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and implores the fire god to enlighten him with all knowledge. In
the second song it is Ganesha who has been praised in twenty
eight verses composed again in bhayahārīmetre. The Muni sings
the glories of Lord Ganesha and prays the lord to give him strength
so then he can work for the well-being of his country. In the next
song Indra has been extolled in forty two verses composed in
tanumadhyā metre. Here the Muni urges Indra to bestow him
with divine prowess so then he can do something beautiful in this
world. In vayugītam there are twenty stanzas in tanumadhyā
metre. Here Vayu, the wind god has been described as the life-
force of the entire universe, as the one of illimitable splendour, as
the one of indescribable glories. Next fifteen verses in pādākulaka
metre are put under the title suryagitam where the Muni sings the
glories of Surya, the sun god, who shines brilliantly in the three
worlds. The sixth song, entitled daśavatāragitam, has ten verses
in tūnaka metre. Here, in each verse the Muni intones the mag-
nificence of each of the ten incarnations of Lord Vishnu. Ambikā-
gitam has seventeen verses in pādākulaka metre uttering the gran-
deur of goddess Ambika. She is portrayed here as the one who
can fulfill all the desires of her devotee, and can annihilate all his
sins by her grace. In the next song, entitled as renukagītam, the
Muni eulogizes goddess Renuka in twenty eight ardha-
pādākulaka metre. In this song any sensitive reader can experi-
ence the utmost simplicity of the language used by the Muni. The
ninth song gurugītam has seventeen verses in madalekha metre
where the Muni lauds his guru, Bhagavan Ramana Maharshi. He
depicts him as the one who shines eternally in his heart. The last
song, yogasaragītam, has twenty verses in a metre called girā
where the essence of Yoga has been beautifully depicted. The
Muni declares that in this song he has churned out the essence
from the many words of experienced Yogis and put it in the form
of a song. This marks the end of gitamālā.
xxvi
the second song it is Ganesha who has been praised in twenty
eight verses composed again in bhayahārīmetre. The Muni sings
the glories of Lord Ganesha and prays the lord to give him strength
so then he can work for the well-being of his country. In the next
song Indra has been extolled in forty two verses composed in
tanumadhyā metre. Here the Muni urges Indra to bestow him
with divine prowess so then he can do something beautiful in this
world. In vayugītam there are twenty stanzas in tanumadhyā
metre. Here Vayu, the wind god has been described as the life-
force of the entire universe, as the one of illimitable splendour, as
the one of indescribable glories. Next fifteen verses in pādākulaka
metre are put under the title suryagitam where the Muni sings the
glories of Surya, the sun god, who shines brilliantly in the three
worlds. The sixth song, entitled daśavatāragitam, has ten verses
in tūnaka metre. Here, in each verse the Muni intones the mag-
nificence of each of the ten incarnations of Lord Vishnu. Ambikā-
gitam has seventeen verses in pādākulaka metre uttering the gran-
deur of goddess Ambika. She is portrayed here as the one who
can fulfill all the desires of her devotee, and can annihilate all his
sins by her grace. In the next song, entitled as renukagītam, the
Muni eulogizes goddess Renuka in twenty eight ardha-
pādākulaka metre. In this song any sensitive reader can experi-
ence the utmost simplicity of the language used by the Muni. The
ninth song gurugītam has seventeen verses in madalekha metre
where the Muni lauds his guru, Bhagavan Ramana Maharshi. He
depicts him as the one who shines eternally in his heart. The last
song, yogasaragītam, has twenty verses in a metre called girā
where the essence of Yoga has been beautifully depicted. The
Muni declares that in this song he has churned out the essence
from the many words of experienced Yogis and put it in the form
of a song. This marks the end of gitamālā.
xxvi