4 1

GUIDE TO
LABELS AND ABBREVIATIONS USED LÂVANÏYAVATÎ:
HER SOUL AND APPEARANCE
A.R.T. Avanârasataranga
A.S| Abhijñâna S|âkuntalam
Bh.V. Bhâvavatî
A Study of Women in Upendra Bhanja’s
C.A.D. Circa Anno Domini Poetry from Different Perspectives
C.B. ChândabhûsÏ a nÏ a
C.K.B. Citrakâvyabandhodaya
C.L. Citralekhâ
ed. editor
Edn.Psy. Educational Psychology
e.g. for example
etc. etcetera
G.G. Gîtagovindam
H.O.O. History of Orissa
K.B.S. KotÏ i brahmândÏ asundarî by
K.K. KalÏ âkautuka
Kanhucharan Padhy
K.S. Kumârsambhavam
L.V. LâvanÏ y avatî S.K.C.G. College,Orissa,India
M.D. Meghadûtam
N.C. NaisÏadhîya Caritam
O.T.B.B. Orissa state Text Book Bureau
O.H.R.J. Orissa Historical Research Journal
P. Page
P.S.N. Premasudhânidhi
R.H. RasikahârâvalÏî
R.L. Rasalekhâ
R.P. Rasapancaka
R.V. Raghuvams | am
S.D. SâhityadarpanÏ a
S.P. Subhadrâ ParinÏaya
S.R. Suvarnarekhâ
S.U. SangÏîta Upendra Bhanja REVA BOOKS
VIZ. namely
V.S. Vikramorvas| îyam Kafla, Cuttack
V.V. Vaidehîs |avilÏâsa
 2 3
LÂVANÏYAVATÎ:
HER SOUL AND APPEARANCE
By
Kanhucharan Padhy
Publisher
REVA BOOKS
Kafla, Cuttack

Type set at :
Swabhiman

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Pages : 112
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FOR
Published by arrangement with: Prof. Bauribandhu Kar,
Swabhiman Great Hero of Our Early Youth
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whose blessings are fountain of
Second Revised Edition 2008. inspiration even this day.
Copyright, © 1990 PRMSCRT, © 2008 Swabhiman
All rights reserved. No part of this publication may be
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means, electronic, photocopying,recording, or otherwise, without
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SWABHIMAN BOOKS : 25
General Editor:
KANHUCHARAN PADHY
 8 5
The ‘Holy Bible’ talks of women: Who is she that
looketh forth as the morning, fair as the moon, clear as
the Sun? 1 A famous German poet remarks in this
connection: The woman soul leadeth upward and on.
According to Pope “She moves a Goddess and she looks
a queen.” In a poet’s eye “Woman is a ray of God, not a
mere mistress; the creator’s self, not a mere creature.” In
the words of Shakespeare “Frailty, thy name is woman.”
Bernard Shaw in his play ‘Man and Superman’ has not
given women a very high and exalted position where as
Dante in his ‘Divine Comedy’ has done so. Further, it has
been spoken of women “Thou art skilled in every art,
Thou, Lady knoweth both the Self and the Not-Self.” “Just
unto the bow a chord is, so unto the man is woman.” It is
also observed: Woman is only a biological necessity. In
the whole women are observed as the central point of
love, sacrifice, endeavor and war in Western literature
and civilization.
In the social life of India women are deeply
revered. This tradition has been continuing from the Vedic
period and it has inspired and influenced the writers of
epics, PurânÏas and plays in Indian literature. The position
of women has been well established and consolidated
in the society as an indispensable part of men’s life. It is
quite obvious and implicit from the matriarchal character
of ancient Indian families.
In our culture there is a maxim, very popular: Yatra
nâryastu pujyante ramante tatra devatâh.2 It means where
women are worshipped there dwell the Gods. Again,
women are “KâryesÏu mantrî, KaranÏesÏu dâsî, DharmesÏu
patnî, KsÏamayâ dharitrî, SnehesÏu mâtâ, S|ayanes Ïu
vesyâ, Range sakhî”3 i.e. minister in action, maid in
service, wife while performing Dharma, ear th in
PREFACE
This essay, originally written despite all odds during
September 1989, got through the Ananta Padmanabha Gold
Medal Competition for the same year and was made publish
by the Puniram Memorial Socio-cultural Research Trust in its
virgin form soon after. All its copies were consumed very soon
and for long it was not available in the market. Meanwhile, the
Bhanja Cultural Trust from Rourkela exhibited interest and
published it and/or its translation almost entirely baring the
introductory section in different issues of their Souvenir. The
virgin manuscript was prepared with diacritical marks keeping
in view the non-Oriya fans of the poet and the letter press
then in vogue. In the edition published by Puniram Memorial
Socio-cultural Research Trust these were kept intact. But the
authorities of Bhanja Cultural Trust preferred to oust it entirely.
Since long I disagree with every thing that constitute
this essay- the language, style, approach and treatment of
subject matter and have been repudiating these in a dozen of
essays published by different forums. Hence, within this period
of almost two decades never was I emphatic to make a
second edition. Yet, the office bearers of Swabhiman Socio-
cultural Research Institute have been insisting for the same
as in entirety this essay represents the majority block and
opinion of the poet’s traditional supporters/followers in Orissa.
But, alas! none of us, the publishers and myself, are still able
to trace a copy of the virgin edition. Any copy of the manuscript
is also non-existent. So, it is decided to carry on the job from
the rough papers of the first ever manuscript available, though
almost illegible, through a project sanctioned for six months.
The present publication is the outcome of this effort.
No where have I tried to mend substantially as it means writing
virtually anew in the current context. It is prepared taking into
account the computer keyboard, pdf and html softwares
available. On this eve I admit to be beholden to each of the
parties concerned and my teachers at Bhanja Vihar and
Berhampur, especially Profs. S.Acharya, D. Das, G. N. Das,
P. C. Mishra, L. D. Das and K. C. Mishra. Thanks are also due
to my assistants, Amen and Niyati of Swabhiman, for help
rendered in finishing this arduous job.
22. 09. 2008 Kanhucharan Padhy
 6 7
CONTENTS
0. Introduction - Place of women in literature -
Women in Indian literature - the Vedas - UpanisÏads -
Jâtaka kathâs - PurânÏas - Sanskrit literature - Inscriptions
- Sculpture - Travelers’ accounts - Pre-Upendra Oriya
literature. 7 episode of the Hindu mythological context. Men have
1. Background of Bhanja literature - Place of
women in the contemporary society of Upendra Bhanja.
15
2. Women in various roles in Bhanja literature (a)
from social point of view (b) from the angle of Sanskrit
poetics 18
3. Life sketch of Bhanja’s women - Birth -
Childhood - Adolescence – Youth - Marriage and
Conjugal life - Separation - Reunion - Their education -
Social Behavior - Hopes and aspiration. 36
4. Vivid and elaborate description of female
beauty- the climax of Bhanja’s genius - Influence and
Originality in it. 49
5. Psychological dissection of Bhanja’s women
and women psychology in the works of Bhanja.69
6. Women in the eyes of Upendra- A mere puppet
in the games of sex or anything else? 74
7. Social relevance of Bhanja’s women -
Conclusion. 91
Back Notes 94
Men and women both play indispensable role in
the act of creation. Their role is complementary to each
other. From the very beginning men has sought the
assistance of women, may it be the case of ‘Adam and
Eve’ of the ‘Bible’ or the ‘Svayambhuba-S |atarûpâ’
been always depending upon women’s co-operation and
inspiration. Hence, men and women are inseparably
inter-related to each other in the social arena. This system
has been prevailing from time immemorial. Their bond is
unbreakable. The vigor, courage, rudeness and bravery
of men combined with the softness of the women’s heart,
their simplicity, kindness, compassion, love and affection
contribute greatly to the realms of humanity.
This natural bond between men and women is
made more firm, unique and unbreakable in the works of
poets and writers down the ages. Study of any literature
can prove it. Literature can not attain perfection without
describing her beauty and qualities. So is the imagination
of ‘Ardha-nârîs|vara’- a portrait or idol consisting half the
limbs of a man and that the rest of woman.
Critics opine that literature is meant for the society,
for its benefit and reflects the picture of the society of
origin. Nobody will disagree with the view that literature
is imperfect without the portrayal of women as society is
incomplete without them. In order to be full-fledged
literature has brought women to its fold. Can Bhanja be
an exception? But he came too late. To know him we
should have to know the tradition at first. So, let’s discuss
how women have been viewed from different angles by
different scholars and thinkers down the ages. First, let’s
discuss what the Western thinkers have felt. Then it will
be discussed what has been the status of women in India
through the ages.
 12
period were adept in composing and producing literary
works, music, art and dance items of high merit.24 Further,
there were educational institutions where both men and
women were provided with the same education.25 During
that time husbands were treated as God by their wives
as demonstrates the ‘Matsya PurânÏa’. Hermit KanÏva had
advised S|akuntalâ to follow this ideal at the time of her
departure to the husband’s house.26 In the ‘Das|akumâra
Carita’ we get skilful depiction of women devoted to
husbands. During this period the widows led very
rigorous, sincere, honest and orthodox life. Remarried
widows had no social honor. Dancing of harlots in the
courts was an approved and widely prevalent custom.
They were allowed to marry according to their choice. 27
Women were also dancers in the temples.28
In the 4th C.A.D. queen Prabhâvatî was ruling over
the VakâtÏaka kingdom on her son’s behalf. Princess
VinayabhatÏtÏârikâ was also a provincial ruler in the 7th
C.A.D.29 Absence of the custom Purdah was evident from
the contemporary sculptures and accounts of Hiuen-
Tsang and I-tsing.30
From the above discussion, social status of women
in the traditions of India and its reflection in contemporary
literature is quite clear. The social ideal of Gupta period
became the ideal of India in later times. Women were
encouraged to become house-wives, ministers, confident-
aides and intimate lovers.31 But by the time ‘NaisÏadhîya
Caritam’ was composed their importance lay only as
beloved. 32 It is also the case in Jayadeva’s
‘Gîtagovindam’.33 Orissa was not an exception to this
ideal of Indian womanhood.
Women are praised high in the ‘Caryâ gîtikâs’, the
claimed first testimony of Oriya literature.34 It is also proved
9
compassion, mother in affection, harlot at bed side and
companion to do recreation. Tagore says of women:
Ardheka mânabî tumi ardheka kalpanâ i.e. they are real
by half and imaginary in the rest. Also, they are
considered better half of men and their dearest
companion to achieve TRIVARGA4 i.e. Dharma, Artha and
Kâma or sex.
The RÏg-Veda bears the first testimony of Indian
customs and tradition. It is considered as the first ever
literary work of human community. Human qualities have
been expressed every where in the thought, action and
conscience of Vedic Gods and Goddesses. The
description of women in RÏg-Veda is comparatively less.
Nevertheless it provides an ample idea on the position
of women in contemporary society.
In the period of RÏg-Veda men and women were
considered equal as far as social position is concerned.5
There remains sufficient reason to assume that women
were enjoying adequate freedom as much as their male
counterparts enjoyed.6 Prof. Mc. Donald says that UsÏâ
(Goddess Dawn) is the symbol of beauty in the whole
Vedic literature. She is also portrayed as a dancer.
Hence, it is obvious that in that period women were not
hesitating to represent themselves as dancers. Rather it
was suggestive of their qualities. The social life of Vedic
women is clearly manifested through the character UsÏâ.
In the Vedas UsÏâ is depicted as mother, daughter,
companion in Yajñas (sacrifices), lover and dancer. So,
the free life of women in that society is inferable. Also,
they were established as learned teachers. In the
literature of the later period some changes in outlook
regarding femininity can be marked. 7 In Sâm and
Yajurveda, freedom of women in the social arena was
 10
limited. She was only a co-worker in rituals. Even in the
‘MaitrâyanÏî Samhitâ’ she is depicted as an enemy of the
society.8
The position of women in post-Vedic India is quite
implicit in the UpanisÏ a ds. According to the
BrÏhadâranÏyaka UpanisÏad there is no fulfillment of life
without women.9 The episode of Gârgî and Yâjñavalkya
in it is quite remarkable.10 Kâtyâyanî and Maitreyî had
left the testimony of uncommon scholarship and intellect
in discussing scriptures.11 Hence, the equality of men and
women in scholastic aptitude during that period is
doubtless.
A society of intellectuals (chiefly males) was the
court of Janaka. Gârgî and Yâjñavalkya were engaged
in debating S|âstras. But there’s no flurry of wonder or
exclamation. What a great freedom! Maitreyî possessed
the great talent to hold Brahmopades|a.12 BrâhmanÏa-
mantras describe women as ‘Yajñopavitinî’ (holder of the
sacred thread).13 According to Madhvâcârya women can
marry suitable grooms only after being able to read and
recite the Vedas.14 In the ‘Purus Ïa-Prakr Ïti Tattva’ of
Sâmkhya philosophy inter-dependence of men and
women is explicit from the philosophical points of view.
With the advent of SmrÏtis, some remarkable
changes occurred in the Indian tradition regarding
women. Manu acknowledged their co-operation while
performing rituals.15 But he was against absolute freedom
to them.16 ‘Vâtsyâyana Kâmasûtra’ indicates how women
were abiding by strict rules and regulations in the
contemporary society. In the GrÏ hyasûtras, equal
importance is given both to the beauty and qualities of a
daughter.17 During the times of As|valâyana the right of
women to perform rituals had declined to some extent.18
11
In the ‘Bouddhâyana sûtra’, women deserve more
importance as mothers.19 During the times of Âpastamba,
daughters enjoyed all rights to perform rituals. But later
on Parâs|ara restricted it.
So, it’s quite evident that in the SmrÏ t i age
deliberate attempt was made to restrict the freedom of
women. The efforts of the authors of SmrÏtis to refine the
river named society had turned it into a mere pond.
