The pancaratra (sattvata) religion.
This is also known as Bhagavata system. It is one of the two main divisions of Srivaisnava religious texts, the other being the Vaikhanasa. Sattvatam patih the word sattavata is the sastra (scripture)orthe word karman or sattavan. (REF 514 SVB)
Also under the name jnanamuttamam it is interpreted to mean the pancharatra through which all other knowledge including the duties of a srivaisnava can be obtained. (455)
One of the important characteristics of the pancharatra religion is the vyuha theory. The supreme being has five aspects, Para, Vyuha, Vibhava, arca, and Antaryamin. The Para form is also known as Vasudeva. The vyuha aspect is four fold (chaturvyuha) as Vasudeva, Sankarshana, Pradyumna and Aniruddha.
Chaturatma and chaturvyuha Parasara mentions the four vyuhas and explains how one and the same God can also be four fold. The Lord though one manifests himself as these four deities for carrying out different cosmic functions, arranging and distributing those functions among these four forms for the benefit of the devotees. Each of these four vyuhas has its own configuration, colour, ornaments weapons vehicles banner etc. In the work Srirangarajastava Parasara makes a detailed statement about the nature and function of the vyuha's. The six qualities in their totality make up the body of Vasudeva, which is within the reach of the Mukta's (Muktabhogya). Samkarshana in whom the qualities of jnana and bala are predominant is responsible for the destruction of the universe. The Pradyumna vyuha connected with aisvarya and virya carries out the teaching of religion. Anirudha connected with shakti and tejas protects the world and confers the knowledge of truth. Parasara states that these foru forms are meant for the contemplation of different aspirants and that they correspond to the four states of wakefulness (jagrat) dreaming (svapna) deep sleep (atyalasa or suspti) and the final stage (murcchaa) respectively.
There is a su btle difference between the Para Vasudeva and Vyuha Vasudeva. The Para Vasudeva who is also known as nityodita being the object of experience of the mukta's is the source of the three subsequent vyuha's.
His works.
1. Astasloki.
2. Kriyadipa.
3. The Bhagavadgunadarpana.
4. Srigunaratnakosa.
5. Sriranganatha stotra.
6. Srirangarajastava.
7. Tattvaratnakara.
8. Adhyatmakhandadvaya.
9. Nyayasiddhanjana.
10. Lakshmikalyana.
11. Commentaries on Subalopanishad, Muktas (Tirumanjana Kattiyangal, Tirumanjana Kavis, Kaishika purana, Varahapurana, Tiruneduntandakam. Ramayana, Gita, Kalidasa, Bhartrhari, and Bhattar Nirvaham.
In All Parasara Bhatta wrote 12 works 10 in Sanskrit and two in Tamil. He was a prolific writer of great distiction with a unquestionable comand of both the languages. He also wrote a number of stray verses in Sanskrit. He is also known for his original interesting elucidations and interpretation of some passages of Divya Prabhandam, which are popular in the learned traditional circles as nirvaha's.
Of the Sanskrit works only six are available in full. They are Astasloki, Kriyadipa, The Bhagvadgunadarpana, Srigunaratnakosa, sriranganatha stotra and Srirangaraja stavam. His three other sanskrit works Adhyatmakandadvaya-vivarna, Tattvaratnakara and Lakshmi Kalyana nataka are all available in few fragments only that too preserved in the quotations of Swami Vedanta Desika. His Subaloupanishad-vivarna is quoted by Narasimhadeva in his work Ananadadayini which is a commentry on Sarvarthasiddhi, which itself is an auto commentry by Vedanta desika on his Tattvamuktakalpa.
1. Astasloki.
The work is in eight verses, marked by brevity and clarity explaining the three important secrets of the Srivaishnava religion and philosophy, namely, the astaksara, the dvaya and the charma sloka. The Astaksara is an eight syllabled mantra OM NAMO NARAYANAYA, held in very high esteem by a srivaishnava. It is to be repeated every day. The Dvaya Mantra, SRIMANNARAYANA-CARANAU SARANAM PRAPADYE, SRIMATE NARAYANAYA NAMAHA, this expression brings out the total surrender of the devotee to the lotus feet of the Lord Narayana who forms the supreme godhead along with his consort Sri. As for the Charma sloka the verse SARVADARMAN (BG 18 - 66) acording to Srivaishnavas it pinpoints whole hearted surrender as the effective means of salvation.
