The kritis of Tyagaraja and others, on the contrary, are conceived generally as musical compositions; and their poetry, however impressive, is mainly a verbal scaffold for raising a musical structure. Musical thought, rather than poetic thought, seems to determine their structure pattern.
The lyrics of Tyagaraja are often in the form of a “dialogue”, where he converses with God and solicits divine response. Some of them are also in the form of “exercise” in self-introspection, “discourses” on God’s glories , and “philosophical expositions” highlighting the impermanence of human existence and of worldly possessions.
The sheer range of ragas and talas of these ‘simple’ divyanama compositions [of Tyagaraja] with their repetitive structure must have taught the people around the great composer the essence of Carnatic music.
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