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The poetic imagination is fruitful on the base of ornamentation Kavisurya has given importance to the ornamentation of poetic figure than the excellence of the poetic soul. The subject matter is general and small but the style of expression gives the poet a special position among all the other poets of his age.Kavisurya gave up the alamkaras like slesa, yamaka, etc. and he adopted the self-expressing alarkaras like upama, rupaka etc.By this system he enriched the major sentiment of the campu,that is erotic. Kavisurya is a poet who is much fond of alliteration. His allitertaions of sound of letters throw the speak of poetic beauty. The anuprasa and it's varieties are frequently found in the campu. This is the highest used alankara by the poet. 4.2.4.1The Upamalamkara. In the third verse Krsna is compared with a new by emerging cloud. 34 Krsna is happy after seeing Lalita as a poor fellow becomes. 35 glad after getting gems. Radha expresses her pleasure like the newcoming leaf of her happiness-creeper. Her pleasure is compared to the ray of light in a dark room, droplet of rain for a dry seed, as the moonbeam for night and as the 36 realization of god for the saint. Radha avoids the anklet which follows the 33. srimadbhyamanyo'nya lavanyalola .... namonamah | dambhasambhrtisamujjrmbhana mantarena vilambamanavalambya bruhi savisrambham jivami va katidinanyathava tapinchasakhisakhayamuvandhanamamgi karisyami | 34. pratyagra mudiramedurah samutkata/ Kishore-chandrananda-champu, v.3 35. dinascintamaninam/ v.8 36. bhutiradya sakhi... yati cittavrtterbrahmananda dhareva sampratam mamatvamasi, v.21 along with the prose passage 130

sounds of victorial drum of Kamadeva. 37 The humming of drones compared to the benediction song. 38 These are some comparisons of the Sanskrit portions only. The whole work is filled up with this upamalamkara. There is a sequence of Malopama in the prose part between the 20th and 21st verse (quote from p 246 lines 3,4,5). 4.2.4.2 The Atisayokti: The success of introspection refers to this category of alamkara. This is also known as hyperbole. 39 In the third verse Radha explains about the glow of blue-gem which she looked around her and by which her pain of heart is increasing by force. 40 Lalita says to Krsna that to get the star from the sky may be possible but to make Radha positive towords Krsna is impossible. Radha is more eminent then the stars. 41 Krsna explained the figure of Radha as a moveable golden puppet. 42 The wonderful effect of playing the flute is described in the prose passage of thirtyfifth verse. 4.2.4.3 The Rupakam: The glow of Krsna looks as if it is the blue lily, blue-gem and the new cloud. 44 The mistakes of Radha pains her like the arrow. The 45 comming of Lalita is like the rain on the dry field for Krsna which is described in the prose lines of verse eight.46 The sweet words of Lalita serve Krsna as a 37. vijayadindimadambarabalambi caranamandanam nihsrutya/ v.25 38. arabdhanangamangalasamgita madhukaranikara, v.26 39. Kane, P.V., Ed. Sahityadarpanam, p.154 40. sthaeirjyam tat prabhrti skhalatyapi valat / v.3 41. viyatastaradhika Radhika / v.11 42. kancanamayi samcarini pancalika / v.10 43. caracaradhairya vidhuamsini... babhuba / v.35 44. Kishore-chandrananda-champu v.3 45. smarana sara visa rasara prayoga sirnasaram/ v.5 46. taptamkura kedaram prati vrstyeba/ prose passage of v.8 131

boat to cross the ocean of grief. 47 The thought of Radha enters in her heart like. Radha 48 a spear. The look of Krsna is like a moveable arrow made for a blue lily.' 49 4.2.4.4 The Vyatireka: Lalita says the hardness of Krsna is more than the Vajra 50 or the thunder. Th glow of Radha and Krsna blames the glazing gold and blue-gem.51 4.2.4.5 The Nidarsana: Lalita says no one bride can stay without exhilaration after seeing the charm of moveable peacock feather. So Radha should not see that. 52 4.2.4.6 Others: 54 The insects which rest on fire feel the pain till death and like those the woman who rest on Krsna will feel very much pain. 53 Here the combination of upama and svabhabokti create the samkara-alamkara. The natural description of dawn is the svabhabokti-alamkara. The humuorous words of the companions of Radha present the virodhabhasa-alamkara. Krsna says that the merciful 55 persons always try to remove other's grief without idleness. This is an expression of arthantaranyasa-alamkara. At many places the combination of 47. drdham navyani bhavyam taruni taranim te mrdhugiram / v.12 48. santata cintaruntudakurtamukhagra dalita/ prose passage of v.23 49. etasyeksnakona viksna valannilara vindasuga/ v.35 50. nisthuraguna kulisaru paduchi vali/ song 'na' 51. camikaraprakara pitamayukha lekha, nilotpalansumayam/ v.27 52. sprustva cancalacandrakancala camatkara kramam caksusa/ kavasmin putabhedane navavadhurekapyasoka bhavet// v.4 53. krsnam krsnavartmanamiva salabharaji rasritya tvadrsam vamabhruvam / passage of v.22 54. amandananda piyusa nisyanda... / proseline of v.30 55. yatvam sirisangalate sahethanalijana linganampyagadham/ anilaratnargalayugma ruddha, saibatvamasih kathamadya kastali/ / v.31 56. durgata-janavargopakarajanya punya yasopavarga nirgatalasanisarga hi dayalabo hrdyalabah// prose passage of v.14 132

more than one alamkaras create the samkara-alamkara. Not only the Sanskrit compositions but the Odia songs also rich with poetic embellishment. Among the thirtyfour song each line can be an example of one alamkara. Since it is not a critical study of Kishore-chandrananda-champu only, therefore a few examples are quoted here. To enjoy all the poetic embellishment other critical editions of Kishore-chandrananda-champu may be followed. 4.2.4.7 The Chandas{metres}: For the thirty-eight verses the poet has used nine metres. The name and numbers of verses are like this: Names Sragdhara Sardulavikriditam Sikharini-Vasantatilaka Sl. Number of verses (6,1,6,8,16,33) (1,3,4,5,7,9,11,13,18,22,,23,24,35) (0,2,12,20,26,29) (0,10,14,17,27,28,37,38) Anustup--- (2,15,34) Vamsastha- (0,19) Indravajra- (0,21,25,31,32,36) Arya------ -(4,30) The poet has used these metres as suitable for the subject matter and poetic sentiment.