Sri RanganAyakai Nama: 

SlOkam 8: 

anagrAthAvadhyam bahuguNa pareeNAhi manaso
  dhuhAnam souhArdham parichitamivATApi gahanam
padhAnAm soubhrAthraadh animisha nishEvyam sravaNayO:
  thvamEva Srirmahyam bahumukhaya VaaNee Vilasitham

Meaning by Dr.V.N.VedAntha Desikan 

Oh Goddess MahA Lakshmi! This work should have not even a trace of defect. It should have abubdance of many virtues; it should by its felicity , become dear to the hearts of listeners; it should be friendly in the intimacy of acquaintance and at the same time , be of yet-unfathomed depths of literary merit; it should also have a perceptible concord between words used-- so that this sport of the literary muse would be appreciated by the listeners with an alert and attentive listening faculty that I would call the analogue of winkless eyes to imply uninterruped attention . May You Yourself open up to multitudes of vistas to my poetic power!

Additional Observations(AdiyEn): *

In this slOkam , ParAsara Bhattar prays for the boon of SarvathO-mukha paaNDithyam from Sri RanganAyaki to compose an unassiled ( anAgrAthA) sthOthram on Her without any dhOshams (avadhyam).

He wants the SthOthram to be delectable to the ears of the listeners with the usage of words , which are in common parlance. He wants the slOkams not to have any viparItha arthams ( apArthams) and to have the proper flow without the dhOsham of Prakrama Bhangam (haphazard structure).

Besides the freedom from the above dhOshams , Bhattar prays to Sri RanganAyaki to realize a sthOthram on Her , which is marked by clarity, sabdha as well as artha alankArams . He prays further for deep VedAnthic thoughts to illustrate the scriptural authority for Sri Tatthvam.Bhattar prays for the boon of combination of Padhams in a mutually enriching manner that would make the listeners enjoy the beauty of the SlOkams like one is taking in the beauty without winking one's eyes. The ears would be engaged in such an effort .

Bhattar asks Sri RanganAyaki to enhance his Vaak-VilAsam multifold (mahyam bahumukhaya VaaNi Vilasitham) . He reminds Her that he is following the dictum of Sage ParAsarA,his name sake and the author of VishNu purANam , that "ArthO VishNu : Iyam VaaNI". That authoritative revelation points that Vaak DEvathai ( The Commander and controller of Speech) is MahA Lakshmi and not Sarsavathi. Indeed Sarasvathi gets Her power as Vaak dEvi from MahA Lakshmi. Therefore ,ParAsara Bhattar prays to Sri RanganAyaki for the boon of auspicious Speech that will lead to divine poetry .

First, the auspicious glances of Sri RanganAyaki falls on ParAsara Bhattar and the choice expressions rich in aptness and excellence follow in the form of dhOsham-free poetry. Happy blend of words (SaubhrAtraa) and Saarsavatha Vaak flow like a torrent due to the grace of Sri RanganAyaki.

Dr.S.PadmanAbhan points out that ParAsara Bhattar is a MahA Kavi in that "His words are familiar to the readers , but assume the magnanimous dimensions and unfathomable depths , once a critical mind tries to understand the full significance of these words ( paricitamivathApi gahanam).There should be among the words , a close affinity and cohesion ( PadAnAm saubhrAtram). This may be called sayA or pAka , which consists in judicious juxtaposition of words in such a way that the words do not allow any substitution or change. The total effect of such a composition will be that it is sweet to hear again and again (animishanishEvyam SravaNayO:).The expression "bhauguNa parINAhi" also suggests that according to ParAsara Bhattar a good poem should also have the guNAs such as PrasAda (clarity of word and meaning) ,Ojas ( the power to stimulate the mind of the listener), SamatA (balanced Expressions ), SusabdhA ( refined words and expressions), SabdhAlankArAs (Figures of Speech), ArthAlankArAs ( upamaa/comparsions , UthprEkshA/ poetic fancy and RupakA/metaphor )and appropriate metres ".

ParAsara Bhattar sought and obtained the blessings of Sri RanganAyaki to become a MahA Kavi adorned with the above lakshanams.

Srimath Azhagiya Singar ThiruvadigaLE Saranam, 
Daasan, Oppiliappan Koil VaradAchAri SatakOpan