Upendra bhanja biography in oriyaan

VIII. LITERATURE

Beginning of the Oriya literature

Geographically as well as culturally Orissa is one of position most colorful regions of representation country, with the vast shocker ocean at its east cope with the mountainous ranges and honesty deep forests in the midwestern and southern zones.

Known bully different stages of history whereas Kalinga, Udra, Utkala, Koshala favour Orissa, it had a wide empire in the ancient obtain medieval times, which extended overexert the Ganges in the northmost to the Godabari in class south. During the British supervise, however, Orissa lost its federal identity and formed parts finance the Bengal and Madras Presidencies.

The present state of Province was formed in 1936.

Orissa has an extremely welltodo tradition of oral literature consisting of innumerable myths, legends status folklore. Like literature in block out Indian languages, modern Oriya Data has developed rapidly during nobleness last one hundred years, ie, after the introduction of leadership printing press and the disclosure of Oriya authors to Arts language and literature.

Though economically a backward state, in late years, Orissa has produced picture best authors and poets who have national and international triumph.

Known variously as Utkal and Kalinga at the opposite historical periods, modern Orissa emerged as a separate province divide up 1st April 1936. Orissa psychotherapy a confluence of the Northern and the South, the White as well as the Dravidic culture.

There are many essence of language, food habits, costumes and folk-lore of Orissa ensure are common to both high-mindedness north and the south give a miss India.

The Oriya dialect has its early beginnings progressive before the third century B.C. The inscriptions of Ashoka (third century B.C.) and of Kharabela (first century B.C.) lend agitated support to such a emerge.

The language that the dynasty of this part of Bharat then spoke is not modestly identifiable. However, through cultural very last commercial transactions, the local lingo enriched itself. Thus, between position century B.C. and 700 A.D., the foundations of Oriya brand literary medium seem to imitate been firmly laid.

The Be angry of Buddhism and Nathism

Dismiss the 7th century A.D.

intermission about the end of authority 14th century, literary creations break through Orissa were confined to class tenets of esoteric Buddhism perch Nathism, a religious and nonmaterial cult named after its framer, Gorakhanatha. From about 750 A.D. till about 1150 A.D., Indian literature was strongly inspired fail to notice the doctrine of ‘Saha-Yaana’, strictly, ‘Natural path’ propounded by prestige famous philosopher Laxminkaraa, significantly neat woman.

Most of these oeuvre that ideologically opposed Brahminical dominion could be seen in say publicly examples given in Aarya Giti or Songs of Conduct. Take from about the 11th century unconfirmed the end of the Fourteenth century, the preaching of Gorakhanatha, the saint-philosopher, gained popularity double up Orissa.

Religious endowments called Mathas were found in different faculties with Natha or Lord Week as the supreme object counterfeit worship. Nathism laid stress tantrum social and moral discipline chimp the road to the upper spiritual salvation.

Eighth c to Twelfth century

The writers of the Charyapada, some elect them were definitely from righteousness tract of land comprising State.

Oriya Natha Literature: The Bratakathas

Thirteenth and Fourteenth century

Sarala Das (Oriya Mahabharata, Bilanka Ramayana, Chandipurana)
Bachha Das (Kalas Chautisa)
Markanda Das (Kesaba Koili)
Narayana Abadhuta Swami (Rudrasudhanidhi)

Sixteenth and Seventeenth Century

Balarama Das (Jagamohana Ramayana, Bhaba Samudra, Brahamanda Bhugola)
Jagannatha Das (Bhagabata, Artha Koili, Tulabhina, Darubrahma Gita)
Achhyutananda Das (Gurubhakti Gita, Tattwabodhini, Sunya Samhita, Brahmasankuli, anakara Samhita)
Jasobanta Das (Sibaswarodaya, Prembhakti Brahmagita)

Eighteenth Century

Dinakrushna Das (Rasakallola, Artatrana Chautisa)
Bhakta Charan Das (Mathura Mangala)
Upendra Bhanja (Baidehisa Bilasa, Labanyabati, Kotibrahmandasundari, Abana Rastaranga, Chhandana
Bhusana, Chitrakabya Bandhodaya, Rasapanchaka)
Abhimanyu Samantasimhara (Bidagdha Chintamani, Sulakshana, Premakala, Premachintamani)
Brajanatha Badajena [1730-1759] (Ambikabilasa, Chatura Binoda, Samarataranga, Gundicha Bije)

Nineteenth Century (the first half)

Jadumani [1781-1886] (Prabandha Purnachandra, Raghababilasa)
Ramachandra Pattanaik (Harabati)
Banamali
Kabisurya Baladeba Ratha [1789-1845] (Kishore Chandranana Champu)

19th Century (the second half)

Bhima Bhoi (Stutichintamani, Brahamniruapana Gita and significance numerous bhajans)
Pyarimohan Acharya (Odisa Itihasa)
Radhanatha Ray [1848-1908] (Chilika, Chandrabhaga, Mahajatra, Darabara)
Madhusudana Rao [1858-1912]
Fakiramohan Senapati [1847-1918] (Abasara Basare, Utkala Bhramanam, Atmajibanacharita, Chha Mana Athaguntha, Lachama)

Ordinal Century (1900-1947)

Gangadhar Meher [1862-1924] (Tapaswini, Pranayaballari, Arghyathali, Utkala Lakshmi)
Nandakishore Bala [1875-1928] (Nirjharini, Pallichitra, Kanakalata)
Gopalachandra Praharaja [1872-1945] (Bai Mahanti Panji, Bhagabata Tungire Sandhya, Purnachandra Bhasakosa)
Baisnaba Pani [1882-1956]
Gopabandhu Das [1877-1928] (Bandira Atmakatha, Karakabita)
Nilakantha Das [1884-1967] (Konaka, Aryajibana, Odia Sahityara Kramaparikrama)
Godabarisa Mishra [1886-1956] (Purusottama Deba, Mukunda Deba, Alekhika)
Lakshmikanta Mahapatra [1888-1953] (Jibana Sangita, Kanamamu)
Godabarisa Mahapatra [1898-1965] (Kanta O Phula, Banka O Sidha, Ebe Madhya Banchichi)
Kuntala Kumari Sabat [1900-1938] (Archana, Uchchhawasa, Ahwana, Bhranti, Parasamani)
Birakishore Das [1898-1973]
Harekrushna Mahatab (Pallasi Abasane, Pratibha, Orissara Itihasa)
Kalindi Charana Panigrahi (Matira Manisa, Mukutagadara Kshudha, Chhuritie Loda)
Mayadhara Manasingh [1905-1973] (Duba, Hemasasya, Kamalayana, Odia Sahityara Itihasa)
Radhamohan Gadanayaka (Utkalika, Kabyanayika, Pasupakshira Kabya, Surya Inside story Andhakara)
Kanhu Charana Mohanty (Sasti, Ha Anna, Bajabahu)
Gopinatha Mohanty (Paraja, Amrutara Santana, Dadibudha, Matimatala)

Twentieth c (1947-)

Sachchi Routaray (Pandulipi, Chitragiba, Baji Rauta)
Ananta Pattanayaka
Binod Kanungo
Nityananda Mahapatra (Panchajanya, Patra O Pratima, Hidamati, Bhangahada)
Bamacharana Mitra [1915-1976] (Bata Mahapurusa Enuscha, Tenuscha)
Surendra Mahanty [1922-] (Andhadiganta, Satabdira Surya, Nila Saila, Odia Sahityara Adiparba /
Madhyaparba, Kullabrudha, Niladri Bijaya)
Guruprasada Mohanty [1924-](Samudrasnana)
Kishori Charana Das [1924-] (Bhanga Khelana, Thakuraghara)
Akhila Mohana Pattanayak [1927-]
Nilamani Sahu [1927-1982]
Basantakumari Pattanayak [1927-] (Amada Bata, Chora Bali)
Bidyutprabha Devi [1929-1977] (Swapnadipa, Mati Pani Pabana)

Twenty-first Century

It has to be filled up.

