CHAPTER -II

LAHARiPANCAKA
 LAHARIPANCAKA

It is necessary here to take; up the works of Jagannatha

Pandita and evaluate them one by one. Laharfpancaka, consist of
five poems : (1) Gangalahan'{2) Amrta Lahan'{3) Karun'a Laharf
(4) La/csm/la/ia/fand (5) Sudlia La/7a/77 is taken up in this chapter
for discussion. The modus operandi of discussion here is, first, a
brief description of the theme of the poem, and then the evaluation
of it.

GANGALAHARf

The holy Ganga, according to Indian mythology, is a

river brought dov\/n from heaven by Bhagiratha, and is hence
worshipped as a goddess, who is extolled in this poem.

Theme of the poem

The poet describes the river thus: 'The waters of Ganga,

which is the source of the indescribable prosperity of the earth, the
quintessence of knowledge, and the goodness of noble people, may
min all inauspiciousness. Her waves wash away the worries of the
poor, and the wretchedness of the wicked, if they come under her
eyes even once. Her anger at the sight of Parvati, which is manifested
 19

as the higher waves, destroys all fears."

The poet says that he abandoned all the Gods, as a result

of his proud thoughts of her blessings. But if she would remain lazy
even then, who would help him ? The waters, which represent her
self, ruin the sorrows of the wicked just as the moon-rays min
darkness. That very self, served by all Gods, may destroy his three
types of miseries.

One who drinks her water which is sweeter than nectar,

enjoys happiness and salvation. Even the musk-deer obtains heavenly
salvation, when the musk, smeared by beautiful damsels, is mixed
with her waters at the time of their bath. If her name is remembered
even once, the material son"ows are washed away. That beautiful
name, Ganga, may always shine forth on his face. Even the crows,
who live on her banks happily, do not desire to stay at the abode of
Indra. Her banks, which rob the wordly sorrows caused by birth and
death and which is the residence of people of different sorts, may be
able to min one's grief.

The heavenly river, Gangi, is non-different from Brahman

who is etemal bliss, pure and formless, free from wordly shadows,
but she is different in one respect, that is, in her form. So her
greatness is beyond any measure.

To reach the feet of Vi^nu is a very rare achievement, and

 20

it is gained only through sacrifice, devotion, gifts and meditation.

But one who approaches Ganga will gain the abode of Visnu.
Disregarding the anger of Pan/ati, Siva always bears Ganga on His
head. Her side glances alone will cause the ruin of worldly sorrows.
She alone holds the power to eliminate all worldly sins. Lord Siva
caught her in his matted hair, as she descended from Heaven to the
world to dispel the sonrows of all people.

Mother Ganga is the eternal medicine in the universe, which

protects the blind, the lame, the deaf, the dumb, and persons affected
by the cmelty of planets like 'Sani, Rahu, etc. She is praised even
by the sons of Sagara. Her greatness is indefinable and her waters
are pure and cool by nature. There are so many holy places in this
world to uplift the sinners, but Gangi alone saves those who do not
deserve to be protected even through repentance. She is the abode
of Dharma. Her body is important like a pilgrim centre, and it is the
prohibited area for any form of foolishness. It is also the seat of
Laksmfwho may protect us from distress.

If any one is separated from Mother Ganga even for a

moment, it is due to his guilt or foolishness. Her waters, mixed with
the suffron colour of the ointment of cedar wood fallen from the breasts
of heavenly nymphs, may destroy his mundane existence. She is
bom from the nails of the feet of Lord Visnu. Her dwelling is on the
 21

head of Lord Siva who is the enemy of Kama. Her concern is also
with the uplift of the souls of soldiers in the battle. In various ways
she is prosperity itself.

Lord Siva does not allow any river other than Ganga, who

burst out from the mountains, to mount his head. No other river is

seen in this world which washes the feet of Visnu. No poet could

compare her to any other river. Even if the Gods adhere to the

creation, existence, and destruction of the universe, if the Ganga

flows down, the performance of penance, gifts, and sacrifices is

futile.

The poet who has fallen an orphan, who has no refuge,

who is sick and confused with greed, resorts to you, who are lovable,

virtuous, chaste, pious, the ocean of nectar that uplifts the worid.

The number of pious souls increases day by day by the purity of

Ganga. The indefinable waves of the river are absolutely necessary

to destroy the heat of the body bumt in the fire of desire, anger, etc.

The entire universe floats in her waves like a blade of grass.

The poet admits that he has no competence at all to eulogise

Ganga who is prepared to raise him, a house of sins. Aware of this,
he approaches her. He requests her to protect him. He has no
other resort but the Mother. His eyes become useless, after they
have once drunk the supreme beauty of her body; his ears are of
 22

no use if they have once heard the songs of her waves.

All sinners who bathe in Ganga, are rescued. The wind

beating from the waves of Ganga purifies and heals the wounds caused
by separation. There are many people in the world who desire
heavenly happiness and material pleasure. But the supplicant
(Jagannatha himself) who rests upon her waves attains the happiness
of both this world and the world beyond.

There are many people who are uncultured and wicked,

roguish and outcast, whose desire to remove their sins remain
unfulfilled. At the time of the tandava dance of Lord Siva, the waters
of Ganga, which fall from His clotted hair, may remove terrible sins.
Sinful souls then bow in unlimited love towards Mother Ganga. People
adom their foreheads with the soil of Ganga as a prime mark. That
soil, like sunrays, destroys the darkness of grief. Innumerable people
resort to the flowering trees on her bank. Even the blotted souls get
sublimated by the fragrant flowers of those trees.

A set of people perfomri sacrifies for deities. Some others

are interested in tenible penance. "Other men who do yama, niyama,
etc., are engaged in different rituals. But the devotee is always
immersed in the remembrance of her name. There are different
Gods who are pleased with pious men for their nobility. But Ganga is the
only divine power in this world also bestows the supreme joy of bliss
on all. After drinking her water, the devotee may go away with his
 23

friends to do playful things, but he finds no peace anywhere. The

kind-hearted mother will then lay him down on her lap, and soothe
him with the coolness of the slow movement of the wind.

Those who meditate upon Mother Ganga who sits on the

purified pitha, resembling the autumn moon, bearing the crown
decorated with crescent moon and snakes, holding lotus and nectar-
pot in the hands, and wearing pure gannnents and jewels, obtain her
blessings. The lovely lady of'Santanu (Ganga), who protects men
burnt in the worldly fire and who increases the brightness of moonlight,
may promote one's welfare.

The heavenly kallolini {Ganga) is always washing the feet

of the enemy of Kaliya (krsna). The devotee's body is polluted by the
poison of the snakes of the world. This pqison can't be removed by
ordinary medicines or magic spells. So, Mother Ganga should
eliminate his worldly sorrows. The tandava of Lord Siva who bears
the waves of Ganga, who adorns the head of the Lord, may purify
men. Mother Ganga may clean one's limbs and mind.

