Writers

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15 / Sep 2022

Bhikaricharan Pattanayak

Bhikaricharan Pattanayak was born in 1877.wrote by and large in the dramatic tradition of Ramshankar Ray whose junior he was as a lawyer. The spirit of reform and patriotism found in Ray marked his writings as well. In structure, dialogue, use of blank verse and arrangement of scenes he clearly followed his mentor.

His first play, Ingrej katrika kataka vijaya (Conquest of Cuttack by the English), written soon after his
passing the Matriculation examination and staged by the students of Ravenshaw College, Cuttack, was published in 1901. Depending largely upon Toynbee’s History of Orissa (1874) and Jagamohan Lala’s Orisa vijaya (Conquest of Orissa) and influenced to some extent by Lachhma, a novel by Fakirmohan Senapati, Bhikaricharan depicts in this drama the tragic defeat of Balaji, the Maratha ruler of Orissa, at the hands of the invading British army. The skeleton of history has been given flesh and blood through imaginative portrayal of characters and scenes that stir pathos and rouse patriotic sentiments. Bhikaricharan was a pioneer in introducing ‘khanda-amitra-kshara chhanda’ (blank verse in broken sentences), but his blank verse is often poor and inflexible. The play is burdened with too many songs in the traditional manners. The playwright introduced a ‘nandi’ or benedictory verse and a ‘nati’ singing a prayer to Saraswati. But the play has a tragic end in the manner of the western tradition.

Nandikesvari published in 1915 is semi-historical and is largely based on and deeply influenced by the language and style of the poetical work of the same name written by Radhanath Ray. The drama centres round a tale of the love of a princess which ends in tragedy. Written in blank verse, it is rather amateurish as it is marred by long speeches and asides and also by a profusion of songs.

He wrote another historical drama. entitled Raja Purushottama Dev (1925) dealing with the accession of
Gajapati Purushottama Dev to the throne of Orissa. It contains some satirical portraits. Ratnabali(1915), first staged in the Kanika palace, is a comparatively more successful drama. Moralistic in purpose, it shows the influence of Shakespeare in presenting the heroine in the disguise of a man. The dialogue is mostly in blank verse. In the social drama Samsara chitra (1915) Bhikaricharan attacks the dowry system, its unhappy consequences and the evils of usury and, in a later farce Yautuka (1924), he ridicules the dowry system again. In Sushila (1917), another social drama, he represents the ideal womanhood in the person of Sushila with her patience, tolerance and spirit of forgiveness and attacks the evils of western influence and libertinism in men and women. Nirupama (1952) is primarily a play with a purpose as the dramatist tries here to remove the popular misconception about leprosy. This drama too is burdened with too many songs.

Karmakshetra, published in 1960, was Bhikaricharan’s last drama which upholds the dignity of labour and pleads for the cause of the emancipation of women. The dramatist’s lifelong interest in cottage crafts and his ideal of self-dependence are revealed in his depiction of the unemployed graduate Chakradhara who financially sustains his family with the sale of his hand-made articles.Apart from Yautuka he wrote a farce named Adbhuta adarsha (1909) which was published in the journal Mukura.Bhikaricharan’s plays are not always aesthetically satisfying and they are hardly stageworthy. They reflect a spirit of patriotism and reformism and read like tracts or propaganda.

He wrote many types of bibliography like Girijashankar Ray. Oria natyakata; Hemant Kumar Das, Oria natakara vikashadharam. Oria nataka: udbhava vikasa; Mayadhar Mansinha, Oria sahityara itihasa; Natabar Samantaray, Oria sahityara itihasa; P.R. Sen, Modern Oriya literature; Ratnakar Chaini. Oria natakara udbhava vikasa; Sarbeswar Das. Nataka vichara; Sarada Prasad Dalbehera. Orisara rangamancha itihasa; Virakishore Das. Yuge yuge natya sahitya.

Odia Books By Bhikaricharan Pattanayak

Modern Oriya Literature
Orisara Rangamancha Itihasa
Yuge Yuge Natya Sahitya
Udbhava Vikasa
Oria Natyakata
Oria Natakara Vikashadharam

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15 / Sep 2022

Bhanjakishore Pattanayak

Bhanjakishore Pattanayak was born in 1922 at Chhanapur or Chhanipur, a village near Salepur in the district of Cuttack, became popular as a dramatist during the first two decades ofthe post-Independence era. He received his primary education at home and in the village and secondary education at Banipada.Later, he passed B.A. with distinction and joined as Production Officer in the office of the Director of Public Instruction, Orissa.

