Odia Books

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12 / Aug 2022

Kisoricharana Das

Kisoricharana Das was born in 1924,he is an outstanding representative of the generation of short story writers who came to dominate the odia literary scene after the sixties. He has distinguished himself by concentrating on a particular area of experience, the middle and the upper middle classes and also by bringing an introspective reflective element into the odia short story form. The predominant theme of his stories is a search for meaning in life by the members of a comfortable middle class. His characters seek to go beyond the commonplaceness of everyday life based on habit, compromise and trivialities. This search often involves a rejection of the secure and familiar world of middle class living and its values. Most of the characters withdraw into their familiar worlds after a brief contact with other worlds of ecstasy or intensity or of any significant experience.

The stories of Das are structured as a series of situations which give rise to reflections on the part of the characters. They are resolved at the end usually in a moment of heightened realization or a moment of revelation. Events are secondary as the purpose of the author is to take the reader deep into the mental life of the character. The narrative voice provides the social framework in which the characters, their thoughts, feelings and emotions are rooted. Most of the stories are provided with urban settings. But this choice of urban locales does not exclude a deep nostalgia for earlier and simpler modes of rural living and its values. The introspective element also gives his stories a poetic quality. Das attempts to shock his character out of the complacence of a secured middle class life and make them confront the shallowness and emptiness of their experiences.

This frustration propels them to achieve significant human relationships or even at times spiritual communion. All the collections of Das harp upon their sufferings, strivings, failures and at times of their fulfilments. From Bhanga Khelana to his latest collection Gamana the same theme is prominent; but the narrative technique seems to rely more on symbols and images and on the introspective or reflective aspect. In his earlier stories like ‘Vanity’ and ‘Icecream’ the superficiality of sympathetic gestures on the part of the middle class is exposed through actual events.

In ‘Icecream’ a bureaucrat, intending to establish a rapport, invites a clerk, his immediate neighbour to a garden party. But when the child of the clerk enters the party with icecream splashed on his face, the members of the party get completely disgusted and upset. The hypocrisy that is at the heart of the middle-class attitude becomes clear. This is often focused by Das through such ironic devices. In Manihara experiences seem to have lost their validity in the context of a mechanical middle class life.

In Gamana the narration becomes more analytical. All the characters here are marked by a certain
helplessness, even in spite of their material and social status. This helplessness may result from unfulfilled sexual instincts or from a failure to belong completely as in ‘Dasara ru Diwali Jaen’ (From Dusserha till Diwali) or from an unrealized or even betrayed spirtitual craving as in ‘Tu Kana Ramakrishna?’ (Are you Ramakrishna?). Many protagonists in this collection are intellectuals who have failed to realize life in emotional and spiritual terms.
FURTHER WORKS: Ghara Bahuda (The Home Coming)., Laksha Bihanga (Million Birds)., Thakura
Ghara (The Prayer Room).

Odia Books By Kisoricharana Das

Ghara Bahuda
Laksha Bihanga
Thakura
Bhanga Khelana
Icecream

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12 / Aug 2022

Kartika Das

Kartika Das was born in 1600. No information is available as to his family or residence. Rukmini
Bibaha (literally, Rukmini’s marriage, published by Prachi, 1930), a kavya in ten cantos and Nabanuraga (literally, the advent of love, yet unpublished) are the two works ascribed to his authorship. The theme of the former is the marriage of Srikrishna with Princess Rukmini. The story occurs in the Bhagavata, the Harivamsa and other Vaisnavite works. The style is mostly Puranic but in some passages, human form and beautiful nature are decribed in a simple and lucid diction.

The salient point about this work is the poet’s choice of a theme of Krishna’s love with Svakiya Nayika (married wife) while the general trend, then, among authors was the popular topic of Parakiya Premabhakti (devotional love with other’s wives). Secondly, Kartika Das has desisted from describing the details of conjugal union of the newly married couple obviously with an attitude to depict the cannonic love life of Srikrishna, king of Dwataka, which, too,had its own importance as a doctrine in Vaishnava Philosophy.

