CHAPTER VI

STQTHAS

Stotra KSvyas are devot~onal lyrics sometimes as laghukiivya like

SreekrishnakararnF and some times Mahakavpa l ~ k e Narayaqeeya. The

principal aim of it is sivetarak~ati i.e. removal of the inauspicious aspects.

The word stotra is derived from the root stu meaning to praise.

Stotra is defined thus: -- Devotional poems can broadly be classified under two heads -

laudatory, i.e. praise to the Qety and prayer, request to remove the sins

and sufferings. ~ l u & ~ ~ ~ a , ~iirya&taka etc. are prayen to the Gods to

save the author from their suffering.

The Stotmkiivyas of RVP come under the first category. He praises

Visnu, . %vi, ~i iqatray& etc. in his stotrss. he major part of his

stotrakiivyas are praises showered on ~ i k y t r a y & who is the family duty

of the author.

The contribution of Kerala to Stotra literature.

Kerala's contribution to stotra literature is very substantial both in

quantity and in quality. Srisankara, ~ulahekhara AI war, Lilasuka,

Narayanabhatta and Ramapanivada have composed many devot I onal

poems. The name of RVP can also be included among the authors of

The earliest among the Stotrakivyas, seems to be that of the great

Sankaracharya (gh A.D.). Tradition ascribes about sixty works to sankara I

such as Sivznandalahari , Saundaryalahari , KanakadhkCstavam,

Visnubhujanga, .. hradiisistavam etc. A.B. Keith says - ~ a k a r i s doctrine of

the two aspects of the truth, the higher and lower permitted hi to adopt, to

the full popular beliefs and to express his feelings in a way acceptable to

other than metaphysicians and there is no reason whatever to doubt that he

composed such poems.

Among the oustanding lyrics of devotion eve naturally places

~ukunclarnaa~ at the top to be followed by Saundaryalahari, t

Sivinandalahari and a few more lyrics of Sankara. The ~;lkr~~akam&mr& .

of Bilvbamangslarn has a universal appeal while Narayani ya of Melputtur

is reckoned as a gem among the work of its class. Bhaktimafijari of

S f i t i t i d also can k placed among them.

In the I I " centuv Bilvamangala wrote hls Knnakam5mrta, Nectar q r . • .

fur Krsna's -. . Ears, 1 10 verses on the glorification of Krsna, a poem that in .I.

Indian is held in great esteem.

~ i r Z i ~ a & a of Narayans Bhatta, completed in the year 1590 AD i s

a stotra and fairly extensive, Mah'akZivya at the same time. The poem

contams the whole story of the Bh'agavatapurgna and consists of ten

~ a h k a s . In Kerala it enjoys the status of a devotional work such as

BhZgavta, and religious people chant stanzas from it every day. The

legend was that the poet was suffering from rheumatism and was cured of

this hsease by his prayers to Krsna.

Bbakti in Stotra Literature

Bhakti comes as dominant motif of stotra literature. 'The term

B M i is derived from the root Bhaj by adding the termination 'Ktin'

which expresses an action and means among other things service,

devotion, attachment, loyalty, worship and homage

Definitions Of Bhakti :

The term Bhalcti is defined in different various ways.

According to Naradabhaktisiitm the profound and immortal love

for God is known as ~ h a k t i . ~ I

The Sandilyabhaktisutra states: An intense love for God is known

as Bhakti. ' The ~arada~agcasutra defines Bhakti as serving God with a pure

mind after banishng all wordly desires.

For Madhusudanasarasvati Bhakti is a mental tendency directed

towards God, excited by the hearing of God's attributes. 7

Ripagosvamin in his Bhaktimshftasindhu has defined Bhakti as

being imbued with the love of the duty completely. 8

Bhakti therefore m a s , an intense Iove for the lord.

According to Bhigavata, ' Bhakti is a complete dedication of soul,

out of the innermost attachment developed for God.'

Dimrent authors have explained Bahkti as following :

1. s - w I

9 t - - d @wmT --a

xsiw %a* viPa-td: I I

The literal meaning of Bhakti is devotion or unselfish love. Rhaktt

is an lntense attachment to God or deep interest in God and things

concerned with God.