The astasloki is couched in long meters as Sikharini, Sardulavikridita and Sragdhara very effectively bring out the importance of these three secrets which form part of the daily recitation and routine of an orthodox Srivaishnava. The first four verses are devoted to explain the astaksara and next two for dvaya and the last two explaining the charma sloka.
2. Kriyadipa.
Vedanta desika in his Rahasyatrayasaram mentions rather quotes three verses from this Nitya grantham of Parasara. It appears as if every spiritual teacher of those days was obliged to compose one nitya grantham for the benefit of his disciples and followers.
3. The Bhagavadgunadarpana.
This is a masterly commentary on the Vishnusahasranama, which is a part of the anussasanaparvan of the Mahabharatha. This is his only work in Prose. In his introduction to the commentary Parasara stresses the efficacy and popularity of this stotra and then explains at length the tattva (Truth or reality) hita (means) and Purushartha (the Human end) according to the visistadvaita school. True to the Srivaishnava concept, the author brings out the glory of the supreme Lord as saguna (with Qualities). He also discusses other important tenets of the school such as the body soul relationship (sharira atma bhava) between the world and the Lord, the state of release, the supremacy of the Lord, and his inseperable relation with Sri His consort. There are ample quotes from the Upanishads, the epics,pancharatra texts (satvata and Pushkara samhita) and from Puranas like Vishnu, Bhagvata and Varaha.
4. Srigunaratnakosa.
This is an elegant hymn addressed to goddess Sri comprising sixty one stanzas. Parasara identifies Sri with Sita and again with Sriranganayaki the presiding deity at Srirangam. He describes Sri not as an elderly matron, not even as a maiden who has attained efflorescence but as an adolescent girl who is just in the confluence of childhood and fresh youth called by Parasara as Saisavayauvana-vyutikara.
Another striking feature of the hymn is that he views Lakshmi not only as a presiding deity of prosperity and plenty, but as one who can bless her devotees with remarkable powers of speech, the art of poesy in particular, through her mere glance. This is one of the finest devotional lyrics in the literature of Srivaishnava stotra kept in the tradition of daily chanting (parayana) of a devout Srivaishnava. Parasara traces the concept of Sri to the early vedic literature and tries to establish that even the glory of Lord Vishnu is dependent upon that of His consort. Rising to supreme heights of poetic charm the author describes Lakshmi as responsible even for the creation, sustenance and dissolution of the universe, inspiring her lord to carry out these cosmic functions. The graphic descriptions in which the poet excells in presenting the glorious picture of Lakshmi as the presiding deity of plenty, prosperity and exquisite charm are matched by a vivid portrayal of the same Goddess as the considerate and compassionate mother of all beings full of the milk of human kindness. Perhaps the concept of Lakshmi's mediacy (purusakara) between God and men owes much to this Picture of Lakshmi drawn by Parasara. He justifies the Motherhood of Lakshmi in what may be called the dramatic style of engaging her Lord in a lively and lovely conversation, pacifying the anger of Her Lord and assuaging the fear of the errant child.
5. Sriranganatha Stotra.
The stotra in six verses is yet another beautiful work. the printed version of this stotra has eight verses the last two being added from his stray (Muktaka) verses. all the eight are chanted among the traditional circles. Known for the candid and clear style the verse bring out the feelings of the poet (an ardent devotee) expressing his pangs when seperated from his chosen deity. Every verse describes the feelings of the poet yearning for his daily ablutions in the river Kaveri, for worshiping Lord Ranganatha, for repeating his holy names, and other such devotional activities. This stotra is in the tradition of daily repetition by an ardent Srivaishnava. probably written by the author when he was away from Srirangam due to the displeasure he incurred of the then chola king Virasundara.
6. Srirangarajastava.
This is the longest and most important stotra composed by Parasara. it consists of 232 verses, divided into two sections called Purvasataka and Uttara sataka (100) The first section deals with the glory of Lord Ranganatha whom the author calls Rangaraja, the emperor or ruler of Srirangam. The Srivaishnava agamas states that the supreme being should be honoured as an emperor. True to this tradition Parasara gives a grand description of Ranganatha the presiding deity of srirangam whom he identifies with Lord Vishnu the supreme being sung in the sacred literature. Of special mention are the Lords innumerable perfections of which compassion is of utmost significance to the devotee. The author also provides a very beautiful description of the temple of Srirangam, its environs, the Kaveri the gardens surrounding the temple and so on.