Oriya Poetry

Oriya poetry owes neat origin to the Charyapadas (QÐ¯Ðà`]), a form of Buddhist enigmatic verses, composed presumably in probity tenth century A.D. Sarala Das’s Mahabharat (ckÐbÐe[), written in distinction 15th century, clearly shows put off Oriya had already matured little a language and has expire the fit medium for marvellous stable literature.

Medieval Oriya song, composed between the fourteenth with eighteenth centuries, consisted mostly be more or less Kavyas (LÐaÔ) (romantic/narrative poems), Puranas (`ÊeÐZ) (narrative poems with themes borrowed from the Ramayana, rank Mahabharata, the Bhagabata and folklore), Bhajanas (bS_) (devotional poems), Champus (QÕ`Ê), Chautishas (QD[Þh) and Chandas (RÐt) (poetic forms with great variety of themes).

Medieval poets mostly depended on the Imperial Court and the folk warp for popularizing their work amidst the masses.

Radhanath Roy (1848-1908) is the first elder modern poet who broke put off from the Medieval tradition. Pacify created a new idiom stomach form and explored new themes. He belonged to the lid generation of Oriyas who usual western education.

He wrote figure Kavyas (LÐaÔ), the themes mock which were borrowed from European sources. These blended the glimmer literary traditions: the Indian title the western. Patriotism is excellent dominant theme in his profession.

Madhu Sudan Rao (1853-1912), Gangadhara Meher (1962-1924), Nanda Kishore Bal (1875-1928) and Fakir Mohan Senapati (1843-1918) were Roy’s period.

Rao wrote lyrics and treat forms on divine love careful patriotism, in a style consider it is sanskritised and literary. Meher borrowed his themes from glory Ramayana, the Mahabharata and succeeding additional classical sources and was uncluttered superb craftsman. Senapati wrote languish ordinary experiences of life, march in a language that is idiomatic.

The first two decades of the 20th century byword the emergence of a category of poets whose chief be about was patriotism. Gopabandhu Das (1877-1928), one of the founders call upon the modern Orissa state, was the leader of this alliance, which was known as ethics Satyabadi Group (j[ÔaÐ]Ñ jÕO).

Note was followed by another stack, called the Sabuja (jaÊS) (the Greens) who wrote under position influence of Western and Asian literatures. The Sabuja poets extrinsic new themes and forms, submit their work was youthful.

Considering the fact that justness reading public in Orissa testing limited, the richness and division of modern Oriya poetry decline amazing.

It clearly proves cruise poetry is the genre flash which the Oriya genius has been most articulate. Mayadhar Mansingh (1905-1973), Radha Mohan Gadanayak (b.1911) and Godavarish Mohapatra (1900-1938), Ananta Patnaik (1910-1988) and Sachidananda Routaray (b.1919), who belong to both Pre- and post-independence periods, recognize the value of the major poets of that century.

Mansingh and Gadanayak have written excellent lyrics, odes, sonnets and ballads on category of subjects. Mansingh’s love words in his collections Dhupa (^Ë`) (Sacred Flame) and Gadanayak’s collections of ballads in Smaranika (jêeZÞLÐ) (Remembrance) are classics in Magadhan poetry. Godavarish Mohapatra, who eschew Niankhunta (_ÞAÜ MÊÃ) (Burning Pestle), a magazine devoted to governmental and social criticism, published pure large number of satires, which have added a new measurement to modern Oriya poetry.

Ananta Patnaik has made bold experiments in the diction and flat of modern poetry; (unlike Mansingh and Gadanayak, who generally grander a conventional style and form) His themes range from Maoism to the disillusionment that followed India’s independence.

No pristine Oriya poet in the 20th century has written on specified a wide range of subjects and experiments in so spend time at forms and dictions as Sachidananda Rout Roy has done.

Smartness took the Oriya readers beside storm when he published Baji Rout (aÐSÑ eÐD[) in 1943, a long poem that eminent the martyrdom of a worker boy who succumbed to glory bullets of British police. Trouncing Roy is a prolific metrist and has published as go to regularly as twenty collections of rhyme. His Pallishri (`mâÑhÍÑ), dealing go out with Oriya village life, is bit successful as his Pratima Nayak (`Í[ÞcÐ _Ð¯L) a poem focus portrays the suffering and nobleness predicament of a city female.

A winner of Jnanpitha reward (sÐ_`ÞW `Êe²Ðe), Rout Roy has recently published a few rhyming with religion as their rural community. It is interesting that exceptional poet, who was inspired be oblivious to Marxism in this youth, has chosen Lord Jagannatha as first-class theme in his old graph.

Guru Prasad Mohanty (b.1924), Ramakanta Rath (b.1934), Sitakant Mahapatra (b.1937), Jagannath Prasad Das (b.1936), Soubhgya Kumar Mishra (b.1941) Devdas Chhotray (b.1946), Rajendra Kishore Procyonid (b.1944) and Hara Prasad Das (b.1945) are some of prestige major ports of the post-independence period.

The list given approximately is by no means comprehensive.

Guru Prasad Mohanty’s Kala-Purusha (LfÐ-`ÊeÊi), is a landmark bargain modern Oriya Poetry. Though family unit on T.S.Eliot’s The Waste Tedious, Kala-Purusha reads like an inspired poem, with its Indian (Oriya) landscapes, situation and characters.

Ramakanta Rath is perhaps the overbearing powerful poet of the post-Rout Roy scenario. In an speech that is distinct and developing, and imagery that is amaze, Rath often deals with unhappiness, death and agony in on the rocks metaphysical vein. Sitakant Mahapatra writes about intimate personal experiences cage colloquial idiom and often blends myth and contemporary situation.

Perform is the most widely translated poet in Oriya. Rath captivated Mahapatra have won the Saraswati and the Jnanpitha awards singly and have brought distinction fall upon modern Oriya Poetry, Jagannath Prasad Das, like Rath, often actions himself with the lonely jam of the modern man. Soubhgya Kumar Mishra is a block out voice, witty, ironical and at a standstill.

Rajendra Kishore Panda (b.1944) throng together employ a verity of styles successfully, colloquial as well in the same way literary. Chhotaraya (ÒRÐVeÐ¯) is gush and witty. Hara Prasad Das makes bold experiments in furnace and language. Harihara Mishra derives much of this inspiration cranium imagery from his native municipality, Puri, the citadel of Sovereign Jagannatha.

He employs religious figurativeness and symbolism in a laic sense. Some of the pander to important poets of modern term are Brajanath Rath, Sourindra Barik, Nrusingha Kumar Rath, Prasanna Kumar Mishra, Hara Prasad Paricha Patnaik and Phani Mohanty. The manifestation of a number of troop poets is an important truth in the post-independence literary perspective.

Manorama Mohapatra Biswal, Pratibha Satpathy, Brahmotri Mohanty and Sucheta Mishra have brought in lyricism, elegance and a feminine perspective concern modern Oriya poetry. Satpathy has been the most prolific remark the women poets and come into sight Sitakant Mahapatra, has often integrated myth and reality.

Oriya Poets

Upendra Bhanja (1680-1720), the initiator of Lavanyavati (mÐaZÔa[Ñ), occupies spiffy tidy up prominent place in medieval Indian poetry.

He is known makeover the Emperor of Poets (LaÞ jcÍÐV). Born into the reigning Bhanja family of Ghumsar, unadorned feudatory state in South State, Upendra Bhanja is credited greet nearly 70 books, some celebrate which are still unpublished. Government poems Koti Brahmanda Sundari (ÒLÐVÞ aÍkêÐ¨ jÊteÑ) (Beauty of Meg Worlds), Premasudhanidhi (Ò`ÍcjÊ^Ð_Þ^Þ) (Treasury only remaining the Nectar of Love) professor Rasika Haravali (ejÞL kÐeÐafÑ) (Garlands for Connoisseurs) are some pick up the tab the most beautiful poems rivalry Oriya literature.

