ibid P. 703
4 - K.S.C.IV, P. 733- 50
 30

Mahabala�Haka, Sivastotra, Dhanvantara and Mrtyunjayamukunda

stotra

The Malayalam poet Kunjikrishna Kurup (1880-1944)

. .
has written two stotras in aanskrit namely MOkambikasodasi and .
/-

AnubhOtimanjar 1.

K. Acyuta Poduval, Prof. of Nyaya in Sanskrit College,

Trippunithura has written a stotra called Sivastuti.

Vallathol Narayana Menon, the great Malayalam poet

has also written a stotra called Srikf�r:,astava besides many stray

verses in Sanskrit.

Thus stotra literature covers a major portion in Sanskrit

Kavyas and has its own place in the literature world. And S�otra

literature, started from Vedas, spreaded into Purar:,as and Kavyas

formed an important and integral part of Sanskrit literature.

CHAPTER II
 31

CHAPTER II

RAMAPA�IVADA - His life and date.

Ramapar:,ivada was a great scholar and poet who

flourished in Kerala. As a prolific writer both in Sanskrti and

Prakrt, he has to his credit more than thirty works of outstanding

merit covering almost all branches of Sanskrit literature. These

include poetry, drama, devotional hymns, prose, commentaries,

and various technical! literature like grammar, prosody, dance and

music. He occupies first place after MelputtOr NarayaQa BhaHa's

glorious period amongst great poets due to the quantity, quality

and variety of subjects in full depth. Thus RamapaQivada was a

profound scholar as well as a good poet and almost all his w�rk

bear testimony for the fact.

Like in the case of other poets in Sanskrit, the date and

life history of Ramapar:,ivada could not be established with

 32

certainty. His name is given in the beginning or end of almost all

of his works as also the name of his preceptor, one Narayar]a

Shana. The poet mentions many chieftains of Kerala, from whom

he has enjoyed the patronage. We are able to get some idea

about his date and life from such references.

As his name indicates, RamapaQivada belonged to the

Paoivada 1 or the Nambiyar community, a section of people

called Ambalavasins in the sense that they depended upon Hindu

shrines for their livelihood. He was born in Kalakkathu house at

Killikkurissimarigalam, a village near the present railway station

Lakkidi in South Malabar. Before it was ceded to the British

empire, the village was included in the Cochin state. His father

was believed to be a Namputiri Brahmin of Kumaranallur in cen­

tral Travancore. He was a priest in the temple of Killikkurissi­

mangalam, the famous Siva temple of the locality2. Rama was his

1 - Paoivada or Nambiars form a Caste of Kerala and their hereditary duty

was to help the Cakyars or the traditional actors of Kerala in the staging
of Sanskrit plays by playing the drum called ·Mi!avu, •. The caste name
appears to be derived from this traditional role. The term ·Pai:1ivada or
PaQigha• indicates that the poet belonged to Panivada or Nambiar
community.
2 - Introduction to, Kamsavaho. Edited By Dr.Upadh�ye. A.N. P. >0/
 33

personal name and it is also clear that he had an uncle called

"Raghava" which can be gathered from UlavatL

The popular name of Ramapar:,ivada was Kunjunni

Nambiyar 1• There are some references in his works relating to

the birth place of R.P.V., a village called "Marigalagrama•. The

prologue to LllavatL also states that RPV belongs to

Mangalagrama. It is as follows:-

"asti mangalagrama vastavyasya

raghavapar:,ighasya bhagineyo ramo nama pa,:1ivadat r

This clearly indicates that RPV, the nephew of

Raghavapar:,ivada is the resident of Mangalagrama. This village

is about four miles away from TfkkaQdjyOr in Ponnani Taluk.

According to Vadakkumkur, the Kalakkathu family ·was originally

situated in this Marigalgrama village before it was shifted to

Killikkurissimangalam near Ottapalam.

Ramapar:,ivada mentions one Narayaoa Bha11a in

------
1 - HCSL P. 257.
 34

almost all his works as his preceptor in respectful terms 1• There

has been some confusion among scholars regarding this

preceptor of Ramapar:1ivada2 • This preceptor has been variously

identified with: -

1. MelputtOr Narayar:m BhaHa3

2. As a member of Trkkaram family near

Killikkurissimangalam4 •

3. A Narayar:1a Bha11a of Thekketattu family who was

the minister of King Devanarayar:,a of Ambalapuzha5 •

First of all there is no chance of MelputtOr Narayar:.,a

BhaHa as the preceptor of RPV because Melputtur had died

before 1650 AD and the birth of RPV is only later. Moreover

when RamapaQivada refers to MelputtOr in the commentary on

the Dhatukavya, it is only as a great poet and not as his teacher'.

1 - KSSC IV, P. 134.

2 - Vrttavarttika, T.S.S 131. Introduction to, Raghaviya. TSS.146. P.21
3 - Preface to Vi�,:iuvilasa.
4 - KSC Ill , Ulloor P. 358. Also see Vijnanadipika Vol 1 P. 193.
5 - Introduction Mukundaslaka," P.P. XIV - XVII
6 - CKSL - P. 185
 35

"Sr I narayar:1a namakoparinavagrama svadhamadhipa­

k$or:1idevakaviprakar:1�1aracitam yad dhatukavyam subham 1"

According to Kunjunni Raja, the teacher of RPV was a

member of Thekketathu family and was a minister of King

Devanarayaoa of Ambalapuzha2 • Hence Dr. K. Kunjunni Raja has

endorsed the point that the preceptor was Thekketattu

BhaHathiri.

According to Ullur it is known that the King of

Ambalapuzha brought up the poet with great care as if his own

son, educated him and supported his family financially. Hence it

is evident that the poet spent his boyhood under the King and

later sought patronage under that benevolent King, as usual for

poets and scholars in those days. And also the members of

Kalakkathu family had connections with the Kings of

Ambalapuzha as seen from the works of scholars of that.family3.

1 CKSL - P. 185
-
2 - CKSL - P. 185
3 - KSC, Ill . P. 358
 36

The "Ka!amarigalabhavana" is the Sanskrit form of

Kalakkattu house, and the word "Srisukamandira" for

Killikkurissimangalam.

The poet RPV was a great devotee of the God Kr9Qa of

Ambalapuzha. He has written a stotra to eulogise Kr9Qa, the

presiding deity of Ambalapuzha. In a verse at the end of

Vi9Qupriya commentary on the Vlth cants of Vi9QOvilasa Lord

Kr9Qa of Ambalapuzha is praised. It is as follows-

" ambarata1in I natham kambukasakalita paQikamalayugam

ambujalocanamaradambaracaravanditam vande·

About the personal life of Ramapal')ivada, he had an

uncle named Raghava as is referred in the prologue to LllavatI

and K. Kunjunni Raja mentions that he had a brother named

Kr9Qa, and a nephew called Rama 1• As per the colophons given

in Sarikasandesa of RPV the verses 119 and 122 shows that -

1 - CKSL P. 188
 37

"---- ramah prar:1ayat panivadat)" and

"----- ramat) pratinavamidam prar:1ayat paQivadat)--- 1•

- Ramapar:1ivada is the name of the author.

And the verses found on a folio of a palm leaf

manuscript of the Balapa1hya2 belonging to the Kalakkattu

family shows much light on the life and works of Ramapar:1ivada.

According to the lines referred in the above palm leaf

manuscripts, the list of his works are almost complete excluding

some of his stotra works3 • From this manuscript we get the

name of preceptor of RPV as Narayana Bhana. It clearly indicates

that RPV belonged to Kalakkattu (Kalamangala) house in the

village of Mangalam, relationship between the poet RPV and the

King of Ambalapuzha, member of the Nambiyar community, a

devotee of the deity of Killikkurissimangalam etc. If the

authenticity of the verses in the above manuscript is accepted,

some of the above problems connected with Ramapar:,ivada can

be solved. Thus we can come to a correct conclusion regarding

1 - Sarikasandesa edited by C.M. Neelakantan

�
P.16,
2 - KSC Ill, P. 361
3 - CKSL. P.188
 38

the date, life, patrons, works and commentaries etc. related to

RamapaQivada. The above verses were written in 1765 AD by

Raman Nampiyar who is a nephew of the famous scholar

RamapaQiVada 1•

DATE

The poet mentions many kings and chieftains of Kerala

from whom he is believed to have enjoyed the patronage. We

are able to get some ideas about his date and life from such ref-

erences.

In the prologue to Sharaghava, RPV mentions about

the King Martar:,9a Varman of Travancore as the reigning

monarch2 • He also refers to the learned assembly of Brahmins

who will attend the Murajapa festival. 3 This reference must be to

1 - CKSL. P.189
2 - Introduction to Raghav1ya .P. 21, T.S.S. No,. 146. Preface to
Vrttavarttika. T.S.S. No. 131.
3 - Ibid. as per the ref. 2. cited , the details of murajapa is as follows.
Murajapam consists of a series of Vedic recitals which are carried out
by the Namputiri priests once in every six years which is held in Sri
Padmanabhaswamy temple in Trivandrum. During the performance of
this rite everyday Vedic hymns are recited at a given time. It takes eight
days to complete a course of recitation. Seven such courses are
required to complete the Murajapam. On the concluding day the temple
is illuminated with a Lakh of oil lamps. (Lakshadeepam)
 39

the Murajapa held in 1755 A.D as the King Marthar:,qavarman

died before th e next Murajapa festival. Th is clearly sh ows th at

Ramapar:,ivada lived in th e 1 a th century A.0 1 • And so h e could

not h ave been th e student of MelputtOr Narayaoa Shana wh o

died before 1650 A.O. Hence it is evident that Narayar,1a Sh ana,

h is teacher was different from the great Narayaoa Shana of

MelputtOr.

PATRONS OF RAMAPAt:JIVADA

Ramapar:,ivada was patronized by many Kings and

chieftains of Kerala. Th e chief among them are King

Marthandavarman of Travancore, King Arya Sreekanth a

Ramavarman of Manakkulam, th e King of Ambalapuzha, the

chieftain Paliyat Accan, th e King of Vettattunad. Only two of

these find in the Malayalam works of Kunchan Nambiyar namely

the Kings of Ambalapuzha and Kings of Travancore2

In the prologue to Sltaraghava Ramapar:,ivada

1 - CKSL, P. 185.
2 - Introduction to U�aniruddha P. XXVIII
 40

mentions King Marthar)9avarma of Travancore as the reigning

monarch. King Arya Seekantha Ramavarman expressed his wish

to RamapaQivada to write a stotra work and thus Mukundasataka

was formed 1 •

' '

"Sriramavarmanrpatirmatiman yadarya

• Sr I kanthavamsakalasambudhi purr:,acandrat)

Kenapi Kamadamacikarat Tdrsam tad

Maukundamastu satakam jagatam hitaya• 2

0/ 107)

Dr. C. Kunhan Raja points out that Arya Sreekar:ttha

belongs to Manakkutam family in the Cochin State3• Dr. A.N.

Upadh�ye is of opinion that this Ramavarman has identity with

,.
Muriyattu Nampiyar of Mukundapuram taluk4 • But neither of them

have identified this particular Ramavarman referred to by the

poet.

1 - Prologue to Candrikavith 1, Rama Pi�haroti,

2 - Mukundasataka V. 107. TSS. No. 157
3 - Introduction to MayOrasandesa P. XLII.
4 - Introduction to Kamsavadha. P. XVI.
 41

RAMAKUBERA OF PALIYAM FAMILY.

Ramapar:1ivada mentions one Ramakubera of Paliyam

family. The house of Paliyattaccan is a very ancient feudal family,

which gave the hereditary Prime Ministers to the Cochin Royal

Family. Ramakubera of Paliyam family is praised in the beginning

of the poem Vi9r:1uvilasa 1•

"Srimadramakuberanamasumati sr T paliyasr T pati

Pr Ttisph Ttatamodyamenakalitam kenapi nana rasam

Kavyam vwf uvilasa nama Kamalajanet, Kathavarr:ianam

Purr:1am hanta! jayantamarigalamaha ,,i9r:,ot) krpanugrahat 9

(1-1)

The colophon at the end of the eighth canto of the

poem Vi9r:,Ovilasa ascribes it to the authorship to Ramapar:iivada.

KING VIRARAYA OF VETTATTUNADU

. . .
On the command of King VT raraya of Prakasa Kingdom

Candrikav Tth T was intended to be staged on the occasion of a

1 - Vijnanad1pika, Vol I P.182.

 42

Sivaratri day in the Siva temple at Sriparakroda 1•

Adya khalu, prakasarajya prakasabhOtasya

Pratapa viveka vidyayise9a salinat:, Sr1v1raraya mah arajasya

Jnaya sr I parakro9anamak9etram Adh ivasata� sOlagra ---.

Th e "Prakasarajya" mentioned above is Vettattunadu

comprising th e present Ponnani and Tirur Taluks of Kerala. And

also th e present Trprarigot Siva temple of ·sri Parakroda King of

Vettattunadu had accepted the supremacy of th e Zamorin of

Calicut since th e 14th century and th e family came to end in 1 ath

century A D2 • Hence th e King mentioned above could be th e last

member of th e family.

Ramapar:,ivada mentions one Devanarayaoa, the King

of Ambalapuzh a in many of h is works. One Devanarayar:,a of

Cempakasseri is referred to as th e ruler of th e country and

sh aring th e responsibility of its protection with Lord Kr�r:,a3• The

1 - Prologue to Candrikavhh1, Prof. Rama Pisharati, Trichur. No. 13.

2 - Kerala Caritram, P. 255.
3 - Introduction to Kamsavadha. P XVI.
 43

modern Ambalapuzha has identification with the region

"Campakasseri".

In Candrikavhh1, RPV confesses th e fact th at h e is a

dependent of The King "VeHam". In th e beginning of

CandrikavhhT it is as follows.

"Adhya khalu prakasarajyasyaprakasabh u tasya"

Th e word prakasa means "VeHam" country 1 •

Among the chieftains and Kings mentioned above, th e

name Devanarayaoa mentioned by th e poet must be th e one wh o

was the ruler of Ambalapuzha at t he time of th e annexation of the

� � - .....
kingdom by MartharJtjavarma. And the date of Marth anq
. avarma

could be ascertained beyond any doubt . Therefore, th e above

available information help us to fix t he date of Ramapaoivada in

the middle of th e 1 ath century A.O.

1 - KSSC IV P. 13.
 44

RELATIONSHIP BETWEEN RAMAPANIVADA AND

DEVANARAYANA

Ramapanivada referred about one king ie.

Devenarayar:,a of Ambalapuzha in many of his works. One

Devenarayar:,a founded the Amba� apuzha temple dedicated to

Lord Kr9r:,a and patronised Melputtur Narayaoa BhaHa, the

grammarian poet. He is known by the name POra1am Tirunal

Devenarayar:,a 1• This Ambalapuzha temple is the destination of

sarika in message poems and the references that the author has

noted in many of his works. In Sarikasandesa of RPV,

Devenarayar:,a of Campakasseri is referred to as the ruler and

the controller and protector of the Lord Kr9r:,a temple and the

country. 2

From among the several Devenarayar:,as of

Ambalapuzha, the identity of the above POra1am Tirunal

Devenarayar:,a alone can be established. Martha11qavarma of

Travancore annexed the Ambalapuzha with his kingdom in 17 46

1 - Keralacaritram P. 293.
2 - Sarikasandesa V. 5. V. 28.
 45

AD 1• Here the region Campakasseri is to be identified with the

modern Ampalapuzha. AmaratatinT,

.
Arhbaradhuni � DevavahinT

etc are sanskritised forms of the vernacular Ambalapuzha. The

members of the Brahmin family of Campakasser�i were the rulers

of the region and the members traditionally assumed the title of

Devenarayar:,a

In the above context, King Devenarayar:,a referred to by

RPV can be anyone of the Kings of Ambalapuzha other than the

patron of MelputtOr. The ruler at the time of annexation must

have patronised the poet most probably.

In the prologue of LT1avat1 vhh1 of RPV, Devenarayar:,a

is depicted as a great scholar well versed in different fields of

knowledge in sanskrit and a devotee of lord Ambalapuzha temple2

. Devenarayar:,aprasasti, a panegyrical poem attributed to RPV by

Vadakkumkur refers to one Devenarayar:,a who is a great scholar

in logic, philosophy and poetry and a devotee of lord Kr�oa3•

1 - Keralacaritram P. 349-50
2 - Lrlavat1 Vlth1 TSS No. 14
3 - KSSC IV, P. 143.
 46

In Ambaranad1sa stotra and in the dance drama

G hara.ma also one Devenarayar:,a is mentioned. It is said that

GI tara.ma was composed at the instance of Devenarayar:,a by

Ramapar:,ivada

IDENTITY WITH THE MALAYALAM POET

KUNCHAN NAMPIY AR

There has been controversy among the scholars

regarding the identity of Ramapar:,ivada with the well known

Malayalam poet Kunchan Nampiyar.

R. Balakrishna Warrier, Dr. AN. Upadhtye, Dr. L. A.

Ravivarma, Ullur S. Parameswara Iyer, K. R. Krishna Pillai all are

in favour of this identifications. This theory of identity is

supported by some manuscripts of Malayalam works, like

Sr I kr9r:,acaritam .
Manipravalam,
"
the kilippa1t.u works like

Nalacaritam, Paiicatantram, Sivapurar:,am, Ekadas1mahatmyam,

the Prahasana Daurbhagyamaiijan and the Attakkatha

• I

Mahabharat�a, which are believed to have been written by

1 - KSSC IV PP. 135-136.
 47

�nchan Nampiyar have colophons ascribing their authorship to

RamapaQivada.

And also both Ramapar:1ivada and Kunchan Nampiyar

belonged to the same Nampiyar community whose profession

traditionally is playing the drum called mi !avu for kOthu

performance in the stages of the temples in Kerala. They also

argue that the real name of the author both in the Sanskrit and

Malayalam works is Rama. The name Par:1ivada is taken as a

traditional one.

And the name 'Kunchan' by which the author is famous

in Malayalam is only a pet name. Both of them have flourished in.

the courts of the Kings of Ambalapuzha and Travancore. Both of

them were contemporaries.

To establish t�e identity of Ramapa,:1ivada and Kunchan

Nampiyar, Dr. L. A. Ravi Varma has pointed out his arguments in

1 - Introduction to RaghavTya, P. 21.

 48

his "lntrouduction to Raghav1ya" 1• Both of them have belonged to

the Kalakattu family of Nampiyars at Killikkurissimangalam and

also both the Sanskrit and Malayalam poets have received

patronage under the King of Ambalapuzha. Hence as per the

historical records as well as scattered references from their works

show that Kunchan Nampiyar and Ramapa,:1ivada are identical

persons. Thus their identity is assumed from the basis of above

facts.

M.R. Balakrishna Warrier, suggests strongly that both

Nampiyar and Ramapa,:1ivada are one and the same person2 •

Ullur also comments the same in his work Ekadasimahatmyam

3
Kilippattu.
••

M.R. Balakrishna Warrier opines that Srikr�,:1acaritam

Maniprava!a Kavyam also belonged to be a work of

Ramapa,:1ivada from a manuscript received from Ottappalam. It

is as follows:-

1 - TSS No. 146. PP 3-12.

2 - Kunchan Nampiyar, PP 284-338.
3 - SPT.VII PP.47-91
 49

II
. panivad
Ramena . ena racite misrasamskrte
.
'"sr1kr9oacarite kavye, mutalssarga� samapita�

Sramanmah1sura kulottama si9yabhavat

Samsiddhasarvapuru9artha krtartha ceta�

Nisse9abh0mi surapadasarojasev1

Bha9aprabandhamakarodiha paoivadab 1•

In Ekadas1 Mahatmyam kiljppaHu it is as follows:

"Rameoa paoivadena mangalagramavasina

Rukmarigadasyacaritam racitam G1tabandhanam•2

'1"11 p
In Nalacarita Kilipattu
• A. •" ••

"lti "RamerJapaoivada viracite nal,acarite padam m0nnu· 3•

It is an accepted fact that the above works are

attributed to the authorship of Kunchan Nampiyar by scholars.

Still, the writings of above works and colophons show that

Ramapaoivada is the author of those works. Hence it is argued

1 - Kunchan Nampiyar P 293.

2 - Kunchan Nampiyar P 294.
3 - Ibid.
 50

that Kunchan Nampiyar and Ramapaoivada are identical persons

having different names. And also there are references to KN in

the administrative records of Travancore beginning from 1744

A.D to 1758 A.O. It is said in the records that KN may be

identical with RPV' s younger brother Krnoa, or his nephew

Rama. 1

NON-IDENTITY

Some scholars believe that Ramapaoivada and

Kunchan Nampiyar are not the same person from some clear

evidences. Scholars like Vadakkumkur Rajarajavarma, Dr. P.K.

Narayana Pillai, Dr.K. Godavarma, Dr. C.K. Kunhan Raja put

forward the following arguments for the same reason that they

are not identical persons.

First of all the style of the author of Sanskrit works, i.e.

Ramapaoivada, and that of Malayalam works Kunchan Nampiyar

is entirely different. The style of RPV is correct, chaste and lucid

with scholarly brilliance. But the style of Kunchan Nampiyar is

1 - CKSL - P. 190.
 51

different completely. All his works are famous for his humour and

satire. The dominating sentiment in his works is Hasya. But

RPV, though satirical and humorous in his works, is very much

serious and reserved and always keeps a high standard in writing.

And also Ramapar;ivada mentions his preceptor as one Narayana

BhaHa in almost all his genuine works, and the colophons of all

his works attribute them to RPV. But, the author of Thullal works

in Malayalam, Kunchan Nampiyar does not refer to Narayar:,a

BhaHa in any of his works. Instead, Kunchan Nampiyar refers to

two other teachers namely Dror;ampalli Potti, and Nandikkara

Balaravi Kurup in his works. Neither of these teachers is referred

to by RPV in his works. Siva PuraQam and Ekadas imahatmyam

were written under the patronage of the chieftain Manakot Accan

named as Balarama. This Manakot Accan flourished only till

1740 A.O.

Ramapa,:iivada has mentioned that his preceptor is

one ·Narayai:,a Bha11at*iri• in Sitaraghava.

 52

di�*im pU9timupaiti yasya kavita kalpadrub Tjarikuram

Ramo nama sa paQivadakulajastasya prabhutam phalam

s Ttaraghavana1akabhidhamimam sabhyarthanabhyanayae 1

Kunchan Nampiyar also has mentioned that his

preceptor is one ·oror:iampaHi Acarya• in his Tullal songs in

Malayalam language.

"K9oQTmaQ9alam thannilokkave pukazhnnoru

. ..
. Tvanavan vTran Dronampalliyacaryan·
Kson

Acaryottaman balaraviyannu pukazhnnoru

SrTcarusvarupante caraQambhoruham raQfum2 •

(Sabhapravesham Thullal).

Hence according to Vadakkumkur that the preceptors

of RPV and KN are different persons which is clear from their

works. Hence RPV and KN are two different individuals

1 - S Ttaraghava Act. I
2 - Quoted from KSSC Vol. IV. P 11 .
 53

belonging to Kalakkathu family.

And also there are other points, which point out that

RPV and KN are separate persons. Main basic reasons are the

following ones:

1. Information received from the works of RPV and KN.

2. The life period of RPV and KN.

3. Literature field.

4. Other evidences.

Ramapar:,ivada always uses the colophon in all his

works either in the first or last. We can verify this from his works.

But at the same time there will be no colophon in Tullal or other

works of Kunchan Nampiyar. In one place RPV confesses himself

that he belonged to Mariga!agrama.

"Ramer:,a par:,ivadena marigalagramavasina

Rukmarigadasya caritam racitam gitabandhanam•

(EkadasT mahatmyam - Rukmarigadacaritam.)