Development Of Stotra Literature

The stotra as a rule takes it for granted that God can assume any

shapes as he desires. Topics incidentally dealth with therein such as life

after death, role of sin in determining present and future lives, the part

played by the threefold p a s , viz. Sattva, Rajas and Tarnas have

increased the values of stoh-as. The authors of Pureits and MahikCvyas

resort to stotra as and when occasion demands. Poets llke Bana, Mayura,

Jayadeva, Vilvamangala, Melputtiir and others wrote independent works

in the field d i n g the form extensive as we1 1 as ramified.

In his stotras Khmabhiva is an important aspecct. Almost all

known slokas in the poem represents thts mode.

This is surely one of the means of Mukb great divine persons like

Narada, Valmiki, and Sukadeva in ancient times, Gurunanak, Tulasidas,

Surdas etc. in comparatively recent times, have all attaned perfection

through ~Trtanabhakti. In Kirtanabhakti devotee is thnlled with divine

emotion. He loses himself in the love of God. The devotee is ever engaged

in ~ a $ and repeats the lord's name.

Stotras Of R V P

There is a collection of stotras" on the family diety and other

istadevatas. R. V.P7s family diety is ~ i ~ a t r a ~ e e i a . These stotras am

known as Stotrarnala. They are seven stotras dealing with the dieties

mainly mna . . and Devi.

They are

1. ~&rsnafiliistava .. . 2. ~ r&ma t ra~ i& stotra

3. ~ i~~uvibhit i ldastava

4. ~rirthani~aficaka

There are hundred and one slokas in this stotra. The poet describes

Krsna's I * . birth and childhood. The main sentiment is Rhakti. The life of

Krsna . . , gives adequate scope for the expression of it. In several hlokas poet

himself bows to K~sna 12. His mastery and literary artistry express itself in

the most striking manner when he employs the device of making the sound

echo the sense. He uses different metres. Arthllamkira and ~ a b d i l ~ k i r a

are also used.

Sentiment

In this stotra each of the sIoka indicate different types of

sentiments. The main sentiment in this stotra is Bhakti.

Figures of Speech :

In the opinion of Vamana, the ~ l a k k k k in the poetry generally

stand for the beauty. l4 They are such means of embellishments as to

brighten the kauty endowed with gunas.

There are three types of Alamkaras. They are Arthglakkka,

$abdal&k%ra and Ubhaysilainkiira. ~ahlahkara beautifies sound.

Arthilamkira beautifies sense. Ubhayalamklra beautifies both sound and

sense. in this s to tm s a b d d a h k ~ r a is used in so many ilokas,

I . ~ n u p r a s a used in this stotra is noticable. According to Oandin

Anuprasa is the recurrence of vamas not too far remote from one

another and whereby one is reminded by the impression produced by

similar previous sequences of sound.

1n the following verses poet uses ~nupr%a :

x=ndM&d -- 3 ~ q I I SLS, P.4., Verse 12

In the above verse, the sounds la, tam, ni are used two or three

times. So this is the example of ~nupfis&nkara.

2. ~ v i ~ ~ f a ~ a r a ~ r i s a & Antysearaprlsa

R.V. P. uses ~v i t ryr ik~a Pdladchs and Anty-+arapralsa in

the slokas. In th is dmkaras the second and the last vamas of dl lines are

same. An example of ~ v i d & h w a ~ r k a and AntyYa+ap6sa

m m- m-g iR a j m I i ! l I I SLS, P.7, v-20

Here Da, ri are ~ v i d 1 3 ~ a r a and Antfaksara respectively. These

Vaqas beautify this kloka.

3. Yamaka

Yarnakilaink-m is also seen in thls stotra. The following kloka is

the best example of Yarn&laIikara.

wm- *-- ti% q$t

Here Airaya is used in all Padas. So this ~arn&ahk%a

4. ~rthiilarhGra - Upama -

A&&a beautifies the sense. Profusion of similarity between

two objects is expressed in Upamilahkba. In the verse 35 we can see this

simile. The verse is as follows :

d smmf;l' a qlmi qwdqnm I I

SLS, P.12, V-35

Here the similarity is between the Cakorika and Sudhgdhiima. The

Cakora bird is fond of the nectar rays of the moon. Another is an example

of Upama

5. RiipaG

~ i ipaka is one of the figures of speech used from the time of the

early poets. Here the Uparneya is identified with the Upamhi without

losing its own identity. This alarhkca has been used in almost all

important sanskrit classical works. The sixteenth iloka of S.L.S. is an

example for this riipakilainkzra. The verse is as follows.

dJ- - SLS, P.22, V-68

Here upamTina the sky is identified with Uparneya word vrsnivara . .. (visvu), without losing the identity.