Odia Books By Kartika Das

Harivamsa
Vaisnavite
Nabanuraga
Rukmini Bibaha

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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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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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12 / Aug 2022

Bhaktacharan Das

Biography of Paramananda Acharya

Born: 1729
Died: 1813

was an eminent Vaishnava poet. Born in a Karan family, his original name was Bairagicharan Pattanayak. He became famous as Bhaktacharan after initiation to
Vaishnava cult in the lineage of Rupa Gosvami. He was well versed in Sanskrit devotional literature and philosophy, travelled to all the sacred places of India on foot, established many ‘maths’ in Odisha. His Mathura Mangala (Bliss of Mathura) and Manah Siksha (lesson to the mind) are read and appreciated as his best Kavyas.

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Mathura Mangala narrates the departure of Krishna to Mathura, the wailing of the gopis (cowherd maidens) in his separation, Uddhaba’s arrival as messanger and consolation to gopis by explaining Vedantic philosophy (jnana), in response the gopi’s discarding jnana and placing Bhakti (loving devotion) above all other paths of liberation. Actually the poet-devotee establishes the superiority of devotion to jnana. In Manah Siksha the poet lays down all principles and day to day practices to be followed by an aspirant of Raganuga Sadhana (practice of erotic love to Krishna).
Other popular compositions are Gopa Mangal (Bliss of Gopa), Manabodha Chautisa and Kalakalevara Chautisa. These are so popular that till now, they are read in every house in a Odisha village.

Odia Books By Paramananda Acharya

  • Mathura Mangala
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Banamali Das

Biography of Paramananda Acharya

Born:
Died:

a notable poet of Padavali literature in Odisha, lived in the last part of the 18th century. He was a contemporary of Birakishbre Deb (1735-1792) of Khurda Raj family. He was
known in his day as one of the most popular writers of Odisha. His fame as a Vaishnava-devotee and a poet spread throughout Odisha through singers, devotees, dancing girls and even through common people who wanted to remember his impassioned songs either for their private prayers to god, or to please the gatherings of devotees.

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In spite of this popularity he was being often confused with a number of Banamali Dasas, who were also known as poets. One of these Banamati Dasas was the writer of Chata Ichhabati (a poem of romance) who flourished most probably in the 16th century. The other Banamali Das, popularly known as Sisu Banamali, was a poet of the same period and was known for his Rasa Kavya. The third Banamali Das known as the
writer of Sachitra Ramayana, a translation of Bhojaraja Champu, was also a contemporary of Birakishore Deb of Khurda. Though these poets were well-known for their Kavyas, they are not to be confused with Banamali Das under discussion, who was and has all along been famous for his extremely melodious devotional songs and fine Padavali lyrics.

From the inadequate materials available about him the following can be said about his life. He was an inhabitant of Puri and was born in a Karana (Kayastha) family. His original family title was Pattanaik. After accepting the Vaishnava cult, he came to be known as Ballavananda Das. But by that time, as he had already been known as a poet, he preferred to retain his earlier name instead of the name given to him by his Guru. A collection of his poems was first published in 1934, long after his death, with the title Banamali Padyabali, under the joint editorship of Babaji Baishnaba Charan Das and Samanta Gaurakrishna Kabiratna Pattanaik. In this collection there were about 200 poems. The editors claimed that they had collected the poems from a
manuscript written by the poet himself. In the subsequent editions of this collection, another 34 poems appear, in which the names of Charan Das, a close friend and supporter of the poet, and Birakishore Deb, the patron of the poet, figure.

The time prior to Banamali Das was known as the Riti School of poetry, which almost reached its climax in the works of Upendra Bhanja. Words fascinated the poets of Riti School, and they attempted not mere arrangement but almost played with words wherever they needed and wherever they wished, for the purpose of alliteration and assonance. Banamali did not follow this tradition. He was more interested in thoughts than words. He always geared his language to the need of thought and never permitted himself any indulgence with sound. His use of colloquial and idiomatic language, as also the simplicity of his diction moved him towards clarity and precision so much that his popularity soon reached a new high and even surpassed that of most of his predecessors.

Banamali was a fine lyric poet, and one of the finest in Odia literature and ranked with Kavisurya and Gopal Krishna for his intense and impassioned emotions and haunting melody.

