xetratattvadIpikA (क्षेत्रतत्त्वदीपिका) is a work on geometry in saMskR^ita (संस्कृतम्) in the light of Hutton’s Geometry in English.
ma~njubhAShiNi (मञ्जुभाषिणी) is a commentary on the shrI-kR^iShNa-vilAsa-kAvya (श्रीकृष्णविलासकाव्यम्) of sukumAra-kavi (सुकुमारकविः). This was written at the instance of vishAkham tirunAl (विशाखं तिरुनाल्) in the year 1872.
The author is said to have composed devotional songs on the deities of all the sacred shrines he visited; these are numerous and only a few of them are noticed here.
ashvatthagaNanAthAShTaka (अश्वत्थगणनाथाष्टकम्). When the construction of a temple was undertaken for gaNapati (गणपतिः) at the foot of an ashvattha tree (अश्वत्थवृक्षम्) at ilattUr (इलत्तूर) , the author composed the stotra (स्तोत्रम्) invoking the blessing of the God for its successful completion. The poem contains nine stanzas in sragdharA (स्रग्धरा) meter, each beginning with one of the syllables, in order, of the mUla mantra (मूलमन्त्रम्) of the deity and the long drawn line of twenty one syllables in each quarter breathing an air of plaintive appeal to the God.
dharmasaMvardhanIstotram (धर्मसंवर्द्धनीस्तोत्रम्) in fifteen stanzas in shArdUlavikrIDita (शार्दूलविक्रीडितम्) is an eulogy of the tutelary Goddess at ilattUr (इलत्तूर). Each stanza begins with one of the syllables, in order, of the AdividyA (आदिविद्या) of the shAkta-tantram (शाक्ततन्त्रम्).
AryAdvishatI (आर्याद्विशती) consists of two stotra-s (स्तोत्रम्) , AryAShTottarashataka (आर्याष्टोत्तरशतकम्) and AryAshatakam (आर्याशतकम्). The first contains 109 AryA-s (आर्याः), each one being a separate prayer to the Goddess as in the AryAshataka (आर्याशतकम्) of mUka-kavi (मूककविः). The second following the model of saundaryalaharI (सौन्दर्यलहरी) of shrI-sha~Nkara (श्रीशङ्करः) , describes, in the first forty-one AryA-s (आर्याः) the bliss derived by the meditation of shrIpura (श्रीपुरम्), the nine chakra-s (नव चक्राणि) , the sixteen nityA-s (षोडश नित्याः) and the presiding Goddess, tripura-sundarI (त्रिपुरसुन्दरी), and in the remaining verses (42-102) the beauty of the Goddess from head to foot. This lyric poem is full of rhythmic melodies surging up from faith, devotion and spiritual ecstasy. In simplicity of style, elegance of diction and spontaneous alliteration adding to the lightness and rapidity to the flow of verses , it compares favorably with the poems of mUka (मूकः). There is another AryAdvishatI (आर्याद्विशती) also called lalitAstvaratnam (ललितास्तवरत्नम्) and shR^i~NgAravimarsha (शृङ्गारविमर्शः) , in 213 smooth-flowing AryA-s (आर्याः) attributed to the sage durvAsas (महामुनिः दुर्वासाः). It dwells upon the layout of shR^i~NgAra (शृङ्गारम्) and the beauty of the Goddess. It is possible that our author was familiar with this devotional poem.
ma~njubhAShiNi (मञ्जुभाषिणी) is a commentary on the shrI-kR^iShNa-vilAsa-kAvya (श्रीकृष्णविलासकाव्यम्) of sukumAra-kavi (सुकुमारकविः). This was written at the instance of vishAkham tirunAl (विशाखं तिरुनाल्) in the year 1872.
The author is said to have composed devotional songs on the deities of all the sacred shrines he visited; these are numerous and only a few of them are noticed here.
ashvatthagaNanAthAShTaka (अश्वत्थगणनाथाष्टकम्). When the construction of a temple was undertaken for gaNapati (गणपतिः) at the foot of an ashvattha tree (अश्वत्थवृक्षम्) at ilattUr (इलत्तूर) , the author composed the stotra (स्तोत्रम्) invoking the blessing of the God for its successful completion. The poem contains nine stanzas in sragdharA (स्रग्धरा) meter, each beginning with one of the syllables, in order, of the mUla mantra (मूलमन्त्रम्) of the deity and the long drawn line of twenty one syllables in each quarter breathing an air of plaintive appeal to the God.
dharmasaMvardhanIstotram (धर्मसंवर्द्धनीस्तोत्रम्) in fifteen stanzas in shArdUlavikrIDita (शार्दूलविक्रीडितम्) is an eulogy of the tutelary Goddess at ilattUr (इलत्तूर). Each stanza begins with one of the syllables, in order, of the AdividyA (आदिविद्या) of the shAkta-tantram (शाक्ततन्त्रम्).
AryAdvishatI (आर्याद्विशती) consists of two stotra-s (स्तोत्रम्) , AryAShTottarashataka (आर्याष्टोत्तरशतकम्) and AryAshatakam (आर्याशतकम्). The first contains 109 AryA-s (आर्याः), each one being a separate prayer to the Goddess as in the AryAshataka (आर्याशतकम्) of mUka-kavi (मूककविः). The second following the model of saundaryalaharI (सौन्दर्यलहरी) of shrI-sha~Nkara (श्रीशङ्करः) , describes, in the first forty-one AryA-s (आर्याः) the bliss derived by the meditation of shrIpura (श्रीपुरम्), the nine chakra-s (नव चक्राणि) , the sixteen nityA-s (षोडश नित्याः) and the presiding Goddess, tripura-sundarI (त्रिपुरसुन्दरी), and in the remaining verses (42-102) the beauty of the Goddess from head to foot. This lyric poem is full of rhythmic melodies surging up from faith, devotion and spiritual ecstasy. In simplicity of style, elegance of diction and spontaneous alliteration adding to the lightness and rapidity to the flow of verses , it compares favorably with the poems of mUka (मूकः). There is another AryAdvishatI (आर्याद्विशती) also called lalitAstvaratnam (ललितास्तवरत्नम्) and shR^i~NgAravimarsha (शृङ्गारविमर्शः) , in 213 smooth-flowing AryA-s (आर्याः) attributed to the sage durvAsas (महामुनिः दुर्वासाः). It dwells upon the layout of shR^i~NgAra (शृङ्गारम्) and the beauty of the Goddess. It is possible that our author was familiar with this devotional poem.
