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The name Tyagaraja has become a synonym for Karnatic music. Though bracketed with other two luminaries of the music Trinity, Tyagaraja enjoys a special popularity perhaps because his creations appealed more readily not only for the classes but for the masses too. Of the three only Tyagaraja seems to have had an eye for mass appeal too, while his compeers would seem to have been totally obsessed with values of high classism and religiosity. For instance, songs with Eduppu at half of the little finger were an effort to enable even totally illiterate listeners to clap in unison though without any knowledge of tala. These songs went well with mediocre level listeners also. These songs had an immediate appeal with the masses which did not attract the attention of Dikshitar and Syama Sastri. The lyrics of Tyagaraja also were of immediate appeal to the commoner while the language and lyrics of other two Trinitarians was bhakti oriented, often above the normal reach of the commoner. Soolamangalam Vaidhyanatha Bhagavatar, a great devotee of Tyagaraja, has mentioned in his book of biographies that ‘Tyagaraja did not encourage his eligible disciples to spend time on Raga alapana but concentrate all the time in singing Tyagaraja kritis’. In the kriti “Dasarati ni runamu deerpa” (Todi), Tyagaraja himself has admitted in the words “Aasateera doora desa” in anupallavi that his mind has a desire that his compositions should be widely sung. This is a very natural desire of any composer and even Tyagaraja was not free from it. It is such a trace of desire for popularity and according ways of life of Tyagaraja though he was a confirmed Rama bhakta that made Tyagaraja kritis to be widely and readily accepted among common folk. Tyagaraja achieved the miracle of Telugu songs reigning supreme in a non Telugu land, Tamil Nadu, where Tamil songs were 303 classed as neo-classical or even unclassical. Tamil fundamentalists had to take serious steps to rise Tamil to a top place in Karnatic music world and the Tamil Isai Sangam was an offshoot. In this task of restoring the glory of Tamil, the services of Papanasam Sivan can be likened only to what Tyagaraja did for Telugu songs. Papanasam Sivan’s career had its start itself with the cine field where he not only composed songs and music but also acted along with his family members also. Publicity is the lifeline of everything connected to films and Papanasam Sivan grew in the cine pattern. He was a great admirer of Tyagaraja no doubt and while Tyagaraja was a Rama bhakti, Papanasam Sivan used the mudra ‘Rama dasa’. His admiration for Tyagaraja was such that he composed film songs in tunes of famous Tyagaraja kritis. The song “Enna seiven” in the raga ‘Sriranjani’ is a classic example of faithful following of the tune of the famous Tyagaraja kriti “Marubalka” and the additional publicity was that the song was sung by the melody queen M.S.Subbulakshmi. It is not an exaggeration to say that, what Tyagaraja did for Telugu language was attained by Papanasam Sivan for Tamil language, in the flow of music and language Papanasam Sivan followed the footsteps of Tyagaraja and did not mind occasional mixture of sister language. It is therefore not an exaggeration to call Papanasam Sivan as “Tamil Tyagaraja” and any amount of study of the fact is worthwhile for researcher. 304