In contradistiction to the Purvasataka, the Uttarasataka concerns itself with several issues such as the supremacy of the Lord, the claims of other schools of thought regarding the purport of the upanidashic texts, the nature of moksha and the like.
Parasara a reletless critic of other schools of thought can be seen in this piece of poetry as an uncompromising champion of the cause of the Srivaishnava school. He here is following his illustrous father Srivatsanka Mishra who also earlier composed his Panchastavi interspersing philosophical disquisitions and criticisma of other schools, while glorifying certain deities of his own choice. This practice was first started by Yamunacharya of clothing philosophical ideas and criticism of other schools in the grab of lyric poetry.
7. Other works of Parasara.
Of the lost works of Parasara the Tattvaratnakara is perhaps the most important. about 42 fragments of this masterly treatise on Tattva (reality) is available exclusively through the quotations by Vedanta Desika. it is a mix of Prose and verse. the Tattvaratnakara appears to be an ocean (ratnakara) of several philosophical concepts of the Visistadvaita school. a clear picture of the plan of this work is not possible because of its incomplete nature. it seems to be divided into chapters caled prakarana and sections called padas though.
the political conditions during the 12th century may have been one of the causes, another being earlier scholars like Yamuna and Ramanuja's works especially Sribhashya might have led to the comparative neglect of the Tattvaratnakara. another reason stated is that Parasaras theology foreshadowed the doctrine of the tenkalai school and so naturally was not favoured by the other group, the vadagalai school. It may just be the sheer ravages of time,accidents and lack of facilities for the preservation of manuscripts might have led to the loss of this monumental work.
topics of Tattvaratnakara are:
samasya, pramana, aprokshyam, samyoga, savikalpaka, nirvikalpika, anarvachina, vyapti, upadhi (this is in detail two fold etc) anumana, lakshana, kevalavyatirekin, anumana as svartha, syllogism (according to nyaya there are five members in an anumana vakya meant to enlighten another person they are pratijna (declaration) hetu (reason) udaharana ( example) upanaya (application) nigamana (conclusion) but visistadvaitins say they should be no hard and fast rule. he too concludes alike.)chala, jatis, hetavabhasa, anugrhaya, arthapatti, abhidha, anvitabhidhana, ahuscaivam abhiyuktah, sastra,(aikasastraya) dharmadhi, manabheda, anga,prayukti, karma, kartr,atidesa, visesa, uha, badha, tantra,prasakti, smriti,cestita, manas, pratyabhijana, tamas, svayamprakashtva, manasaprathyaksa, sanmatra, prakrti,pratyaya, and svara, sabda, siddhanta, anutva, samkhya, bheda,jati,karman and guna, kriya and dravya, sadrsya, apauruseyatva, vidhi, sasana.
The Adhyatmakhandadvaya Vivarna has been preserved only in the form of two quotations found in the Nyaya siddhanjana. The first quotation is concerned with the definition of Sarira given in the Sribhasya of Ramanuja. Vedanta desika while introducing this quotation says that some take Ramanuj's statement as forming a single definition while others hold it as comprising three definitions. Desika says that Parasara is of the view that it holds three definitions. That both the sentient and insentient beings form the body of the Lord by virtue of their being controlled by the Lord, being supported by Him and by virtue of their being subservient to the Lord.
Another quotation from the Adhyatmakhandadvaya vivarna found in the Nyayasiddhanjana mentions the similarity between aisvarya (lordship) and akasara (kaivalya) both of which are different from liberation (Moksa) which is the highest state of bliss.Aisvarya is only the joy of experiencing the material objects while aksara another name for kaivalya is the bliss resulting from experiencing ones own self. these two are two different degrees of joy. Moksa which constitutes the supreme bliss is therefore superior to both aksara and aisvarya.
Laksmikalyana, another work known only through three quotations is also known to tradition as a nataka. Only Vedanta desika has quoted a few lines from this work in his Sarasara which forms a part of his Chillarai rahasyangal (written for the women folk), his gita bhasya Tatparya chandrika and in his Rahasyatrayasara.
This could have been the Mangala Sloka of the Lakshmi kalyanam.
ananyadhimnakalyanam anyamangalakaranam
jagannidanamadvadvam dvandvam vandamahe vayam.
The sloka from sarasara runs
svayam vastukurvan janamimam akasmat sarasija
prakarau padmayastava ca caranau nah saranayan.