Consequently Indian society became male-dominating.
And by the 7th C.A.D. women became a mere puppet in
the hands of men. But, the result of much restriction is
always indiscipline. Women in Buddhist-Jâtakas manifest
it. The Ruhata, Cullapaduma, Gahapati, Calladhanugaha,
Sattautsa asaka, AtÏtÏahana, Sammidha, Mahâpaduañ
Jâtakas are replete with the descriptions of pretension,
hypocrisy and adultery by women. 20 But in the
MahâpâlÏavâhana Jâtaka the life of the prince was saved
by a woman. 21 In the KunÏ d Ïi na Jâtaka Bodhisattva
preaches to curse the women who dominate over men.22
In the whole in the Jâtaka Kathâs abuse to womanhood
is more.
With the decline of Buddhism in India, the
BrâhmanÏical cult was rejuvenated. Its patronage was
done by the contemporary Gupta kings. As indicated by
scholars, it was the time of composition and compilation
of Sanskrit PurânÏas and epics.23 The authors of the
PurânÏas had tried to guide the women community in the
light of the SmrÏtis; through the characters Sîtâ, Ûrmilâ,
Draupadî, Citrângadâ etc. The ‘MârkanÏdÏeya PurânÏa’
witnesses Madâlasâ, a woman with great intellect,
brilliancy, mental aptitude and scholarly bent of mind due
to whose teachings her son had gained much reputation
as an ideal king in the later times. The women of this
 16
direct leadership a Rajput- Kesodâs Mâru. The treaty
signed between Kesodâs and Gajapati PurusÏottama
generates hatred and shame till this day in the reader’s
mind.
In 1633 A.D. the Britishers were permitted to carry
on trade and commerce in Orissa. Then increased the
Portuguese attack on maritime trade. The zamindars rose
in rebellion. In the reign of Aurangzeb religious vendetta,
vandalism and intollerance turned very acute. Mughal
administration meant only the collection of taxes and
revenue by any means. Peace was prevailing only during
Suja-ud-din’s rule.
In this period, there was nothing like the honor of
Hindu women in the hands of Muslims. Again, due to the
absence of a strong central administration, the feudatory
chiefs and land lords tried their best to make show of
sovereignty. There was frequent feud and conflict among
themselves. They imitated the luxurious life at the Mughal
courts. No life, throb, vigor or courage was there within
the Oriyas. The only way for them was their self defense
by any means.
A critic comments in this connection that the life
of Muslims were full of corruption, exploitation, luxury and
comfort. The Hindus were crippled due to their loss of
independence. They had no strong ideal in social,
economic and spiritual sphere with their political defeat.
There was no scope for the healthy and integrated
expression of life. Also, great hindrances were there for
the development of inner-self or spirituality. Therefore, all
their instincts of life were limited to the boundaries of own
roof only. The current of luxury in life was flowing flooding
the banks. The expression of life was women-
centered.They were at the centre of luxury and with them
many other materials and instruments were also utilized.
13
from the stone sculptures, architectures and inscriptions.
In the Bhauma dynasty women like Tribhuvana
mahâdevî, DanÏdÏî mahâdevî and VakulÏa mahâdevî had
shouldered the responsibility of ruling the kingdom in the
most critical hours. 35 Again in the Sanskrit work
‘Advayasiddhi’, composed in Orissa, the position of
women is very high.36 Up to this time we get hardly any
direct evidence regarding the social status of women in
general. Works of SâralÏâdâsa provide it.
Women are well portrayed in his works as far as
different roles of women in the Orissan society is
concerned, e.g. mother, daughter, daughter-in-law,
mother-in-law, wife, co-wife, sister, heroine, beloved,
maid, companion, maid of honor, harlot etc. It tells its own
tale. It needs no proof. Works of SâralÏâdâsa are rich in
describing the attire, ornaments, gestures, emotions and
activities of every character. In the later times in
Jagannâthadâsa’s ‘Bhâgavata’, Balarâmadâsa’s
‘RâmâyanÏa’ and in Pîtâmbara Dâsa’s ‘NrÏsimha PurânÏa’
etc. though there are some instances of derogatory
remarks against women, yet they are praised in every
role in the society.37 But in medieval Oriya poetry their
role is chiefly restricted only to that of a darling.
It can be marked easily that the portrayal of women
characters in medieval Oriya poetry follows merely that
tradition in Sanskrit and PrâkrÏ t a poetry and
SatÏ t Ï a kas(plays). Upto Kalpalatâ, S |as |isenÏ â , CâtÏ a
Icchâvatî, Parimalâ, Premalocanâ, Icchâvatî and even
Anangarekhâ all the heroines entered into Oriya literature
from Sanskrit and PrâkrÏta fictions as the subject matter.
So is the scarcity of heroines like Kâdambarî, Mâlatî and
Vasantasenâ in Oriya literature. But in their presentation
the influence of Sanskrit epics, particularly the ‘NaisÏadha’
 14
is more. With the exception of one or two primary works,
beginning from S|is|us|ankara’s ‘UsÏâbhilâsÏa’ or VisÏnu
Dâs’ ‘Premalocanâ’ it appeared as a vital element in Oriya
poetry. So, in the later works the emphasis on depicting
the heroine’s beauty than qualities is more and as usual.
Its consequence can be seen in the works of Lokanâtha
Vidyâdhara or Dhananjaya.
Description of the heroine’s beauty and erotic
nature is the best feature of Pre-Upendra Oriya poetry.
Again, it is one of the consequences of the influence of
‘NaisÏadha’. Hence, the heroines- Citrakalâ, Sarvânga
Sundarî, SubarnÏarekhâ, Madanamanjarî etc. are each a
new edition of HarsÏa’s Damayantî.
By this time, by the influence of the GaudÏîya form
of VaisÏ n Ï avism and the tradition of Kr Ï s Ï n Ï a Kâvyas
(literatures on KrÏsÏnÏa) the Gopîjanavallabha i.e. beloved
of Gopî’s (as in Gopîcandana) or the Rukminîs|a i.e.
consort of RukminÏî (as in RukminÏî bibhâ) S|rî KrÏsn Ï a
Ï turned
into Râdhâdhava i.e. beloved of Râdhâ. In the Brajabolî
Padâvalîs the Purvarâga (predilection), Mâna(conceit)
and Viccheda (separation) of Râdhâ took marvelous
shape. The Oriya poets were influenced by it. So, different
states of the heroines tooke shape more in Vipralambha
(the love when coition is not possible) than the Sambhoga
(love with coition).
Due to the influences discussed above, in the
works rightly before Upendra, the heroines were
portrayed chiefly as daughters and lovers. Among the
other female characters we find the Sakhîs (handmaids)
and MâlyânÏîs (flower girl). The main objective of these
works was to describe the conduct of marriage of the
heroines with the heroes. These poets were totally
indifferent to describe post-marital life. Again, due to the
15
influence of the Sanskrit literature these heroines were
nothing except princesses or divine-damsels. Rarely
were they from a common family. The heroines had no
way out but to be love-sick women of luxuries and
comfor ts. Upendra Bhanja was influenced to a
remarkable extent by such portrayal of women-characters
in Pre-Upendra age.
Like a mirror, literature reflects the picture of the
society. Hence, before discussing the role of women in
Upendra’s poetry, there is a bare necessity to focus on
the social status of women during his times. It will prove,
how consciously or unconsciously the poet has depicted
the picture of his times and was influenced by the
contemporary society. Because, it is true not for Upendra
only but for any poet of any time.
I
Caitanya’s arrival in Orissa, rise of KrÏsÏnÏadevarâya
in the south, repeated invasion by the Muslim rulers of
Bengal along with the loss of thirst and appetite for war
of the battle-tired Oriyas made the royal power of Orissa
gradually feeble in the first-half of 16th C.A.D. The last
independent king of Orissa, Mukundadeva who
ascended the throne with much turmoil, tension, struggle,
bloodshed and carnage had lost his life due to civil war
and treachery at the end. Orissa lost its independence in
the battle of Gohirîtikira in 1568A.D. Then occurred the
attack of the so termed KalâpâhâdÏa. There was nothing
called administration in Orissa. Later, in 1592 A.D. Orissa
went to the hands of Mughals. The Mughal Subâdârs and
their Hindu sub-ordinates made it the chase and fodder
for destruction and anarchy. The period of Hasim Khan
was nothing but the golden era for loot and plunder.
Further, the loot and plunder was executed under the
 20
account their psyche and choice. Isn’t it the latent
intention of our poet here to show the real picture of his
contemporary society under the guise of Puranic tales?
But, the poet’s support for more freedom to women is clear
from his portrayal of the behavior of the astrologer’s
daughter, Brahmin daughter etc.
In order to portray his heroine’s character Upendra
has taken too much help of the handmaids. Their place
in Bhanja literature is just next to that of the heroine’s.
Their role is a little different from the one enunciated in
the ‘Sakhi Tattva’ of the VaisÏnÏava Rasas|âstra.48 They are
equal to the princess in age, beautiful, experts in all kinds
of speech and confidence gainers of the regal family. The
role of the handmaids to make fulfill the ambitions both
during the joys and sorrows of the princess within the
ambits of honor of the royal family, 49 in exchanging love
letters, 50 to create predilection and emotion in the
princess’ heart, to dress and decorate her on the eve of
the wedding ceremony51 and making preparations for the
newly wedded couple’s honey-moon is unique. To give
his poetry suave expression through jest and ridicule the
role of the handmaids are indispensable.
Though the handmaids themselves are not
experts in love, yet they are eager and busy thinking of
the heroine.52 They are capable enough to feel the love-
sick and lovelorn damsel’s temperature in their own body.
Their sole duty and responsibility is to save her from the
austerities of love. Even they are gift-materials while the
princess weds.53 But, they are thoroughly neglected after
the heroine’s association with the hero. Throughout the
Bhanjan works the pathetic picture and long breath of
this cursed group of women is felt alive.
In the imaginary works depiction of Bhanjan
women are not so lively as mothers. But Bhanjan mother
17
In this period, the feudatory chiefs of South Orissa
were comparatively safe. The ever so development of
literature and music in this time was only due to their
patronage. The inner apartments of palaces were
something like refugee camps for cursed women. The
kings were busy in enjoying numerous queens. For each
of the queens several maids and handmaids of honor
were appointed. Many destitute women were also living
under the queens’ mercy. Further, many damsels misused
by the kings and their kinsmen were bound to live, in the
female-apartments of palaces, like prisoners. They had
no connection to the outer world. The mental development
and personality of the princes and princesses brought
up by such women from the very childhood can be
guessed easily. Were not their morality and style and
standard of living influencing the soft mind of the child?
So, they were becoming very luxurious, lethargic and
delinquent at their arrival of adolescence. What’s the
wonder for the prince of a war and conflict less state to
bear flower-bows instead of those made of irons? In it
rests his valor! (?). Thinking about women, holding the
lac-dye pot, dexterity in arranging sexual passes and
hissing due to sexual plays in lieu of thoughts for
conquest, holding the sword, skill in arranging military
arrays and roaring for war were very natural to be the
sommumbonum in their part. If they would not be the
patrons of eros-centered literature than that of what else?
In this context, the millieux of the Bhanjas of
Ghumusara was not free from these vices. Rather
Dhananjaya Bhanja, the grand father of Upendra, was
the pioneer and prominent among such princes and
feudatory chiefs. His life style was not only totally
influenced by the Mughal Court culture but also daring
 18
to vie it. His court was the main centre of activity for music
and poetry. Hundreds of dancers were engaged in
Dhananjaya’s court to the humming and clanging of Harp,
Sîtâr and Tambourine and the tuning of music. Equal
numbers of dancers were also domesticated outside.
Even it prevails, while bath Dhananjaya used to polish
his body rubbing with ripe-breasts of young-maidens.
Again, the Bhanja family was spotted with homicide of
husbands, sons and brothers. Upendra’s personal life
was also full of longing and despondency.
How, the influences of all these factors were
reflected in Bhanja’s works while the depiction of women
characters will be indicated wherever needed. It will be
enough to mention here that though the portrayal of
women characters in Bhanja literature bears the stamp
of the then royal-harem, yet never is diverted from or
antagonistic to the great Indian tradition or ideology of
Oriya womanhood.38
II
a exchange of riddles44 and awaiting coition. Always she
The women of India have proved themselves
worthy for the sense of duty and sincerity despite
confronting hundreds of impediments. Bhanja has
presented this greatness of Indian women in his works
marvelously. Due to poetic needs he has created
numerous women characters. On the whole, the women
characters in Upendra’s poetry can be classified as
follows: (A) Daughter, (B) Handmaid (Sakhî), (C) Mother,
(D) Chief queen,(E) Sister-in-Law (Elder brother’s
consort), (F) Common women- (i) Flower girl (MâlyânÏî),
(ii)Minister’s daughter, (iii)Dancer (NatÏî or Nartakî),
19
(iv)Harlot, (v)Barber women, (vi)Daughter of the
astrologer, (vii)Upâdhyâyî, (viii)Maid servant of honor
(Dâsî), (ix)Nurse (Dhâî), (x)SâdhavânÏ î (Consort or
daughter of a maritime-trader) etc. and (G)Vulgar
women.39
The character ‘daughter’ always plays the most
prominent role in Bhanja’s writings. Bhanja literature has
reached its zenith by describing the beauty, qualities,
attire, ornaments, birth, plays, amusements, recreations
and wedding etc. of the daughter only. She is the main
attraction of his poetry. Always the daughter is youthful,
generally brought up in a palace, surrounded by maids
and handmaids and has no relation with the outer world.