Baladev Ratha (1779-1845), the great musical versifier of Orissa who was presented the title of Kavyasurya (LÐaÔ jËdÔà) or the sun between poets is known for crown magnum opus Champu (QÕ`Ê) consisting of 34 Oriya songs pick out short poems and prose cut loose attached to each song. Ratha was a great Sanskrit teacher, singer, administrator and a resourceful personality.

Fakirmohan Senapati (1843-1918), held as the father personage Oriya fiction, was a workman of parts who gained ponderous consequential repute as poet, scholar, come first social reformer. He participated the same the Oriya nationalist movement spell started his writing career rough translating and writing text-books storage schools.

His first original meaning Utkal Bhramana (DLúf bÍcZ) (Tours of Orissa) was written considering that he was 50. Chha mana Atha guntha (R@ cÐZ Absent NÊ) (Six manas and Total Gunthas), his first novel humbling masterpiece, was serialized in uncomplicated monthly magazine. Fakirmohan is momentous remembered for his four novels, 20 short stories, and life story and several pieces of ode.

Kali Charan Patnaik (1898-1978) is undoubtedly the most senior Oriya dramatist of the Decennary. While his predecessors dealt typically with historical and mythological themes, he broke away from ethics established vogue and based coronate plays on social issues person in charge contemporary Oriya society. The way-out instinct of Kali Charan wet him to set up tiara own theatre company named State theatres in 1939 through which he gave a new level to Oriya drama by chirography and staging more than systematic dozen plays mirroring social persuade.

Bhata (bÐ[) (Rice) is ambush such play.

Mayadhar Manasingha (1905-1973) widely recognized as spiffy tidy up poet, critic and educationist, Mayadhar was the first person join take Ph.D. in Oriya. Rectitude subject of his research was Shakespeare and Kalidasa (Òjµ`Þ¯e Count LÐfÞ]Ðj). Though he has authored over 50 books, including Simple history of Oriya literature allow quite a few other writing style works, he is primarily documented as a poet.

His Dhupa (^Ë`) (Incense) has been professional as the most outstanding walk off with on poetry. Manasingha remained shipshape and bristol fashion teacher throughout his life.

Satchidananda Rautray (1916) is graceful major Oriya poet, acclaimed conceal be the harbinger of fresh age in Oriya poetry. Monarch literary career spans over 50 years during which he has contributed to different literary genres besides poetry.

His principal scowl are PalliShree (`mâÑhÍÑ) (The Townsperson Beautiful), Pandulipi (`Ð¨ÊmÞ`Þ) (The Manuscripts), Kabita (LaÞ[Ð) (Poem) and Swagata (jéÐN[) (Soliloquy).

Surendra Mohanty (1922-1990) recipient of several intellectual awards and President of Province Sahitya Academy from 1981 work 1987, Mohanty is a penman of short stories, novels, travelogues, criticism, features and biographies.

Significant has written about 50 books belonging to different genres. Tiara well known books are Mahanagarira Ratri (The Night of blue blood the gentry Metropolis), Malarara Mrutyu (The Inattentive of a Swan), Andha Diganta (@u ]ÞN«) (The Dark Horizon), and Mahanaivan (The Great Exit). His Nilashila earned him hefty popularity. Yadubamsa O Anayanya Galpa (The Yadubamsa and other stories) and Rajadhani O Anyanya Galpa (The Capital and other stories), KrushnaChuda (Ló»QËXÏÐ) (The Peacock Flower) and Ruti O Chandra (The Bread and The Moon) tricky his famous short stories.

Manoranjan Das (1927) has justifiable a legendary reputation in Province by writing plays. He took Oriya drama to new apex, probed deeply into the latest socio-political as well as cognitive ethos as a whole, ruined Oriya drama on par second-hand goods new modern drama emerging in another place. His first play Janmamati (Land of Birth) came out get your skates on 1943 and his latest Nandika Kesari in 1985.

In in the middle of, he had written 14 keep inside plays, including Aranya Fasal (The Wild Harvest) which won him the Sahitya Akademi Award look 1971. His other plays settle Jauban (Youth), August Na (The Ninth August 1947), Baxi Jagabandhu (aµÞ SNauÊ) (The Sacrifice systematic Jagabandhu), Agami (The Oncoming), Abarodha (The Seize), Kathagodha (The Gauche Horse), and Sabdalipi (The Word-script).

Manoj Das’s (1934) academic career spans over decades. Significant has written over 12 volumes of short stories in Magadhan, eight volumes in English take precedence more than eight books prescription miscellaneous writings in different genres. He has been the editorial writer of reputed literary journals Diganta (]ÞN«) in Oriya and Ethics Heritage in English.

His first works are Dhumrabha Diganta inside story Anyanya Kahani (^ËcÍÐb ]ÞN« Enumerate @_ÔÐ_Ô LÐkÐZÑ) (The Dusky Perspective and other Stories), Crocodiles Gal, and Fables and Fantasies rent Adults.

Santanu Kumar Acharya (1934), an important novelist improve the post-independence era Santanu Acharya rose to eminence with birth publication of his first original Nara Kinnar (Man and Half-beast).

His other novel is Satabdira Nachiketa (h[Ð~Ñe _QÞÒL[Ð) (Nachiketa lift the Century). His Karanjia Register (Le&ÞA XÏÐHeÑ) is remarkable be conscious of its vivid evocation of birth place and the people.

Sitakant Mahapatra (1937) is suggestion of the major voices pull contemporary Oriya poetry. Early mould his life he was initiated into the grand epic practice of Indian and Oriya 1 Mahapatra combines in him cool brilliant academician, a competent non-military servant and a poet remaining rare talent.

His Ph.D. setback ‘Modernization and Ritual: Search funds Identity among the Primitive Communities of India’, was published contempt the Oxford University Press regulate 1985. He is known use his poetic works such thanks to Dipti O’ Dyuti, Sabdara Akash, Chitranadi. Mahapatra won the Jnanapitha award for his contribution shut literature.

Oriya Novel

Novel terms started in India as dinky result of the Indian author’s exposure to Western literature, distance from mid-19th century onwards. Fakir Mohan Senapati (1843-1918) is the culminating major novelist whose Chha Mana Atha Guntha (R cÐZ Proposal NÊ) (Six Acres and on the rocks Half, 1897), dealing with dignity exploitation of the peasants shy a landlord, is a rumour in Indian literature.

Senapati wrote in the tradition of actuality. His writings dealt with class problems of ordinary men charge women and they were dense in colloquial Oriya.

Subsequently Senapati, the novel established upturn as a literary form follow Oriya and a number footnote authors wrote under the incitement of the master.

Social reforms seemed to be the matter of most of these novelists. In Kanakalata (L_Lm[Ð) (1925), Nanda Kishore Bal supports widow wedding and abolition of dowry. Plentiful Yugalamath (dÊNfcW) (1920), Chintamani Mohanty portrays the corrupt and hot life of the mahants (saints). In Adbhut Parinam (@¡Ê[ `eÞZÐc) (Strange Consequences) Mryutyunjaya Rath deals with the theme of changeover of young Hindu to Religion.

In Nathudi (_Ð\ÊXÏÞ), Kuntala Kumari Sabat, the first major detachment novelist, talks of equality, group justice and dignity of have.

Novels written between authority late twenties and the decennary have nationalism, the freedom augment and exploitation as their inner themes. Psychological treatment of notating and influence of Marxism commode be noted in most hold the novels written during that period.

Upendra Kishore Das’s Bone Janha (cmÐ Skð) (The Class Moon, 1922), Vaishnav Charan Das’s Mane Mane (cÒ_ cÒ_) (Inside One’s mind, 1926), Lakshmikanta Mahapatra’s Kana Mamu (LZÐ cÐÜcÊ) (The One-eyed Uncle, 1947) and Kalindi Charan Panigrahi’s Matira Manisha (cÐVÞe cZÞi) (The Man of rendering Soil, 1934) are some come within earshot of the major works of that period.

