Laghustutih (vrittisameta) 300

300

mukharīkṛtena vācālatāṃ nītena pravartitavākyaprasareṇa mayālpaśrutenāpi
haṭhād vegenābuddhipūrvameva dhruvaṃ nirbādhamidaṃ racitam . nirbādhamiti
sālaṅkāratvasarasatvābhāvadoṣo'pi vicāradaśāyāṃ nāsmin stotre samasti . kutaḥ
. sa eṣa rasānāṃ rasatama iti mukhyarasatvena śrutau śrutasya
śivaśaktyātmakasya tattvasyākhaṇḍānandasaṃvidrūpasya tadbhaktirasasya ca
sarvatrātra prādhānyena vyañjitatvād anyeṣāmapi rasānāṃ
yathāyogametadaṅgatayālaṅkāratvena vyañjitatvācca . dṛṣṭavā
sambhrametyadbhutasya yannitye ! taveti karuṇasya viralo bālako'pi budha ityukteḥ

by me who was made loquacious, brought to talkativeness, having the flow of speech set in motion, even though of little learning, forcefully, with impetuousness, unintentionally indeed, this was composed 'without obstruction' (dhruvam). 'Without obstruction' means that upon investigation, even the fault of lacking ornamentation and rasa does not exist in this hymn of praise. Why? Because the aesthetic sentiment of devotion to that [supreme reality]—which consists of unbroken bliss and consciousness, which is the reality of the nature of Śiva and Śakti, heard in the Upaniṣad as the principal aesthetic sentiment in the words 'he is the aesthetic essence of all essences'—is manifested prominently everywhere here; and because the other aesthetic sentiments too are appropriately manifested as ornamentation subordinate to this. In the words 'having seen with confusion' (dṛṣṭvā saṃbhrama-), [there is the manifestation] of the marvelous; in 'when, O eternal one! your' (yan nitye! tava), of the compassionate, because it is said that 'even a rare boy becomes a wise man';