She knows no want. Maids are appointed at every
moment to satiate her longings. She is well acquainted
with a life of luxury and comforts. For her life is without
any thought or problem. But no where has she
contravened the social norms whether it is the moment
of newly menstruated LâvanÏyavatî engaged in laughter
with the handmaids40 or that of dressing, inside the
toilets,41 playing red power,42 playing inside the water,43
is calm, modest, chaste, wise and devoted to her
husband.
Descriptions of the post marital life of the daughter
are not as charming in the works of Bhanja as it is the
case with Pre-marital life. She is felt more heavenly than
of the earth.45
The tragic life of the daughters can be guessed
easily from the Puranic works of Bhanja. It is evident from
the marriages of RÏsÏyas|rÏnga with S|ântâ46 and saint
Kapisânja with Kalpalatâ 47 that how daughters were
dedicated to sages and hermits with out taking into
 24
never like them. About them writes poet Upendra- “Suprîti
hînâ dhana adhînâ/sethiru ki kârya bicâru kinâ”79 i.e. What
to do with her, the one devoid of true love and slave to
wealth?
The help and co-operation of ‘Barber women’ is
needed during several social and cultural functions. Their
skill is evident from the role played in GandhasÏanÏa while
wedding80 and dressing the house-wives by lac-dye.81
The astrologer’s daughter extends co-operation
during auspicious ceremonies. Particularly, she is an
expert to predict by measuring the shadow.82 In the
Bhanjan works she is depicted dutiful and devout. The
functions of the Upâdhyâyî in ‘KotÏibrahmândÏasundarî’ are
the same as the astrologer’s daughter in ‘LâvanÏyavatî’.83
The character maid differs a little from the character
handmaid. But it doesn’t mean that the maid can’t
discharge the duties of a handmaid.84 Yet, the character
Mantharâ is an exception in this connection.85 It is
needless to discuss the role played by her. From the
depictions of the character maid the evolution and
development of Bhanja’s humanistic views and ideals
are known. Although the order of Upendra’s composition
can’t be guaranteed, yet critics take relatively small works
as a practice towards the voluminous ones. From this
point of view the servants of the heroines in the primary
works of the poet are mere slave women or maids. But in
later works they are her companions in joys and sorrows,
cohesive and coinciding with her. The women serving
the heroine in ‘Rasalekhâ’ are all slaves, in
‘RasikahârâvalÏ î ’ maids. But in ‘LâvanÏ y avatî’ and
‘KotÏibrahmândÏasundarî’ they are mainly companions in
joys as well as sorrows, cohesive and coinciding with
her.
21
has lived through the characters of Kaus|alyâ, Sumitrâ,
Yas|odâ etc. in the Puranic poetries. It seems that the
overflowing sorrow of mother Kaus |alyâ’s heart has
mourned under the guise of consoling her daughter-in-
law.54 Also, as a mother the sacrifice of Sumitrâ is not the
less.55 In the activities of Yas|odâ only the hopes and
aspirations of a mother have taken shape.56
In other works of Upendra the role of mother can’t
be neglected. Though few critics trace jealousy towards
a co-wife, cheap with women, from Pârvatî’s treatment to
Vânchâvatî, it is not acceptable to reason. A mother’s
heart can only be traced in it.57 Because, to suspect evils
in near future to off springs is an instinct very natural to
any mother.
We get an affectionate mother in the descriptions
of the ceremony for the newly menstruated daughter,58
dressing59 and visit to Lord S|iva60 etc. Somewhere she
is worried for a son61 and somewhere other observes
penance and practices meditation to get a daughter62 or
else somewhere advises the daughter-in-law for a better
future of her son63 or is engaged in teaching the daughter
the behaviors and manners of a house-wife. On the whole,
the Bhanjan mother in her natural qualities has shared
all the sorrow and happiness of the off springs. As per
the requirements of his subject matter Upendra has taken
mainly the queens as mothers. But in his tradition direct
description of motherly affection through common women
was not possible. Yet though scant, the depiction of
motherly affection in Bhanja’s work has got a natural
beauty.
The female-apartment of the palace is under the
direct administration of the chief queen (PatÏtÏamahisî).
While describing her, the poet has taken into
 22
consideration the external beauty as well as the inner
desire. Chief-queen Vicitrakalâ is very beautiful, fair-
complexioned and the best among women. She is
mistaken as Pârvatî.64 Her life is full of luxury, comforts
and plentitude. Yet the chief-queen makes great endeavor
to get an elegant and divine daughter.65 In her personality,
the anxiety of common women is got manifested.
Bhanja has presented the form sister-in-law (elder
brother’s wife) and the quality of endurance of women
dexterously in his ‘Subhadrâ ParinÏaya’ through the
character Revatî, wife of Balarâma. When Balarâma was
engaged in verifying the news of love between Arjuna
and Subhadrâ, then it was only Revatî, who changed the
situation and ably averted an inevitable danger by making
him calm. Only the opinion of Shakespeare’s Portia on
‘Mercy’ can vie with the short speech of Revatî on
‘Endurance’.
Some female characters in Bhanja’s poetry are
taken directly from the mass. The characters Yoginî
(female ascetic), Sannyâsinî (Female recluse), MâlyânÏî
(flower-girl) and Nartakî (dancer) etc. are beautifully
depicted with complete devotion. These ladies, without
any heritage and conduct known, are unique in their
dress, ornaments, make-up, beauty, wit, speech and other
qualities. Beginning from creating predilection in the
hearts of the hero and the heroine they are wise,
intelligent and skilful enough to perform their lonely
association and in applying treatment during separation.
While moving towards success the dexterity of these lady
characters is incomparable. Such a character is the
MâlyânÏî in ‘LâvanÏyavatî’.
In the then royal families everywhere the MâlyânÏî
was liked by one and all in the inner apartments. The
poet has given marvelous description of her dress,
23
ornaments and make-up.66 Dealing in flowers and
worshiping Lord S|iva are her routine job.67 But her role
in the princess’ life is quite different. All affairs connected
to the heroine’s love remain incomplete without the
MâlyânÏî. She comes with flowers to clear the path of
love.68 With her coming rises the delight in the princess’
mind. She is the only lady faithful, dependable and
sincere to mediate on any affair connected to love.
Among the Sakhîs the role of the minister’s
daughter is essential and attractive. Her advice and
presence play an important role in the princess’ life. Her
sharp intellect and wise brain is quite evident while
playing red power, 69 speaking riddles, 70 giving
consolation and considerate statement on the princess’
dream.71 She is the ablest handmaid of the princess to
deliver her love letter.72 Her cautiousness can be traced
from the descriptions of the Brahmacârî(continent)’s
entrance into LâvanÏyavatî’s harem.73 To say in a sentence
she is more trust worthy, sincere, dependable and alert
than any of the handmaids.
Of course, the role of the NatÏî (dancer) can not be
ignored in Upendra’s works. In addition to their service
to the members in royal inner-apartments, they stage
plays and magic in public being gorgeously dressed and
also at times help the lovers through magic.74 It implies
their social status in the times of Bhanja.
How detrimental the harlots are known from the
advice of VibhânÏdÏaka to his son RÏsÏyas|rÏnga.75 Yet they
have every opportunity to attend rituals and festive
occasions. They sing Mangala Gîtas(prayers asking the
God for a better future) while coronation,76 before the king
sets forth for a conquest77 and in GandhasÏanÏa during the
wedding ceremonies.78 Despite these services people
 28 25
KANISÏTÏHÂ In aristocratic families the nurses or mid-wives
ADHÎRÂ JYESÏTÏHÂ wholly take care of the children soon after their birth.
KANISÏTÏHÂ ‘LâvanÏyavatî’ and ‘KotÏ ibrahmândÏa sundarî’ are also
brought up by them.86 Their necessity is felt more while
DHÎRÂDHÎRÂ JYESÏTÏHÂ
celebrating ceremonies. In the wedding ceremony of Sîtâ
KANISÏTÏHÂ the friends accompanying the bride groom are treated
PRAGALBHÂ DHÎRÂ JYESÏTÏHÂ with the recipes prepared by her maid servants.87
KANISÏTÏHÂ Through the character SâdhavânÏî(consort or
ADHÎRÂ JYESÏTÏHÂ daughter of a maritime-trader) poet Upendra has tried to
KANISÏTÏHÂ display the glorious picture of the worthy tradition of
Orissa’s maritime-trade in the past.88 The poet has taken
DHÎRÂDHÎRÂ JYESÏTÏHÂ
the help of this character to establish matrimonial
KANISÏTÏHÂ
relationships. Meghamâlâ, the daughter of a maritime-
PARAKÎYÂ PARODÏ H Â trader, is instrumental to make know the princess’ opinion
KANYAKÂ regarding marriage.89 It proves their loyalty, skill and
SÂDHÂRANÎ proximity with maritime trade.
But, hardly there is any reference to PARAKÎYÂ The description of RâksÏasîs (female demons),
(pertaining to another) and SÂDHÂRANÎ (Common or low except TrijatÏâ ,in ‘Vaidehîs|avilÏâsa’ is like vulgar women.90/
91
grade women) as heroine in Bhanja’s poetry. Only in They are the spies of RâvanÏa92 and are opportunists.93
‘KalÏâkautuka’ and ‘ChândabhûsÏanÏa’ the heroines are Only after hearing the news of Srîrâma’s arrival they
PARAKÎYÂS. Of course, they are DIVYÂ (Divine), ADIVYÂ began to think Sîtâ venerable and prayed her to show
(Earthly) or DIVYÂ-DIVYÂ (Earthly-divine) by birth and their reverence . Of RâksÏasîs, SûrpanÏakhâ is a unique
all most all of them are of the type PADMINÎ. Now, Bhanja’s creation of Bhanja. The description of Râmacandra’s
women will be discussed with passing references to the handsomeness by her is fantastically poetic.94 This frank
classifications of Bharata, Bhânudatta and Viswanâtha. and strait-forward character is able enough to consolidate
her own position as a lover.96 She has not put up with the
MUGDHÂ is an enchanting youngish with luster
offence to femininity and is replete with all the qualities
and sublime beauty.98 Among the MUGDHÂS the SADYA-
of revengeful women. Her role is pivotal in the battle of
ANKURITA-YAUVANÂ (whose youth is sprouting currently)
RâmâyanÏa. The portrayal of the character female demon
is more delighting. Example of MUGDHÂ from Bhanja’s
is not found in any other work of Upendra. Bhanja’s
poetry:
SûrpanÏakhâ may be the inspiration for the later day poet
When the male held her hands fondly Mâyâdhara Mânasimha.97
Shouted the damsel,
 26
Another objective of this discussion is to test and
reveal the actual position of the blame ‘court poetry’
against Bhanja’s works. He has collected the elements
from the general public as much as he can in his own
surroundings. The depiction of women from all most all
the strata of the then society is seen in his poetry although
they have gained importance as the beloved ones.The
stylus of Upendra is above any hesitation to successfully
describe women irrespective of social status. It fulfils the
necessity for successful depiction of Bhanjan heroine as
a SRÏNGÂRÎ (of erotic nature) and loving lady. Association
of all these characters controls the psyche of his heroine.
It will be discussed later in Para V.
II
b
But, despite all originalities in depicting his
heroine Bhanja has tried the best to present her
acceptable to Sanskrit poetics. It’s sure that the poet, all
whose efforts go to make his works reach the height of
Sanskrit poetry, must try to build his characters as
suggested by its poetics. Even Upendra, often in his
poetry, has deviated from the subject matter only to make
his heroine fit to Indian poetics. At times he has compared
the nature with different forms of heroines as mentioned
in poetics,viz. KHANÏDÏITÂ, NAVODÏHÂ, ÂRUDÏHAYAUVANÂ,
PRAUDÏHÂ etc. Hence, while discussing Bhanja’s women
seriously one can’t undermine his efforts to depict the
heroine acceptable to Sanskrit poetics.
Authors of Indian poetics, beginning from Bharata
to Bhânudatta, have pointed out more than 8,84,736 sub-
divisions of KÂVYA NÂYÎKÂS (heroines typical to poetry)
27
taking into consideration their action,condition,state of
passion,love towards husband or beloved ones,stature
and lustre. Again Vâtsyâyana, author of the famous
Kâmasûtra, has categorized them keeping in view the
action, condition, love, age, conceit, state of passion,
behavior and type viz. PADMINÎ, CITRINÏÎ, S|ANKHINÎ and
HASTINÎ. But Bharata’s classification, though ancient, has
all along been accepted in Orissa as it is based more
upon both psychological and physiological
considerations. It is tried and tested in the
‘SâhityadarpanÏa’ of Viswanâtha Kavirâja and explicated
in Jayadeva’s Gîtagovinda.
‘Rasapancaka’ is a famous work of Upendra that
deals both with poetics and erotics. It describes
marvellously the classifications of heroes, heroines,
messengers, emotions, ten states of passion, twenty eight
types of KELIS (love plays), eight Sâttvika laksÏan Ïas
(physical states that reflect the mental condition), love,
fulfilment of desire, categories of nail and teeth marks
and of harlots in the forms of Boli (a form of short poetry),
Chânda (poetry with a specific metre), Caupadî (a poetry
containing four stanzas normally) and DÏhagas (witty
sayings). The poet admits ‘SâhityadarpanÏ a ’ and
‘Rasataranginî’ as its base. In it the signs of eight forms
of heroines along with the classes MUGDHÂ, MADHYÂ,
PRAGALBHÂ and their divisions are described. On the
whole the NÂYIKÂ PRAKARANÏA (classification of
heroines) of Bhanja may be shown as below.
THE HEROINE
ORDER CLASS SUB-ORDER DIVISION
SVAKÎYÂ MUGDHÂ
MADHYÂ DHÎRÂ JYESÏTÏHÂ
 32
In playing dice they become happier
Doing away with Rati (Coition), the wager;
Equal are they in loving each other.
Though two in body, but a single life
And can’t be separated as water with milk.
