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CHAPTER-III
CONTRIBUTION OF ORISSAN POETS FOR THE
DEVELOPMENT OF CAMPD LITERATURE
VISNU SARMA
Let us first of all take the case of Visnu Sarma, the compiler of
the world famous Regarding Visnu Sarma, Dr. De and Dr. Das
Gupta write thus, "There is no evidence at all of authorship; for the
name Visnu Sarman applied in the introduction to the wise Brahmana,
who instructs, with these stories, the ignorant sons fo King Amarasakti
of Mahilaropya in the Deccan is obviously as fictitious as the names of
king and the places'^SS)1
BHATTA narayana
m R^cri cRt
-nwi^dl I
■femT^RcT: "mmt ^TF% TOTRf* (Verse 45 of the last Act.)
«ftozn«R: I
4^ SHM^Rh fcT9r\||
festa 1ir-
okcRT^cft || (Verse 46 of the last Act.)
^rn:~ (^fcT ^fcf WtSli: I
II
(b) The great popularity of '<^fkisK in Orissa might be due
to its author being a native of this land. For this reason, Gajapati
Purushottama Deva of Cuttack (1466-1497) wrote one, 3#FR ^ulUi^K
Hi<i4>Hjn order to eclipse the glory of this work of Bhatta Narayana.
MURARI MISRA
gq^srtrr^mra^: (wrts^:)2
KRSNA MISRA
WORKS OF SRlHARSA
%ii41 cbfewrier: ii
In the above stanza, Jayadeva only gives his own estimate about
four other poets, who might at best be taken to be his elder
contemporaries. But this verse does not imply directly or indirectly that
all the five poets mentioned in it belonged to Bengal and adorned the
same court. It is only an example of poetic tradition followed by many
other poets of India as shown below.
fa^l I
^c^I ^TRT TjfxH-
^ J-dlMRl =hfc): f^crl '*il*=b<l:ywi: II
KAVI UMAPATI
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4TR WRT I4ii)cb I
-q<*>I^H'WI4'W II
KAVIRAJA SAMKHADHARA
KAVI VIDYADHARA
O
Vidyadhara is well-known to the world of Sanskrit scholars for
his work on 'Alankara' called Ekavali, which was printed and published
with the 'TaralapkS of Mallinatha in 1903 in the Bombay Sanskrit Series.
All scholars who have discussed about the importance of this work are
unanimous that its author Vidyadhara belonged to Orissa, as he has
sung the eulogy of his patron Narasirtiha Deva, king of Utkala in 314
verses composed by him as examples, But there is still controversy
regarding the identity of this Narasimha, as there were four rulers in
the Ganga family of Orissa bearing this name.
KRSNAN AN DA
Some light on this great Sanskrit poet of Orissa and his works
was first thrown by Dr. V. Raghavan nearly a decade ago on the basis
of the information furnished by the concluding stanzas of each canto
of the We have been able to collect four palm-leaf
manuscripts of this work for our Museum, one of which contains 39
cantos and a few verses of canto 40, two have got 20 cantos (1-20),
and the fourth contains cantos (21-39) and 93 verses from canto 40,
where it ends abruptly. Thus the complete work has not yet been
available.
RAYA RAMAN AN DA
GANGADHARA MISRA
o*TRssfei 1
His father was Ananda Misra, who was a versatile scholar.
mfaii^i^isfcucmid^-
wfelr %5Rf 1
|iRgwpRft?r:
3<lf<chloM fa^dMs&IWllsUlTTcf: ||
%MTRT: II
To search for a complete Ska is being made, which is hoped to
be successful in near future.
The concluding verse of this Ska states that his elder brother
Srldhara Misra was proficient in different branches of learning like
80
«fk M W«bHcH^W5*f*r5?lFral
5«ftcT ^T(fe JHciB dsiWebH.ll
But no works of either his father Ananda Misra, or his elder
brother Sridhara Misra, have so far been known or discovered.
clc'SJjTt: J^WkW-w ih
^TT^f^cftwffwmftTRT: II
The date of copy of one of his works being 1756 its author may
safely be placed at least 30 years before the date e.g. 1726 A.D.
