365bet娱乐

We realize this truth in the 'Adityahrdaya' stotra of the Ramayana. The first poet (adi-Kavi) of the Ramayana wanted to express to the reader every aspect of the tremendous influence of Surya Bhagavan by mentioning His one hundred eight names (of Surya) in this stotra. The difference between the superiority of Surya and the inferiority of the poet is evident. The poet dares not approach the god Surya by removing his hesitation, nor hopes to build close relationship with Him. He only offers his pranama to the different forms of the bright Sun from a distance. The poet prays that may the Sun god bestow compassion on him with a graceful mind. (1) FOOT NOTE : 1. Enamapatsu Krechesu Kantaresu Bhayesu ca Kirtayan purusah Kaschinnavasidati Raghava puj annenamekagro devadevam jagatpatim etat trigunitam japtva yuddhesu vijayisyati Ramayanam 6.105.25-26

31 Valmiki introduced a new diction in this stotra literature. This diction comprises of the representation of la/dation (arthavada) i.e. representing the eulogy of the composed stotra (hymn) and the applaud of the eulogizable successfully. One may evade all kinds of fear if one recites the 'Adityahrdaya stotra' the eulogizer too never falls a d prey to languish. The person who recites this stotra thrice, easily destroyes his enemies and wins in battle. In later days, this representation of landatory compositions became the principal feature of the stotra literature. For this, in comparetively modern stotras like the Karpuradi stotra, Sivamahimna stotras etc. the greatness of the gods and goddesses, worthy of eulogy, has become more dominant. (2) This diction is also found in the Mahabharata. The 2 poet of Mahabharata stated his own composition as "Mahabharata".3 For, according to the poet, the composition is great and enriched with lofty ideas. The poet of Mahabharata has not only stated hundred names or hundred and eight names of the object of FOOT NOTE : 2. Dakshina Kalikastotram, 1,2, 3, 5, 6, 14, 18, 21,22 slokas. Sivamahimah stotram, 35, 38, 40 slokas. 3. Mahabharata Anukramanikaparva, 63/1 k

32 of eulogy in keeping a consistency with the greatness and enrichment of the composition, but also planned that the object of eulogy may be ladded in thousand names. we find thousand and eight names of Siva in the Anusasanaparva of the Mahabharata. (1) Mahadeva has been eulogized in such names as 'Sthira', 'sthanu', 'sarvatma', 'Earinaksa', 'Lokapalaka', 'Svayambhuta', 'Sahasraksa', 'Candra', 'Surya', 'Ketu', 'Samagra' and what not? Nilakantha, the commentator of the Mahabharata, explained the significance of these different names and analysed those particular aspects of Mahadeva which were represented to the reader by these numbers. The example of talent and originality, which Vyasadeva, the great Seer, has established by mentioning thousand and eight names of Mahadeva according to the difference of power and circumstances, has rare parallel in Sanskrit literature. Laudatory compositions have been made in the Mahabharata at the end of this stotra, stating thousand names of Mahadeva (Mahadeva Sahasranama stotra). It has been said that those who recite or hear or make ourself hear this stotra, attain the devotion of Mahadeva FOOT NOTE : 1. Mahabharata Anusasana Parva, 17/30-153.

33 and due to this devotion everything becomes easily attainable slokas, to them. A new diction emerge of the laudatory s. arranged by the Seer of the Mahabharata. A continuous history, beginning from the composer of the stotra, has been given and the continuity of disciples, through which the stotra has attained its recent form, has also been discussed. (2) Vyasdeva said that this long stotra had its first realization to Brahma; from Brahma it came to Sakra, Sakra to death, (mrtyu), from death to Rudra and in this way at last it came to Narayana through four to five stavas (hymas). This stotra is all-purposeful, assures cure, destructs obstacles and hence it will not be a hyperbole if we describe it as Veda. The reader who recites this Mahadeva Sahasranama stotra with a mind, flooded with the sentiment of devotion, easily grasps the same result as accrued from the Asvamedha Yajna (Sacrifice). FOOT NOTE : 2. Mahabharata / Anusasana Parva, 17/175-180.

34 Hence it is observed that in the field of stotra literature the style of mentioning more names of eulogizable gods which was introduced by Valmiki, fully developed in the Mahabharata of Vyasadeva. The poet of Mahabharata accepted the style of laudatory compositions too, introduced by Valmiki. But since its inception, the stotra, in the course of its advancement, introduced a new style in stotra literature through different stages. And this style remains unaltered in the Puranas too. In this connection, the visuarupa stotra of the Mahabharata must be discussed. (1) This stotra, enriched with philosophical speculations, introduced a new type of composition in the field of stotra literature. The stotras of the Ramayana express great wonder of the phet. In it, a powerful effort is seen to throw light on the greatness of the god of eulogy by revealing His peculiar aspects. Though the main boay of this stotra is somewhere prolonged in the mention of rare laudatory compositions, the representation of philosophical speculation nowhere made it inaccessible. Valmiki is only a creator artist but Vyasadeva is not a poet only; he is more than that. He is a poet, philosopher, politician, economist, wise, just (dharma pravartaka) and a stern and FOOT NOTE : 1. Mahabharata -Bhismaparva 35th, 15 - 45.