Take her as sugar cane that enchants
In shapes of Loaf, KhanÏdÏa, Sâci and Molasses,
So is she in coition to create joys.
And he is like the milk
Enchants the lady with different Rasas
As takes shape the later
Of curd, ghee and butter.112
The heroine getting excess love and affection from
her husband (the hero) after wedding is JYESÏTÏHÂ.113
You were seen as if laughing
to which direction I looked,
Beyond my thought was it to be on the bed
Making you to my lap inclined.
Ocean of all the beauty O’Dear!
How fortunate me that the creator
kept you surviving
While the Cupid was shooting.114
Although married, the heroine not getting love and
affection from the husband up to her estimation is
KANISÏTÏHÂ,e.g.:
Some couple was playing dice,
with five; in happy and gay
Throwing the dices, ‘yes second’
29
O’ friend! Help me a little
This bold is pulling me forcefully.99
Here, the signs of MUGDHÂ are beautifully explicit
through the reactions of Subhadrâ with the first touch of
Arjuna.
The maiden unaware of her maturity at first, but
later on made conscious about it by others is ‘AJÑÂTA-
YAUVANÂ-MUGDHÂ’ as in Bhanja’s ‘Subhadrâ ParinÏaya’:
Shifted affection
from wet nurse’s lap to ivory bed she,
Was imprisoned in the inner apartments
instead traveling free;
Made her witty the companion shame
towards the equal aged,
Knew to jest as the handmaids did. 100
That heroine, who experiencing maturity gets
overwhelmed and tries to treat herself accordingly, is
‘JÑÂTA-YAUVANÂ’ e.g.: In a sweet spring day the cuckoo
was humming. The beautiful damsel sitting inside a white
washed house gazing her breast asked her hand maids
to play dice, thinking to beat MARDALA. (Because identity
is there between the MARDALA and her breasts, dices
and nipples).101
A newly wedded woman with the knowledge of
youth is ‘JÑÂTA-YAUVANÂ NAVODÏHÂ’. Her speciality is
the suave sense of both copulation and maturity. She is
more conscious. For example:
When the prince to his lap make her pulled-
did sit the lady on the bed,
 30
Seems it as the playing of SâranÏi by the Cupid.102
The newly wed and modest heroine desirous to
unite with her husband is VISÏRABDHA-NAVODÏHÂ. Such
a description from Bhanja literature is:
Thinking how to deal with her husband
Walks she slowly as is inexperienced
Whispers someone at the ears-
Oh! You, the clever plantain thighed,
Why not judge the gain in making late;
Be cautious the night will over
Before you attain sexual pleasure.103
ATI-VISÏRABDHA-NAVODÏHÂ belongs to the class
MADHYÂ. She is thus named for her intimacy with the
hero. In ‘Rasamanjarî’ it is told that VISÏRABDHA-NAVODÏHÂ
turns to ATI-VISÏRABDHA-NAVODÏHÂ after gaining intimacy
with her husband;104 e.g.:
She looks me when I not,
But looks the earth when I do it.
Much interest possesses she to look at me
The miser shame forbids the.105
The heroine replete in passion and shame in equal
proportions is MADHYÂ. Such examples are plenty in
Bhanja literature. The poet has written that when
KotÏibrahmândÏasundarî goes towards the honey moon
chamber accompanied by hand maids there breaks out
the quarrel between shame and affection, so that her
feet and mind don’t move forward due to shame but do
so due to affection.106
MADHYÂ-DHÎRÂ is the heroine capable of
expressing her emotions placidly. Equality of passion with
quietness of mind is the typical feature of this heroine:
31
What I to do that slander you earn
Women will modest me charging under liaison.107
Heroine that expresses her sentiment unquiet is
MADHYÂ-ADHÎRÂ.Here her sentiment dominates over the
quietness of mind:
The sandal trees do the snakes enjoy,
Did such stupidity the creator; who to say.108
In this example, the heroine owing to the pains caused
by separation has lost the calmness of her mind.
The sign of MADHYÂ-DHÎRÂ-DHÎRÂ heroine is to
express her sentiment quietly but in rude words, as in
Bhanja’s poetry the heroine has denied the hero to touch
her.109
The heroine, crossing the middle age who
considers herself all experienced is PRAGALBHÂ as in
Bhanja’s poetry the heroine has asked her handmaid not
to be thoughtful.110 Here the heroine’s experience is
remarkable and all the signs of DHÎRÂ has got manifested.
The heroine unable to maintain mental quietness
even after attaining middle age is PRAGALBHÂ-ADHÎRÂ:
Doth pick the ruby only the jeweler
Why will test it the dense forest dweller?
You non-sense rightly like the Mahes|a
Throwing KETAKÎ who is adorned with ash;
You useless, as a lover do yourself design
Cries the lady telling it in severe passion.112
Due to excess joy, the heroine who looks as if
enchanted and consequently feels herself the master of
overwhelming pleasure is ÂNANDA-SAMMOHAVATÎ-
PRAGALBHÂ:
 36
depiction of the minutest sub divisions of poetical
heroines can also be found in Bhanja literature. At least,
it can be safely concluded that the role of women in
Bhanja’s poetry deserves significant importance from the
social point of view as well as the angle of Sanskrit
poetics.
III
The poets of pre-Upendra age in Oriya literature
have produced their works under the direct and indirect
influence of the Sanskrit tradition. Upendra also asks to
take his work as ‘NaisÏadha’.130 Hence, it is clearly evident
that the poet is a follower of the ideals of Sanskrit poetics.
He has followed the path adopted by his predecessors
both in form and theme. Depiction of women too is not an
exception. To say in brief, Indian literature concentrates
heavily on women. Therefore, it is very natural that the
Bhanja literature nourished in this great tradition and its
follower to a higher rank is to be so. So, it is inevitable for
a true and impartial critic to discuss the beauty, qualities
and life sketch of Bhanjan women while delivering any
opinion on his works.
Life sketches of the hero and heroine are core to
any Bhanjan work. Presence of the heroine in it is
inevitable. Moreover, in some works the hero’s presence
is quite negligible. The heroines in
‘Kot Ïibrahmând Ïasundarî’,‘Lâvan Ïyava t î ’ ,
‘Premasudhânidhi’, ‘Subhadrâ ParinÏaya’ and ‘Bhâvavatî’
etc. are each a princess. Sîtâ, the heroine of
‘Vaidehîs|avilÏâsa’ and ‘Avanârasataranga’ is born from
earth’s crust. Again she is the foster child of King Janaka.
Only the heroines Rasalekhâ and Suvarnarekhâ are
Munikanyâ (daughter of a hermit) and minister’s daughter
33
said the hero quickly in joy.
Took it otherwise she,
left the game, the heavy breast;
Appeared her face-moon
like the rising sun in distress.115
In addition to the above another classification of
heroines in poetry is there depending upon the variations
in circumstance. This classification includes Vâsakasajjâ,
Vipralabdhâ,KhanÏ d Ï i tâ,Kalahântaritâ,Abhisârikâ,
VirahotkanÏtÏhitâ, SvâdhînabhartrÏkâ, and ProsÏitabhartrÏkâ
i.e. eight in all. Let’s see how Bhanja has presented all
these.
The heroine waiting adorning herself by garlands,
sandal paste, dress, ornaments and preparing the bed
to associate with her beloved is Vâsakasajjâ:116
With flowers and camphor adorned the bed
Spent the whole day being thinly clothed
Avoiding shame, O’giving me up why he moved.
Decorated the bedroom for him to come
Spent the whole night being awakened
But me with tears he flooded.117
Here, the heroine is Vâsakasajjâ Pragalbhâ.
The heroine feels cheated and love lorn due to
non-arrival of her beloved to the pre-assigned spot is
Vipralabdhâ:118
(He) sent there messengers ‘Suyajñopavitâ’,
Who brought her back
consoling the Vipralabdhâ.119
Here, Sîtâ is Vipralabdhâ-mugdhâ.
 34
The heroine in distress on account of marking at
her beloved the signs of copulation with some other
women is KhanÏdÏitâ.120 Candrâvalî in the seventh canto
of ‘KalÏâkautuka’ is KhanÏdÏitâ-madhyâ.121
The heroine burnt by the fire of repentance and in
separation for contempting her sweet heart due to some
quarrel is Kalahântaritâ.122
Tell this much O’ messenger!
to the thief of my mind-
Went away Hari forgetting the past love
and me is panicked.123
Here, the heroine is depicted as Kalahântaritâ-praudÏhâ.
The heroine who does ABHISÂRA i.e. meets or
makes meet her husband by appointment is
Abhisârikâ.124 They are of three types: KRÏSNÏÂBHISÂRIKÂ
(Abhisârikâ in dark or without light), S|UKLÂBHISÂRIKÂ
or JYOTSNÂBHISÂRIKÂ (Abhisârikâ in moonlit night) and
DIVÂBHISÂRIKÂ (Abhisârikâ during the day time),e.g.:
Hari’s wife with the maiden
beautifully dressed went out
at the seventh hour during the night;
Was Bhagiratha guiding Gangâ to the sea!
And at Savyasâcî’s door did sweetly knock she-
Open O’ once open the door!
I will convey you S|akatÏa killer’s order.125
Here, Subhadrâ is Abhisârikâ-mugdhâ.
The heroine waiting anxiously for her darling’s
arrival is VirahotkanÏtÏhitâ:
“She feels fire the camphor and sandal paste,
35
Trembles by lotus stalks at sight.
Recites repeatedly ‘Garuda! Garuda!’
At every moment earth is her bed;
Never stops her tears that stead’
says the handmaid, ‘what else to do?
alive our friend despite such hardships too.”126
Here the heroine is VirahotkanÏtÏhitâ-madhyâ.
The heroine in her husband’s affection by own
qualities is SvâdhînabhartrÏkâ:
While the husband came to the door
to enjoy the beauty following her,
Stopped she knowingly thinking he at back;
None exceeded the other in love.127
Here, LâvanÏyavatî is SvâdhînabhartrÏkâ-madhyâ.
The heroine, worried and in grief due to separation
from her husband is ProsÏitabhartrÏkâ:128
Ever since as she whose complexion
was brighter than the SÏanÏa flower
heard the roar of the cloud,
She did leave lying on the ground,
open the window and set her eyes out side.
Often did she ask her handmaids to sent servants
to see if the prince has arrived.129
(Translation adopted from B.C.Pattanayak.)
Here, LâvanÏyavatî is ProsÏitabhartrÏkâ-mugdhâ.
In this manner, poet Upendra has tried the best to
present his heroines in all the works according to the
standards set by Sanskrit poetics. The successful
 40
way Bhanja has described his heroine from the very
childhood- flawless and attractive.
The heroine, brought up by the nurses, grows day
by day as the moon in the bright fortnight 169 with
uncommon beauty and in amusements and attains
adolescence. In this age she possesses much interest
for dolls’ marriage.170 In the minor works of Upendra the
description of childhood and adolescence is not so vast.
But it is not the case in ‘LâvanÏ y avatî’ and
‘KotÏ ibrahmândÏasundarî’. In ‘KotÏ ibrahmândÏasundarî’
attainment of adolescence is presented through
suggestive descriptions i.e. Vyanjanâ.171
In youth every animate turns mad with an
unprecedented feeling. It is the climax of life that never
comes time and again. Attainment of the heroine’s youth
is the most important sector in Bhanja’s poetry. The
ascending motion of his poetry begins with it (only
exception is ‘Premasudhânidhi’ ). The first impact of youth
is generally in the direction of love. So is the heroine
described erotic in every respect- talks, gestures,
movements and emotions etc. Getting proper education
she, the sweet toned, is an expert in sexual plays. Her
voice belittles that the cuckoo’s.172 The names Madâlasâ
(A nymph; also a lady of slow motion), Manoramâ (A
nymph; also an enchanting lady able enough to provide
mental pleasure), ManjughosÏâ (A nymph; also a lady
possessing remarkably sweet tone), Citralekhâ (Name
of a nymph; also a youngish with beautiful eye brows)
etc. come into existence due to her activities only.173 She,
with restless eyes,174 is much affectionate towards new
thoughts and talks.175 Childish restlessness now dwells
in her eyes only.176 She is interested in reality (actual
marriage) rather than the imaginary one (dolls’
37
respectively. Chadrâvalî of Puranic fame is the heroine
in ‘KalÏâkautuka’.
The pivotal role that the heroines play in the
imaginary works of Bhanja is quite inferable from their
names only. The name of each Bhanjan-heroine (of
imaginary works) follows her beauty and qualities. The
core of most of his works is the heroine’s love. So, the
poet has endeavored best to portray the heroine’s beauty,
one of the most important aspects elemental to love while
naming viz. KotÏibrahmândÏasundarî, LâvanÏyavatî and
Premasudhânidhi etc.
KotÏibrahmândÏasundarî is named so for none in
the millions of billions of universes shares equality with
her in beauty.131 The name LâvanÏyavatî bears the meaning
‘receptacle of beauty’.132 She is Premasudhânidhi due to
the uncommon association of Prema (love) and Sudhâ
(nectar) in the two eyes of the nascent baby.133 But the
names Rasalekhâ and Bhâvavatî are according to their
parents’ choice. The different names of Sîtâ are adopted
from the PurânÏas.134 The name Subhadrâ, heroine in
‘Subhadrâ ParinÏaya’, is due to the birth environment. 135
On the whole, while naming the poet is much
conscious of the beauty, qualities and birth environment
of the heroines. It proves his sense of propriety and
responsibility. It is again remarkable that the poet’s
imaginary works bear the names of their respective
heroines. Everywhere the poet has successfully shot two
birds in a single bullet. The foresight of Upendra is too
much astonishing while naming his work
‘Premasudhânidhi’. It means an ocean of love nectar or
a stainless moon of love. Like the sixteen KALÂS of the
moon the work contains sixteen cantos. As every
succeeding KALÂ of the moon is brighter, likely every
 38
canto of the poetry is more charming than the previous
one. The name KotÏibrahmândÏasundarî is the outcome of
the parents’ pride for their daughter’s beauty. Again the
work itself bears every sign of the poet’s excellence and
confidence.