In iles5lahkara, same word denotes several meanings .

There are different metres used in this stotra. Few of them are

illustrated here.

The metre used in the first verse is Upendravajra. Upendravajra is

a metre in the Tristup class of eleven syllabus in Pada in which each Pada

will have Jatajastagahe i.e. two jagaqas one tams and two gurus.

The example given in the stotra is

& - p i

wimmRmgirrenrsr: I

SiXmaT a? Efi&mEm

qwmLi+mrC m, d S * I I SLS, P. 1, v- 1

The next iloka i.e. the second h a is Indravajra. Indravajra is also

Tri?tup class. It is two taw one jag- and two gurus.

The following hoka i s an example of Indravajra

GrHxm&-

q-Z&m=r- s~$"rrga&: I

m v R ~ 4 ws-u*

q m q a d d , -q I 1 SLS, P. 1, v-2

~ g l i n i v p used in many verses. Milini is a metre with fifteen

syllables in Pada made up of the G a y s - na, na, ma, ya, ya. This metre is

used in the following verse. - &---

-=%-?&*I

Gmta *&td4~& ad!=& am a@q

g w t r r ~ a d ~ t w l r ~ I I SLS, P.4, V-1 l

&~rdiilavikritita comes in five verses. This is the long 5 t a . In this

metre there are nineteen syllables in a Pada, which consists of

"MasajCstatai+ - Magap, sagana, sag-, sagqa and two t a g v along

with guru. Tt has a yati at the twelvth and the seventh syllables.

In the following verse poet uses hdiilavikitita metre.

g?=m a-q qa~aqpZi% G l n i i F t

a*$ $ils4wtZJ * p z a k r dm* I

-a' -& - + 4 - ~ ~ 1 % 9 -

;A wdg atfilcrmurri4 ~ q m q pq: I /

SLS, P.8, V-24

SragdharZ metre is used in only one verse. Among the metres

commonly used, sragdhara belonging to the longest with twenty one

syllables in pa& consisting of the gaqas - ma, ra, bha, na and three

y a g w with yati syllables seven, seven and seven.

The verse as follows: -- - - - - I

I " + q t a h 6 - 3- - - & a ;fl;q t % T E r a T h Vff-- I I

SLS, P. 12, V - 36

Here is, only a few metres pointed out. Rest of the metres like

vasantatilaka, rnandgkriinta. varnkstha are also used in this stotra. The

meters used are to delineate the sentiment.

Style:

Sanskrit rhetoricians have dealt with a variety of styles in speech

having subtle difference between one another. In the opinion of Varnana

h?i is the soul of poetry'5. Varnana introduced three types of ~ i t i . They

are vaidharbhi, Gaudi and ~ % k i l i . These names are said to have

orignated from vidharba, Gauda and ~ i b d a countries respectively.

Among the various styles vaidharba style is dominant. Varnana says that

the ~aidarbhirk unites all the ten kgvya-was.

The vidarbhi style is notable for its absence of long compounds.

Considering the characteristics of Vaiddarbhi style it can be seen that

R.V.P. used Vaidarbhi, Gaudi and P&&li in this stotra.

For example of Vaidarbhi :-

P===vld: =w q = a i m a m @mmdk=l I

W - - m d - a Sfbd& j I SLS,P.6,V-17

For example of Gaudi:-

--=-EF*

- 9 =fTt ==Ea

mq.q urn- I

=Wz- - c v

i r a w GiA~d%-%d-.

m- w q : I I SLS, P.29, V-89

~ S c a i ' s example is as follows: - d m - iX&iT?Wm: I I SLS, P.27, V-82

Cornparision between ~ l r i ~ a ~ b s :

The story Bhiigavata narrated with details in Wariyaniya is retold

in this stotra. In ~ 6 r i ~ ~ ? ~ a each stotra contains ten slokas. But in the

stotra each incident describes only one or two ilokas. Even if the story in

the stotra has been dealth briefly no change has been made from -

N6rayqiya.