 54

The colophons of the manuscripts of Srikf�,:,acarita and

Pancatantra attribute the work to Ramapa,:,ivada1•

Ullur comments that "EkadasTmahatmyam Kil.ippa11u•

belongs to Ramapa,:,ivada2 •

It is noteworthy that Kalakkattu family is famous for

scholars and poets for centuries. The verse starting •vartante­

kalamarigalakhya bhavane" found on a folio of a palm leaf

manuscript belonging to Kalakkattu house shows a continuous

tradition of scholars and poets. Still now this tradition is

preserved in that family through scholars like pan_qitarajan

Kalakkattu Govindan Nampiyar. Hence the possibility of having

scholars and poets in the family both in Sanskrit and Malayalam

at about the same time cannot be ruled out. Hence, we qan

assume that Ramapa,:,ivada and Kunchan Nampiyar were

different persons and contemporaries also.

1 - KSC Ill. P 385.

2 - SPT. VII. PP 47-91.
 55

And in the Thullal work "Ghm�myatra" of KN, he quotes

a verse from the Ulavat I Vhh 1 1 and annotates it at length. This

suggests that Kunchan Nampiyar was a younger contemporary of

Ramapa,:1ivada. And also the palm leaf manuscript of the

"Balapathya" 2
#
Com. on Raghav1ya belonged to Kalakkattu

family has been found. The verses from this manuscript showed

much light on the life and works of Ramapa,:iivada3 These above

verses were written in 1765 AD by Raman Nampiyar, who was a

nephew of the famous scholar Ramapa,:1ivada4 • From the list of

works of RPV found in the above manuscript referred a single

Malayalam Thullal work of KN. The non Thullal Malayalam works

like svarana are absent here. Hence according to Kunjunni Raja,

the above facts supports the view that Ramapa.Qivada is different

from Kunchan Nampiyar5.

1 - 'go�tT sa vira\a na yatra ghatate satta purobhaginam

narI sa khalu d�rlabha na kusrtisli�tam yadiyam manal)
du��prapam c�adambutirajarajorajim�addu�ayed
dussadhanca sukhamtada vilayate dukhanufflima yat..·
2 - KSC 111, P. 347f,
3 - CKSL,. P. 188.
4 - CKSL,. P. 188.
5 - Ibid P .189
 56

CONTROVERSIAL POINTS

It is mentioned that two Par:,ivadas namely Rama and

Kr9,:ia resided in Kalakattu Bhavana. Here it suggests that both

Rama and Kr9r:,a belonged to Nambiyar community. Hence

Rama is Ramapar:,ivada and Kr9r:ia is Kr9r:iapar:,ivada or Kunchan

Nampiyar, from the article "Muttassi N published in an issue of

Mathrubhumi weekly1•

By a careful scrutiny of the works of Ramapar:iivada

and Kunchan Nampiyar we can see that they are not identical,

but two different individuals at a glance. P.K. Narayaoa Pillai

comments that the writing skill of the above two persons are

different in Raghaviya of RPV and Ahalya Mok9a Thullal song of

Kunchan Nampiyar. 2

In the fourth sarga of S Itasvayamvara in Raghav1ya of

RPV, eighty four slokas are incl.uded. The entry of Rama and

Lak9rmar:,a in the country of Mithila, meeting with King Janaka,

1 - SPT VII. P. 47-91.

2 - KSSC IV P. 22,23.
 57

breaking of divine bow etc are beautifully described with poetic

skill by Ramapa.Qivada. The dialogue between Janaka and

Visvamitra is as follows-

"Jagada vac�am janako mahamune

kva tadr sT bhagyasamrdhirasya me

yaya hi ramao pariQTya janakTm

snu9�amimam bhanumato vidhasyati. N

Here Kunchan Nampiyar expresses the idea in Thul_l_al

f�m with erotic and laughing sense 1• The harsh and proud usage

of words like "sakhe", "mrga", A vayorgha1ayituo

dharmamarmavidu9ao by RamapaQivada in RaghavTya, when

Rama gives message to SugrTva through Lak9maQa shows the

scholastic trend while writing the poem Raghaviya,. The

colophon in the Pancatantram KilippaJJu2 attributes the authors_�ip

to RamapaQivada. It is as follows :-

" Pancatantram n I tisastram bha�aya sannivesitam

rameQa paQivadena balanam bodhahetave· 3

1 - KSSC. IV. P. 24.

2 - KSSC. IV. P. 25.
3 ·_ Ibid. P. 19.
 58

But Kunchan Nampiyar in his Thullal uses absurd and

awkward words like "M09ha" "sha" "jata" instead of RPV's usage

of harsh words like "sakhe" etc while scolding a character in his

works.

The language of Kunchan Nampiyar is meant for

ordinary lay men and illiterate people. They enjoy much while

reading, hearing, and seeing Thullal songs. This is a peculiarity of

KN's Thullal songs. But RPV always keeps a high standard in his

language and style. We can verify this from his works.

According to Vadakkumkur, Ramapa,:,ivada and

Kunchan Nampiyar are two different persons having different

names, and so they are not at all identical ones. Main reasons for

the above points are as follows 1-

1. Ramapa,:1ivada rememb�rs the name of his Guru NarayarJa

BhaHa in many of his works. But in Kunchan Nampiyar's

Thullal songs no mention of the above revered Guru can be

•
seen. And also the mention of Dhro,:,ampc3;l,li Unniravi Kurup's

1 - ·Mahakavi Ramapaoivadan· Bhashaposhini Vadakkumkur

1104 - ME ( 1929)
 59

name is nowhere in the Sanskrit treatises of RPV.

2. The simplicity, elegance and proudness of RPV' s style is

reflected too much in all his works. But the style and presen­

tation of Thullal songs of KN is different from RPV and also the

unlimited usage of satire and spigara rasa depicted in an

absurd manner are so prevalent in his writings.

The style and language proficiency in the poems of RPV cannot

be seen in the Thullal songs of KN.

Kunchan Nampiyar is famous for reputation upon his

Thullal songs. But the greatness of RPV is depended on his

proud and majestic Sanskrit treatises. Anyway Ramapar:,ivada

has a great place in the field of Sanskrit literature. And also he

occupies a prominent place in the minds of the lovers of Sanskrit.

His brilliant knowledge shines in various treatises based on

different branches of Sanskrit literature to its summit.

CHAPTER Ill
 60

CHAPTER Ill

WORKS OF RAMAPAt:JIVADA

RamapaQivada is a great scholar and prolitic writer.

Besides the stotra works he has to his credit several works of

outstanding merits, i.e about thirty works covering almost all

branches of Sanskrit literature namely Mahakayas, Na1akas,

VhhTs, Prahasana, Campu, Commentaries and treaties on

grammar, prosody, dance and music. A brief survey of these

works will be helpful to assess the worth of the author.

RPV has written two Mahakavyas namely Raghav1ya

and Vi�Quvilasa.

RAGHAVIYA

Raghav1ya is the most important one written under the

 61

patronage of King of Ambalapuzha 1• This poem contains the story

of RamayaQa upto the coronation of Rama on his return after

killing Ravar:,a. It is described in twenty cantos containing 1572

verses in this work. The first half i.e. pOrvardha, contains the story

upto Ki9kindhakar:,9a, and the second SundarakaQ9a, and

. . There is no colophone in the Uttarardha where as

Yudhakanda,.

at the end of 1 0 th
canto the colophone states -• POrvardham

Samaptam·. This Mahakavya is written in an easy and elegant

style and the poet himself says in the introduction that it is

intended to serve as a text book for students_•

"Ramer:1a par:,ivadena racitam hi yathamati

- V
Raghav iyam mahakavyam balanxutpatti labdhaye2 •

This work was published under TSS No 146 in 1942.

The poet shows great command of metre and language. And at

the same time the sweetness of the poem is not marred by the

scholarship of the poet. Classical style and conventions are fol­

lowed by the poet. The complex emotions raising in the mind of

1 - L.A.Ravivarma, T.S.S.No.146,
2 - Introduction, Raghaviya P.2., Also see CKSL P. 190f
 62

Hanuman on meeting Sha in Asokavana is described as follows.

"Saiveyam,janakatmajetimumudesokanalajvalaya

Vyalidheti susoc:a ravanahrtetyuccairadr1pyat krudha. 1

Hanuman recognizes S i ta but felt sorry for her pitiable

condition and he is agitated over the misdeed of Ravaf)a's

abduction of Sha. But at the same time Hanuman feels relieved

to find her alive inspite of all the sufferings. Different kinds of

emotions are being seen in one character at a time. Many usage's

of illustrations for grammatical rules and alankaras can be seen in

this Mahakavya. There is a commentary to this poem called

Balapa1hya written by the author himself. 2

Ramer:,a par:,ivadena raghavTyam idam krtam

Tenaiva balapa1hyakhya vyakhyapyakhayi dh1mata3

Three verses dedicating this Mahakavya ·RaghavTya to

1 - RaghavTya, Canto XII. V.64,

2 - CKSL, P.191
3 - KSC Ill P. 362 3rd edt
 63

the King of Ambalapuzha are found in the work 1 of the poem.

Vatakkumkur states that RPV has written a commentary on his

work Raghav1ya which is called Raghav1ya Vyakhyanam. 2 The

other name of the work is called Balapa�hya. It is as follows.

"Ramer:1a par:,ivadena". 3 This work is divided into 20 sargas. The

author and the commentator are the same person for this work

Raghav1ya. Just like Raghav1ya, this work of RPV is meant for

easy assimilation by the children as the title suggests because

RPV was influenced too much by Raghuvamsa of Kalidasa while

composing Raghaviya. Simplicity and beautiful style of language

has been reflected much in this work.

Vl��UVILASA

Vi9r:,Ovilasa is another Mahakavya of RPV. It is in 8

cantos describing the story of Bhagavatha dealing with the first 9

incarnations of Lord Vi9r:,u. The first 7 cantos deals with the

stories of Matsya, KOrma, Varaha, Narasimha, Vamana,

' J -
Parasurama and Srirama. The last two cantos deals with the

1 - KSC Ill. P- 338

2 - KSSC, IV P-136.
3 - Ibid
 64

story of Balarama and Sdkr��a. This work was published under

TSS No.165 in 1951 . The 1 o incarnation i.e. Kalki is not included

th

since it is yet to occur. A commentary called "Vi��upriya" deals

with the text up to the sixth canto which is ascribed to the author

himself. The poem begins with an invocation to God Narasimha,

the deity of the temple at Chennamangalam near the Alwaye river.

- I
"Cakasti cOrr:i i saritasta�e subhe

niketanam yasya jayantamarigalam

"sanatanascetasi nat) prakasatam

sa narasimham vapurasthito harit,· . 1

The preceptor of the poet Narayaoa BhaHa is also

praised. This is a fine specimen of a Mahakavya. The author's

ability to present philosophical as well as poetic excellency is

reflected throughout this poem. Maya being the root cause of

Dvaita, the author states:-

1 - Vi�r:,uvilasa .. T.S.S.No. 165, lntroduction.P.4

 65

"Vigahya visvam pratibimbakotibhir

bhavan vivasvaniva vari mandalam

tanoti hi sthOladrsam sar1rir:,am

pfthak pfthaktva bhramamatmano haret t 1

The author explains the Vedanta philosophy easily in

terms of Advaita tenat as follows:-

·Jagrati jagrati jagadjagad1sa yasmin

yasmin punat) svapati tat svapiti tridhaman !

Gtvaitabhramasya vi9ayat) sa kathani bhuvan syat

tasmai namostu bhagavan ! paramatmane te·2

The poet's inclination towards D�ani theory like

conception of poetry is expressively shown in a simile.

"api gabh1ram ado9atay��ayam

praka1ayantyani s,am dhvanisalin 1

sukavisuktirivadhikasarmada

sapadi tena syamaiyata narmada3

1 - Vi�Quvilasa..T.S.S.No. 165, lntroduction.P.4 Canto 1.V.48.

2 - Vi�QUVilasa.Canto IV.V-59
3 - Ibid canto 1.v.24
 66

The main purpose of the poet is to narrate the purar:tic

story in a literary style, so as to appeal the devotees and

scholars. Hence the descriptions are mostly based on purar:1ic

concepts and often original ideas are found with erudition and

poetic sensibility.

In Vi9QUVilasa Mahakavya edited by Dr. P.K. NarayaQa

Pillai under TSS series No. 164 of ORI & MSS·Ubrary, Trivandrum

comments that the author of ·Vi9ouvilasa• and ·Vi9oug ita• are

not identical, but different persons due to various reasons1 • He

strongly comments also that "Stuffs• in the Vi9ouvilasa are

philosophical in character while those in ·Vi9oug ita• are only

devotional.

KAMSAVAHO AND USANIRUDDHA

Kamsavaho and U9aniruddha are two prakrt poems of

RPV. RPV's contribution to prakrt literature is considerable.

These two prakrt poems contain four cantos each, based on the

legend of Kr9r:1a intended to save as a guide book for the

1 - Vi9ouvilasa with Vi9oug ha commentary Introduction P.18
 67

beginners of prakrt language.

The Kamsavaho describes the story of Bhagavata from

Akrura's visit to Kr9r:,a upto the death of Kamsa in four cantos 1

Kamsavaho is dealt with the story of the killing of Kamsa by

Kr9r:,a. The first canto begins with the arrival of Akrura at the

invitation of Kamsa to attend a festival. At that time Kr9r:,a

accompanied by Balarama proceeds to Mathura and the Gopi's

lament over his departure. After killing Kamsa, Balarama and

Kr9r:,a go for a walk around the city. Third canto describes the

entrance of Kr9�a and Balarama to the palace in early morning.

The canto ends with the description of Kr9r:,a's sportive deeds in

the Gokula by Akrura. Kr9r:,a sets free Devak I and \/asudeva from

the prison and Ugrasena is consecrated as King in the place of

Kamsa.

U�ANIRUDDHA

This work of RPV is also based on the Bhagavata story.

It narrates the love episode between U�a. daughter of Ba')a and

1 - Kamsavaho edited by A.N.Upadh�ye,
 68

Aniruddha, the grandson of Kr9r:,a. The story of marriage of U9a

with Aniruddha is found in 62 and 63 adhyayas of the tenth

Skanda of Bhagavata. This poem is also in four cantos. And this

poem ends with the description of the honeymoon trip of the

newly wedded couple. Beside the above two poems, RPV has

commented on the Prakrtaprakasa of Vararuci. This shows that

he was a great grammarian of that age in Prakrt language.

The above two prakrt poems are excellent literary

pieces availing of all the poetic conventions, characterization and

the descriptions in original.

SITARAGHAVA

Among the dramatic works of RamapaQivada,

Sitaraghava has an important place. It is a Na�aka in seven a�ts

dealing with the story of Ramayaoa. It starts from the protection

of yaga to Rama's abhi9eka as a king.

In Sharaghava the first act is depicted in the model of

 69

first act of drama "Anargharaghava". This Nataka starts with

praising Lord Mahavi9Qu and Sri Parames'vara in the beginning

11 Ase9adharamapi yekam Se9adharamanekavat

Vyaktamapi alam avyaktam param jyotimupasmahe" 1

The entry of Dasaratha with Kausalyadevi in deep

distress due to the separation from their sons Rama and

Lak9maQa who were sent with Sage Visvamitra for the protection

of Yaga is staged in the first act of this drama, S haraghava. The

messenger CarayaQa explains all the events occurring in Rama's

life during his stay with Sage Visvamithra to Dasaratha. The third

, act of this drama is modelled with the fourth act of Abhijnana

Sakuntala of Kalidasa. King Janaka is compared to Kar:wa

Mahar9i.

The peculiarity of this drama is that the dramatist has

followed all the principles of staging drama. The word power, the

mending of imagination, the inclusion of Rasa and Alarikaras in

' slokas are very much prevalent in this drama. This work has been

1 - Sitaraghava. Act I, TSS No.192.

 70

published under TSS-- (Trivandrum Sanskrit Series) N0.192 in

1958. This drama ends with the description of the death of

Ravaoa at the hands of Rama, Vibh 1 �a,:1a' s coronation as the

King of Lanka and Rama's return to Ayodhya.

Various changes have been made by the dramatist in

this story. Mayavasu, a new character introduced in this play

shows all the mischievous deeds. Karambaka is not seen in the

original and also the incident of Ayomukhi going to Kaikey1, in

guise of Manthara is poets imagination. Thus for the proper

development of the plot and sentiments-the new characters and

incidents play an important role which heighten the dramatic

effect. Great skill in creating and handling situations noted for

theatrical effect has been made by the author in this drama.

CANDRIKA AND LILAVATI VITHIS

Candrika and Lllavati belong to the VhhI type of

\:;drama. VhhI is one among the 10 varieties of Sanskrit dramas

?�which is a rare form. Candrika VhhI is published by Prof. K.

"''�
1, ,::'£1;�
 71

Ramapisharoti.

M. Kr9r:mmacaryar has mentioned the names of five

VithTes excluding those by RP\/2. VithT contains only one act

resorts to usual practice of akasabha9ita (to hear from persons

who do not actually come on the stage) like the Bhaoa type.

Bhaoa in one act should consists of a variety of incidents. It is not

progressively developed and the plot is being invented by the

poet. The only difference is that there are two characters in a

VTthT while there is only one in the Bhaoa.

Candrasena. King of Arigas falls in love with Candrika.

the daughter of the Vidyadhara named Maoidhara. Candrika is

stolen by a rak9asa called Cao9a. Candrasena kills this rak�sa

by the blessings of Vighnesvara. and in the end Candrasena

marries Candrika.

In VTthT type of drama only the King and the Vidu�ka

1 - Prof.K.Ramapi�haroti, Bulletin of Ramavarma Research Institute

No.13.
2 - HCSL.P.547.Vide
 72

appear on the stage and the story is narrated through their

conversations. The works of the other characters are given

through akasabhasita

Theme

When Candrasena met Candrika, the girl afflicted with

love, puts her ring on the finger of the King at night. He believed

strongly that it is not a dream, but real only. When he roamed in

the garden with great mental agony, he got a love letter from a

girl. The King is confirmed with the fact that the same girl who

gave him the ring must have given the love letter only through

Vid09aka. After a short time MaQidhara' s words are heard from

the sky that his daughter Candrika has fallen in love with the King

Candrasena, and that she is being sent to him for marriage.

Manidhara also reveals to him it was Candrika only who visited

the King and gave ring and letter to him. But the girl was

abducted by the demon Car)ga while she was coming to earth.

The demon disappeared with the girl quickly without giving the

chance for the king to send an arrow even. The King and
 73

Vid09aka worshipped Ganapati, who brought Candrika before the

king, killing the demon. The play ends with the marriage of

Candrasena and Candrika.

LILAVATI VITHI

This VTthT was composed when the author .was staying

at Ambalapuzha. 1 The theme of the play is the love between

VTrapala, King of Kantala, and Lilavati, the daughter of the King

of Karnataka. This work was· published under TSS. No.14 in

· 1948.

Theme

King of Karnataka feared the abduction of his daughter

LilavatT by his enemies. So he puts her under the care of

KalavatT, wife of King VTrapala of Kuntala. VTrapala and Lilav�tL

Accidentally, meet each other and they fell in love. The Vid09aka,
- -
with the help of a Yogini called Siddhimati decides to bring about

their union by magical powers. The heroine LilavatL unable to

bear the grief of separation from the hero, sends a love letter to

1 - K.S.C. Ill. P.335

 74

him along with the signet of her ivory ear-ring. But it is discovered

by a maid servant and the Queen came to know everything.

During that time a serpent is made to appear by the magic of

Siddhimat I which bites KalavatI. She is cured by the Vid09aka

disguised as a snake charmer. A gift is presented to Vid09aka,

but he refused it saying that he would receive it in due course.

KalavatT is still not ready to forgive the King and torments him

asking her maid to read out LllavatT's love letter aloud. But the

magic of Siddhimat I worked out again. In the night the Queen is

made to see a dream in which Siva appeared before her. Siva

told that it was he, in the guise of a snake charmer, saved her

from the snake bite, and as a reward for that she should permit

King VTrapala to marry Lllavat L Because that alliance would

elevate the King VTrapala to the position of an emperor. Thus

KalavatT agreed and the marriage took place with great pomp

and vanity. In this work beautiful description is given a lot with

high poetic imagination.

 75

MADANAKETU CARITAM

This play belongs to the Prahasana type under TSS.

No.161 in 1948. In the prologue to this work it is referred as a

Prahasana. But it is said that if it doesn't confirm to the rules of

Prahasana it may be included in some other type of drama.

•prahasanalak�ar:,alesai� spr�tam

cet prahasanabhidham labhatam .

•11
no cet punaranyadidam vinodanam par:,ivadasya1

'' Mangalagrama vastavyena ramapar:,ivadena viracitam.

Madanaketucaritam nama prahasanamasmadvas�e vartate2•

Otherwise it may be considered as a work of amusement.

Theme

As a prosperous King of Ceylon, Madanaketu

conquered Kalinga Kingdom and posted his brother

Madaoavarman to rule that Kingdom. In his country a Bhik�u

1 - Madanaket(iu caritam Introduction P.18 T.S.S.No.161;

2 - CKSL P. 192 f
 76

named Vi9Quvrata fell in love with a courtesan named

Anarigalekha. Then Madanavarman sent a Kapalika of extra

ordinary powers to Ceylon to change the mind of Bhik9u, and

thus save the Kingdom. Thus knowing the yogic powers of

Sivadasa, Madanaketu requested the help of Sivadasa for the

union of his lover Candralekha. Sivadasa intervened and pacified

the Queen for treating Candralekha as her sister and allowed the

King to accept Candralekha as his wife.

This prahasana type of dramatic composition abounds

in elements of comedy and satire. The author has even

characterized this as "Vinodanam ramapar:1ivadasya: 1 And also in

this work, the Bhik9u is castigated by one and all for his

unrighteous life and ridiculous love affair. The literary style of this

work is highly poetic and lyrical passages abound in considerable

beauty and appeal.

BHAGAVATA CAMPU

Out of his thirty works, RPV has written only one on

. 1 - CKSL . P. 192f
 77

Campu. As the name suggests the work deals with the story of

Bhagavatapurar:,a. This Campu was published under No. 212 in

1964.

Campu is a species of composition with mixed prose

and poetry. It came into existence at the beginning of Christian

era. A narrative in mixed prose and verse has been called Campu.

Visvanatha in Sahityadarpar:,a points out that

"Gadyapadyamayam Kavyam Campuriti abidh 1yate. • After tenth

century A.D Campus became very popular and they were largely

composed in South India.

The only one available manuscript ends with the story

of Mukundamok9a at the end of the seventh stabaka. It contains

some prakrt passages also. This Bhagavata campu was

published under TSS No. 212 from Oriental Manuscripts Library in

1964 and it remains incomplete. The story follows closely the 52

adhyayas in the tenth Skandha of Bhagavata more or less in the

same order. In the fourth Stabaka of this Campu, the Gopis send
 78

a Sarika as a messenger to Kf9Qa. The story from the birth of

Kf9Qa upto his entrance into Dvaraka is abridged in stabakas.

Like the other works of Poet, this Campu also abounds in poetic

imagination and brilliant descriptions. This poem reveals the

poet's sublime sensibility and profound scholarship. The frequent

uses of prakrt verses in this composition is also a special feature

of this poem. And also the similes reveal the proficiency of the

poet in alarikarasastra. The story of Kr9Qa is illustrated beautifully

showing the poetic merits of RPV.

