Work Index

126 verses in Śārdūlavikrīḍita metre (see Sinhā 311–312)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

Nallādhvarin wrote it and its auto-commentary (Parimala) at the instance of Sadāśivendra Sarasvatī

Work of Advaita Vedānta, in 44 verses with auto-commentary (Parimala) in prose

It was at the request of Śāhaji that Gaṅgādharavājapeyin wrote this work to summarise 5 systems of philosophy. See Raghavan, intro to Śāhendravilāsa pg. 25

Allegorical play on Advaita Vedānta, referred to in the prologue of the Jīvanmuktikalyāṇa

This work is sometimes attributed to Tryambakarāyamakhin but this was more probably the work of Dhuṇḍirāja Vyāsa, whom he patronised.

Descriptive Catalogue of Sanskrit Manuscripts, Sarasvati Mahal Library, 4231.

Recounts the travels of a certain Dharmapuruṣa from Varanasi to the Kaveri Delta and then Thanjavur, to meet Śāhaji I.

Written during the time of Śāhaji I (Raghavan, intro to Śāhendravilāsa pg. 29)

Allegorical play on Advaita Vedānta

Since the work deals with the marriage of King Śāhaji, it was of local interest (Tanjore descriptive catalogue vol. 8, ms. 4339, pg. 3371)

Kāvya dealing with the story of Krishna.

Co-authored also with a certain Nallāśāstrī (possibly Nallādhvarin, but not sure) and Veṅkaṭeśa Śāstrī (also known as Veṅkaṭeśvara Śāstrī).

This work received an anonymous commentary; see entry 5723 in the catalogue mentioned above.

Commentary on the Paribhāṣavṛtti by the twelfth century grammarian Sīradeva

In 15 taraṅgas (NCC vol. 12, pg. 136a). The work deals with 15 subjects which either directly or indirectly relate to Advaita Vedānta: 1) purāṇaprāmāṇyavivekaḥ, 2) trivargatattvavivekaḥ, 3) mokṣatattvavivekaḥ, 4) caturvargasādhanavivekaḥ, 5) varṇāśramadharmāṇāṃ bhagavadārādhanarūpatvavivekaḥ, 6) varṇādidharmavivekaḥ, 7) bhagavadārādhanaviśeṣavivekaḥ, 8) nāmakīrtanādivivekaḥ, 9) bhagavadārādhanopapattivivekaḥ, 10) adhikārivivekaḥ, 11) tattvapadārthavivekaḥ, 12) vivekajñānaviṣayaikātmyavivekaḥ, 13) yogabahiraṅgavivekaḥ, 14) sayamaviṣayaphalavivekaḥ, 15) muktagativivekaḥ (Adyar vol. 9, ms. 933)

Composed at the occasion of the sacrifice which Tryambakarāyamakhin performed in Svāmimalai near Kumbhakonam. It received the approbation of Rāmabhadra Dīkṣita.

Here, Rāma's omnipotence is described and his arrows are eulogised, in Sragdharā metre (see Sinhā pg. 306–307)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

Written at the instance of Nīlakaṇṭha Dīkṣita (see Raghavan, introduction to Śāhendravilāsa pg. 41)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

Rāma's bow is eulogised here in 112 verses, in Śārdūlavikrīḍita metre. Rāma is characterised as a hero who brings welfare to the universe (see Sinhā pg. 306)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

Rāma is eulogised in 108 verses using the figure of speech yamaka (see Sinhā pg 305)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

In 3 parts (niṣyanda)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

Paryāyoktiniṣyanda - although NCC vol. 24, 188 mentions this as a separate work, Thiruvengadathan pg. 163 states that it is the third niṣyanda of the Rāmakarṇarasāyaṇastava

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

The hymn describes various exploits, stories, and anecdotes of Rāma (see Sinhā pg. 300)

The term 'rasāyana' in the title of the hymn and 'niṣyanada' to signify the parts of the hymn both allude to its value as treatment for the minds of poets (see Sinhā pg. 300)

107 verses written in Śikhariṇī metre. The hymn enumerates the features of Rāma's chatacter and contains a prayer to Rāma to bestow prasāda (kindness, kṛpā). (see Sinhā 308–310)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

In this hymn, Rāma is described as discharging the duties of Brahmā, Viṣṇu, and Śiva. Incidents of his life are mentioned. The hymn is called aṣṭaprāsa due to the repetition of a set of letters at intervals throughout the text. The hymn is composed in Śārdūlavikṛīdita metre. (see Sinhā pg. 303)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

Śāhaji I requested Gaṅgādharavājapeyin, through his minister Tryambakarāyamakhin, to write this work (Raghavan, Intro to Śāhendra, p. 36).

