CHAPTER- II
SHAHAJI AS A PATRON
Sm. BALA8AHEB KHAKDEKAR LiBRASV UttiVEBSiTY. KOLHAPtf®. CHAPTER - II
SHAHAJJ AS A PATRON
Shahaji's rule is rather known for attainments in literature, music and fine arts than the achievements on battle-field. He was a man of literary talents and taste, and these traits of him were well reflected in his court.
'Shahendravilas1 gives a description of Shahaji's Court.
It is compared with Indrasabha (Court of Lord Indra). The Court had a beautiful fountain in the front, the pillars studded with jewels and diamonds, the walls decorated beautifully with the paintings of birds such as peacocks and swans.
Shahaji's Court was attended by the nobles, feudatories, scholars, court-poets, etc. It is interesting to note that Shahaji was attended by (the) female attendants. Before going to the Courthall, they used to help the King to wear the ornaments. Shahaji accompanied by Kanchuki (he may!be one of the attendants) is led by the female attendants to the courthall.
The feudatories would stand by the King. There is a reference to one Angeshwar, perhaps a small feudatory, who would stand by the King holding a flywhisk. Another, for instance, is Kalingnath, would attend on the King with the 'Pan' or 'Tambulwida'. There 39 is also a reference to ^ gift of pearls to Shahaji by Pandya king.
The Court poets would compose the poems, eulogizing Shahaji and recite them in the Court. Philosophic discussions and also discussions on specific topics such as 'Patanjali's Grammar' were frequent occurrences in his Court. ^
However, Shahaji was a generous patron. It is not for nothing that the contemporary sources hailed him unanimously as 2 1 Abhinavbhoja1. Traditionally, royal favour always smiled upon literature, fine-arts, music, etc. in south India, the time immortal Pandyas (560-920), the Cholas (850-1133)^, the Vijayanagar rulers 4 (1336-1565) down to the Nayaks of Madura, the immediate predecessors of the Maratha rulers of Tanjore. Shahaji proved himself undoubtedly a worthy successor of them all. Literature, dance and music were specially encouraged by the Nayaks and the Maratha rulers of Tanjore, for about three centuries. Shahaji's reign in particular witnessed a brilliant renaissance of literature and constituted in a particular golden period of Tamil and Telugu literature."’
Modes of Patronage:
He continued the traditional modes of the Court patronage.
Paucity of contemporary literary and epigraphic sources luckily do not hinder a researcher from getting a good glimpse of him r as a patron and his rich contribution to art, music, literature etc. 40 in that role.
In medieval times, the usual means available to the Kings to recognize and reward the services rendered to the State was through Court patronage. It comprised various modes, the land-grants being the chief one. Sometimes, the entire land of the village was given to the Brahmins for their scholarly attainments. It was known g as 'Agrahara'. Sometimes those Brahmins were exempted from all the taxes. Such an 'Agrahara' was known as 'Sarvamanya
Agrahara1.7 Such and similar land-grants not only continued in the reign of Shahaji but he proved extremely liberal and generous with them. A number of examples may be cited. Some of the land- grants he made were for religious purposes, others for secular ones such as promotion of literature, fine-arts, etc. For instance, in Shalivahan Shake 1616, on an auspicious day, the deed was signed in the village 'Pandarwade' in the presence of 'Arunachal Saint'.
Shahaji also directed the Mahajans of tine said village to give some part of their income for the maintenance and worship of the temples
'Tyagaraj Swami', 'Valmikeshwar Swami', 'Kamaiamba Devi1 and
'Alliyakode Devi' and also for feeding the Brahmins and pilgrims.
The Mahajans and the farmers agreed to do so. There is also a reference to donation of lands in village of 'Vaddakare for performing
'Pooja' prayer and 'Abhisheka' in 1711. Similarly, for maintenance and repairs of 'Kumaran temple' and also for worship of deity, 41 some 'grove' was donated.10
11 Shahaji had performed 'Tuladan' of his mother at Setu (Near
Dhanushyakoti) (Distributing wealth equal to the weight of a person among poor and needy). He also performed a 'Yadnya' with the help of Tryambak, his minister, in 1698. He granted a village near
Tiruvalangadu to a scholar 'Bhaskarraya' known for his literary talents. He gifted a village to Peri Appa Kavi, famous for 'Sringar- manjari Shahajiya'. However, Shahaji will always be remembered for the colony of the scholars, he established in 1693 at the village 1 3 Tiruvasanallur, surrounded by Tribhuvanam on east, Manjal on 14 west, Annakudi on north and located on the banks of Kaveri. It was named 1 Shahaji raj pu ram' after him. He settled there some fortyfive scholarly families. He also invited some prominent families of Telugu 1 5 and Kannada scholars and settled there.
