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16 / Sep 2022

Rajkishore Ray

Rajkishore Ray was born in 1914, essayist, short-story writer, critic and dramatist, was born in a middle-class family in the village of Chhatabar, district Puri. He holds M.A. degrees in both Oriya and English, and has taught at various colleges in Orissa. His story collections include Neela lahari (Blue wave, 1940), Ashoka chakra (The wheel of Ashoka, 1944), Jayashri (Victory, 1947), Manara mrunala (Lotus of the mind, 1952),Shonita kavya (The song of blood, 1954), Adi purusha (The primitive man, 1960), Panka chandana (Mudand sandal paste, 1963), Ehi ki devayatana (Is this a temple, 1973), Bikacha satadala (The full-blown lotus),Madhyarnara marupathe (On the desert at mid-day) and Jeevana sangita (The song of life). Ray was a prominent story writer in the forties and the fifties, and continuously wrote in leading literary journals such as Sankha, Chaturanga, Sahakara and Nava-Bharata.

Though his influence as a story writer has declined recently, Ray is still writing. His early stories such as ‘Kalinga shilpi’ (The artist from Kalinga) are highly romantic in theme and ornate in style. Later, Roy showed an awareness of contemporary social evils-poverty,class-struggle, corruption, prostitution, and so on. Some of his stories, such as ‘Acharya thile boli’ (But for the Acharya) and ‘Bouli’, show his remarkable sense of humour and satire. Ray has a commendable sense of dialogue and economy of expression, but his ornate style sometimes seems too pretentious to portray the life of the lower-middle class. However, he offers his readers a variety of themes and is competent to turn any trivial incident of life into a story. Rajkishore Ray has been associated with many literary organisations. He was Secretary of the Orissa Sahitya Academy and later its Vice-President, and subsequently Vice-President of the State Sangeet Natak Academy.

Odia Books By Rajkishore Ray

Kalinga Shilpi
Acharya Thile Boli
Adi Purusha
Neela Lahari
Ashoka Chakra
Jayashri
Manara Mrunala
Panka Chandana
Shonita Kavya

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16 / Sep 2022

Radhanath Ray

Radhanath Ray was born in 1848.He is fondly described as the father of the new era of Oriya literature. He lost his mother at the age of eight, an event which left him melancholy and desolate. A brilliant student,he passed the Entrance examination from the Balasore High English School and was admitted to Presidency College, Calcutta. But ill health and poverty compelled him to give up studies and join the Balasore HighEnglish School as a teacher in 1864.

Though the medieval Odia literature was rich and distinct literary tradition and history, some of the Bengali educationalists wanted to abolish Odia language as the medium of teaching from schools. As Bengal was under by British rule much before Odisha, the Bengalis had the privilege to motivate the Anglicist scholars to prove Odia as a branch of Bengali language. However, John Beams, a British officer of East India Company first tried to prove that Odia is more ancient language than Bengali, and it had a richer literature which Bengali had not.

In the Odisha division, there were only seven Odia School teachers; Bengalis formed the majority of teachers, even in the remote areas. Consequently, Bengali text books were prescribed for Odia students. At that time, Radhanath was one of prime figure along with Fakir Mohan Senapati, who fought against the expansionism of Bengali educationalist to eradicate Odia language from Odisha. He was the Inspector of Odisha Schools Association and along with Fakir Mohan Senapati and Madhusudan Rao, he tried to promote text book writings. Radhanath Ray is a respectable person he wrote his Odia poetry very light and clean.

In 1869, while he was working as a teacher, he passed the Intermediate Examination. Then this he worked at the Puri Zila school. At Puri his acquaintance with Madhusudan Rao, a promising and brilliant student of the School, subsequently turned to be a life-long literary friendship. In 1872 he became Deputy Inspector of Schools of the Balasore district. It was because of his encouragement and inducement that the first monthly literary journal of Orissa, the Utkal darpan, was published from Balasore under the patronage of his friend,Prince Baikunthanath De. Ray proved to be a devoted officer and was made Joint Inspector of Schools of Orissa, which was then part of Bengal

Radhanath’s creative genius flourished in poetry, essay and translation for a period of over forty years.His poems created a tradition with a new outlook, and profoundly influenced many a young poet and writer of subsequent years. Radhanath’s art is a treasure-house of various themes and experiences, and his poems give probably the most graphic account of Orissa and its manifold beauties.