Here described one sloka pointed out that.

As follows the example,

~r~lqsnslh&tavnh . . -- m- I

r3Gph-w q a x

-€ m *mt%i I I

SLS - 36

~ r i r t h a n a ~ a z c a kam

Poet shows his Bhakti towards Visqu. As the name indtcates there

are only five slokas in the stotra. Poet prays to Lord Viqcu to protect his

life.

The five verses are in four different metres - Sragdhara, t

~irddavik6ditq Pchvi and Sikharini are in this stotra.

SragdharZ belonging to the longest with twenty-one syllables in the

Pida consisting of the ganas - ma, ra - bha - na and three yagaqas with

yati syllables seven, seven and seven. The first dloka is the sragdhar;.

Example is given below:

==?P=f=-- 2xmmp5a a:

-F - =@=3-

wi3 ala=m%-- I

iH=mmwzwa *, d l ---- --SF-

~ 4 a t ~ I i

P.P., P . 93, v-1

~irdiilavikriditam

hrdiilavikiditarn comes in the second verse. In this metre there

are nineteen syllables in a Pa&, which consists of Masaj&t&ah -

magaga, sagana, jagana, sagana and two tagaps along with a guru. 1t has

yati at the twelth and the seventh syflables.

This metre is used in the following verse:

- i 4 * w6fd3r*

- q m d I

zl+wdhdd ! am& -am

m- rn c$cr-!* / I

P.P., P.94, v-2.

Pgdhvi:

Pradhvi vgta uses in third sloka. That is

rn *a. u w d ?zBa* I *idb I

i2iq-M dwt ti'

i5mfkEEa ! * a € d-a I 1 V - 3

iikharini V$a used in two ilokas. This is also longest metre.

Example is given below:

WT: ¶rim& aatb da~i&d'~ri '

s m " e &dl+! g&*!%aq$m&Xa' I

~-3a.' dtzaiDf

pi!mEi m- v z ! wiiw 1 / v-4

$ripiir?atryis'a Stotrs 1 , -

~ri~urnatra$s'a is the family diety of Cochin kings. R.V.P. wrote

many devotional poems about piptray&. Trayi means three vedas i.e.

Rgva&, Yajuweda and S-maveda. In the commentary of 4ripurpatra&

stotra, Sri. Rama Pisaroti vividly explained the inner meaning of

~;rr!atra$ka. There are thirty-eight slokss in this stotra. Xrytray& is

Mahiqnu.

T h s temple is in Tripunithura. Many poets have composed verses

enlog sing the lord of Pkjatra$&.

The stotra poet describes ~6d~dike6a (foot to head) of MalSvisnu. . .

R. V.P. uses beautifully A l a m k k and metres. in one doka we can

see that two or three ~lahkgras. Matr: vrpas are also use in this stotra.

The main sentiment is Bhakti. The diction is graceful.

Alahkara I

Arth'alahkira, ~abdalahkzra and LJbhay5lamkara are in ths stotra.

I In the first sloka ~Gv$lamk&a and ~nupGsa are used.

In this hoka the Vaqa "ya" i s used several times, so this is

I

Sloka is as follows:

Here is arthiilarhkiira and iababdiilahkilra are together used. So this

sloka is example for Ubhayaahkka.

Three alarhkkas are also seen some Llokas. Second one is the best

example of this type of kloka. Here comes Svabhivokti, Riipaka and

Upama

Example is :

a7-aq P& m- F- ?Jim7

a-Fg= - 1

r2W.q - f + & & q u m - ~ smrat 1 1 V - 2

Satatam mamam citte vibhatu - svabhkvokti

Peet haharapam - riipakm

~ a d a n i b h i r ~ a h - u~ama-

There are only short dlokas in this stotra. Different types of metres

are used in ths stotra. The shortest metre is kryaArya is rnztra @a

Example :

wx-Fw=-v

The Iloka twenty-four and forty are also Srya vma.

In the vama Mttas, vamlastham, rnilini, vasanthamalika,

indravajra, upendravajra, etc. are used seventeenth syllables above vgtas

are not seen this stotra.