"Vidyevatmaprabodham .-=-

suvisadakavit� vasanevoktigumbham

satkavyaprakriyeva dhvanimanaghatama\j
,.--- - .,.,.. __ -
-....
_, -
- - - _,
, - -- -
- - .,,.,.
- _./
�harmacaryeva kamam

(X.40)

,_
SASTRA WORKS

Sastra works of RPV include AHakkatha type and

Sangha Sastra also. Main Sastra works of RPV are Gitarama

(A Hakkatha type), Tataprastara (SarigTta type), RasakrT 9a,

 79

V[ttavarttika and Srngaravimsa.ti.

G!TARAMA (AUakkatha type)

This is an incomplete work of the Allakkatha type

attributed to RPV. 1 The beginning portion of this work is in

Malayalam and Sanskrit.

TALAPRAST ARA

This is a work in Sarig I ta Sastra. It deals with different

·ralas· which are used in music and dance. So this work has

much utility for students of music and dance. A short account of

this work is given by Vadakkumkur2 G ham, Vadyam and Nrttam

depends on tala for the beautiful combination of sound.

RASAKRIDA

Rasakr 1 �a is a small poem in four sections given at the

.
end of Vrttavarttika .. .
as an illustration of Anustubh metre. The

joyous sports of Gopis with Kr�r:,a is the theme. In the end there

1 KSC, Ill, P-342-lntroduction to Raghav1ya, P-18 Introduction to

-
,
Mukundasataka, P-11
2 - KSSC. IV; P-108-109;
 80

are 13 Karikas devoted to Tal.aprastara and they contain some

general points which are applicable to prosody in general.

Vf:tTTAVARTTIKA

This work Vrttavarttika, a prosody is a sastra type of

work is an added contribution to Sanskrit literature. This scientific

work deals with metres and K. Samb§iva Sastri edited this work

from ORI & Mss� Library, Trivandrum in 1937. In addition to the

usage of common metres the author has dealt with many non­

vedic metres grouped in the order of "Prastara" Karikas, and the

commentary containing explanatory sentences illustrating them.

The above Karikas and notes form the two divisions of this work.

Vrttavarttika is a rare attempt in the field of prosody and

is of considerable help to students and scholars. This fact is

expressed by the author in the following verse:

"Balanam upayogartham ca kfta Vrttakarika

Udahara,:1ayogena sa maya p0rayi�yate" 1

- Vrttavarttika P.1.T.S.S.No. 131.

 81

This work also elaborately discusses with three different

Vrttas viz, Samam, Ardhasamam, and Vi9amam.

Another work namely Rasakr19a is found embedded

herein illustrating the metres in the order of Prastara. This has

four Paricchedas and towards the end 13 Karikas are devoted to

Prastara. The authorship of this work is also attributed to RPV

which can be seen from the concluding verse of the work:-

NVibhavya Vrttasastra,:1i thebya�- samk�ipya codhrtam

rame,:1a pa,:1ivadena tadetat Vrttavarttikam• 1

S�NGARAVIMSATI

Srngaravimsati is also another work of RPV. It is also a

kind of Sastra type of work. This is a collection of twenty erotic

verses and a work on astrology.2

RPV AS A COMMNETATOR

According to A.N.Upadh�e in his ·introduction to

------
1 - Vrttavarttika P.1.T.S.S.No. 131. Preface. P. 2.
2 - M·.R.Balakrshna Warrier-·Ramapa�ivadan� Kuncan Nampiyarum•
Trivandrum. Vol. 13.No.3.1936.
 82

Kamsavaho" says - 'Ramapa.Qivada is a genuine poet with a

confident grip over his expression; he has inherited the spirit of

Classical Sanskrit authors whose models he closely follows;

though he belongs to the closing period of Prakrt literature;

whose works can be creditably ranked with the Prakrt poems;

and his language is a fine specimen of literary Prakrt handled

after closely studying the sOtras of Prakrt grammar: 1 According

to RPV Prakrt is an artificial make up from Sanskrit according to

grammatical rules. And this may be the case in Kerala where

Prakrt has always been a static language. 2

The author RamapaQivada has written excellent

commentaries on Raghav1yam, Vi�QUVilasam, Sr1kr�oavilasam

and Dhatukavyam. The first three commentaries belonged to

Kavya literature and last to grammar. These works elevated �im

to a high place in the field of Sanskrit literature.

RPV has an important place as a commentator. He has

1 - CKSL,P.194.
2 - CKSL, 1958 P.195.
 83

written commentaries for his own works and for those of other

authors. There are five main commentaries in different branches

of Sanskrit literature which are attributed to RPV.

1. PRAKl:{TAPRAKASAVl:{TTI

Prakftaprakasavrtti is a commentary on the

Prakrtaprakasa of Vararuci written by RPV. This is a detailed

exposition of the PrakrtasOtras of Vararuci and the explanation

shows the deep knowledge of the author in Prakrt grammar. The

name of the work and its eight parts are clearly indicated in the

last part of this work by RPV himself. This work is very much

.- useful for the people who want to study Prakrt and also the

scholarship of the author in Prakrt language is reflected through

this glorified commentary. This work was published from Madras. 1

This commentary is called Vrtti which is clear from the Colophon -

"iti Ramapar:,ivadaviracitoyam Prakrtaprakasavrttau

prathamat) paricchedat t -------etc.

According to Dr. C. Kunhanraja, the main interest of

1 - ALS.No.54,edt. 1956.
 84

this commentary is that it records the distinction of the Prakrt

languages as known in Kerala. And also in this work, the author

quotes examples from Prakrt poems like Setubandha and

Gathasaptasat1, in addition to his own Kamsavaho and

U�aniruddha.

2. BALAPATHYA (Commentary on Raghaviya)

Vatakkumkur gives an account of this Commentary. 1

This work is devoted for the student community to grasp the

poem Raghav1yam. The author and commentator of Raghaviya

are the same person ie. RPV himself. Twenty sargas of

Balapalhya Commentary reveal the full description of the poem

·Raghaviyam". This work exhibits the poet's capacity to illustrate

the word meaning, vigraha, with the application of rules related to

sastras. The character sketch of this work is evident from the

eleventh sarga, stotra.1. It is as follows:-

"Tasya nirjjitanija sriyat) sriya• iti

__ s a , ap a�hyakhya is the other name of this Balapaia

_ _ _
___
1 - KSSC.IV. PP.136 -137.
 85

which is referred in the third stanza of this work. 1

3. VILASINI.

This is a commentary on the work Sr1kr�oavilasa.

Hence the author and the commentator are the same person viz.

RPV. Vilasin1 on Sr1kr9r:,avilasa. serves the purpose of beginners

who study Sanskrit in Kerala. In the beginning of these works, the

Commentator illustrates-

' Srinarayar:,aguruvarakarur:,apatreoa paoivadena

sr1kr�r:,avilasasya kr iyate 1Tka vilasininama·

This commentary is very prevalent due to the scarcity of

other commentaries for Sr1kr9r:,avilasakavya.

4. VIS�UPRIYA

This is a commentary on Vi�QOvilasa. It is published

under-TSS No.155. It is stated as follows

1 - KSSC.IV. PP.136 -137..

 86

"Sr 1 madvi9ouvilasakhyakavyasya anativistaram

idam Vi9QUpriyanama vyakhyanam kriyate maya 1

This commentary is also meant for students to grasp

easily the poem Vi9ouvilasa. The high philosophical idea which is

reflected in Vi9QOvilasa is depicted in this commentary.

5. VIVARAt:JA

This is a commentary on Dhatukavya of Melputtur

NarayanabhaHa. This is also another contribution of RPV to the

technical literature especially in grammar. This was published

from Trivandrum. 2 The scholarly knowledge of the poet in non-

. Paoin1yan schools of grammar can be seen through this Vivaraoa

. commentary. This commentary starts with-

" Sdnarayaoa kavina racitam

yaddhatukavyamatibhavyam

Kriyate tasya vivarar:,am

kimapi maya par:,ivadena·(1.1)

1 - KSSC, IV, P 149.TSS No.155.

2 - KUS Series.No.6,
 87

Here the author shows the necessity for the work

Dhatukavya of Melputtur. And also this "Vivarar:1a" commentry in

the last sarga establishes the authorship of Dhatukavya as

Melputtur Narayana BhaHa-v,{iri. It is as follows:-

.. Sr I narayaQanamakoparinavagramasvadhamadhipa

k90Q1devakaviprakaQ9akalitam Yad dhatukavyam subham

vyakhya tasya tu paQivadaracita samk9eparupaiva ya.

tasyam prathamikonikamaguruta durgo hi sargogamat. 1

There is a legend that BhaHojid1k9ita the grammarian

scholar commented that descriptions relating to dhatu are very

rare in Prakriyasarvasvam of Melputtur and hence Dhatukavyam

· is written by Melputtur himself. The theme of Dhatukavyam is

Kamsavadham. It consisted of three sargas which took three

days for completion. 3

In this work many roots or dhatus are described with

illustrations for the students of grammar. Hence this Vivarana

1 - KSSC IV.P.142.
2 - KSSC.III.P.169.
3 - Ibid.
 88

commentary of RPV will help the grammar students very much.

This shows that Ramapar:1ivada had great knowledge in the field

of grammar also.

SATIRICAL POEMS

There are two satirical poems namely Upakhyana and

Pathakacarakrama.

Upakhyana is a satire type of work in the form of

conversation between two characters, ArghyapaQgita and

Hamsara1. The above characters are purely products of the fancy

of the poet. 1 The reflection of the epic model can also be seen in

this work.

Pa!hakacarakrama. is also a satire type of work w�jch

criticises severely Cakyars, the traditional actors of Kerala. It is

said that the king became angry with Cakyar and that prompted

him to compose this work. This work is in the form of questions

and answers. The movements, dress, speech and the

1 - KSSC, IV.P-145-146
 89

interpretation of slokas of the Cakyar on the stage are sharply

criticised. 1

The word "Palhaka" means the person or Cakyar who

tells the story in the "Koothu" or Prabhanda. It is told that due to

some reason RPV felt unpleasure and enemity towards Cakyars

and so he worked out the above two works in order to mock at

Cakyars. RPV strongly criticises Cakyars for singing songs

wrongly and explains the meaning also in the wrong sense. The

stotra is as follows.

"Sukavivacasi palhanyanyatakrtya moha-

; h
drasagatimavadhOya pn;u<;ipmartham vihaya

vibudhavara)abhayam vyakriyakamukanam

. . ..
ku---ku nilayanam dhrstatayai namostu. 2

PANYGERIC POEMS

Panygeric poems of RPV include

Devanaraya,:iaprasast�i and Padukapattabhi�eka.

1 - KSSC IV.P.135-136
2 - KSSC. IV.P.144.
 90

DevanarayaQaprasast�i as a panygeric poem relates to the praise

of King DevanarayaQa of Ambalapuzha. 1 Devanarayar:,a, the King

is likely to be the patron of the poet in this poem, but the identity

of this patron is not established.

PadukapaHabhi9eka, as a panygeric poem relates to

the King Sri Rama. The authorship of this work attributed to RPV

is made by Sri. M. Kr9,:,amacarya. 2

There are certain typical work attributed to RPV.

Akhyayikapaddhati, a prominent work of RPV is a compilation of

anecdotes based on the Brhat Kathamanjar I of K9emendra which

is a new work found out by scholars. Only one palm leaf manu­

script of the work is available now. The work begins with two

benedictory verses and the name of the work and that of author

are given as follows:-

·K9emendrakavina klptamanusmrtya Brhatkatham

Rameoa paoivadena katha kapi viracyate·.

1 - KSSC.IV.P.143-144.
2 - HCSL; P-257.
 91

This work has legible handwriting in Malayalam having

93 folios of 26 cm x 3.5 cm in size. Each has 8 lines. In each line

nearly 38 letters are being found. Matter is written on both sides

and the condition of the manuscript is fairly good. The colophons

at the end of first and second lambakas shows the name of the

work as Akhyayikapaddhati.

·iti ramapaoivadaviracitayam akhyayikapaddhatau

somavat Tviva.ho nama prathamo lambakat,. • 1

The author was abridging the Brhatkatha of K�emendra

· ·into Lambakas. This makes one to understand the work as a

Katha

DAURBHAGYAMANJARI
Another typical work of RPV is Daurbhagayamaiijar i

which is mingled with Malayalam and Sanskrit languages in prose

model. 2 According to Vadakkumkur, this work must have been

written to tease the MaQipravalam ·style which was prevalent at

1 - Kavyadarsa; P-23-28.
2 - KSSC IV.P.146.
 92

that time. Because the mingling of the usage of two languages

are irregular. This work is an one act play.

Pa1hakacarakramam , Upakhyanam and

· Daurbhagayamanjar I are not related to the good works of RPV.

·oaurbhagayamanjad ramapa,:1ivadakrtam• is written in the outer

covering of the manuscript. 1

Ramapa,:1ivada always uses the colophon in most of his

works either in the first or last for identifying his authorship.

"Rameoa pa,:1ivadena racitam hi yathamati

Raghav1yam mahakavyam balavyutpatti labdhaye•

(RaghavTyam)

·vith ,yam candrika nama"ramapaQighanirmita

ekangacaritaikarikana�e�va�1amalak�aQa ''

(Candrika Vhh I)

1 - KSSC IV.P.148.
 93

"Ramer:,a par:,ivadena raghav1yamidam krtam

tenaiva balapa1hyakhya vyakhyapyakhayi dhimata

(Balapa1hya Com. on Raghaviyam)

Another work having the colophon of RPV is

Nalacaritam KilippaHu The colophon of RPV in Sivapurar:ia

.. '

KilippaHu is as follows:-

·1ti ramapar:iivadaviracite Sivapurar:ie

Simhadhvajakatha samapt�am•

RPV has depicted Mahabharata into eight days story

namely Bakavadham, Par1ea1i Svayamvaram upto

Subhadraharar:iam, Rajasuyam, Kirmiravadham, Kiratam,

Kalyar:iasaugandhikam, Ajnatavasam and Dharm�vijayam

respectively.

Srikr�r:iacaritam maQipravalam kavyam, pancatantram,

.
Rukmarigadacaritam, Nalacaritam, Sivapuraoam are Kilippattu,
'

poems with the eight fold division of stories relating to

 94

Mahabharatakatha are other works of Ramapaoivada in addition

to the main ones.

It is said that Sr ikf�Qa Caritam MaQipravala Kavyam is

also another work of Ramapaoivada. In the last part of 12th sarga

the colophon of RPV can be seen.

. .
·Ramena panivadena racite misra samskr!ta .
Sr I kr�oa carite Kavye muthal sargat) samapitat) •. 1

Sivapuraoa KitippaHu and Paficatantram Kilippa11u are

also the works attributed to RPV. The colophon of RPV in

. . . is as follows:-
Paiicatantram Kilippattu

"Paiicatantram n itisastram bha�aya sannivesitam

Rameoa paoivadena balanam bodhahetave•. 2

Another work having the colophon of RPV is

Rukmarigadacaritam (Ekadasimahatmyam) Kilippattu can be

1 - KSC.III.P.375.
2 - Ibid.
 95

identified as the work of Ramapa,:1ivada

"Rame,:1a pa,:1ivadena marigalagrama vasina

Rukmarigadasya caritam racitam Giltabandhanam. 1

Ulloor says that he has seen these works in the library

of Chirakkal Kovilakam-

1 - - KSC.III.P.376.
CHAPTER IV
 96

CHAPTER-IV

STOTRA WORKS OF RAMAPA�IVADA

Ramapar:,ivada has written many stotra works. Among

the stotra works, the main ones are Ak�aramala�1aka,

Ambaranad1sa stotra, Jayantamarigalas�taka,

. .
Mukundasataka -

I, Mukundasataka- II, Sivaghi (PancapadQ, Sivasataka, srI

Ramabhadra Stotra and SOrya�taka etc. He has to his credit

nearly ten stotra type of works which exhibits rich beautiful poetic

imaginations and high Vedantic ideals. Poetic merits too enrich

his stotrakavyas. Among the stotrakavyas of Ramapar:,ivada four

satakas namely Mukundasataka - I & II, Ambaranad1sa stotra,

and Sivasataka are very popular. His stotrakavya donate growth

and proudness to stotra literature in full spirits.

 97

. . AKA
1. AKSARAMALAST .
This stotra poem is a small and beautiful one glorifying

Vi�H)U in eight verses. These eight verses begin with eight letters
-
(

of the phrase of eulogy "Sr ivasudevaya namah", and end with -

"iti Ak9aramala91akam Subham". 1 The deity of Ambalapuzha ie.,

God is praised in this poem. Each verse starts with the letters

"Sr1", "Va", "Su", respectively.

"SrTvatsa kaustubha mar:,Tvanamala:ciharI

SrTvatsalambTtulasTgur:,aharajalam

SrTvatsalam varadamambaravahinTsam

SrTvasudevamahame9am namaskaromi •. 2

The third stanza is a symbol of word power of RPV

relating to deity. Last stotra ends with-

"martyanamartyanivahan patagoragadT

nanyat samastamapi vastu sarTsrjTti

toyam punat) barTbharTti jarTharTti

dhyayami tam suranadTpura vasudevam. •3

1 - KSSC .IV.P.121.
2 - Ibid.
3 - Ibid
 98

2. AMBARANADISA STOTRA

The above stotra poem is in praise of God Kp?r:m of

Ambalapuzha temple. And also this stotra work is highly philo­

sophical and devotional, having lofty ideals which excels in poetic

merits too. This work contains 112 verses in praise of God Kr�r:,a

having different metres. This poem was written while the author

was staying at Ambalapuzha enjoying the patronage of King

Devanarayaoa. The King is praised in many verses at the end of

the stotra. The work is divided into dasakas and each dasaka is in

a different metre. The feet, bosom, hands, etc. of the Lord are

described in beautiful verses in different metres like Pu�pitagra,

. . . are
SardOlavikrTdita and Malini. Ten incarnations of Visnu

described in Mandakranta metre. All these begin with the same

words "dhyayamastam".

K. Narayar�m Pi�haroti has published this poem1• In this

work first 20 verses are composed in Sard0lavikr19ita metre.

Fourteen verses of these conclude with the same ending

"Vandeparam daivatam·. The glorification of Vi�r:,u is described in

1 - K.Narayana Pisharoti, SPT, VII.P.170-86.

 99

a beautiful way. For instance;

"pade nije bhaktimatam jananam

modena sarvarthasamrdhikar1

yo devanadyayatanam pun 1 te

sr1 devanarayar:,amasrayamat). 11

The last three verses of each stotra end with the line

"sr1 devanarayar:,amasrayamat:,". In this work the author has

commented that his traditional work for earning livelihood is

making flower garlands to God, because he was a temple

resident.

According to Vadakkumkur, this stotra work contains

113 slokas. 1 Sri. K. Narayana Pi�haroti has published

SOryasataka and this stotra is also of RPV. 2 RPV considers Lord

Mahavi�r:,u and King DevanarayarJa as identical persons through

this sloka in this work.

1 - KSSC. IV.P.116.
2 - SPT. 7. PP 170-185
 100
~

I
II BhOte~u sarve~vapi nirv¢se~am

BhOyat) smaramahitakarur)Ikam

Bhudevatamambaravahin Isam

sr IdevanarayaQamasrayamat). II

This stotra is composed in alphabetical order and

heading like Ipakaradistavam, I Makaradistavam

Ibhakaradistavam , dasavatara stotra are also given. The first

stotra of the first verse starts with-

IIKalyar)ayatanam ka!arikarahitam karur)yatarur)yavat

kalyam kamadamamayandhatamasat) prad~amsi sudham mahat)

jIVanamala~banamambara~adl namnIha dhamni sphurat

bimbamkambukasakarambitakaram vande param daivatam·.

The following stanza denotes that medicines must have

common tastes like salt, chilly, bitter. But the name of God is the

one and only medicine without the above tastes which cures the

disease of the people in the world-

 101
Gt3l3G>I

"Samsararogaharam ambaravahin1sam

kamsari nama gurudhama diset sukham nat)".

Slokas are written showing the avataras of Vi�r:,u like

KOrma, Balabhadra, Kr9r:ia etc. God's different ITlas are described

beautifully in the first part. We can see the poet's talent of the

arrangement and co-ordination of the structure of words in the

following stanza.

s
Kaunteyasya, Kapiddhvajasya dadhatas�rathya muccait)sriya

Kante yasya kararavindayuga!e kambupratodanjite

dhatr 1 �9tati vi9tapatrayapate� pot�ranjal�aupura

Potri bhOtavato yatha tadanagham vande. ___

The words like Kaunteyasya, kante yasya are examples

of his practical skill. Another example of this type is:-

Kopi brahmavikara eva karur:iap1yu�a varannidhit)•

gopTlocanakairavakaravidhu� gopala rupo harit).

 102

This hymn also excels in poetic merits. A verse is cited

as example.

"maratakamaoin Tlam manjulaparigal Tlam

Caritaguoavisalam candramass Ttas 11am

tara!itavanamalam tapalopanukulam

narasakhamanuvelam naumi gopalabalam." (V.56)

3.JAYANTAMANGALASTAKA
. .

This is a hymn glorifying God Narayaoa, the deity of the

temple at Cennamangalam. This poem contains eight verses with

the same ending "patu nah". Vadakkumkur considers that this

stotra Kavya belongs to RPV due to the colophon in this work. 1

This Work has been published2• It describes the Vi�QU of

Cennamangalam. It is said that this work is not too ancient. The

poetic style of this stotra can be viewed from the following

verses:-

1 - KSSC.111 P.532.IV.P.149.
2 - Mathrubhumi Weekly, Calicut. 23rd , Dhanu, 1115, M.E.
 103

"Li lamandiramindirabhagavat T vistaravat kaustubha

Jyotird T pamudaraharapatalaprakaracaruprabham

Yadvak�o vidadhati lolavanamalalamkrtam sasvatam

Visvesassa jayantamarigalapatir narayanat:, patu nary. • 1

MUKUNDASATAKA - I.

Amongst the main stotra works of RPV,

Mukundasataka 1&11, Sivasataka and Ambaranadisa stotra are the

chief ones and deserve special mention.

Mukundasataka - I has been published under T. S. S.

No. 157 in 1948. This stotra work contains 107 stanzas. It is

divided into ten dasakas, and each dasaka is having different

metres. This famous poem got influence from the Narayaoiya of

MelputtOr Narayar:1a BhaHa.

Out of the ten dasakas, the first one contains a very

beautiful description of Lord Kr�oa from head to foot. The

Nirgur:1a and Sagur:1a forms of Lord Kr�oa are worshipped in the

1 - KSSC Ill P. 532

 104

second dasaka The path of devotion which deals to the

attainment of unity with paramatman is described vividly in this

second dasaka

The description of the ten incarnations of Lord is

described in the third dasaka. Each verse is being devoted for

describing each incarnation.

Kr9Qavatara is illustrated in the fourth and fifth dasaka

respectively. The story of Bhagavata is briefly dealt within these

' -
dasakas. The sixth dasaka deals with the story of Srirama. The

seventh and eighth dasaka glorifies the divine feet of Lord Kr9Qa.

His Ni9ka[a and Sakala forms are eulogised. Lord Kr9Qa is

described as taking the forms of Brahma, and Siva for creating,

sustaining and destroying the world. The ninth dasaka narra�,es

the erotic sports of Kr9Qa with the Gop is. The last dasaka

describes the worship of the Lord in a beautiful manner. High

Vedantic ideals and the imagination of the poet is beautifully

blended in the composition of this stotra.