35 cruel director of an ideal life. Hence, in the stotras composed by Vyasadeva, the philosophical aspect has somewhere dominated over the appeal of the pretic aspect of the composer. As a result, the literary composition, that had its origin from the harmony of poetic outlook and philosophical outlook, became acceptable alike to intellect and heart. The visvarupa stotra is a successful example of poetic outlook and philosophical outlook. A consistent combination of poetry, information and philosophical speculation has given it a new form, a new beauty. G Arjuna hesitates to take part in the battle between the Kauravas and Pandavas, for, against whom he stood to fight are all his kith and kins. But keeping consistency with the eternal principle of the universe, Arjuna must have to take part in the battle. Krisna encourages him to convince this, Krsna intends to draw the enamoured mind of the hesi- 67 s tating Arjuna towards him by keeping Arjuna in great wonder. The overwhelmed Arjuna found the entire world of beings within Krsha. All beings beginning from Brahma to the 07 2 smallest and most trifle one are all present in Irsna. Krsna has been represented in this visvarupa, the form in which the entire world is found as one free of all bondages. He is represented here as having no alteration (akshmaya), the main cause of this large universe and protector of the eternal order, dharma. Krsna himself is the embodiment of isa 0

36 the main power (Sakti) underlying behind the creation of the universe. So, at the sight of his large appearance, pravnil pervading the heavon, the world (martya) and the universe, beings are frightened, gods are engaged in eulogy, great seers are of folded hands and everyone is overwhelmed. Arjuna realised the greatness of Krsna and learnt the lesson 嗉�. that man can not divert the flow of action at his own willingness. So, when Krsna said that the kauravas have earlier been killed by him and that Arjuna would have to be the cause of their assassination only, he then resolved to take part in the battle. This stotra possesses philosophical excellence along with poetic appeal too. The style in the composition of stotras, which was thus introduced by Vyasadeva by expressing philosophical tenets in the form of poetry, was successfully followed by poetic compositions embedded with philosophical tenets in the Puranas too. This course of thought continues to flow in a few stotras of the Visnupurana too. Among these types of stotras the Govinda stotra, composed by Dhruva, is one. That which predominates in this stotra is the occurrence of philosophical tenets of the god of eulogy. They are more capable of introducing the readers to the philosophical thoughts than of rousing the sense of devotion in the reader's mind and in this way they flood the reader's mind with wonder. Dhruva begins to eulogize Acyuta with his head bent down and

37 with a joyous mouth, Dhruva says E (1) - 鈼� Govinda ! earth, water, air, sky, mind, intellect, beings and the primordial nature all are the forms of you. I bow down to you thee again and again. Thou art pure, all-pervading and supreme than what is chief (or predominating). I bow down to thee again again. O soul of all beings, salute to thee. O best of all beings (Purusothama): thou art of thousand eyes and of thousand fact. Though you pervade the entire universe, remain as an extra to the universe (or excels the universe). All that are past and future (or ensuing), remain within thee. This entire universe remains within thee. The Rk, Saman, Chanda (metre) and Yajus originated from you. From thine mouth the Brahmins, from arms the kshatriyas, from thighs the vaisyas and from pair of legs the sudras have been originated. You belong to all beings, you are the revealer of all forms. From thine has the Hiranyagarbha nature been originated. So, o soul of all beings, salute to you. This stotra, composed by Dhruva, does not contain any poetic beauty. Due to its mere philosophical tenets it became dear to wise and meditated readers only. To enter into the deep of this stotra, readers have to take shelter of the store house of philosophical knowledge. we have to z part 1. Visnupuranam, 1st fbx 12th. Ch. Sl. 53-75