The quote from Vedanta desikas Gitabhasyatatparyachandrika where he says these lines from Lakshmi kalyana of Parasara.
dharme pramanam samayasyadiyo
vedasca tattvam ca tadistadaivam.
this in indravajra meter where he seems to be saying or listing the source of dharma.
The next work which is also lost to posterity is the commentary on the Subalopanishad which is generally refered to as Vakya or vivarna.
he Quotation being.
Yaduktam bhattaparasarapadair subalopanishad vivarne yadi bhutanamapi prakrititvam tarahi astau prakratyassodasa vikaraha iti sruteh ka gatiriti cet vedopabrmhananipunatara paramarsisandarshitaiva gatih nasmabhistadviruddhanirvahane bhinivesesta vyam.
He thus raises the question and answers it himself. the five organs of knowledge and the five organs of action with the five subtle forms of elements and the mind form the 16 vikaras.
Of the sanskrit works of Parasara which remains to be enumerated are the muktas or stray verses known as Tirumanjana Kattiyangal or Tirumanjana Kavis. these about 50 in number are recited even today at the Srirangam temple on occasions like ekadasi, amavasya, ayana, telugu and tamil newyear days and during Brahmotsavam. these are recited by the descendants of Parasara Bhatta.
The first of the stray verses is in the form of a dialogue between Lord and man. this is read when the icon of God is given a ceremonial bath, that is, when, to use the expression of the poet himself, the lord appears as a mrgyamadhyastha (one who is in search of a referee.)
Noticing the impurity and stubbornes of the jiva who thinks of himself as independent, the lord points out that the jiva - on the authority of sruti's, gita, and men of wisdom always belongs to the supreme, but the jiva enters into a debate with the Lord. the idol of the Lord, wet due to the abhiseka appears to our poet as though the Lord to prove his claim on the individual soul is taking an oath wearing wet clothes and a garland of the basil leaves. this practice is known as divya in the smrti texts. Parasara feels that in this particular context the Lord appears to be doing jala divya as well as tulsi divya. the dialogue between the lord and jiva runs like this:
G for God M for Man.
G: You are mine you belong to me.
M: I belong to myself.
G: (No) how is it possible.
M: How about your own claim.
G: This is on the authority of the Vedas.
M: My statement is based on my experience which is beginningless in nature.
G: But this is repudiated.
M: Where and by whom is it repudiated?
G: By me clearly in the Gita.
M: Who is the witness?
G: a man of wisdom.
M: Well then he is partial to you.
What a beautiful conversation wherer God is ever eager to establish sesa sesi bhava
In the second verse Parasara fancies God to be a river (NADA) where man approaches with different activity anuvrtthi and so on for all the verses. where you see the stroke of the poets genius.
Of the Tamil compositions the commentary on the Kaisikapurana Mahatmya forming part of Varahapurana, held in high esteem by the Srivaishnavas. He explains the significance of singing the glory of the Lord at the Brahma Murhurta.
Parasara commentary on a particular stanza of Thirumangai alwars Tiruneduntandakam is an important landmark in the srivaishnava literature in Tamil. Every line of the commentary is replete with a varietyn of references and quotations from several sources Upanishad, ramayana Gita Kavyas etc.
We also have quite a few TamilNirvaha's which are interpretations of some of the expressions or passages found in the Divya Prabhandam eg Arayirappadi,Onpadinayirappadi and Muppattarayirappadi He was an authority on divya Prabhandam and used to give regular discourses on it in the course of which he used to explain in his own inimitable style several important and knotty passages much to the delight of his fortunate audience. these are traditionally known as Bhattar's nirvasham's.
A detailed study of Parasara can be employed under different headings
Literary estimates parasara's concept of poetry, the gun's present in the works/ hymns prasada, ojas, samata,kanti, susabdata, sabdhalankaras,arthalakaras, meters employed, his grammar and scholarly presentation his works and presentation so vast a life time is inadequate to read and imagine his love of God. no wonder then he is considered as an eminent poet writer after Ramanuja. Vedanta desika clarifies the contradictions that may arise from his works by amply quoting and explaining the meaning of parasara's works.
His Srigunaratnakosa has been commented upon by seven of his contempararies. His Astasloki has nearly 12 scholars who have admired the works and srirangaraja stava has four commentaries.
He definitely played and paved the basic concepts of Srivaishnava philosophy emphatically.