Now, it seems right to discuss briefly the life sketch
of Bhanjan heroines. Generally, the seven stages of their
life are birth, childhood, adolescence, youth, marriage
and conjugal life, separation and reunion. Every stage is
complementary to the rest.
Of the Bhanjan heroines someone is born to a
nymph,136 the other has taken birth by the grace of a
deity137 and another due to Indra’s curse.138 Only the
Puranic heroine Sîtâ has taken birth from the earth’s
crust.139 The rest are born to their parents like any common
women. Description of previous birth of the heroes and
heroines is a Puranic style in Oriya literature. It was
prevailing in Pre-Upendra Oriya poetry. Upendra has
brought a change to this fashion. The description of
previous birth is found only in ‘RasikahârâvalÏ î ’,
‘LâvanÏyavatî’, and ‘KotÏibrahmândÏasundarî’. In case of
‘LâvanÏ y avatî’the poet may be influenced by
‘Rudrasudhânidhi’ or the description of GanÏes|’ birth in
‘PadmapurânÏa’. But what may be behind her birth, the
Bhanjan heroine has born to the parents during their
anxiety for a daughter.140 In most of the cases she is the
princess brought up with much care and affection. Never
has she known what sorrow is. What melancholy she feels
is only for the absence of a lover husband’s association.
So, no heroine in the real sense is in grief or suffering.
The poet has described the birth in each case in an
auspicious moment as supported by astrology.141 Also
he has provided her horoscope. The existence of planets
39
in many auspicious occasions of her life is found in his
works.142 By this horoscope only the poet has controlled
her life, beauty and qualities from the very beginning.143
The gestures of childhood touch even the cruelest
man’s heart. How can it not get described by the stylus of
Uprendra? So, during childhood the cry of his heroine is
the humming of cuckoo in the mango grove.144 Her sleep
in the swing is the sleep of Goddess Durgâ in silver
bed.145 In her face are present the brightness of moon,
scent of lotus, gloss of mirror,146 camphor’s chill and
whiteness.147 The heroine’s dark, curly hairs seem as
moss on the lotus bud.148 In her wavy looks is found the
splendor of she-deer.149 Her blue eyes defeat the blue
lotus150 and the hairs on eyebrows snatch away its scent
forcibly.151 The heroine’s body is softer than butter and
S |irîs Ï flower. 152 Her luster is brighter than gold, 153
campakas154 and more beautiful than the glittering of the
lightning.155 In her lips is the redness of coral,156 in voice
the sweetness of that of the parrots.157 Her walk is more
beautiful than that of the geese.158 Her plait creates the
illusion of Gangâ, Yamunâ and Sarasvatî due to the
presence of flower bunches. 159 Her play during the
childhood is more entertaining than the dances of
‘Rambhâ’, ‘Menakâ’ and ‘Tilottamâ’.160 She looks like a
picture while standing leaned against the wall.161 She
raises her hands up to catch the moon162 and is indifferent
towards wearing clothes.163 Someone describes her
Sumukhî (of beautiful face),164 others Padmamukhî (of
lotus face) and yet another Candramukhî (of moon
face).165 Seeing her elegance during childhood the other
heroines want to withdraw themselves,166 the hermits
afraid of for being crushed by the arrows of Cupid167 and
other one names her Atisundarî (very beautiful).168 In this
 44
Not only the heroine, but almost all the Bhanjan
women including the MâlyânîÏÏ and handmaids are in the
age group of sixteen and seventeen years. In this age
takes place their marriage. Separation occurs surely
within a year. Again, this separation is designed to help
strengthen their love. Hence, within this limited period
i.e. in conjugal life the Bhanjan heroine is only a lover
and beloved. No question rises regarding her success in
other roles like that of the mother or daughter-in-law. The
efforts of the poet are maximum to build up her heroine
only as a lover and beloved.
Like darkness with light separation eclipses the
happy conjugal life of Bhanja’s heroine due to paternal
order,203 divine illusion,204 illusion by demons205 or divine
curse.206 Many thoughts and suspicion load her mind. Has
the husband been attracted towards other women during
his foreign sojourn? But in the next moment she
remembers his qualities, invites her death for thinking so
frivolous, feels her ornaments fetters.
During rain she prefers to send the cloud as
messenger, consoles herself thinking the husband’s
quick arrival as the Sun comes for the lotus. Further she
feels suffered guessing her husbands physical and
mental torture. She is too much anxious to get a letter
from him. But it doesn’t happen. So, she is in distress.
The heroine wishes many Gods and Goddesses for the
betterment of her beloved. Day by day she grows slender.
Due to long separation she writes or sits to write letter to
her darling, gets overwhelmed after receiving suddenly
a letter from him.
Under autumn moon light dances the memory of
past conjugal life in front of her eyes. Same is the case in
summer. With the arrival of spring the heroine rebukes
41
marriage). In this age come out her breasts178 and turn
177
the lips red.179 Her language is crooked,180 smile humming,
looks restless and movement slow. The heroines mind
during this time is the ripe ground for VAS|ÎKARANÏA
(knowledge to subjugate), STAMBHANA (knowledge to
make one still) and UCCATÏTÏANA (knowledge to make one
anxious).181 She is interested to defeat the spring,182 take
initiation from Cupid, 183 produce her lonely in front of the
mirror and adorn the body by ornaments.184 The heroine
also possesses much interest to see the pictures of sixty
four sexual postures.185 Due to attainment of puberty now
she is restricted to the inner apartment only.186Yet, she
thinks to subjugate every one by dispersing her rays of
luster.187 Like the Kalâs of the moon her youth attains
completeness.188 The signs of youth are clear on the
body.189 She is an expert in ridicule;190 but turns her face
down on the gestures and jests made by the
handmaids.191 The glory of the heroine’s attractive beauty
and qualities spreads in all the directions. The similes
hide in fear to be insulted. She is an arrow of the Cupid
to allure the ascetics and celibates.192
The collective term used in Sanskrit poetics for
the changes and reactions that occur in the wave less
mind of the heroes and heroines on attaining youth is
Bhâva . The awakening of the sentiment S|RÏ NGÂRA
(passionate love) is Bhâvodaya.193 Its depiction in the
works of Bhanja is quite charming. The most powerful
impact of youth is the passion for love. The Bhanjan
heroine also indulges in thinking of love. Horripilation on
the cheeks, quicker breath in the nostrils194 and the signs
of eight stages on the body195 are felt on hearing of
SVAYAMBARA. Gazing sceneries,196 a look on the dice197
or pictures of sexual postures198 or the portrait of the hero
 42
and even the pun and crooked words of handmaids’
create uncommon horripilation in her body and heart.
The affection that sprouts for each other in the
hearts of the hero and heroine before their actual union
is termed as Purvarâga (predilection) in Sanskrit poetics.
Love and affection are inherent to the Bhanjan heroine.
On this touch stone she is felt more noble and bright. Poet
Upendra has put emphasis on Purvarâga (predilection)
in every work. Following the rules as laid down in Sanskrit
poetics he has accepted appearance, dream and hearing
as the media to create it.199
The step next to predilection, in love poetry, is
endeavor (Prayatna). The hero and heroine endeavor to
get each other after their hopes turn stronger by the
affection created through appearance, hearing and
dream. The hope of Bhanja’s heroine to get her beloved
fulfils either due to the efforts of the handmaids or
parents200 or by God’s grace201 or through love marriage.202
The exchange of thoughts and emotions between the
hero and the heroine in all the works of Upendra has
been made possible through love letters. Beautiful
depiction of separation created at this juncture due to the
endeavor and affection is found in every work of Bhanja.
In ‘Citralekhâ’, the first ever creation of the poet in
accordance with ‘Citrakâvyabandhodaya’, there is the
description of physical intercourse before socially
’ approved marriage takes place. But in later times the poet
has turned more conscious. In ‘LâvanÏyavatî’ the first ever
meeting is instituted through dream and magic and in
‘KotÏibrahmândÏasundarî’ through illusion (Mâyâ). While in
‘LâvanÏyavatî’ the hero has touched the heroine in dream
in ‘Citralekhâ’ and ‘Suvarnarekhâ’ their marriages have
been organised before the maids. In
43
‘KotÏ ibrahmândÏ a sundarî’ exchange of thoughts and
emotions has been made possible from a distance.
The normal outcome of endeavor in Indian poetical
tradition in general and up to the medieval times in
particular is union. In some pre-Upendra poetries this has
taken place through Parakîyâ (pertaining to another). But
in Bhanja’s works it rests only upon marriage. In
‘Citralekhâ’ and ‘KotÏibrahmândÏasundarî’ marriage is the
climax. In other imaginary works of the poet reunion after
marriage may be taken as the second climax. In
‘Rasalekhâ’, ‘RasikahârâvalÏî’ and ‘LâvanÏyavatî’etc. the
marriage has been instituted with parents’ consent. But
in ‘KotÏibrahmândÏasundarî’ and ‘Vaidehîs|avilÏâsa’ the
heroes have proved themselves eligible to get the
respective heroine in the contests exhibiting their caliber
and the marriages have been performed in presence of
venerable persons. Marvelous descriptions of preparation
for wedding ceremony, dressing the bride, decoration of
honey moon chamber, coition, return from the honey
moon chamber and jestings by the handmaids and
companions after union are found in the Bhanjan works.
For the passionate couple in conjugal life all- the
fine moonlight, scorching summer, pleasant dew and cold
winter are equally pleasurable. Conjugal life is the only
happiness and joy for them in the whole universe. It is
made brighter on the touchstones of sentiments,
emotions and conceits. A moment of separation is felt
like Yugas (millions of years). Probably, for this only the
Bhanjan heroine is made an expert in the arts relating to
sex. In conjugal life same are the handmaids, comfort
and luxury as in childhood. The only change is the
husband’s association.
 48
life met by the destitute maidens after misuse by the
feudatory chiefs and their folk during the poet’s time. The
description of the sexual longings of SûrpanÏakhâ is very
natural in the poet’s stylus. There is no wonder for a widow
of raw youth to behave so as she in ‘Vaidehîs|avilÏâsa’.
Here the poet is sympathetic to the causes, hopes and
aspirations of a soft but sex greedy youth and dexterously
has described it in his work. Perhaps inspired by this, the
later day Oriya poet Mâyâdhara Mânasimha has penned
‘UpeksÏitâ’, bestowing SûrpanÏakhâ’s cause much honor.
Thus, Bhanja’s women characters are adorned
with marked features. The poet has exhibited his ability
to make stand his heroine as an erotic one. But never
has she even dreamt of the association with other males.
Premasudhânidhi, LâvanÏyavatî, KotÏibrahmândÏasundarî,
RasikahârâvalÏî - each are chaste and continent. Conduct
of each one is transparent, stainless and above
suspicion. Bhanja, a staunch follower of Indian tradition,
has not given women any chance to behave arbitrarily
by the name freedom. The Bhanjan heroine is beautiful,
meritorious, aristocrat, of good conduct and sweet voice,
noble, dexterous in the art of erotica, modest, sincere,
simple, and conscious of social customs and tradition
and above all a PADMINÎ. The poet observes total silence
regarding the life of other women characters. No more
fact is known on them, except those discussed in this
Para and Para II of the essay. But, all the women characters
of Bhanja’s work are alive. He has depicted their life,
social behavior, education, hope and aspiration to such
extent it is essential for his poetry and convenient to the
literary tradition of his times. So, attempting them to make
inferior in the public eyes by comparing with Juliet,
Hermia, Helena or S|akuntalâ is surely contemptuous,
insolent and against fair and natural justice.
45
the youth, remembers one by one- the joy the husband
feels on seeing her dancing eye brows while playing
inside the water,207 his kissing on her face and smearing
sandal paste208 seeing sweat on the body after coition.
Due to severity of separation she attains the ninth stage.
Only Bhanja is capable to depict such heart moving
description of separation.
After separation reunion takes place. The extreme
tenure of separation- design of which is only a poetical
need- is up to one year only. After this there is no
separation at all. Life is as usual. So, Bhanja has never
made any frustrated attempt to describe the life of the
hero and heroine after reunion. Only in ‘LâvanÏyavatî’ he
has made sworn the heroine as the chief queen.209 The
absence of any role for women in the administrative field
especially in the poetry of his times centered chiefly on
the sentiment of passionate love (S|RÏNGÂRA RASA) is
very natural. Also, it has happened in the case of
‘LâvanÏyavatî’. Again Mandâ Devî or Hârâ Dei of the
popular tradition may be one of the causes for it.
Poet Upendra has said nothing directly on the
education of the women characters except the heroine.