 105

The name Mukundasataka is related to Lord Mukunda

of Mukundapuram. It is being said that those who read

Mukundasataka will get salvation and fame in the world. It is

stated as:-

"Mukundapuravasino muraripo prasadarthina

Mukundasatakam krtam kimapi par:,ivadena yat

l
tadetat anuvasaram patati yassa vidyam sriyam
·�
yasasca samavapnuyadapi ca muktimante subham. • 1

In this stotra work each sloka starts with

"dhayayamast/le" and the first 51 slokas are dealt with the life

history of Kr9r:,a. slokas 52 to 62 contain Ramavatara. An

unknown si9ya of RPV has written a commentary on

Mukundasataka - I. According to him the author of

Mukundasataka is one Rama who was a disciple of

N arayar:,abha1lapada. 2 This Work was written at the instance of

Arya Sr1kar:,1ha Ramavarman. 3 He has been identified with the

1 - KSSC.III.P.532.
2 - KSSC.III.P.115.
3 - JTUOML. 1 .No.11.
 106

chief of Manakkulam family.

Many descriptions in Mukundasataka are very similar to

those in Vi9Quvilasa. This stotra is rich in beautiful poetic

imagination and high philosophical ideals. The following stanza is

cited as an example.

"upadisati mitam yanmanjumanjTrasinja

nibhanibhrtavacobhirnunamadvaita tattvam

satatamamitabhaktya sannatebhyo janebhyat,

tava tadavatu vi9Qo ! padapadmadvayam na�· 1 ( v.67)

,
MUKUNDASATAKA - II.

Mukundasataka begins only from the second line of the

thirteenth stanza.2 Like the first one, this meritorious poetic work

also describes the incarnations and the glorification of Lord

Kr9Qa. Bhaktimarga is advocated as superior to the Jnanamarga,

and also Karmamarga. This work is also divided into dasakas,

1 - Mukundasataka.l.V.67.
2 - JTUOML.11.No.2;
 107

containing 101 verses, with poetic merits as in the first one. There

is a learned and exhaustive commentary on this stotra 1 by a

fellow student of the author. This stotra has similarity with

Vi9,:1uvilasa in many descriptions.

RPV is a great devotee of God Kf 9Qa of Ambalapuzha,

who is praised in VI Canto of Vi9,:1uvilasa commentary. In this

work, the line "Vyadh T nadhikathomcunadhikat,C\...Yo. Y'() dhunvuntu..-''.·

dhdnvonthare"2 reveals that RPV was suffering from severe

incurable disease. It is said that RPV has done this work to get

some relief from the disease he was suffering.

"Samasta sukhavara,:1am satatavedanakara,:1am

Manoratha vidara,:1am mama gadam mahadarul')am• 3

It is believed that Mukundasataka I & 11 were written in

two different times. First one was in the middle period and the

later one in his last stage. This work Mukundasataka had great

1 - CKSL.P.193.
2 - Mukundasataka II sloka 92.
3 - Mukundasataka II sloka 92.
 108

imitation of Narayar)Iya of Melputtur as it was aimed by both for

getting cure from some unknown disease. 1

The slokas 71 to 90 deal with the avataras of slokas in

Sragdhara metre and also Mahabhagavata is the basic theme of

this stotrakavya. Siokas nearly 101 numbers were written in

praise of Lord Kr9Qa in this work2 • It is said that last twelve slokas

and the first half of thirteenth stotra are being lost. This work has

been published from Trivandrum. 3

SIV AG Irl (Paiicapadi)

This stotra poem is known as Pancapadl. This work is

in praise of the goddess at Mukkola. 4 It is modelled on

Jayadeva's Gltagovinda in the form of slokas mingled together.

More importance is given to songs as its name ·Sivag Ita. •

denotes. The poet RPV has written a verse in praise of Goddess

of Mukkola temple.

1 - KSSC.IV.P.124
2 - Ibid.P.123
3 - T.S.S.No.157.
4 - KSC,III,PP 369-70.
 109

"Varade ! Paradevate ! Sive

Naradevangar:,asanga1asthalat

Dhanalobhamal i masasayam

The author RPV must have written this stotra while

residing and worshipping in the Mukkola temple.

This work contains six cantos. Each canto contains six

songs and some slokas. Each song contain five words in different

metres. The author of this stotra can be claimed as RPV without

any hesitation which can be clear from the following stanzas-

•1ti Ramapar:,ivada krtayam sivag itau

sank Troavarr:mno nama trt i yassargat:,. • -

lti Ramapaoivada krtayam sivagitau caturthassarga�

And also the poet RPV has declared his own name as

1 - KSSC IV.P.126-135.Rajagopalan L.S:SivaghT· journal of Music ��o..-J..a..,-,,,J

 110

seen in the verse - Bhuvanesvar1 ! Mamiha palaya ramam" 1

11

His songs are too lucid in style. Mahakavi Ullur has also

termed this stotra as Pancapad1. 2 This name is adopted by Ullur

due to the imitation of "A9tapad1"-a work of Kun·ca

,. n Nampiyar. In

support of his argument for the name Pancapad1, Ullur states

that each tala . and so the PancapadI

. is attached to five caranas
name is adopted. This work has close similarity with the A91apadi

of Jayadeva and Kr9,:1ag hi of Manaveda. Certain slokas of this

work has close similarity in words with Ca,:191sataka, a work of

. Bana.

In the fifth sarga of Sivag It I, the poet clearly indicates

that goddess is controlling all doings of human beings but people

who are polluted in mind due to pride, think that they are all in all.

The main reason for this is material pleasure only. The essence of

Bhagavad Gita is illustrated in the following stotra:-3

1 - KSSC IV.P.127
2 - KSC.III.P.369.
3 - KSSC iv. P. 131 - Revised Edn.-1997
 III

nDevl ! Tvam jagatam gati~ girisute ! pancendriyar:t i tvakam

Cetah tvam jagadamba kim bahugira sarvaQi sarvanyasi

Garvdyam khalu madrsamahamaham kartteti bhokteti va

durvarasya hi kevalam parinatih

. . samsaravaram nidheh."
.
(Sarga - 5)

Any way through this work RPV shows that he has

strong faith that fame, prosperity, poetic skill and imaginative

power are the gifts to be obtained by the mercy of Goddess.

SIVASATAKA

Sivasataka of RPV is an exception to his works relating

to the favourite deity Lord Vi~Qu . Even though a staunch

devotee of Lord Vi~Qu, he has composed poems glorifying other

deities like Siva, SOrya etc. The above stotra shows the evidence

of the familiarity of RPV with the Siva PuraQa. This stotra is rich in

good poetic descriptions too. He is a strong devotee of God; and

so while glorifying Siva, he ridicules the views of atheists 1 •

Because they proclaim that there is no soul apart from the body,

1 - Sivasataka.V.26.
 112

and a God governing the World. The following stotra shows his

deep faith in God.

"Viramata tapodukhanmOrkhat)ka!ebarakarsanat

na khalu paraloko va kleso yadarthamaparthakat)

Kva punaraparo dehadatma kva va siva ityasau

Kalaharasiko visnossisyo
.. .' jajalpa jagatpate !" lY 26)

In this work RPV has imitated NarayaOlyam, the famous

work of Melputtur Narayaoa BhaHa. Different metres are being

depicted in this stotra work. Last stotra shows that Siva Sataka is

truly the Work of RPV, as it contains the colophon of RPV.

For example:-

.
"Ramo yat panivado .
gurucaranasarojanmarenu
. prasada-
detavat vi~~upadastavamapi ca Sivastotramatra vyatan It

prIttl\yai bhOyat budhanam tadidamaghaharam castu

nistandrametat Jnityam

r
bhaktiprakar~otaramanupatatam haya mohabhajam.·
 113

RPV' s work Sivasataka is written on the model of

Mukundasataka which is being divided into dasakas. 1 This work is

also written by RPV under the patronage of the Chief of

Manakkkulam family. The Work is divided into nine dasakas. The

dance of Siva in the first dasaka, the description of Lord from

head to foot is described in the second dasaka. The story of

o..
Tripuradah� and the story of Dak9ayaga in the third and fourth

dasakas respectively. The marriage of Siva and Parvati form the

theme of fifth and sixth. Niskala

. .form of Lord is narrated in the

seventh one. The eighth dasaka contains the story of the attempt

of Brahma and to find out the upper and lower limits of Sivalinga

and their failure. The ninth one is the general praise of Lord and

the tenth dasaka deals with the narration of Siva from foot to

head.

In this stotra work, Kamadahanam

ParvatIsvayamvaram and D�ak9�ayagam are narrated briefly,

Verses from 11 to 20 is described in Sardulavikr I dita metre which

shows the poetic skill of RPV.

1 - JTUOML. No.11,
 114

The birth and origin of Veerabhadra is also described in

this stotra Kavya. From 63 to 69 the fourth Pada of all slokas are

the same as------

"bhajatu mano mama ni�kalam bhavantam" iti.

Like this, from ninety one verse onwards the last pada

of all slokas are:-

"pratidivasamupase candramaule bhavantam• iti.

Sivasataka starts with this stotra

"Namaste gaurTsa tripurahara sambho trinayana

- - h
Prasida sr ikaQ� smarahara mamagham hara 'hara I

Bhavambhodherasmadayi bhava ! bhavanuddharatu mam

krpamugdhait:,snigdhairaviraiamaparigairanuguQait)•

The above stotra is written with full of devotion to Lord

 115

Siva. Last stotra deals with the culmination of worship. It is as

follows:-

"Sivamanudinam dhyayam dhyayam Sivastavamada·rat

pa1hati gha1itam padyairebhissatena sukhena yat)

sa khalu nikhilanasadyarthan krtarthamana jana

svatanuvilaye sambhot) sthanam sanatanamapnuyat.

On the basis of Kumarasambhava, Karnadahanarn and

ParvatI svayamvara stories are written. The repetition of the

letter"Sa" in the first of each stotra can be seen.

The following stotra of this sataka shows the word

power of the poet.

"Sarar:imeghasvetam sasadharakalasekhararn lokararnyarn

Samasyaikavasam samitasarnalarn sailakanyopagha9harn

sayambhojabhrajat parasu harir:,arn sarikararn santibhajarn

,.. .
sariram te sambosatadhrtinatarn sasvatam me cakastu·
 116

The poetic skill of RPV can be seen from the above

sketch.

It is imagined that this Sivasataka stotra is being written

by RPV for the cure of some unknown disease. 1lt is evident from

the following verses.

"kailasadrim samupagatavan Patu rogat bhavan mam·. 2

(y- 50)

"Bhavaroava vidhOrQitam varada patu mamathuram.- 3

(y-60)

SRIRAMABHADRA STOTRA

This stotraKavya is a devotional song containing ten

verses, each beginning with the salutation-"Sakalalokagurave

namah". And all the verses have the same ending

as-"SrIramabhadra gurudevapadam Smarami.· God SrTrama is

praised by RPV in this devotional poem. Vadakkumkur has given

1 - KSSC. IV.P.113
2 - Ibid
3 - Ibid
 117

a short account of this stotra work.slokas are very simple in style.

For instance-

"Sachinmayam, sakalajlvita saratattvam

Pratyk~a nirmalapadam praQatakulaghnam

Maccittaramyasadanam mahimavise~am

SrI ramabhadragurudevapadam smarami. 1 -

This devotional poem having ten verses is known as

dasaka. A ~alayalam word "nadu" is used in this stotra work.

It is thus-"Manmanasabja na<;iu nayaka rajahamsam.-

SORYASTAKA
..

This stotra is a minor one written by RPV. Glories of

the Sun are described in this a~1aka which have eight verses; in

the Vasantatilaka metre. This has been published by K. Narayan.a .~

Pisharoti. 2

1 - KSSC.IV.P.121, 122.
2 - SPT.VII.P.185-186.
 118

Hanuman and Bhanuman (Sun) are being praised

through the following verses in S0rya91aka using the same words

having different meanings.

II
. . Iya sritagirirlaghularighitabdhir
Pustasr

Vyaviddhavigrahavadak9atayatit0rQat)
I,.
Yo larikayapyanalayojitaya prasiddat)
,.
Saktya sa patu hanumaniva bhanuman vah. •

The figure double-entendre is used throughout the work

as stated in this poem by poet-"S1i9!arthabandhana Visi��a-

di91opadi91amidama91akami�\adam yat)

Si�tojana� pathati pu�tarasaya tii3},a¢i

tu�to bhiyati sa vi�tapabandhurarka�.'

This poem , was written by RPV during his stay as a

1 - SPT.VII.P.180. Also see KSSC IV P121

 119

dependent in the court of King Marthandavarma Maharaja. 1

From the Verse-

"ramatl premabhila9T namati samavita pra,:-iinam pa�ivadat t - it is

clear that the author of this stotrakavya is RPV himself.

And also the stanza "Syananduralayeso disatu sa

bhagavan Padmanabhatl sriyam vat)" of this work shows that he

is strong devotee of Lord Padmanabha.

Thus, in stotra literature the stotra works are like

diamonds which have to be studied in deep for religious and

intellectual upheval of human beings.

1 -- SPT.VII.P.185-186.
CHAPTER V
 120

CHAPTERV

LITERARY APPRAISAL

The Concept of Bhakti of Ramapa')ivada.

The magnum opus on Vai9r:,ava Bhaktisastra is the

Sr1mad Bhagavata. As RPV is a devotee of Lord Visnu, he has

written majority of stotras praising Lord Vi9r:,u. (Vi9r:,u means the

Pervader. 1} But in Hindu patheon, He is the second person, in the

Trinity as distinguished from Siva, who is the third person-the

destroyer-and from Brahma, the first person, the creator. 2

Vi9r:,u has many aliases and Vasudeva is one of them. The ava­

tara of Vi9r:,u in the Dvapara yuga namely Vasudeva may be

derived from"vasati sarvatra 0 or "Sarvar:,i Vasant�i asmin Vasu• 3•

1 - Bhakti - Ratnaval1 com. Introduction P. 9
2 - Ibid. P. 8
3 - Ibid.
 121

And also "devo dyot~anatmaka~." that is the shining one who

pervades the universe and is therefore synonymous with Visnu.

Worship presupposes Bhakti 1 • para-bhakti, parama-

prema, supreme love is the preliminary object to which the

devotee aspires. The Bhagavata Campu, Vi 9Duviiasa the two

prakrt poems viz. Kamsavaho and U9aniruddha, the

Mukundasatakas I & II, Ambaranadisastotra are some of the

works of RPV on Kr9Qa theme.

Sarikasandesa of RPV is also a Sandesa Kavya having

122 slokas. 2 The Gopis deserted by Kr9Qa in Vrndavana are

described as sending a message to Kr9Da through a bird Sarika.

In Sarikasandesa, premabhakti is the principal sentiment. This

bhakti can be developed into rasa from the rati (attachm~nt)

towards the Supreme Lord Kr9Qa. In this work the heroine is a

Gopi whose heart is glowing with the love for Kr9Da. She is one

among the Gopis who were engaged in the erotic sports

1 - Bhakti - Ratnavall com. Introduction P.9

2 - Sarikasandesa ed. C.M.Neela~antQn .PP.90-91.
"
 122

(Rasakr19a) on the banks of Yamuna. She happens to be sepa-

rated from Him due to some puzzle and is striving for reunion with

him who is far away at Ambalapuzha. So she sends a Sarika to

Kr~Qa with her message.

BHAKTI - A sentiment in Poetry.

MammalcibhaHa recognises the erudition of Bhakti in

poetry as a Bhava. 1 The emotion of Irati' between lovers gets the

position of Srngara, and if it is to Gods it is considered as a

Bhava only.

"ratirdevadivi~aya vyabhicarl tatancita~ bhavat) proktat).112

According to Vallabhacarya, the seed of Bhakti is

prema or affection, due to the Grace of God, which develops

I

gradually through seven stages in ascending order. They are

bhava, prema, praQaya, sneha, raga, anuraga, and vyasana.

Here, the last one is the deepest manifestation of affection, and it

2 - Ibid.
- .
1 - Kavyaprakasa of Mammatabhatta, Varanasi.lV.P.35.
~
 123

is the state of inability to remain without God. The writings of

Jayadeva Vidyapati, Umapati etc. show the growth and influence

of Bhakti (Radhakr~Qa Cult) emerged in Bengal and northern

sides of India. 1

A true devotee does not expect anything from God, but

is satisfied only in loving Him 2 • In many works of RPV especially in

stotra works, the union of individual soul with the supreme soul,

Le. the doctrine of Advaita is emphasised through Bhakti.

Because Bhakti is treated as a means of knowledge which leads

to salvation in Bhagavat G'Ita

"Te~am satatayuktanam bhajatam prltipOrvakam

dadami bhaktiyogam tam yena mam upayantite.·

(Glta X. V.10)

Bhakti is compared to a creeper climbing up the tree,

rivers flowing into ocean, and also like a pin being attracted by a

magnet. That is a state of mind when it dwells at the feet of God

1 - Indian Philosophy - II.P.760-61

2 - HSL SN das Gupta. IV P.392
 124

like the seeds of Arikola tree uniting with the tree.

According to Visi~~a4dvaita philosophy of Ramanuja,

Bhakti is a special kind of knowledge that gives unlimited joy and

bliss. It helps to forgo all other desires. This has to be attained by

the practice of viveka, vimoka, abhyasa, kriyakalvaQa,

anavasada. So here Bhakti is treated as a means to knowledge

mainly based on IIPancaratra Agamas'" And so it leads to

salvation by the grace of God and Karma acts as an accessory to

it.

In the matter of Bhakti in Vaishnavism iAlwars in South

India are most inspired and emotional ones. Bhakti was realised

by them as maddening intoxication associated with tears. The

devotee is so much vexed by his deep and genuine love for God,

that he loses all considerations for himself - and the intoxication

of love may grow so deep leading to the destruction of his body

even. This state is technically mentions as IIragaprajapatill.

The supreme reality is God Vi~Qu according to Madhva

 125

and he is the master of individual souls. According to

Vij�anabhik9u, Bhakti is conceived in a mystical fusion as the

theistic relation between individual souls and the ultimate entity. It

is an incessant continual meditation as for as Ramanuja is

considered.

The Naradabhaktisutra defines Bhakti as - "sa tasmin

parama premarOpa• 1 ie. the deep love in God. One becomes

intoxicated, numb, and delighted in oneself while indulging in

Bhakti. The nine modes of Bhakti namely "sravana, kirtana,

smarar:1a, padasevana, arcana, vandana, dasya, sakhya and

atmanivedana are mentioned in the Bhagavat�apurar:,a. 2

"SravaQam Kirtanam, vi9r:,o� smara�am padasevanam

arcanam vandanam dasyam sakhyamatmanfvedanam

iti pumsarpita Vi9QaU bhaktiscet navalak981)8

kriyate bhagavatyaddha tanmmanyedhitamuttamam. • 3

1 - NaradabhaktisOtra 2.
2 - Bhagavatha.Vll.verses .23,24.
3 - .-·jb,rA
 126

The last one atmanivedana (self surrender) can be seen

among Gopis. Here the emotional aspect of devotion was carried

on to greater limits and developed. into paramabhakti blended

with erotic sentiment by the followers of Caitanya in the latter

period.

The high attitude of Bhakti is experienced by RPV. It is

evident from the description of the Kurmavatara of Lord Maha

Vi 9Qu in the work Vi 9Quviiasa canto II of RPV. Bhakti is the only

practical way of spiritual practice and it is a self sufficient

discipline. 1

According to BhagavatapuraQa the practice of Bhakti

takes many forms because of the differences in people's thought

and attitude, arising from their mental constitution, the nature of

the dominant guna of prakrti in them, and the tradition to which

they belong. Hence Bhakti is a super value which is attended by

all other spiritual values. Melputtur himself admits Bhakti as equal

to Muktri.

1 - Narayar)lyam - MelputtOr. Canto 94.Verses.6-1 O.

 127

"aiksvako ham virakto smyakhilanrpasukhe tvatprasadaikakari~i

I I

~
ha deveti stuvantam varavi~~u tam nifPrhamVik~ya hr~yan
mukteb tulyam ca bhaktim, dhutasakalamalam mOk9amapyasflu

-dattva
~ -
karyam himsavisu£ihyai tapa iti ca tada prattha lokaprat ityai 1

(Canto 77.V.11)

While reading NarayaOlyam, we can feel that

Bhanariri's heart is more for Bhakti as eternal service than for

the Mok9a of dissolution in Brahman. In most of the stotra works

of RPV, the poet asserts that the unity of the individual soul with

the Supreme Being is the culmination of Bhakti. As per the lines

.granthih
"bhidyate hrdaya . cidyante sarvasamsayah .
k91yante casmin karmaoi tasmin dr~!e paravare.·

( 11,8)

and like other passages relating to ·jlvanmukti·.

1 - Narayanlyam - Melputtur. Canto 77 .Verses.11.

 128

ERUDITION OF THE AUTHOR

The author Ramapar)ivada. was well versed in different

sastras, purar)as, itihasas and various arts besides being a good

poet. As an adept in Upanishadic philosophy, his poetic

descriptions occasionally reflects the ideas of Upani~hadic

passages. The ten incarnations of Vi 9r)u convey the philosophical

outlook of RPV through his stotra work Ambaranadlsa stotra and

Vi 9r)uvilasa kavya etc.

The concept of Nirgul')abrahma is explained in various

places in the Upani 9ads that the Universal soul is absolute,

spotless, eternal and explainable only by means of Vedic

passages, interpretation and devoid of attributes and

modifications. He describes the temple of Kr9r)a as

"Pare vacamapi ca manasampastlmasyamburase

_ _ 'M _

st ire t irtha"kimapi kaman iyangitatkgetramahuf:l

vikhyatam yadvipulamahima devanarayaQakhya

kson
•
Idevaksitipatiratiprcwdhak
• ".L.-
Irtihprasasti. •

(Verse .5 of Sarikasandesa's)
 129

while describing the incantations of Lord .

"Virajam brahma ni~kalam" (Mur)<;jaka 11.9) "8atyam

Jnanam anantam brahma (Taitlrrlya 11,1) asabdam asparsham

arOpam avyayam ·t.rly"S(;L1Y1 nityam (Ka1hopani~ad 1.3.15) and

sarve Veda yatpadam amanti" (Ka1hopani~ad 1.2.15) are the

epithets of the supreme reality which are incorporated in the

verse of the illustration of the nine incarnations of Lord.

In Sarikasandesa the reflection of Brahman is

illustrated:-

"pratyaririatmatvamasi bhagavan ! Ni~ka!o ni~ka!arikao

nityassatyamnnigamagamako nirguQo nirvikarao

dhyanad bhaktirbhavati mahatam tacca na syadarupam

tasmad hetorvahasi mahanlyanmuhurmOrtibhedan. II

(V. 60)1

The Word II Pratyag atman II or pratyanriatman reveals

1 - Sarikasandesa. ed. Verse .60 P.38.

 130

that the inner controller of the world and the transcending soul

could be perceived by one who has turned his mind to inner side

to his heart. As Bhakti is the vital sentiment in the stotra works of

RPV, it can be developed into "rasa" from the "rati"(attachment)

towards the Supreme Lord. The recipient is bound to be a Bhakta

than a Sahrdaya who is endowed with natural inclination to God.

Here Bhakti is conceived as the dual relation existing in both God

and devotee.

The various "stutTs" and references to God that occur in

the 'Vi�r:,uvilasa Mahakavya pronounce beyond that

philosophically RPV was a monist. In the course of the prayer

which the author has put into the mouth of Satyavrata the

following stanza which contains monistic thought can be seen:-

"Vinapi mantrairvidhirararadha te

viviktaya bhavayaiva sudravat

ajasramantasca bahisca dehina­

manadimadhyantadasascakasti yat t . 1

1 - Vi�r:,uvilasa, Introduction. P.15 Canto - I - 38

 131

Ramapaf)ivada I S conception of avatara is

also found to be consistent with the tenets of advaita philosophy.