Jagannatha Misra of Orissa has respectfully referred to Kaviratna Misra
(who was no other than Kaviratna Purusottam Misra ) in his work
which was compiled during the reign of Harekrsna Deva, Raja of Khurda
(1715-20 A.D.). On the strength of this evidence he can be tentatively
assigned to the last quater of the seventeeth century.
Deva Gajapati (prathama) of Bhoi family had become the king. During
his reign in between 1539-1568 as he had re-established Sri Jagannatha,
so he is called as Abhinava Indradyumna. He himself had written a Nataka
by name Srikrsnabhaktavatsalya Carita. In 16th century those who had
written kavyas among them Gangadhara Misra was one among the other
who was the writer of Kosalanada Mahakavya of Sambalpur. Haladhara
Misra was the write of Basantotsava Mahakavya and Sangitakalpalata.
He had appeared in 17th century and added to the glory of Sanskrit
Literature in Orissa. Narasimha Misra (1659) wrote Bhanja Mohodaya
Natika, Bidyakara Purohita (1600 AD) was the writer of Narayana Sataka
Raghava Pandaviya and Hrdayalurasavaham Anadi Misra (1688) was the
writer of Manimala Natika, Krsnasricandana was the writer of Arthadutam,
Nityananda (18th century) was the writer of Sivalilam.rtam and Krsna
Lilamrtam Kaviratna Purusottma Misra (18th Century) was the writer of
Anargharaghava commentary, Hansaduta commentary and Sahgita
Narayana, Raghunatha Ratha was the writer of Natyamanarama
Sangitarnaba, Jagannatha Misra (1715-1721) was the writer of
Rasakalpadrma, Ragunatha Dasa (18th Century) was the annotator of
Vattikavya, Candu Rayaguru or Cayani Candrasekhara Rayaguru (1735)
was the writer of Madhuraniruddha Nataka, Braja Sundara Pattanayak
(18th Century) was the writer of Sulocanamadhava-campukavya and his
capable son Bakravaka Cakrapani Pattanayaka (1778 AD) was the writer
of Gundicacampu, kataksasataka, Netrasataka, Kaviraja Bhagabana Ratha
was the writer of Gundicaotsava varnana and Mrgayacampu, Rayaguru
Vasudeva Ratha Somoyajin (1800) was the writer of
Garigavarhsanucaritacampu, Kaviraja Harekrsna Purohita (18th Century)
was the write of Radhavilasa Mahakavya, Narahari Panda was the writer
of the famous Bramhaprakasika commentary of Meghaduta; Kabibhusana
Govinda Samantaraya was the writer of Suri Sarvasva Grantha;
Kavicandra Kamalalocana (18th Century) Khdagaraya was the writer of
Bajarayuvavilasa. Gopinatha Patra Kavibhusana (18th Century) was the
write of Kavi Cintamani, Lokanatha Tripati (1760) was the write of
Kavikanthabharana, Kaviratna Purohita was the writer of Pramudita
84
A) SOKTI GRANTHA
B) GITIKAVYA (LYRICS)
Sanskrit works had been destroyed. But whatever remaining works are
available, from that it appears that Orissa is very rich in this field.
For the subject matter of Gitikavya the poet does not go outside.
By using sweet and beautiful words the poet expresses his own feeling,
so that the reader becomes anxious to read it. By reading these the
reader becomes very happy.
GlTAGOVINDA
MAHANAJAKA
PROBODHACANDRODAYANAJAKA
Most probably the style of campu writing has been developed through
the inscriptions, which usually precedes the beginning of real campu
literature in 10th century A.D. Some of the important campus are dealt
with chronologically here.
'Rfci' does not mean simply "style" an expressing way. The outer
greatness of Rfci is the 'composition of famous word' and an inner greatness
of Rfci is quality. (Guna) So Rfci is mainly based on Gum (quality). In Sanskrit
literature without seeing the special difference between Rfci and ornamental
form the poet has given it a combined form.
‘ ‘*nrr
ll”15
"So that the purpose which is served by the poetic excellences and
the dramatic devices is not of generalization, it is rather that of
particularisation".20 To think about the flow of rasa which is an admixture
form of Gadya and Padya of campukavya one should take the mind of a
great hearted person, country and time in to consideration, without taking
all these matters in to consideration it will be invain an effort to discuss
about the form of campu.
