Laghustutih (vrittisameta) 300-303

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';

in 'which immediately of words' (yat sadyo vacasām), [there is the manifestation] of the marvelous, because it is said that the letter 'au' in conjunction with the letter 'ga' designates Sarasvatī, and in its absence is her mantra; in 'each one of yours' (ekaikaṃ tava), of the marvelous; in 'with a book in the left' (vāme pustaka-), of the peaceful; in 'those who [meditate on] you as white' (ye tvāṃ pāṇḍara-), of the marvelous; in 'those who [meditate on you as] vermilion' (ye sindūra-), of the erotic in separation; in 'shining gold' (cañcatkāñcana-), of the erotic and the marvelous through the first and second halves; in 'with dramatic force' (ārbhaṭyā), of the erotic in union and the peaceful; in 'even though born' (jāto 'pi), of the marvelous and the heroic; in 'O Caṇḍī! your lotus feet' (caṇḍi! tvaccaraṇāmbuja-), of the fearful; in 'the brahmins, the kings' (viprāḥ kṣoṇibhujaḥ), of the compassionate, because there is the awareness of supreme compassion in that the goddess, worshipped without distinction of men or women among all castes and stages of life, with whatever substance is somehow obtained, grants each respective desire; in 'the mother of words' (śabdānāṃ jananī-),

[there is the manifestation] of the marvelous and the fearful through the first and second halves; in 'the triad of gods' (devānāṃ tritayam), also of the marvelous, because the manner of the power of the name Tripurā to devour all objects is revealed; in 'Lakṣmī in the royal family' (lakṣmīṃ rājakule), of the fearful; in the two at the end, 'Māyā, Kuṇḍalinī' (māyā kuṇḍalinī), and in the first, there is indeed only devotional emotion, not any other aesthetic sentiment here. Having begun with the sentiment of devotion and concluded with that very sentiment, it is conveyed that its purport lies precisely in that. In the first verse and others, the ornament of simile also occurs here and there; and verbal ornaments such as alliteration and sweetness also occur. And its status as visual/enigmatic poetry (citrakāvya), through hidden construction, hidden phonemes, and so forth, is entirely evident to the learned.

Therefore, thus, because it is flawless, full of literary virtues, and endowed with aesthetic sentiment, it is established that this must be recited by all.
Or rather, it might be argued: the mantras taught here are to be accepted as intrinsically valid because they are eternal, being handed down through a beginningless lineage of gurus, and thus not composed by human agency. But this hymn has been spoken now by you, and therefore, being of human authorship, here