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Man is a cultural being. A human being is known through his cultural pursuits. Bhartrhari has distinguished a man from an animal. He has distinctively categorized the artistic revedation of the human being into three 1

specific elements which constitute the framework of culture. The cultural man reveals and relishes the flavor of Sahitya. Sangita and Kala. The man devoid of the delicate vision is a beast in bodily form. In true function of the term culture embodies these three elements which have been specified as there distinct sections of the Department of culture. In the context of the study of Jayadeva's Gitagovindam, it is in fitness of the fact thatJayadeva should be taken as a model of culture and Odishan culture in particular. His poem is an artistic and generic composition. It has uniqueness as it is the senses of Sahitya, Sangita and Kala. Poet Jayadeva's Gitagovinda had widespread influence on Indian art and literature for its mellifluous music and lyrical grace. It is unique for its high spiritual treasure of devotion and deepest philosophical truths. This epic presents very forcibly the great devotion of the poet. This glorious lyrical poem contains twelve cantos, twenty four songs along with seventy-two verses. The name of Jayadeva is most important in the panel of lyric poets of Odisha, and he is lauded as the master of sweetest lyrics in the Sanskrit language. He was a devotee of Madhava (Krsna/Visnu) and in praise of his Lord composed his immortal poem towards the last part of twelfth century A.D. Soon after its composition the popularity of the Gitagovinda rose to eminence, crossed its homeland and traveled to other parts of India. Within a few centuries the Gitagovinda was rendered into pictorial narrations and several commentaries were added to it and imitations were written by later poets. Jayadeva has adequately and abundantly expressed the tangled relationship of man and woman, their feelings and sentiments in a simple and lucid way in his verses. The musical dictation of every stanza and the felicity of expressions captivate the readers mind. The

Dasavatara and other themes taken from Gitagovinda are very popular with the beautiful paintings of typical Odishan style. Khandua, a handloom Saree with verses from Gitagovinda woven by the local weavers of Puri and nearby is still used by Lord Jagannatha, the god of Odisha. History says, it is a tested truth that if you can catch the religious thread of the Indian people, they are conquered. Jayadeva did the same and yielded the optimum to cherish the dream of Nimbark. Literature is a yugasandhi or depending upon the mundane period of years. It changes along with the period of the time. During the first period of nineteenth century two streams of Odia literature going parallel. The former was the flow of ancient and medieval poetry and the later was the new born modern poetry nourished by Western influence. The ancient stream of Odia literature was running smoothly carrying the heavy impact of Sanskrit literature till the last session of the nineteenth century. Soon after when the western influenced modern poetry was increasingly pervaded the ancient stream could not resist more. Kavisurya Baladeva Ratha may be approved as the last descendent of the ancient stream. The poets of that era presented Radha and Krsna decorated with mainly characteristics and this new style was prevailed in various forms of literature. Kavisurya, by the impact of surrounding might be bound and plated his poetic hero and heroine by the coating of modern prevailing style with full sense. During the time of Kavisurya Baladeva the indication of revolution against the following of traditional pattern of poetry was very clear. Probably his Kisoracandranandacampu was intended for a connection between the medieval poetry and modern literature. It contains thirty-eight Sanskrit verses, thirty-five prose passages in Sanskrit followed by

thirty-four odia songs in alphabetical order which are known as Caupadicautisa songs. Except the Sanskrit portion the Odia songs only are popular among all kinds of people in Odisha as the campu in fact. Replacing the full name the people of Odisha know the word 'campu' as a representative of the Kisoracandranandacampu. Through the attractive melodious songs Kavisurya has tried to back the affectionate of Odia literature towards the charm of dictional and musical poetry again. The songs of Kishore-chandrananda-champu have been continuing their popularity since its composition and the songs are approved as campu near the learners and music-lovers of Odisha. Not more to say that the Kishore-chandrananda-champu has occupied the highest position among the whole campu literature. Kishore-chandrananda-champu is a priceless property of Odia literature. Because of the extraordinary melody of songs it is incomparable in both of Odishan music and literature. Another bright Odia poet Radhanath Raya praised Baladeva as: bhavantara puni ksane kare jata | galanita gala kathare samgata || sangita avese nana rupe mana, atindriya dese kare vicarana || Kavisurya is still alive among the criticisms of Kishore-chandrananda-champu, his musical creation. It is developed both in literature and music. Kishore-chandrananda-champu is venerable through the song, music and action/dance. Among all the branches of Odia literature Kishore-chandrananda-champu is more musical. It is praised in song and to be taught in literature. Therefore it is a sweet combination of both medieval and modern Odia literature. A