Evaluation of the Poem

Jagannatha Pandita's Gangalaharf'is one of the most

popular devotional poems in Sanskrit. It consists of fifty-two verses.^

1. Some verses in Praise of Ganga which are not seen in

Gangalahan'are quoted in Rg.
 24

The last verse (Phala'srti) reveals the name of the poet who calls this
poem PTyusa lahaifVTf ^t<J^ eTFff ^^FFTSR- fnWdiM'^

His name is mentioned in other verses also^ There is a

contradiction that the poet calls this poem Piyusalahan, though it is
known as Ganga /a/7an7naming more than once the word Gang^. As
the title of the poem aptly indicates, the big waves of Ganga are
described therein.

The pure S/7aW/d/7ava (devotional sentiment) is delineated

in the poem. The poet's boundless devotion can be noticed in all
verses of the poem. He believes fimnly that the Ganga would bestow
upon him permanent happiness, both worldly and spiritual. For
instance, -^
fiF'irrrs w ^ U^^\^t> HrgTTzfe^rrs

TSR^JJ -^T^aR^ PiP^deflchiilLi^S I I"*

"There are many who have secured worldly benefits without fail
(through your grace). Many others are there who seek the spiritual

2. This line is quoted in the Sanskrit-English Dictionary by V.S.Apte

as illustration of the word 'laharT
3. Laharipancaka, Acharya Madhusudana Sastri, Krisnadass
Academy, 1986. w.36 and 41.
4. Ibid., V.36.
 25

path and have themselves purified (in your sacred waters): but here

is Jagannatha who, oh mother! rests in peace, leaving to you all his

burdens of this and the other world".

The poet's faith in Mother Ganga as the only benefactor

of the helplers can be noticed from many verses. His final wish to

repose on the bosom of the Mother is revealed in a tone full of

pathos and devotion

tr?rs Tflc^ MldWci W^ "OTcTS T^W^'o

"I had no mental rest anywhere, by merely drinking your water and

enjoying the company of friends. Oh, mother of sympathetic heart,

allow me, sleepless so long, now to sleep on your lap which is cool

by soft winds."

Metrical Analysis Of The Poem

Skilful selection and effective employment of different

metres are very significant in a poetic composition. Gangalahams

composed in 'Sikhaiini metre upto the 49th verse. 'Sardulaviknclitam

is used in verses 50 and 51. Verse 52 is written in Upendravajra.

5. Ibid., V.46.
 26

Figures of Speech

Figures of speech play a significant role in beautifying the

body of poetry. There are beautiful instances of apt figures of speech
in GangalaharC

Rupaka

This figure of speech has been used in many verses of

the poem. The following verse will serve as a specimen:

^ cT5 W t f c T yclUKHuil^ T 3 ^ ^ ^

Here the face and lotus are depicted as non-different. Hence it is an

instance of rupaka. There are examples also in verses 2 and 22.

Ati'sayokti

The fundamental principle of atisayokti (hyperbole) is

exaggeration. Verses 6,7,9,11 and 17 are fine examples for this

figure of speech.

Arthapatti

Verses 7 and 17 are examples for this alankara.

Ibid. y.8.
 27

Vyatireka

Verse 10 is a fine example for this figure of speech.

Udatta

Udatta is a figure in which accumulation of wealth or

greatness of character is desaibed. Verses 16 and 49 are examples.
Here the stories of the sons of Sagara and the story of'Santanu are
discussed.

Anuprasa (Alliteration)

Repetition of phonetic features (Varnavrtti) is a kind of

anuprasa. Following are the examples:

Repetition o f ^ '

' c^PiAi'^ii %^ "s^^n ^srf^T^w' - (V.2)

Repetition oVW\'-

' cTWTT u^^Mi <RdM^ '^^m 'vT^rrrq' - {V.3)

Repetition oV^'-
' 3Tftr TJFHt TTHT (luipMci LIRCU^ W ^ ' (V.6)

Repetition of' TT '-

••Wet "^T^s ^gr^ f ^ r g ^ •jjTTrfHfrs^' (V.10)

Repetition of' H '-

M^eHldHi"ldc^l^R<rifHdl'M"MMdcHl (V.20)

Repetition of' ^ '-

• igT3^TeTr3rrcT3criHcra3^t ' (V.26)

 28

Repetition o f ^ '

-• vjiJlvwiid ^ ^iRf^ ciu|Ml<^H T{^m' (V.44)

Repetition o f "^r '-

' VH-^-riV^di VirviVI<^HVMHii^tr (V.48)

Other Readings

There are different readings of the lines of many verses^

of this poem.

Philosophical References

References to philosophical ideas are often made by

Jagdannatha in the course of his descriptions. The vedantic doctmine

is suggested in a verse.

^ ^^fm^ jTHni ^ m r ^ MHIC)MN44<S

(7) a. T^^ efteTT ^rHH'^Md; T^n^qT^fS (V.1)

b. ir^nj ^
yurnqq (V.30)
C. TTcT fginjUFMR
argfsj *uiniuii^v.3i)
a.ibid.yAQ.
 29

Here Ganga is described as non-different from Brahman, the eternal

bliss, pure, formless, and free from worldly shadows. Ganga

possesses the form. So her greatness is higher. This verse

embodies the advaita Siddhanta of vedanta philosophy.

The style of the poem is simple and majestic. The poetic

imagination of the author rests on a higher plane. The poem creates
many charming pictures of the water element in nature.

As regards the literary merit of the poem, many verses

are simple, graceful and full of figures. More than fifteen verses of
this
'Laharfare quoted in the RG.^

9.Ra GL. Rg-

GL
Pt.ll, P.535-1(Rupaka)
PtIII. R423-4(Kavyalinga)
PtIII, P.420-13(")
PtIII, R547-14(Siesa)
Pt.ll, R 535-15 (rupaka)
Pt.ll. R418-17 (Ananvaya)
Pt II. R418 -17 (Ananvaya)
PtIII, R492-21(Samuchaya)
Pt.ll, R436 -22 (Ananvaya)
Pt I. P.245 -23 (Ganaprakarana)
Pt III. R373 -24 (Samalankara)
PtlllR421-28(Kavyalinga)
Pt.mR165-32(Vinokti)
PtlllR434-37
(Arthantaranyasa)
PtllR124-47(Abhidha
nirupana)
PtIII -R212050(Parlkara
niaipana)
 30

AMRTALAHARF

Theme Of The Poem

The sacred river Kalindi is praised in this Iahan7 One who

views in the morning, the body of Kalindi, which is lovely and resembles
the colour of sapphire, keeps in his mind the figure of Krsna. One
who sees her gets the bliss of seeing Lord Visnu. Nobody can praise
her waters, which resemble the beauty of Siva's neck, bestowing
auspiciousness and destroying sins. Even an ordinary man, who
gets himself once immersed in her waters, is able to live in heaven.