It is expressed in Vi~f)uvilasa Mahakavya also

"avikriyopi prakrtiprapaficita-

prapaficasaficetana hetuHimvrajan

gUf)anava~1abhya jagannidhe ! bhavan

bibharti mOrt Irvividha prakarikat)-1

When the suras and asuras churned the milky ocean for

nectar all of them became extremely tired. Then the Gods caused

rain to fall exclusively on the suras. That distinction shown by

Gods for removing tiredness to suras only is condemned by the

author in the following stanza.

II DOraklanthesvadrimanthabhikr~tatha Vp~~irmeghai~· patita

daivate~u

tUlyayase~vanyato nasure~u svastvaikagryam sadhvaho

1 - Vi~~uvilasa, Introduction.P.15 Canto I v 47.

2 - Ibid. Introduction P. 17 Canto II. V. 40.
 132

The sentiment expressed in the above stanza bears

ample testimony for the author's human sympathy and sense of

equality.

LITERARY MERITS

Stotras of RPV are rich in beautiful descriptions, figures

of speech and such other poetic merits. The poetic sensibility and

the power of keen observation of human temperament make the

poem highly enjoyable, in spite of the devotional aspects pervad-

ing the poem. Picturesque descriptions, alliterations, appropriate

use of syllables and words capable of suggesting rasas, moods

and bhavas bear testimony for the poetic skill of the author.

Common expressions in figures of speech like simile, metaphor

etc. are to be found in the works of RPV in abundance.

For instance, the simile comparing Lord Kr~oa to the

newly formed clouds having the blue radiance is found commonly

where the expressions used are the same. And also the nose of

Lord is commonly described as comparable to the beak of parrot.

 133

In Raghaviya, the story of salvation for Ahalya is

described beautifully from stotra 71 to 80 of third sarga. The

transformation of stone into Ahalya by the touch of sri rama is

depicted beautifully. This shows the artistic talent of the poet.

"Atha vamakareQa vislatham ghanaillam cikuram nirundhati

ItareQa kareQa thurigayoQ stanayoravar'Qam

,..
vit~an~vati. 1

And also the complex emotions rising in the mind of

Hanuman on meeting SIta in Asokavanam is described as

follows.

"Saiveyam janakatmajeti mumude sokananalajvalaya

Vyalidheti susoca ravanah[tetyuccairadfpyat krudha

yatno me phalavanasOnajahat I yad durbalanapyasau

L

Samdp?1eti samasvaslditi harirnanaraso'bhut k~af)am·2

The above conjunction of emotions is called

bhavasandhi in rhetorics. The word denoting nanarasat) for

Hanuman is most appropriate in this poem.

1 - Raghavlya Canto III Verse- 76
2 - Raghaviya. Canto XII. Verse - 63
 134

In the prominent Ambaranadlsastotra RPV describes

the svarOpa in different metres like Malini, PU9pitagra,

SardOlavikriqita, Mantakranta etc. The dasakas starts with

"Dhyayamastam" in the description of each incarnation of Lord in

Mantakranta metre. I

Among the nine incarnations the story of KGrmavatara

starts with-

~
"dhyayamastam jalab~hr"mahakundaram mand.'aram M----------- in

Mantakranta metre.

"dhyayamastam kanakaviiasatkuQQalamr91a gaQ9ham-------M

shows the description of Balabhadravatrara in Mantak,ranta

metre.

"dhyayamastam vanabhuvi sada vatsakam carayan-

t~am--------• shows the description of ...

Krsnavatara in

Mantakranta metre also.

1 - KSSC .P.120
 135

The poetic talent and skill especially in the composition

of poems in different metres are well clear in this stotra work.

In Ambaranadlsastotra the verses from 56 to 66 written

in MalinIvrtta shows the poetic merit and excellency of the

application of words by the poet. For example-

II MaratakamaQinlIam manjulaparigaillam

caritaguQavisalam candramassitaitasIlam

taralitavanamalam tapalopanukOlam

narasakhamanuvelam naumi gopalabalam.· (V.56)

In Sivasataka verses from 11 to 20 C\1e.described in

SardOlavikrI Qita, which too is of high poetic merit.

I
In the same way in Sivasataka the repetition of the letter

"sa" is very prevalent in the first each stotra. This shows the

poetic skill of Ramapaoivada..

 136

IISaranmegha svetamsa~sadharakalasekharam lokaramyam

~

Samasyaikavasam samitasamalam saila~ kanyopagadham

'-' "
Sayambhojab"ra j atparas~arir)arnsarikaram santibhajam
1\ L L L

Sar Iram te samb~ satadhrthinatarl1'sasvatam

~ . l
me cakastu ...

In SOryastakastotra
.. r.
also
.
the figure double-entendre is

used throughout the work by the poet ·Sli~~arthabandhana

In Raghavlya the poet acknowledges his indebtedness

to the Ramayal')a. The usage of illustrations for grammatical rules

and Alankaras can be seen in this work. This Work can be

compared to the epic poems like Sisupala Vadha and Nai~adha in

erudition and literary merits. For example-

·puros'ya Kecit tripuranajlghatan puravida~ kamamadltAlahan-

/
pare

pare tu vedanudajlharan dvija stathetare sindhusutam-

vyavIvahan2 •

1 - SPT 7. P. 186
2 - Raghavlya, Canto 1. verse 27
 137

Here the conjugations of roots 'dah' (to burn) 'ud+h(

(to lift) and 'vi + vah' (to marry) are derived in the above verse in

the "lung" tense in accordance with grammatical rules.

It is well clear from Kamsavaho and U?aniruddha that

the poet is well-versed in writing Prakrt poems. And also his

contribution to Prakrt literature -shows his proficiency and skill in

Prakrt language. His commentary on the Prakrtaprakasa of

Vararuci shows his extreme affection towards the Prakrt

language, which is a excellent literary piece.

SItaraghava, a major drama in seven acts dealing with

the story of RamayaQa is an exceptional one in Na~aka types

because the poet has effected many changes so as to derive the

desired dramatic effect, like theatrical effect. The author's skill: in

connecting the early incidents of Rama's life like the killing of

Ta1aka and Subahu with the latter events in the story is to be

appreciated. The narration of RavaQa's yearning for the union

with STta in the fourth act of this drama depicts the emotional
 138

feelings of a lover. A verse from that context is illustrated below:-

"dvandvam sundari ! PUr)9arlkamuku!aspardhalu vak90jayoQ

ga9ham vak9asi nik9ipa smarakrta\.-tarikasya larikapatet)

Kincodancaya cancalak9i vadanam cumbami bimbadharam

Kim va nabhidadhami kamitamito yaddevi ! daso'smi te.· (IV-25)

Vlth I" is one among the ten varieties of Sanskrit drama

which is a rare form. In Candrikavlthl" the author defines the

characteristics of Vlth I" type. It is an one-act drama with an

artificial plot having two characters, two sandhis (Mukha and

Nirvahar)a) and abounding in Akasabha9itas.

"'-
II patradvayaprayojya bhanavadekariksandhisca
• A.

akasabhasitavati kr;trimamitivrttamasrita Vlth

• 0 •
r·.
/

It is stated in DasarOpaka that a Vlth r must have

Kai~iki Vrtti and the rasa in it is Srrigara. (III. 68,69.)

Candrika Vlth I" and Lllavat I VIth I" are rich in beautiful
 139

descriptions and high poetic imagination. The poet had keen

observation of events happening in the life of LTlavatT.

For instance:-

'go~~hi sa vira!a na yatra gha~ate satta purobhaginam

_nari sa khalu durlabha na kusftisli~1am yadTyam manat)

du~prapam ca tadambu t Trajara]orajirna yaddiJ~ayed

dussadhaiica sukham tadavilayate dukhanuvfttirna yat.·

V.58.

•Prahasana' type of work like Madanaketucarita is

highly poetic having lyrical passages. It can be considered as a

work of amusement if the rules of prahasana are not applied.

In Rasakrlga. an illustration of MAnu91up· metre is vividly

explained which showed the masterly knowledge of the author in

vfttas and alarikaras. It is an appendix of the work ·Vrttavarttika·

having four sections. This work contains some general points

applicable to prosody.
 140

The author RPV's masterly -knowledge reflects in dance

drama work GItarama also. The author is depicted as a great

scholar, well versed in all sastras, puraoas, poetry, and drama

and a staunch devotee of the presiding deity of Ambalapuzha

temple.

Among the satire type of works Palhakacarakrama

occupies a prominent place. It is said that the author became

angry with a Cakyar and that prompted him to compose the

work, which is in the form of questions and answers.

Regarding the message poems of Kerala,

Sarikasandesa ' of RPV is very significant. A Sarika is being sent

as the messenger to Kr~oa for conveying the message. The state

of frustration of mind due to the sorrow of separation of the Gopi

"
is beautifully described.

"Tattvam tasminnamaratatinidhamni yatsannidhatte

.t-
Tatvam kincitparamamamalam dhama damodarakhyam
""
 141

tasmai tavat madhuravacane !9Li 9ham avedayethah." 1

0/.13)

The comparison of Kr~Qa appearing in countless forms

among the Gopis, to the moon reflecting in the waters in well,

pond etc., is a favorite simile of RamapaQivada..

Meko yadvattuhinakiraQat) kLipavapItataka

dyamb~scakrebahutanuranuprek~yatebhinnabhinnat)
(.

tadvadgop IVitati~u vibhasi sma nanasvarOpat)

srlgopalastvamapi khalu yo deva! tasmai namaste· 2

(V. 88)

Message poems supply various data about the

topographical, social, political, and cultural history of the land. 3

I

Sarikasandesa of RPV shows much light on the Sri

1 - Sarikasandesa. Edited by C.M.Neelakanthan Verse.13.

2 - Ibid.P.55.Verse.88.
3 - Some Sandesakavya and their bearing on Kerala History, Journal of
Kerala Studies, Vol. V
 142

Kr~l!a temple and Ambalapuzha. And also the socio - cultural

conditions prevalent in Ambalapuzha during the middle centuries.

The justification for employing the bird Sarika shows the ability of

the bird to reproduce human speech as a messenger.

Nmanu~yoktya manjumanaso harike sarike ! tva-

masapa:sagrathitahrdaya kiiicidabhyarthaye ham· 1 •
l

(V. B)

RamapaQivada had a deep knowledge in Ayurveda

which is evident from this stanza in this AmbaranaQlsa stotra.

" Bhai~ajyamarjjunarathasthamakatvanamlam
h<l.
dhosasciascidurarakti
• I\f"
sukhopasevyam.·

The word ·Sukhopasevyam· is a good example for his

knowledge in Medical Science.

The next two lines of the above verse substantiate" this point.

1 - Sarikasandesa edited by C.M.Neelakantan.

 143

"Samsararogaharam ambaravahin 1sam

Kamsaarinama gurudhama disete sukham nat)."

They denotes that medicines must have common tastes

like salty, chilly, bitterness etc. But the name of God is one

medicine without the above tastes. That cures completely the

disease for the people in this world.

The Ta�aprastara, a work in Sang 1tasastra shows the

.
poets wide knowledge in the field of music. Different Talas are

described vividly with explanations in this work.

.CONCLUSION
 144

CONCLUSION

Ramapar:,ivada. is a great scholar who has written

nearly thirty works in different branches of Sanskrit literature. It

consisted of mahakavyas, vithTs, prahasanas, na1aka, prosody,

grammar, music, dance, campu, commentaries and stotras

based on different fields of Sanskrit Literature.

The only one campu written by RPV is Bhagavata

campu which deals with the story of BhagavatapurarJa. This

Campu abounds in poetic imagination and brilliant descriptions

thereby revealing the poet's sublime, poetic sensibility as well as

profound scholarship.

The two mahakavyas namely RaghavTya and

Vi�r:,uvilasa reveals high poetic sensibility, and also ability of the

poet to increase the verbal charm without any strain. The

 145

Raghav1ya Mahakavya which is divided into twenty cantos deals

with the story of Ramayar:,a upto the coronation of Rama on his

return after killing Ravar:,a. The usage of illustrations for

grammatical rules and Alarikaras, deserve special mention in this

Poem. The literary merit of this poem are in conformity with the

conventions laid down for a Mahakavya.

Regarding Vi9r:,uvilasa Mahakavya, this work in eight

cantos describe the first nine incarnations of Lord Mahavi9r:,u . All

descriptions are based on Purar:,ic concepts, and the purar:,ic

story which got the form of a literary style so as to appeal the

devotees and scholars alike. As a fine specimen of a Mahakavya,

the poet interprets the Vedanta Philosophy also easily in terms of

Advaitic tenet.

Sharaghava, a major drama in seven acts deals with

the story of Rama. The great skill of the poet in creating and

handling situations are noted for theoretical effect. The

introduction of new characters and the presentation of the play

 146

considerably heightened the dramatic effect. They also helped

the proper development of the plot and sentiments in this drama.

The two VTthTs namely Candrika and Lllavati belong to

another variety of Sanskrit drama. According to RPV, it is a one

act play with an artificial plot, having two characters, two sandhis

(Mukha and Nirvahar:m) and abounding in Akasabha�ita. • The

peculiarity of this VTth T type of drama is that only King and

Vidushaka appear in the stage, and the story is narrated through

their conversations. The words of the other characters are given

- I
through • Akasabha�itas. •

As a prahasana type Madanaketucarita occupies a

prominent place amongst the works of RPV. The author admits at

the end of this work that if it doesn't apply to the rules of

prahasana model it can be considered as a work for amusement.

In the field of technical literature also RamapaQivada.

has written a number of sastra works. Vrttavart�ika and

 147

Rasakr i9a, Prakftaprakasavrtti, Ta)aprastara, Vivara,:1a

commentary on Dhatukavya, G Ttarama (AHakatha type) are some

of the Sastra type of works. The treatise on prosody Vrttavartfka

is dealt with many non-vedic metres grouped in the order of

"Prasthara" in addition to all common metres. In the end of

Vrttava�lka, as an illustration of Anu91ubh metre a small poem in

four sections namely • Rasakr i 9a • shines as an additional feather

to Vrttavarthika. It contains the amorous sports of the Gopis with

For the students of music and dance, Ta!aprasthara of

RPV is an added contribution to that field. His deep knowledge in

the above subject is an added asset to the literature world.

"Prakrtaprakasavrtti-, a commentary on the

prakrtaprakasa of Vararuci is the manifestation of the author's

deep knowledge in Prakrt grammar in addition to his own Prakrt

poems namely Kamsavaho and U�aniruddha.

 148

Another contribution to the Sastra field is the Vivarana

Commentary on the Dhatukavya of Melputtur Narayana BhaHa

relating to the non-parJiniyam schools of grammar.

RamapaQivada. has written many stotras mainly in

praise of Deities especially on Lord Vi 9J:lu, as he is staunch

devotee of Vi 9Qustotras of RPV contained high philosophical and

lofty ideals which appealed both the devotees and the people.

The main aim of stotra works is to create Bhakti in the· minds of

devotees towards the supreme soul by worshipping and reciting

stotras and mantras in its full fathom. The culmination of Bhakti

leads to salvation or Moksha. Melputtur in his NarayaJ:llyam

admits that Bhakti is equal to Mukti, and he craves for it as an

eternal service to God !1

Major stotra works of RPV are Mukuntasataka I & II,

Sivasataka and Ambaranadlsa stotra In most of his stotra works

the influence of NarayaQIyam of Melputtur NarayaJ:la Shalla can

be perceived evidently. The principle of Advaita doctrine is being

1 - NarayaQlyam of MelputtOr.Canto 94.V-6-10 Canto 77, Verse.11

 149

reflected throughout in most of the dev<?tional lyrics of RPV. His

another stotra work Sivasataka reflects his familiarity with

SivapuraQa.

In addition to the description of the glorification of

Kr~)J')a in Mukundasataka I & II, the poet has written another work

namely Arhbaranadlsa stotra in praise of God Kr~Qa of

Ambalapuzha temple, the favourite deity of the author. This poem

is a combination of highly philosophical, devotional, and rich lofty

ideals with excellent poetic merits too. The last part of this poem

is again devoted to glorify Vi~r)u. The Bhagavata story which

deals with Vai~r)ava Bhakti is depicted herewith. According to the

concept of Bhakti - the spiritual practice or unselfish love or

discipline namely Bhakti is to be nurtured to the optimum level by

each devotee for attaining the goal of salvation or self elevation.

I
I

RamapaQivada. has written panygeric poems like

DevanarayaQa Prasasti and Padukapallabhi~eka also.

 150

Thus stotra literature covers a major portion in Sanskrit

Kavyas and it has its own place in the literature world. It started

from Vedas and spreaded into puraQas and kavyas which formed

an important and integral part of Sanskrit literature. The authors

who contributed to this stotra literature from Kerala are numerous

who deserve special mention. Their contribution laid much stress

on philosopy, devotion, love and integration amongst people.

Hence the "stotras of RamapaQivada." if it is considered as a

bulk, is a collection of magnificent piece of work. This collection

reveals the historical sense, devotional fervour, poetic craft,

imaginative power, profound scholarship in philosophy and

grammar, skill of composition and keen observation of life and

human mind. A perusal of his works clearly indicates the above

qualities in Ramapa,:1ivada.
APPENDIX
 151

Appendix
Contribution of Kerala to Stotra Kavyas

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
1 Ak�arama\a�\aka RamapaQivada A stotra on Vi�DU KSSC IV P.121
2 Ak�aramala �tetra Puntanam Namputhiri A stotra in praise of Vi�QU KSC II P.467-8
3 Acyutanandalahari NilakaQthaTirthapada KSC V P.995
4 Adbhutastuti Kr�Dal I lasuka Stotra on God Harihara JTUOMLX-2
5 Anubhava�taka Kr�Dal flasuka Theme is self experience addressed Md.Series No.70 TSS.
to Kf�Qa. 211
6 Anubhutimanjari Kunnikf �Qakurup of KSC.IV.P.750
Kuttamath
# .

7 AnnapOrrJa�\aka Sarikaracarya KSC.I.P.104

8
9
.
ApaIQastava
-,
Ambaranad isastava
GaQapati Sastri. T
RamapaDiVada 113 verses in different metres.on the
KSSC.VI.P.9
KSC III.P.342-3
deity of Ambalapuzha. KSSC IV.P.116-121
10 Ambakrpambuvaha NilakaQtha Tirthapada KSC.V.P.995.
SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS
No.
11 AruQa$tambadrinathastotra Anonymous 16 verses on Bhagavati, probably of JTUOML.Vlll-1 .
ChengannOr.
12 Ardhanarlsvara stotra Sankaracarya KSC.1.104.
13 �vathagaryanatha�1aka Ramasvamy Sastri of On the Gaoapati installed and KSC.IV.P.187.
llathur consecrated by the author at llathur.
14 �1akavimsati Anonymous A collection of the twenty a�takas of
Rama Va.riyar of Kaikkulangara
15 �taprasasatakatraya Ramasvamy Sastri of llat- Comprising Durga�taprasa
tur Siv,a�tprasa and Vi�,:1uva�taprasa
16 ..
Astaksta
. stotra Ni lakal)\haTi rthapada KSSC VI.P.82 SNT
Samuchaya P.106.
17 Agneya�laka Ramavariyar of On God Agni KSSC.IV.P.593.
Kaikkulangara
18 Aiijaneya�taka Venkitachalam Ayyar of 100 slokas on Lord Anjaneya of KSC.V.P.764
Kaviyur KaviyOr in Travancore
 153

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
19 Adityat)rdaya Kr�Qan Gurukkal KSSC.V.P.370
20 Anandajanan1 Ramakurup of KSC.IV.P.737.
Kunamattu
21 Anandapaiijaram Udaya Varma Tampuran KSC.IV.P.542
22 Anandalahar1 Sankaracarya KSC.I.P.103
23 Anandavall1sataka Naraya.J)a Sastri (Son of Calicut 1902.
Anandakf�Qa Sastri)
24 Aradhyapadapaiicaka N1lak8.Q\ha T1rthapada On the author's Guru Chattampi KSC V P.995.
Svami
25 Aryag itisahasra Kesava Sastri On the saint DevakT nandana Swami KSC V P.963.
of Godavari in 1 O satakas respectively
named Vandana, Sava, Stuti, Sara.J)a,
Namat), Cam�vamT, Pujya, Yogi
and Mukta.
 154

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
26 Aryadvisati Ramasv:ami Sastri of 200 verses on Arya metre on Dev I. Included in the publi-
llathur cation Dev1 stotramala.
27 Aryasataka Anonymous In praise of Goddess at Sarngodyana TSS No.211, sto-
identified with Camakkavu near trasamahara Part I,
Pantalam in Travancore. 1964.
28 Aryasataka Kunnikkuttan Tarnpuran KSC.IV.360
of KotunnallOr
29 Aryasataka Ramasvamy Sastri of In praise of Goddess Gomat1 KSC IV.168
llattur
30 Ary�\o�asataka Ramasvamy Sastri of In praise of Goddess Gomat1 different KSC.IV.186
llattur from Aryasataka
31 Aryastuti Kr�r:ia Bhattathiri of 8 slokas with Yamaka in Drutavilam- CKSL 271
Kunnattur bita metre in praise of DevI. KSSC Vl-459
32 Asviney�taka Rama Variyar of KSSC IV.592
Kaikkulangara
 155

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
33 lhapuraryastava NTlakaQlha Sarma of A stotra on BhagavatT of lnnayOr, the KSC.V.970
Punnasseri native place of author
34 Udaflniiya �reSastava Krishna Varriyar of In praise of Lord Skanda at KSSC Vl.252
Tiruvalanculi. Udayanapuram near Vaikkom.
35 Umamahesvara stotra Sankaracarya KSC.1.103
(ascribed to)
36 OM Kumaran Asan. N. On the significance of PraQava KSSC.Vl.367
37 Kanakadhara stotra Sankaracarya
(ascribed to)
38 Kanyakumar1 m bhaje NarayaQa Pillai. P .K. 18 verses on the Goddess at Author translated this
Kanyakumari Work in English &
published in 1975 from
Trivandrum.
39 Kamalambik�taka Rama Varriyar of On Lak�mi KSSC IV.595
Kaikkulangara
 156

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
40 KaroamrtatarariginT NTlakar:itha TTrthapada CKSL.266
41 Kalinasana stotra Ramasvami Sastri of In praise of King Nala KSC, IV.187
llattur
42 Kalyanavr�!istava Sankaracarya KSC,1-103.
(ascribed to)
43 Katyayanistava Krishna Varriyar of On Durga of Cottanikkara KSSC,Vl.252-53.

Tiruvalanculi. (Lakucanilaya)
44 Katya.yanya.�taka NilakaQ\ha Tirthapada SNT,Samucq.ya P-118
45 Ka.tya.yanya.�taka Ravi Varma Koil On Goddess KatyayanT of KSC, IV,555,
Tampuran of Kumaranallur. KSSC, V.396.
Changanasseri.
46 Karaskares�taka Anonymous A stotraon Siva of Kannirannatu near KSSC, 510-11.
Talipparamba
47 Karkotaka stotra Kr�r:ialilasuka A stotraon Karkotakesvara ·(Siva) KSC,1.159.

,,
 157

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
48 Kartikeya�taka Ramasvami Sastri of KSSC, IV.407
llattur
49 Kalabhairava�taka Sankaracarya KSC,1.104
(ascribed to)
50 Kalipancaka Nllakaf)\ha Tirthapada Comprised in the collection of KSC,V.995; SNT.
Yogamrtatararigi,:li samuccaya. P.113.
51 Kalistava Kr�l'.lan Nampyar, P.K KSSC,Vl.277
52 Kasipancaka Sankaracarya
(ascribed to)
53 Kiritarudrastava Kesavan Nambisan of On the deity at Kiratur : Malayalam CKSL,266;
KTrafur work according to Vatakkumkur KSSC,V.228
54 Kiratavimsati Vidvan Rajaraja Varma Ullur states that only eleven out of he KSC, IV. 52;
Koil Tarhpuran of twenty slok'6 have been obtained KSSC, IV.377
Kilimanur
55 Kira�taka Anonymous On the deity Vettakkorumakan
 158

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
56 Kumaraka1Jtabhararya Nilaka1Jthan Mussatu of KSC IV.710
Manantala
57 Kr�ryakarryamrta Kr�QalIlasuka Devout lyrical stanzas on Lord Kr�rya. CKSL.31
Different recensions varying widely in KSC, 1. 151;
the number of slokas are known. KSSC, 1. 246.
According to Kerala tradition the work
has 309 verses in three Asvasas
58 K[�QakesadipadaVarQana Manavikrama EHan collected works Vol.II,

Tampuran Palghat, 1908.