But through wit, ridicule and jest in plenty the breeze of
education is blowing freely. The poet has not deprived
even the vulgar characters like female demons to be
educated. Their cruel behavior towards Sîtâ reveals the
standard of learning. They have told Sîtâ that the four-
animals, birds, anchorites and mad are foolish and
equal. 210 The prevalence of female education in the
society, especially in the higher stratum, during the poet’s
time is evident from his works. Regarding LâvanÏyavatî’s
education the poet says, “What learning knows Sarasvatî
(the Goddess of learning) has given to the heroine for
 46
211
she not to be her rival.” Again regarding the education
of KotÏibrahmândÏasundarî says he,“Being defeated in
beauty, me, S|aradâ (the Goddess of learning) has given
all the knowledge as bribe to her.”212 Also, “S|aradâ is in
(her) affection by giving away the knowledge of music
etc.”213
Bhanja has presented his heroine as an expert in
all the sixty-four arts of erotica. To discuss vividly the
varieties and necessity of such education is beyond the
scope of this essay. All these are discussed in detail in
my book “The loan of Upendra.” To meet the current need
only a little information is given here. The dialogues
between KotÏibrahmândÏasundarî and her handmaids
while the heroine’s pleasure trip to the garden is an
example of MLECCHITA VIKALPA, one of the above said
sixty four arts.214 The art PRAHELIKÂ is evident from the
exchange of wits between the heroine and her handmaids
while their enjoyment inside the swimming pool.215 The
heroine’s expertness in erotica is also understood from
the description of honeymoon in the poet’s works. Again
Sacîkalâ and Vânijâ are appointed for this purpose only.216
In case of LâvanÏyavatî the poet has rightly hinted on
it.217His Rasalekhâ likes to read erotic scriptures lonely218
and RasikahârâvalÏî prefers singing and using harp while
the cuckoo’s humming. It proves the dexterity of Bhanjan
heroine in the arts ‘Gîta’ and ‘Vâdya’ the first and second
respectively of the sixty four.
Upendra, very conscious of his times, tradition and
culture has depicted own soil only through the social
behavior of different women characters in his poetry.
Common Oriya women have get manifested through the
gestures, mentality, behavior, thought, love, inner desire,
affection, marriage, food, drink, dress, ornaments and
47
cosmetic etc. despite their birth to different geographical
locations. Only the Orissan culture has got shape through
the descriptions of the behavior of menstruated women,
their chastity and devotion to husbands, sex plays in
honey moon chambers, adversity of coition during
daytime, the type of pre-marital relationship and wedding
altar etc. All these have get merged in and emerged from
the current of Orissan tradition which is though distinct
but not totally separate from the Indian mainstream.
Rather it is a local evolutionary manifestation of the great
Indian culture, ever greatest in the universe. Bhanjan
heroine, even at the climax of love plays, is too conscious
about herself. She has consolidated her position through
PREMABHAKTI (Devotion by love) and SVAKÎYÂPRÎTI
(love to one’s own consort). Not only Sîtâ like a typical
Oriya women has gone to the woods with her husband
but also LâvanÏyavatî feels shame to initiate writing love
letters and if do so than by others name only.
Hope and aspiration, thy name is woman. The
Bhanjan heroine also possesses own hope and
aspiration. The only mission of her life is the union with a
lover consort. All her activities go in that direction from
the very childhood. This needs no proof. It tells its own
tale. Regarding hope and aspiration the Bhanjan mother
seems to be instrumental. Though she has sons, but does
many observances, practices penances and offers so
many wishes to Gods and Goddesses to carry an elegant
and beautiful daughter. Of course queen S|as|irekhâ has
worshipped Lord S|iva to get a son. The handmaids of
the princess are alive only to please her. Their only duty
is to satiate her needs. They have no goal of life. They
depend solely upon the mercy and good look of the
members of the palace. It reminds us of the disgraceful
 52
taken thousands of KALPAS (billions of years). The poet’s
heroine is the unique quintessence of all the beauty
gathered. Such another heroine is, was and will never
be possible. The creator has devised her bringing gloss
from mirror, perfume from lotus, delight from moon,
blueness from blue lotus, restlessness from wagtail and
sharpness from arrow. So beautiful she is that illustrating
her beauty VIGHNARÂJA (God of learning and success)
has turned VAKRATUNÏDÏA (crooked mouth; another name
for the aforementioned God). Depiction of Rosalind’s
beauty in the play ‘As you like it’ by Shakespeare, the
acknowledged greatest playwright of all the times, is the
only comparison to it:
The quintessence of every spirit
Heaven would in little show.
.... .... .... ....
Nature presently distilled
Helen’s cheek but not her heart;
Cleopatra’s majesty;
Atlanta’s better part;
Sad Lucretia’s modesty.
Thus Rosalind of many parts
By heavenly synod was devised;
Of many faces, eyes and hearts,
To have the touches dearest prized.
The poet’s heroine is the empress among all the
beautiful women (SUNDARÎ CAKRAVARTÎ) .228 As the
emperor possesses feudatories, in every limb she is
adorned by imperial fortune. In her hair is KUNTALA, laugh
VIDEHA, neck MÂLAVA, breasts COLA, girdle KÂNCIDES|A
49
IV
Every where and in every time poets are
worshippers of female beauty. But the debate regarding
definition and form of beauty is endless. So, it is safe to
accept a universal concept while any discussion on it.
Mâgha says that which seems new at every moment is
beautiful.219 In the words of Keats “A thing of beauty is joy
for ever.” “Whenever the golden thread of pleasure enters
that web of things which our intelligence is always
spinning, it leads to the visible world that mysterious and
subtle charm which we call beauty.”220 “That beauty is truth,
that it is the expression of the ideal, the symbol of divine
perfection and the sensible manifestation of the good.”221
“Beauty is a pledge of the possible conformity between
the soul and nature and consequently a ground of faith
in the supremacy of the good.”222 Realization of beauty is
the experience of the limitless within the limited. Attraction
is there, where the beauty. The attraction may be of the
inner self or of the eyes. But what has always been
retained as the chief constituent in the works of celebrated
poets every where is description of bodily beauty and
physical luster, mainly of the females. It is impossible to
sum up today the time and labor invested by the poets in
praise of hairs, cheek, eyes, nose, ears, lip, breasts, arms,
navel, buttock and feet of women and their gestures like
wavy and gracious look, sweet smile, slow-walk etc.
Depiction of female beauty in plentitude is found in every
type of literature- folk, religious and jovial.
Despite availability of accomplished spiritual
commentaries the ‘Song of Solomon’ in Bible witnesses
worship of human-beauty.223 Achievements of poet
Kâlidâs on the other hand is incomparable while
depicting female beauty. Very skillfully he has described
 50 51
the physical luster, teeth, lips, navel, eyes, slow walk and In addition, these works contain abridged depictions of
tender breasts of women.224 Depiction of inherent beauty the heroines’ beauty in several other cantos. It is not
of women in Sâralâ ‘Mahâbhârata’ is very much feasible to present here all such details. But one thing is
interesting.2252 In this context, there should be no doubt sure that the poet has described female beauty even
regarding excellent description of female beauty in the when he gets least chance to do so and it is the climax of
stylus of Upendra, the chief representative of the female his genius par excellence.
centered medieval Oriya poetry. To exhibit the superiority of his heroine’s limbs the
In Bhanja’s works woman means beauty. Ugliness poet has very often mentioned the traditional similes e.g.
has no place in it. His descriptions of beauty are as moss, Râhu (a planet in Hindu astrology, very dark in
acceptable to jovial taste as amiable. The poet is very complexion), COWRY, TAMÂLA (Diospyrus Tomentosa),
much earnest to describe youth. He has presented the cloud, flag of the Cupid’s chariot for hairs; black bee,
heroines’ beauty from top to toe. But the technique varies cupid’s axe, bow for eye brows; half moon for cheeks;
with the difference in time and space. He has used one minnow, wagtail, deer, lotus, fish for eyes; lotus, mirror,
canto each to describe the beauty of face, eyes and moon for face; Bimba fruit (a variety of cucumber), coral,
breasts of Sîtâ, Premasudhânidhi and RasikahârâvalÏî new leaves, ARUNÏA (Charioteer of the Sun God) for lips;
respectively. The depth and extent of such descriptions parrot, sesame flower, quiver for nose; KUNDA flower
can be evident easily from the statistics supplied below: (Arabian jasmine), pearl, pomegranate seed, diamond
Name of No. of Cantos Cantos used for teeth; lion for waist; lotus stem for arms; CAMPAKA bud
for fingers; lotus petal, tank for belly; Rambhâ (plantain
the work Used to describe
and also a nymph), elephants’ trunk for thighs; coconut,
heroine’s beauty Bela(Aegle marmelos), Palm fruit, mountains, MANDAR,
S|AMBHU, lotus bud, ruddy sheldrake, receptacle of nectar
R.H. 1 II for breasts; tender leaves, red lotus, STHALAPADMA for
P.S.N. 2 III, IV feet etc. Despite such descriptions the poet’s originality
lies in the mode of application. Dexterously has he
S.P. 3 III, IV, VII
demonstrated their inferiority and taken refuge to too
R.L. 4 II, IV, V, XIII much of imagination. Now some such examples will be
V. V. 5 III, VIII, X, XI, XXVIII presented which are capable enough to prove his good
L.V. 8 III, IV, X, XI, XVI, XIX, taste, joviality of speech and brilliancy.
XXVII, XXXII His heroine is faultlessly beautiful. She is not the
K.B.S. 14 II, III, V, VI, VII, VIII, IX, most beautiful damsel in this earth or universe alone, but
X, XI, XII, XIII, XIV, in the millions of billions of universes
XVII, XX (KotÏibrahmândÏasundarî). To construct her the creator has
 56
am incapable to utter any simile.243 Lakhs of similes are
used for traditions shake only; or else she is replete in all
the thirty two signs of fortune .244 She herself is the simile
to her.245
Poet Upendra has depicted not only the natural
beauty of his heroine; but also adorned her by ornaments
from top to toe: MÂLÏI, pearl net, different types of JHUMPI,
MUKTÂJHARÂ, DUBA, KETAKÎ, COWRY BHUNÏDÏI etc. in
the hair; MATHÂMANI, AMBAKASÏI, ALÏAKÂ, TÂTÏANKA,
JHALAKÂ, BANDI, KÂPA, different types of earrings,
PHÂSIÂ, AVATAMSA on the head and face; nose rings,
GUNÏÂ, TILÏAPHULA, BASUNÏI, DANÏDÏI, NÂKACANÂ, THOPI,
NÂSÂMOTI on the nose; CÂPASARI, MÂLÏ I ,
KANÏTÏHIMÂLÏI(neck less), KÂCAMÂLÏI, pearl MÂLÏI, coral
MÂLÏI in the neck. TÂDÏ A, BIDAMÂLÏ I, armlet, KACATÏI ,
PÂTÏABRATA, BÂHUTÏI on the arms; bracelets, bracelets
of conch shell, bangles, gem bangles, different types of
rings in the hand; waist chain, GHANÏTÏIKÂ, ODÏIÂNÏÎ in the
wait; anklet, tinkling anklet, zone, feet rings, JHUNÏTÏIÂ,
HAMSAKA, BÂJENÏ I , PÂHUDÏ A , DHANÏ D Ï A S | IKALÏ A ,
TULÏÂKOTÏI in the legs etc. The heroine has been clothed
with SÂRÎS, KÂNCULÂ, ANTARVÂSA, ODÏHANÏÎ (veil),
UTTARÂNÏ A, JARIPÂCHUDÏÂ, PANÏ ATA, PATANÎ PHOTÂ,
RANGAPÂTÏ A KHANÏ D Ï U Â and dressed with KHOSÏ Â
(chignon), VAKRAJUDÏÂ, LOTÏANÏÎJUDÏÂ, SIMHÂNÏÎJUDÏÂ,
and KIAPATRÎJUDÏ Â etc. She has used musk, scent,
essence, AGURU (a kind of incense), turmeric, sandal
paste, saffron, camphor, lacdye, vermilion, collyrium etc.
as cosmetics. All these can be easily found in any work
of Upendra. But the heroine is the moon where as the
ornaments only night.246 The poet has admitted that surely
she, the greatest of the beautiful women, is ornament to
ornaments. To express her exquisite beauty in every work
53
and feet KANAKA KATÏAKA. Likely bestowing majesty upon
feudatories in different limbs her beauty has become
matchless. Being scoured on the touchstone youth her
costliest brightness has increased day by day to such an
extent that the poet finds himself incapable to search any
further simile. Where simile is for her in whose body things
of beauty are felt more beautiful. The poet has admitted
that his imagination failed. But really speaking wonderful
verses are generated here and for the poet’s imagination
even sky is not the limit.229
When the earth is adorned by the newly matured
girl the similes have to hide themselves out of distress
here and there. Seeing her gloss KETAKÎ has enclosed
herself inside the thorn. View of her breast and nose has
made distressed the MANDARA and parrot.230 Not being
eligible to be compared with the heroine’s neck cries the
conch every morning in fear ‘Me not equal! Me not equal!’
Dies the fish without water for not being equal to her eyes.
Being incomparable to her laugh drops tear the flower in
the form of honey and serves the plantain for not being
compared to the thighs.
Yet the poet terms her heroine, “KUNDA-bud-
diamond-teethed, moon-lotus-faced, lotus-wagtail-
abusing-eyed, excited cuckoo-winning voiced.” But, later
in own consideration and wit he has disliked it. In the
words of the poet, “What’s more to say with whom the
things of beauty have turned more beautiful.”231
The poet’s heroine is so beautiful that the Sun God
stops his chariot to have a glance on her, for what the
days in summer are longer.232 Due to non-equality with
the heroine gold burns itself in fire and suffers rubbing
on touchstone, hides the lightning after a moment’s vision
and Ketakî dwells in thorn. The lotus is inferior to the
 54
heroine’s face in fragrance and beauty. The similes
normally compared with face, eyes and hair have been
made defeated by the poet in a similar manner.233
Her laugh surpasses the moon, eyes the
SÂRANGA (deer, black bee, lotus), eyebrows the bow,
beauty of nose, lips and waist that of the parrot’s beak,
rising sun and lion’s waist respectively. Likely the English
poet Henry Constable has proved the excellence of his
beloved’s beauty:
My Lady’s presence makes the Roses red,
Because to see her lips they blush with shame
The Lily’s leaves for envy pale became
And her white hands in them this envy bred.
