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12 / Aug 2022

Kamalakanta Das

Kamalakanta Das was born in 1906,he passed the Matriculation Examination from the Pyarimohan Academy, Cuttack in 1927. After seeking employment at many places he at last got a job in the Co-operative Department. In 1962 he retired from Government service and spent his life of retirement at Cuttack till death. Kamalakanta was a prolific writer. He tried his hand in writing novels, short stories, poems and essays. But he won popularity and appreciation chiefly as a novelist. His first novel Bou (Mother), which he wrote at the age of eighteen, is considered to be his best. Soon after its publication in 1930, he was known as a novelist of high order. His life was a life of dedication to literature. He continued his creative activity till rendered invalid and speechless by disease.

His works comprise twenty-four novels, six collections of short stories, one collection of poems and a few prose essays. He was a painter and artist too. For his life long contribution to odia literature, he was honoured by the Orissa Sahitya Akademi in 1972 and by Kalavinod in 1976.

In his fiction he has portrayed the characters both from urban and rural surroundings with sympathy and compassion. But his excellence lies in the realistic representation of village life both belonging to preindependent period. Many of his characters have revolted against the existing social order and have tried to bring about reform in the society. Through them he has boldly and successfully shown the problem of untouchability, intoxication, communalism, false sense of aristocracy, redtapeism and nepotism prevalent inthe society. His language is colloquial and lucid.

FURTHER WORKS: Novel: Ashrita 1935, Saradi Nani 1946, Manara dau 1946, Chabis number Cabin
1946, Manisara Dabi 1946, Nartaki 1948, Sadar Mafsal 1952, Manachor 1952, Charitrahina 1953, Jiban
Sauda 1954, Dipasikha 1965, Ichha Barana I965, Chidia khana 1966. Short Story: Dharmapatha 1950,
Ghasipadara Maya 1958, Dasanka Chatani 1961, Naba Parnika I962, Bhuta Galpa 1967, Bibidha 1979.
Poem: Sabitri Uansa 1939, Biography: Kabi Gangadhara.

BIBLIOGRAPHY: Hemanta Das Aupanyasika Kamalakanta, P. Patnaik and B. Rout odia Upanyasa
Sahityara Parichaya I969.

Odia Books By Kamalakanta Das

Ashrita
Saradi Nani
Manisara Dabi
Nartaki
Sadar Mafsal
Manachor
Dipasikha
Dharmapatha
Naba Parnika

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12 / Aug 2022

Debadurlabha Das

Debadurlabha Das was a devout Vaishnava poet of great erudition. Nothing is known about his parentage and residence. The only poetical work ascribed to him is Rahasyamanjari (literally, the bunch of mystery flowers,published by Prachi, 1925), a Kavya in twentyfour cantos, based on a religious theme pertaining to the mystery of the cult of devotional love between Sri Krishna as Lord and the Gopis (cowherd women), headed by Radha, as devotees. The story dramatically begins with the malicious curiosity of the queens of Dvaraka, Krishna’s consorts, at his estimation of Gopi’s love as greater than them, and then weaves around their visit in the Lord’s company to Brindabana, where they

were greatly impressed with the unfathomable love of the Gopis manifested with the celebrated Rasakrida. At last the damsels acknowledged, with all humility, the greatness of Gopibhaba whereupon they were admitted to the presence of Radha. She greeted them with profound honour, as they were her counterparts in Dvaraka where the Lord had preferred to live in their company. The story, as rightly claimed by the author, is not found in any of the famous Vaishnavite works, and is only cognate to that of Gopichandana by Chanda Dasa.

The religious importance of Rahasyamanjari consists in glorifying Gopibhaba and clearly depicting Radha as the chief Gopi, an approach initiated by Chanda Dasa.But of greater significance i its literary merit. Das’s style shows a happy blending of the Puranic directness and the simple lucidity of the pattern of early Akhyayika Kavya, punctuated with the rhythmic requirement of the metre employed, leading ultimately to a neat finish with regard to the sound and meaning sequence.

The descriptions of nature and of human forms and movements are graphic as well as suggestive and brief. Das’s poetry thus breathes an air of realistic naturalness. Further, here is an example of effective characterization in the portrayal of the malicious Jambabati, the love-ridden Radha and Gopis, the devoted and innocent Garuda etc,a fact which accounts for the rich human appeal sustained throughout. Finally, the poet maintains adequate restraint in the matter of depicting the lovers’ conjugal dalliances, a fact which lends the Kavya an appreciable gravity.