One's days may become pleasant, by seeing her bank

(like a person who waits to see the king at the door of the palace)
which is turned dark by the rows of bees drinking the ichor flowing
from the temples of the elephants. Her waters keep internally the
beauty of a pearl and resemble extemally the brightness of sapphire.
One achieves by once immersing in her waters, the bliss which can
be attained only by twice worshipping Visnu and Siva. One does not
have to fear Yama, the God of Death, if he catches sight of her
dancing waves. Then the groups of sins are washed away.

A person who recites the letters of the name "Kalindi' at

any time for mere joy, obtains all accomplishments. Then, nobody
can describe the salvation obtained from the bath in her waters which
eradicate the inner darkness and equal the nectar. Her waters which
 31

take a vow to protect even the robbers of gold, and sinners who lie
in the bed along with the wife of their Gum, and drunkards, eliminate
the pride of Yama. So repentance is not necessary before her. His
accomplishment of blessedness is boundless, who beholds the fomri
of Krsna by drinking her sweet waters which destroy the obstacles,
which is inaccessible to wicked men. When shall one obtain salvation
thus by calling Krsna, walking on her bank ?

Even the sun has to bear the fierce lustre of the pain
resulting from the split of the disc of the sun. He greatness and
nobility, bom of her ovenwhelming love, are marvellous. Her waters
are capable of bringing salvation to individual souls. The individual
souls dissolve in the supreme soul crossing the powerful disc of the
sun, by the sense of touch of her current.

Evaluation Of The Poem

The poem contains eleven verses. It is the smallest among

his poetical works. The last verse is the poet's colophon:

As already noted, there is another woric of Jagannatha on the Yamuna,

called Yamuna Vamana Campi;'° Unlike this Campu.>Am/ta/a/7a/fis

10. Some stray passages were quoted in the RG.

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a small piece of devotional poetry. Here the poet surrenders himself

to the sacred waters of the Yamuna for the etemal purification of his
soul. The form ofthe river reminds one of Krsna's lovely body. The
verse vy/hich begins ^ wf ^MI^^JR. .. (V.8) suggests the poet's special
reason for having settled in his last days on the banks ofthe Yamuna.
The blue appearance of the river which would, during his deep
meditation, enable him to realise the supreme Brahman, expresses,
as in a nut-shell, the syllables ofthe word Krsna. This experience is
inaccessible to ordinary men. This kind of indirect reference is one
ofthe characteristics of Jagannatha.

Finally, Jagannatha expresses his faith in the Yamuna as

capable of purifmg all men from their sins if they, while immersing
themselves everyday in her water, worship her by the seven names
Sanjakanta Suta, Krtantabhagini, Sri Krsna nityapriya, Paponmilini.
Punyadhatri, Yamuna, andKalindP^

The metre Sardulayiknt^itam is used throughout the poem.

The poet's skill in using anuprasa is seen in several verses.

11. W ^ - P r f ^ ^dl-rl'MniPH ^^
 33

The following verse is a fine example:

W rlKpMdWdWd clZ •gcJrfr " ^ T ^ cF"^ I I ' -

KARUNALAHARI

Karuna Lahan, which is also called V/sni; Lahan,^^ is in

praise of Lord Visnu. The poet acknowledges his sole reliance on
the mercy of Visnu.

Theme Of The Poem

Lord Krsna is addressed in this laharf The devotee, who

is worried as a result of not seeing any remedy and completely
immersed in the ocean of life and death, sacrifices himself to the
Lord. The poet says that he is devoted to the Lord through Sravana
(hearing), Kfrtana (chanting), smarana (contemplation), Padasevana

12. A.LV.8
13. (a) ^ t f g ^ -^^ IFFTT^ PliMdlM
tr: iZr^^ " H ^ im^ WJW^^. i
See JP., p.45 footnote,
(b) "The VisnulaharCas published in the Marathi journal
Aryamitra is identical with the KarunalahanexcepX that
the fomner omits six verses" (Nos. 37,54,56,57,58 and 56)
Bhaminlvilasa, intro, p.28.
 34

(service at the feet of God), arcana (worship), Vandana (paying

obiesance to God), Dasya (service), Sakhya (friendship), and
Atmanivedana (self-surrender). He says further that he reaches the
feet of the Lord, who protects lives from the flame of the worldly life.
He desires to embrace the Lord, abandoning the false material world,
as a deer escapes from the desert.

The mind of the devotee leaving away all fickleness, which

enjoys the honey flowing from the feet of the Lord, considers
everything as grass except the Lord. If anybody goes disregarding
the feet of the Lord, which have taken a vow for the protection of the
world, he may reach the castle of Yama, the God of Death. The poet
asks when His eyes, which are purpi coloured and blossoming the
lotus of the face of Laksmi, will remove the darkness of his ignorance.
The right eye of Lord Visnu is considered as the sun and his left eye
as the moon. Again, he asks when the moonlight of the Lord's face,
which removes all sorows from the minds of the Gods and demons,
will rise up in his mind.

The poet desires that the lotus face of the Lord, which is
reddish by its youthful beauty and bright by the lustre of the ear-
rings, may become the guest of his eyes. He asks when he can
bear the dust of His feet which are borne by the Gods and demons
on their foreheads. He wants the wicked horses of his organs to
become quiet, after running in pride, by being tied up to the feet of
 35

the Lord. He does not know how his wisdom, a virtuous woman, can
accept shamelessly another husband leaving away the Lord who is
the noblest, and who is not subject even to the words of the sages.

The poet does not wish, either in wakeful state or in dream,

for anything except the Lord's compassion. The Lord who does not

favour his devotee, who is left out by all, grief-stricken and dejected,

is merciless. The Lord feels no strain when He bears the worlds, the

mountains and the sentinel elephants. Then why does He feel any

strain in bearing a poor, innocent devotee like the poet? He does not

beg anything at all, wealth or country or knowledge. He wants only

His mercy.

The poet considers himself a most wicked being. He

requests the Lord to make him happy just as sandalwood does the

poisonous serpents, who resort to them. He experiences the results

of his actions done previously. If the Lord does not protect him,

people may call him an orphan. How can the Lord who saves all men

without any condition leave a devotee like him ? He worships Him day

and night, hearing that the Lord is favourable to fallen sinners as

mentioned in the veda-s. He confesses that he has never done any

virtuous deeds and prays that his sins may be removed.

