HIS ART, STYLE AND CONTRIBUTION 37 sung mangalam in Saurastra “Ni nama rapamulaku.” In Nowk@ Charitram, the opening song “Sirigarinchukoni” is in Surati raga and the closing song is the matgalam in Surati raga “Makulamunakiha”. itis worthy of note that Tyagaraja has indicated even the ragas in which the different padyas (verses) of the operas should be sung. The musical dialogues and dvipadas in the operas are appropriately enough presented in the same dhatu (musical setting). His Chiirnikas, Kanda padyas, Sis. padyas, Utpalam&las, Champaka miilas, Sardtilas and Utsahas rise to the level of high class literature. He has given life to his operas by introducing appropriate fictitious incidents and characters. All the songs in his operas bear his signature. Sita RAMA VIJAYAM Sita Rama Vijayam is not so well known as the other two operas. The story of this opera relates to the Uttara Ramayana. The famors-piece in Kambhoji raga “Majanaki Chettabattaga” is sung by one of the characters addressing Sri Rama in the strain “Oh Rama! You attained this greatness because you married our Janaki.” On the eve of S/atrugna’s departure with the horse prior to the performance of the As’vamédha Yaga, Rama gave his younger brother a long sermon on Yuddha Dharma {code of conduct to be observed during war): that he must not fight an enemy during night time; that he must not kill an enemy while the latter is sleeping, etc. At this Lakshminidhi one of the characters remarks to Rama in a satirical manner:- “‘As if you yourself practised these dharmas during your Yuddha. How did you kill Vali? What is the justification for killing Tataki?? etc. The portions relating to this episode in the opera form delightful reading.us a GREAT COMPOSERS - BOOK If PRAHLADA BHARTI VIJAYAM The Prahlada Bhakti Vijayam is the longest of lis three operas. It consists of § acts. In all 45 songs figure in this spera. Some of the songs are in the Ktiti style and some in the style of Divyanéma Kirtanas. There are also beautiful kanda padyas, sisa padyas, utpalamalas, champakamalas and dvipadas. The prose passages here and there explain the connecting links in the story. The famous chiirtika “Jayate jayatu sakala nigamagama” describing the greatness of Vaikuntha figures in Act II of this opera. The namie of the opera is Prahlada Bhakti Vijayam and not Prahl@da Bhakta Vijayam. It is the triumph of Prahlada’s Bhakti that is significantly sought to be conveyed in this opera and not the life-story of Prahlada. Appro- priately enough, Tyagar&ja has introduced many fictitious, incidents not found in the original story, Prahlada Chari- tram tis open toa peet to introduce in a story, fictitious incidents for the purpose of heightening the interest in the play and for subserving the purpose, he has in view. Bhava pusti, Artha pusti and beautiful music are abundantly seen in this opera. Throughout this opera, Prahlada refers only to Rama. The significance of this can be understood only when it is remembered that to Tyagar&ja, Rama was Parabrahma. [t is not, that the composer was unaware of the fact that Rama- vatira took place after Narasimhavat&éra. Through Prahlada, Tyagaraja tells us what is true bhakti and what will be the reactions of an ideal bhakta to certain trials and ordeals. Bot hin the introductory dvipada and in the phalas’ruti at the end, he refers to himself as the son of Ramabrahmam.HIS ART, STYLE AND CONTRIBUTION 3g Tyagaraja has been a shrewd observer of men and human ioibles. Not only does he reveal this in the opera but also gives his own views, concerning some of the controvertial problems besetting our society, The opera opens with the invocatory verses in praise of Vishvakséna, Sarasvati, Narada, Tulsi Das, Purandara Das and Bhadr&chala Ramadas. There is a significance in his praising Narada. Apart from the fact that he believed that the Sanyasi who came and gave him the “Svarargava” was Narada, it may be pointed out that whenever Tyagaraja was in distress, a Sany&si significantly appears before him and leads him on to the path of light and brings relief to him. The song “Sri Ganapatini” in Sauristra raga is the Ganésa Kirtana for this play. In the matgalam “Ni name riipamulakw” (Saurastra raga) figuring at the end of the opera, it may be noted that in the charana ‘Prahlada Naradadi Bhaktulu’, the name Prahlfida occurs even before Narada. This shows that to Tyagaraja, Prahlada was the greatest bhakta, the world has produced. The second song Vasu. devayani” in Kalyani raga issung by the Dauvarika. The story now begins. THE STORY Prahlada in serpent bondage is thrown into the sea. The Sea-King feels honoured that the great Prahlada Yogi has come to him. He welcomes him and looks to his comfort. Garnda is prayed for. He comes. Immediately Prahlada