This is also known as Bhagavata system. It is one of the two main divisions of Srivaisnava religious texts, the other being the Vaikhanasa. Sattvatam patih the word sattavata is the sastra (scripture)orthe word karman or sattavan. (REF 514 SVB)
Also under the name jnanamuttamam it is interpreted to mean the pancharatra through which all other knowledge including the duties of a srivaisnava can be obtained. (455)
One of the important characteristics of the pancharatra religion is the vyuha theory. The supreme being has five aspects, Para, Vyuha, Vibhava, arca, and Antaryamin. The Para form is also known as Vasudeva. The vyuha aspect is four fold (chaturvyuha) as Vasudeva, Sankarshana, Pradyumna and Aniruddha.
Chaturatma and chaturvyuha Parasara mentions the four vyuhas and explains how one and the same God can also be four fold. The Lord though one manifests himself as these four deities for carrying out different cosmic functions, arranging and distributing those functions among these four forms for the benefit of the devotees. Each of these four vyuhas has its own configuration, colour, ornaments weapons vehicles banner etc. In the work Srirangarajastava Parasara makes a detailed statement about the nature and function of the vyuha's. The six qualities in their totality make up the body of Vasudeva, which is within the reach of the Mukta's (Muktabhogya). Samkarshana in whom the qualities of jnana and bala are predominant is responsible for the destruction of the universe. The Pradyumna vyuha connected with aisvarya and virya carries out the teaching of religion. Anirudha connected with shakti and tejas protects the world and confers the knowledge of truth. Parasara states that these foru forms are meant for the contemplation of different aspirants and that they correspond to the four states of wakefulness (jagrat) dreaming (svapna) deep sleep (atyalasa or suspti) and the final stage (murcchaa) respectively.
There is a su btle difference between the Para Vasudeva and Vyuha Vasudeva. The Para Vasudeva who is also known as nityodita being the object of experience of the mukta's is the source of the three subsequent vyuha's.
His works.
1. Astasloki.
2. Kriyadipa.
3. The Bhagavadgunadarpana.
4. Srigunaratnakosa.
5. Sriranganatha stotra.
6. Srirangarajastava.
7. Tattvaratnakara.
8. Adhyatmakhandadvaya.
9. Nyayasiddhanjana.
10. Lakshmikalyana.
11. Commentaries on Subalopanishad, Muktas (Tirumanjana Kattiyangal, Tirumanjana Kavis, Kaishika purana, Varahapurana, Tiruneduntandakam. Ramayana, Gita, Kalidasa, Bhartrhari, and Bhattar Nirvaham.
In All Parasara Bhatta wrote 12 works 10 in Sanskrit and two in Tamil. He was a prolific writer of great distiction with a unquestionable comand of both the languages. He also wrote a number of stray verses in Sanskrit. He is also known for his original interesting elucidations and interpretation of some passages of Divya Prabhandam, which are popular in the learned traditional circles as nirvaha's.
Of the Sanskrit works only six are available in full. They are Astasloki, Kriyadipa, The Bhagvadgunadarpana, Srigunaratnakosa, sriranganatha stotra and Srirangaraja stavam. His three other sanskrit works Adhyatmakandadvaya-vivarna, Tattvaratnakara and Lakshmi Kalyana nataka are all available in few fragments only that too preserved in the quotations of Swami Vedanta Desika. His Subaloupanishad-vivarna is quoted by Narasimhadeva in his work Ananadadayini which is a commentry on Sarvarthasiddhi, which itself is an auto commentry by Vedanta desika on his Tattvamuktakalpa.
1. Astasloki.
The work is in eight verses, marked by brevity and clarity explaining the three important secrets of the Srivaishnava religion and philosophy, namely, the astaksara, the dvaya and the charma sloka. The Astaksara is an eight syllabled mantra OM NAMO NARAYANAYA, held in very high esteem by a srivaishnava. It is to be repeated every day. The Dvaya Mantra, SRIMANNARAYANA-CARANAU SARANAM PRAPADYE, SRIMATE NARAYANAYA NAMAHA, this expression brings out the total surrender of the devotee to the lotus feet of the Lord Narayana who forms the supreme godhead along with his consort Sri. As for the Charma sloka the verse SARVADARMAN (BG 18 - 66) acording to Srivaishnavas it pinpoints whole hearted surrender as the effective means of salvation.