The poet does not know why the Lord, who bears the bows

named Saranga and Kaumodaki and the sword called Nandaka, tries
 36

to destroy the, enemies. A child, who goes to the mouth of the well, is

saved even by a passenger who has no relation with him. Then, why

is a devotee like the poet not saved from the ocean of birth and

death? The beautiful saying that the Lord is loving and kind to virtuous

people is well known. The Lord rules over the universe but He does

not protect him. The poet says that if his actions are fruitfully used

as He likes, he is ready to undertake any action with full satisfaction.

He admits that he is wicked, rough, and most wretched. Each creature

is a part of the Lord.

There is no wonder in blessing the virtuous, but the fame

resulting from showering compassion on the wicked is nobler. A
father does not punish his child though it shows fickleness; instead,
he tries to caress him on his lap. When the same child is grown up,
the father punishes him even though he is guilty in a small measure.

The poet says that he is not caressed by the Lord even

once. Then, how should he be punished ? Just as a creature, who
is bumed in the fire ofthe fever of separation, blames the moon, a
devotee like him who is alleged as wicked tries to abuse the Lord.
He requests the Lord not to leave him away who is the victim of sins.
He may never become the victim ofthe anger ofthe Lord though he
is prattling meaningless words like a fool. He says that the Lord is a
hook for controlling rutted elephant and he is ill wfth the fever of
rutting.
 37

The devotee says that he condemns the Lord, who is

worshipped even by gods like Siva, Brahma, etc. As the form of the
Lord is kept in his mind, he does not beg further for anything from
anybody. He wants a resort in the shade of the tree in heaven,
shining in the midst of the house built with jewels in Hari's Vmdavan.

Then the poet narrates the beauty of Lord Krsna. The

forehead of Krsna, over which the beautiful curls tremble, is attractive.
His head, on which is the beautiful crown decorated with precious
jewls, is also beautiful. His face resembles the autumn moon and the
eyes the lotus petals. His teeth shine by the lustre of his lips and the
garments also shine forth by the rays reflected from the teeth. The
lustre of the waves of the beautiful ear-rings can be seen on the
cheeks with mixed colour of white and yellow. His neck is adorned
with a necklace stringing pearls. The chest of the Lord is bright,
challenging the beauty of the blue mountain. The vanarriala, hanging
between the two arms and touching the nails of His feet, shines like
lightning which flashes and disappears among the clouds. Both of
His hands decked with bracelets with the lustre of the lotus, seem to
have taken a vow to uplift the undertrodden.

The Lord attracts the minds of all people by the melodious

tunes through the flute held by the fingers wearing rings studded with
precious jewels. The Lord is handsome with the navel cavity attracting
the eyes of the gopikas and with the three rows of hair under the
 38

belly. He is also attractive with the ankles adorned with anklets and
the thighs bedecked with yellow gannents.

After this description the story of Gajendramoksa is

described in a verse. The Lord shines with the beauty of the rays of
Aruna, the charioteer of the sun and armed with vayra, anku'sa,
conch, lotus, flag, and disc. The poet concludes saying that the
Lord may protect him from Hell, and bless him with a birth in the
race of farmers.

Evaluation Of The Poem

The poem, containing fifty-five verses, is considered to

be the longest among the five LaharTs of Jagannatha Pan(;jita. The
first twelve verses are composed in vam'sastha metre and the
remaining 43 are in the famous viyoginTmetre. The very metre
v/yog/nfechoes the sorrow of the poet. The opening verses show
his utter disgust with the material worid which is transitory and unreal.
So the poet craves for spiritual guidance from the sympathetic and
graceful Lord VIsnu. His pathetic requests for His mercy are realistic
and very touching.

14. KarunaLahan,\J.Z.
 39

To accuse the Lord of rejecting his request in spite of

constant prayers, is one of the characteristics of Jagannatha. He does

not want anything but His mercy

The poet describes in a Kulaka of fourteen verses the body

of Visnu from head to foot^^ The Lord takes rest under the divine

tree in the Maoimapdapa of Vmdavana.^^ The lovely fomri of Visnu

As worshipped by Jagannatha for his eternal purification.

From Karunalahanlhree verses are quoted in the RG.*^

?rt "R" ^ TTHf (KL, V.16)."' This verse speaks eloquently for the poet's

ardent devotion to God. '^arrf^ fmm TfcTs M<cblMf^M^l^mrH<l (KL, V.25)

is an example of Parikara figure of speech.^^ Verse 55, 'yf^m^j f^tc,

embodies the figure of speech, anujna -°.

The poet expresses his self-reproach through many verses

like -^t Uh^ri^ (V.28), 3Tf cTsTs m(V30), fJ^iff^s(V.32), <IM<fMd;

(33), 3TcT^^T!l "^ (V.35) etc. The lineawtTc^T^lf^ (V.27) shows the

poet's humility, as Kalldasa has done in his Reghuvam'sa,'^^ ^^

15. /b/c/..V.16.
16. /6/d.,W. 41-54.
17. Ibid.. y.40.
18. RG., pt, I. p.343.
19./b/d..pt.lll,p.214
20./b/d..p.537
 40

f^^T^rr JTf?Ts I Jagannatha gives a clear picture of day-to-day life through

many verses.^^

The line^ SRT^TF^RT^ contained in KarunalaharT{yAQ)

reminds us of the line in the GTta:

^ SR "T W TFHTOFT^ (1.32)

Figures Of Speech

The poem abounds in beautiful figures of speech.

Upama (Simile)

The comparison of one thing to another is simile. In

KarunalaharT, Jaganatha has employed some imprressive similes.

The following verse may be cited as an instance:

3^^'J||lM<cb lRlc^'Ti<4^d<-rlii^f^'+) lR4dl^'(M I^'

Here, the face of Krsna is compared to the autumn cloud and his

eyes to lotus petals. The simile is appropriate, suggesting the

handsome features of Krsna.

21.KL\/V. 18, 26. 32&35.

22. K.L., V.42.

 41

Luptopania

It is luptopama, simile in which up^mana,

sadharaoadharma or upamavacaka is absent. The following verse
can be cited as an example.

Inq'(^55*3^y<^'(.^(d the upamavacaka is absent. Hence it is luptopama.

The figure Drstanta is employed in verses 17 and 33. The

figure Rupaka is seen in verses 1,2,3,6,10,41,42,45,50 and 52.
Sva/)/7avo/(f/is used in verse 48, and Kavyalingam and Nidar'sana
in verse 35.

The story of Gajendramoksa is mentioned in verse 50.

'3TiT#JFT^F5%R ^^icTT iTTfej^cTR#f%^JTThis Is an example of the
figure udatta.

The dominant sentiment of the poem is deep devotion.