Raghavan intro to Śāhendravilāsa, pg. 34 — 3 different works of the same name (on primary, secondary, and suggestive śabdaśakti) were produced at the behest of Śāhaji by Rāmabhadra Dīkṣita and his pupils Nārāyaṇa and Veṅkaṭakṛṣṇa.

Tanjore Descriptive Catalogue lists Ms 5301 as authored by Rāmabhadramakhin, containing 'two more works with the similar name by different authors'. 5302 is authored by Veṅkaṭakṛṣṇa, and 5303 by Nārāyaṇa.

The 3 authors were encouraged to write independently on śabdaśakti by Śāhaji, with the result that there are three Śabdabhedanirūpaṇas (see Thiruvengadathan pg. 8)

Vaidyanātha Dīkṣita wrote a commentary on this work.

Lexicon of homonyms with words arranged in a strict alphabetical order and by the number of syllables

Co-authored doxography covering six darśanas, namely Nyāya, Vaiśeṣika, Pūrvamīmāṃsā (both schools), Sāṃkhya (including the Seśvara system), Advaita Vedānta and grammar.

Rāmabhadra Dīkṣita wrote the Vyākāraṇa system. NCC vol. 24, 188.

Seven co-authors. Aside from those mentioned in this record, there is also Yajñeśvarādhvarī and Śrīnivāsamakhī

A commentary on this work (Uddhāra) was written by Gaṅgādharendra Sarasvatī (1826) (see Dasgupta vol. 2, pg. 56 and R. Thangaswami, A Bibliographical Survey of Advaita Vedānta Literature pg. 387)

According to the Tanjore Descriptive Catalogue, there are 51 verses (vol. 13 pg. 5819, ms. 7694)

Tanjore vol. 13 ms. 7695 is a commentary on this work called the Siddhāntacandrikāvyākhyā Udgāraḥ

This work is complete in 50 verses. It asserts the Mīmāṃsā cannot lead to liberation, and that the Sāṅkhya, Yoga, and Nyāya śāstras are only doorkeepers to Advaita Vedānta (see R. Thangaswami, A Bibliographical Survey of Advaita Vedānta Literature pg. 387)

T.S. Kuppusvami Sastri references this work in his Sanskrit intro to the Patañjalicarita (issued as a separate publication as a companion to Kāvyamālā 51). See Thiruvengadathan pg. 17, and NCC vol. 24, 188

This work is non extant

Although it is styled as a subcommentary on Śaṇkara's Brahmasūtrabhāṣya, it challenges several key theses upheld by proponents of Viśiṣṭādvaita Vedānta (see Duquette, forthcoming)

Kṛṣṇānanda Sarasvatī directs most of his criticism at Sudarśanasūri's Śrutaprakāśikā (see Duquette, forthcoming)

It is a hymn with auto-commentary

Erotic play based on the life of Śāhaji I

Madura is mentioned as the venue of enactment (Raghavan, intro to Śāhendravilāsa pg. 41)

Written at the request of Raghunātha, his disciple (see Kuppuswami Sastri pg. 178, Raghavan pg. 42, and Thiruvengadathan pg. 16)

A drama in five acts based on the Puranic account of the marriage between Subhadrā and Arjuna.

This work is suggested as possibly by Rāmabhadra Dīkṣita by K. Kunjunni Raja in Uṇādimaṇidīpikā, pg. 42. Thiruvengadathan (pg. 17) says that the work is yet to be traced.

See Thiruvengadathan pg. 17, and Raghavan introduction to Śāhendravilāsa pg. 42

Tanjore ms. 5675: this copy extends to the middle of the second pāda

On Rāmāyaṇa (Uttarakāṇḍa).

Incidents in Rāma's life have been described in 51 verses. All verses begin with a letter in the sequence of the Devanāgarī script. It is composed in the Vasantatilaka metre. (see Sinhā pg. 303–304)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41

'An allegorical drama like the Prabodhacandrodaya, in 7 acts. The plot is based on the marriage between the Jīvātman or the individual soul and Vidyā or spiritual wisdom. The drama is said to have been enacted on the occasion of the festival of goddess Ānandavallī, worshipped in Tanjore. See S. N. Dasgupta, HSL. Classical Period, Vol. I. pp. 486. 764.' (NCC vol. 31, 147)

Has a commentary by the author Vedakavīśvara (Vidyapariṇayavyākhyā)

Written during the reign of Serfoji (Raghavan, intro to Śāhendravilāsa pg. 29)

125 verses in Śārdūlavikrīḍita metre. It considers the ephemeral nature of worldy things, and states that only Rāma's name can bring liberation. (see Sinhā 310–311)

One of the 9 hymns that are printed in the Stavamaṇimālā as Sarasvatī Vilāsa Series 6 (ed. Subrahmanya Sastri)

See Thiruvengadathan pg. 17 and Raghavan introduction to Śāhendravilāsa pg. 41