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The poet has tried to keep his poem above the conciousness of his 1. Acharya, B. C., Vicara O vivecana (Odia), p.30 2. Mishra, S.N., Baladeva Ratha, Sahitya sadhana () siddhi (Odia). p.124 3. Mishra, K.C., Ed. Kisoracandranandacampu, p.103 4. Panigrahi, S.N., Kavisurya Baladeva Ratha, Krti O Krtitva, p.105 5. Behera, K.C., Kisoracandranandacampu, p.132 6. Manasinha, Mayadhar, A History of Oriya literature, p.132 123

contemporary age and expressed the short and simple theme in a dramatic manner. Like others Kavisurya filled his poem with major literary merits like the rasa, riti, guna, dvani and the alankaras. 4.2.1 The rasas: We find five sentiments more or less in the campu. The prevalence of the erotic sentiment is felt throughout the kavya. Baladeva has described the sentiment of love as per the requirement of the time and situation. Though the love play of Radha and Krsna is described in the campu but the poet carefully blended the erotic sentiment by the both aspects of it i.e. sambhoga and vipralambha to make it interesting.³ 4.2.1.1 Treatment of sambhoga srngara : This phase is described within the social discipline and he has crossed this stage with much care and artistry. An eloquent creation like Kishore-chandrananda-champu should not be limited within a particular system of poetry. Every connoissure has the right to enter and accept this poem. For that Kavisurya has given the manly touch to the divine characters and prepared an earthly play like any other 9 kavya. The poet used all his poetic energy to express the erotic sentiment through the sambhogasrngara [love in union]. misila cari locana variruha madanu labhila cari milila syama gaura dui mahal madhupa yuva labhila aba navasarasiruhal 7. Nanda, G.C., Contribution of Odishan authors to Sanskrit campu literature, p.145 8. Dasa, Kulamani, Ed. Kavisurya Granthavali, p.61 9. Behera, K.C., Kisorcandranandacampu, p.116 124

...mahamodapravaha. madhu madhura vadhu-adhara | kisoravara radanambaral vimba cumbana cunkruti svana mela| mrudu manmana dhvani janana kalati kroda khela | mahendra mani valaya sreni ratila hoi lola | monojna catu piyusamaya misrita heu heu samayal mara mahatva gala ki nahi hela samsaya dola / Kishore-chandrananda-champu ma song The same context continued in the 'ya' song where Krsna in his catukti tells to Radhayosavara re, yatharthare, jana mu tohara rel yamalabhudhara-nibhapayodhara maradania cakara rel The four eyes of Radha and Krsna were united along with the glow of the figure. A young drone had got a fresh lotus. No difference remained between the gross body of the divine lovers. The three sattvika-bhavas¹潞 i.e vaivarnya, asru and murccha left the place of union and the first five vikaras[alteration] remained with them. The mind of both were flooded by the prevailing erotic sentiment of pleasure and the full emotional overtures in consummation of love. This union of the Purusa and Prakrti released the inhabitants of the three worlds [tribhuvana] from thier vicious activities. The poet 10. See glossary for detail 125

again describes the impact of that divine union as; that prevailed as fragrant as that lotus crushed by an elephant, the moonbeam as the glow of a lime stone, the song of a cuckoo was heard which is the companion of the spring and exciting for the lovers. The tinkling of ornaments started and that sound broke the conscience. Whether the sweet murmuring conversations between Radha and Krsna has reduced or improved the credit of Kama has remained as a matter of doubt for the poet. The divine flowers were showered by the dwellers of the heaven over that forest. The sweet sound of mrdanga and other musical instrument were heard everywhere. The divine beings started dancing. Baladeva followed the tradition of riti age where eroticism was a major element of poetry. Though he gave importance to that sentiment but he explained with very much control under the veil of Rupakas and avoids rustic language."1 Kavisurya brings celestial quality in Radha and Krsna while drawing the picture of the union of the nature and the almighty respectively.12 4.2.1.2 Treatment of vipralambhasrngara. In the campu the mental conflict of Radha and Krsna due to the witty dispositions of the lady companion Lalita, is seen in the form of vipralambhasrngara or erotics in separation." 4.2.1.3 Different stages of vipralambha: For depicting Purvaraga stage the poet has taken the help of six stages of ten Kamodasas :- 11. Chatterji, S.K., Ed. Kavisurya Baladeva Ratha O Kisorcandranandacampu, p.55 12. Nanda, G.C., Contribution of Odisha authors to Sanskrit campu literature, p.116 13. ibid, p.116 126