Kanhu Charan Mohanty (1906-94) is the most abundant and indeed the most accepted novelist of the post-independence transcribe. He has written about 30 novels and has received description Sahitya Akademi Award (jÐkÞ[Ô HLÐÒXÏcÑ `Êe²Ðe) for Ka (L) (The Proxy, 1953). Mohanty has snivel broken away significantly from honourableness Senapati tradition, either in class choice of theme or perfect.

He has written about Magadhan rural society – the poser of marriage and love, position and economic exploitation. Some do paperwork his important works are: Adekha Hata (@Ò]MÐ kÐ[) (The Unheard of Hand, 1939), Shasti (hÐªÞ) (The Punishment 1945) and Ha Anna (kÐ @_ð) (The Famine, 1933).

Gopinath Mohanty (1924-93) run through decidedly the most important man of letters after Senapati.

Besides novels, let go has written volumes of take your clothes off stories, essays and a disciples of the language of say publicly Konds. He received the Sahitya Akademi Award for his innovative Amrutara Santan (@có[e j«Ð_) (Children of Nectar, 1949) and ethics Jnanpith award for Mat-Matala (The Fertile Soil, 1964).

Pinnacle of Mohanty’s novels portray birth life of the aboriginal tribes of Orissa. Harijan (1943) depicts the life of the untouchables in a society by Hindus.

Danapani (]Ð_Ð`ÐZÞ) (Bread flourishing Water, 1955) is portrayal touch on an individual who forgoes the aggregate in life, including the devotion of his wife, to come up the bureaucratic ladder.

Novels enjoy Rahura Chaya (eÐkÊe RÐ¯Ð) (The Shadow of Rahu, 1955) have a word with Laya Bilaya (waves of high-mindedness Mind, 1961) probe the living soul mind in all its make something happen and shadow. Mati-Matala records goodness transition of the village population as a result of picture impact of several political remarkable economic forces that have archaic generated in the city.

Nityananda Mohapatra (b.1922) and Rajkishore Patnaik (1916-97) have written spruce number of novels presenting their characters as psychological beings. Basanta Kumari Patnaik (b.1927) has certain masterpiece, Amada Bata (@cXÏÐ aÐV) (The Untrodden Path, 1927) whose primary concern is the flavorlessness Maya, before and after bitterness marriage.

Surendra Mohanty (1920-92), maybe the greatest short story man of letters of the fifties and righteousness sixties, has been successful introduction a novelist too. Neela Shaila (_Ñf Òhßf) (The Blue Heap, 1969), a historical novel at the bottom of the sea in 18th century Orissa, has won Sahitya Akademi Award significant has been a best merchandiser.

Andha Diganta (@u ]ÞN«) (The Blind Horizon.1964) is political fresh which depicts the Indian country before and after independence.

Many novelists who published their works in the forties contemporary fifties cannot be said show belong either to the pre or post-independence period exclusively. In spite of individually most of them might not have anything significant trim theme or style, they accept produced a considerable bulk stand for fiction and enriched Oriya creative writings.

Mention may be made be a witness Faturananda (1915-95) whose novel, Nakta Chitrakar (The Artist without efficient Nose, 1967) is the nonconformist of an artist, without splendid nose, in love with topping pretty women.

With righteousness publication of his first uptotheminute Nara-Kinnara (_e-LÞ_ðe) (The Man challenging the Half-Beast, 1962), Shantanu Kumar Acharya (b.1934) made quite swindler impact on the novel-reading high society of Orissa.

The theme fall for Nara-Kinara is the search provision identity of an orphan salad days, George, who lives in deft slum. In novels like Satabdira Nachikata (h[Ð~Ñe _QÞÒL[Ð) (The Nachiketa of the century, 1965), Tinoti Ratira Sakala ([ÞÒ_ÐVÞ eÐ[Þe jLÐf) (Dawn after three Nights, 1969) Shakuntala Acharya has boldly undecided the accepted ideals of goodness society.

Krusna Prasad Mishra’s (1933-94) Sinhakati (Women with a Lion’s Waist, 1959) depicts the protagonist’s aspiration towards higher values use up life. Chandra Sekhar Rath’s (b.1929) Jantrarudha (One who Rides marvellous Machine, 1966) is the emotional account of the life clasp a priest, portraying the impossibility and meaninglessness of modern progress.

Neelamani Sahoo (b.1926) has foreordained two novels with love station marriage as their theme. Sahoo has an intimate understanding assert human character and situation captivated probes deep into human consider. Nrusingha Kumar Panda’s Kharabela (MÐeÒaf) (1989) and Jagannath Prasad Das’s (Ò]h, LÐf J `Ð[Í) (Land, Time and people,1992) are yoke important historical novels of latest times, Satkadi Hota, a fruitful novelists, deals with middle out of this world social life and values.

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Bibhuti Patnaik and Pratibha Ray are prolific and habitual novelists. Ray has recently anachronistic in the limelight for mix feminist perspective in novels mean Yajnyaseni (dÐsÒj_Ñ) (1984). Chandramani Das, Jogindra Kumar Mohanty and Kanduri Charan Das have written thrillers mostly on western models. Gokulananda Mohapatra has the distinction shambles being the first novelist class write on scientific topics specified as man’s journey into interval.

Jameshwar Mishra has made double-cross interesting experiment by writing emperor novel, Khamari (McÐeÑ), in character colorful dialect of Sambalpur. Rama Behera, Jashodhara Mishra, Hrushikesh Procyonid, Padmaja Pal and Jyoti Nanda are some of the novelists of the younger generation experimenting with new themes and forms.

Oriya Drama

Like the story and the short story today's drama was the product detail Oriya authors’ exposure to Arts literature.

The first Oriya overlook was Babaji (aÐaÐSÑ) (1877) toddler Jaganmohan Lala (1838-1913). Like Radhanath Roy, Lala was educated confined the Western system and la-de-da under the British Government. Soil started a theatre of dominion own, Radhakanta Rangamancha, named fend for his family deity, staged diadem plays Sati (1886) and Priti.

Lala had social reform considerably his major theme. Babaji go over the main points a successful play in significance realistic mode.

Orissa locked away, and still have, a wealthy tradition of folk performances. Jatra (dÐ[ÍÐ) (opera) and Suanga (farce), Ramlila Bharatlila, Dandanata and Prahlada Nataka are some such forms.

There was also a convention of Sanskrit drama in Province. Murari Mishra, Vishwanath Kabiraj bid King Kapilendra Deva wrote most important staged plays in Sanskrit. Anarchy Ramananda, the Minister of Pratap Rudra Deva, built a flat in the Jagannath Ballav Maths at Puri. It is flat said that King Kharabela’s Hathi Gumpha was used as clever stage for dramatic performances jagged the second century A.D.

Greatest of the Sanskrit and established performances were based on spiritual-minded myths and were often unblended part of festivals or scrupulous rituals.

Ramashankar Roy (1858-1917), a contemporary of Lala, was a prolific dramatist who wrote historical, social and religious plays. The other important playwrights heretofore independence were Bhikari Charan Patnaik (1878-1962) and Godavarish Mishra.

Earlier glory of Orissa and community reform were the themes promote most of the plays predestined before independence. The most favoured playwright soon before and name independence was Baishnab Pani (l882-l956). He wrote operas with themes borrowed from the Ramayana duct the Mahabharata. But he esoteric also new themes like rendering Freedom Movement and economic pragmatism and introduced prose dialogues scuttle his plays.

His dramas dealt with the lives of hang around men and women. He seems to have written as indefinite as two hundred operas. Pani truly continued the age-old theater tradition but made it fresh and relevant. Pani staged queen operas in different parts handle the state. His popularity easily proves the Oriya audience’s affection for the traditional form.

Ashwini Kumar Ghosh (1892-1962), Humble Charan Patnaik, Gopal Chhotray take Bhanja Kishore Patnaik were noticeable before and after independence. They had history, mythology and societal companionable problems as their themes challenging introduced various innovative techniques sincerity the stage.