Prof. Sesagiri Rao, had examined that. He had discussed about the royal
family of Paralakhemundi.22 G.Ramadasa Pantula had done evaluation of
this historical kavya in his two prabandhas.23 According to his opinion
The inspired poets of Vedic period did not think that they should be
conscious about the division or acquaintance in literature. Mainly
Tattvadarsana and Brahmadarsana were there in front of them. Just after
that kavya and Mahakavya yugas appeared there. It is possible that in
that period campu division of Khandakavya cannot be popular when kavyas
and Mahakavyas had got the importance. When the time becomes so
conscious to make clear the large body of the kavya at that time, it is
quite natural that no one is interested to show the newness in the
arrangement of the small past. At that time padya had got the importance
but Gadya had not got any importance. Of course one can see the admixture
form of Gadya and Padya style in the Vedic literature, Bandha, Jataka and
Upanisada etc. But it can be clearly said that the consciousness about the
composition of campu was not there at that time.
But regarding historical matter of campu one can see the first
example from Ramayanacampu of Bojaraja. In the view of facts one cannot
see any fixed rules in it. It appears that Bhoja's campu had not become so
popular. The Alamkarikas of ancient India are silent regarding the 'Angika'
and 'Atmika' form of campu. Bhamaha, Dandi and Vamana etc. have not
discussed about of the form of campu. For that only perhaps "/Va/a CampH'
of Tribikrama Bhanja has been accepted as the ancient campu of Sanskrit
literature. This Nala campu has been described basing the love of Nala and
Damayanti. This campu has seven ucchasass. It is known that this poet
has also written Madalasacampu. It means from 10th century AD the tradition
of composition of campu had been started. It appears that in the end of
17th century composition work of campu may be gradually broken.
There are three important places in India, which have a lot of campu-
writings to their credit. They are Vijayanagar of morden Karnataka, Tanjore
of Tamilnadu and Travancore of Kerala. Besides this there are other places
which have also their contributions to campu literature, such as -Mysore
(Karnataka), the Oracha State 30 (Orissa). Vardavana State (West Bengal)
25. Dr. Janaki Baliabha Mohanti, Oriya Gitikavya, Grantha Mandir, 1966, p. 169
26. Chaukhamba Sanskrit Series Banarasi, 1965, A.D., Grantha Drastabya
27. C.N. Tripathy, p. 12 (Prefeace)
28. S.N. Dasgupta and S.K. De., AHSL, p. 435
29. Sanskrit and Oriya
30. C.N. Tripathy, CAAA, p. 274
98
MADHAVACARITA CAMPU
HARICARITA CAMPU
GUNDICA CAMPU
GUNDXCA CAMPU
MRGAYA CAMPU
31. Infra, p.
32. H.K. Mahatab, HO, p. 331
33. N. Mishra, OSLL, p. 75
34. B. Panda, OSI, p. 183
35. N. Mishra, OSLL, p. 95
36. B. Panda, OSI, p. 188
37. Ibid, p. 188
99
BHANJAMAHODAYA CAMPU
CANDANAYATRACAMPO
GANGA VAMSANUCARITACAMPO
campuls consists of 766 verses with prose passages. It has described not
only historical facts but also geographical features like flora and fauna,
rivers, mountains navigation, voyages etc.43
From the study of this campu nobody can venture to say that, the
State of Orissa lags behind in campu literature.
GUNDICACAMPO
SAJJANANANDA CAMPU
RAMACAMPU
KISORACANDRANANACAMPU
Misra might be the first author of this style, because he belongs to 1764-
92 A. D,48
MAHANADI CAMPU
VAMANA CAMPU
PREMASAGARA CAMPU
the first time in the year 1896 at Cuttack Printing Press,57 the peculiarity
of this campu is that, it is added with 34 Oriya verses in cautisa style like
Kisoracandrananda campuof Kavisurya Baladeva Ratha.58
ACYUTANANDA CAMPO
CANDANA CAMPU
PARINAYA CAMPU
NAVAKISORA CAMPU
RAMAYANIYA CAMPO
KALIYANIGRAHA CAMPU
NILADRISA CAMPU
VIDARBHARAJA CAMPU
RAGHUNATHACARITA CAMPO
Some of the above Sanskrit campus have contained with them Oriya
verses in cautisa style.71
Thus so many literary works are lying hidden in this region without
getting proper scope to mingle with the main stream of Indian literature.