His first poems were written in Bengali. A collection of these appeared in 1873 under the title Kabitabali.Subsequently, as a part of the new wave in Oriya literature, and in a way promoting it, he turned to Oriya and became the first important modern poet of Oriya literature. Within a period of sixteen years from 1880 he wrote his famous kavyas: Kedar Gouri (1886), Chandrabhaga (1886), Nandikeswari (1887), Usha (1888), Parvati (1891), Chilika (1892), Mahayatra (1893), Darbar (1896) and Jajati Keshari (1898), as well as an excellent translation of Meghaduta.

Radhanath released Oriya poetry from conventional style, rhythms and old bondages. He used a language varied and easily understood by readers. He rejected play on word as a poetic device and simplified the poetic diction. He often used colloquial words which add to the strength of the language. He used figures of speech such as alliteration, simile, metaphor and hyperbole, but only sparingly. He was the first poet in Oriya to use blank verse in his incomplete Mahajatra.

Oriya literature before Radhanath seldom reflected the local colour. He is the first major poet to turn to the scenic beauty of rural Orissa. His description of lakes, rivers, and valleys of Orissa were extremely appealing and colourful. The description of the beautiful lake, Chilika in the poem of the same name, the Mahanadi Valley in Mahajatra, the descriptions of Puri and Balasore in Chandrabhaga and Usha are rich in colour and detail.

Radhanath is also regarded as the first prose essayist and writer of travelogue in modern Oriya literature. Some bibliography like D.C. Roy, Radhanath jeebani , D.P. Patnaik, Kabilipi (Visva Bharati, Santineketan);N. Samant Roy. Jugasrasta Radhanath; P. Acharya, Radhanathanka ananya pratibha.

Odia Books By Radhanath Ray

Chandrabhaga
Chilika
Jajati Keshari
Meghaduta
Kedar Gouri
Radhanath jeebani
Parvati
Mahayatra
Darbar

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16 / Sep 2022

Shashibhusan Ray

Shashibhusan Ray was born in 1874,the eldest son of the poet Radhanath Ray, was a distinguished
essayist and travelogue-writer. He passed his Entrance examination in the year 1891, but could not prosecute higher studies on account of epilepsy. The physical handicap, however, did not affect in the least his literary activities and achievements. In 1914 he became Secretary of the Utkal Sahitya Samaj and continued in that office till 1939.

Shashibhusan had an unfailing love for nature and wandered far and wide in different parts of Odisha.Communication was difficult in those days but he would even travel in bullock-carts. He wrote three travelogues; Dakshinatya bhramana (Travelling in the Deccan, 1896), Aryabarta darshana (A view of northern India, 1911) and Kanika darshana (A view of Kanika). They are full of beautiful descriptions of nature besides being a commen-tary on the geographical and historical importance of the places, social customs and practices of the people.

His essays show deep personal involvement in a romantic vein with a sharp eye to details. They are written in a style which is almost poetry in prose. These are ‘Utkalara rituchitra’ (Beauty of Odisha in different seasons), ‘Utkal prakriti’ (Nature in Odisha), ‘Kumuda pahadare aparahna’ (Afternoon on the Kumuda hill), ‘Panchadharare basantotsaba’ (Spring festival at the Panchadhara), ‘Antiare sarat sandhya’ (An autumnal evening at Antia), ‘Nibhrita nilayare shrabana sandhya’ (Rainy evening in the solitary abode) and ‘Kushabarar atmakatha’ (An autobiography of Kushabara).

One of his books shows his devotion and gratitude to his father and bears the name Pitrusmriti (In
memory of my father). His autobiography which was serialized in the magazine, Satyabadi, during 1950
remained incomplete. One of his most remarkable writings which has remained yet unpublished in book
form is ‘Bikshiptachinta’ (Diverse thoughts) which was serialised in the Utkal sahitya for twentyfive long years.