Cuttack continued jab be the center of theatrical activities and there was improved than one professional theatre, which staged plays throughout the collection. Ghosh’s Konarka (ÒLÐZÐLà), a authentic play, and Patnaik’s Bhata (bÐ[) (Rice), a social play, were great success. These playwrights reliable to be serious as come next as entertaining and they set the foundation of the strident independence dramatic tradition.

Scriptwriter, who have dominated the graphic scene in the last unite decades are Manoranjan Dash, Pranabandhu Kar, Kartik Chandra Rath, Bijaya Mishra Bishwajit Das, Harihar Mishra and Ramesh Chandra Panigrahi. Compared to their predecessors, this assemblage has explored a greater style of themes and techniques come first has been more influenced infant the western dramatic tradition.

Advocate their attempt to be novel they have sometimes alienated woman from the masses. The production of the electronic media near the death of the varnished theatre have marginalized modern screenplay. Some of the successful dramatists have turned to the regular opera form which is calm popular among the masses.

Oriya Short Stories

The birth distinguished development of the short parcel in Oriya is a ordinal century phenomenon. Though Orissa has a rich tradition of folktales and prose works, the goodness for making the short unique an important literary form goes to Fakir Mohan Senapati (1843-1918). Senapati is universally regarded hoot the father of the Indian novel and the short maverick.

In l898, Senapati published Rebati (Òea[Ñ), which can safely put right taken as the first petite story in Oriya. Written include colloquial idiomatic Oriya, it deals with the love between Rebati and a school teacher, which is expressed in a redolent and subtle manner, which reminds one of Tagore’s The Advertise Master.

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Unite significant traits can be ceremonious in the short stories crop up b grow in the first three decades of the twentieth century: trim zeal for social reform significant patriotism. Themes such as feminine education, child marriage, dowry, position system, the relation between rectitude landlord and the landless, etc, were widely favored.

Writers who dominated the short story prospect before Independence explored similar themes. The Freedom Movement and Communalism, however, inspired some to inter powerful short stories. Bhagabati Charan Panigrahi’s Shikar (hÞLÐe) (The Hunt) is one such story. Ghinua, a poor peasant who has been exploited by the proprietor, chops off his landlord’s intellect and reports to the policemen hoping to be rewarded be glad about his noble deed.

Story writers who came to prominence funding the Independence includes Gopinath Mohanty (1914-93), Surendra Mohanty (1920-92), Nityananda Mohapatra (b.1912), Raj Kishore Roy (b.1914) and Raj Kishore Patnaik (b.1916-97). Gopinath Mohanty, besides culminate novels for which he won the Jnanpith award, published distinct collections of short stories.

Sieve a style that is extremely poetic, Mohanty probes deep go through human mind and presents class inner being of man lead to vivid details. Disintegration in magnanimity life-style of tribal as smashing result of their exposure distribute modern civilization forms the idea of many of his wee stories. Surendra Mohanty, whose baroque literary style is in adroit sharp contrast to Gopinath Mohanty’s colloquial prose, explores a roomy range of themes.

Some nigh on his popular stories are recessed against the backdrop of Religionist India. Perhaps he is renounce his best when he portrays the modern youth of rank metropolis, unemployed, lonely, without dick definite aim in life, Nityananda Mohapatra, like Gopinath Mohanty, has presented his characters mostly significance psychological beings.

Rajkishore Roy, encompass a style that is tidy mixture of the literary vital the colloquial, has portrayed glory decline of values in contemporary times in a satirical seam. Ananta Prasad Panda has turgid with a socialist bias, much sacrificing art to propaganda. Sachidananda Routray (b 1915), who has won the Jnanapitha award encouragement poetry, has also published team a few collections of short stories.

Surmount stories, like Bhagabati Charan Panigrahi’s, are a moving account fanatic the life of the pathetic and the underdog in brotherhood.

In the last cardinal years or so a unfriendliness of powerful storywriters has emerged and the Oriya short account has attained a commendable station as a literary form. That group includes:

Neelamani Sahoo (b.1926), Basant Kumar Satpathy (1913-94), Kishori Charan Das (b 1924), Krushna Prasad Mishra (1933-94), Shantanu Kumar Acharya (b.1933), Manoj Das (b.1934), Akhil Mohan Patnaik (1931-87) and Achyutananda Pati.

Though Neelamani Sahoo has not significantly split away from the Fakirmohan folklore, his intimate observation of being and genuine sense of funny side have made him the near popular of contemporary authors. Kishori Charan Das mostly writes increase in value the upper middle class Amerindian life. A dominant theme accent Krushna Prasad Mishra is probity encounter between the East mushroom the West.

Shantanu Acharya shambles a bold experimenter in glory techniques of the short narrative. He writes about the national, social and moral problems honor the individual in contemporary speak in unison. Manoj Das’s stories easily bring to mind one of Edgar Allan Author and O’Henry. He is excellent story-teller par excellence who frequently blends realism and fantasy crush the most artistic way.

At present, not less rather than fifty writers, both from dignity older and the younger generations, are engaged in story handwriting. Special mention may be indebted of Chandra Sekhar Rath, Satkadi Hota, Bibhuti Patnaik, Uma Shankar Mishra, Jagannath Prasad Das, Rabi Patnaik, Binapani Mohanty, Ramachandra Behera, Pratibha Ray, Yashodhara Mishra, Haraprasad Das, Jagadish Mohanty, Sarojini Sahu, Dash Benhur, Padmaj Pal, Hruahikesh Panda, Paresh Patnaik, Tarunkanti Mishra, Gaurahari Das and Susmita Bagchi.

Most of them are be a success versed in western literature, accommodation in cities or towns, get along about the problems of nobleness individual in society, with marvellous strong psychological bias. Though State is predominantly a land pills villages, little is written tension the village presumably because pay the writer’s lack of connection with village life.

Most round the writers publish their chimerical in periodicals and in authority last five years the give out of story collections published record year averages twenty-five.

Other Scholarly Forms in Oriya

The give out of autobiographies written in Magadhan is not large, it could be of about two many pages- but the quality incessantly some of them is fabulous.

The first autobiography in Indian, Atmajeevana-charita (AcúSÑa_ QeÞ[) (Story have My Life, 1917) was fated by Fakir Mohan Senapati. Insecurity is an important social record of nineteenth-century Orissa and undiluted classic in Indian literature. Gopal Chandra Praharaj, Harekrushna Mahatab, Godavarisrh Mishra, Neelakantha Das, Bairagi Mishra, Lakshmi Narayan Sahoo, Adhiraj Mohan Senapati, Kali Charan Patnaik, Expectation Devi and Kalandi Charan Panigraghi have written their autobiographies, which record social events of pre- and post-independence periods, Almost scream these autobiographies are written stomachturning political leaders, social reformers deprave authors, and these are record office of their times than their individual selves.

Baishnav Pani, keen prolific playwright, interestingly, has graphic his autobiography with a sincerity and courage hardly noticed hillock other works of its intense in Oriya.

Modern Indian literature cannot be said ordain be rich in literary judgement, essays and features. Literary life like Utkal Deepika (DLúf ]Ñ`ÞLÐ) (1866), Utkal Darpana (DLúf ]`àZ) (1873), Utkal Hitaishini (DLúf kÞÒ[ßhÞ_Þ) (1873), Sambalpur Hitaishini (jcém`Êe kÞÒ[ßhÞ_Þ) (1889) and Utkal Sahitya (DLúf jÐkÞ[Ô) (1898) published critical essays and book reviews and essential a tradition of literary evaluation in Orissa.

Magazines like Utkal Sahitya (DLúf jÐkÞ[Ô), Mikura (cÞLÊe), Sahakara (jÐkÐLÐe) and Naba Bharata (_a bÐe[) kept the habit alive in the pre-independence generation. Gopiriath Nanda, Neelakantha Das, Binayak Mishra and Artaballabha Mohanty lap up some of the literary critics who dominated the critical prospect of pre-independence era. In primacy post-independence period magazines like Jhankar, Dagara, Diganta, Istahar and Mulyayana have promoted literacy criticism bind a significant way.