59 Kr�Qakesadipadastava Rajaraja Varma Koil Tam- 45 slokas in Sragdhara meter follow- KSC,IV.564,
puran of E,:iryakkatu ing the Vi�,:iupadadikesastava attrib- KSSC, IV.636.
uted to Sankaracarya
60 Kr�oadSQgaka Ramasvami Sastri of On Rasakriqa KSC,IV.187.
llattur
61 Kr�oanamavaJi Udaya Varma Tampuran KSC, IV.542.
 159

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
62 Kr�,:tabalacarita Kr�,:talllasuka A larger version of Balagopalastuti
63 Kr�r:t111astava Rama Varma ParTk�it KSSC,IV, 428.
Tampuran
64 Kr�QI1lastuti Udaya Varma Tampuran KSC,IV.542.
of Mavellikara.
65 Kr�r:iavarada�\aka Kr�oalIlasuka A short stotra on Kr�oa. KSSC,1.159.
66 Kr�oakrpa stotra Vasudevan Namputiri of KSC,V. 982.
Valakkunnam
67 Kr�oa�\akam Devadevesanubhuti yati KSC, Ill. 37

(Kr�oahambhavana)
<c,� �l?T)as\a\Ja Narayana Menon ot CKSL,271.

VaJlathol
69 Kr�r:iastavaratnamalika Manavikrama Enan 11 Verses KSC, IV. 475.
Tarilpuran of Calicut.
70 Kr�r:iastuti Devadevesanubhuti yati KSC, Ill, 38.
 160

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
71 Kr�Qastuti Ramavarma KSSC,Vl.381
Tampuran �II) of
Pantalam
72 Kr�Qastuti Subrahmanya Sastri of Seems to be a musical work. KSC,IV.293.
Nalleppalli
73 Kr�Qa stotra Puntanam NampOthiri KSSC,111.521.
74 · Kr�l'Ja stotra Kr�r:tal Tlasuka 109 verses, many of them common S.K.De, KK,
with the verses in the second and Introduction
third asavas of KK and the
Sumangalastava, a version of
Bilvamarigalakosakavya
75 Kr�oa stotra Kerala Varma Tampuran An early work of the author KSC,IV,.670
of Pantalam
76 Kr�oa stotra Kesavan Nambisan of KSSC.V.299.

' KiraJur
 161

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
77 Kf �,:taryasataka Sundararaja Ayyangar KSC,IV.198
sastri of llattur KSSC, IV, 502.
78 Kr�,:taryasataka SubramanyaJ.yer of 100 verses in Arya metre on Lord KSSC,VI. 218-21.
Melarkotu Kr�r:ta
79 Kr�r:iavataracarita Ramavarma
slokamala
1
King of Cochin
80 Kr�r:ta�taka Manaveda KSSC, Ill. 336;
CP. 1. 428.
81 Kr�r:t�\aka Ramavarma Valiya Raja Comprised in the author's KSSC, Vl-179
of Cirakkal stotrasumanjali
82 Kr�r:t�\aka Sankaracarya sf},atstotraratriakara,Benaras, 1937 KSC, 1.104
83 Kr�oiya Anonymous 400 Sragdhara "slokas addressed to KSC, Ill. 78-79.
Guruvayupuresvara
84 Kesadipadavar,:tana Subhadra lkku Amma On the deity at the temple of CKSL, 261.
Tampuran Palayannur.
 162

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
85 Kesadipadastutit) Anonymous In five satakas KSSC- V- 415.
86 Kaustubha Ramavarma Valiya 141 verses on Lord Kf�Qa of KSSC, VI. 178.
Tampuran of Chirakkal Guruvayur summarizing the story of
the 10th Skandha of Bhagavata.
87 K�apcll)a�\aka Kerala Varma Valiya Koil Addressed to Goddess Kamaks T KSC, IV. 414.
Tampuran imploring pardon for the wrongs that KSSC, V. 98-99.
might have done.
88 Gangasahasranama stotra Tapovanasvami KSSC VI .315.
89 Garyapati stotra Kr�Qal1lasuka Composed at Dvarasamudram in KSC.1. 159.
Mysore.
90 Gcll)esaJ)ancaratna Sankaracarya Sarikaragranthava I KSC.I.P. 103
Sreerangom.Vol.17 1912
91 Ga,:lesabhujanga Sankaracarya Sankaragranthava I KSC.I.P. 103
Sreerangom.Vol.17 1912
 163

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
92 Ga,:iesa�taka N1laka,:itha TTrthapada. Comprised in the Collection SNT, samuccaya P.96.
stavaratnahara
93 Gaoesa�taka Manavikrama Ettan Tam- KSC.IV. P.475
puran of Calicut
94 Gaoesa�taka Rajaraja Varma. A.A. An early work of author KSC.V.P.793
95 Gaoesa�taka Rama Variyar of KSSC, IV.592.
Kaikkulaiuiara
96 Garuc;ta�taka Rama Variyar of KSSC, IV.594.

Kaikkulaririara
97 Girikanya�taka Rama Kurup of KSC, IV.736

Ku1tama��u
98 Gurupaficaka Kesava Sastri KSC, V.962.
99 Guruvandana�taka Kuririikri�,:iam Nampyar A Vedantic stotra KSSC, VI.454-55
of Narannoli
1 oo Guruvayupuresastava Avinasi E!uttacchan CKSL,268.
"
 164

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
101 Guruvayupuresastava KunnikuHan Tampuran of KSC, IV. 360.
Ko\unnallur.
102 Guruvayupuresastava Kerala Varma Valiya Koil 51 slokas each beginning in a letter of KSC, IV. 412.
Tampuran the alphabet in successive order, in KSSC, V. 95-97.
praise of the deity of Guruvayur;
written for cure of an ailment of the
author; composed in 1866.
103 Guruvayupuresastuti Devarajabhatta A summary of the 10th skanda of KSC, 111. 325-29.
Bhagavata in 1O satakas addressed
to the Lord Guruvayur.
104 Guruvayupuresa stotra Nariya,:,a BhaHa of 12 slokas in praise of Lord Kf�Qa of KSC, 11. 365.
MelputtiJr. Guruvayur.
105 Gurvaftaka Sankaracarya KSC, 1. 104.
106 Guhaftaka Naraya,:,agurusvami 8 verses in praise of KSSC, V. 360
Lord Subrahma,:,ya
 -, -= ...
165

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
107 Guha�taka N1laka,:1tha Ttrthapada A stotra comprised in collection

stavaratriahara
108 Gopalakeli Ramakurup of KSC,IV.736
Kuttamat,u
109 Gomatipancasika Kesava Sastri On the Goddess Gomati in KSC,V.963.

Karamana, Trivandrum.
110 Govindasataka Ramakurup of Composed in 1880; full of sabdacitra KSC,IV.737;
Ku\\amattu KSSC,IV.633-34.
111 Govindastotra Kr�,:1alilasuka 56 verses in praise of KpjQa S.K.De, KK,lntr.
112 Govinda�\aka Sankaracarya KSC,1.104
(ascribed to)
 '~

166

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
113 GaurlkeSadipadastava Vacanamalakara KSC, 11.231 Mentioned

(the author of the in VacanamaJa.

commentary

Vacanamala on

VisvarOpa's

114 GauridaSaka
115 Ghawam
116 Cariganadrlsvaristotra
1'17 Cidarnbara~taka
118 Cidambara~taka
commentary Balakr1da .
on Yajnavalkyasmrti)
Sankaracarya KSC.1.103
Paccu MGttatu of In praise of Lord Siva of Vaikom. to
Vaikom. be recited every day at the temple at
the close of the daily routine.
Kerala Varma Valiyakoil KSC.IV.411 ;
Tampuran KSSC.V.99.
Nanukutti Menon In Mattebha V[tta. KSC.IV.212-13.
NaraYaQagurusvami 8 verses on Lord. Cidambaresa KSSC.V.362.
 167

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
119 Cidatmikastava Narayana Pillai, P. K. 8 verses on goddess Durga in the
author's family.
120 Cellurapuresastotra Anonymous A collection of verses on several dei- KSC;lll.76-77
ties in various temples of Kerala. KSSC,111.526-27
121 Corasail�\aka Anonymous A stotra in praise of Durga at
Kalerkode at Alleppey.
122 Jagadgurustava Sarikarasubrahmar)ya KSSC,Vl.212.
Sastri. P.
123 Jagannatha�\aka Sarikaracarya KSC.1.104
124 Janan1stava Manavikrama EHan Tam- 8 slokas on the author's mother. KSC,IV.475;
puran KSSC,V.160-61.
125 Jayantamangala�taka Vatakkumkur considers On Vi�QU of Ceririamarigalam KSSC, Ill. 532, IV. 149.
the work as probably by
RamapaQiVada.
126 Tripurasundarya�taka Sarikaracarya KSC, 1. 103
 168

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
127 Tripurasundarikesadipadas- Ramasvami Sastri of 20 stanzas on the model of KSC. IV. 187.
tava lIattur GopikagIta in Bhagavata
128 Trisatyantaram Kerala Varma Valiya Koil A stotra on the supreme Goddess on KSC. IV. 414.
Tampuran the model of the well known KSSC. V. 99-101.
Lalitatrisati
129 TripurasundarlmanasapOjas- Sankaracarya KSC .1.103
totra
130 Tripura- Sankaracarya KSC. 1. 103

sundarIvedapadastotra
131 Dak~iQamartibhujanga NIlakary'haTIrthapada KSC.V.995
132 Dak~iQamartistava Kr~Qalllasuka On Siva stotrasarnahararn,
Part. 1, TSS 211. 1964.
133 Dak~iQam(jrtya~taka Rama Variyar of KSSC, IV 593.

Kaikkulatiara
 169

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
134 oak,iQamurty�1aka Sarikaracarya Stotra on Siva in the aspects as KSC, 1. 103-4.
Daksinamurti. (Tattvasudha, M,Srinivasa Roa. The
commentry of Svayamprakasayati outlines of Vedanta

and Manasollasa of Suresvara.) based onyi Sankara's

Dak�ioamurti stotra,
Bangalore.
135 DBQQ80athasotra Keral Varma Valiya Kail 117 slokas in diverse metres in prase KSC, IV 414.
Tampuran. of Daf)9anatha, the commander-in- KSSC, V. 104-8.
chief of goddess Lalita, for the
eradication of enemies.
136 Dasavatara Rama Varma Tampuran KSSC, IV 381.
of Pantalam
137 Dasavataradal)Qaka Rama Varma V. V. Sarma wrongly ascribes it to KSC, Ill 321.
(Mvati Tirunal) Svati Tirurial. KSC, IV. 204.
 170

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
138 DaSavataradaSaka Vidvan Goda Varma CKSL,248;
\l.
'/Yaraja of Kotuririallur KSC, IV. 34.
139 DaSavatarapaddhatit). Manavikrama EHanTam- Collected works;
puran Vol. II, Palghat, 1908.
140 DaSavataraprayojana. Kocunni Tampuran of KSSC, V. 320.
Kotunnattur.
141 DaSavatarastuti. Ravi Varma Tampuran of KSSC, VI. 92.
Ka\attanaQu.
142 Divyak~etradarsa Nllak8.Q\ha Tlrthapada stotras on the different deities of the KSC, V. 995.
temples in South India visited by the
author.
143 DevipadadikeSastotra Rama Varma of CKSL,273.

KoturirialiGr.
144 Devibhujarigaprayata ParameSvara'Sarma of KSSC, VI. 233.
Vattappalli.
 171

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
145 Durgastuti Kr�oalilasuka On the Goddess of Ariyannurkkavu in Ullur, POC, IX. 481-83.
Cochin state,in Malin, metre. The
colophon in a manuscript (TVM. Pal.
1172 G) shows that the work is also
known as Malin 1 stuti (after the metre)
and Mulakanyastuti and that the
author has written a stotraratna.
146 Durga,\aka Rama Variyar of In Vasantatilaka metre. KSSC, IV. 593.
Kaikkulatiriara.
147 Durgastava Raman Namputiri On the DevI at Teccikkattu kavu KSSC, Vl-125-26.
41 verses in Sragdhara metre.
148 Devadevesvr�1aka Vidvan Goda Varma A Padadikesastuti on Siva in 8 KSC, IV. 34. Kum.
�\raja of Kotuririallur verses. Krishna khare, Sagarika,
Vl.2. 189-90.
 172

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
149 DevanaraY8QTyam. A nephew of King 16 ~Iokas in praise of Lord kr~Qa in JTUOML, VIII. 2, 1955.

DevanaraYCll)a of Bhujangaprayata metre

Ambalapuzha.
150 Devi daQQaka. Rajaraja Varma, A.R. On the Goddess of KumaranallGr KSC, V. 800,

KSSC, VI. 33-34.

151 Devinamavali Udaya Varma Tampuran KSC,IV-542.
152 Devipadastutit) Rama Varma Parilk~it A digest of the Devlmahatmya KSC, VI-428.
Tampuran
153 Devibhulangam Sankaracarya KSC,1.103
154 De'Ji manga\a Rajaraja Varma.A.R. An early work of the author; 15 slokas KSC,V-793
summarising the SaptaSati written in KSSC, V1.31.
1880.
155 Devlmahatmya KunnuQQi Kurup of On Bhagavati of Ma!ayi Kunnu. KSC.lV.735;

Kuttamattu. (Tiruvarkatu); 130 verses in 12 KSSC,IV.400-1

cantos.
 .¥t;ij

173

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
156 Devlmahatmya NaraYaQan NampOt1iri of 20 daSakas KSC, IV.524;

(koleSvarlmahatmya) Sivolli KSSC, VI.193-97.

157 Devlmahatmya KoccuQQi Tampuran of 29 dasakas on the model of KSSC, V.314-20.

Kotuririallur Narayaryanlya addresssed to the

Goddes at Ko~uririallur and

summarising the Devlmahatmya in

the MarkaQQeyapurana.
158 DevlvBrQamuktaval, Ramasvami Sastri of 51 ~Iokas, each beginning with a let- KSC, IV.186.

lIattur ter of the alphabet and in praise of

Devi.
159 Devlstavamalika Kunan Variyar of On Kotikunnattu Bhagavati at KSC,IV.713

Marikulanara KOQana~umanakkai in Melatto!. KSSC, VI.112-14.

160 DevIstava Vidvan Kompi Accan In Vasantatilaka metre. KSC, IV.202
161 Devlstuti Ambadevi Tampuratti of KSSC, VI.394.
Cemprol
 174

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
162 Devistotra Rajaraja Varma Valiya KSC, IV.666.
Tampuran of Pantalam
163 Devistotra Rama Kurup of KSC, IV.736.

Kuttamattu.
164 Devistotramala llattur Ramasvami Sastri A collection of the following stotras. ALB, 27,1963.

1 . Asvathagar)anatha�\aka

2. Dharmasamvar�iQistotra
3. Aryadvisati
4. Tripurasundarigita
5. Lalitagita
165 Dev I��tyupacarapujastotra Sankaracarya KSC, 1.103.
166 Devy�\aprasasataka Ramasvami Sastri of KSC, IV.186.
llatur
167 Dvadasaliriga stotra Sankaracarya KSC, 1.104
 175

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
168 Dharmaprasastasataka Nilakar:tlhan Mussatu of KSC, IV. 170;
Maoantala KSSC, VI. 171.
169 Dharmasastasataka Rajaraja Varma Valiya Koil KSC, IV. 666;
Tampuran of KSSC, IV. 626.
Pantalam
170 Dharmasastastava Narayaoana Pillai, P.K. 9 verses in the temple at Taikkad in
Trivandrum.
171 Dharmasastastutikadamba Anonymous A collection of stotras on Sasta KSSC, VI. 266.
172 Dharmasasta�\aka SOryanarayar:1a Sastri On Lord Dharmasasta {comprised in
the collection of Hariharasutastutisu-
manjari)
173 DharmasamvardhanT Ramasvami Sastri of Probably on the sthalapurar:,a of KSC, IV. 186.
mahatmya llattur llattur; work not obtained.
 176

51. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
174 Dharmasamvardhani stotra Ramasvami Sastri of lIat- On the Goddess at lIattur. 15 stanzas KSC, IV. 187.
tur in SardOlavikriQita metre, the initial
letters of the verses giving the

adividyamantra.
175 DhanyamukhalaYeSa- Narayaryan I~ayatu of 51 slokas in SardOlavikri Qita in KSC, 111.531;
pancasika (stotrapancasika) Maccatu. praise of Vi~Qu (Dhanvantari) of KSSC, IV. 219-21
Nenuvay
176 Dhanvantara Ramakurup of Stotra on Dhanvantari KSC, IV. 736

KuHamattu.
177 Nak~atramala Ravi Varma Koil KSC, IV. 553.

Tampuran of

Changanasseri.
178 Nandagopakumara~taka Kr~Qan NampOthiri. P.K. KSSC, VI. 277
179 Narasimha~taka Rama Variyar of KSSC, IV. 592.
Kaikkulannara
 c·
_�Mf,4.Zeo.•:'--:�:,.D,:W4$M-l�e .. tp. . . ;-:,· t �.hr-4:...t.l4-c4$··· --� ...
- .,-.7!:'"�i,\t.).¢:.�.$�¥.. .. ..x,;;:"' . Jtl#Q !l'IJ!!

177

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
180 Narmada�taka Sankaracarya KSC, 1. 104
181 Navagrahastotra N ilakarytha TT rthapada SNT Samuccaya P.118.
182 Navaratnamalika Sankaracarya KSC, 1. 103
183 Navalayesvar, stava T, rthapadaparamahams- On Puthiyakavu Bhagavati at Parur. KSC, V. 997.
asvami.
184 Naradiyamahimanuvaroana Kerala Varma Valiya Koil An early work. KSC, IV.411,
Tampuran KSSC,V.121.
185 NarayaQapancasata Kerala Varma Valiya Koil An early work of the author. KSC, IV. 411.
Tampuran
186 NarayaQi�laka Rama Variyar of KSSC, IV. 593.
Kaikkulanara
187 Narayaniya Narayarya Bhatta of Mel- 100 dasakas summarising Bhagavata KSC, 11.360-64, V.838;
puttur and in praise of Lord Kr�oa of KSSC,111.52.
Guruvayur.
 _d949 $).,_ !'l!i
""' - :;1:�

-�·-·•."'!V""��

178

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
188 NiJamahatmya Anonymous On the sanctity of the river KSSC, IV. 234.
Bharatapuzha
189 NilakaQthapancaka Nilakar:,tha Tfrthapada In praise of Siva KSC, V.995
190 Nilak8Q\hasataka Nilakar:,than Mussatu of KSC, IV.710.
Manf antrala.
191 Nrsimha�laka Kr�r:ia Variyar of In praise of Nrsimha installed at the KSSC, Vl.253.
(Dak�ir:iavartakanathastuthi) Tiruvalanculi temple of Tiruvalanculi.
192 Nrsimhastotra Padmapada 8 slokas in praise of Lord Narasimha
193 Nrsimhanavaratnastavat) Kr�r:ialilasuka 12 verses of which 9 are in stotrasamaryarah Part 1 ,
Sragdhara metre, on Lord Nara­ TSS.211, 1964.
simha.
194 Nrsimhapadaiijali Ntlakarytha Tirthapada Comprised in the
collection
stavaratnahara; SNT
samuccaya. P.97.
 w.>.. )!~ Y·. .~- M

179

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
195 Pancagrama~taka Kerala Varma Valiya Koil On Lord Kr~l)a of AAcillarn. KSC, IV. 412.
Tampuran KSSC, V. 110.
196 Pancaratnamalika Nllakaolha Tlrthapada Comprised in the

collection of

stavaratnahara; SNT
Samuccaya, P.97.
197 Pancak~arastotra Nllakaolha Tlrthapada KSC, V. 995
198 Padmanabhaklrtana Kerala Varma of Published by Ullur in Vijnanadlpika, KSC,V.995.

Kottayam Part III; 1122. M.E, PP. 160-61.

199 Padmanabhapancaka Rajaraja Varma, A.R. In praise of 'sri Padmanabha' of KSC, V. 802.
Trivandrum in the form of a

padadikesavarQ8. composed in 1897.

200 PadmanabhaSataka Rama Varma Sva'ti A stotrain ten dasakas on KSSC, IV. 466-68.
Tirunal Maharaja 'SrT Padmanabha of Trivandrum,
m9delled on the NarayaQanIya.
 180

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
201 Padmanabhasataka Anonymous A Stuti on SrT Padmanabha of
Trivandrum but also forming an
account of the story in the Balakar:,Qa
in Ramayana.
202 Padmanabhastava Rama Varma Valiya Koil 12 slokas on Padmanabha of KSSC,VI. 178.
Tampuran of Chirakkal Trivandrum.
203 Padmanabhastuti Devadevesanubhutiyati KSC, Ill. 38.
204 Padmanabha�\aka Kuiiiian Variyar of On Lord Padmanabha of Trivandrum KSSC VI. 114.
Mankulannara
205 Pantalamahadevasataka Rajaraja Varma Valiya KSC,IV. 666;
Tampuran of Pantalam KSSC,IV. 626.
206 Paramabhattarakasvami- NTlakaQtha TTrthapada On the author's Guru Cattampisvami KSSC,VI. 67-68.
paiicaka
207 Paramasivastava Cattampisvami KSC,V.986_
 �·"!!!!
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· :="·�- ,uv,•. ;.A.JAA .. J.•.
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4 ,. -----·-·::•i-r,-a',......,-;.;�".-'ff'I'-';��

,y,,�·<'··-""' >U!••.... k,
181

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
208 Parastotra Sankara Bhattatiri of DevT stuti in 49 slokas. KSC, 11.317.
Kullkkatu
209 Parikhapuresastotra Rama Pisaroti of KSSC, Vl.128
Kitannur
21o Pa.Qc;iuranga�\aka Sankaracarya KSC, 1.104.
211 Parvatipadadikesastava Narayarya Menon of KSSC, VI. 375
Vallathol
212 Pundar ikapuresastotra Ramasvami Sastri of In praise of Lord Siva of Vaikom. KSSC, IV.409.
llattur
213 Pu�kalambanavaratnastotra SuryanarayaQa Sastri 11 slokas in praise of the Goddess
Pu�kala, consort of Lord
Dharmasasta
 182

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
214 Puspagirisastotra Cattukkutti Mannadiyar On Lord Sri Rama of Punkunnarn KSC, IV.609

(Aryasataka) near Trichur; 120 slokas in Giti metre. KSSC, V. 380-85.