Odia Books By Shashibhusan Ray

Dakshinatya Bhramana
Aryabarta darshana
Utkalara Rituchitra
Panchadharare Basantotsaba
Antiare Sarat Sandhya
Kushabarar Atmakatha
Nibhrita Nilayare Shrabana Sandhya
Utkal Prakriti
Kanika Darshana

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15 / Sep 2022

Akhil Mohan Patnaik

Akhil Mohan Patnaik was born in 1927.He is primarily a short story writer, was born in Khurda (odisha).
His father, Bankanidhi Patnaik, Headmaster of the Khurda High School, had a literary taste and wrote short stories. Akhil Mohan completed his studies at Ravenshaw College, Cuttack. After passing B.A. and LL.B. examinations he started his career as an advocate at Bhubaneshwar.

Akhil Mohan’s first story ‘Sapan’ was published in 1948. Thereafter he wrote about fifty stories which
were published in different rnagazines in odisha. His collections, Jhadar Eagle 0 dharanir krushnasar and 0
Andhagali; were published in 1961 and 1979. His unpublished stories came out in a volume, Nadir nam ganatantra (1989) after his death. He received the Sahitya Akademi Award in 1981 for 0 Andhagali. His last story ‘Kaniapa’ was widely appreciated for its human values.

Akhil Mohan had a varied life, and he portrayed his experiences successfully in his stories. Be it rustic life in a backward village or aristocratic life in a modern city, he has been able to portray with both ease and great insight. The characters of his stories are unique, lively and communicative. The ordinary impressive objects of everyday life have become important in his writings. His language is polished, elegant and suggestive.

Apart from stories, he wrote biographies, translations, criticism, and belles-lettres, His narrative about
Khairi, the tiger-queen of Simlipal (odisha), was also highly appreciated. Akhil Mohan was associated with
several literary bodies. He was President of Godavarish Sahitya Sansad and Lekhak Sammukhya of odisha.
He was also editor of Samavesh, the renowned odia literary magazine.

Besides his literary achievements, he was also an amateur artist in odia films such as Sesha shravan ana
Para jhia ghar bhangena. He was also interested in the theatre and played a vital role in the revival of the
Janata Theatre Movement.

Odia Books By Akhil Mohan Patnaik

Akhilayan
Dimiri Phula
Akhil Mohan Pattnaiknka Shrestha Galpa
Andhagali
Kaniapa
Jhadar Eagle
Dharanir Krushnasar

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15 / Sep 2022

Gourahari Parichha

Gourahari Parichha was born in 1794,Paralakhemundi in Ganjam district, odisha,and he was a contemporary f the renowned poets, Gopal Krishna (1785-1862) and Kavichandra Raghunath Parichha (1795-1872). A staunch Vaishnava by faith, he composed a great number of beautiful poems depicting the love of Radha and Krishna. Apart from being a poet, he was also an expert in ‘veena’ recital. Vyasakavi Fakirmohan paid a tribute to him in his poem, ‘Utkal Bhramana’, mentioning in particular his command of music on veena.

Not much is known about Gourahari’s life or writings. His poems appeared in the last decade of the nineteenth century in Damodar Patnaik’s Sangita sagar 0 sangita sarbasara. Some of his poems were also published in Preeti sudhakar by Gopalaballava Das.

Gourahari was an honest scholar, and his deep philosophical thoughts, detatched love and spiritual leanings are reflected in his writings. His work may be classified into three divisions: Chaupadis (depicting the love sport of Radha and Krishna), Astakal seva (in Bengali), and Bhasa sangita vinoda (translation of Gitagobinda).

Gourahari’s Chaupadis are remarkable for their devotion and music, and his translation of Gitagobinda tries to capture the magic of the original, and its language is simple to understand. Apart from these, he also wrote a drama, entitled Prahlada nataka, under the name of Rama Chandra Chotray, the then king of
Jalantara.