One Venkatkrishna Diksita, after having enjoyed the patronage of several Courts such as that of Srirangapattanam, Tiruchirapalli
(Trichinopoly) and Jinji, had come to Tanjore. He was welcomed 1 fi by Shahaji and was settled at 'Shahajirajpuram. Shahaji had the houses built there for the scholars and all the essential facilities were provided to them.17 He developed and donated the village for the
18 scholars alone making it Sarvamanya-Agrahara.
The contemporary literature lists the following persons as
4 0(4« •■•T A 42 1 9 the donees of 'Shahajirajpuram'.
1 Vasudev Diksita 2 Bhaskara Diksita
3 Tippa Diksita 4 Kuppa Pandit
5 Isvara Sastrin 6 Vaidyanath Diksita
7 Kachapesvara Diksita 8. Ayyavaru Diksita
9 Vedakavisvara 10 Mahadevkavi
11 Kondavadhanin 12 Trivedibhattaracharya
13 Periappa Kavi 14 Narayana Diksita
15 Narayan Sastrin 16 Appa Diksita
17 Narayan Diksita 18 Narayan Sastrin
19 Pancaratnam 20 Anant Narayan Sastrin
21 Venkatesvara Vajapeyayajin 22 Rajvaliabh Sastrin
23 Srivenkatesvara Sastrin 24 Dvivedi Narayana Vadhamin
25 Venkatkrishna Diksita 26 Venkatkrishnavadhamin
27 Visvapati Sastrin 28 Gangapati Somayagin
29 Margasahaya Diksita 30 Madhurama Sastrin
31 Narasimpha Diksita 32 Ramjoshi
33 Samvedi Venkatesvara Sastrin 34 Srinivas Sastrin
35 Sattanath Kavi 36 Venkatesvara Kavi
37 Laksman Sastrin 38 Vijayaraghav Diksita
39 Adinarayan Sastrin 40 Laksamana Sastrin
41 Vijayaraghava Diksita 42 Adinarayan Sastrin 43
The donees were given a specific share in the said village.
For instance, Rambhadra Diksita was given four shares. 20 It is quite obvious from the above mentioned list that many of the families were associated with performance of religious rites such as Vajapeya.
The families such as Shastris, Pandits, Diksits, Samvedi, Trivedi were also associated with religious work. Therefore, it may be safely assumed that the performance of the religious rites and ceremonies could have been also a motivation behind the establish ment of the colony besides being encouragement to the men-of-letters.
The establishment of this colony stands praised unanimously in the contemporary literature. 'Bhuminath' alias 'Nalla Diksita' in his
'Dharmvijay Champu' describes it as a 'treasure-house' of letters, 21 the native place of religion and philosophy.
Shahaji not only gifted the lands and villages to the deserving scholars, but he actually named the villages after them in due recognition of their remarkable scholarly attainments. For instance, the village facing Tiruvalangadu gifted to Bhaskararaya was renamed as
'Bhaskararayapuram. Shahaji also gifted the villages to the scholars and named them after his parents, namely, 'Ekojirajpuram' and
'Df pambapuram', Rambhadra Diksita in his 'Shaddarshan Siddhanata1 and Bhuminath in his 'Darmavijay Champu' mention those villages 22 but other details are not available. 44
Shahaji also honoured the outstanding scholars by gifting them horses, by performing showers of gold (Suvarnabhishek) on 23 them. There is a reference in the prologue of Sringarmajari
Shahajiya' to Peri Appa Kavi's being the recipient of that rare honour.
The gifted poet was honoured with a horse, an elephant, a gold 24 shower and a village.
Shahaji also recognized and rewarded the scholarly talents by bestowing titles and honours upon them. He conferred upon Vaidyanath 25 Diksita the title of 'Prativasant'. Prativasant is described as a regular performer of the sacrifices in ' Shahendravilas' by Sridhar- venkatesa. However, the title may be interpreted as the season
(Vasant) which brings liveliness and cheerfulness to all, due to
its pleasant climate, so did Vaidyanath Diksita with his writing.
