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In the middle of the sixteenth century Odisha has lost its political freedom due to Mughal invasion. But the tradition of composing the caupadicautisa was not restricted. The poets from that period gave more stress on the composition of musical songs rather than the puranic literature. The songs are composed not only in the sastric ragas but also in the chandas, a local pattern of song. The term chanda has been coined from the rootword chandas 83. Mahanty, J.V., Odia caupadi sahitya, p.24 84. Manasinha, Mayadhar, A History of Odia literature, p.42 85. Dasa, Kulamani, Ed. Kavisurya Granthavali, p.59 86.Mahanty, J.V., Odia caupadi sahitya, pp.21-34 141

which mean the metre. In Odia literature there are a good number of metres we find the use of large number of metres in analogy of the Sanskrit metres. They are like the Sanskrit tradition and are indegeneously contrived. The best example of this mixed poetry is the Kishore-chandrananda-champu of Baladeva Ratha.It's first song "ka" is compared on the sastriya raga "Saveri" but the song of "ca" is on the chanda of Pancama-varadi. 87 It is observed that the Odia portion of Kishore-chandrananda-champu is mixing of both caupadi-cautisa. The songs of ca, bha, va, ma and ksa are the compositions having four-steps. But the other songs contain five to seven steps. So it may also call as a giti-cautisa, but its popularity as a caupadi-cautisa can't be denounced.88 The Sanskrit and Odia portion of Kishore-chandrananda-champu were not written simultaneously and Sacchidananda Misra proves that by some of his inventions. 89 A:- In the third verse Lalita supports the attraction towards Krsna in a natural way. But in the second song she opposes Radha and alerts her about the problems of seeing Krsna. This opposite composition can't be composed at a time. 90 B:- Before entering in the arbour Radha gave up her anklets. 91 But after that verse the song expresses the sweet sound of the anklets during the union. 92 C:-The name of the poet the composer to whom the song is named after is not found in the Sanskrit portion. 87. Ibid, p. 35 88. Mishra, K.C., Ed. Kisoracandranandacampu, p.112 89. Kavasmin putabhedane navavadhureka pyasoka bhavet | kcc, v.3 90. kharapatuhelure/ kcc, scng of the letter 'kha' 91. caranamandanam nihsrutya/ prose passage of v.26 92. manju manjira bhusa sincita// second step of the song of 'ma' 142

D:-In the beginning Kavisurya expressed his poetic loyalty calling him as a person having less intelligence (svalpadhi). 93 But the songs are named after the king of Athagada who is praised as Maghava, Purandara, Lekhadhipa, Sutrama, Samanta, Sudhansu etc. Though Kishore-chandrananda-champu is a Sanskrit composition but it remains disappeared in the history of Sanskrit literature. Whereas the caupadi-cautisa songs are regarded as an extraordinary creation in Odia literature. The Sanskrit and Odia writings both have jointly got the publicity as Kishore-chandrananda-champu 95 All the songs of Kishore-chandrananda-champu are not the caupadis but those are mixing of caupadi and cautisa. Both are lyrical poems. The alphabetical composition of the caupadi is particular but not the singing style or the raga. The singer tries to find the raga and tala for a caupadi as per his ability and skill of performance.96 To avoid this problem and to sing the song of Kishore-chandrananda-champu in one particular system the Odisa sangita nataka academy published a svaralipi of Kishore-chandrananda-champu in 1963.97 But the ragas and talas directed by the academy is not matching with other manuscripts and ancient writings on Kishore-chandrananda-champu Song is generally tune oriented in which the well audible composition of tunes is important. On the other hand the poem should be emotion based. The speciality of Kishore-chandrananda-champu is that it bears deep emotional poems with sweet audible rhythmic song.Kavisurya has composed the songs with that raga which is suitable of that emotion of song. It is directed by the musical texts that, which raga will be used for which emotion. Kavisurya 93. prose passage of v.2 94. Mishra, Sacchidananda. Baladeva Ratha, sahitya sadhana O siddhi, p.99 95. Panigrahi, S.N., Kavisurya Baladeva Ratha, Krti O Krtitva, p.71 96. Mishra, S.N., Baladeva Ratha, sahitya sadhana O siddhi, p.184 97. Dasa, Asoka, Kahita nuhai bharatire, p.120 143

was well versed with the composition of raga and emotion as a singer and a 98 musician. According to S.N Panigrahi:- "The svara and the vani are the life of Odisi song".99