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The musical estimate: Kavisurya has designed the campu basically in the Sanskrit language, but he might felt that without the musical charm added to it that could not provide a complete poetic relish. Therefore he combined the Odia songs which are called as the caupadicautisa songs to his work. 68 4.5.1:Caupadi literature in Odia: Caupadi is the composition of a small lyrical poem having four steps. But 65. muncamat kancukancalam/ Kishore-chandrananda-champu, v.30 66. It is believed in the poetic tradition that the Cakravaka or the Cakora couples are separate in the night and unite in the daytime 67. prabhatika dindimarabadambarcih/ T. Pattaniak, Ed. Kavisurya granthavali, p.161 68. Panda, R.N., Contribution of Odishan authors to Sanskrit campu literature, p.112 137

it is not possible to express the complete emotion within four steps of a poem. So, it may increase and for that the word caupadi is popularly known as a musical composition of four or more than four steps of a poem. So it may increase and for that the word caupadi is popularly known as a musical 69 composition of four or more than four steps. The word caupadi might have developed from the Sanskrit word 'Caupadi, but no similarity is found between these two varieties. Except the Purana and other texts of literature the small musical compositions composed in different tunes were regarded as caupadis. From the sixteenth century this word is prevalent in ancient Odia literature.70 At that time the Sanskritised Odia language has gained popularity and was used by the elite of society for their literacy and cultural purposes." In the musical texts of Sanskrit the small poems are categorized as citrapada, citrakala, dhruvapada and pancali category. 72 The ancient Odia caupadi songs are 73 included in the citrakala and dhruvapada.3 The first step of a caupadi is known as ghosa or dhruva, second step is antara, third step is sancari and the fourth step is abhoga or in Odia it is called as bhanita in which the name of the composer is found. 74 The ancient songs of Odia were developed by following the dhruvapada style. In this type of composition a long tune, thrilling of the svara and the alapa for more period of time is not found. The prevailing songs like: - bhajanas, local songs, chandas, the song of local festivals like Rajotsava, 69. Mahanty, J.V., Odia caupadi sahitya (Odia), p.11 70. Ibid, p.10 71. Nanda, G.C., Contribution of Odishan authors to Sanskrit campu literature, Ph.D. thesis of Utkal University, Dept. of Sanskrit, 1999 72. adya citrapada // Samgitanarayanah, 4.1 73. Odiacaupadi sahitya (Odia), p.28 74. Mishra, K.C., Ed. Kisoracandranandacampu, p.112 138

Kumarapurnima are the examples of typical Odia caupadis. From that the literary figure of caupadi is developed and established. 75 The Odisi song is the modern name but the caupadis are ancient than Odisi song. The recitation of caupadi is better than the singing because in origin those are related to literature.76 The chanda (a poetic composotion) used in ancient Odia giti poems are divided into four types. The folk-songs, the chandavrtta, the Sanskrit chanda and the raga of classical songs. The caupadis are the best creation of that age, because in these songs the classical ragas with supporting talas are directed. The traditional classical Odia songs are difficult to sing in accuracy 77 and their composition style is also complex. Its tune and scale of singing has not mentioned anywhere. It has to maintain the textual rules and traditions. The singing of these songs are still prevalent among the musical teachers, being transmitted from their forefathers. The first step of these songs is called as the dhruvapada and all next steps are known as the antara.78 In these songs the excellence of tune are less important than the emotion and sentiment. The caupadi songs are expressing the sentiment of grief and peace more in comparison to the others. Regarding the time Odia caupadi can be grouped as ancient and morden. The ancient songs are grouped again as:devotional, Krsnalila oriented, romantic and satirical. These songs practically used in two fields: - in different local and divine festivals and royal 79 courts or gatherings. The caupadis might have their origin as they have been 75. Mahanty, J.V., Odia caupadi sahitya, p.35 76. Mishra, Sacchidananda, Ed. Baladeva Ratha, Sahitya sadhana O siddhi (Odia), p.118 77. Dasa, Asoka, Kahita nuhai bharatire(Odia), p.118 78. Mahanty, J.V., Odiacaupadi sahitya(Odia), p.33 79. Mahanty, J.V., Odiacaupadi sahitya(Odia), p.37 139

sufficiently influenced by Jayadeva's Gitagovinda Only Gitagovinda had mostly the Astapadis or songs with 8 stanzas which has been reduced here to caupadis or songs with 4 stanzas.