Similarly, he honoured Rambhadra with the title of 'Patanjali' (a famous
grammarian) and 'Dvitiya Pacetasa1. Anandraya Sastrin, thelatter's protege was also honoured with the title of 1 Pancharatnam1 (five jewels). Shahaji patronised many scholars through various appoint ments. Dhundivyas, a Court poet, famous for 1 Shahvilasgitam' and
'Dharmakuta' was appointed as the King's 'epic-exponder', Puranika.27
Shahaji was really a multi-faceted personality. His interest
in music was as intense as it was in literature. Naturally, he encourag
ed and patronised a great many singers and musicians who had 45 adorned his Court. Many of them earned fame for their devotional songs. Prominent among them were:
1 Cirirajkavi 2 Vasudevkavi
3 Rambharati 4 Peri Appa Kavi
5 Kashinath Kavi 6 Bharati Kavi
7 Somkavi 8 Ashtavdhani Kavi
9 Vinna Ayyavan 10 Vaggeyakaragrani
n Rajgopal Kavi 12 Akkanna Amatya
13 Kavigiri 14 Balkavi Subhana
15 Dhundiraja 16 Muttukavi
17 Narana Kavi 18 SesacalpatP®
19 Chindhadkavi
A mention may be made of the following poets, otherwise
known as 'the saint composers' as they composed mostly religious
songs:
1 Sridhar Venkatesa Ayyaval
2 Bodhendra Swami
3 Sadashivbrahmendra Yogi
4 Parabrahmanand Yogi,
5 Sivagnan Swamigal
6 Tayumana Swamigal
7 Vaidyanath Desikar
8 Tambiran. 46
Many in his court emulated him and patronised the men of letters. For instance one Sendalangaran, an officer under him, also patronised the scholars and is praised in the Tamil poem 29 'Sendalangaran Viralividu Thottu1 for his patronage. Similarly,
Shahaji's mother, Dipamba, like Shivaji's mother Jijabai patronised many poets and the scholars, such as 'Raghunath Navhasta1 the 30 author of 'Bhojankutuhala1 and 1 Narak-Varnanam1 .
The Works of the Court Scholars:
Shahaji's generous and liberal patronage attracted a great many scholars to his Court. They made rich contributions to various branches of literature. His court was littered with many prominent scholars. Rambhadra Diksita was certainly the most celebrated of the poets of Shahaji's Court.
Rambhadra Diksita:
He was born in the family of Chaturvedyajwan in the village
' Kandarmanikyam' near Kumbhakonam (39 kilometres North east of
Tanjore and 68 kilometres north-west of Chidambaram). He had mastered Sanskrit. His fame as a dramatist rested on his famous play ' Janakiparinaya'. Besides being a great poet, he was also a grammarian and was often described as 'Prati Patanjali' (second to Patanajali). He also wrote a commentary on 'Paribhashavritti' . 47
He was a strong devotee of Rama. His works, poetical or philosophical, always begin with an invocation to Rama or have Rama for his subjects.
He wrote a number of works such as:
1 Janakiparinayanatak
2 Ramchapastava
3 Udadimanideepika
4 Sringartilakabhan
5 Paribhashavritti Vyakhyan
6 Saddarshanisiddhant Sangraha
7 Patanjalicharitkavya
8 Banastavechapastava
9 Tunirastav
10 Parasadastav
11 Visyagarbhastav
12 Vyakaran Siddhant
13 Ramastavkaranarasayna
14 Aslaprassa
15 Acharyastavrajbhushan.
All the above mentioned works may be credited to Rambhadra
Diksita on the basis of direct and indirect references to them in contemporary literature. Rambhadra's contemporary writers honoured by Shahaji were Ramnathmakhin, Naraharidhavrin, Peri Appa Kavi, 48 31 Srivenkatesa, Yajnesvaradhavrin and Srinivasmakhin.
Rambhadra's Disciples and Their Works:
Rambhadra's greatness as a writer need not rest on his prolific writing alone but also on a fact that he had produced a number of disciples who later earned fame and prestige on their own. Famous among his pupils was one Srinivas Diksita, the author of the 'Svarsidhant Chandrika", a wellknown work on Sanskrit grammar.