The astasloki is couched in long meters as Sikharini, Sardulavikridita and Sragdhara very effectively bring out the importance of these three secrets which form part of the daily recitation and routine of an orthodox Srivaishnava. The first four verses are devoted to explain the astaksara and next two for dvaya and the last two explaining the charma sloka.
2. Kriyadipa.
Vedanta desika in his Rahasyatrayasaram mentions rather quotes three verses from this Nitya grantham of Parasara. It appears as if every spiritual teacher of those days was obliged to compose one nitya grantham for the benefit of his disciples and followers.
3. The Bhagavadgunadarpana.
This is a masterly commentary on the Vishnusahasranama, which is a part of the anussasanaparvan of the Mahabharatha. This is his only work in Prose. In his introduction to the commentary Parasara stresses the efficacy and popularity of this stotra and then explains at length the tattva (Truth or reality) hita (means) and Purushartha (the Human end) according to the visistadvaita school. True to the Srivaishnava concept, the author brings out the glory of the supreme Lord as saguna (with Qualities). He also discusses other important tenets of the school such as the body soul relationship (sharira atma bhava) between the world and the Lord, the state of release, the supremacy of the Lord, and his inseperable relation with Sri His consort. There are ample quotes from the Upanishads, the epics,pancharatra texts (satvata and Pushkara samhita) and from Puranas like Vishnu, Bhagvata and Varaha.
4. Srigunaratnakosa.
This is an elegant hymn addressed to goddess Sri comprising sixty one stanzas. Parasara identifies Sri with Sita and again with Sriranganayaki the presiding deity at Srirangam. He describes Sri not as an elderly matron, not even as a maiden who has attained efflorescence but as an adolescent girl who is just in the confluence of childhood and fresh youth called by Parasara as Saisavayauvana-vyutikara.
Another striking feature of the hymn is that he views Lakshmi not only as a presiding deity of prosperity and plenty, but as one who can bless her devotees with remarkable powers of speech, the art of poesy in particular, through her mere glance. This is one of the finest devotional lyrics in the literature of Srivaishnava stotra kept in the tradition of daily chanting (parayana) of a devout Srivaishnava. Parasara traces the concept of Sri to the early vedic literature and tries to establish that even the glory of Lord Vishnu is dependent upon that of His consort. Rising to supreme heights of poetic charm the author describes Lakshmi as responsible even for the creation, sustenance and dissolution of the universe, inspiring her lord to carry out these cosmic functions. The graphic descriptions in which the poet excells in presenting the glorious picture of Lakshmi as the presiding deity of plenty, prosperity and exquisite charm are matched by a vivid portrayal of the same Goddess as the considerate and compassionate mother of all beings full of the milk of human kindness. Perhaps the concept of Lakshmi's mediacy (purusakara) between God and men owes much to this Picture of Lakshmi drawn by Parasara. He justifies the Motherhood of Lakshmi in what may be called the dramatic style of engaging her Lord in a lively and lovely conversation, pacifying the anger of Her Lord and assuaging the fear of the errant child.
5. Sriranganatha Stotra.
The stotra in six verses is yet another beautiful work. the printed version of this stotra has eight verses the last two being added from his stray (Muktaka) verses. all the eight are chanted among the traditional circles. Known for the candid and clear style the verse bring out the feelings of the poet (an ardent devotee) expressing his pangs when seperated from his chosen deity. Every verse describes the feelings of the poet yearning for his daily ablutions in the river Kaveri, for worshiping Lord Ranganatha, for repeating his holy names, and other such devotional activities. This stotra is in the tradition of daily repetition by an ardent Srivaishnava. probably written by the author when he was away from Srirangam due to the displeasure he incurred of the then chola king Virasundara.
6. Srirangarajastava.
This is the longest and most important stotra composed by Parasara. it consists of 232 verses, divided into two sections called Purvasataka and Uttara sataka (100) The first section deals with the glory of Lord Ranganatha whom the author calls Rangaraja, the emperor or ruler of Srirangam. The Srivaishnava agamas states that the supreme being should be honoured as an emperor. True to this tradition Parasara gives a grand description of Ranganatha the presiding deity of srirangam whom he identifies with Lord Vishnu the supreme being sung in the sacred literature. Of special mention are the Lords innumerable perfections of which compassion is of utmost significance to the devotee. The author also provides a very beautiful description of the temple of Srirangam, its environs, the Kaveri the gardens surrounding the temple and so on.