The style of this LaharTis very simple and sweet. The tone of the
poem is that of elegant pathos. V.A.Ramasvami Sastri says that
many verses of Karunalahari are reminiscent of Yamunacarya's
Stotraratna in respect of theme and metre.

23. lbid.y.A6.
 42

LAKSMILAHARI

This Lahari is in praise of LaksmT, the godders of wealth.

Theme Of The Poem

The beauty of Goddess Laksmi is described in this poem.

Firstly, the eyes ofthe Devi are extolled. The poet requests. Her to
protect him. He prays that Her eye corners, which are like the
blossomed blue lotus, may shower compassion on him. He may be
endowed with happiness. Gods like Gaiigadhara, on whom the eye
sight ofthe mother falls, praise the mother with extreme hon^ipilation.
The celestial nymphs who are sick with love, wish for the side glance
ofthe mother which is incomparable, like the fragnance of flowers
fallen down from the braided hair ofthe mother.

Those who are subjected to the eyes ofthe mother, can

enjoy the worldly pleasure, gains of properties, etc., experienced
only by emperors. Blessed by the glances of Laksmi, they can hear
the neighing of horses at the doors, roaring of young elephants at a
distance and sweet music of beautiful damsels nearby. The side
glance ofthe mother, which is worshipped by gods like Indra etc
who are boundless and holy persons, which is clever in the
architecture of creation, existence and destruction, and which shines
forth together with the waves ofthe milky ocean, may ruin the sins.
 43

Then the poet prays that the feet of the goddess, the

daughter of the milky ocean, who robs even the beauty of the

blossemed lotus and is moved by the whistling sound of the serpents

fused with the matted hair of Siva, may shine in his mind. The

brightness of the mother's feet, which gives prosperity in the morning

and which is capable of generating relationship with the lustre of the

bandhuka flower, which controls the splendour of the essence of

grapes and which is the religious preceptorto even cold tender leaves,

may destroy the darkness in the minds of men. The poet is confident

that cruel words from him will not fall down at the mother's feet, which

are compassionate, reddish, and pained even by the petals of the

lotus.

The Goddess sprinkles the streams of nectar over the whole

world. The rows of teeth resemble pearls immersed in the smile of

moonlight. From the mouth of one who remembers the pure form of

the Devi, words flow on constantly. One who remembers the hymn of

'om', which shines in the form of the disc, overcoming the crescent

moon staying on the head of 'Siva, enjoys boundless wealth and

pleasure.

How can an ordinary man achieve the grace attained by

Cupid bowing at the feet of LaksmT, which are extremely beautiful in

the universe ? Lord 'Siva, the dweller on the mountain, prostrates

before the lotus feet of the Devi. The poet requests that the nails of
 44

the feet of the Goddess, which rob away the heart of Visnu, may

destroy his sorrows. The lustre of the Devi's feet which surpass the

beauty of gems, and the sweet sound of the ornaments of those feet,

may provide him all success. The fleshy ankles of the Goddess,

which outshine lustrous gems, are capable of destroying all sins.

The garland of the glances of Visnu, which falls on the luminous

figure of LaksmT, shines like nfrajana.

The Devi's thighs which rob the pride of the elephant's

trunk by softness, and defeat the arrogance of plantain sprouting
from the earth, may min worldly fears. Laksmi is described as one
who wears gamrients overcoming the beauty o1 Kaustubha, and the
golden girdle studded with jewels making sweet sounds. Her buttocks
are bringhter than the rising sun and Her waist remains most subtle
like the doctrines of the Jains. The same waist, immeasurable even
by the rationalists who have established their doctrines through the
centuries, remains bright for ever, rejecting the experimental
observations through the asatkhyativada. The poet says that the
principle that this world is false does not take root in his mind. This
doubt is deep-rooted in the mind when the belly of the Goddess which
is the cause of creation is discussed.

The navel cavity of Laksmi, which is the essence of love

sweet as honey, is the dependable resort to the bees of the blue eyes
of Visnu. It is the only resort which gives support to the devotee and
 45

eradicates his fears. The Devi's navel cavity, which is the ocean of
love, the first and foremost among the sentiments, is always mixed
with the waves of sentiments. The poet asks whether he would get
occasion to fix his eyes even for a moment on that wide navel cavity.
It is no wonder that the breasts of Laksmi plunder the fortune of the
heavenly mountains. Her breasts, which can eradicate the pride of
beauty of the couple of Cakravaka birds, may destroy forever the
darkness of the mind of the worshipper. The poet asks the Devi
whether he would stay for a moment in any comer of the memory of
the Devi who resides in the heart of Visnu, which is the residence of
natural compassion and of many worlds. Nobody can describe the
beauty of Her four attractive arms which defeat the natural lustre of
the lotus stalk.

The fragrance of the lotus which shines in the hands of

Laksmi is of a rare quality. The garland studded with pearls, a
collection of all beautiful things, the place of love-sport to the eyes
of Visnu, the abode that removes all worldly sorrows of the devotees,
and the source that stops all calamities, may decide as to the time of
the uplift of the devotee. The fingers of the Devi, which incomparably
give all wealth of fortune, may fulfil his desire.

The conch held by Vi§riu in His hand bears similarity to

the neck of the Devi, because it performed penance in the midst of
pancagni, the five holy fires. Visnu often kisses the conch in His
 46

hand, inspired by love.only due to the severe desire for the neck of

the Devi. The lotus face of the Devi, the source of nectar, spreads

bright light in all directions without hindrance. All pain of the eyes of

all the worlds will be mined in that flow of nectar. The moon light of

nectur flowing from the lustre of the sweet smile of the Devi may

eradicate the worries resulting from poverty. The healthy fragrance

of the musk is enjoyable only in the night, and that of the lotus only in

day time. These two types of fragrance emanating from the nose of

the Devi can be enjoyed together at a time.

The Devi's curls fallen on her cheeks shine like a garland

fallen from the braided hair. The darkness naturally disappears as

a result of the joining together of the blackness of the thick hair and

the whiteners of the garland. The ear rings of LaksmT, which radiate

the lustre of the rising sun, may eradicate the melancholy of the

devotee. Visnu lies in the milky ocean owing to the overwhelming

power of attraction of the Devi's earrings.

LaksmT is inaccessible to wicked people. She is

compassionate to the poor. The poet prays that he who lies at the

feet of the Mother and cries constantly may be consoled by the

touch of Her kind and loving hand.

 47

Evaluation Of The Poem

LaksiriJIahan con\a\ns forty-one verses in the 'sikharini

metre. One verse has been quoted in the RG as an example of

aksepa with some alteration.^* The lovely fomn of LaksmT is described

in the Lahan from foot to head in a highly artistic style. The first five

verses describe the captivating power of Her eye-comer {apanga).