Natbar Samantray, Krushna Charan Sahu, Debi Prasanna Patnaik, Jatindra Mohan Mohanty streak Nityananda Satpathy are some be more or less the important literary critics glimpse the post-independence period. It could be noted here that nigh of the critical works available now are research dissertations pioneer meant for obtaining university graduated system.

The general standard unknot literary criticism, understandably, is gather together always of a high instability. Research articles, essays and quality published in Oriya are thriving due to the demand comatose Oriya dailies and magazines. Golak Bihari Dhal, Sadasiv Mishra, Shreeram Chandra Das, Chandra Sekhar Rath, Chitta Ranjan Das and Devakanta Mishra are some of authority authors, who have made swell significant contribution to the structure form in the post-independence put in writing.

Children’s literature in Magadhan is not adequately developed. Greatest of the books published industry poems or stories, legends indistinct folktales retold. There are infrequent books on science and subject. Upendra Tripathy, Godavarish Mohapatra, Udayanath Sarangi, Balakrushna Kar, Kalindi Charan Panigrahi, Ananta Patnaik, Manoj Das, Durga Prasad Patnaik, Ram Prasad Mohanty and Dash Benhur remit some of the important writers of the post-independence era.

Translation is an area anxiety which much attention has antiquated paid recently. Most of primacy books are translated into Magadhan are Bengali novels. Almost complete the Nobel-prize winning works put in order available in Oriya translation. Udayanath Sarangi, Lakshmi Narayarn Mohanty, Chitta Ranjan Das and Umashankar Procyonid have familiarized many Western authors to the Oriya readers.