Had it not been the case, campu literature of Orissa must have come to
1. Ramayana Campu
2. Kisoracandranana Campu
3. Jhulana Campu
75
72. In this style of Oriya, the first stanza of a Oriya poem beings from the Oriya
letter ka, next stanza from kha and thus stanzas continue up to the letter
ksa. So there are 34 stanzas in a poem.
73. (i) N. Mishra, Odia Gitikavyara Bhumi O Bhumika, p. 94
(ii) K.C. Behera, KCC, p. 92
74. D. Dasa, Kavisurya Kavyavibha, p. 41
75. K.C. Behera, KCC, p.93
105
4. Vrndavanacandrananda Campu
The poet of this campu is Govinda Rayaguru of 19th century.76 There
5. Jivana Campu
6. Vrndavanacandravinoda Campu
which follows the mixim of the campu literature of Sanskrit. That means it
79
consists of both prose and verse. The poet is an inhabitant of Khandapara
of the puri district. According to J.B. Mohanty, this campu is really written
by Pitavasa Simha. But it is ascribed (Bhanita) to Mahendra Simha. The
poet6 himself has told his text as Prakrta Natya Pravanda. Like Sanskrit
drama it contains benedictory verse. Nandi and then the dialogue of
sutradhara in Sanskrit language. Just after it prose and verse composition
in Oriya follows up to the end. The prose portion of it is written in Cumaka
style of Sanskrit prose. There are 3 acts without the division of scenes.
There is no other symptom of drama. So it will be proper to say drama
instead of campu. It is assumed that when KCC of Baladeva Rathd was in
vogue in the form of lyrical drama, the poet Mahendra Simha might be
tempted to write his campu in that style. However, it is the first Oriya
campu.
7. Vanavihara Campu
8. Premalahari Campu
This is a work of Harihar Misra, which was published for the first
time in 1904 A.D. The author was the Head Pandit of Training School, Khurda
83
and an inhabitant of Viranarasimhapura of Puri district.
9. Jatiya Campu
99. Supra, p.
100. J.B. Mohanty, OGK, p. 215
101. D. Dasa, Kavisurya kavya-vibha, p. 121
102. J.B. Mohanty, OGK, p. 215
103. Siddhanatakaunudi, 3/105
104. D. Dasa, Kavisurya kavya-vibha, Pp. 44-122
109
On the whole if there was caupadi and cautisa style in the campu
Grantha by name "Kisora Chandranana Campu" but mainly it is a
campukavya. If this kavya had the collection of Oriya and Sanskrit Gadya
' and Padya still then this kavya may be of an acquaintance of method may
be an acquaintance of skill. In Sanskrit tradition also he has given more
importance on oriya poem by combining Gadya and Padya. That is successful
writing of the poet. In the later period all the campu writers in Oriya literature
are influenced by Kavisurya. In Oriya literature Kavisurya by writing a campu
in a changeable method, which pleases to others, becomes a victor of an
imperishable fame.
110
Mohapatra
11. Duipadi Damodara Campu Damodara Sahoo
12. Cangavamsanucarita Campu Vasudeva Ratha Somayaji
13. Gundica Campu Bhagabana Panda
14. Jhulana Campu Kishore Candra Rajendra
15. Jibana Campu Damodara Pattanayak
16. Jibana Campu Harihara Misra
17. Jatiya Campu Samanta Samabandhu Das
18. Jibana Campu Laimohana Pattnayak
19. Kishore Condrananda Campu Baladeva Rath
20. Kisori Bilasa Campu Nabakishore Mahanti
21. Kishori Candranana Campu Sundaramani Pattanayak
22. Mrgaya Campu Bhagaban Panda
23. Mohanananda Campu Nityananda Prakash
24. Mahima bhajana Campu Ananta Carana baba
25. Naba kisora Campu Bhagirathi Misra
26. Prem Sagara Campu Yudunatha Simha
27. Parinaya Campu Sundarsana Misra Myuyaratna
111 .
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