In his school days he was deeply influenced by the Chhau dance of Mayurbhanja, the Oriya folk dramas
and the plays of eminent Bengali writers like D.L. Roy, and wrote Jhada rati (The night of storm, 1939) and
Premapushpa (The flower of love, 1940), the latter inspired by the love story of Edward VIII and his
abdication of the throne. His third play, Mimansa (1944), was staged by the students of Cuttack Engineering School. In “the same year he wrote three more plays named Davi, Adrishya chakra and Devi and the last named became very popular on the stage. He wrote numerous plays for the professional stage including Benami (1946), Jahar (1947), Sikari (1948), Garib (1949), Tofan (1949), Aloka (1950), Manika Jodi (1950), Sadhavi (1951), Vairagira Samsara (1952), Agni-pariksha (1953), Atithi (1955), Jayamalya(1956), Pahiliraja (1956), Kulabadhu (1956), Jivana jua (1957), Santa Ghara (1958), Rajanartaki (1961), Prataparudra (1962), Asoka-stambha (1963), Gotie Ma Kotie Santana (1965), Gulnar (1970), Akasa yeunthi mati chhuen (1970), Jagarana, Sukhi samsara and Devabhumi. Besides, he wrote a number of radio plays and one-act plays. His historical or semi-histroical plays like Prataprudra, Gulnar, Rajanartaki and Devabhumi are not very striking. Influenced to some extent by Ibsen he was primarily a writer of social plays depicting social and economic problems, the struggle between the workers and the capitalists, the tenants and the landlords, the cruel money-lenders and the poor debtors, the rich and the poor. They serve as a background for his romantic love themes. The plays are moralistic in spirit as they illustrate the victory of good over evil or a change of heart for the wicked. They are rendered all the more pleasing to the audience as they uphold the power of love consummated in the romantic union of lovers. Gandhian reformism is seen in some of his plays like Pahiliraja and Agni pariksha. In Garib he apparently emphasises the need for a revolution and in Asokastambha he advocates the ideal fusion of inner strength and the spirit of nonviolence, the blending of a sense of discipline with the spirit of love. In dramas like Vairagira samsara and Atithi, he brings out the virtues of the Indian family life. Jayamalya, his most successful drama, deals with the tragic lot of an idealistic creative artist and Parishodha, written in collaboration with Saradaprasad Nayak, is his only other drama with a tragic end. Jahar is an anti-imperialistic play denouncing the ugly outburst of communalism seen in the wake of independence. Most of his plays are characterized by sensationalism, melodrama and cheap comic elements. His dramas of mystery and crime, like Santa ghara and Sadhavi, are gripping but suffer from an excessive desire to be theatrical and a preference for the sensational. Bhanjakishore was, however, successful as a commercial dramatist, though his works fall short of the best in dramatic art. He wrote very popular bibliography like Narayan Satapathy, Oria nataka natyakara; Nityananda Satpathy, Adhunika oria sahitya; Ratnakar Chaini, Udbhata Natya parampara; Saradaprasad Dalbehara, Orisa rangmancha itihasa; Sarbeswar Das, Oria natya sahitya; Virakishore Das, Yuge yuge natyasahitya.

Odia Books By Bhanjakishore Pattanayak

Gotie Ma Kotie Santana
Santa Ghara
Prataprudra
Vairagira Samsara
Kulabadhu
Rajanartaki
Sikari
Garib
Tofan

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15 / Sep 2022

Basantakumar Pattanayak

Basantakumar Pattanayak was born in 1923.He did her M.A. in Economics from Ravenshaw College, Cuttack.In 1951 were published the first collection of her short stories and her novel, Amada Bata, which made her famous. Chitanala, a collection of her poems, came out in 1956, followed by Patala dheu in 1958 and Jivanchinha in 1959, both collections of short stories; Juarabhatta a one-act play, in 1961; Chorabali,the second part of Amada Bata, in 1973; and Alibha chita, a collection. of sixty-four love letters between 1974 and 1975. She has also contributed more than sixty essays to different journals such as Jhankara and Sahakara. ‘She has not only shown her power of characterisation, particularly of women, in her fictional work, but also her deep insight into the social reality. She is now devoted solely to social and cultural activities.