It has been mentioned that Rambhadra helped him in giving the simplified version of 'Patanjali' grammar. Venkatsastrikavi, another of his disciples, wrote a commentary on 'Patanjalicharit1. He was also the author of 'Bhosalvamsavali Champu1, 'Raghavanand Nilaparinaya1,
1 Sabhapativilas', Unmatkavikalash1, Lambodar Parahasari', ' Unadi n ighantu 1, the last being known as the nectar of poets. Bhuminathkavi, who wrote 'Dharmvijay Champu', a romance, was also a disciple of
Rambhadra. 'Dharmavijay Champu1 is a sort of poetry written in prose and poetry. This literary piece describes the greatness of Shahaji. It also deals with the description of 'Shahajirajpuram' and important holy places like Bhadrachal, Kanchipuram, Chidambaram and Tanjore. Bhuminath mastered all the Sastras and Kavyas at 32 the age of twentyfive and was favoured by the King Shahaji. And so also was Va idyanath, the author of 'Paribhasarthsangraha'. He was the nephew of Rambhadra Diksita. He was a great grammarian as 'Panini'. 49
He was the composer of 'Mahabhashya Prabandha1.
His another disciple was Raghunath. According to his 33 wish, Rambhadra wrote 'Sringartilakabhan'. It is quite surprising to know that this village 'Kandarmanikyam1 which stands in ruin today boasted of a number of scholars in Shahaji's reign. Dharmaraja- dhavarindra, the author of 'Vedantparibhashad' and his son 'Ramkrishna1, the author of the Vedantsikhamani1 and 1 Nyasikhamani1, hailed from
it. So did Vaidyanath Diksita, the author of 'Smriti Muktadaphalla1 and 'Deepika'. Last was the commentary on Ramayana. The latter's son, Shivaram Diksita, the author of 'Ahanika' also belonged to the same village. The pious Chokanna Diksita, father-in-law of Rambhadra and the author of 1 Shabdakaumudi', 'Bhasya Ratnawali' and 'Kantimati-
Parinaya' was from the same village. Raghunathayajwan, the author of 'Manjari Makaraand' wrote a commentary on Haradattamira' s
Padmanjari and Nalla Diksita, the author of the beautiful drama
'Subhadraparinaya1 also came from the same village.
Other Prominent Scholars and Their Works:
Shahaji's contemporary scholar, poet and his biographer,
Sridhar Venkatesa, popularly known as 'Ayyaval' (Respected Sire)
was the author of several religious lyrics. The following are his
works: 50
Dayastaka, Matribhutasataka, Akhyasastri, Satipaddhati, Sivabhakti-
Laksman, Taravalistotra, Sivabhakta-Kalpalatika, Arthiharastotra,
Kulirashtaka, Dolanavaraina malika, Shahendraviias, Padminimanjari.
His / ShahendravilasX describes the exploits of his patron
Shahaji. There are many historical events regarding Shahaji in
'Shahendraviias' by Sridharvenkatesh.
Another contemporary of Rambhadra Diksita was Appa Diksita or Appadhavarin of Mayavaram, who wrote his 'Acharanvanita' between
A.D. 1696-1704 in the reign of Shahaji. Venkatkrishna Diksita was the third son of Venkatadrimahopadhyaya of Vadhuta gotra. He studied the Sastras under Pallakesarivasudevdhavarin, his guru. Venkatkrishna
Diksita wrote 'Nateshvijay', while he was at Chidambaram. He is also famous for his work 'Uttamchampu'. His famous work was
'Kausalyavijayanataka'.
Bhaskar Diksita wrote a commentary named 'Ratnatulika' on 'Siddarthasiddhanjan'. A Tamil poet Chokkanath wrote Kantimati- parinaya. Ishwar Sastrin, an ancestor of Viraraghava wrote a commentary on Sridhar Venkatesa's 'Akhye sastrin'. He also wrote hymns on 'Shiva' and 'Parvati'. Viraraghava Diksita native of Tiruvasanallur, has written 'Parvati Stotra' and hymns.
Vedkavishwara was famous for his plays 'Jivanand' and 'Vidyaparinaya'. 51
The first was written during the reign of Shahaji. Mahadevkavi had composed the play 1 Adbhutdarpan' and 11 Sukhsandesh'. Peri Appa
Kavi, one of the dignified poets in the colony, wrote the play 1 Sringar- manjari Shahajiya'. 'Appa Diksita, a talented poet of Shahaji's period, wrote 'Madanbhushan' and 'Courimayurchampu1. Anandraya Sastrin son of Mrityunjay wrote 1 Anandvallistotra1, 'Gitashankar1 and 'Raghav- charitra1, Mahadev Vajapeyien, the father of Vasudev Diksita wrote
'Subodhini1, a commentary on 'Bodhyanasrasutra1 . Venkatkrishna
Shastrin composed 'Ramchandrodaya'. Narasimpha Diksita wrote 'Alankar'.