38 * Si M take it as an example of intellectual aptfless. According to rotoricians of Dhvani (suggestion) school, this stotra, enriched in philosophical tenets, can not be taken as specimen of high class poetry, for, expression of feeling here is not easy,,Following the style of stotra composition, introduced by Vyasadeva, the composer of Purana have presented us such a huge stotra literature as most of the stotras belonging to it, deserve inclusion in the philosophical literature. These have only a poetic body, but expression of sentiment is not easy here due to their philosophical tenets. We find that this style has also been taken in the composition of Devi-mahatmya-stotra of Markandeya Purana or Candi. The ggdddess is the root cause of the creation of the universe, she is the creator, protector and destroyer. So, 鈻� G d we have to beg Her riches, fame, charmness and everything else in a mind flooded with the sentiment of devotion. (1) Most of these stotras has also taken the style of introducing laudation (arthavada) in stotra, introduced by Vyasadeva. For this, in some stotras the greatness of stotras has more predominantly been revealed than the greatness of the gods of eulogy. 1. Sricandi - 1st. Ch. Sl. 75 & 78, 12th. Ch. Sl. 37, 13th. Ch. Sl. 5.

f 39 This current of thought continues to flow in the Srimadbhagavata too. In the concluding portion of the description of Dhruva's character an effort is seen to attract the reader's mind towards the composition by stating the excellence of the object of description. After a detailed discussion of the character of Dhruva, it has been said that if the character of Dhruva, cause of attaining riches, increaser of fame, very pure, performer of good, cause of attaining Heaven (Svarga) and eternal world (Chruvalokath), is heard with reverence, great devotion towards god is originated and troubles are destroyed. If the listener is desirous of attaining greatness, let he hear Dhruva's character with reverence. Different qualities like good character and etc. are originated in the listener, if the listener is desirous of attaining spirit (tejah), he attains it, if he is desirous of being a thinker, his mind is broadened. Special result is accrued from the reading of Dhruva's character with a pure mind in the assembly of Brahmins at morning, or evening or in the full-moon day, or in the day of the new moon, or in the twelfth day or in the last day of a moon month (Samkranti) in the combination of vyatipata with the touch of trdyaha (tryahasparsa) in the Srabana nakshatra or in Sunday. (2) 2. Srimadbhagavatam 4.12. 44-49

40 Poets of high class do not want to complicate poetry with the touch of philosophical tenets. So, the poetic truth that Kalidasa, the great poet, has expressed in his Nandi (introductory) verses or in the scattered panegyric verses L are lustrons in their own greatness. Affluence of philosophical ideas can not mar its beauty. It is true that a famous philosophical dogma has been dealt out in the Nandi sloka (introductory verse or benedictory verse) of Sakuntala by mentioning eight forms of Mahadeva but the poet has dealt it out in such a unique style that the combination of poetic talent has made a palatable transformation of philosophical ideas too. (1) Philosophical truth ascended to poetic truth. Valmiki's Ramayan ana deals out sheer poetic truth. In the stotras of the Mahabharata there is a mixture of poetic truth and philosophical conclusions; somewhere poetic truth predominates and somewhere reign philosophical tenets. In the stotras of the Puranas, philosophical truths have been aptly introduced 掳 and these reign there with no obstacle. In the compositions of Kalidasa and his followers in the field of Kavya, a consistent combination of poetic truth and philosophical truth has taken the philosophical ideas to the bright and 1. Abhijnana-Sakuntalam The Benedictory verse (Nandi sloka) of Prelude (Prastavana).

05 41 imaginary world of poetic truth for their charmness of poetic art and originality of poetic talent. Kalidasa, the great poet, has shown the excellence of his philosophical talent by composing the eulogy of Brahma by the gods in the second canto of "Kumarasambhavam". The gods, severely tortured by Tarakasura came to the abode of Brahma (Brahmalokafi) to find the way of slaying the oppressor demon and threw words to the unseen Brahma, "You were only present at the time of creation, and then you have divided yourself in three forms as Brahma, Visnu and Mahesvara by accepting the three attributes sattya, rajah and tamah as titles, I bow down to thee. The seed that thou had transplanted in the waters of the time of destruction, as a consequence of it, this entire universe has been originated. Hence, thou art the root cause of the universe. Thou being one (and indivisible), had assumed three forms and remain as the cause of creation, protection and destruction to reveal thine own greatness. (1) Not only that, you have created all beings by dividing your own body into female and male one in the desire of creation. You are, therefore, honoured as the father and the mother of the entire universe. The division of day and night that you have made according to your own time and quantity, amounts 1. Kumarasambhava, 2nd. Canto Sl 4-15.