Rarely is there a Kavya with such marked degree of success as Rahasyamanjari that combines the poet’s originality, erudition, impressive exactitute as to religious doctrine and artistic excellence all blended in one.

Odia Books By Debadurlabha Das

Rahasyamanjari
Akhyayika Kavya

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12 / Aug 2022

Bisnu Das

Bisnu Dasa was born in 1575,he was the poet of the medieval ages. His parentage as well the place of birth are not known. Nevertheless, from references in a Kavya, Lilabati (so far unpublished) by Raghunatha Harichandana (1580-1610), vassal Prince of Banapura, it has been inferred that he was the court-poet of Banapura. This prince, a lover of literature, had in his court a galaxy of writers including Bisnu Dasa, who had ‘filled the whole world’, as it were, with his poetry.

The prince learnt the art of poetical composition from Bisnu Dasa, who was an erudite scholar of Sanskrit Kavya and poetics, a fact very clearly borne out by the standard of excellence in his works. Another vassal Prince, Kunjabihari Bhramarabara of Dhenkanala (1650-1670), mentions in his Kavya Premasila (also unpublished) that his poetry would surpass the poetic glory of Bisnu Dasa and other poets of his rank.

Bisnu Das’s Sabitri Charita (Second edition, 1950, Chakradhara Mahapatra) is a Kavya in seven cantos
celebrating the popular theme of Sabitri and Satyaban. It is written in the usual Puranic style. But
Premalochana, an Akhyayika Kavya of 20 cantos which is his major work bears clear traces of his poetic power. In respect of theme, this kavya is a depiction of the love affairs between Princess Premalochana and Prince Sudhakara. They were introduced to each other through the good offices of a goose, and got married later. In this respect, it has borrowed ideas from Sanskrit kavyas, particularly, Naisadhiya Charita, as well as similar earlier odia Kavyas.

The author has experimented with the ornate style of the traditional pattern peculiar to the Naisadhiya Charita. In comparison with the earlier Akhyayika Kavyas, the diction of Premalochana has become more alliterative. The depiction is punctuated with more uncommon similies, metaphors and hyperboles. The style shows a transition from the simple Puranic approach appealing directly to the heart, to the more complicated verbose style of courtly poetry calling for greater intellectual exercises.

In other words, Bisnu Dasa’s Premalochana ushers in a new era of odia poetry, the courtly Riti Kavyas of more than two centuries to follow. Bisnu Dasa’s other works include a fairly large number of Chautisas including Sumukhi Chautisa (Prachi, 1931), Barsabhabana Chautisa (Prachi, 1931), Mandakini-Chautisa (Prachi, 1931), Ksetrabiraha Chautisa (1978) and Sandesa Chautisa (1979).

Odia Books By Bisnu Das

Sabitri Charita
Premalochana
Akhyayika Kavya
Naisadhiya Charita

Chautisas

Sumukhi Chautisa
Barsabhabana Chautisa
Mandakini-Chautisa
Ksetrabiraha Chautisa
Sandesa Chautisa

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12 / Aug 2022

Birakishore Das

Birakishore Das was born in 1896,he was a famous lyricist, better known as ‘Jatiya Kabi’ (National poet) for his patriotic songs. He began to write patriotic poems, when he was serving as a clerk under the British. But subsequently he had to quit the job. His first collection of poems, Mohana Banshi (Mohan’s Flute, 1921) as based on the principles of non-co-operation movement launched by Gandhiji. Bidrohabina (Rebellious Harp, 1930) depicted the events of salt satyagraha movement of 1930.

His other collections like Ranabheri (War Trumpet, 1932) and Dundubhi (Drum, 1932) were also full of patriotic feelings. These books were banned during the British regime. But the poet did not submit to the British Government and suffered imprisonment in consequence. In the prison, he wrote lyrical poems, collected in Sabujd Sathi (Young Companion, 1934). He was inspired to write poems on Gandhiji’s fasting for untouchability at Yerwada prison.

The hero of his poem is Bandhua, a harijan friend of his childhood, who was denied the right to worship Goddess Saraswati. This type of poems indicates the social consciousness of the poet. Gandhian ideals like non-violence, love, and sacrifice are the themes of his collection Smriti Kanika (Molecules of Memory). After independence the poet had turned his attention towards the development of children by starting a monthly magazine for children called Mo Desha (My Country). Recently Government of odisha has established a college at Cuttack and named it after the poet; it is a real tribute to Jatiya Kabi Birakishora.