Vasantatila ka

There are fourteen syllables in which each pa& will have,

i.e. the examples given in this stotra is;

&a7 e= 4gh€af d%a? &2Fr

m m l I m P R r e e x 4 : I

aRw- id a z r-wm- qma? l = w & a e ~ i m - 1 1 v - 5

m i n i qtta used is thriy-first bloka. It has fifteen syllables i.e. na,

na, ma, ya, ya-

~ i ~ n u ~ i b h ~ t i l & s t a v a

This devotional lyric describes in 37 verses the ten incarnations of

Lord Visnu. . . The first form slokas depict the greatness of the Lord, from

ten to twentysixth incarnations. The Narasimha story is described vividly

giving and portraying the sentiment of Raudra -

While describing the incarnation Rama, the Ramayana story is

summed up beautifully. Krria's childhood is portrayed in two verses.

From twenty-seventh poet the following incidents in the life of Vi>pu -

Dhruvacarita, Ajhilamoks5, Rugmiingadacarita and Gajendramoksa.

Drupadi's devotion to Lord is also beautifully described. The Poem ends

with a reference to Melputtiir and his immortal work --- * ~ 4 c l n ~ ~ n = I -- dtengziw a -! a &q 1 1

~ e v ~ ~ i d a s t u t i

'This is another short devotional poem by RVP. The poet in thirteen

verses praises the Goddess Trailokyajanani. This poem is marked by its

graceful diction. 'She figures of speech are attractive. For example

~ * & ~ ~ ~ -

diva Stotra and Skanda ~a&aka

R. V. P, wrote devotional songs praising Siva and Subramania.

There are eleven and five verses seen in these stotras respectively

In the first verse, giva stotra, Poet bends towards paramaha.

Next ilokas m t e panundiva - shortly. In this Stotra also, meters are

different.

In the ~kanda&caka R W praises Skanda as the son of Siva and

Parvati. He also praises of Siva and Parvati.

GanGtava is another short devotional poem praising river Gang;.

After studying his Stotra we can see that he praising his favourite

deities, especially Vi* i.e. ~-tra$s'a. His Stotras are not so popular

as those of Vilvamangala or Narayanabhatta. But they are noted far their

simple lucid style and ardent devotion.

References:

1 . Keith, A.B., K.S.L.,P.216.

2. Mukundamila is a beatiful devotional poem of 31 verses by

~ulakekhara Aivar. The poet praises Lord Krsna. .. . 3. ~haktima%jari of Sviititirun'al - A critical study by Poovathur

Ramkrisna Pillai Dr., Anitha Publications, Trivandm - 1993

Pandey, Varanasi, Samv. At 2066, 1 - 1 -3.

8. Bhaktiraihqtasindu of Rbpagosvamin, (ed) by Gosvimi Darnohran I Sastri, Benaras, Vikrama era, 1988, I - 11.

1 0. Vallabhhrya - Tatt&hanibhanda - 1 - 4-2.

1 1. Stotrbi of Riimavarma ~Gbit Tamp& - Narayanasarrna K.M.,

1937.

12. w j f i m m

- 7 !x-T -m I

d--=-

crrarclrrurq ;A vda-de: I I

SLS, P. 33, V - 98

CHAPTER VIl

MJNOR WORKS

This is a collection of few verses and three critical essays in

Malayalam where in R.V.P. opposed some of the views expressed by a

couple of authors on the work of Sriharsa and Bhavabhuti. R.V.P. is firm

in his convictions and establishes his views with incontrovertible facts.

The verses included in this collection are -

Stotra N a k F a Mila, R i m i y a p Kathii and VGdhakyarn

S&irnuk&mmikal. The prose compositions are oru vimars'anam, om

rnqdanam and swZgatha prasangam. The two aricles, which are critisized,

are appended for the ready reference of the readers.

1. Stotranaeatramila :

This is a beautiful collection of verses in Nathomtha Vgta ' in

which the poet depicts the ten incarnations of Lord Vizvu 2 . He starts by

saying that the act of Lord Viscu is described to ward off the evils of the

Kailiyuga. The style is simple and lucid, The composition is highly

musical for which the metre chosen is vey helpful.