42 a a to your sleepless moments in that day and night, and sleep (that is also your creation) is noted as the origin and destruction of the entire universe. In this way, the stotras, that the great poet has composed, following the original outlook of different philosophical tenets, possessing even complicated philosophical tenets, contain poetic greatness for its diction and sweetness of language though there are abstruse philosophizations. Rather, philosophical tenets became attractive in the sweetness and charm of poetry due to easy language and clear description. The style that the poet Kalidasa had introduced by transforming philosophical truth into poetic truth, developes fully in the 'Gitagovinda' or Joydeva. It is a combination of philosophy and poetry. The critics, therefore, say that it is the gem of lyrics n in the mixture of erotic (srugara) and devotional sentiment. The avenue through which the Sanskrit stotra, literature has attained the smooth style of Gitagovinda from the bright one of the vedic literature, is radiant in the lustre of varied motions, and enriched in varied experiences of many poets. The Gitagovinda is chiefly based on Srimadbhagavatam. In this Purana, a deep mixture of erotic and devotional sentiment has first taken place in the sphere of literature. Here, we find no difference between erotic sentiment and devotional sentiment. The wave of erotic sentiment that has revealed itself in the ocean of devotional sentiment, can not be

43 separately taken into account from the original denounment. So, in the Srimadbhagavatapurana, somewhere erotic sentiment has merged itself in devotional sentiment and vice-versa. Gopigita is such a stotra (that combines two sentiments) in the Bhagavata. (1) It is true that there has been an expression of devotion of the Gopis towards Krsna, but erotic sentiment of the gopis towards Krsna has been chiefly revealed here 6 0 0 020 600 transcending devotional sentiment. So, the sight, the touch, the dense hair and the 1-tus feet of venerable Krsna appeared to be charming to them and these have become the chief object of description of the stotra. In the Copigita, therefore, the warmth of bodily love is more dominant than the aa 000 touch of devotion. In Jaydeva's Gitagovinda too, the warmth of bodily love predominates there. As this love has been dealt out making Radhakrsna as its source, this bodily love also ascended to spirituality. Most possibly the introducer of this style that deals out erotic sentiment with the aid of super-natural characters might be Kalidasa himself. Kalidasa has composed Sakuntala to make the confined room of Sanskrit literature alry with erotic fanaticism ( or sentiment), but he had to conceive of the inhabitants of (1) Srimadbhagavatam Tenth Skanda, Sloka 6,3, 13, 14 and 17.

44 J super-natural world as the central Eros of his drama to save the orthodox views of social beings of that age from severe external onslaught. Dusyanta in the drama Sakuntala has not been represented as a common man only, the door of Indra's heaven (Svarga) is rather open to him. He thinks himself satisfied by having a portion of Maudara garland hang ing round the neck of Indra. He ranks with Indra equally. Sakuntala is not a common woman, she owes her birth to a nymph; hence, she is an inhabitant of super-natural world. The style that the poet Kalidasa introduced in order to make the air of erotic sentiment flow in the field of literature with the aid of supernatural characters, seemed to prefer stotra literature as its appropriate field of application in later times. The style developed itself in Srimadbhagavata and established in the Geetagovinda in the field of stotra literature. The varied ways that this style has taken with a view to developing itself, have sometimes given birth to such poetry (Kavya) as having sheer erotic sentiment. We, therefore, find a detailed description of the beauty of the goddess candi, a picture of Mahisasura and a pathetic portrait 0 掳 of Mahisasura's death by the lash of the legs of the goddess in the "Candisataka" of Bana. The detailed discussion of * 0 erotic sentiment does not move the reader until the powerful personality of the poet is found behind the uplift of erotic

45 sentiment into devotional one and until the poet's talent gives the portraits of erotic and devotional sentiment a harmonizing and consistent form. But when the strong personality of the poet conceals itself, and the inconsistency of the pictures of erotic and devotional sentiment becomes poignant, the reader is afflicted at the sight of love's sensual form. As the sensual form of love has thus revealed itself in Bana's 'Candisataka' and in the stotras following 0 v this style of composition, its inclusion in the stotra literature has become a subject of criticism. Imitating this style Laksmana of later origin has composed fifty slokas to eulogize the open breast of the goddess Candi and Sivadasa, in his Viksatna Kavya, has portraited Siva as one who tempts ladies. It contains a perfect portrait of the sensual aspects of Hara's and Parvati's conjugal love in the style of the spirituality has been proclaimed in such a manner in KumaraSambhavam as is not found here; but apart from stating its dominance here, it has not been stated even once. The style of portraiting bodily love on the basis of Hara's and Parvati's character is old in the field of Sanskrit literature. Hence, chandaka, a poet of seventh century A.D. expressed the desire of welfare by saying 'may Hara and Gauri protect you'. With a portion of valaya (a kind of ornament) broken in lovequarrel, Parvati has completed the half-circled moon of