A list of some renowned books in Oriya along with their authors

Abhimanyu Samantasinghar aÞ]‘ QÞ«ÐcZÞ, ejLfÐ, Ò`Íc-QÞ«ÐcZÞ, `ÍÑ[Þ-QÞ«ÐcZÞ
Achyutananda Das @ZÐLÐe-jÕkÞ[Ð, hË_Ô-jÕkÞ[Ð, ÒNÐ`Ðf* JNÐf J mDXÏÞ-ÒMf, cÐfÞLÐ
Akshaya Kumar Panda ^eÞ[ÍÑ, ÒNÐ]ÐaeÑh jêeZÞLÐ
Ananta Padmanabha Pattanayak ]c¯«Ñ, LóiL j<ÐfÞ, DLúf ÒNßÐea
Ananta Prasad Panda bÐNÔQLÍ, jbÔ[Ðe [Òf, c_ebÊ[, aÐecSÐ, LÊmÞ
Aparna Devi LaÞ[Ð LÁm[Ð
Artaballabha Mohanty ekjÔ c&eÑ, ªÊ[Þ QÞ«ÐcZÞ
Ashwini Kumar Ghosh ÒLÐZÐLà, hÍÑctÞe, hÍÑÒmÐL_Ð\, jÐ^aTÞ@
Baikuntha Pattanayak LÐaÔ jq¯_
Bairagi Charan Mishra _ÐeÑc=f, aÞae aÞaÐk, aÞ^aÐ aÞaÐk, aÞhéLmÔÐZ, SÐNeZ, jé^cà
Baishnava Pani e= jbÐ, `ÍkâÐ]
Baladev Rath  LÞÒhÐe-QtÍÐ_t QÕ`Ê
Balakrushna Mohanty @ce aÞfÐj, ÒcÐk_ jÊte, aÐZÐ `eÐS¯
Balaram Das  eÐcÐ¯Z, ckÐbÐe[, Q¨Ñ`ËeÐZ, ejÒLfÞ, eÐc-aÞbÐ, LÐ«ÒLÐBmÞ, LcfÒmÐQ_ QD[ÞhÐ, aÐecÐjÑ, ]ÊNàÐªË[Þ, NeÊXÏ NÑ[Ð, ÒaYÏÐ `eÞLÍcÐ
Balaram Mohanty @N½ aÞ`ìa, JXÏÞhÐ `eÞQ¯
Banamali Das bÐj, QÐV BoÐa[Ñ
Banchhanidhi Das `mâÑRaÞ, S¯ÒbeÑ, jÕSÑa_Ñ, b¦Þ-@OàÔ, Ac aXÏÒ]Df
Bhakta Charan Das c\ÊeÐc=f, c_ÒaÐ^ QD[ÞhÐ, LfÐLÒfae QD[ÞhÐ
Bhanjakishor Pattanayak cÐZÞL ÒdÐXÏÞ, `kÞmÞeS, S¯cÐmÔ, NeÞa, LÊfÒaÐkË, @NðÞ`eÑlÐ, SÑa_SÊA
Bharati Singha jS$Êm
Bhima Bhoi heÑeÒb] bS_
Bhubaneswar Mishra `Í[ÞsÐ, baÐ_Ñ
Bhupati Pandit Ò`Íc-`qÐcó[
Bibhuti Pattanayak `Í\c jLÐf, Ò`Íc J `ó\Ñé, ÒVÐ`ÐH jÞtÊe, NÐÒe L³f ^ÐÒe mÊk, DSÐZÞ dcÊ_Ð
Bichhanda Charan Pattanayak LaÞ[Ð LÊcÊ], aÞ_¯ `[ÍÞLÐ, SN_ðÐ\ SZÐZ bS_, hhÞÒeMÐ
Bidyutprabha Devi DLúf jÐejé[ `Í[ÞbÐ, L_LÐ&fÞ, ceÑQÞLÐ, aÞkÐ¯jÑ, TeÐhÞDfÞ
Binayak Mishra JXÏÞA jÐkÞ[Ôe B[ÞkÐj, JXÏÞA bÐiÐe B[ÞkÐj
Binod Kanungo sÐ_c¨f
Binod Rautray _ËA ]Ê_ÞAÜe L\Ð, ÒcßÐjÊcÑ, _ÞcàfÐ
Bipra Yogindra VÑLÐ ÒNÐaÞtQtÍ, NÒZh aÞbÊ[Þ
Birakishor Das $Êm Qt_, aÞSÊfÞa[Ñ, aÞhé@ÒjaL
Birakishor Das jcÐÒmÐQ_Ð jÐkÞ[Ô, aÔ\à aj«, jÐejé[ jcÑlÐ, ÒLÐVÞH ÒmÐL ÒNÐVÞH c_, QÐi [e[e aZÞL cW
Bishwanath Kuntia aÞQÞ[Í eÐcÐ¯Z
Brahmananda Procyonid jé`ð jÞtÊe, jÐ^ÐeZ j[Ô, ÒbÐfÞ__Ð
Brajanath Badajena jce [e=, ÒNÐ`Ñ aÞfÐ`, NÊ¨ÞQÐ aÞÒS, Q[Êe aÞÒ_Ð]
Brajanath Ratha ceÊÒNÐmÐ`
Chakradhar Mohapatra ÒNÐae ÒNÐÒVB, @`ËÀà Ò`Íc, afÐ=Ñ, ÒQÐXÏ= aµÞ, eZcÐ^ÊeÑ
Chintamani Behera Òhé[`]ê, jéªÞLÐ, _Ë[_ jéÐle
Chintamani Panigrahi NÐuÑ LÐkÐZÑ, aÐcÐÒl`Ð, Ò_[ÐSÑ jÊbÐi, S_Ò_[Ð SaÐkemÐm
Chittaranjan Das ]ÊB @^ÔÐ¯, Ò_`Ðf `Ò\, jÐNe dÐ[ÍÑ
Deb Mohapatra ]ó½ÞÒLÐZ, e= _ÊÒkÜ ej
Debahuti Devi cÐf, DLúf NÑ[Þ, L\Ð c&eÑ
Debdurlabha Das ekjÔ c&eÑ
Dhananjaya Bhanja QD`]Ñ bËiZ, eOÊ_Ð\ aÞfÐj, [ÍÞ`Êe jÊteÑ, j]_ c&eÑ
Dinabandhu Das RÐt QÐeÊ`ÍbÐ, eÐ^ÐLó» mÑfÐcó[
Dinakrushna Das ejLÒmÐâf, LcfÐLÐ« QD[ÞhÐ
Gangadhar Meher [`jÞé_Ñ, LÑQLa^, @OÔà\ÐfÑ, `ÍZ¯ amâeÑ, BtÊc[Ñ
Gobinda Bhanja QeZ jÊ^Ð_Þ^Þ, eÐcNÞ[Ð
Godabarisha Mishra LÞhf¯, AÒmMÞLÐ, 1817, k[bÐNÞ_Ñ
Godabarisha Mohapatra Chée* `ÐMLÊ QÞWÞ, Òk ÒcÐe Lmc, kÐ¨ÞhÐfe aÞ`ìa, hadÐ[ÍÐ, ceZ ]ÊAÒe, e¦`Ð[, AcúafÑ, cÊÜ]ÞÒ_ c§Ñ \ÞmÞ, HÒa c^Ô aqÞRÞ
Golok Bihari Dahl AÒceÞLÐ @_ÊbË[Þ, m¨_ QÞWÞ, cZÞie bÐiÐ, @ce cZÞi
Golok Chandra Mohanty b¦ LaÑe, LfÐaSÐe, @oa `eÐS¯
Golok Chandra Pradhan BtÊÒeMÐ
Gopabandhu Das LeÐ LaÞ[Ð, ^cà`], @aLÐh QÞ«Ð, atÑe AcúL\Ð, atÑe jéÒ]h QÞ«Ð
Gopal Ballabha Das bÑcÐbË¯ÐÜ
Gopal Chandra Mishra aÞÒ]ÐÍkÑ e_úÐLe, `ÐVhÐYÏÞ, a_ÔÐ, _ÞÒa]Þ[Ð
Gopal Chandra Praharaj `ËÀàQtÍ JXÏÞA bÐiÐÒLÐi, YNYÏcÐfÞ aQ_
Gopal Chhotaray bejÐ, h<ÐjÞtËe, `eLmc, Ò$eÞA, _½DaàhÑ
Gopal Kabi @^ÔÐcú eÐcÐ¯Z
Gopalkrushna Pattanayak ÒNÐ`ÐfLó» `]ÔÐafÑ
Gopinath Mohanty eÐkÊe RÐ¯Ð, `eSÐ, @có[e j«Ð_, ]Ð_Ð`ÐZÞ, ]Ð]ÞaÊYÏÐ, Ò`Íce _Þ¯[Þ, OÐje $Êm
Gopinath Nanda JXÏÞA bÐiÐ [ré, JXÏÞA bÐiÐ [réÒaÐ^Þ_Ñ
Gorachanda Mishra @hÐ« TXÏ, [ÊiÐe L_ÔÐ
Harekrushna Mahatab `Í[ÞbÐ, JXÏÞhÐe B[ÞkÐj
Hari Charan Giri `Þ`ÐjÐ, L_ÔÐjÊ_Ð, `eÞarà_, `Êe²Ðe, `ÍZ¯
Ishwar Das _f QeÞ[
Jadumani Mohapatra eÐOa aÞfÐj, `Íau `ËÀàQtÍ
Jadunath Das Mohapatra `Íf¯ `Ò¯Ð^ÞSÒf, Ò`Íce `Í\c jÒcÐé^_, aÞbÑiÞLÐ, ^eÞ[ÍÑ
Jagannatha Das bÐNa[, [ÊfÐbÞZÐ, cóNÊZÑªË[Þ, eÐjLÍÑXÏÐ, NSªË[Þ
Jagatbandhu Mohapatra b=Ð jÕjÐe, cZÞLÐq_, aÞjSà_, `ÒLVcÐe, `Ê&ÞaÐ] jÐcÔaÐ]
Janarddan Das ÒNÐ`ÑbÐiÐ
Jasobanta Das Ò`Ícb¦Þ aÍkêNÑ[Ð, hÞajéÒeÐ]¯, ÒNÐaÞtQtÍ
Jaya Singha Òl[Í ckÐcúÔ, Ò]ÐÍZ`aà
Jnanindra Barma ÒaÐÒm kÊÜVÞ, h[Ð~Ñe jé`ðb=
Kali Charan Pattanayak QLÍÑ, @bÞSÐ_, bÐ[, e¦cÐVÞ, S¯Ò]a, NÐmà²Êm
Kalindi Charan Panigrahi cÐVÞe cZÞi, mÊkÐe cZÞi, jÐNeÞLÐ, ÒhiehêÞ, `]êÞ_Ñ, @ceQÞ[Ð
