Vedānta Sūtras), Nyāyapariśuddhi and Nyāyasiddhāñjana (text-books of Viśistādvaitic logic), Sēśvara-Mīmāmsā (a commentary of Jaimini's work tracing the relationship between the Pūrva and Uttara Mīmāmsas and refuting the common theory that the former is atheistic), and Tattvamuktākalāpa (an elaborate and critical discussion of the nature of the Universe in the light of Viśistādvaita philosophy, together with an explanatory gloss on it called Sarvārthasiddhi). Desśika's lectures on the ideals and daily practices of Sri Vaisnavism were embodied in the allied treatises of Saccaritra-raksā, Rahasya-raksā,Pañcarātra-raksā,(the present publication), Niksekaparaksā, Gĩtārthasamgraha-raksā, etc, which remain even today the most classical and authortative works on the subject. In explanation of the Mantras (which, together with the Bhāsyas and the Prabandhas, form the triple basis of Śri Vaisnavism) he wrote, thereby clearly analyzing, elaborating, and strengthening the views of Rāmānuja. For sake of the lay people he wrote the series known as Mummanikkovai,Panduppā, Kalalpā, Ammānaippā,Ūśalpā, Eśalpā, Adaikkalappattu, etc. In his Śatadūsanī he refuted Advaitism from many standpoints. He also composed the Vedantic drama Sankalpa-sūryodaya . It consists of ten Acts and is unrivalled in allegorical literature for dignity , grandeur, and intellectuality. Deśika further composed the Kāvyas of the Hamsasandeśa, and Yādavābhyudaya. In the name of the first of these works there is a significance. The hamsa (swan) was the form in which Visnu taught the Pāñcarātra doctrine. The last-named work is a fine and elegant poem which won the admiration of the renowned Appaya Dīksita. In the sixteenth