BIBLIOGRAPHY: Binode Kanungo, Jatiya Kabi Bira Kishora, Cuttack, 1977.

Odia Books By Birakishore Das

Ranabheri
Dundubhi
Mohana Banshi
Bandhua
Smriti Kanika

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10 / Aug 2022

Nilamani Bidyaratna

Nilamani Bidyaratna was born at Brajabiharipur Sasan in 1867, in Cuttack district. His father was Sauri Charan Mishra, and mother Rohini Devi. His early education was in the village Pathshala, and subsequently he was admitted into the Baidyeswar Primary School. He was awarded scholarship in the school and completed his studies in Charchika Middle Vernacular School. He went to Cuttack for higher studies but could not continue his studies due to financial stringency of his father. Bidyaratna could not acquire any formal degree; he was largely a self-taught man, and read widely and deeply.

Coupled with his devotion to studies which was manifested from his early life was his commitment to social reforms and a nobility of character and purpose, which was almost rare in those days. One of his principal purposes was how to eradicate illiteracy and with that end in view he accepted teachership in Gopinathpur Primary School in Bamanda State, which he subsequently left to join as a teacher in Deogarh School, at Deogarh, the capital of Bamanda State.

In, course of time Bidyaratna came to be estabhshed as a renowned writer, poet, journalist, translator and editor of literary magazines as well as a patriot and social worker. His activities spread from Bamanda in the western Odisha to Khallikote and Badakhemundi, two states in the southern Odisha.

One of the persons who inspired him early in his career was the poet and the educator, Radhanath Ray, whose good offices in fact brought him in contact with the enlightened king of Bamanda at Deogarh. Subsequently Bidyaratna’s services were requisitioned at many places by a number of ex-feudatory kings who had a taste for literature and culture. His writings in Hitaishini, Prajabandhu, Ganjam-Gunadarpana, Utkal Madhupa, and Utkal Dipika, well-known journals of the time, show his involvement and range in contemporary literature and culture.

In a different way Pandit Bidyaratna was one among the pioneers who worked towards the integration of different parts of Odisha into one state. He also raised his voice against child marriage, dowry system as well as against other prevalent social vices and used literature as a sharp, effective instrument to achieve his social objec-tives. He is respected today as a sober, serious writer who wrote in inimitable prose with great clarity and under-standing.

Odia Books By Nilamani Bidyaratna

Hitaishini
Prajabandhu
Ganjam-Gunadarpana
Utkal Madhupa
Utkal Dipika

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10 / Aug 2022

Ghana Bhanja

The poet Ghana Bhanja, author of Govinda Vilasa was the ruler of Ghumusar, a Zamindari in Ganjam district in southern odisha between 1707 and 1754. The Bhanjas of Ghumusar were traditionally patrons of literature, and many of them were writers themselves and composed poetical kavyas. In addition to Ghana some other leading Bhanja writers were, Dhananjaya, Trivikram and Upendra, the last being the most famous of all. Dhananjaya, Ghana and Upendra wrote ‘Kalasa kavyas’ following the well known Apabhramsha traditon.

In Govinda Vilasa Ghana Bhanja had composed a kavya based on RadhaKrishna Lila. He was influenced by the Riti school of poetry which was dominant at the time and embellished his poetry with many rhetorical as well as alankar devices and elaborated his poetical account with descriptions of nature, and details about the beauty of the heroine, Radha. In fact Radha and Krishna met each other for the first time in the forest of Brindavan.

It was spring and as it was a case of love at first sight, the poet describes the natural beauty of Brindavan which adds to the beauty of love. The lover and the beloved feel attracted towards each other, and intensely desire each other’s company; the poet makes them suffer the pangs of separation, though finally they achieve their desired union through a woman-messenger of Sri Krishna. The poet describes Radha’s beauty as an Abhisharika, when in response to Sri Krishna’s invitation through the woman-messenger, she proceeds to meet her lover, also in the groves of Brindavan.

Though politically Ghana Bhanja was an enemy of Upendra Bhanja whose uncle he was and had occupied the throne of Ghumusar by driving away Upendra’s father, the legitimate heir, yet in liteature and particularly in writing kavyas he followed Upendra Bhanja and was largely influenced by him. The two kavyas with fictional love story that he wrote, entitled Trailokya Mohini (She who charms the Three Worlds) and Rasanidhi (The Treasure of Beauty) were done on the model of Labanyavati, the famous kavya of Upendra Bhanja.