Raghunath Sastrin wrote 'Purushartharatnakara'. Laksman Sastrin wrote ' Shaharajsarvavarnini1. Samvedi Venkatesvara Shastri, son of Ikkeri Appa Sastrin wrote 'Upagranthabhashya'. Dhundivyas, one of the renowned poets in Shahaji's Court, commented on the
'Mudraraksaskavya' and also had written 1 Shahvilasgitam'. 'Dharmkuta1,
' Mudraraksasavyakhya1, 1 Mudraraksaschhaya1, ' Rajakosanighara1,
'Banaras varnanam.
Chokkapa Pulavara, one of his proteges, composed 'Kumbakonam 34 Puranam'. It is a Saivite Sthalapuranam of Kumbhakonam. Chindhadkavi 35 has praised Shahaji in his poems written in Hindi and Marathi.
Commen taries:
A number of commentaries were written by his Court scholars. 52
Rambhadra wrote a commentary on 'Paribhashavritti1, Venkatashastri on 'Patanjalicharit'. Vaidyanath Diksita's Deepika is the best commentary on 'Ramayana', Chokkanath Diksita has written a commentary on
Hardattmira1 s 'Padmanjari1. Bhaskara Diksita is famous for his comment ary 'Ratnatulika' on Siddharth Siddanjan. Isvara Sastri wrote a commentary on Sridhar Venkatesa's 'Akhya Sastrin' and Mahadev
Kavi is famous for his commentary 'Subodhini' on 'Bodhyanasrasutra'.
Srinivas Diksita is famous for his grammar work. 1 Svarsiddhant- chandrika' and Rambhadra Diksita wrote 'Vyakaran Siddhanta1, a
work on grammar.
Particular Works on Shahaji:
It was natural for the Court scholars to compose work
on their master and chief patron. No wonder Shahaji was hero
of many works. A reference may be made to the following important
works woven round the personality of Shahaji:
3 6 1 Dharmavijay Champu by Nalla Diksita 37 2 Shahendravilas by Sridhar Venkatesa 38 3 Sringarmanjari Shahaji by Peri Appa 39 4 Bhonsalvamsavali by Cangadhara 5 Kosalbhosaliyam by Secachalpati^
6 Shahrajsthapadi by Srinivas Diksita**1
42 7 Shahrajsubhasrovarnini by Laksman Kavi 53 43 8 Shahrajnakshatramala by Narayan 44 9 Sumatindrajayaghoshana by Sumati 45 10 Shaharajiyam by Laksman Kavi 46 11 Shahvilasgita by Dhundivyas
Religion dominated Shahaji to a great extent. He made land grants to temples and religious institutions. He had a number of
'saint composers' in his court such as Sridhar Venkatesh Ayyaval,
Bodhendra. Swami, Sadashivbrahmendra Yogi, Tayamana Swamigal etc. who composed only religious songs.
Thus, Shahaji described as Abhinavbhojraj, patronised gener ously a number of scholars, poets, musicians etc. His rich patronage attracted a number of scholars from distant places and thus his court truly became a centre of learning.
NOTES AND REFERENCES
1 Shahendravilas by Shridhar > Venkatesh . Canto III, Slokas 11
to 15, pp. 45-46.
2 Abhinavbhhoja - Bhoja (A.D. 1000-1055) a famous
king of Ujjain immortalised himself for his rich patronage
to the scholars and fine-arts, and also for his prolific
writing. He had Sanskrit works to his credit, covering
a wide range of topics such as painting, drawing, sculpture,
administration, military forces, economics and taxation etc.
Marathi Vishwakosh by Tarkatirtha Lakshmanshastri Joshi, 54
Vol. 12, p. 764.
3 A History of South India by Nilkantha Shastri, pp. 172,
209.
4 Vijaynagar Smarak Granth, Bharat Itihas Sanshodhak Mandal
by D.P. Karmarkar, p. 153.
5 Tyagesa Padas of Shahaji Maharaj edited by N. Vishwanathan
from Bhupali by S.R. Kulkarni, p.l.