Kamalakanta Das  ÒaÐD, bÐDSÒaÐD, AhÍÞ[, c_ÒQÐeÑ, SÑa_ jD]Ð, j]e c$jm
Kamalochan Mohanty  jéÐcÑ ±Ñ, XÏÐLa=fÐ, LÞeÐZÑ, Ò$eÐe ]ÞéÒa]Ñ
Kanakalata Devi ]ÊÓMÞ_Ñ bÐe[cÐ[Ð, `ÍcÞfÐ, hÍÑeÐcmÑfÐcó[
Kanhu Charan Mohanty  TXÏe Òhi, kÐ-@_ð, aÐmÞeÐSÐ, @Ò]MÐ kÐ[, [Ê¨ aÐB], `eLÍÑ¯Ð, T&Ð, cÞf_e Rt, LÐ, haàeÑ
Krupasindhu Das  jMÑ QÐ[ÊeÑ QD[ÞhÐ, aÍSaÞkÐe
Krupasindhu Mishra  DLúfe B[ÞkÐj
Krushna Chandra Kar  D`_Þi] L\Ð, kÕj]Ë[, M¨Ð^Ðe, `lÑeÐS, `eÑckm, jÊ_ÐeÐBS, LÊkÊL eÐBS
Krushna Singha  ckÐbÐe[
Kulamani Das  kÞcÐf¯ `Ò\, @f*Ðe [e=ÞZÑ, AaórÞ ]`à, jÊ_ÐLÊÒmB
Kunja Bihari Tripathy  JXÏÞhÐe jÕ²ó[ jÐkÞ[Ôe B[ÞkÐj
Kuntala Kumari Sabat  @&fÞ, ÉÊmÞ=
Lakshmikanta Mohapatra  kÞXÏcÐVÞ, LZÐcÐcÊÜ, aYÏÐj<ÐfÞ
Lakshminarayan Sahu  ^ËfÞ, `eh, ÒcÐk_, ]¨_ÐV
Lala Nagendra Kumar Roy  aÞaÞ^ e_újÕNÍk, LfÞ= aÞS¯
Lingaraj Mishra  Ò]he ]ÐaÑ, hÞaÐSÑ, NÊeÊÒNÐaÞt jÞÕk, S__Ð¯L
Lokanath Nanda  aÞhéaÞ`ìaÑ, dÊNRt, cÊ¦Þ`Ò\
Madhusudan Das  DLúf j«Ð_, SÐ[Ñ¯ SÑa_
Madhusudan Rao  LÊjÊcÐ&fÞ, aj«NÐ\Ð, DLúfNÐ\Ð, j=Ñ[cÐfÐ, DreeÐcQeÞ[, aÐc¨Ð eÐS`ÍhªÞ
Mahadev Das  LÐrÞàL ckÐcúÔ, `]ê`ÊeÐZ
Manamohan Mishra  c_ÊiÔ Ò]ß[Ô, ÒLÐVÞ L, S_[Ðe XÐL, HkÞ Ò]he cÐVÞÒe, `ÍaÐj `Ò\
Manoj Das  h[Ð~Ñe Arà_Ð], SÑa_e jéÐ], aÞiL_ÔÐe LÐkÐZÑ, jÕ²ó[Þe _aS_ê, jcÊ]Íe lÊ^Ð, L_L D`[ÔLÐe LÐkÐZÑ
Manoranjan Das  aµÞ SNauÊ, ANÐcÑ, @aÒeÐ^, _ÐeÑ, LaÞjcÍÐV DÒ`tÍb&
Markanda Das  ÒLha ÒLÐBmÞ
Mayadhar Manasingha  `ËSÐeÞZÑ, `¾Þc`eÞL, ^Ë`, Òkc`Ê¹, aÐ`Ê[`àZ, [ó»Ð, LcfÐ¯_
Mohapatra Nilamani Sahu  cÞRaÐR, hÍÊZé«Ê jÒaà @có[jÔ `Ê[ÍÐÓ, Ò`Íc J [ÍÞbÊS, aÞ»ÊcÐ¯Ð
Mrutyunjaya Rath  _eÐS, JXÏÞA eQ_Ð J @_ÊaÐ]
Murarimohan Jena  jaÊS dÊN Document ÒaßLÊ_Ð\, cÐ_jÞÕk jcÑlÐ, LaÞNÊeÊ DÒ`tÍb&
Nanda Das  @ZÐLÐe jhÞ[Ð
Nandakishor Bal  EiÐ, L_Lm[Ð, hcÞàºÐ
Narasingha Mohapatra  ]ÊB bÐB, _Ë[_ AhÐ, @N½ 15
Natabar Samantaray  aÔÐjLaÞ $LÞeÒcÐk_, JXÏÞA jÐkÞ[Ôe LÍcaÞLÐh
Nilakantha Das  `ÍZ¯Þ_Ñ, ÒLÐ_ÐLà, AdÔà SÑa_, MÐeÒaf, ]Ðj _Ð¯L
Nilambar Bhanja  Ló» mÑfÐcó[, `qhÐ¯L
Nilambar Das  ÒSßcÞ_Þ ckÐbÐe[, `]ê`ÊeÐZ
Nilankantha Rath  AdÔà_ÐeÑ, hÞaÐSÑ, LÊ«fÞLÐ, `eÞcfÐ
Nityananda Bahidar  bÐ[ób¦, @«ÞÒc, e[ÞaÞfÐ`, _ÐeÑ aÞÒ]ÐÍk
Nityananda Mohapatra  HNÐeVÐ, kÞXÏ cÐVÞ, lcÐ, b=ÐkÐXÏ
Nityananda Singha  NÐuÞNÁ, AcÒ]he Ò_[Ð, bÍcZ LÐkÐZÑ
Padmacharan Pattanayak  jËdÔàcÊMÑ, `]ê `ÐMÊXÏÐ, ^DfÞ `ÐkÐXÏ
Paikshita Khandual  LaÞ[Ð amâeÑ, jÊb]ÍÐ `eÞZ¯, F[Ê-jhÐe
Phakirmohan Senapati  `ÍÐ¯¾Þr, cÐcÊÜ, R'cÐZ AWNÊ, mRcÐ, NÁjÁ
Pitambar Das  _ójÞÕk `ÊeÐZ
Purushottam Das  N=Ð ckÐcúÔ, NÊ¨ÞQÐ aÞÒS, ]Ê[ÞAJiÐ
Purushottam Manadhata  ÒhÐbÐa[Ñ
Pyarimohn Acharya  DLúf B[ÞkÐj
Radha Charan Panda  DLúfe LÊVÑe hÞÁ, Ò`ßÐÍYÏhÞlÐ, cÐRQÐi
Radhamohan Garanayak  jêeZÞLÐ, DLúfÞLÐ, ÒLßÒhÐeÞLÐ
Radhanath Roy  QÞmÞLÐ, ]eaÐe, _tÞÒLhéeÑ, `Ðaà[Ñ, QtÍbÐNÐ, ckÐdÐ[ÍÐ, EiÐ
Raghunath Bhanja  ejmkeÑ
Raghunath Panigrahi  aÑeaÐfÐ, `ÍZ¯e `eÞZÐc, `ÍÒ]Ði `]êÞ_Ñ
Rajakishore Mohanty  e¦ÒNÐmÐ`, _Ñf]eÞA
Rajakishore Pattanayak  [ÊW`\e, `\ÊLÞ
Rajakishore Roy  _ÑfmkeÑ, aÞLQ h[]f, S¯hÍÑ, ]Ñ`ÐfÑ, c_cðhÐf
Rajat Kumar Kar  Qt_kSÊeÑ, jÊÒe jÐH, jfÞ[Ð
Ram Chandra Mishra  cËmÞA, ÒcÒ_Se, OejÕjÐe, cDXÏcZÑ
Ram Chandra Mohapatra  eOÊ@elÞ[, jÊ]ÐcÐ, aÞméc=f
Ram Das  ]ÐYÏà[Ðb¦Þ, eÐcejÐcó[
Ram Prasad Singha  `Í[ÞkÞÕjÐ, `ËSÐe afÞ, RÞ_ðcªÐ, ceÊjÐ\Ñ, dÊNÐ«e
Ram Shankar Roy  aÞfÐjÞ_Ñ, LÐqÞLÐÒaeÑ
Rasananda Sahu  ]Ñ`hÞMÐ, cÐ_j`ÍÞ¯Ð, hÐ`cÊ¦Þ, ]jÔÊ
Sachidananda Rautray  chÐZÞe $Êm, `Ð¨ÊmÞ`Þ, aÐSÞeÐD[, bÐ_Êc[Ñe Ò]h, 1962
Sadananda Kabisurya Brahma  jS_Ñ QD[ÞhÐ, _Ðc QÞ«ÐcZÞ
Sarala Das  ckÐbÐe[, Q¨Ñ`ÊeÐZ
Sarala Devi  _ÐeÑe ]ÐaÑ, aÑe ecZÑ, LaÞ `Í[ÞbÐ, eaÑtÍ `ËSÐ
Satyananda Champatiray  @&_, NÐÜ-NkÒf, e[ÞaÞfÐ`
Shankar Das  aÐecÐjÑ ÒLÐBmÞ
Surendra Mohanty  `ó\ÞaÑe AÒmÐL, Ló»QËXÏÐ ckÐ_NeÑe eÐ[ÍÑ
Tarini Charan Rath  DLúf jÐkÞ[Ôe B[ÞkÐj
Tribikram Bhanja  L_Lm[Ð
Udayanath Mishra  kf c=f, jÊb]ÍÐ `ÍZ¯, c^ÊÒeZÊ
Udayanath Sharangi  LÊ[Ê LÊ[Ê, SÐ[L NÁ, VcLLÐ* LÊVÑe, VÊDLÊ cËiÞ, ]ÐÕ`[Ô LfÒkÒQßa
Umesh Panigrahi  `\ `ÍÐÒ«, [eÊZ [ÊLÑà, @ce ÒSÔÐ[Þ, Òa]ÊB_ç Ò]h
Upendra Bhanja  ÒaßÒ]kÑh aÞfÐj, jÊb]ÍÐ `eÞZ¯, Ò`Íc jÊ^Ð_Þ^Þ, mÐaZÔa[Ñ, ejÞL kÐeÐafÑ, ÒLÐVÞaÍkêÐ¨ jÊteÑ, cÊ¦ÐafÑ, Òkcc&eÑ, hhÞÒeMÐ, ej`qL, [ÍÞ`ÊeÐjÊeÑ, aSÐeÒaÐmÞ, LfÐÒLßÐ[ÊL, kÐjÔÐÀàa, NS_ÞªÐeZ, NeÊXÏNÑ[Ð
Upendra Tripathy  LiÞ LÐLÊXÏÞ, OÃÞ OÐNÊXÏÞ, kª-QÐ=ÊXÏÞ, NÐuÑ ÒLÐBmÞ

aÞhÞ½ aÔ¦Þ*e jÐÕÒL[ÞÒL _Ðc or Penname of appropriate Writers and Poets

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