In contradistiction to the Purvasataka, the Uttarasataka concerns itself with several issues such as the supremacy of the Lord, the claims of other schools of thought regarding the purport of the upanidashic texts, the nature of moksha and the like.
Parasara a reletless critic of other schools of thought can be seen in this piece of poetry as an uncompromising champion of the cause of the Srivaishnava school. He here is following his illustrous father Srivatsanka Mishra who also earlier composed his Panchastavi interspersing philosophical disquisitions and criticisma of other schools, while glorifying certain deities of his own choice. This practice was first started by Yamunacharya of clothing philosophical ideas and criticism of other schools in the grab of lyric poetry.
7. Other works of Parasara.
Of the lost works of Parasara the Tattvaratnakara is perhaps the most important. about 42 fragments of this masterly treatise on Tattva (reality) is available exclusively through the quotations by Vedanta Desika. it is a mix of Prose and verse. the Tattvaratnakara appears to be an ocean (ratnakara) of several philosophical concepts of the Visistadvaita school. a clear picture of the plan of this work is not possible because of its incomplete nature. it seems to be divided into chapters caled prakarana and sections called padas though.
the political conditions during the 12th century may have been one of the causes, another being earlier scholars like Yamuna and Ramanuja's works especially Sribhashya might have led to the comparative neglect of the Tattvaratnakara. another reason stated is that Parasaras theology foreshadowed the doctrine of the tenkalai school and so naturally was not favoured by the other group, the vadagalai school. It may just be the sheer ravages of time,accidents and lack of facilities for the preservation of manuscripts might have led to the loss of this monumental work.
topics of Tattvaratnakara are:
samasya, pramana, aprokshyam, samyoga, savikalpaka, nirvikalpika, anarvachina, vyapti, upadhi (this is in detail two fold etc) anumana, lakshana, kevalavyatirekin, anumana as svartha, syllogism (according to nyaya there are five members in an anumana vakya meant to enlighten another person they are pratijna (declaration) hetu (reason) udaharana ( example) upanaya (application) nigamana (conclusion) but visistadvaitins say they should be no hard and fast rule. he too concludes alike.)chala, jatis, hetavabhasa, anugrhaya, arthapatti, abhidha, anvitabhidhana, ahuscaivam abhiyuktah, sastra,(aikasastraya) dharmadhi, manabheda, anga,prayukti, karma, kartr,atidesa, visesa, uha, badha, tantra,prasakti, smriti,cestita, manas, pratyabhijana, tamas, svayamprakashtva, manasaprathyaksa, sanmatra, prakrti,pratyaya, and svara, sabda, siddhanta, anutva, samkhya, bheda,jati,karman and guna, kriya and dravya, sadrsya, apauruseyatva, vidhi, sasana.
The Adhyatmakhandadvaya Vivarna has been preserved only in the form of two quotations found in the Nyaya siddhanjana. The first quotation is concerned with the definition of Sarira given in the Sribhasya of Ramanuja. Vedanta desika while introducing this quotation says that some take Ramanuj's statement as forming a single definition while others hold it as comprising three definitions. Desika says that Parasara is of the view that it holds three definitions. That both the sentient and insentient beings form the body of the Lord by virtue of their being controlled by the Lord, being supported by Him and by virtue of their being subservient to the Lord.
Another quotation from the Adhyatmakhandadvaya vivarna found in the Nyayasiddhanjana mentions the similarity between aisvarya (lordship) and akasara (kaivalya) both of which are different from liberation (Moksa) which is the highest state of bliss.Aisvarya is only the joy of experiencing the material objects while aksara another name for kaivalya is the bliss resulting from experiencing ones own self. these two are two different degrees of joy. Moksa which constitutes the supreme bliss is therefore superior to both aksara and aisvarya.
Laksmikalyana, another work known only through three quotations is also known to tradition as a nataka. Only Vedanta desika has quoted a few lines from this work in his Sarasara which forms a part of his Chillarai rahasyangal (written for the women folk), his gita bhasya Tatparya chandrika and in his Rahasyatrayasara.
This could have been the Mangala Sloka of the Lakshmi kalyanam.
ananyadhimnakalyanam anyamangalakaranam
jagannidanamadvadvam dvandvam vandamahe vayam.
The sloka from sarasara runs
svayam vastukurvan janamimam akasmat sarasija
prakarau padmayastava ca caranau nah saranayan.