She creates, protects and destroys the entire world. Her reddish

feet and shining nails are sweeter than the rays of the moon. The

portrayals of Laksmi in poetic lavishness and exaggeration naturally

heighten Jagann'atha's intense devotion to Goddess LaksmP

The poet prays in most of the verses in this Lahari to

Laksmi to save him from misfortunes and misery. The last two verses

show the sentiment that he is a helpless child in the hands of LaksmT.

2 4 . STMc^yHJl*: ^T^TeT ^RpjTO^rfsrfHT

aT^<yry« ^^HVK*"1 ^os^rfsm

^d'^^t: ^ ^ f^g^^gg^ 3rfcff^ I l(Rg., p t l l l , p

25. Ibid. JP 44.
 48

Figures Of Speech

Utpreksa

In one of the verses the poet employs utpreksa with telling

effect:

*Mlel % <ldlRjddfdddldM*4cl

(^ii=HI yf^eiKP^leraf^ ^g^rTRf^rfWT I

Here, the cheeks of LaksmT with falling curls and

possessing a pearl lace, which look like a digit of the moon, are
supposed to be drawn up by a column of darkness.

Vytirekadhvani
^ ^ 1 ^ w < > i i '»T5iiTf^n?rRTW^5rRft' ^

This verse describes the nose of LaksmT which bnreathes out sweet
fragrance, surpassing that of even musk which is enjoyable only
during night and that of the lotus enjoyable only during day time. But

26. Ibid., V.33.

27 Ibid., V.32.
 49

these two fragrances which come out from the nose of Laksmi can
be enjoyed together at a tinne. The distinction between the two is
suggested. Hence it is Vyatirekadhvani.

The figure Rupaka is seen in verses 1,5,9,19 and 31.

Verse 30 is an example of the figure olAksepa.

Ati'sayokti

The following verse is an example of the poet's skilful

employment of the figure atisayokti.

SmRS •?Tgf?Tm|tr x( f % q ^ f g ^ S ^

This verse describes the garland of Laksmi which is the source of

accumulation of wealth and recreation for the eyes of Hari. It is the
remedy for the sufferings of devotees and the destroyer of all worldly
sorrows. The power of the garland is described with a tinge of
exaggeration. Hence it is aV'sayokti.

this figure can be seen also in verses 4, 6, 8, 9,10,

13, 15.16.18, 20 and 22.

28 Ibid., V.27.
 50

Arthapatti

The figure arth'apatti is employed in one verse.

^T^ W m?r M<45Md41 Mc[drj|<|

The feet of the Devi are described here. An ordinary man cannot
achieve the grace attained by Kima having bowed at the feet of
LaksmT. Only the Gods can achieve it. The contrast is obvious.
Hence it is arthapatti. This stanza also proves the poet's skill in using
anuprasa.

The style of LaksmUahaif'is simple and sublime. Every

verse is fraught with the deep devotion of the poet to Goddess LaksmT.

Philosophical References

The tenth verse epitomises the 'Saktamatam and describes

in the technical language of the Mantra'sastra a Laksmi mantra, the
constant and concentrated utterance of which will bring immense
wealth and great repute.*

29. lbid.y^^.
30. w\ trraraWt t^irsFT^HT^-RTf^R^
 51

One verse refers to the doctrine of asatkhyativada and the

principle ofJaina Siddhanta, when the poet describes the slender

waist of Laksmi.

The Advaita Siddhanta is also referred to in verse 16, thus:

Rare words such as •gncRcTiT (18) = Jainamata, "Src<I?5 (30) =

obstacle, "^^^r^ (7) = a flower, cTTS^s (37) = ear-ornament, etc., are also
used in the poem.

SUDHALAHART

Theme of the Poem

In this poem the sun is eulogised. There appears an

attractive lustre on the eastern mountain, brighter than the lightning
which eradicates the sorrows of the bird cakravaka stricken with grief
by separation from its mate and gives pleasure to the bees sucking
honey from the blossomed lotus. This splendour which gives the
pleasure of the rising day, capable of ruining the illness of the poor,

31. LakshmiLahari, V.18.

 52

prepared to brighten the world by eradicating the darkness fallen on

earth, destroying the pride of the lustre of the moon and brightening
the abundant purple colour, may bestow happiness and grace.

The rays of the sun which destroy the wicked, give the
beauty of red colour to lotuses, protect the grieved creatures, save
daily many gods, appear as the celestial trees of the devotees, which
are equal to the splendour of gold burning in the fire and prepared
for the welfare of the world, may destroy the sins. The rays, the
enemies of the layers of snow covering the universe, which protect
the heavenly kings, give reddish lustre to sprouting tender buds and
spread all over the atmosphere, may give bliss to the worshipper.

In the morning, the young birds staying in the hollows of

the trees, set foot upon the rays falling through the thickness of leaves,
being confused by the thought that the rays are golden rods.
Moreover, they are eager to eat the drops of water falling from the
leaves mixed with the sun rays, under the false impression that they
are pomegranates. Those rays which cause confusion to the birds
may protect the worshipper. The sun's rays are capable of destroying
sins and securing wealth. They redeem the bees residing in the
budding lotuses, and inspire the blossomed water lily to close. The
sun spreads his rays everywhere. The sounds of the birds rise up.
The east delivers a reddish baby sun by the grace of the Gods. The
indefinable splendour of the sun, which gives daily gladness to all
 53

creatures at the time of his rise, may not go away from the path of the
eyes. The poet requests the splendour of the sun not to go away from
the path of his vision. Every morning, the sun's lustre gives gladness
to all creatures and enhances the beauty of the Meru mountain. The
buming rays of the sun, which destroy darkness and dry up the moisture
on the flowers, may destroy the burden of all desires.

The sun rises in the east destroying all sins, the darkness
of the three worlds, the illness of patients, and the sleep of sleepers.
He is also capable of giving pleasure by preventing the rage of angry
women in the evening. He may give happiness to lovers by leading
them to their beloveds, thus eradicating their sorrows of separation.
He bestows reddish splendour upon the universe. He is worshipped
constantly in the morning and evening by Brahmins. He is the
protector of the three worlds. He helps the poor souls, who are weak
by swimming in the waters of the ocean of birth and death, to reach
the other world. He is different from the three qualities of nobility
{Satva), passion {Rajas), and darkness {tamas), and is non-different
from the fourth state of the soul in which it becomes one with Brahman
{turiya)

The rays of the sun, who is higher than the planets, may
ruin the fatigue of the worshipper. The radiant sun, who bestows
lustre on luminaries like the moon, Brhaspati, etc., gives life to all
men, who moves faster than the fastest and equals the lustre of buming
 54

gold, may protect the worshipper. The disc of the sun which is
worshipped by the gods, demons, gandhan/as, the king of serpents
and men, and which brightens the heavens, may plunder the darkness
of ignorance. The ancestors, who are experts in vedas and puranas,
call him the circle of birth, existence, and death {Kalacakra). The
sun, who gives estreme happiness to all, helps the lotuses to blossom,
increases the delight of flowers, and who is the king of the day, may
give joy to the devotees.