Com: Sarabodhini by Kr�Qa Sarma

KSSC,V.385
215 PGmatrayisakesadipadavar- Valiya lkku Amma CKSL.261
narya Tarnpuran of Cochin KSC.IV.629.
216 PGmatrayisabhujanga- Narayaryan Narnputiri.P. Trippunithura-1967.
prayata
217 PGrnatrayisasataka V1rakerala Varma 102 1slokas in praise of Lord Vi�QU at KSC.111.44 7-8.
Maharaja of Cochin Trippunithura, displays his partiality
towards Madhvarnata
218 Purnatrayisastotra Ramavarma Maharaja of 151 slokas on deity at Trippunit�a KSC 111.442
Cochin
219 Purnatrayisastotra Ramavarma Par1k�it A stotra on the deity at Trippunit�Ya
,....
Tampuran
 183

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
220 Pratasmarar:la stotra Sarikaracarya KSC.1,104
221 Prarthana ..
Kufifiikuttan Tampuran of KSC,IV. 360.
Kotunallur
222 Prarthananjal1 Sukumaran Nampuriri of KSSC Vl.164
Palayit�
223 Prarthanapaficaka Rama Varma Par1k�it Contained in the
Tampuran author's ·stotras• a
collection published with
com. By Kiran­
nattuceriya
.. .
N arayana
nan Nampuy{iri
Vidyavinodhini Press
1106. M.E. Also
included in author's
stotramala.

SI. NAME OF THE WORK
No.
224 Balakr�oastuti
225 Balagopalastutif:l
226 Bahu\eyastava
227 Bahu\eya�,aka
228 Bilvama.tiga\akosakavya
229 Bilvamatigalastotra
184
AUTHOR PARTICULARS REMARKS
Kf�QalI lasuka Published by Ullur only
some versions in
Poe. X. 484-87.
Kf�Qal ilasuka KSC. I. 159.
Ntlakar:i\haTTrthapada On Subramonya SNT samuchaya P.238.
Naraya.ryagurusvami 8 verses in Sragdhara metre on Lord KSSC. V. 361.
Subramonia, every line beginning with
some b Ijak�ara.
Lllasuka This work, the Kf �l)astotra and S.K. DE, KK. intr.
Bilvamangalastotra are versions of
one and the same work.
Kf�QalIlasuka The work is in different recessions CKSL.33
ranging from 60 to 369 verses. The ALB.Vlll.43-45
larger recession found in BOAi is s.K.DE.K.K intr. P.XX.
divided into several sections.
 185

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
230 Buddha�taka
- ,.
N i lakar;ita Sarma of On Lord Buddha KSC.V.970
Punnasseri KSSC.V.194
231 Bhakthimaiijari Rama Varma Svati A stotra inspired by Narayar)anTyam KSC, IV. 12-13,
Tirunal Maharaja but divided into 1O satakas KSSC, IV. 441-458;
addressed to Sr, Padmanabha and Vemkitasubramonia
dealing with the different forms of lyer.S., Temple Entry
bhakti. Proclamation Silver
Jubilee Souvenir,
Trivandrum, 1962;
Malayalam transilation
by V.KrishnaSastri,
Trivandrum, 1972.
232 Bhaktirasayana Acyuta Poduval.K. 108 verses in different metres in KSSC, VI. 435;
praise of Lord Siva. ALB, 26, 1962,
PP. 124-25.
 186

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
233 Bhaktisamvardhanasataka Brahmada11a. 100 slokas in Mandakranta praising KSC, 11.351. Venki-
Ullur, however gives the Vi�r:iu and having a philosophical tasubramonia Iyer, S,
name of the author as import. • Bhaktisamvard­
Matrdatta and identifies hanasataka and its
him with the brother of author•, JTUOML, V, 3-
Melputtur Narayar:ia 4, 1949.
Bhatta.
234 Bhagavatinavamanjar1 Kesava Sastri KSC, V. 963.
235 Bhagavatikesadipada- Valiya lkku Amma KSC, IV. 628.
varr:iana Tampuran
236 Bhagavatya�taka Valiya lkku Amma On the Devi at Pazhayannoor, the CKSL, 261;
(Purr:ialayadh1 svar1 stotra) Tampuran of Cochin tutelary deity of Cochin royal family, in KSC, IV. 629;
8 slokas summarising the KSSC, IV. 619.
Devi mahatmya.
 187

51. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
237 BhagavannamakIrtana NarayaQa Sastri. son of

Anantakr~Qa Sastri.
238 BhagavanmanasapOja Satikaracarya KSC.1.104
239 Bhadrakalya~1aka NarayaQagurusvami 8 verses in 'SardUlavikrl<;Jita • metre KSSC. V. 361.
on Goddess Bhadrakal I
240 Bhadraka'ya~,aka Rama Variyar of KSSC, IV. 592.

Kaikkulanara
241 Bhadradr1nathastava Kesavan Namblsan of 1 08 verses on Siva of Perumala. CKSL.266.
Kilalur.
242 BhagavataStava Vasudevan Namput~iri of 11 verses on Bhagavatamahatmya. KSSC. VI. 302
Va!akunnam.
243. Bhik~ug Ttastava Manavikrama EHan A philosophical poem. KSC. IV.475.

Tampuran of Calicut.
244 Bhuvanambastava Vidvan Kompi Accan 16 ~Iokas inSikhariQi metre KSC, IV. 203.
245 Bhuvanesvaras!ava Vidvan Kompi Accan Composed in 1873. KSC. IV. 203.
246 Bhuvanesvara~~taka NTlakaothaTTrthapada KSC, V. 995
 188

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
247 Bhutanathagha Anonymous In the form of atmopadesa given to KSSC, IV. 269.
the Pandyan King by Sasta
248 Bhutanathastotra Suryanarayarya Sastri 11 slokas on Lord Dharmasasta
249 Bhutanathastotraval1 Rajaraja Varma Koil Tam- Two slokas and one song in praise of
puran of Kilimanur Bhutanatha (Sasta).
250 Bhutanatha�\aka Ramasvami Sastri of KSSC, IV. 407

llattur
251 Bhutapatya�\aka Suryanarayarya Sastri A stotra on Lord Dharmasasta
252 Bhramaramba�\aka Sarikaracarya KSC-1, 104.
253 Mangalaprarthanasataka Kerala Varma Koil On the journey to Benares of SrT KSC, IV.551;
Tampuran of MOlam Tirunal Maharaja of KSSC, V. 396.
LaksmT puram, Travancore.

Changanasseri.
254 Mangala�taka Rama Variyar of A stotra on various auspicious deities. KSSC, IV. 595.
Kaikkulariara
 189

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
\ e.
255 Madhubhitstuti SUbrahman~yYcrr of 134 verses on Vi~l')u. KSSC. VI. 227-28.

Melarkotu
256 Madhusudana~\aka Ramasvami Sastri of KSC. IV. 186.

lIattur
257 ManikarDika~,aka Sailkaracarya KSC, 1.104.
258 Mantramatrka- Sankaracarya KSC.1.103.
pu~pamalastava

259 Mahaka'a~,aka Kr~Dalllasuka A short stotra on Mahakala KSC, 1.159.

260 Mahadeva~,aka Rama Variyar of KSSC, IV.592.S.33.3

Kaikku\anara
261 Mahaprabhupadaprasasti Sambasiva Sastri. K. A small stotra on the deity at Vaikom. KSSC. V1.174.
262 Mayastava VasuQQi MOssatu of 51 slokas in praise of Goddess KSC. IV. 700;

VellaQasseri Parvati KSSC. IV. 677.

263 M Tnak~ Tpancaratna Sarikaracarya KSC.1.104.
 190

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
264 Mukundamala Kulasekhara Alvar. A stotra on Lord Vi�QU. KSC-1.89;
According to KSSC, 1-116-22.
Va\akkumkur this is a
work of Kulasekhara Var­
man, not of the Alvar.
265 Mukundasataka RamapaQivada A stotra modelled on NarayaQan 1yam KSSC, IV. 113-15.
addressed to the deity of Commentary.
Mukundapura (lrinjalakkuda, Vyakhya by Rama. :-
according to Ullur). Written at the KSSC, IV. 115-16.
instance of MaQakkuJattu Rama
Varma.
 191

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
266 MukundaSataka Ramapal')ivada Different from the work of the same KSSC,IV-123-26.
name which has been commented on
by the author's Sati rthya. As in
NarayaQanlya, the author prays for
the cure of his ailment.
267 Muktisthala Dev1stotra Anonymous. 52 verses in different metres on the
Dev I of Mukkola.
268 Muk- NarayaQan Nambisan of Presumably on the Goddess at KSSC, VI. 385.
tisthaladh Isvarlka,ak~a~,aka Muriyi\ Mukkola.
269 Muktistha\\ svar\ stotra Anonymous 51 verses in different metres on Durga KSSC, 111. 328-32.
of Mukkola.
270 Muraripustotra Vidvan Goda Varma 18 slokas in praise of Vi~Qu. KSC, IV. 34.~

"Paraja of Kotunnallur Krishna Khare,

Sagarika, VI. 2, P. 190.
 192

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
271 Mukambika�o9asi Kunnikf�Qa Kurup of A stotra in Sardulavikr T9ita metre on KSC, IV. 750.
KuHamattu.. the Goddess at Mukambika, the

slokas beginning with the alphabets

in order.
272 Mukambikastava Kf�Qan Nampyar, P. K. KSSC, VI. 277.
273 Mukambikastotra Avinasi E!uttacchan slokas in alphabetical order. CKSL, 268;

KSSC, VI -127
274 Mukambikastotra Kunnampu Kurup of KSSC, V. 233.
Ku\\amattu..
275 Mrtyunjayamanasikapujasto- Sarikaracarya KSC, 1.103.
tra
276 Mrtyunjayamukuo9astotra Rama Kurup of 7 slokas each applicable to both Siva KSC, IV. 737.
KuHamattu.. and Vi�QU.
277 Mronathastotra Anonymous On Visnu of Sametamrt (Kodamannu) KSSC. 111. 525-26.
• • • t . ..
 193

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
278 YamaprClQ am asataka Kerala Varma Valia Koit Composed in 1880 to express the KSC, IV. 419;

Tampuran author's disappointment and KSSC, V. 108-110.

indignation at the refusal of Ayilyam

Tirunal Maharaja to release him from

imprisonment, which he had implored

in his K~amapar:'asahasra; written in

the form of a prayer to Varna by the
citizens of Mathura subjected 0 the
oppression of Kamsa.
279 Yamuna~laka Sarikaracarya KSC, 1.104
280 Ragamala Kottayam Kerala Varma A Devlstuti in 8 sections, each pada Published by Ullur in his
Tampuran in different raga the name of which VijnanadlPika Partlll (3rd
occurs in it. impression 1123) P.P.
259-60.
 194

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
281 Ragamudrasaptaka Rajaraja Varma. A. R. 7 slokas containing the names of KSC, V. 799.
different ragas, each sloka forming an
invocation of some deities; composed
in 1889.
282 RamagTtapaddhati Manavikrama EHanT.-m­ Collected works, Vol.11,
puran Palghat, 1908.
283 Ramacandrakarunasamsa Rama Kaimal 102 slokas KSSC, VI. 378.
284 Ramacandra�\aka Kr�Qal1lasuka KSC, 1.159
285 Ramanamanavaratnamala Manavikrama EHanTam- Presumably on the deity at KSC, IV. 47
pu,tran of Calicut. Ramesvaram.
286 Ramanamavali Udaya Varma KSC, IV. 542.
Tampuran.
287 Ramapancasati Ramaparasava On the deity of lrinjalakkuda, modeled KSC, 111. 257-58;
on Naraya,:taniya. 50 dasakas dealing KSSC, 111. 411-421.
with Ramayana story. t.-..:-.-.::;,
 195

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
288 Ramabhaktisevastava Manavikrama E\\anTam- 5 verses on Rama KSC, IV.475.
puaran of Calicut.
289 Ramabhadrasataka Sundararaja KSC, IV.198.

Ayyangar Sastri of llattur

290 Ramabhadrastotra RamapaQivada Each sloka beginning with a letter in KSSC, IV. 121-22.
order from. ·sakalalokaguravena-
mat)._
291 Ramasataka Devadevesanubhutiyati A stotra in Arya metre. KSC, 111. 37
(Ramahambhavana)
292 Ramasataka Rama Varma KSSC, IV. 625.
Tampuran(1) of
Pantalam
293 Rama�a9ak�arastotra NilakaQtha Tirthapada SNT. samuccaya, P.96.
294 Ramastava .. ..
Kuttampalli Raman Nam- 30 dasakas addressed to Rama KSC, VI. 242-44.
pyar dealing with the Ramayana story.
 196

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
295 Ramastutiratna Ramasvami Sastri of llat- An appendix to the author's KSC, IV. 193.
tur Sadv[ttaratnavali and dealing with
certain rare metre.
296 Ramayat')asataka Devarajabha1ta 100 slokas in Sragdhara metre; on KSC, 111.330
the Ramayana story.
297 Ramayat')aslokamala Rama Varma Maharaja of KSSC, IV. 350
Cochin
298 Ramasrayastotra Ramasvami Sastri of llat- On the model of ·Gopikagha· in KSC, IV. 186.
tur Bhagavata
299 Rama�\aka�\aka Rama Variyar of Kaikku- KSSC, IV. 592.
lariara
300 Ram Tyastotramala Rama Varma KunfiUQQi 1011slokas in the form of a prayer to KSSC, V. 387-88.
Raja of Ciralayam Rama and summarising the
Ramayana Story.
301 Rasama,:igala�taka Kr�QalIlasuka
 197

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
302 Rasavilasa Melputtur Narayarya nab- CKSL, 148
hatta(attributed to)
303 Lak�m TnrsimhakaruQarasa Sankaracarya KSC, 1.103
stotra
304 Lak�m Tnrsimhapaiicaratna Sankaracarya KSC, 1.103
305 Lak�m Tstotra
306 Laksmiprasasti Rama Kurup of
Ku\\amattu.
307 Lak�m1 stotra Kesavan Namb1san of 100 verses on Goddess Laksmi KSSC, V. 228-29
Kiralur
308 Laghubhagavata Vasudevan NampOt�iri of Addressed to the deity of Guruvayur, KSSC, VI. 300-303.
(Bhagavatadhyayasara) Valakuririan. each chapter of the Bhagavata being
condensed in one verse.
309 Lalitapancaratna Sankaracarya KSC, 1,103.
310 LalitapratasmarQa Ramasvami Sastri of llat- KSC, IV. 187.
tur
 198

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
311 Lalitambadao9aka Kerala Varma Valiya Kail On the model of 'Syamaladao9aka' KSC, IV, 411;
Tampuran composed in 1875. KSSC, V. 97.
312 LalitambadaQ<;iaka Ravi Varma Kail KSC, IV. 555

Tampuran of

Changanasseri
313 Lalitambastotra Kerala Varma Valiya Koil A stotra o the Supreme Goddess, KSC, IV. 414;
Tampuran 117 slokas stated as composed by KSSC, V. 102-4.
Vasudeva during his imprisonment.
The slokas are in long metres and in
the form of a prayer. They comprises
on the whole, 1000 Sambodhanas.
314 Lokambiavimsati Ravi Varma Tampuran of stotra on the goddess at KSSC, VI. 92.
Kalattanadu. Lokamalayarkavu.
315 Vanculesastava Subhadra lkku Amma CKSL, 261;
Tampuran KSC, IV. 628.
 -�;, '.��?!!;��/rljf)¥l¥$#f( ?£.d --�

199

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
316 Vaganandalaha1i Rama Variyar of Kaikku- 1 08 slokas in 'Sikharin1 metre in KSC, IV. 273;
lanara. imitation of SaundaryalaharT and in KSSC, IV. 595-96.
praise of Vagdhenu (Sarasvati} in the
Suryamal)dala.
317 VagTsvarya�\aka N1lakaQ\ha T1rthapada SNT. Samuccaya P. 96.
3 � 8 Vamadevastava Rama Variyar of Kaikku- 42 slokas in Sragdhara metre on KSC, IV. 273;
lanara. Siva. KSSC, IV. 596.
319 Vasudevasataka Devadevesanubhutiyati ln Malini metre. KSC, 111.37.
320 Vasudevastotra Puntanarn Narnputhiri KSC, 111. 521.
321 Vasudeva�\aka Naraya.Qagurusvarn\ 8 verses in Vasantatilaka metre in KSSC, V. 360-61.
praise of Lord Kr�Qa.
322 Vasudeva�taka Rama Variyar of Kaikku- KSSC, IV. 593.
lanara.
323 Vijayavimsati NTlakaQ1han Mussatu of KSC, IV. 710.
Manantala
 ,•.,c<•••'"""""'""""'•"'-··'·""'4.\.1\@,� ·--�

200

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
324 Vidyunmalastuti Rama Variyar of Kaikku- KSC, IV. 271.
lariara.
325 Vinayaka�laka Narayal)agurusvami 8 verses in Bhuja.ngaprayata metre on KSSC, V. 359-60.
Lord Ganapati
326 Visvanatha�taka SastriS�a Pubished as an appeddix to the KSSC, VI. 161.
author's GangatarangirjL
327 Vi�amrtyunjaya N1laka1Jtha T,rthapada KSC, V. 995
328 Vi�QUkesa- Koccukr�oan Asan, KSC, V. 525.
dipadapadadikesastotra Nedumpayil
329 Vi�QUkesadipadastapadi Ma.navikrama EttanTam- KSC, IV. 475.
puaran of Calicut.
330 Vi�Qunavaratnastuti NTlakarytha TTrthapada KSSC, VI. 82;
(Harinavaka) SNT.Samuccaya pros
331 Vi�QUpadadikesantastotra sankaracarya KSC, 1.103.
332 Vi�ryubhujariga sankaracarya KSC, 1.103.
 201

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
333 Vi�QUbhujangaprayata
334 Vi�l)UVibhutilesastotra
335 Vi�QUStUti
336 Vi�oustuti
337 Vi�r:iustotra
Damodaran Namputiri of KSC, IV. 530
Karuttapara
Rama Varma Parik�it Contained in the
Tampurin authors storani, a col-
lection published by
Kirannattu Ceriya
NaraySQa nan Nampu-
tiri, Vidya Vinodini Press,
1106.M.E.
A nephew of King KSSC, 111-515-17.
Devanaraya,:1a
Kr�Qal Tlasuka
.
Sukumara Pilla ,
ALB, 8-43-45.
KSC, IV. 662.
�
 202

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
338 Vi�Qustotra Nedumpayil K[�Qan Asan Comprising a Padadikesa as well as Text given in the Int. to
a Kesadipada; 38 verses. K.Sankara Manon's
edition of Bha�a Jataka
cl--
PadRati, PP.XXV-XXX,
Trivandrum, 1926.
339 Vi�ryustotrasataka T1rthapadaparamahamso..-A praise of Vi�QU incidentally dealing KSSC, VI. 346.
�svami with Vedanta doctrines.
340 Vi�QV�\aprasasataka Ramasvami Sastri of llat- stotra in 100 verses on Vi�QU. KSC, IV. 186
tur
341 Vpidavanastotra Kr�Qal1lasuka 60 verses in description of Vrndavana CKSL, 48,
(Vpidavanastuti) and Lord Kf�Qa. HCSL, 366;
KSC, 1. 159.
342 Vedasara sivastotra Salikaracarya KSC, 1. 103.

SI. NAME OF THE WORK
No.
343 Vai�l')avag itapaddhatit)
344 Vya.ghrapurT sasataka
345 Vya.ghra.tavisvasataka
346 Vyaghralayesanak�atra.ma.la. Pa.cu Muttatu of Vaikom.
347 Vyaghralayesasataka
348 Vyaghralayes�taka
203
AUTHOR PARTICULARS REMARKS
Manavikrama EttanTam- Collected works of
puara.n Manavikrama Ettan­
Tampuran, Vol.II. Palg­
hat, 1908.
NarayaQa Sastri.K.S. On Lord Siva of Vaikom. KSSC, Vl-254-56.
Kr�r:tan Narnpuiri of 100 slokas in 10 dasakas on the deity KSSC, V. 422-23.
Nallurkanti at Vyaghratavi (Narikkattiri) near
Vadakara.
KSC, IV. 161.
Kerala Varma Valiya Koil In praise of the deity of Vaikom on the KSC, IV. 414;
Tampuran model of Narayar:ianTya; 10 �lokas; KSSC, V. 90-92.
composed in 1888.
Narayaryan Namputiri of On the deity of Vaikom an image of KSSC, V. 217.
Tarani lllam whom was installed near the author's
home.
 204

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
349 Vyaghralayesasataka Anonymous 100 slokas in sragdharara in praise Published in
of Vaikom and Lord Mahadeva there. stotrarr:1avah, Madras
'2 0 tv\ \_,. Series
70, 1961.
350 Vyaghralayesastavah Kr�Qa Variyar of Composed in 1899. 365 verses com- KSSC, VI. 249-52.
Tiruvalanculi " Sloka each
posed at the rate of oe
day in praise of the deity at Vaikom.
351 Sankararbhodaya NilakaQlha T1rthapada A stotra on SubrahmaQya KSC, V.995;SNT
samuccaya P.143.
352 Satapatrastotra Naraya,:1an Namb1san of On DevT KSSC, VI. 391.
Muriyil
353 Satrusamharaprart- Kerala Varma Valiya Kail Addressed to Goddess Katyayani for KSC, IV. 414;
hana�taka Tampuran the destruction of enemies KSSC, V. 98.
 205

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
354 Sabarigirttirtha1ana
355 Sabarigirisamahimasotra
356 Sabarigirisastotra
357 Sabarigirisvarakesadipada-
varnana
358 Sarvar:iicaritastuti�
359 Saradabhujarigaprayata
360 Saradasuprabhatam
NarayaQa Pillai, P.K. 41 verses on Lord Dharmasasta at Trivandrum, 1975 (with
Sabarimala the English translation
by the author)
Suryanaraycll)a Sastri 1 O slokas in praise of Dharmasasta of Comprised in the Col-
Sabarigiri. lection. Hariharasu­
tastuiisumamanjari)
Rajaraja Varma Valiya KSC, IV. 666.
Tampuran of Pantalam
Kerala Varma Tampuran KSC, IV. 671.
of Pantalam
. Pandita
Narayana ... '
Mentioned by the author in his Sarma, K.V.
Kumarasambhavavyakhya; work not JTUOML, 111.
obtained.
Sarikaracarya KSC, 1. 104.
Balarama Panikkar, K. 15 verses on Sarada Devi at Sivagiri Trivandrum, 1975.
 '" .�•.•c.·,,e.•:"'.''°"'!"··"B:,, .�,._QJJ}i ,,�

206

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
361 Saradastava Kumaran Asan, N. Two stotras of 8 slokas each. KSSC, VI. 367.
362 sastrstuti Aryan Narayaryan KSC, IV. 571.