Gourahari was the disciple of Govindadas Rasikananda. He had deep regard for his guru as well as for the
six exponents (Sada Goswamis) of the Vaishnava ‘raganuraga’ bhakti cult. In this cult love for ‘parakiya
nayika’ plays an important role. Gourahari composed thirtyfour poems, arranged alphabetically, but
unfortunately only three of them on ‘dha’, ‘la’ and ‘ch’ are available. Gourahari’s poems have been set to
different ragas.

He has used figures with depth of emotion. He also composed a number of chaupadis on the love of Radha and Krishna and portrayed Radha in eight types of nayikas (heroines). His use of dialogue in the chaupadis is also impressive. The dialogues are usually between Radha, Krishna and a ‘duti’ (messenger). The duti’s modes of worship and religious practice are described in ‘Astakal seva’. The chaupadis are, indeed, the prized possession of odia literature, and Gourahari is an important name in odia literature because of his poetic excellence and philo-sophical thoughts.

Odia Books By Gourahari Parichha

Utkal Bhramana
Love Of Radha And Krishna.

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15 / Sep 2022

Rajendra Panda

Rajendra Panda was born in 1944.He is a poet-administrator, is profoundly contemporary in his poetic creation. He started writing in the mid-sixties and several volumes of his poems have been published since 1975. They are rich in quality and provide a substantial structure to the new poetry in odia. His representative volumes are Gauna devata, Anabatara o anya anya, Nija pain nana baya, Ghunakshara, Satadru aneka, Chaukathare chira kala, Shaila kalpa and Anya. All the collections are characterized by innovations in both form and subject and set a pattern for experiments in style and versification.

Rajendra’s poetry can be broadly divided into two groups, metaphysical and socio-political, and his
subjects range from love to joys and sorrows of life. He concentrated on philosophy and mythology in the
first few volumes, while the later volumes, by and large, take up the themes of despair and hope. In the first four collections he interweaves his philosophic notions and myth into most of the poems.

Initially, he was interested in the presentation of Advaita philosophy, the concept of ‘Shunya Brahma’ as depicted in poetry by Bhima Bhoi (1855-1894) and the mystical experience of God which surpasses all other earthly experiences. He gives a feeling of the ultimate union of the soul with God, and seems to have affinities with the English metaphysical poets.

In subsequent collections he is more interested in the presentation of contemporary social themes. They
disclose the predicament of man and express disgust at the hollowness of modern society. But he can also be optimistic and think of a solution to the individual’s problems. As a whole, hope, despair, failure, fear and death are the major themes in his poetry. Fear of death is a recurring theme. At the very moment of his perception of beauty, he seems to be haunted by death.

What most attracts attention in Rajendra’s poetry is its form. It is partly lyrical and partly dramatic. In
some poems there is a rhythmic pattern; in others only a few lines bear musical quality. In most of his poems he prefers free verse to the regular, and a significant feature is the sudden emergence of short lyrical lines after long prosaic ones. He has at his command the choicest words which are really used everyday.

As his thought became matured, he felt it necessary to use traditional language and go back to ancient literature like Charya pada, Rudra sudhanidhi and Madala panji for inspiration. Besides, he has used words out of their ordinary run and from dialects, and has even invented strange compounds. The use of myth and symbolism is an integral part of his poems, while his images are pictures rather than descriptions. As a poet he seems to have been influenced by ancient literature, Sanskrit classics and western myths.

Odia Books By Rajendra Panda

Gouna Devata
Anavatar O Anya Anya
Ghunakshara
Satadru Anek
Nija Pain Nanabaya
Choukathhare Chirakala
Shailakalpa
Anya
Ishakhela
Bahubreehi

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15 / Sep 2022

Anantaprasad Panda

Anantaprasad Panda was born in 1906.He is a popular novelist and short story writer, was born in a village called Kalyani in the district of Balasore. His childhood was spent in his ancestral home amidst rural surroundings. After doing his B.A. with Honours in English from Ravenshaw College, Cuttack, he became a Sub-Deputy Collector. Later, he worked for the State Cooperative Department and finally became its Joint Registrar. In 1953, he went abroad, travelled widely and on his return, wrote Pashchatya anubhuti, in which he recounted his experiences abroad.