46 Mahadeva's forehead. So, the breast of both Mahadeva and Parvati has been swelled and developed. Only good is to be begged from this pair of gods, engaged in amorous acts. Another unknown poet said that Mahadeva has made a dedicating gesture of his hand by joining his palurs. His eyes E are closed. Even the infant Kartikeya is wanting fruit or result from his mother. His mother pointed out that the dedicating gesture of Mahadeva's hands is the fruit indeed. As soon as it had been shown the baby drew it; soon Mahadeva's meditation is lost and he became enraged. But his anger has been abated at the sight of playing t Karthika and a charming smile brightened his face. Good is to be begged from this gracious Mahadeva%3B this seems indeed to be the best time for praying. The idea represented in the imagery is totally mundane. It seems impossible to express successfully the greatness of donors if mundane idea is not taken, likewise picturing of gods and goddesses, devoid of earthly ideas, does not satisfy the reader. This flow of thought has acquired its place in the poet's mind since seventh century. To search for the long way of gradual development of stotra literature, we have to analyse the imageries of these poets of little fame. Without their discussion the analysis -/ of stotra literature remains incomplete. 'Devisataka' by Anandapardhana and 'Iswarasataka' by Avatara are examples waras a 鉁�

47 of different types of stotra literature. In whatever low class of poetry may Anandafarahana place citrakavya (epic full of imageries) in his Dhvanyaloka, he himself gave an expression of his partiality towards citrakavya in 'Devisataka' by abundant use of figure of speech in words. In 'Devisataka', not the greatness of the goddess nor the respectable feeling nor the sense of devotion of the devotee towards the goddess have revealed itself chiefly. Amidst the influence of densely represented figure of speech in words, they have only survived themselves, the commencement of the degredation of artistic consciousness that we find in the epies of the Post-Kalidasa period, reveals itself in the field of stotra literature too. The Devisataka', composed by Anandavardhanacarya, is the brightest emblem of this. But we do not find this type of composition from the artists of entire Post-Kalidasa period. Banabhatta, has been able to express his deep personal feeling in his Suryasataka. The imagination of Surya's human body has made a cold shadow of human idea in this stotra. Surya (or the Sun-god) has, therefore, revealed himself not as a god only, he is but a dearest friend of soul, a good-doing preceptor, a great well-wisher and a protector. The Sun is the light, the eye, the father, the life and the mystery at root of the entire creation. The rays of the Sun is a boat of rescue from the world-ocean. The Sun god nourishes the entire universe and bears the disciplinary form of the law of the universe. He is Brahma, Visnu and Maheswara i.e. he is the maker of

48 creation, protection and destruction. It is undoubtedly true that it contains philosophical thoughts but this sheer network of philosophisation has not marred the beauty of the stotra. The artistic skill of the artist has balmed the philosophical thoughts. This artistic skill of Bana is not found among his contemporary creators. So, we find abundance of philosophical thought in the stotras of Bhartrhari and Bhattanarayana. The flow of feeling there is thin and sometimes almost thinner. Mohamudgara or carpatapanjarika stotra of Sankaracarya is an example of such thin feeling. Stotra literature, on its journey, has anchored itself on the shore of philosophisation in this stotra of Sankaracarya. 000 In the stotras, composed on Krsna, there has been a mixture of erotic or affectionate sentiment with devotional one. The way through which the stotra literature was advancing by accepting the predominance of devotional sentiment and taking the flow of other sentiments allied to these, has changed its direction from the time of Acarya Sankara, founder and exponent of monism and a new flow of thought has thus been originated. Acarya Sankara, belonging to monistic school of philosophy, thought the renunciation of world (or the acceptance of Sannyasa) to be the best way of having the knowledge of what is truth. The acceptance of anchoress is not possible until addition to enjoyments is destroyed or a sense of renouncement is ushered. So, in order

49 0 to rouse an apathy towards worldly things Acarya Samkara has introduced a new flow of thought in the stotra literature with his heart filled with the welfare for mankind. Although there is an abundance of devotion and other allied ideas in the stotras of different gods and goddesses composed by Acarya Samkara, he has added a new true of thought befitting of renouncement in the minas of men. We find this new true in the carpatopanjarika stotra of Samkaracarya. Here Santarasa (sentiment of pacification) has become the object of discussion in stotra literature inspite of affectionate (vatsalya) or erotic, pathetic or devotional sentiment. khetoricians differ in opinion as to the ability of santarasa as being a sentiment. Those who deem Santa as the ninth sentiment, say that its lasting idea (sthayi bhava) is the direction arising out of finding the difference of eternal and transitory objects; good company and completion of four stages (Purnasrama) are its concurrent ideas and thought, delusion etc. are its following ideas (anubhava). As 鉁� Samara's mohamudgara stotra draws the attention of the readers towards the difference of eternal and transitory objects, it can be said that the description of the vibhavas of Santarasa has been completed in it. (1) This stotra attempts to produce a sense of apathy towards objects of enjoyment in 1. Carpatapanjarika stotra - Sloka 1, 3, 4,6,7,9, 12.