Bharat Itihas Sanshodhak Mandal, Pune. ^Quarterly, Shake c- 6 1838, pp. 139-156, from Maharashtra in Age of Shivaji
by Dr. A.R. Kulkarni, p. 66.
7 Maharashtra in the Age of shivaji, by Dr. A.R. Kulkarni,
p. 66.
8 Tanjore Maratha Copper Sheet (Tamil) by S.Raju, pp. 42-
43.
9 Ibid., Copper Plate No. 3, pp. 29-30.
10 Tanjore Maratha Kalvettu (Shilalekh) by S.Raju, Epigraph
No. 93.
11 Shahendravilas by Sridhar Venkatesh, p. 27.
12 Ibid., p. 37.
13 Ibid.
14 Tanjore Catalogue by Dr. Burn well, p. 21 From Indian Antiquary, 55
May 1904, p. 134.
15 Dharmavijay Qiarnpu of Bhuminath, edited by K.E. Govindan,
p. 13.
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Introduction of Kausalyavijay natak of Venkatkrishna Diksita
from Indian Antiquary by T.S. Kuppaswami Sastri, p. 181.
17 Shad-darshani Siddhant sangraha by Rambhadra Diksita,
edited by P.M. Padmanabh Sharma, p. 7. 56
18 Shahendravilas by Sridhar Venkatesh, p. 37.
19 Ibid., pp. 39-40.
20 Indian Antiquary from Rambhadra Diksita and the Southern
Poets by T.S. Kuppaswami Shas;tri, May, 1904, p. 128
21 Dharmavijay Champu by Bhuminath Kavi, edited b} K.E.
Covindan, p. 15.
22 Shaddarsani Siddhanta Sangraha by Ramabhadra Diksita,
ed. P.M. Padmanabha Sharma, p. 2.
23
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Rastilakabhan of Kavirakasasa No. 1328, Ca;t VIII, pp.
3049-51 from Shahendravilas p. 57.
24 Shahendravilas by Sridhar Venkatesh p. 56.
25 Ibid., p. 40.
26 Patanjali from Bharatiya Sanskritikosh, Vol. 5, p. 365.
27 Shahendravilas by Sridhar Venkatesh, p. 27.
28 Tanjore as a Seat of Music, by Dr. S. Seeta p. 67. Sendalangran Viralividu Thoothu edited by Pulvara Govind, p. 69.
Journal of the University of Bombay X2, Sept. 1941, pp.
132-41 by P.K. Code from Shahendravilas, p. 59.
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3tPt Titfum 3rmrr: Shad-darshani Siddhanta Samgraha by Rambhadra Diksita, p.2 jmft: -qtifctttqql?) JRtnt ‘fPscfrRIJJfclf : rTffTOTlrr R|^qct)qHM«-rcflT4rl RUftcTT #T T ?fr j-rfdd^qqrfeticifPi&riire tefj-iffldTrfl - T*r 4T>Tc1Tl?|4fr>%(14'flMT{2i^t.: Dharamavijaya Champu by Bhuminath Kavi, p. iii, ed. by K.E. Covindan. Trfl-fnt ftsrtTKtPT TernTtfa eftnm t T^rRirTf# m 3-tipt tt 58 Sringartilakbhan of Rambhadra Diksita from Indian Antiquary by T.S. Kuppaswami Shastri, p. 178, July 1904. 34 Sthalpurana of Kumbhkonam, edited by M. Satagoparamarjun Pillai, p. 71. 35 D. No. 2111, Vahi-Marathi Saraswati Mahal Library. 36 Dharmavijay Champu by Nalla Diksita, edited by K.E. Govindan, T.S.S.M. Library, Series No. 172/1980. 37 Shahendravilas by Shridhar Venkatesh, edited by V. Raghavan, T.S.S.M. Library, Series No. 54/1952. 38 R.No. 1843, 5605, Government Oriental Manuscripts Library, Madras. 39 Tanjore Descriptive Catalogue, Vol. VII (Kavya) D.No. 4232. 40 Ibid., D.No. 4233. 41 Ibid., D.No. 4234. 42 Ibid., D.No. 4235. 43 Ibid., D.No. 4236. 44 Ibid., D.Nos. 4237,4238. 45 Ibid., D.Nos. 5304, 5305 46 Ibid., D.Nos. 10957/10958.