i.abhilasa The desire of Radha is expressed in the "ka" song.She hopes for the union with Krsna 14. Again she wishes Krsna in the "pa" song. If the nectar like moonlight changed into poison and after bathing in the Ganga a person can not be sinless then what may be the remedy of this disaster? So without caring for the result she wants Krsna. Lalita consoles and inspires the desire of Radha that fate will fulfil her want very soon and Radha will be relieved from the pain without Krsna 15. In the "tha'song the hope of Krsna expressed in front of Lalita that if Lalita will indicate, Radha must come to the solitary place and Krsna will be successful to get the closeness of Radha.So the desire of Krsna can be fulfilled by only the hint of Lalita. ii.cinta Purvaraga is elaborately found in Kishore-chandrananda-champu Both Radha and Krsna are thinking to get the company of each-other. In the "ja" song Krsna expresses the first appearance of Radha and thinks of her glowing beauty. 17 iii.marana: Both Radha and Krsna are memoring eath-other till the song of "ma".In the "ga" song Radha says to Lalita about the misterious figure of Krsna. She is revealed by his appearance and can't decide that sight as a liquid poison or the sweetest one 18. She feels as splitting by the blue lusture of his body 19. In the first song also a sign of remembering Krsna by the expression of Radha 20. Again in the "ja"song Krsna recalls the movement of Radha on her 14. Paravacandra cipudi piceba pivusa 15. deva diaba to abhimata durakara dvaparaku ceta/ 16. tharidele netrancale vijanasthane se bale virajiba/ 17. janamanohari se vicitra siri/ 18. golagaralarukatu piyusaru svadaguna gala bali] 19. gilidela purandara-nilakara-kalikamayatimire/ 20. kalija duraru dekhi kalana kala mo akhil 127

palace with resemblance as a golden puppet 21. iv.vyadhi: In the third verse the disease like pain of Radha is expressed in front of her friend 22. In the third song "ga"the disgust of Radha for food, cloth and body itself expressed by herself. 23 In the "ja" song the filling of burning sensation caused by the moonbeams is expressed by Krsna. 24 He requests 25 Lalita to help and create a chance to meet the beloved. Otherwise he warns that he can't live any more. Again in the "dha" song the condition of Krsna described as that he is going to fall due to drozzing caused by the dream of 26 Radha. 20 Krsna looks like that moon on the date of the dvitiya which resembles a ray of light only. 27 Again Lalita expresses the warmness of Radha which causes the abscess by the sprinkling of water mixed with camphor and sandalpaste. v.avega: The agitation of Radha is expressed in the first song of the campu.29 Again that found in the song of "pa". She is not prepared to hear about the cruelty and uncertain love of Krsna. She only wants to meet him eagerly.30 vi.dainya Radha requests her friend to tell something possitively about Krsna because she is unable to hold herself without the love of Krsna. She 21. jangamahebara jambunadasara/ 22. sampatodbhavahrdbyatham haraparamodam canodancaya/ 23. garistha aruci kahinki karuci asane, vasane, dehe 24. jvalanaru bali sehidinukeli karevibhavari nahakara 25. niscay e ghena citte na jieebi kadacite, na bataile tu sukha raha/ 26. dholaila pari dhali/ 27. dvitiyara sasilekhaparidisi/ 28. photaka heuchi sinciba karpura candana milita bari] 29. Kahuchi varajilajja.... majji jibiki ubhharatire/ 30. piaee duhinki thare duhinka adhara, pache kaha acarana putanavadharaj 128

31 says that she can't remain alive more and getting ready for suicide. One aspect to note here is important that Mana vipralambha is not depicted by Kavisurya as found earlier in the Gitagovinda of Jayadeva.