Odia Books By Paramananda Acharya

  • Dinabandhu Daitari
  • Manima He Etiki
  • Kede Chanda
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Balaram Das
12 / Aug 2022

Balarama Das

Biography of Paramananda Acharya

Born:
Died:

the poet-composer of Jagamohan Ramayana was a contemporary of Gajapati Prataparudradeva and also of Chaitanya. The poet himself has given a few details about his life. From his Jagamohan Ramayana and Srimadbhagavad Gita it is known that his father was Mahamantri Somanatha Mahapatra. In Jagamohan Ramayana, there is a reference to his mother, Manamayi and his family. He neither mentions Gajapati Prataparudra nor Chaitanya in these works. In yet another work Uddhaba Gita, Balarama Das gives some more details about his life. According to it he used to please Lord Jagannatha with his songs during the period of the Lord’s stay at Gundicha Mandir during Rathajatra festival. In his other books such as Gitavakasa, Brahma Gita, Bhava Samudra, Bata Abakasa and Panasa Chori, an exaggerated account of the poet’s devotion to Jagannatha can be seen along with references to
Prataparudradeva, who on many occasions tried to test Balarama’s knowledge of scriptures like Gita, Vedanta, Brahma Vidya as well as his devotion to Lord Jagannatha, Vedantasara Guptagita is his only work in which both Prataparudra and Chaitanya have been mentioned. According to this work, the King Prataparudra accepted Chaitanya as his Guru and Balarama Das as his Parama Guru. But as the work is supposed to have been written in 1510, which coincides with the year of Chaitanya’s arrival at Puri the fact mentioned is very doubtful.

Balaram Das

Madhaba Pattanaik, most likely a younger contemporary of Balarama, in his Vaishnava Lilamrita mentions that Balarama together with his four friends, accompanied Chaitanya in his tour throughout Odisha. And when Balarama died, the whole of Odisha, especially Puri, was shocked and people felt shaken as though a mighty banyan tree had fallen.

Devakinandan, a 16th century Vaishnava of Bengal, in his Vaishnava Bandana, gives high tribute to Balarama for his supernatural powers.

Divakara Das, the 17th century writer, who authored Jagannatha Charitamrita (the biography of Jagannatha Das) makes a casual reference to Balarama. According to him Balarama was a disciple of Hridaya Narayana in the line of Gauri Das Pandita and was a devotee of high order. Further, Balarama Das was always absorbed in reciting the Lord’s name and so was known as ‘matta Balarama’ (mad Balaram). He
was one of the close associates of Chaitanya, who directed him to accept Jagannatha Das as his disciple. He then went on a pilgrimage to Dwaraka.

According to another 17th century work, the Chaitanya Bhagavata (a biography of Chaitanya) of Ishwar Das, Balarama was the son of Somanatha, an officer of the king, and came from Chandanpur, a village near Jajapur. When Chaitanya was passing through this village, Balarama met him and joined his party. Chaitanya initiated him in the ‘Ramataraka Paramabrahma’. Elsewhere he says that once Balarama was invited to grace one grand festival (mahotsava) at Cutfack, arranged by Prata-parudradeva, where he was honoured as the writer of the Ramayana and Srimad Bhagavat Gita. Chaitanya made him the supervisor of the Nanda Matha. According to Ishwar Das, Balarama having subdued a mad elephant once was called ‘matta Balarama’ by the people for his dare-devil act.

According to a local tradition reported by Jagabandhu Singh in his Prachina Utkal, in the early part of the present century, Balarama died at a ripe old age, on his way to Puri, at Begunia, near Konarka, on the Akshaya Tritiya day (early April). There is a samadhi of Balarama in this village and every year a festival (mela) takes place on the Akashaya Tritia Day honouring Balarama. In the nearby village, Erabanga, there is
a Jagannatha temple, which it is believed was built by Balarama, who used to offer his daily prayers to Lord Jagannatha in this temple, as it was impossible for him to go to Puri due to his debilitating old age. The people, in grateful remembrance of the builder, call this Jagannatha temple the Balarama temple.

Balarama Das is famous as the poet of Jagamohan Ramayana also known as Dandi Ramayana, the first and greatest complete Ramayana in Odia literature. This Ramayana, because of its immense popularity in Odisha, had influenced almost all the later poets of Rama-kavyas. He is credited with the writing of the following: Kanta Koili, Baramasi Koili, Hanumana Chautisa, Kamalalochana Chautisa, Srimad Bhagavat
Gita, Gupta Gita, Vedantasara Gupta Gita,. Uddhaba Gita, Brahma Gita (Prose), Pralambasara Gita (Prose), Amarakosha Gita, Brahmanda Bhugola, Bata Abakasha, Bedha· Parikrama, Bhabasamudra and Kama Dana.