Anantaprasad’s first short story, ‘Atripta basana’ appeared in 1925 in Utkal sahitya. His next story,
‘Basanta Tripti’, also appeared in it. The story created a sensation and from that moment he never stopped
writing. He wrote one story after another which were compiled later in such collections as Trin guchcha,
Sabhyatar tale, Manas bhuta, Barmaja, Naisha-sundari and Joga-rahasya. He also wrote novels which
included Bhagyachakra, Nua dunia, Kuli and Mukta akashar bihanga.

For his subject Anantaprasad turned to the cross-section of life in Oriya villages. His broad theme is the
varied, and sometimes contradictory, popular response to feudal exploitation and oppression. His stories are remarkable for their precision and centrality and the kindness with which their author treats every individual. In the stories such as ‘Sagada’ (The bullock cart), ‘Raj bhag’ (Royalty), ‘Goposahoor dokan’, ‘T.T.I’,‘Station Master’ and in the novels like Bhagyachakra (1928), the simple men and women folk of rural Orissa come to life in all their vividness and variety

Odia Books By Anantaprasad Panda

Sagada
Raj bhag
Goposahoor dokan
Bhagyachakra
Manas bhuta
Bhagyachakra
Mukta Akashar Bihanga

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15 / Sep 2022

Gopal Krishna Padavali

Gopal Krishna Padavali An enormous amount of literature on the Vaishnava cult was written in Odisha as in other regions of India. A collection, entitled “Padavali of Gopal Krishna (1785-1862)”, was first published in 1889-93. Many padavalis were written earlier in odia from the sixteenth century to the first part of the eighteenth. The poets who composed Krishna kavyas are Danai Das, Debadurlava Das, Upendra Bhanja, Bhupati Pandit, Vrindabati Dasi, Dinakrushna Das, Abhimanyu Samanta Sinhara, Brajanath Badajena, Bhakta Charana Das and Kavisurya Baladeva Ratha. Their padavalis were popular because of their emotional fervour which stirred the hearts of the common men. The poets depicted Radha and Krishna not as spiritual personalities but as ordinary human beings. Gopal Krishna Pattanayak adopted the style of Vaishnavapadavalis which were both musical and lyrical. He not only composed a larger number of padavalis than his predecessors and contemporary poets did, but also depicted the lila of Krishna with all its variety and richness in his poems with great naturalness and artistic beauty. In his conduct and ideals he was a true Vaishnava, and his literature was part of his religious practice. He conceived Sri Krishna as Shringara incarnate and ‘Paramananda svarupini’ (supreme bliss). He considered singing and chanting the names of Radha and Krishna to be the supreme goal of his life. In his Padavali he worshipped them as his ‘sakhi’.

The Padavali of Gopal Krishna is based on the feeling of love-’shringara rasa’. Shringara is considered
the basic element in the padavali literature, but the Vaishnavas call it madhura rasa. Gopal Krishna has
portrayed both the union with and the separation from Lord Krishna, the ‘purusha’ par excellence. His
depiction of pathos in the separation of lovers is very heart-touching. Gopal Krishna has depicted in many of his poems the tireless effort of Radha to attain the love of Krishna and the trial of her love in separation. For example, he says in one of the poems-’daya na karantu mu dasi sina re’. He has also invoked ‘shanta’ rasa in his chaupadis, entitled ‘Manah siksha’. His devotional poem, ‘Anusarita Prabhu kalayaka gala sarita’ is based on shanta rasa. He has also depicted ‘vatsalya’ rasa as in ‘Uthilu ede begi kahinkire duhki dhana’.These padavalis were meant to be sung, and musical metres were followed while composing them. He has used ragas and raginis like ashabari, ananda bhairabi, kalyani, kedar, gandhar, bhaikhi, bangalashree, shankarabharana, etc.