The feet of the sun which give reddish beauty to buds and
butterflies may uproot the dejection of men. The rays of the sun
which steal the sleep from the eyes of lotuses and awaken and send
in the four directions the birds from their nests in the morning, and
inspire them to return and stay there, may dispel all difficulties.

The Lord (the sun) who possesses red colour like that of
the hinder part of monkeys, bears the beauty of lotuses, who accepts
Rgveda and Samaveda as the subject of study, and resides in the
minds of all, may bestow grace on the devotees.

Evaluation Of The Poem

Sudhalahari is a short lyrical poem composed in praise of

the Sun God. It contains 30 verses verses in the Sragdhara metre.
Two of them, 1 and 5, are quoted in the RG.^ Verse 1 is an example

32. Seef?G.,Pt.1,p.97.
 55

of madhyamakavya and 5 is an example for the figure of speech

Bhrantiman. All verses barring the first contain the poet's prayer to
the sun God. The first one is quoted in the RG, as an illustration of
Madhyamakavya, where sabdacitra and arthacitra are equally
important. This verse presents a fine picture of the rising Sun.

Jagann'atha devotes twelve of the succeeding verses to the

description of the sun, 14 to that of His rays and the remaining three
to that of His lustre. The main idea contained in all of them is more or
less the same. In one verse^ the sun is compared to the Kalpadruma
whose basis is Suddha Brahman. Its boughs are the shining red
hue, its family of bees is the blue sky, and its ripe fruits are dharma,
artha and moksa.^ Such a Kalpadruma is capable of bestowing on
the world all the things it desires.

Sudhalahari is said to be a successful imitation of Mayura's

Surya'sataka. Many expressions such as the 'destroyer of darkness',
'Protector or Purifier','possesor of red hue', 'sole abode of splendour',
'bestower of beauty and life on lotuses', 'Overlord of planets', etc; are
conveyed with stress in Suiya'Sataka and Sudhalahari.^

3 4. Compare the chandogyopani shad, ^

35. JP,p.34.
 56

It is interesting to compare these poems further with each

other. Mayura's range of description is indeed wider and deeper.
He devotes nearly 30 verses to the chariot, the seven horses and the
charioteer, Amna. He bases many of his descriptions on those found
in the purana-s and ithihasa-s, but many of Jaganriathas'versers are
based on hisrichobservation also. Krsna Chaltanya in his new H/sto/y
of Sanskrit literature remarks that many poets look at nature more
objectively instead of always trying to see in it a reflection of the
romantic mood. The contrast in the approach can be seen in the
description of the rising sun by Jagannatha: "Its rays, shooting
through the trees and falling on the earth, appear to young parrots
like sticks and they, therefore try to put their legs on them. The
dewdrops on leaves, lit by the young rays, resemble pomegranates.

Figures of Speech

The poet employs the figure utpreksa in the following verse:

f n f ^ a[iTr?f?rJTTTcrfcT?Rg^ t j -ma- -^

Here, broods staying in the hollows of the trees are said to set their
foot upon the golden rays of therisingsun, falling through the thickness

36. Sudhalahari, V.5.

 57

of leaves as if the rays were golden rods. Moreover, they eagerly

eat the drops of water falling from the leaves, as if the drops were the

pomegranate fruit. Hence, it is an example of utpreksa. Verse 26

contains an example of the figure Rupaka.

The poem abounds in 'Satoda/an/caras which embellish

ojo-guija, as in:

dldm1c(lc[d§Trs ^lfcrf^Rf^ff?cn^"rM^^2RT

en^^Hid4)§n" HfdHMRN^i ^Tmt"m<ydi^

Here the last syllable of each phrase is repeated for rhythm.

j n "TT "^Ht T^TT -rr ^nrr ^<fuidl ^ "^ -m^ i^"

In this line there is repetition as well as variety.

x^^•m... '(7.12)

The first sound of each word is repeated in these lines.

In-numerable synonyms of the Sun-god, such as c^m^vis, ^a^rg^s,

3T^;;nTTOt^s and mrf'J^pclHM^etG., are profusely used in the poem.

37. Ibid., V.3.

38. Ibid., V.9.
 58

Philosophical Reference

^^HH^JdcJfri^H^d^l W^^TFTtf^faq;! (V.16)

In this verse there is an echo of Gltopades'a.^^ This line states that

the sun is in the fourth state of the soul, which is Brahman.

The style of this Lahams peculiar to Jaganrfatha, and it is

in tune with his theme. He has accepted the guti style in this poem.

Grammatical Peculiarities

The grammatical peculiarities which occur in the five lahari-s are

discussed here.

1. Apit (G.L.,) V.2) = Ignorance. From the root 'Pi' (meaning 'to

'go') 'kvip' is added in the bhava sense; it is dropped and in its

place 'tuk is joined. Thus, the word 'pit' is made, which means

'jnana'. The opposite of'pit' is 'Apit' which means 'Ajna^na'

2. Suddhatah (G.L, V.6) - When the 'tasil' sufHx is added to the

word 'Suddha', it is ablative case (Pancami).

3. Atrpih (G.L, V.S) - upto satisfaction, (A maryadabhivrdhyph).

11-1-13.

39. 'lH^|i>Ji[| -traf 3 T ^ Gita, 2.45.

 59

4. Yavatvisanti (G.L, V.7)- when "Yavaf is used in the future sense,

it must be in the present tense Vide, PaninT Sutra, Yavat

Purinipatyorlat. (Ill 3-4)

5. Pariharantyah (G.L, V.12) - The affix 'Par* is prefixed to the root

hrfv, then 'Satr* and Nesh are suffixed.

6. Prasaranapatha (G.L,V.17) - Pathin becomes 'Patha' in the

compound (samisa) (VA-IA)

7. GunagananTstetvat{G.L,\/.3^) - The indeclinable'rte'governs

the ablative case (PaTicami) Vide SutraST^^TTO^ (11-3-29).

8. PanTkartukama (G.L, V.51) - The sutra 'tumkimamana sorapi'

drops the sufixe'um' of the infinitive verb.

9. Marthandah (G.L, V.42) - is the proper usage and not

marthandah Vide, Vartika, 'Sakan dhvadisu pararupam vacyam'.

10. ^dwi<^ wj(AL, V.4) when the word WJ is used it governs the
ablative case.