All these works are well known and popular in Odisha, because of their philosophical discussions on the subjects like kaya yoga, Jnana-bhakti marga, and prema-bhakti marga. The poet’s devotion to Lord Jagannatha is also to be seen in most of these works, specially in Bhaba-samudra and Bata-Abakasa. A child in Odisha starts his education from a book of Balarama like Kamalaloehana Chautisa, makes his life
meaningful when he grows up by reading the works like Jagamohan Ramayana, Uddhaba Gita, etc. and meets his death in the old age after listening to Srimad Bhagavat Gita of Balarama.

Odia Books By Paramananda Acharya

  • Jagamohan Ramayan
  • Laxmi Purana
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Baccha Das

Biography of Paramananda Acharya

Born:
Died:

is an early medieval Odia poet. Nothing absolutely is known about his family and place of residence. The only work attributed to his authorship is the Kalasa Chautisa (first discovered and included in the Prachina Gadyapadyadarsha of Artaballabha Mahanti in 1932) which was not known to the earlier historians of Odia literature. Mahanti happened to come across a phrase – Kalasa Padhanti (literally, read or recite Kalasa) in the Mahabharata of Sarala Das and supposed that by Kalasa,
Sarala Das referred to this hitherto unknown Kalasa Chautisa of Baccha Das. Accordingly he argued in the critical introduction of his work that in order to be so mentioned by Sarala Das this literary piece must have attained sufficient popularity and hence concluded that it was written a century earlier i.e. in the middle of the 14th century. For about two decades Mahanti’s view was accepted and Kalasa Chautisa was held to be the earliest specimen of extant Odia poetry. But in the early fifties Mahanti’s argument was challenged and the time of Kalasa Chautisa as well as Baccha Das became an interesting controversial issue. The work was studied in its various aspects such as theme, ritual discipline, diction, poetic pattern and music and it is now generally believed that the word kalasa in the Mahabharata did not mean the title of this poem. On the contrary it meant benedictory verses, recited on auspicious occasions like marriage. Hence Baccha Das was not anterior to Sarala Dasa. Its subtlety of poetic concept and the logical and more polished use of idioms,
despite some archaic words and phrases, suggest that the work may belong to a more developed period, the early 16th century.

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Kalasa Chautisa is in fact a panegyric to Shiva although cleverly written in the form of a satire. As a Chautisa it contains thirty four stanzas composed in the alphabetic order peculiar to that poetic pattern. The theme is the marriage of Shiva and Gaura (Gouri: Parvati). But the bridegroom has been described as old and decrepit and as he rides on his old haggard bull bending almost double in tense asthmatic fits, he is unable to recognise men from a close distance, nor can he hear their voices. An incarnation of poverty, the bearded rustic has besmeared his body with ashes, and has a wreath of serpents on the heavy braids of hair on his head. The wretched looking man is unable to hold himself erect while sitting on the altar. The daughter of
King Himavanta and her mother take a glimpse of this gaunt man from aside and both burst into tears while Gauri swears that she would commit sucide if her hand is given in marriage to this old man. They allege that although there were so many young princes, the father has picked up this old man as suitor to his beautiful
young daughter with a motive to make money out of it. But soon the king comes and consoles them saying that Gauri was a really fortunate girl in getting for her spouse this God of the gods. The king’s order was carried out and the marriage solemnized. After the rituals were over, Shiva dropped his disguise and appeared as a handsome young man and the couple had a happy honeymoon.

The style and diction are mainly archaic, but the satire is based on the social evil of selling young maids to rich and lustful old man and in this context the realistic depiction of the bridegroom in near-death condition and strong resentment of the young maid in juxtaposition make this poem a unique piece of art, although some critics feel that the traditional character of Uma has been lowered thereby.
BIBLIOGRAPHY: Bamsidhara Mahanti, Sahitya O Samskriti, Janashakti Pustakalaya 1955, Gaurikumara Brahma, Samasya O Samadhanas; Kunjabihari Tripathi: Odia Sahitya Samiksana (1936).

Odia Books By Paramananda Acharya

  • Book 1
  • Book 2
  • Book 3
  • Book 4
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