:: 50 the reader's mind by informing him of the transitoriness of the world. Days and nights, evenings and mornings, winters and springs come again and again, time acts, wind flows all of them show us of their transitoriness, yet false hope does not desert our hearts. The heap of hopes does never desert a man even if his body and limbs become inactive, head becomes white and contains little hair, body is bent in the burden of old age or if he catches hold of stick (danda i.e. to catch hold of a stick in hand denotes that the holder of it is old), the and he can not evade the temptation of hope. One should absorb oneself in thought by giving up anger, delusion and greed as because the happiness in World is fleeting and relation (with men) is but an illusion of mind. For this, Sankaracarya, the Yogi, advises to practise analysis (vicara), mantra, muttering (japa) and other acts allied to Yoga (system of meditation and self control) for pranayama (breath-control), pratyalina and for a knowledge of objects of eternal and transitory value. According to Samkara, special attention is to be kept on the fact that may human mind not deviate itself from these performances. (2) 0 - 2. Carpatapanjarika Stotra - Sloka 13 鈽�

51 It is clear from the above analysis that having a dip in santa sentiment in the Mohamudgara of Sankaracarya, stotra literature attempts to make itself free from worldly blemishes. The true message of this world of reality is not found here. For this, these stotras have not helped the reader's mind to enkindle the feeling of the material world rather these stotras have tried to bring the tran quillity of mind. All types of Kavyas aim at achieving ==t this tranquility of mind. Reading Kavyas and enjoying dramatic shows take the reader to the highest order (of the world) by freeing his mind from the burden of everyday thought. There he feels a sound tranquility of mind. As this becomes an object of feeling in the taste of santa sentiment, rhetoricians find the taste of santa rasa amidst the taste of all sentiments. Acarya Abhinava gupta has, therefore, said that the lasting idea (sthayi bhava) of other sentiments is the radiated soul of lust but the lasting idea of santa rasa is pure soul (1) - that contains Na 1. Tadidamatmasvarupameva tattwajuonam samata ca, yat kalusyo - 2 paragavisesa evatmano ratyadayasadamgame (h) pi visuddhamasyarupam Abhinana-bharati commentary, Natyasastran 6th. Ch. pp. 338.

鈥� 52 ::- not a drop of lust no restlessness of desire and that which is perfect within itself. The Mohamudgara stotra of Sankaracarya is much appreciated in the stotra literature as because it has widened such a way of self-realisation, that is serene and free of lust. There is no distinct expression of santa rasa in other stotras of Sankaracarya, we find a description of the greatness of the god of eulogization and a full expression of the composer's devotional sentiment. The Sivastaka stotra is such a stotra. Here the poet, charme a by the greatness and brilliance of Mahadeva, has bowed his down to his god of worship repeatedly prayed goodness and welfare from Mahadeva, compared with a Kalpa tree (allgiving tree) of all good. The poet of Mohamudgara has appeared as if in the guise of a fighter. The poet here aims at establishing the human mind on its own by taking it far away from illusion, delusion, lust, desire, hope and despair of the world. He expressed a bitter outlook towards the flow of the advancing life. The love of woman, youth, everything has been reduced to ashes. The poet of Sivastaka stotra, on the other hand, has approached himself near his object of eulogy in a hesitating heart. Here, we find no impertinent expression of extreme boldness, rather we find here a slight disclosure of the covering of the sensitive and frightened mind. One has to have the feeling of fear and hesitation to approach Mahadeva, who is like the

53 Kalpatree that confers good only, who is the lord and god of everyone, beyond whom there is no god, who possesses endless qualities yet no guna (i.e. bondage of sattva, rajah and tamah), whose ornament is but the venom of Nagaraja Vasuki 鈽� and to whom the abode of demons, invincible in battle, is easily accessible. The poet's mind seems to have not over come that fear and hesitation in Sivastaka stotra. This expression 鈼� 鈼� of the twofold feeling of the bifurcated poetic mind has added a new variety in the stotras, composed by Sankaracarya. On the one hand, he has brought the boat of stotra literature in a slow flow and send it in tremendous flow of the greatness of the god of eulogy on the other. Judging from this view point, the stotras of Sankaracarya deserve a distinguished place in the history of stotra literature. DO O Lilasukai Krsnakarnamrta strikes a new note in the vast field of stotra literature. We find not the Krsna of Mahabharata here, but that old Krsna has chiefly been represented. The poet realized that the best of all worship is to have a taste of amorous acts (titarasa) of Radha and Krsna. It is, according to the poet, the best way of 003 achieving salvation (Moksa). Hence, erotic sentiment naturally predominates here and in these stotras sentimental excellence rather than spiritual value has chiefly been expressed. Libasuka himself tastes the amorous acts of Krsna