The Romeo of Shakespeare has also seen such beauty
within Juliet:
The brightness of her check
Would shame those stars,
As daylight doth a lamp, her eyes in heaven
Would though the airy region stream so bright
That birds would sing and think it were not night.234
The description of the heroine’s beauty while
having a bath inside the swimming pool is very much
enchanting. Behind the wet clothes her golden body
seems as a fence of quartz. Due to the rise of her laugh-
moon the breast-mountains made of moonstone melt and
flow all over the body. Water drops on her hair create the
illusion of dew falling on TAMÂLA leaves. Acquaintance
with this description makes feel the reader that the
Bhanjan heroine is the store-house of all heavenly
beauty; in the language of Shakespeare “Heaven walks
55
on earth !!” After bath the handmaids have dressed her.
Coming in her body’s contact the clothes look brighter. It
seems as the clothes can’t be seen if with out a border.235
Experiencing the heroine’s cuteness the poets
have unanimously agreed that she is not the creation of
the creator.236 Looking her, second to none in beauty,
MAHES|A (Lord S|IVA) has turned himself into stone to
keep own dignity intact. Empress is she in the world of
beauty. Seeing her celibate hermits have got panicked.
Who willn’t be tempted seeing such beauty? Looking her
APÛRVA-AMBUJA-MUKHA the black bee and ruddy-
sheldrake have run with the hope to kiss; but got afraid
seeing the S|RUTI.237 Here AMBUJA means lotus and
moon and S|RUTI means CAMPAKA and net. So, the
heroine’s face is equally beautiful both in day and night.
Again, the black bee never goes to CAMPAKA and the
ruddy sheldrake fears the net. Nothing equal to the beauty
of the TILAKA on her fore head can be found in the whole
of the Vedas. In beauty Cupid and his consort are also
inferior to her.238 Lord KrsnÏa has got blackened thinking
that he can’t subjugate this maiden and HARA (Lord S|iva)
turned saint for the same reason.239
Beauty as Bhanja’s heroine is rare even in heaven.
As|winîkumâra (Physician in the heaven), Candra (the
moon God), Indra (King of the heaven), Kuvera (God of
wealth), NairÏta( Lord of corpse and demons), Yama (God
of death) also hope to get her. But they are inferior to the
heroine in beauty.240 She is the jewel among all the
beautiful women in this universe.241 Describing her beauty
with so much wit, the poet says at last: Where even the
great poets can find similes for her, in whose body the
things of beauty have turned more beautiful.242 She is
uncommon, the embodied joy. I have observed her, but
 60
with a circle for such thought was nothing but an illusion.
It is not the CANDRAMANÏDÏALA but the act of the creator
thinking it an alphabet wrongly written to punish its
impudence. (In the age of writing on palm leaves it was a
common practice to surround alphabets wrongly written
by circles)”261
It is improper to compare the hairs of Damayantî
to the cowries behind animals as the hairs that learned
Damayantî bears on her head are most excellent.262 In
the same style Upendra says: While opening, the hairs
of KotÏibrahmândÏasundarî are not equal to black cowry
nor to peacocks’ plume while taken into hands.The cowry
and plume are kept at the back of the animals and
peacocks for their inferiority. Evening up these with her
superior hair will reveal only the thoughtlessness of the
poets.263 Again to describe the hair poet of ‘NaisÏadha’
says: Had Brahmâ (the creator) worshiped the hair of
Damayantî by flowers and drove away the peacock’s
plume with rebuke and ARDHACANDRA (push on the
back) for coming to him quarrelling each other ?264
Applying wide imagination poet Upendra, in ‘Subhadrâ
ParinÏaya’, has explained: “Dark, curly, dense, polished
and long are the hairs of the maiden. Got GALÏATHÂ (push
on the back) the stupid peacock’s plume for approaching
Lokes|a (the creator) to be the simile to her hair. That mark
is the CANDRIKÂ265
Pointing the braid hanging over Damayantî’s back
says S|rîharsÏa: The darkness at the front and side, driven
away by Damayantî’s face moon, is surely imprisoned
behind in the form of braid. 266Pointing the back of
LâvanÏyavatî describes Upendra: The braid is hanging
over the maiden’s back. Is the black serpent playing? Is
the darkness fleeing away seeing the increase in bright-
ness of her face moon? 267
57
the poet has used to tell the same thing that such a beauty
is, was and will never be. 247 While describing the
heroine’s beauty Bhanja has imagined a body like ripe
mango, with no joint or vein.248 In this context he has felt
no difference between the princess and a Mâlyânî.249 The
Bhanjan woman is so beautiful that even during
pregnancy she looks like a silver effigy.250
Not only is to describe the heroines’ beauty, but
also in case of a character as Mâlyânî the poet’s effort
endless. He has presented the Mâlyânî with a CAMPÂ
flower tucked in her chignon that makes the males
impatient.251 What’s more to say. Let’s try to what extent
Upendra is influenced by his predecessors as no poet is
above the charge of plagiarism.252
Poets always strive for originality. But to enrich the
genius study of the predecessors and contemporary great
ones is essential. It is no wonder for any poet to be
influenced by the writings he has already studied, despite
it’s being an obstacle to the integrated expression of his
original thought. Yet, when adoption turns equivalence,
it bestows excellence instead of spotting the poet’s
creation. The greatest the poet more is the indebtedness.
Immature poets imitate, mature poets steel, bed poets
deface what they take and good poets make it into
something better or at least something different.253 Let’s
discuss the influence of the preceding poets over
Upendra in depicting female beauty from this angle.
During his times of the SÏATÏKÂVYAS (Six major
works of poetry in Sanskrit) the ‘GURUTRAYÎ’ and
particularly the ‘NAISÏADHÎYA CARITAM’ was honored the
most by the poets: TÂVAT BHÂ BHÂRAVERBHÂTI/
YÂVNMÂGHASYANODAYAH, UDITE NAISÏADHEKÂVYE/
KVA MÂGHAH KVACA BHÂRAVIH i.e. Bhâravi was
 58
honored up to that time when Mâgha had not appeared
in the scene; but after the rise of ‘NaisÏadha’ who Mâgha
and Bhâravi were. Moreover, the grip of Kâlidâs was also
slackened to a greater extent, which is quite evident from
a popular maxim prevailing among the scholars of that
time: Raghuriti Kâvyam/tadupari tîkâ/sâpica bhâvyâh i.e.
Raghu (Kâlidâs’ Raghuvamsam) is a work! that to be
commented upon!! and that too be read!!! Upendra has
also admitted his effort in ‘KotÏibrahmândÏasundarî’ to
make it a parallel of ‘NaisÏadha’. In their respective
literatures Kâlidâs and Upendra are honored the most
for the use of similes. Also, Bhanja has explained in his
work that he is following Kâlidâs. Again, the influence of
‘GÎTAGOVINDA’ is very deep rooted in Oriya literature.
Upendra too has expressed his honor to Jayadeva, the
author of Gîtagovinda. The influence of BhartrÏhari’s
‘S |RÏ NGÂRA S |ATAKA’ over S |r Ï n gâra centred Bhanja
literature is very natural. Both the father and grandfather
of Upendra, NîlakanÏtÏha and Dhananjaya respectively
were poets of repute. Upendra himself has mentioned it
in the canto XVI of ‘LâvanÏyavatî’.254 Hence, the influence
of them especially of his grandfather Dhananjaya over
the poet can’t be ignored. Here, the vicinity of relationship
and equivalence of excellence (both are celebrated
poets) must be admitted. Now, it’s proper to discuss briefly
the influences of all the above mentioned poets over
Upendra’s description of female beauty with reference
to few examples.
Critics opine S|rîharsÏa as the preceptor of Upendra.
Further, the ‘KotÏibrahmândÏasundarî’ of Bhanja has been
unanimously accepted as the ‘NaisÏ a dha’ of Oriya
literature. Hence, it is reasonable to discuss first the
influence of S|rîharsÏa on the poet with respect to the
59
present context. Both the poets have never hesitated to
depict the beauty of females from top to toe and
particularly to inaugurate that of their breasts and buttock.
In addition, both of them have not forgotten to describe
even the private parts. The stanza (S|loka) XIV of Canto
VII in ‘NaisÏadha’ can be compared with Upendra’s “Bhalâ
yauvana srÏsÏtÏi sajâdÏilâ/ âga upamâ srÏsÏtÏi ujâdÏilâ” i.e. with
the rise of her youth the creation of similes got destroyed.
The poet of ‘NaisÏadha’ has narrated Damayantî’s
face: In a beauty contest all the lotuses had admitted their
defeat by Damayanti’s face. So, as a token till date they
have not raised their heads above water.255 Likely, poet
Upendra has expressed the fruitless attempts of lotus and
moon to defeat the beauty of Subhadrâ’s face: Quickly
thought the poet that they were coming to be compared
with her face and threw them away. The lotus fell inside
the water; the moon as light it was, raised above. 256
Poet S|rîharsÏa has compared Damayanti’s face
with moon. It makes shrink or destroy the lotuses. Upendra
while depicting her heroines face says: The lotus shrinks
and becomes pale in contemplating (her) face.257 Again,
in his opinion: Lotus, mirror and moon are not really the
similes to her face. Due to the absence of gloss and joy
lotus is not competent to bear analogy with her face. That
lotus is compared to her feet by virtue of fortune only.258
Otherwise, her face defeats crores of lotuses.259
The poet of ‘NaisÏadha’ has written: The pits in the
moon are nothing but the resultant factor of taking away
all its essence by the creator to devise Damayantî’s
face.260 Galvanizing it by his originality Upendra says: No
stain was there in the moon during the churning of the
ocean and at that moment it laughed in pride thinking
itself equal to Jânakî’s face. The creator surrounded it
 64
physique in the priyangu creeper, eyes in the panic
stricken deer, hair in peocock’s plume, and its curl in the
sea waves; yet O’ Devî! I can’t perceive your whole beauty
at a single spot or in one substance. 300 Such parallel
depictions can be found in every work of Bhanja
(Discussed in this Para earlier. Also refer
‘KotÏibrahmândÏasundarî’ Canto: V.)
Kâlidâs describing the middle portion of Pârvatî,
has written that after seeing her it comes to the mind, the
fine TRIBALIS of hair on the body up to deep navel
crossing the girdle are three stairs for Cupid to reach
the breasts. 301 Such charm of imagination is not the less
in Bhanjan works. Upendra says: Women are termed as
ABALÂS (weak); but this maiden is exhibiting extreme
limit of strength never seen or heard before. Where as
VisÏnÏu had imprisoned a single Bali in the nether region
this damsel three Balis by her heart. Arjuna had held a
single earth on his bow, but she two earth like breasts
over emerald bow like hairs on her body.302
Kâlidâs’ stylus hardly takes rest while narrating
heavy and tender breasts. The thick and pale-yellow-
breasts of lotus-eyed Umâ were such attached to each
other that even a lotus thread could not enter within.303
Umâ, putting on clothes red like the sun in dawn and
bent due to heavy breasts, was looking beautiful as the
bending creeper covered with new leaves and flower
bunches.304 Sîtâ was also slight bent so that during
separation Râma had gone ahead to embrace the
AS|OKA as it was creating illusion of Sîtâ.305 The queens
of Kus|a too could not swim freely for their thick breasts
and heavy buttock. 306 Kâlidâs’ Urvas | î was
SVALPAKUCÂNTARÂ i.e. the space between her two
breasts was very little. Also MÂLAVIKÂ possessed thick
61
In the cantos II and VII of ‘NaisÏadha’ S|rîharsÏa has
proved the excellence of Damayantî’s eyes by arguing
the inferiority of deer’s eyes, lotus, blue lotus, wagtail
and ruddy sheldrake . 268 Poet Upendra has also
presented such excellence of his heroine’s eyes saying
it superior to lotus, deer and wagtail.269
Describing the breasts of Damayantî says
S|rîharsÏa: It is the wonder that the shrinker (destroyer) of
lotus, the face moon of Damayantî, has risen over; yet
there’s no gap between the two ruddy sheledrakes
(breasts).270 The description of Bhanja in similar context
is: Seeing her breasts gapless, very thick, ripe, round and
firm the ruddy sheldrake thought to be equal to those. So
S|rîrâma, the wise and intelligent, cursed it in anger for
separation during the night .271 At another spot the thought
of S|rîharsÏa is: The creator had made Damayantî’s body
fathomless. In it both the Cupid and youth were
swimming. So, the two breasts of Damayantî might be
two pots for their reliance. 272 Likely Bhanja in his
‘Subhadrâ ParinÏaya’ has written: Holding the breasts like
two pots in his hands Cupid was going to bring water
from the belly tank (of Subhadrâ).But due to slipping he
was drowned into the tank. Did those two pots reach the
bank after some time being floated?273
Describing his heroine’s breasts S|rîharsÏa has
written: O’ princess! The Cupid has thrown his flower
arrows into your hairs, the bow into your eye brows and
the body like a broken pot into the third eye of Lord S|iva
for the sorrow caused due to his defeat by Nala in beauty.