Gopal Krishna, had a good command of Sanskrit, but his padavalis are wonderfully free from terse Sanskritised language. He has successfully used colloquial odia words and idioms and harmonised them
with polished ‘tatsam’ (pure) words, Mayadhar Mansinha has compared Gopal Krishna’s poems with the
water of an autumn spring which flows scantily but is pure and tasteful. His poems need no commentary, as they convey eternal joy to both the learned and the ignorant.

Odia Books By Gopal Krishna

Vaishnavapadavali
Manah Siksha
Anusarita Prabhu Kalayaka Gala Sarita
Ashabari
Ananda bhairabi
Shankarabharana
Bangalashree
Kedar

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15 / Sep 2022

Nilamani Vidyaratna

Nilamani Vidyaratna was born 1867.He started his career as a teacher in a primary school and then
worked in the courts of some kings and zamindars. The ruler of Bamanda and Baramba conferred on him the title, Vidyaratna. He was a zealous social worker and wherever he lived he took the initiative to form different organisations in order to reform and uplift society. He was one of those who initiated the “Utkal Sammilani” which in 1903 pledged to work for the unification of the Odia-speaking areas. He edited Sambalpur hitayisini, which played a crucial role in rejuvenating Odia literature. Among the other journals he edited were Pragabandhu, Utkal madhupa, Gangam guna darpana and Utkal dipika. Nilamani was also the author of many books. They are Kanya bikraya, Samaja kalanka, Jivha sukha o jivan and Prabada
pushpanjali. He also wrote some essays. Nilamani was one of the creators of modem Odia literature and a
‘great exponent of Odishan culture.

Odia Books By Nilamani Vidyaratna

Sambalpur Hitayisini
Kanya Bikraya,
Samaja Kalanka,
Jivha Sukha O Jivan And Prabada
Pushpanjali

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15 / Sep 2022

Swami Abadhuta Narayanananda

Swami Abadhuta Narayanananda,known as the celebrated author of one of the earliest outstanding prose works titled ‘Rudrasudhanidhi‘,occupies a foremost place among the architects of early Oriya literature and also in the growth of the Shaiva cult in Orissa. The study of ‘Rudrasudhanidhi’ provides scanty biographical details about its author, like his deep scholarship, learning and training in academics and adherence to his personal religious belief and spiritual attainment. This monumental prose fiction belongs to the early formative period in the Oriya language and literature and is believed to have been composed in the 14th century, although different dates by literary historians and scholars have been assigned to it. The name “Abadhuta” indicates that he was a sanyasi, a wandering mendicant and he lived at Ekamra, the present Bhubaneswar in Orissa. He might have devoted his. time to teaching his disciples and followers in a‘Math’. The theme of this erstwhile earliest prose narrative in Oriya is based on expounding the glory,dignity and importance of the Shaivite philosophy. Rudra sudhanidhi literally means the ‘treasure house of the nectar of Rudra.’ The work has a well-designed story with Lord Shiva and his consort Parvati showing themselves in the supreme divine power of creation and destruction and their all-pervading supremacy in making and unmaking the life of their followers.

Swami Narayanananda called his teachings “The Universal Religion,” implying that they are dealing with Truth, irrespective of caste, creed, sex, nationality, race, etc. He gives guidance to spiritual seekers. He emphasizes the moral code of conduct as a basis for spiritual development, and puts particular stress on sexual sublimation implying brahmacharya – celibacy or (for married people and couples) moderation in sexual life, as a means to maintain and improve physical, mental and spiritual health. His works include among others the following subjects: philosophy, psychology, religion, spirituality, yoga, meditation and kundalini shakti

Odia Books By Swami Abadhuta Narayanananda

The Secrets of Mind-Control
The Way to Peace, Power and Long Life
The Primal Power in Man or The Kundalini Shakti
The Ideal Life and Moksha
Revelation
The Gist of Religions
A Practical Guide to Samadhi
Mind, Its Source and Culture
The Secrets of Prana, Pranayama and Yoga-Asanas
The End of Philosophy
The Basis of Universal Religion

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