He has left us a fairly large number of works which may be broadly classified into (1) Poetical works, (2) Sastraic works. Among the poetical works the more important are (1) Nārāyaṇīya, (2) Srīpādasaptati, (3) Guruvāyupurēsa stötra, (4) Campu prabandhas and (5) a few prasastis about his royal patrons. The sastraic works include (1) Mānamēyodaya - Mānaparicchēda, (2) Prakriya-sarvasva, (3) Dhătukävya, (4) Apānīniya prāmanya sadhana, and (5) Tantravårtika Nibandhana.
We may shortly notice each of the works under both the classes.
Nārāyaṇīya - Reference has already been made to 'Nārāyaniya' his grand devotional poem. It is, in a sense, an epitome of the Mahâbhagavata. But the whole poem appears as a very happily conceived devotional lyric of marvellous beauty and appeal. It comprises 100 decades and 1036 verses, each conceived as a floral offering at the foot of the deity. In grandeur of thought, beauty of rhythm, and in spritual transport, 'Nårāyaniya' is seldom surpassed by any other poem of its kind. The poet felt the divine presence all around and gave poetic expression to the sublime feelings experienced by him. His prayers flowed forth from the depth of his heart, and every thought of his poem breaths an air of divine consolation. What is most appealing in the peom is the absolute sincerity of the poet. The way in which he addresses his deity, and his absolute reliance on Guruvayupuresa are such as will convert even the worst sceptics. From the first word to the last, the poet maintained the spritutal sublimity along with the lyrical sincerity, a very rare combination indeed. An analysis of the poem is beyond the scope of this short notice, but a few stanzas may be quoted just to indicate the nature of the composition.
हे रोगा। ननु यूयमेव सुहृदो थैनिस्पृहोह कृतः
काव्यालंकृतितर्ककोविदसभायोगेषु भोगेषु च ।
नो चेत् कृष्णपदारविन्दभजनं वेदान्तचिन्तामपि
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Here the poet 'addresses his ailments as his friends and