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3.3 Tradition of Campu literature Hundreds of campus have been written in Sanskrit. Among them 46 were written in the South-India. Number of Campus are seen in South-India because the authers have got the patronage of kings, emperors and the bhakti cult was wellspread in that region. The bhakti movement has encouraged the development of campu. From the 6th / 7th cent. Sanskrit campu literature has developed.13 Not only in ancient India but also in the other contries like China, Ireland social stories of heresay nature in the world are found in mixed of prose and poetry. In Odisha also many campus were written in Sanskrit. The style of cautisa and campu are united and the Kisoracandranandacampu of Kavisurya which is an ideal poem of Odisha in this context. 14 According to Behera, K.C.. Before Kavisurya Baladeva Ratha only a few campus were available in Odisha but after him probably 10 or more than 10 campus has been written. So no doubt Kavisurya has established and popularized the style of campu which was written both in Sanskrit and Odia. In Odisha campus are not available before 18th cent. But in India campu writing had started from the 6th cent. Kavisurya's Kishore-chandrananda-champu is widely known as caupadi-cautisa by the natives of Odisha. The caupadi means a poem having four stanzas. Its first quarter is known as dhruva or ghosa, the second quarter is antara, the third one is sancari and the fourth one is abhoga or bhanita. Caupadi-cautisa is a harmonious combination of two literary trends in Odia literature. The composition of cautisa, a poem 15 13. Behera, K.C., Kisoracandranandacampu, p.90 14. Benerji, P., Evolution of Sanskrit lyric poetry of Odisha, p.146 15. Behera, K.C., Kisoracandranandacampu, p.92 93

consisting of 34 couplets from ka to ksa successively, is an unique creation of Odisha which is rare in other parts of the country.16 But in this caupadi-cautisa only the letters like ca, bha, va, ma, ksa are written in caupadi style. The other letters are having five to seven-steps. So it will be better to say this poem as giticautisa in spite of caupadi-cautisa. But the popularity of this campu as a caupadi can't be ignored. 17 According to Janaki Vallabha Mohanty- The diction of combining Sanskrit campu with Odia songs is established in the Odia literature after the Kishore-chandrananda-champu 18 The presence of campu in Odia literature was discussed by Pandit Banambara Acarya for the first time. He explained that - It was written in the Sangitaratnakarah that from the six integral parts of the Prabandha, if any two are found in a poem that is known as Taravali. The other name of that poem is campu.19 In this context Gaurikumar Brahma opines - "I think according to the rhetoricians the writing of prose mixed with poetry should be in one language. I have not seen a campu having two or more than two languages". 20 But it is proved by the introduction of Nalacampu that campu can be written in different languages or by mixing of more than two languages. 21 Kavisurya has written the Kishore-chandrananda-champu by mixing the Sanskrit with the Odia language and he has not done any prohibited or blamed work. According to Trinatha Pattanaik- "Kavisurya had started writting the campu in Sanskrit by proselines and verses. Then he added 16. Benerji, P., Evolution of Sanskrit lyric poetry of Odisha, p.146 17. Behera, K.C., Kisoracandranandacampu, p.112 18. Chatterji, S.K., Kavisurya Baladeva Ratha O Kisoracandranandacampu (Odia), p.6 19. Ibid, p.7 20. Ibid, p.9 21. Ibid, p.9 94

"22 34 Odia songs alphabetically having five to six steps." Therefore that campu may be regarded as a cautisa. According to S. K. Chatterji - "As per the definition, characteristics and form, the Sanskrit portion of the Kishore-chandrananda-champu is exactly considered as campu. The Odia songs do not come under the campu indeed. In Odisha only the Odia songs are popularly known as campu among all kinds of people. 23 The poet has enriched the work with the srngara-rasa, arising out of the game of love between Radha and Krsna maintaining the raga and tala, language and rhyme together in a dramatic style. The artistic structure of the poem shows that it is not a common ordinary creation. The essence of a story is expressed by the prose portions. For the clear understanding of the emotions prose and poetry both are required. Baladeva has written the Kishore-chandrananda-champu by following this truth. The cautisa of campu is associated with different Ragas and Raginis. Therefore, the campu songs are giving pleasure to the ears. Probably Kavisurya is the founder of this tradition because most of the later campu poets have followed the diction of Kavisurya. 25 The father of Kavisurya had written two campus named Sajjanananda campu and Ramacampu. Father's impact on Baladeva is accepted by the scholars. There is no special relation of the Sanskrit verses of Kishore-chandrananda-champu with the Odia caupadis. The caupadis are named after the king Balunkesa Haricandana where as the Sanskrit verses are the own intelectual property of the poet.26 The most striking feature which has influenced Kavisurya to add songs in Odia having Ragas and Raginis, is 22. Patnaik, T., Ed. Kavisurya Granthavali, p.46 23. Chaterji, S.K., Kavisurva Baladeva Ratha, p.13 24. Das, Dasarathi, Kavisurva Baladeva Ratha, p.29 25. Behera, K.C., Kisoracandranandacampu, p.96 26. Pattnaik, T., Ed. Kavisurya Granthavali, p.46 95

surely the popularity of Jayadeva's Gitagovinda, as he had added such Sanskrit song along with the verses in traditional classical metres.