The quote from Vedanta desikas Gitabhasyatatparyachandrika where he says these lines from Lakshmi kalyana of Parasara.
dharme pramanam samayasyadiyo
vedasca tattvam ca tadistadaivam.
this in indravajra meter where he seems to be saying or listing the source of dharma.
The next work which is also lost to posterity is the commentary on the Subalopanishad which is generally refered to as Vakya or vivarna.
he Quotation being.
Yaduktam bhattaparasarapadair subalopanishad vivarne yadi bhutanamapi prakrititvam tarahi astau prakratyassodasa vikaraha iti sruteh ka gatiriti cet vedopabrmhananipunatara paramarsisandarshitaiva gatih nasmabhistadviruddhanirvahane bhinivesesta vyam.
He thus raises the question and answers it himself. the five organs of knowledge and the five organs of action with the five subtle forms of elements and the mind form the 16 vikaras.
Of the sanskrit works of Parasara which remains to be enumerated are the muktas or stray verses known as Tirumanjana Kattiyangal or Tirumanjana Kavis. these about 50 in number are recited even today at the Srirangam temple on occasions like ekadasi, amavasya, ayana, telugu and tamil newyear days and during Brahmotsavam. these are recited by the descendants of Parasara Bhatta.
The first of the stray verses is in the form of a dialogue between Lord and man. this is read when the icon of God is given a ceremonial bath, that is, when, to use the expression of the poet himself, the lord appears as a mrgyamadhyastha (one who is in search of a referee.)
Noticing the impurity and stubbornes of the jiva who thinks of himself as independent, the lord points out that the jiva - on the authority of sruti's, gita, and men of wisdom always belongs to the supreme, but the jiva enters into a debate with the Lord. the idol of the Lord, wet due to the abhiseka appears to our poet as though the Lord to prove his claim on the individual soul is taking an oath wearing wet clothes and a garland of the basil leaves. this practice is known as divya in the smrti texts. Parasara feels that in this particular context the Lord appears to be doing jala divya as well as tulsi divya. the dialogue between the lord and jiva runs like this:
G for God M for Man.
G: You are mine you belong to me.
M: I belong to myself.
G: (No) how is it possible.
M: How about your own claim.
G: This is on the authority of the Vedas.
M: My statement is based on my experience which is beginningless in nature.
G: But this is repudiated.
M: Where and by whom is it repudiated?
G: By me clearly in the Gita.
M: Who is the witness?
G: a man of wisdom.
M: Well then he is partial to you.
What a beautiful conversation wherer God is ever eager to establish sesa sesi bhava
In the second verse Parasara fancies God to be a river (NADA) where man approaches with different activity anuvrtthi and so on for all the verses. where you see the stroke of the poets genius.
Of the Tamil compositions the commentary on the Kaisikapurana Mahatmya forming part of Varahapurana, held in high esteem by the Srivaishnavas. He explains the significance of singing the glory of the Lord at the Brahma Murhurta.
Parasara commentary on a particular stanza of Thirumangai alwars Tiruneduntandakam is an important landmark in the srivaishnava literature in Tamil. Every line of the commentary is replete with a varietyn of references and quotations from several sources Upanishad, ramayana Gita Kavyas etc.
We also have quite a few TamilNirvaha's which are interpretations of some of the expressions or passages found in the Divya Prabhandam eg Arayirappadi,Onpadinayirappadi and Muppattarayirappadi He was an authority on divya Prabhandam and used to give regular discourses on it in the course of which he used to explain in his own inimitable style several important and knotty passages much to the delight of his fortunate audience. these are traditionally known as Bhattar's nirvasham's.
A detailed study of Parasara can be employed under different headings
Literary estimates parasara's concept of poetry, the gun's present in the works/ hymns prasada, ojas, samata,kanti, susabdata, sabdhalankaras,arthalakaras, meters employed, his grammar and scholarly presentation his works and presentation so vast a life time is inadequate to read and imagine his love of God. no wonder then he is considered as an eminent poet writer after Ramanuja. Vedanta desika clarifies the contradictions that may arise from his works by amply quoting and explaining the meaning of parasara's works.
His Srigunaratnakosa has been commented upon by seven of his contempararies. His Astasloki has nearly 12 scholars who have admired the works and srirangaraja stava has four commentaries.
He definitely played and paved the basic concepts of Srivaishnava philosophy emphatically.