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1. Yadavabhyudaya 15 This is a Mahakavya describing the Yadu race, Krsna's birth, his childhood and the Govardhana episode, Rasalila of Krsna. Further, the scene of Kamsavadha, Krsna's marriage with Rukmini, Syamantakamani story, his marriage with Satyabhama, Sisupalavadha, Narakasuravadha, description of Nandana, Krsna's aerial journey to Dvaraka, marriage of Aniruddha with Usa and Krsna's conquest of Sonitapura, the incident of Gita and Krsna's harem scene these details are well described in a variety of metres suggestive of a variety of ideas and imageries and emotions. This Mahakavya is otherwise called Yaduvamsa or Krsnabhyudaya. From the introductory verses of Appayya Diksita's excellent commentary (16 th century A.D.) on the Yadavabhyudaya, readers come to know that, it was acclaimed as a Mahakavya 16 even in the life time of the poet. A perusal of the 24 cantos of the Mahakavya makes it emphatic that the Bhagavatapurana was the source of inspiration for Vedanta Desika. 2. Sankalpa-suryodaya : It is an allegorical play dramatising the Visistadvaita philosophy and the Srivaisnava religion. It runs into ten long acts which are more poetic than 15. sahityagostim sarasamatisthannayamekada | 16. yadavabhyudayam kavyamasrausid vidusam mukhat | avyakhyatataya purvairanabhivyaktabhavakam | adrstabhava silpajnairabhijatam harinmanim || D. Krishna lyangar : Sri Vedanta Desikaru (Kannada), Bangalore, 1964, p.127. tadakarnatah samyak samudancatkutuhalah vidusam puratastasya vivrtau mam nyayuyujat || Yadavabhyudaya Ed. by Veera Raghavacarya, Ubhaya Vedanta Granthamala, Madras, 1969, p.1.

19 dramatic. The play depicts the toils and tribulations of the human soul on its way to God's realisation. It shows the saving power of divine grace at each and every step of the progress of the soul on the way to the conquest of ignorance. The characters of the play are formless representations or personification of higher virtues and spiritual values of a religious system and also the vice and the wicked feelings of a human being. It describes a battle scene in which the characters. Viveka and Moha, the Hero and the Villain fight against each other, and the victory goes to the former. The human soul reaches its climax of achievement and obtains the Divine Grace. The details of this play and its criticism are presented in the forthcoming chapters. 3. Hamsa-sandesa : It is a Sandesa Kavya written on the lines of the Meghaduta of Kalidasa. It is divided into two parts and contains sixty stanzas in part I and fifty in part II. The description of the lyric runs like this. After learning from Hanuman, Sri Rama sends message to Sita through a Swan whom he meets accidently. The Swan found in Padmakasara resembled Sita's royal pace, the purity of her apparels, the swan-like-sound of her anklets. And hence, Sri Rama choose Swan to be his messenger. Rama sends a message that Sita should be alive till she is. rescued by him. The places over which the Swan has to fly like Tirupati, Kancipuram, Srirangam, Madhura etc., have been described beautifully by the poet. It suggests the deep love of Rama for Sita or in other sense, the love of God for the human soul pinning away in separation from the Divine Lover and tortured by Ravana, representing the evil propensities of the mind. The description of the rivers that the Swan would see on the way, like Sarasvati in Kancipuram, Cauveri in Srirangam, Tamraparni in the then Pandya Kingdom is very impressive. Sri Rama advises the Swan to take the blessings of Sri Venkatesa, Sri Ranganatha and of

20 Sri Varadarajaswamy, the main deities of Tirupati, Srirangam and of Kancipuram respectively. The Swan is instructed to stop Sita under a Simsupa tree amidst the security of Ravana. The swan tells Sita that Sri Rama is keeping well and would come with the army, defeat Ravana and take her back. 4. Dayasataka : It is a reflective lyric highlighting the aspects of Divine Love and Divine Providence. It contains one hundred and eight stanzas in various metres. One can see the inspiration of Kalidasa in this work also. 5. Godastuti : It is a lyric on Goda, the famous Andal worshipped as a Goddess in the Srivaisnava shrines. This stuti of twenty nine stanzas, suggests Vedanta Desika's devotion to the Divine. It closely resembles the Tiruppavai of Andal. It is commented upon by Srisaila Tirumalai Raghavacarya in Sanskrit and K.M.Rajagopalacarya in Tamil. 6. Yamaka-ratnakara : It is a voluminous work abounding in 'Yamaka'. There is a dispute regarding its authorship of Vedanta Desika. Nevertheless, the Catalogus Catalogorum mentions it as the work of Vedanta Desika. 17 Also the Catalogue of Sanskrit Mss. in Mysore and Coorg, Rice ascribes it to Vedanta Desika. As Vedanta Desika is an adept in Yamaka writing which is evident from his Yadavabhyudaya, it can be said that this work belongs to the authorship of Vedanta Desika. 7. Samasya-sahasri : It is a collection of one thousand and odd Samasyas. After the composition of this work, Vedanta Desika was given the title - Samasya-sahasri, which Vedanta Desika himself mentions this title in his Stotra-ratnabhasya. 17. Theodor Aufrecht, Catalogus Catalogorum, Part I,Franz Steiner Veriag GmbH, Wiesbaden, 1962, p.472