54 and expressed it in his stotra. Most probably, the word "the suka (a bird) of Krsna's amorous acts" has come from 20 3 the name Lilasuka. We find a fine preparation of the sentiment and idea of the poet's favourite god of eulogy. The expression of the poet's deep and intense feeling, a sonorous and mean sound of self-dedication and inferiority, expression of erotic sentiment on the basis of Krsna's all these have placed the Krsna Karnamrta 000 amorous acts stotra in a dignified position of high class poetry. Although the poet has attached importance on the clear expression of feelings, he remains ever conscious of the artistic excellence of his poetry. So, the imageries of this stotra are enriched in the beauty of word-meaning (arthagaurava) bright in the lustre of figure of speech. Charmness of words and a consistent combination of excellence of meaning have made it a high class poetry. In Lilasuka's Kavya, sensual ideas and erotic sentiments have been much expressed than devotional sentiment. We must not baixem the blame the composer for this, for, the then school (of Poets) that accepted Krsna as their god of worship and also took the attainment of reverence to be the summum bonum, chiefly expressed sensual idea (rati) or affection (Vatsalya) or friendship (sakhya) by keeping devotion or reverence behind. In the compositions of the poets belonging to this school, somewhere the sense of reverence has concealed itself behind sensual ideas,

55 somewhere the sense of reverence itself became sub-ordinate by making the sense of affection towards children (vatsalya) dominant, and somewhere it handed over the sceptre of poetry to the sense of friendship (Sakhya). Stotra literature has acquired such a characterized and expressive reverence in the hands of Vaisnava Poets. - . 鈼� The diction that has been introduced in Lilasuka's stotra establishes itself in the Gitagovinda. The Gitagovinda, composed by Jayadeva in the twelfth century A.D. is not an eulogistic poetry. Here the vernal sports of Krsna has been chiefly delineated. In the beginning of the Gitagovinda a dasavatara stotra (a stotra having the eulogy of ten incarnations of Brahman) has been given. (1) The mixture of queer (adbhuta) and heroic sentiment with devotional one is noticable here. The presence of imageries comprising different forms such as varaha (bear), kurma (big tortoise), Man-lion (Narasimha) and Vamana (dwarf) etc. of Visnu have added variety to it. These imageries have sometimes helped to deal out queer sentiment (adbhuta rasa), sometimes expressed chiefly the enthusiasm 1. Gitagovinda - sloka - 2, 6, 11.

56 of the god of worship and some times created fear in reader's mind by mentioning the chivalry of the god of worship. We find the mental preparation of Jayadeva, the composer, in these imageries. Hence, the dasavatara stotra contains the definition of real stotra. The object of description of the next portion of this stotra is Krsna's sports in Vrudavana. Ot O n It is composed in twelve cantoes; the slokas of the cantoes in have been composed such forms as can be tuned in music. Two L or more slokas, composed in famous Sanskrit metres, have only represented these slokas, worth tuning. Gitagovinda's objects of description are the separation of Krsna with Radha, sport of Krsna with other Gopis, sense of Radha's agony, her 000 0 , 0 feeling of jealousy, yearning for union with Krsna, act of messenger by her female friends, return of Krsna, repentance of him, the act of satisfying Radha and the splendent joy of union. If we analyse this stotra, having the description og amorous sports of Radha and Krsna and composed in twelve cantoes, it seems that it contains chiefly popular erotic sentiment. But Jayadeva has differentiated his hero and heroine from the people of the world to create a heavenly sense. He has attempted to make it clear in suggestion that the representation of extreme love on the basis of these two characters (of Radha and Krsna) is not possible in this 0 0 0 realistic world although an effort is being made to do so. The hero of the Gitagovinda is Krsna, a boy of five years' old. 400

57 He is unable to walk alone in the darkness of night. So, Nanda has directed Radha to accompany the boy Krsna to his home. (1) 鉁� d This boy Krsna and young Radha have become the object of delineation in the love affair of Gitagovinda and distinguished it from the common poetry of love. But whatever effort may Jayadeva make, he could not conceal the dominance of erotic sentiment in his Kavya. So, the reader firmly takes this decision in reading Gitagovinda that the boat of stotra literature has totally removed devotional sentiment as soon as it came to the bank. A dim attempt has only been made in the dasavatara stotra at the beginning of Gitagovinda to keep up this gradually losing devotional sentiment. Judging from these viewpoints, it must be said that the taste of Jayadeva is unique in the field of stotra literature. That which he contributes more is a perfect consistency of the beauty of meaning of words with the charmness of words and an apt representation of the decoration (of words), admitted by ancient rhetoricians. Jayadeva became an object of gratitude of his successor even if he introduced new metres. The style of rhyme at the end of every syllable of a metre, that he 1. Gitagovinda 1.1.1