MOssatu of Vayaskara.
363 sastra�\aka Kerala Varma Tampuran An early work of the author. KSC, IV. 670
of Pantalam.
364 SikhariQ1 stuti Kesava Sa.stri Composed in 1899. KSC, V. 963.
365 Sikhivahanadasaka Kumaran Asan, N. 1 O slokas on Lord Subrahmanya KSC, V. 921;
KSSC, VI. 367.
366 SivakesadipadavarQana Valiya lkku Amma Tam- KSC, IV. 628.
puran
367 Sivakesadipadastava Sankaran MOssatu of CKSL, 260;
Ki!akke Pullam KSC, IV. 260.
368 Sivakesadipadastotra Sankaracarya KSSC, IV. 569.
 ----C""� -�

207

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
369 Sivag itapaddhatit) Manavikrama EnanTam- Collected works of
puaran Manavikrama EHan-
Tampuran, Vol.11,
Palghat, 1908.
370 Sivanamavaly�\aka Sankaracarya KSC, 1.103
371 Sivapancaka NI lakcll)\ha T1 rthapada Sanskrit stotra printed along with the KSSC, VI. 78,
author's Malayalam Work SNT samuccaya, P.114.
Hathayogapradika.
372 Sivapancak�aranak�a- Sankaracarya KSC, I. 104.
tramalastotra
373 Sivapancak�arastotra Sarikaracarya KSC, 1.103.
374 Sivapadadikesantavar,:tana Sarikaracarya KSC, 1.103.
stotra
375 Sivabhaktisaptati Rama Variyar of Kaikku- KSSC, IV. 597.
lanara
 ''"•-,,.�

208

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
376 Sivabhujanga Sankaracarya KSC, 1.103.
377 Sivabhujangaprayata Paramesvara Sarma of KSSC, VI. 232
Vattappalli.
378 Sivavimsati N arayarya Sastri, son of Calicut, 1902.
Anantakr�r:,a Sastri
379 Sivasataka Ramapa.Qiva.da KSSC, IV. 110- 13.
380 Sivasikharir:, 1 According to KSSC, 111. 422-23.
Va\akkumkur possibly by
Rama Parasava, author
of

Ramapancasati
381 Sivastuti Acyuta Poduval CKSL, 271.
 209

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
382 Sivastotra Rama Varma Parik�it Contained in the
Tampuran author's stotras, a
collection published by
Kirannattu
,, , Ceriya
NarayaQan Namputiri,
Vidyavinodini, Press,
1106.M.E.
383 Sivastotra Rama Kurup of KSC, IV. 736
Kut18(llattu.
 .-.,.,.,,,,-

210

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
384 SivagitT Ramapar:,ivada A work in praise of the Goddess at KSC, 111 -369-70;
(also known as Pancapadi, Mukkola; it is modelled on KSSC, IV. 126-135.
the name used by Ullur) Jayadeva' s GT tagovinda in the form Rajagopalan, LS,
of slokas and songs; contains six ·sivagitf.. Journal of
cantos each containing six songs and Music Academy,
some slokas. Madras, 36; Sivagiti.
MW. 25-7-1965.
385 Sivanandalahari Sankaracarya KSC, 1. 103.
386 Sivaparadhak�amapar:iasto- Sankaracarya KSC, 1. 103.
tra
387 Sivakhya Koccur:,r:,i Tampuran of On the greatness of the name •s;va•. KSSC, V. 320.
Kotuririallur
388 Siva�taprasasataka Ramasvami Sastri of llat- stotra in 100 versions on Siva. KSC, IV. 186;
tur KSSC, IV. 409-10.
 211

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
389 Spigaramaiijaribhaoa Kerala Varma Valiya Koil A BhaQa composed in 1868. CKSL, 255;
Tampuran KSC, IV. 413;
KSSC, V. 120-21.
Parameswara Iyer,
Ullur\ 'Valiya koil
Tampurante
I Srnga7'famanjarib­
haoam', SPT, VII. 187-
210.
390 sooadrisastotra Kerala Varma Valiya Koll On the deity at Chengannur; written HCSL, 258; KSC, 1V.

- -
(Aryastotra) Tampuran at the instance of Vannippula 416; KSSC, V. 92-95.
Pandarattil; 102 verses in Arya metre.
 212

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
391 SoQadr T sastotra Paramesvara BhaHatiri of A stotra on the model of KSC, IV. 116-17;
(Sahasrika, �\akamala, Talaman Narayaryaniya addressed to Siva of KSSC, IV. 422-23.
Paramesvaram) Chengannur and dealilng with the
Sthalapurana
392 S0Qadr1svar1stotra Sukumara Pillai KSC, IV. 662.
393 sr1kary\hamr\alahari N1lakarytha T1rthapada 52 slokas on the model of SNT. Samuccaya,
(Saubhagyalahar1, Sivanandalahar1 PP.98-104; KSC, V.

Saumanasyamrtalahar1) 995; KSSC, VI. 68-69.

394 Sr1kaQ\hesvarastotracinta- Ramasvami Sastri of llat- On the deity at Srikanthesvaram in KSC, IV. 187.
maryi tur Trivandrum.
395 Srinarayaryagurusu- Balarama Panikkar, K. 51 slokas on the spiritual leader Sri- Trivandrum, 1973.
prabhatam NarayaQa na Guru.
 213

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
396 Sr1 padmanabhak�aramalika Anonymous 16 slokas in Mallika metre, one the Sarma K.V,
burden and the rest beginning with MW, 17-3-57.
the vowels in order on
srT Padmanabha of Trivandrum.
397 Sr,padasaptakam Vidvan Goda Varma Enlogy on Goddess Laksmi in 11 slo- KSC, IV. 34;
"( uvaraja of Kotunnallur kas KSSC, IV. 338,
Krishna Khare,
Sagarika, VI. 2, P. 189.
398 Sr1 padasaptat, Naraya{)a Bha\\a of A stotra on Bhagvati of Mukkola KSC, 11. 365.
MelpattOr
399 Sripadadikesapancasika VaSUQQi MOssatu of 50 verses in different metre in praise KSC, IV. 700;
Vellanasseri of Goddess Bhagavati KSSC, IV. 577
400 Srimadacaryanavaratnamala Subrahmanyayyar of Nini slokas on SriSankaracarya KSSC, VI. 229
Melarkotu
 . ,:--h::·+414Jtt,ff¥i..l'ffl ' --�

214

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
401 Sr,madaradhyapancakam
402 sr1ramapanjara
403 Sr, ramakarr:iamrta
404 Sriramabhuja.Jiga
405 Sr,vallabhesasuprabhatam
406 s,Tsoryadrsivastava
NTlakarytha T1rthapada Five verses on the author's Guru KSC, 111.993.
Cattampisvami
NI laka,:tthan Mussatu of KSC, IV. 710.
Mannantala
Anonymous In imitation of Kr�,:takarnamrta: likely KSC, 111 . 81 :
to be a Keraliya Work. KSSC, 1. 254.
Sankaracarya KSC, 1. 103
Narayarya Pil\ai, P.K. 27 verses on Lord Srivallabha at Trivandrum, 1974.(with
Thiruvalla the malayalam Com-
mentary•syamanan-
davrtti by the author)
Narayarya Pillai, P.K. 28 verses on Siva and Parvati at Trivandrum, 1975 (with
Chengannur the Malayalam
Commentary by the
author)
 215

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
407 SrTstavaratnakara NTlakaQ\ha TTrthapada CKSL, 266.
408 Slokavimsatimalika Rama Pisaroti. K. A stotra on Vi�r:,u KSSC, VJ. 155
409 SvetaraJ)yastuti Probably by Vasudeva of A prose stuti on Siva of CKSL, 123;
VeHattunadu Trpparangodu temple dealing with the KSC, 11. 286;
Sevakrama written at the command KSSC, 1. 452
of King Ravi Varma of Vettattunadu.
41O $a\padistotra Sankaracarya On Vi�r:,u KSC, 1.104
411 $a9ankuresa�\aka Kerala Varma Valiya Koil On Lord Kr�Qa of Aranmula KSC, IV. 412;
Tampuran KSSC, V. 110
412 Sa,:imatura�laka Narayal)agurusvami 8 verses in praise of Lord Included in 'Sri-
Subrahmanya NarayaQagurudevakrtik�
/ published by Sri
NarayaQadharmasarig­
ham Trust, Varkala,
1967.
 ··-�..� - t!'l-- _,,.__ w_,4_,;t,4WJ4}4i

216

SI. NAME OF THE WORK AUTHOR . PARTICULARS REMARKS

No.
413 Sangamesastotra Govinda Namputirippadu On the deity at lrinjalakuda on the CKSL, 271;
of Tararyanallur model of Narayaryan Tyam. KSSC, IV. 198.
414 Sarasvatinak9atramalastava K[9Qa1Ilasuka A stotra on Sarasvati in 32 stanzas stotrasama.harah, TSS.
211, 1964.
415 Sarasvatya.9\aka Manavikrama E\\anTam­ KSC, IV. 475
puaran of Calicut
416 Sarvadevanamaskara Sukumara Pilla KSC, IV. 662
417 Sarasvata Rama Kurup of KSC, IV. 736
Ku\\amattu.
418 Sa.rasvata91aka Rama Variyar of Kaikku- In praise of Dhenusarasvati KSSC, IV. 592.
lanara
419 SudhanandalaharT Vidvan Goda Varma 35 slokas in glorification of Ganga. KSC, IV. 34. Kum.
'{�'bt_varaja of Kotunnallur Krishna Khare,
Sagarika, VI. 2, PP.
190-91.
'
 217

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
420 Subrahmanyabhujariga Sarikaracarya KSC, 1-103
421 Sumarigalastotra Kr�oalilasuka 383 verses, many common with Described by
Kr�,:1akarnamrta II and 111 arranged in Eggling(See S.K.De, KK,
section like Kaumaram, Tarunyam Introduction P.XXI)
etc., as in Bilvamangalastotra.
422 Suvaroamalastuti Sarikaracarya KSC, 1.103
423 Suryasataka Kesava Sastri Composed in 1902 KSC, V. 963.
424 Surya�taka Ceriya Vasu of KSC, IV. 108

Katattanadu
425 Surya�taka Nilak8Qtha Tirthapada KSC, V. 995, SNT.
Samuccaya. P.P. 143.
426 Surya�taka RamapaQivada KSC, 111. 343-44;

KSSC, IV. 122-23.

427 Soma�taka Rama Variyar of Kaikku- On Moon-god. KSSC, IV. 593.
lariara
 218

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
428 Saundaryalahar I
429 Saubhadrastava
(PGJ'l)atray1 sastotra)
430 Saumyakas1sastotra
431 SkandadSQQaka
Sarikaracarya KSC, 1. 103
Valiya lkku Amma 44 slokas addressed to PGrnatray T sa CKSL. 261;
Tampuran and summarising the Bhagavata KSC, IV. 928;
KSSC, IV. 617-19.
Tapovanasvami 18 slokas of 25 slokas each on Lord CKSL, 270;
Visvanatha of Uttarakasi giving the KSSC, VI. 317-21.
quintessence of the Upani�ads.
Anonymous On Lord Subrahmanya of Haripad. stotrasamahara; Vol.
11.TSS 236; 1971.
 219

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
432 Skandapaiicaka Rama Varma Paliksit A stotra on Subrahmanya Contained in author's
Tampuran stotrani,a collection
published by Kirahnattu
Ceriya Narayarya}lan
Namputiri, Vidyavinodini
Press, Trichur, 1106.
M.E.
433 Skandasataka Kerala Varma Valiya Koil In praise of Lord Subrahmanya of KSC, IV.144;
Tampuran Haripad, the tutelary deity of the KSSC, V.97.
author.
434 StavamafijarT Manavikrama EttanTam- 9 religious and moral poems. CKSL.260.
puran
435 Stavamala Nllakarytha Tirthapada KS C,V.995
436 Stavaratnahara NTlakaQtha Tirthapada A collection of the author's stotra. SS.Chetti,Madras.
437 StavaratnavalT Cattampisvami CKSL.274.
 220

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
438 StutimanjarT Paramesvara 'sarma of A collection of stotras on different KSSC, VI. 231
vanapalli deities: 1000 verses.
439 Stotras Puntanam Namputiri Contains; K.Parameswara Iyer;
1) Kanjavilocana Kamaniyanana. Ullur S. Vijnanadipika. 1.

2) Padmanabha Paraparesvara. 144-45.

Both on Vi�ou in simple Sanskrit

440 Stotrapadyani Ramavarma Svati Tirunal Miscellaneous stotra in praise of V.V.Sarma in the Souve­
Maharaja of various deities. nir of the Svati Tirunal
Travancore. Centenary Celebrations,
Trivandrum.
441 Stotramala Rama Varma Par Tk�it A collection of the author's stotras KSSC, VI. 428;
Tampuran Kr�oal Tlastava, Purnatrayisastotra. MW. 27-12-1964.
Vi�ouVibhutilesastava, Prarthanapan­
caka, Devapadastuti, Sivastotra,
Skandapancaka.
 221

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
442 Stotrarattia Kr�rJalilasuka Adbhutastuti and Kaustubhamala are
spoken of as • stotraratnasodara • in
the Colophons in the editions in
JKUOML. The latter describes this
stotraratna as having 47 Sargas. In
the colophon to Mulakanyastuti
(Durgastuti) also stotraratna is men­
tioned. The work not obtained.
 222

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
443 Stotrasarnahara Kr�Qali lasuka TSS. 211, 1964.

1 . Adbhutastutit)

2 .Anantasaktistavat)

3. Anubhava�taka
4. Aryasataka

5. Kalyal)astavat)
6. Karnak�1stavat)
7. Kumarastavat)
8. Kesa.v�\aka
 223

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
444 1 . Kaustubhamala Anonymous TSS. 211, 1964.
2. Tribhuvanasubhaga
3. NrsirilhanavaratnastavaJ:l
4. Balagopala�taka
5. Brndavanastotra
6. Muktipurasthadev1stotra
7. Srrkf�QadB.QQaka
8. Sr1madhurapur1stutiQ
9. Sarasvatinak�atrama\a
1 O. Suvarnamuktavalistutih
445 Stotrasumanjali Rama Varma Valiya Tam- Comprising1)Kf�Q�taka KSSC, VI. 178-79.
puran of Cirakkal. 2) Padmanabhastava
3)Hariharaputrak�aramala
 224

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
446 Stotraval 1 Arnbadevi Tampura�i of A collection of the stotras of the KSSC, VI. 383.
Anantapuram author, Sanskrit as well as
Malayalam.
44 7 Stotraval i Sankaran Namputiri of Comprising GaryesagT ta, KSSC. VI. 166-68.
Palayitam Sarasvatig ha and Mrtyunjayastotra
448 Svayamvaraman- Anonymous 47 Vasantatilaka verses; 15 slokas on KSSC, 111. 525.
trak�aramala childhood and marriage. Then a
KesadipadavarQana and finally
dhyana on Parvati.
449 Svayamvaraman- Kunnikuttan Tampuran of Work not obtained. KSC, IV. 360
trak�aramala Kotuririallur.
450 SvarajyalaksmTpancaka NTlakaQtha TTrthapada KSC, V. 995.
451 Hanumalpancaka Sarikaracarya KSC, 1. 103
452 Hanumada�taka Rama Variyar of KSSC, IV. 594.
Kaikkulariara
 225

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
453 Hanumada�!aka
454 HariQapuresastotra
455 Haribhakti
456 Haribhaktimaran9a
Ramasvami Sastri of KSC, IV. 186
llattur
Rama Pisaroti of Kitannur Presumably on the deity of Ettumanur KSSC, Vl. 128.
Anonymous KSC, 111 . 516-17.
NTlakaQ\ha T1rthapada KSSC, VI. 82-83; SNT.
smuccaya. PP. 105-6.

457 Haribhaktirasayanasamgraha Sankara CKSL, 242.

458 Hariltla Gurusvami Sastri, V.S.V. A stotra in 115 verses recounting the The Srimad Bhagavata
Sastrt similarities and correspondences in saptaha Golden Jubilee
the lives of Rama and Kf�,:ta. Souvenir, Trivandrum,
1963(with Malayalam
Commentry by
M.Harihara Sastri).
459 Haristuti Sankaracarya KSC. 1. 104.
 226

SI. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
460 Hariharaputrag Itam
461 Hariharaputrak�amala
462 Hariharasutastutisumanjari
Suryanarayal)a Sastri 20 verses on Lord Dharmasasta Comprised jn the
collection of
Hariharasutastutisu­
manjari.
Rama Varma Valiya Raja 61 verses of Sasta KSSC, VI. 179.
of Cirakkal
Suryanaray81Ja Sastri A collection of stotras on Alliance Press,
Dharmasasta, comprising Trivandrum, 1962.
1) Dharmasastra�taka
2) Pu�kalambanavaratna stotra
3) Bhutanatha stotra
4) Bhutapatya�taka�taka
5) Sabarigir Tsamahimastotra
6) Hariharaputrag Tta
 227

SJ. NAME OF THE WORK AUTHOR PARTICULARS REMARKS

No.
463 Hemambikastava Vidvan Kompi Accan 45 slokas in Vasantatilaka metre on KSC, IV. 202.
the Goddess at Kallekkulangara near
Palghat.
SELECT BIBLIOGRAPHY
 228

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BOOKS IN SANSKRIT

1. Bhagavata, Vol VII, Sutra 23,24

2. Bhagavadgita, VII, XIV.

3. Bhaktimanjari, Swathi Tirunal

Ed. Sri Ramavarma Kulasekhara Perumal published by

T. Ganapathi Sastri, Travancore Govt. Press. 1904.

4. Bhaktirasamrtasindhu, Rupa Goswamin, Institute of Oriental

Philosophy, Vrindavan, Vol I & II, 1965.

5. BhaktiratnavalI - (The sacred books of Hindus) ed. Major B:D.

Basu, Panini Office, Bhuvaneswara Asrama, Bhahadurgans,

Indian Press, Allahabad, 1912.

6. CandrikavithT, prologue, ed. Ramapi�haroti Bulletin of Rama

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 229

7. Gltagovinda - Jayadeva, {Com. Abhinaya) ed. K. Vasudeva

Sastri, Tanjore, published by 0. A. Narayanaswami, TMSSM.

Library, Tanjore 1963, Series No. 6.

8. Introduction to MayOrasandesa, Poona Oriental Series, 1944

9. Introduction to Mukundasataka, TSS. No. 157, 1948.

10.lntroduction to Raghaviya, TSS No. 146, ORI & MSS Library,

Tm.

11.lntroduction to Kamsavaho, ed. A. N. Upadhye, Bombay,

1940, Delhi 1966

12.Kavyadar$a, Dandin, Translation & Notes by Sankara Varma

Sastri llnd Edition, Sri Balamanorama Press, Mylapore, Madras

1959.

13.KavyalankarasOtra, Vamane, Niranya Sagar Press, Bombay

1953.

14.Kavyaprakasa, MammJa BhaHa ed. Dr. Jagannaath Jha,

Bharathiya Vidya Prakasham, Varanasi, 1985

15.Kuvalayananda, Appayyadik�ita, ed. T.K. Ramachandra Iyer,

R.S. Vadhyar & Sons, Kalpathi., Palghat, 1981.

 230

16.Lllavat�TVhhI, ed. Ramasvami Sastri, Prologue to JTUOML,

Vol Ill, 1947.

17.Madanaketucarita, ed. Dr.P. K.Narayana Pillai, ORI & Mss

Trivandrum

18.Mahabharata, (Com.Bharatabhavadipa) Nilakantapandit,

Ramachandra Sastri, Kiranyawadekar, Oriental Books Reprint

Corporation, 54, Rani Jhansi Road, New Delhi 1979.

19.Meters of Kalidasa, Madhusudana Misra, Tharaprakasham

Publishers, Delhi, 1977.

20.NaradabhaktisOtra, ed. Swami Chinmaya Publication Trust,

Madras 1979.

21.Narayant iyam, MelputOr Narayana Bha11atiri, Translated by

Swami Tapasyananda, Ramakrishna Matt Publications,

Madras, 1976, ed. P.N. Menon, Palghat, Prabhakara Press,

Udippi, 1934.

22.Padmanabhasataka, Svati Tirunal, ORI & MSS Library, lVM.

1945.

23.Raghaviyam, ed. Dr. L.A.. Ravi Varma, T.S.S. No. 146.

 231

24.Sarikasandesa, Ed. C.M. Neelakantan, Nag Publishers, Delhi,

1987.

25.Sivaglti, Ed. Rajagopalan, L.S. Journal of Music Academy,

Madras; Mathrubhumi Weekly, Calicut, 25-7-1965.

26.Sltaraghava, TSS No. 192, 1958.

27.Sivanandalaharl, M.N. Ramaswami Iyer Memorial, Ed .

sri Sankarastrotraratnakara, Madras, 1970.

28.SrIkr~':lakarQamrtam, Lllasuka, (Com.Suvarnacha~aka)

Pappayall Suri, Sri Vanivilas Press, Srirangam.

29.SrImadbhagavata ed. Muzhangottuvila Krishna Pillai,

Sahityapravarthaka Co-operative Society, Vol 8, Kottayam,

1954.

30.The Hymns of Sankara, Mahadevan , T.M. Delhi, 1980.

31.Vi~':lupriya. Com. on Vi~QOvilasa, TSS No. 155.

32. Vi~':luvilasa. TSS No. 165, 1951. (com. Vi~':lug Ita) /

Ed. P.K. Narayana Pillai ORI & MSS Ubrary, TVM.

33.Vrttavarttika, Ed. K. Sambasiva Sastri. ORI & MSS Ubrary,

TVM, 1937, TSS No. 131.

 232

BOOKS IN ENGLISH

1. A New History of Sanskrit Literature,

Kr�r:,achaitanya, New Delhi, 1977.

2. Aspects of Sanskrit Literature,

S.K. De, Calcutta, 1959.

3. A History of Sanskrit Literature,

A. B. Keith, Oxford University Press, London, 1920.

4. A History of Sanskrit Literature,

A. Macdonell, Motilal Benarsidass Publishers, Delhi 1990.

5. Bibliography of Kerala to Sanskrit Literature,

Dr. S. Venkittasubramonia Iyer, KUS, lVM. 1976.

6. Contribution of Kerala to Sanskrit Literature,

Kunjunni Raja, Madras, 1958.

7. Essence of Bhakti Yoga, Swami Sivananda, Published by

Swami Nijabodha, Sivananda Publication League, Rishikesh,

UP, 1947.
 233

8. Indian philosophy Dr. S. Radhakrishnan, Vol. II George Allen &

Unwin Publications Bombay 1923.

9. History of Sanskrit Literature, vol 1, IV,

S.N. Dasgupta, University of Calcutta, 1947.

1 a.History of Classical Literature,

M. Kf�Qamacarya, Madras, 1937.

1 1. The Holy Lives of Alwars - A Govindacarya, Mysore, 1902.

 234

BOOKS IN MALAYALAM

1 . Kerala Charitram, A. Sreedhara Menon,

Kottayam, 1975. ("1 edition)

2. Kerala Samskrita Sahitya Charitram,

Vadakkumkur Rajaraja Varma Raja, Trivandrum. Vol I, to IV.

Mangalodayam. Trichur. Vol. I 1964.

3. Kerala Sahitya Charitam Charchayum Puranavum­

Vadkkumkur Rajarajavarma Raja, Trivandrum. Part I- 1967,

Part II 1968, Mangalodayam, Trichur.

4. Kerala Sahitya Caritram,

Ullur. S. Parameswara Iyer, Vol I, 1974. Vol II - 1970,

Vol Ill - 1972.

5. Kunchan Nampiyar - M.A. Balakrishna Warrier,

National Book Stall, Kottayam, 1957.

6. Nampiyarum Thullal Sahityavum - Parameswaran Evor,

National Book Stall, Kottayam, 1957.

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7. Ramapanivadanum Kunchan Nampiyarum -

M.R. Balakrishna Warrior, Old College Magazine, Trivandrum;

Vol 13, No.3, 1936.

8. Samskrita Sahitya Charitram - K.C. Pillai,

Kottayam, D.C. Books, 1936, Reprint 1982.

9. Samskrita Sahitya Charitram

ed.- K. Kunjunni Raja and M.S. Menon, Vol 11, first edition 1991,

D.C. Press, Kottayam, Academy Publications, Trichur.

1O.Vijnanad1pika, Vol I - Ullur. S. Parameswara Iyer,

Ullur Publishers, TVM 1968.

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ARTICLES

1. "Mahakavi R�mapar:,ivadan" Bhfo�a Po�hini Journal.

Vadakkumkur Rajaraja Varma - 1104 ME (1929)

2. JTUOML, Vol I and II, No.2, July 1946.

3. SPT, Vol I, II and VII. Lakkam. 1. 1114, Tulam from Ernakulam.

4. Some Sandesakavyas and their learning in Kerala history

(Journal of Kerala Studies) Dr. E. Easwaran Namboodiri,

Journal of Kerala Studies, Dept. of History, Kerala University,

Trivandrum. Vol V, March 1978.