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devotee. In verses like the following, the feeling of sublimity is carried to the highest pitch of perfection.
यत् त्रैलोक्यमहीयसोऽपि महित सम्मोहन मोहनात्
कान्तं कांतिनिधानतोऽपि मधुरं माधुर्यधुदिपि ।
सौन्दर्योत्तरतोऽपि सुन्दरतरं त्वद्रूपमाश्चर्यतो
उप्याश्चर्यभुवने न कस्य कुतुकं पुष्णाति विष्णो । विभो॥
There cannot be a nobler thought or a form of more elevated expression than this. Truly Bhattatiri should have enjoyed communian with the infinitude of the divine-being in his daily worship of GuruVāyupurēša. Not only was he able to experience the presence of the Supreme being in this manner, but he was also ablc to visualise it in a human and cencrete form with all charms of puranic imagery.
अग्रे पश्यामितेजोनिविडतरकलायावलीलोभनीय
पीयूषालावितोऽहं तदनु तदुदरे दिव्यकशोरवेषम् ।
तारुण्यारम्भरम्य परमसुखरसावाद रोमांचिता
रावीतं नारदाविलसदुपनिषत्सुन्दरीमण्डलश्च ।।
In poetic expression also 'Nārāyaniya' may be regarded as an extraordinary work of art. In the choice of diction suited to the varying sentiments Bhattatiri displays marvellous skill wbich is the despair of other poets. The following verses will be suficient to illustrate the point.
केशपाशधृतपिछिकाविततिसञ्चलन्मकरकुण्डलं
हारजालवनमालिकाललित मङ्गरागधनसौरभम् ।
पीतचेलधृतकांचिकांचित मुदञ्चदशुमणिनूपरं
रासकेलिपरिभूषितं तव हि रूप भीश ! कलयामहे ।।
This is the description of Krishna at the time of Rāsa Krida. No other words can paint the picture or Krishna so beautifully. The following verse is about Kaliyamardana :
अथ दिक्षु विदिक्षु परिक्षुभितनमितोदरचारिनिनादभरैः।
उदकादुद्गादुरगाधिपतिस्त्वदुपान्त मातरुषान्धमनाः ॥
अधिरुह्य तत:फणिराजफणान् ननृते भवता मृदुपादरुचा।
कलशिं जितनूपुरमजुमिलकरकङ्कण संकुलसंक्वणितम् ।।
