Before taking up a rapid overview a devotional composition, permit me to introduce the topic with a unique composition, which brings out the eminence of superb intellectuality in Sanskrit devotional compositions. In fact, this is the trait of the Supreme Being and shared by Man’s realized soul. This composition is a sestet (composition of six lines) entitled Nirvanashatkam. First a transliterated text and then a rough and ready rendering.

Nirvanashatkam

mano buddhyahankaara cittaani naaham
na ca shrotra jihvE na ca ghraaNa na nEtrE
na ca vyOma bhoomir na tEjo na vaayoo
cidaananda roopah shivOham shivOham

na ca praaNasamjnO na vai pancha vaayoo
na vaa saptadhaatoo na vaa pancakOshaa
na vaakpaaNipaadam na cOpastapaayoo
cidaananda roopah shivOham shivOham

na mE dvEsharaagau na mE naiva maatsareya bhaavaah
na dharmO na caarthO na kaamO na mOkshah
cidaananda roopah shivOham shivOham

na puNyam na paapam na saukhyam na duKham
na mantrO na teerthO na yajnaah
aham bhOjanam naiva bhOjyam na bhOktaa
cidaananda roopah shivOham shivOham

na mE mrtyuur nashankaa na mEjaati bhedah
pitaa naiva maataa naiva na janmaa
na bandhur na mitram gururnaiva shishya
cidaananda roopah shivOham shivOham

aham nirvikalpO niraakaara roopO
vibhutvaacca sarvatra sarvEndriyaaNaam
na va bandhanam naiva muktir na bandhah
cidaananda roopah shivOham shivOham

Not I the mind-heart, intellect, ego-sense, or perception; no ears, speech, nose or ears have I, not I the elements space, earth, light or air. I am the form of Supreme Bliss perceived, ever the pristine, ever auspicious. I am Shiva.

Not I the vital life-force not I the five winds, not I the seven body materials, not I the five pouches, five organs; I am the form of Supreme Bliss perceived, ever the pristine, ever auspicious. I am Shiva.

(Five winds - pancha vaayus are praana, apaana, vyaana, udaana, samaana in the body.
Five Pouches, (koshas) are annamaya, praaNa maya, manOmaya, vijnaanamaya and anandamaya koshas.
Seven body materials are marrow, bone, fat, flesh, blood, inner skin and outer skin.
Five organs are mouth, hands, legs, genitals and anus.)

No likes, desires or dislikes have I, no greed no miserliness, no arrogance no jealousy: no objectives of life (like those of the holy order, riches, desire or salvation), I am the form of Supreme Bliss perceived, ever the pristine, ever auspicious. I am Shiva.

(Four objectives of life are dharma, artha, kaama and moksha. Holy order, riches, desires and salvation)

No sin, no merit, no comfort no grief, no incantation, no pilgrimage, no fire ritual for me; no meal, no eater, no eatable for Me, I am the form of Supreme Bliss perceived, ever the pristine, ever auspicious. I am Shiva.

No fear of death, no distinction of species or caste, no father, no mother, no birth for Me, no relations, no friends, no preceptor or disciple for Me, I am the form of Supreme Bliss perceived., ever the pristine, ever auspicious. I am Shiva.

No thought, no form have I; free lord I am of all organs: no attachment no detachment for Me, no bondage and no liberation for Me, I am the form of Supreme Bliss perceived, ever the pristine, ever auspicious. I am Shiva.

This sestet, the unique composition of Adi Sankara, defies all labelling; this is not a prayer, not self-praise either. This is a thunderous declaration of the Supreme Being negating everything; the highest of abstract power and glory which is in no way different from Supreme Bliss.

Stortras in Sakskrit are devotional compositions like hymns. Their main purpose is offering prayer to the deity. These are composed in a language that is euphonious, elevated and devout. They reflect deep sincerity and dedication to the godhead. Like hymns they offer worship by high praise. These compositions are by diverse hands in diverse prosodic systems. The Hindu pantheon is by far the most numerous for it is said there are as many as thirty million deities, both male and female, animate and inanimate.

The stotras contain elaborate adulatory descriptions of the deity, exhaustive in epithets, words of supplication, lists of the various attributes (gunas), descriptions of the physical forms (roopa) besides an extensive enumeration of the myriad appellations by which the deity has come to be known.