Odia Books By Basantakumar Pattanayak

Amada Bata
Chitanala
Jivanchinha
Juarabhatta
Alibha Chita

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15 / Sep 2022

Ananta Pattanayak

Ananta Pattanayak was born in 1914 . He was educated at Puri Zila School, Cuttack Collegiate School and Ravenshaw College, Cuttack, and did his B.A. from, Patna University in 1935. He participated in the freedom struggle and the Praja movement in some feudatory states of odisha for which he was imprisoned several times. He joined the Congress Socialist Party in 1934 and led its students’ wing. He was a freelance journalist, associated with the editing of Samaj, The odisha Times and The Observer at different times. Since 1968 he has been the Secretary of the odisha Children’s Literature Committee, a Government of odisha undertaking, and now edits Shishulekha, an illustrated popular, monthly for children published on behalf of the Committee. He was once associated with the Peace Committee and the All India Writers’ Conference as their active member. He wrote lyrics and dialogues for odia films and worked as Associate Director for some of them. His connection with the film-world brought for him the membership of the Film Board of India.

His literary career began in his student days, and his poems, stories and other wirtings were regularly
published in Shankar, Asha and other periodicals. He joined the Nabayuga Sahitya Samsad as its secretary in 1935 and was influenced by the progressive ideas which were increasingly finding expression in literature. Raktashikha (The flame of blood, 1936), a collection of his patriotic poems with some similar poems by Sachi Rautray, was banned. His Tarpan kare aji (Offering oblations today, 1948) is a fine poetical obituary on Mahatma Gandhi. The other important collections of his poems include Shantishikha (The flame of peace, 1953), Kinchit (Something, 1960), Aloda loda (Necessity of the unnecessary, 1964), Chhaira Chhita (The touch of the shadow, 1971) and Abantara (The irrelevant, 1979). His artistic execution in poetry is simple and effective. He has made successful use of hyperbolic images and free verse in almost all his poems. A craftsman of current words, he has used the ingenuous language of the common people, making it familiar to his readers of modern odia poetry. In his only story-collection, Chadda utar (Question-answer, 1965), he attempted the use of uncommon themes, but could not achieve much and in later years concentrated on writing for children and earned fame. His prose and verse writings for children include Kunumunu (The little kiddies), Lal tuk tuk surujatie (The very red sun), Gapudi main lo dhapudi main (Oh, the story-teller my maternal uncle’s wife), Agadambagadam (Jumble), etc. He is also successful as a translator and has rendered into odia, Gorky’s Mother (Ma, 1968), My Apprenticeship (Sikshanavis, 1978) and Sholokhov’s The Fate of a Man (Bhagyaru khie, 1966). For children, too, he has translated into odia some writings of the Soviet Union. They include Kasara ghoda (Brown horse) and Chhabitiki galpatie (A story to a picture).He wrote some bibliography like Nityananda Satapathy. Sabujaru sampratika (Cuttack, 1979); Prananath Pattanayak.Asantakalir sahitya (Bhubaneswar. 1970).

Odia Books By Ananta Pattanayak

Ananta Bichitra
Sabujaru sampratika
Asantakalir sahitya

Poetry Collection

Abantara
Raktashikh
Chaira Chita
Aloda Loda
Shanti Shikha
Tarpana Kare Aji
Kinchita

Children’s Literature

Chabitieku Padha
Kasara Ghoda
Rabana
Chira Andhara Rati

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15 / Sep 2022

Ratnakara Pati

Ratnakara Pati was born in 1881.He is an eminent teacher and essyist, studied Philosophy at Calcutta
University, taught at several colleges in Bihar and Orissa and retired as Professor of Philosophy from Ravenshaw College, Cuttack. His essays, published under the title Prabandha prakasha (1927) deal mainly
with philosophical and sociological topics in lucid prose. His other works include Bibarttanabada (Theory of evolution) and Swapnatattwa (Truth about dreams) published by the Sahitya Academy of Odisha. He also wrote a history of Western Philosophy from Bacon to Kant, entitled Modern European Philosophy, and a book in Odriya on Psychology which is still unpublished.

Odia Books By Ratnakara Pati

Prabandha prakasha
Bibarttanabada
Swapnatattwa

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15 / Sep 2022

Haladhara Pattanayak

Haladhara Pattanayak a prominent medieval odia poet, was the son of Ananta Pattanayak, and probably the brother of Gajapati Mukundadeva of the Khurda royal family who ruled during 1657-1668. In the ‘Uttarkanda’ of his ‘valuable composition Adhyatma Ramayana he gives yugabda 4783, equivalent to 1657-1688 A.D., as the year when the composition was completed. He got his inspiration to compose the Adhyatma Ramayana in odia from Sri Mahesvara, Acharya, an erudite Sanskrit scholar from Rayapurashasana. Haladhara himself was not adept in Sanskrit so that he had to compose his work keeping in mind whatever he heard from Mahesvara Acharya’s interpretation of the original Ramayana. He was the first translator of the Adhyatma Ramayana in odia, followed by Gopala Telenga, Damodara Dasa, Gopinatha Dasa, Suryamani Chyaupattanaik and others.