All his writings, as was usual at the time, were musically-structured units and employed raga, tala, etc., so that they could be sung. In 1739 he got the title of ‘Kshatriyabar’ from Birakeshari Deb, King of Puri (Khurdha), which he extensively used in his writings and at times called himself ‘Kshatriyabirabar Bhanja’. He was a minor poet, but an interesting representative poet of the time.

Odia Books By Ghana Bhyanja

RadhaKrishna Lila
Kshatriyabar
Labanyavati

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10 / Aug 2022

Biography of Upendra Bhanja

Upendra Bhanja was One of the most celebrated poets in medieval Odia literature, Upendra Bhanja in many respects was a pioneer of romantic and ornate poetry of power and vitality. Born in the royal family of Bhanja dynasty of Ghumusar, a Taluk in Ganjam District in Odisha, Upendra Bhanja is believed to have lived between 1680 and 1720 although scholars differ regarding his exact date. The ruling Bhanja of Ghumusar pursued a tradition of literary culture, characterised by ornate poetry.

His grand father Dhananjaya Bhanja was a poet of repute in his days. Upendra received a traditional education and was trained in Sanskrit scholarship. Upendra Bhanja was a symbol of ornate poetry, inheriting the Sanskrit Kavya tradition. He is also an interpreter of the contemporary court life. His literary practice ushered in a new style of Odia narrative poetry and his numerous compositions became brilliant specimens of art, neatly executed with a precision of words.

He is credited with nearly 100 books, half of which are still unpublished. The entire skill and excellence of his poetry lie in the much laboured arrangement of words responding to alliterations, ornate versificaiton, artificial pedantries, and jugglery of words, each capable of interpreting the meaning in more than one ways. Romanticism, eroticism, the description of the hero and heroine, who are princes and princesses, their love and romance are the chief subjects of Upendra’s poetry.

Being a man of high contemplative vision his poetry embraced a vast canvas of imagination, emotion and artistic embellishment. Among his most subtle work of poetic art, Labanyavati Baidehishavilasa, Premsudhanidhi, Kotibrahmandasundari, Raspanchak, Subhadra Parinaya, and Rasika Harabali are noteworthy. His themes are drawn from myths and court life. He has adopted alliteration, rhetoric and music to create an abiding appeal in the minds of the readers. His characters are magnificient and pathos, romance and poetic sensibility playa powerful role in his poetry.

His Labanyavati, Kotibrahmandasundari, Baidehishavilasa give a profound romantic experience. Rasika Haravali has for its theme the story of Vidyadhar, cursed and born in Purushottam, and his daughter Rasika Haravali, a paragon of beauty. Being attracted by her exquisite beauty and charm, the prince of Koshal reached Purushottam in search of her and ultimately they were united in marriage. The work has characteristic descriptions of nature, cities, court life and social festivals including marriage.

The festival performed in honour of Lord Jagannath of Puri is narrated with a great devotion. Subarna Rekha, another narrative Kavya of Upendra Bhanja, is designed in the mould of Rasika Haravali. Baidehishavilasa and Lavanyavati are the most celebrated among Bhanja’s works. The theme of Baidehishavilasa which carries the ‘B’ initial throughout the Kavya is drawn from the Ramayana.

Labanyavati has for its theme the passionate romance of Chandra Bhanu, the prince of Karnatak and Labanyavati, the royal daughter of Simhala. Similarly Kotibrahmandasundari has for its theme the love and romance of prince Pushpaketu and the princess Koti Brahmanda Sundari, the much sought-after beauty. Subhadra Parinaya is based on the Mahabharata. His Chitra Kavya Bandhosaya is modelled on the same kind of literary art of Sanskrit poetics showing therein the interplay of words, each offering various meanings and interpretations.

Though erotic love is predominant in his Kavya, he has deeply pondered over the social and religious aspects of human life. He was a great worshipper of Rama. With deep love for life and society his writings conjure for his readers the universal image of a love-lorn romantic soul. An artist of deep contemplation and delicate sensitivity,Upendra Bhanja occupies a very significant position in Odia literature.

Odia Books By Upendra Bhanja

Labanyavati
Baidehishavilasa
Premsudhanidhi
Raspanchak
Subhadra Parinaya
Rasika Harabali
Kotibrahmandasundari

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