252 These observations about the first composition also generally apply to the second composition, which begins with the word maye. Here again we see the same verbal dexterity and the rhyming pattern. This song also illustrates the kind of esoteric references to "mysteries" of Hindu religion which are present in Diksita^s compositions. In this particular case there is a reference to the duality of maya^ which is both illusion and reality. To some extent this composition combines Milton^ "Lallegro" ("Hencel loathed melancholy") and "11 Penseroso" ("Hencel vain deluding joys"). One element of the verbal dexterity used in many of Diksita^s compositions is to be found in line four, where the third phrase drops its opening syllable and becomes the fourth phrase, and the fourth, in turn, drops its opening syllable to become the fifth. The extreme example of this verbal trick of Diksita^s is the following: Tyagapaja-yoga-vaibhavam^ Raja-yoga-vaibhavam^ Yoga-vaibhavam^ Vaibhavam^ Bhavam^ Vam! Again, there is the mudva Guru Guha in the fifth line and the name of the raga^ tapangini^ in the sixth line. The third piece, beginning with the words Nadatanum, is composed by Tyagaraja; it is somewhat exceptional in that it is in praise of Siva and not Rama. Here again there is a great deal of verbal dexterity: the rhyming pattern is notable in the second syllable of lines one, three, and four, and in five and seven. The first syllables of lines one and two, five and six, seven and eight also rhyme. The language flows with unusual grace. Siva is praised as the embodiment of nada^or musical sound. He is the essence of the highest of the Vedas, the Samaveda. Lines five and six, together with the first half of line seven, probably constitute one of the longest compo-und words produced by Tyagaraja. The first seven letters of line six are the seven solfegic syllables of Carnatic music: Sa Ri Ga Ma Pa Dha Nt. Tyagaraja says that they "originate from the five faces of Siva, beginning with Sad'yoj'ata^" the other four being Aghora^ Tatpurusa^ ISa-na^ and Vamadeva. The mudra Tyagaraja is in the last line. The fourth composition, Sujanajlvana^ in praise of Rama, is one of the most artless of Tyagaraja^ compositions. The musical content is also very simple and the song is a favorite for teaching to beginners in Carnatic music. Again there is the dvit^y^ksarapP^sa^or rhyme of the second syllablec There are also rhymes elsewhere, as is apparent in the repetition of the syllable °tTa in lines four and five. This is a simple song praising Rama as the life-saver of good people, the ornament of the virtuous, who is worshipped by Siva and learned people, and by Brahma himself. Here again the mudra is in the last line. Many ot the songs of Tyagaraja have a deep emotional content and are capable oi moving the listener, if he is at all receptive. There are such moments in both the third and fourth songs, but these can only be experienced and not explained.