Odia Books By Haladhara Pattanayak

Adhyatma Ramayana
Uttarkanda

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15 / Sep 2022

Gopalakrishna Pattanayak

Gopalakrishna Pattanayak was born in 1784. He is the most popular and famous odia Vaishnava lyricist, was born at Paralakhimundi. His father Banabasi was a Vaishnavite devotee of the Chaitanya order and served under the Gajapati Maharaja Paralakhimundi. Gopalakrishna was initiated into the traditional faith, and when his father died he took up a job under the Maharaja as ‘Panjia karana’ (record writer). Besides his everyday work, he devoted himself to the study of ‘alamkara’ (rhetoric), ‘vyakarana’ (grammar), ‘kavya’ (Sanskrit and odia poetry), Srimadbhagavata and the famous Vaishnavite works of the six Vrindabana, Goswamis, and to the worship of his family deity, Rasikaraja. He had the opportunity to attend the learned discourses on religion and scriptures at the ‘Pandita Sabha’ (meeting of scholars) in the court of the Maharaja.

Gopalakrishna initially composed chaupadis on earthly love following in the footsteps of his predecessors. Later he took up the theme of the divine love sport of Radhakrishna and composed a large number of chaupadis setting them to various types of melodious tunes of the Karnatic style. Like Gahasattasai of Hala Satabahana (compiler of the famous Prakrit love poetry) and Amaru shataka of Amaru (Sanskrit poet), his chaupadis are songs based on various single emotions and aspects of the erotic sports of Radha-Krishna in Braja and Vrindabana. Though we do not find a proper development of the story and construction of plot in his Padavali (anthology of songs), the beauty and the dramatic touch of Kishorachandrananda champu and other Vaishnavite Krishna kavyas are not lacking in them. A good number of his songs have attained a classic dignity and are marked by their musical and sincere portrayal of human feelings. In spite of the Vaishnavite conception of the divinity of Radha-Krishna, the depiction of love, hope, despair and agony is true to human life. This humanization of the love of divine characters with the help of local colour peculiar to the social life of odisha has enhanced the realistic beauty of his composition. His portrayal of Radha as the beloved of Krishna is supreme in odia literature not only for its human appeal but also for the sublimity of the emotion of love. Besides the erotic portrayal of Radhakrishna, the depiction of the childhood pranks of Krishna and the maternal affection of Yashoda are no less charming. Gopalakrishna has given a spontaneous and realistic shape to his emotions in a language direct and simple, and in a style lucid and charming, though on occasions there is a coarseness in his choice of diction and use of assonance. He composed a large number of songs (bhajana, kirtana, stuti, etc.) which are cultic in character and spirit. In almost all his songs we come across a devoted soul, surrendering himself to the Lord in ‘dasya bhava’ or ‘manjaribhava’ (spirit of servitude). (

Odia Books By Gopalakrishna Pattanayak

Chaupadis
Hala Satabahana
Amaru Shataka

Odissi Compositions Of The Poet

Brajaku Chora Asichi
Patha Chhadi De Mu Jibi Phula Toli
Kananara Bitanare
Muhamuhin Kisora Chandramankara Mora
Karuthili Mun Nahi Nahi Re
Bajuchhi Sahi Bajare To Naare Brajabajare
Chhailabara Chhamure Padili
Aja Sri Gostha Chandrama
Banchiba Kehire
Syama Ja Ja Juhara To Piratiki
Bhaja Mana Brajabana Dwijarajanku

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15 / Sep 2022

Deviprasanna Pattanayak

Deviprasanna Pattanayak was born in 1931.He is a linguist and writer, took his M.A. in Oriya from Utkal,
University, and joined the Orissa Education Service as a 1ecturer. Later, he moved to Visva Bharati to teach
there. He went to the States for his Ph.D. degree and worked on A Comparative Phonological Reconstruction of Oriya, Bengali and Assamese for his dissertation, now published. He worked at the American School of Linguistics (Pune) for sometime and is now Director of the Central Institute of Indian Laguages, Manasagangotri, Mysore. His essays on linguistics have been published in many journals. He edited Kavilipi and Rabindra-smaranika and wrote some literary essays collected in Sahitya biksha.