11. f^'TCTs(AL, v10)^3cn^"qtr(SL, v15)-Theindiciinable'Wgovems

the dative case. Vide sutra "^nrs wff^wi^iwuicri w^ <il'iiv^

12. 3T^"?J?^ (LL, v29) Vide Sutra "^q^f^l^T^ (1-4-36). The rootTq?
governs the dative case.
 60

13. sl^PdW (LL, V.30) - when the particle 'Sma' follows 'laf, it
becomes'Latsme'. (Ill-2-118)

14. ItrfwT (KL V.38) - The Indeclinable 'dhik' governs the accusative
case. Varttika, 'Ubhasarvatasoh karya'dhiguparyadisu tris.

15. Gobnih Saha (S.L, V.17) - The indeclinable 'Saha' governs the
instrumental case. Vide^^^ck^Jyyi^ (11-3-19)

16. Tribhuvanam abhitah (SL, \/.25) - around the forest. The word
'abitah' governs the accusative case. Vartika, 'abhitah paritah
samaya nikasah pratiyogepi'.

Duplication of words

When continuity and succession are to be expressed,

the word is doubled. ^

1. w TTPi (A.L, V.8) - having repeatedly dmnk

2. ?7Tt "prrt (A.L. V.8) - having repeatedly remembered

3. " ^ "RTit (A.L, V.8) - having repeatedly seen

4. ' ^ •?P=r (L.L. V. 11) - having repeatedly bowed.

5. w ^ (A.L. V.8) - having wandered repeatedly

6. w tfTct (L. L. V. 11) - having fallen repeatedly.

40. PaninlSutra, 'Plc^«n"^41' (VIII-1-4)

 61

7. gT^mg-(G.L. V.19) having run repeatedly

8. ?rT^?n^(G.L, V.31) having repeadeiy heard.

Anupmsa

Anuprasa is a common characteristic feature of all the

Lahari-s. All varieties of anuprasa are freely used judiciously to suit
the content and to kindle appropriate sentiments. The following are
the examples of vamaviitti.

Amrita Laharf

Repetition of' TT' TTTcTS TTTcRTtncT^Tfrfw (A.L,V.1)

Repetition o f ^ ' (1)

Repetition of' "=3;' 0)

Repetition of' "q"' (2)

Repetition of' ^ ' (2)

Repetition of' cT' (2)

Repetition of' "^' (3)

Repetition of' H ' (3)

Repetition o f ' > ? ' 333r HVO^H (4)

Repetition of' ^ ^ ' (4)

 62

Repetition o f T' ^RohKlchKl^gji (4)

Repetition oV^' TTFJ^^t^^i^ (5)

Repetition o f iT' - •CTFRT^J^mT^iTf^ (5)

Repetition o f ^ ' - 4<^;^ld<4;*l'Mfej| (5)

Repetition o f "^' - STtfE^Rf^cTRRnftf^ (6)

Repetition o f ? ' - 3T?fJ%ft 11?% (7)

Repetition o f ^ ' -wmPi?fT (8)

Repetition o f "^' -wgc^^ (8)

Repetition o f "^' -" ^ wrTnR\^lM (8)

Repetition of w' - "wrt "wri (8)

Repetition o f cT' -Midc^iRf"! MmeiP-lui (9)

Repetition o f ^ ' -^ ^ (9)

Karuna Laharf

Repetition o f -g-' - f^Ml^di ^sr (^MUHIMA (1)

Repetition o f cT ' - 'MciMH>jdHlc<<;^H^cH : (2)

Repetition o f sr ' -^mrm TJ^TEH^ (3)

Repetition of-51 * -Tfraf^-orf^ (5)

Repetition o f ^ ' - "cp? ^BRT ^d^sFT (7)

 63

Repetition o f •03 ' - Ml>J^^JJ|u§H>J^c^ ^Tj^^r w^ (8)

Repetition of'^ST ' - y^lM^ll ^^TTf^TT (9)

Repetition o f "cf ' wT'^rfcf "irfcT (11)

Repetition o f "^ ' ^M^Ri irnf% (14)

Repetition o f "T ' •^ «R"^ <M^i^< (16)

Repetition o f ^ ' - •sfni^JTriif^PTcRf^Tcri' (16)

Repetition of 'air (19)

Repetition o f ^ ' ^ MNJ^mw?! (23)

Repetition o f ¥ ' •?gf^ f^V<^i^' fgm iT^ (23)

Repetition o f "a"' •g^'^T^ (24)

Repetition o f ^ ' ^^T^^ft (31)

Repetition o f FT ' - vjiHMHchc^cbw (35)

LaksmT Lahari

Repetition o f ^ ' - ^rqr^rnt 'q^s (1)

Repetition o f ^ ' - TIM HM yuiRjpH (2)

Vamavrtti •7FT":TFT (11)

Vamavrtti - m c T ^TtT (11)

Repetition o f ^ ' - sTtR wm (12)

 64

Repetition o f "^' - 3Fr^ TTT^ (13)

Repetition o f '^' - "T^ TT^ (15)

Repetition of t^' (16)

Repetition o f ^ ' (17)

Repetition o f "^' (18)

Repetition o f "^' (22)

Repetition o f FT ' (26)

Repetition o f IT ' (27)

Repetition of i^r' (29)

Repetition o f TT ' (30)

Repetition o f ^' (37)

Vamavitti (37)

Sudhalahari

Repetition o f ^ ' - (yPiH TCTt fyRmi i^^ (38)

Repetition of ^ (41)

Repetition of ^ vi<Ui-^^i«mM (42)

Repetition of ^ - Ll|U|<^JU^4^uie^ (43)

Repetition o f *3r ' - TT>3H->jiO (43)

 65

Repetition of " 5 ' - 'S^imT^rR •g^JTRrpTHFT (45)

Repetition of' W - TRfxir ^ 1 ^

Repetition of "c? ' - |[TfdVl4,'^Vl*^^^ii^^*^^l (51)

Repetition of'w ' - ST^JTW^TT (51)

Repetition of' T ' - Hc^iK^nlfdM^fd

Repetition of' "^ ' - ^Flf^-^m^l <!=<•<

The above five Lahari-s abound in pictursque descriptions

of nature. Jagannatha has reyined the famous vaidarbhi style of
Kalidasa, though he is an admirer of other styles also. He has used
verbal jugglery, but his alliterations do not obscure themain ideas or
bhava-s in his poetry. All his Lahari-s exhibit his intense devotion to
the Lord. The chief suggestion of bhava is the I'svara rati or Bhakti.
These poems may be grouped under the uttama variety of Kavya. It
is to be admitted that there is no rasabhavani in these Lahari-s .
There are so many instances o1 Bh'avadhavani. Further, these La/7a/T-
s exhibit Jagannlth's poetic imagination at its best. He paints beautiful
pictures of nature, with a touch of exaggeration for aestheic appeal.