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It has been observed by critics that the carya and vajragitis of the mahayani Buddhists evolved in the eleventh-twelfth century as religio-devotional songs and they were sung with classical raga or tunes. The Prabandha of Jayadeva's Gitagovinda is a remarkable contribution to Indian music. In the 12th 13th century some Sanskrit padagitis like Gitagovinda were composed with lyrical style and aesthetic sentiments. The Gitagovinda is a nibaddha-prabandha-gana like another text of the 13th century work, Srikrsnakarnamrta. 16 13. Acarya, B.C., Vicara O Vivecana, p.56 14. Mishra, K.C., Ed. Kisoracandrarandacampu, p.129 15. Svami Prajnanananda, Historical development of Indian-music, p.82 16. Ibid, p.218 206

: Till the twelfth cent. the odisi classical music has laid its foundation but with a limited publicity. The Abhinavagitagovinda, an imitation of Gitagovinda was composed by Purusottamadeva, the king of Odisha in the 15th cent. (A.D.1466-1497). This was written by his court poet Kavicandra Raya Divakara Misra dedicated and named after his master the ruler of Odisha. 17 In this text 59 ragas are used within the ten cantos of the poem. The author has combined the classical ragas with the contemporarily practiced tunes and rhymes in the locality and indicated a large number of musical ragas. 18 After the composition of Gitagovinda the musical systems were excellently improved between the 12th and 15th centuries. Some such musical treatises might be existing at that time, which are not available now. Jayadeva might have accepted the ragas of his requirement but an expert lyric and musician like him, he might have took some more tunes or even a particular raga for each song, from such a treatise. This proves the limited prevalence of classical music and its system at that time. But the time of Kavisurya was quite developed in musical or lyrical poetry. Many observations prove that Kavisurya was a famous poet and an expert musician. He was also a singer of classical music and an excellent composer of different ragas, both the classical ragas and local compositions prevailed during his time. 19 The time, in which Kavisurya was born, was the prosperous period of odia riti-age when the literature was established by the tradition set by Upendra Bhanja, Abhimanyu Samantasimhar and others. The poetry was ornamented and 17. Panda, R.N., Orissa's contribution in Sanskrit lyrics, p.130 18. Ibid, p.134 19. Behera, K.C., Kisoracandranandacampu,p.124 207

rested on the political courts. The poets of that time nourished the literature by the combination of imaginary description with the divine characters like Rama and Krsna and with more preference to the later. Following the tradition they created Sanskritised poetry to get publicity and royal recognition with the hope for better appreciation of their poetic talent and art.20 After the end of last Hindu king of Odisha, Mukunda Deva, for two and half of the centuries, Odisha has lost her political freedom. Thus it was ruled by the Mughals, Afgans and the Marathas. After the three decades of the death of Caitanya, the great Vaisnava devotee, Odisha due to lack of a stable political power, divided into many little semi-independent provinces. The local ruling personalities declared themselves as kings and their small regions were announced as states. 21 During that situation all the kings established their administration and ruled like emperors. They welcomed the intellectual discussion and composition of poetry which was a part of the routine of the royal courts. The kings protected the poets with land grants and awarded them with other property like gold, cows, services by courtiers etc. The poets also tried to please the king and the poetic compositions were named after the king. This is well-proved by the literary works written on the history of Odia literature, three centuries (17th, 18th, 19th) may be regarded as the expansion of the said literature. There was an outburst of Vaisnavic love and devotion which reached a fine climax in the 19th century with its end with Gopalakrsna (another blessed Vaisnava poet of Odisha's) compositiors.22 20. Acharya, B.C., Vicara O Vivecana, p.52 21. Manasinha, Mayadhara, A History of Oriya literature, p.102 22. Ibid, 103 208

The people of Odisha were scattered in four different provinces. Their literature alone was their national life. 23 Musical speciality of the riti-age is the sole property. of that era. Though the riti-poetry had certain short-comings but their musicality made them immortal forever. The vast chanda literature of that period is a major contribution to the people of Odisha which is achieved through the tradition of the right of succession. For the composition through the metre or bondage by the chandas the riti-poetry is also known as the chanda-kavya. Towards the middle of riti age the technique of chanda has changed into the musical pattern. The traditional chanda and vrttas were replaced by the sastriya-ragas which marks a clear impact of Jayadeva's introduction of raga-samgita in the Gitagovinda 24 Baladeva Ratha was the poet of lyrical generation. During that time each poem was composed under musical settings. New musical system ushered in by the mixing of local composition with the textual rules of music. The Odisi system was influenced by the Karnataki system by a commandable degree. 25 It is for the administrative dependance of south Odisha on the Madras presidency for many. years. Kavisurya faithfully followed the tradition of his time and proved his superiority by own composition through the musical ethos. He had mastery over both the sastriya-ragas and the local folk songs at the same time which were much developed in those days. This is known from his magnum-opus Kishore-chandrananda-champu