Odia Books By Deviprasanna Pattanayak

Bhasa O Sahitya
Odia Sahityara Bibidhata
Odia Upanyasare Nayaka Parikalpana

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15 / Sep 2022

Krishnacharan Pattanayak

Krishnacharan Pattanayak was born in.19th century in a Karan family in the state of Dharkot in the Ganjam district. He served as an officer under Krishna Singh, the king of Dharkot, and received patronage from him for his literary pursuits. He translated the Sanskrit Ramayana into odia in 1815 after retirement. He also rendered some of the puranas, namely the Vamana purana and the Kalki purana into odia, besides the Bhagavata. His translations were not literal, his main purpose was to communicate the ideas. His language, on the whole, is simple, lucid and musical.

Odia books By Krishnacharan Pattanayak

Ramayan
Mahabharat
Bhagabata
Kalki purana
Bamana Purana

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15 / Sep 2022

Kalicharan Pattanayak

Kalicharan Pattanayak was born in 1898,. His ranks high among the modern dramatists of odisha. A noted musician and a master of stage craft, Pattanayak dominated the odia stage for decades and made substantial contribution to it, both by writing plays in odia and by successully staging them. Kalicharan Pattanayak drew profusely on the patriotic themes of ancient odisha’s military valour and maritime activities as well as on the cult of Lord Jagannath. The influence of the theatrical performances of the rural folk popularly known as ‘jatra’ is easily seen in his plays. At a young age he staged Savitri, the success of which encouraged him to stage another dramatic work, Parsuramvijaya.

Ahuti, Pratishodh and Girl’s school are three of his early works. These plays were staged and the female
roles were played by girls he had picked up. All these efforts of his early dramatic career came to fruition
when he founded the odisha Theatre in 1939 in Cuttack.

His Girl’s school was staged by the odisha Theatre in 1942 successfully and stirred the theatre loving people of odisha. One of his most important plays is Bhat with the theme of drought and famine in the life of the villages in odisha. His other famous plays are Chakri (mythological), Atibadi Jagamath Das (biographical), Abhijan (historical), Jayadeva (biographical), Chumban, Raktamati (social), Das-bhuja (puranic), Phata-bhuin (social) and Rakta mandar (historical). His social plays were concerned with both urban and rural middle class life of odisha.

He was instrumental in the expansion of the odia stage. As a trainer and writer of drama, poetry and oneact plays, Kalicharan Pattanayak surpassed his contemporaries in output and dramatic appeal. His plays are remarkable for their enchanting lyrics.

Odia Books By Kalicharan Pattanayak

Dance Drama
Kalanka Bhanjana (କଳଙ୍କ ଭଞ୍ଜନ)
Daridrya Bhanjana (ଦାରିଦ୍ର୍ୟ ଭଞ୍ଜନ)
Milana Madhuri (ମିଳନ ମାଧୁରୀ)
Shree Radha(ଶ୍ରୀ ରାଧା)
Banshurira Bilapa(ବାଂସୁରୀର ବିଳାପ)
Shree Geeta Gobinda(ଶ୍ରୀ ଗୀତ ଗୋବିନ୍ଦ)
Preeti Sudhakara(ପ୍ରୀତି ସୁଧାକର)
Laxmi(ଲକ୍ଷ୍ମୀ)
Koutuka Chintamani(କୌତୁକ ଚିନ୍ତାମଣୀ)
Kishore Chandrananda Champu(କିଶୋର ଚନ୍ଦ୍ରାନନ୍ଦ ଚମ୍ପୂ)
Manini(ମାନିନୀ)
Akhira Dekha(ଆଖିର ଦେଖା)
Dehi Padapallaba mudaram(ଦେହି ପଦପଲ୍ଲବ ମୁଦାରଂ)
Kumbharachaka
Mythological Drama
Dhrub(ଧ୍ରୁବ)
Mrigaya(ମୃଗୟା)
Bana Bihara(ବନ ବିହାର)
Bidyabali(ବିଦ୍ୟାବଳୀ)
Shakuntala(ଶକୁନ୍ତଳା)
Harischandta(ହରିଶ୍ଚନ୍ଦ୍ର)
Chakri(ଚକ୍ରୀ)
Dashabhuja(ଦଶଭୂଜା)
Historical Drama
Abhijana(ଅଭିଯାନ)
Malati(ମାଳତୀ)
Rakta Mandara(ରକ୍ତ ମନ୍ଦାର)
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