-:: 58 introduced, had its nourishment in the Bengali metre of later times. From many view points the Gitagovinda became a monumental work in the stotra literature. Erotic sentiment dominates in the Gitagovinda. We find there a description of lovers' hope and despair, joy and sorrow in metre which the poet analyses by entering into the deep of human heart. Contrarily, feelings were suffocated in the sakti stotras, we find abundance of philosophical thought there. The wordy image that the artists have shaped to deal out philosophical tenets, is spendent in the variety of figure of speeches that are taken to be its ingredients. Although this artistic excellence of the image of words (or wordy image) wonders the reader's mind fully the expression of feeling here is dim and feeble. L Hence, the Gitagovinda and other vaisnava stotras, composed after the style of it are specimens of high class poetry. In the Sakti stotra and in other Sakta poems (Saktapadavale), composed after its style, we find the abundance of philosophical thoughts and affluent representation of such figures of speech as are intellectuals. The Dakshinakalika stotra which is noted as Karpuradi stotra, contains such philosophical thoughts. The poet said that the worshipper, who mutters repeatedly the crude (or original vija) mantra "Krum", easily attains all desired objects. The worshipper who mutters these two crude mantras "hum hum",

59 who is able to win Brhaspati and Kuvera for longer period and overwhelm women, who realizes the purport of the crude mantra "hrim", easily wins over his enemies. (1) Thus the poet's attempt in analysing the significance of the crude mantra(vija) wonders the reader much and in this way the reader admits the originality of the poet's talent but judging from poetic point of view we can't reward it as a best composition. On the one hand, the abundance of philosophical thoughts has helped deal out queer sentiment (adbhuta rasa) in this stotra, likewise the description of the terrible form of the goddess Kali has helped to deal out terrible sentiment and this amazement mixed with fear on the other. The poet said that the devotee, who, being devoid of illusion and absorbed in yoga (system of medetation and self control) and plunged in the taste of proximity (with his god or goddess of eulogy) by entirely uniting his own soul along with the Kundahni sakti at muladhara with the supreme soul (paramatma), meditates the goddess Dakshina Kalika at night, attains all desired objects.(2) li 1. Dakshina Kalika stotra l 2. -doSl. 1, 2, 3, 5, 6. S 1. 18

-:: 60 Dakshina Kalika is the possessor of five beings (Pancamahabhuta) i.e. Kshiti (earth), ap (water), tejah (spirit), marut (air) and vyoma (sky). She is the good-maker, the wife Girisa (Mahadeva). Although she is one, who is second to none, remains in every being. (3) Towards the end of this stotra, the poet has stated the greatness of this stotra after the style of the Mahabharata. Whoever recites this stotra loudly, containing the origin of mantroddhara and the description of the true nature of the goddess and rules of the worship of the goddess Kalika at middle night or at the time of worship, his scattered and meaningful speeches (Pratapa) are also filled with the taste of poetic nectar and common sentences are bloomed in poetic flowers; women, having eyes like the deer, follow him with a love lorn heart, for king becomes his sub-ordinate and he becomes rick like ------------------------------ 3. Dakshinakalika stotra -Sl. 14.

61 L Kuvera. (1) Sakta stotras (saktapadavali) of later Bengali literature had its foundation on sakti stotras of such type. We find f a full influence of vaisnava stotras on the sakta stotras of Bengali literature. Hence, although we find philosophical thoughts there, human feelings have not totally been choked. We find the predominance of devotion in these stotras. The poet is here represented as an issue of his goddess of eulogy. As a child approaches his mother without 2 any hesitation, the sakta poet too has approached the mother of the world unhesitatingly. Sometimes jealousy, sometimes artificial anger (abhimana), sometimes devotion, sometimes affection the expression of these conflicting sentiments has added variety in the stotras (padas) of such type. The history of the gradual development of stotra literature is full of so much variety that the way of its advancement has been extended to many centuries beginning from the vedic literature; it contains, on the one hand, a clear expression of feelings and a suppression of different sentiments of human heart on the other. While it is splendent with light on one side, covered with deep darkness on the other, while it is enriched in poetic excellence on one side, 1. Dakshinakalika stotra - 搂1. Sl. 14. 鈽� 1

62 jammed with philosophical thoughts on the other. To make the flow of the gradual development of stotra literature clear and distinct, as an analysis of the pictures of feelings, reflected in this literature, and of the wordy image of the soul is necessary, a discussion of the imageries of abstruse philosophical thoughts dealt out in the stotras is likewise necessary.