That Cupid now, to win Nala, is practicing penance
(TAPA) secretly in your body hermitage. His leaf hut is the
leaves (PATRÂVALÎ) drawn on your breast mountains. 274
Bhanja, while describing his heroine’s breasts, has made
 62
amalgamation of his originality with the ideas of
‘NAISÏADHÎYA CARITAM’: Cupid is dwelling secretly in
her breast hut covered with leaves drawn (PATRÂVALÎ)
to hunt her waist lion.275
Poet S|rîharsÏa has described Damayantî’s beauty
in pun: A glance on her satiates the curiosity of visiting
four heavenly nymphs.276 In the same way in ‘Subhadrâ
ParinÏ a ya’ Bhanja has mentioned of seven such
nymphs.277 Another description, similar in nature yet more
marvelous, is also found in one of his works.278
In ‘NAISÏ ADHÎYA CARITAM’ , the Bimba fruit is
described as no match to the lip of Damayantî.272 Again
her teeth are pearls fixed on coral.280 Though Bhanja has
depicted the teeth and lip of his heroine as the same as
in ‘NAISÏADHÎYA CARITAM’ yet says with originality: Pearl
remains in oyster shell. It bears the name MUKTÂ for
being MUKTA (free).... The rising sun is ADHARA (inferior)
to her ADHARA (lip). 281
In S|rîharsÏa’s work Damayantî’s eye brows are
described as Cupid’s bow.282. Upendrra has also depicted
his heroine’s eye brows likely. Upendra’s description of
his heroine’s thigh 284 is akin to that of S|rîharsÏa’s.285
According to S|rîharsÏa the lotus is virtuous to be the simile
to his heroine’s feet286 which is too akin to the thought of
Upendra.287 Damayantî’s tone is the tune of Sarasvatî’s
harp.288 Upendra has followed S|rîharsÏa while depicting
KotÏibrahmândÏasundarî’s voice. 289 Union of adoption and
originality is found here. S|rîharsÏa has imagined the war
of Mahâbhârata in his heroines eyes.290 But in the eye
brows of KotÏibrahmândÏasundarî Bhanja has described
the Rangasabhâ, 291 Mahâbhârata war,292 RâmâyanÏa 293
and Arjuna’s valor simultaneously.294
63
From the discussions above it is clearly evident
that while depicting the heroine’s beauty Bhanja has tried
successfully his best to follow ‘NAISÏADHÎYA CARITAM’.
May or may not be in thought but by style his work bears
equivalence to ‘NAISÏADHÎYA CARITAM’. Now, let’s discuss
the influence of Kâlidâs over Upendra.
Kâlidâs has described his heroine as the best out
come of Brahmâ’s imagination. By a review of
S|akuntalâ’s physique and the creator’s architecture, it is
felt that the creator has provided life to S|akuntalâ after
devising her of all the beauty of the universe gathered at
one. 295 Again, it seems that Brahmâ prefered to see all
the beauty of the universe at one place. So he collected
carefully all the elements fit to be similes and created
Pârvatî.296 Bhanja, one step ahead in this context, says
that during the heroine’s childhood Vis|vakarmâ tried to
build an idol resembling her; but failed. Maya, the greatest
architect of the demons strived to draw a picture of her;
but his attempts became futile. Hence, the poet is thinking
that how Brahmâ had created her; perhaps she was built
by chance at the time of contriving this and that limb
and connecting those here and there. Otherwise, it is
impossible to imagine such a beauty applying all wisdom
and consciousness.297
The stylus of Upendra has not stopped with this
much only. He has again thought that probably the creator
had at first built an effigy of butter but that turned into ghee
for being inferior in softness. Again he built an effigy using
love and nectar and gave life to it with the life of Cupid
who had been turned into ash. The result is she.298 The
creator built the princess by the essences of love and
nectar and by residue the similes.299
The desire of Kâlidâs’ YAKSÏA during separation
is: Ï O’ darling! I am able to see here the beauty of your
 68
(feet), Jasminum Arborescence (fingers), S|IRÎSÏA (body
texture), AS|OKA (the nails) and fruits mango (body
structure), pomegranate (teeth), NÂRANGA (palms),
BIMBA(lips), raisin (smile), gourd(buttock), citron (breasts).
In it plays seven birds: cuckoo (voice), wagtail (eyes),
ruddy sheldrake (breasts), peacock (hairs), parrot (nose),
dove (neck) and swan(movement).322 Such a wonderful
imagination has been made possible for the first time in
Oriya literature only in the stylus of Bhanja.
The exquisite beauty of Bhanjan women creates
uncommon jovial appeal in the rightful reader’s mind. His
descriptions of heroine’s beauty are fully capable to keep
the emotion Rati, the chief constituent of the S|RÏNGÂRA
centered poetry always flowing and alive. From this point
of view depiction of the heroine’s beauty is a vital element
in Bhanja’s poetry. Hence, it is irrational, for him to be
blamed for the job accomplished gracefully.
The poet’s effort is most to establish his heroine
as ‘Uncommon beauty’. So, he has adopted different
techniques to present different limbs of women most
beautifully. The lady that dances always before the eyes
of the readers of Upendra’s poetry is never the less than
the effigy of the dancers on the walls of ‘Konark’ from any
point of view. Bhanja is fully conscious of the rights,
responsibilities and strength of a poet. So his efforts to
make stand a movable ‘is, was and will never be’ effigy
of a maiden before the readers in a dreamland of
imagination has successfully resulted in ‘LâvanÏyavatî’
and ‘KotÏibrahmândÏasundarî’ through ‘RasikahârâvalÏî’,
‘Premasudhânidhi’, ‘Suvarnarekhâ’ and ‘Rasalekhâ’ in
his poetry.
But the physical beauty alone doesn’t constitute
every thing of women. All the efforts of a poet turn futile if
65
and ripe breasts. The beautiful women, dressing their hair
in dewy morning were also bent due to the weight of their
ripe breasts. 307
The elegance of the breasts of the youngish
KotÏibrahmândÏasundarî has made Upendra mad. He
thinks: Has the Cupid kept carefully in his store the
golden box filled with gems of love ?308 Getting support
of her body like TAMÂLA creeper two coconuts are
growing over the stick of hairs on the body. Again there
are two betel nuts on the coconuts. Really it is very
wonderful. 309 The thick,ripe,tender breasts are like
mestwood fruits and the firm nipples betel nuts. Glancing
it the nobles have lost their patience. As the breasts are
high as MERUPARVATA, she possesses the beauty of the
heaven.She herself is the earth The TRIBALIS on her body
(belly) bestow the pride possession of the nether region.
So she is liked by all in the TRIBHUVANA . 310The
S|IVALINGA loses its pride for the inferiority in hardness
to her breasts. The coconut is no more counted among
the fruits. The citron bends its head down saluting the
heroine.311 Her two ripe breasts, covered with black top,
seem as Lord S|iva taking bath in KÂLINDÎ (river Yamunâ)
to heal the inflammation caused due to taking poison.312
Like Kâlidâs, Upendra has also used the similes
with great care, devotion and intellect to express rightfully
his refined thoughts and the indescribable beauty of the
heroine. According to AppayadîksÏita simile is the only
dancer capable of entertaining the jovial consumers of
poetry.313 By the colorful and dexterous utilization of
similes both the poets have been able to bring charm to
their descriptions of heroines’ beauty from top to toe.
Even similarity in conclusions regarding the beauty of
their heroines is found:Ornament of ornaments surely is
 66
314
the maiden. Ornament of ornaments, decoration of
decorations is she.315
Upendra, in ‘LâvanÏyavatî’, has compared different
limbs and gestures of his heroine to different aspects of
the swimming pool: smile, eye, face, thigh, breasts, body,
movement, belly, navel, hands and arms to lily, fish, lotus,
bank, couple of ruddy sheldrake, black bee, swan, lotus
leaf, eddy, red lotus and lily stalk respectively. 316 In this
context the poet may be influenced by BhartrÏhari. Such
a description is found in S|RÏNGÂRATILAKA. Bhanja has
compared the elegance and gestures of his heroine with
those of many beautiful ladies of known reputation. 317
This style is also found in Jayadeva’s Gîtagovinda.318 In
addition, the influence on Bhanja of Sanskrit poets like
VânÏabhatÏtÏa and works like ‘MahânâtÏaka’ are potential
matters of interest to be investigated.
The influence of the description of Vanî and Vanitâ
i.e. forest and woman in Dhananjaya’s ‘Anangarekhâ’ is
clearly evident on the description of Vanî and Vanitâ
(forest and Ahalyâ) in canto VII of ‘Vaidehîs |avilÏâsa’.
Dhananjaya has used the similes wagtail, fish, lotus and
deer in a single context to describe his heroines eyes. In
his ‘Subhadrâ ParinÏaya’ Bhanja has also utilised the
similes deer, blue-lotus, wagtail and minnow
simultaneously to describe Subhadrâ’s eyes.319 In case
of frequent movements of their heroines’ eyes in youth
both the poets have left equivalent descriptions. The
description of LâvanÏ yavatî’s grace by Upendra is
analogous to Dhanajaya’s description of Ratnamanjarî.
Same is the case while describing swimming pools.320
Upendra is also influenced by the ‘Madanamanjarî’,
‘RaghunâthavilÏâsa’ and ‘KrÏsÏnÏakrîdâ’ of Dhananjaya.
These and the influence of other Oriya poets on Upendra
67
are discussed in brief in my book ‘The Loan of Upendra’.
For further study readers may consult it. Bhanja is not
influenced only by the predecessors but also have
influenced his successors for a long tenure. Upto
Râdhânâtha’s time his style was the only ideal to write
Oriya poetry. It needs no proof and waits no discussion.
This discussion will be summed up after providing
two more examples. These are meant to fathom the depth
of Upendra’s originality and dexterity.
One of the distinct and strong features of Bhanja’s
genius is to view traditional items from a different angle.
It has made him capable to present the heroine in a new
shape. Totally changed and beautifully shaped traditional
similes can be easily marked in any of his important
works. It’s a common trend in Sanskrit and medieval Oriya
poetry to compare the heroine’s eyes with deer and lips
with new leaves. The following example from
‘Premasudhânidhi’ will determine how Bhanja can do
wonder and quite uncommon imagination utilizing these
two common similes. The two eyes of ‘Premasudhânidhi’
are deer. The creator has kept them tied face to face. At a
distance is their food, the lips like new leaves. Both are
hankering for the same. But they are incapacitated to
reach there. In the poet’s imagination it is the real cause
for the restlessness of ‘Premasudhânidhi’s eyes.321
To compare different limbs of females with different
birds, animals, flowers and fruits is an age old practice in
poetry. Adopting these similes from Sanskrit poetics and
writings Upendra has built his heroine anew and
uncommon. His heroine is a gold creeper with self
movement, good fragrance and beautiful leaves. With an
exception to common creepers in it has grown the flowers
lotus (the face), CAMPAKA (body color), lily (eyes), PÂTÏALÏÎ
 72 69
her body; smile in face, quicker the breath.338 Love the lady that he makes stand in his work fails to over joy
thoughts in each case are almost the same. The love letter and enchant the readers with human touch and sentiment
produced by Bhanja is not only the first meaningful resembling her beauty and age. So, Upendra has made
outcome of love but also a burning example of youth his S|RÏNGÂRÎ heroine alive and real by the qualities
psychology.339 proportionate to age and beauty. Hence, with the
Her love condenses more during separation. Here advancement of time his attraction to describe female
Upendra’s mind is expressed clearly under the veil of beauty has decreased gradually. This will be clear from
the heroine’s psyche. It is natural for her, who has got the the statistics given below:
person whom she wants most as husband, not to be Name of the Similes Similes used Percentage
attracted to any one else. Of course, never the tenure of poetry used to describe (%)
separation is very long. Through it mental conditioning women beauty
of the heroine as ‘Lover consort’ is performed skillfully.
R.L. 323 189 50.9
While studying the psychology of Bhanjan heroine
R.H. 272 171 62.9
the most important mental states that the readers meet
are the hope to get the hero, the changing state of the P.S.N. 401 261 65.1
mind after pre-marital meet, the mental reaction after the S.P. 692 453 65.5
dream and the experience during separation. All these L.V. 1083 799 62.3
revolve around sex. But the circumstances only are to V.V. 2093 660 31.5
blame. The girl, always under PARADÂ in the pre-marital K.B.S. 1095 575 52.5
life, has chosen him as husband of whom she hears from Here, it is to note that in this context ‘Vaidehîs|avilÏâsa’ is
the maids or sees the portrait. The question of likes an exception, as a work puranic in nature and centered
dislikes or preferences do not arise at all; totally immaterial on incidents expressing the greatness of Râma, the Lord
here. Her sole desire and goal of life is to get the hero par excellence in the poet’s eyes.
either in reality or in dream. So, the mental reactions at
V
the time of looking the hero directly or in dream are about
the same. Fulfillment lies alone in wedding. Description The effort of Upendra, to make alive the sentiment
of separation is just ceremonial. Unobstructed of love always in the mind of his heroine, is endless. Let’s
expression of her thirst for love is the truth above all. approach psychologically to know its form and
peculiarities. Psychological dissection is the analysis of
An in depth gaze on Upendra’s life makes feel the
mental conditions with difference in time and space.
psyche of the heroine as his own. Till now the life sketch
Mental condition has no definite central point eternally.
of the poet is in oblivion. Yet, it is doubtless that he has
Psychologists consider customs, tradition and social
enjoyed a conjugal life of very short duration. Perhaps,
environment as its vital controlling factors. Personal and
the desire for remarriage is voluntarily put on hold for life
 70
mass development are inter dependent.323 The social
behavior of a child is always affected by the surrounding
in which he dwells. 324 He learns social behaviors
unknowingly imitating his father, mother and relatives of
the family.325 The child imitates them who rule over him.326
In Indian children the family life and social environment
are reflected mainly.327 In this context, the psychological
analysis of Bhanjan heroines may be done here right now.
While depicting his heroines it is observed that
Bhanja has tried to present right birth environment as
controlling factor of the future. In almost all the cases it is
royal and in all aristocratic. One is born to a nymph, the
other descends on earth due to spiritual influence, and
another is sent to earth to get the husband she prefers. In
every ones life S|RÏNGÂRA is obvious from very childhood.
For this, the family background, par ticularly the
association with handmaids is responsible. Because from
very childhood, she has no connection with the outer
world and is surrounded by handmaids at every moment.
The puppet play of that time is also to be remembered in
the present context.328 At every step the handmaids are
alert and engaged in jesting to build her up as the
S|RÏNGÂRÎ one- may it be the moment of glancing a black
bee on flowers, listening sweet music, dressing, playing
dice, strolling inside the garden, plucking flowers or
swimming inside the pool. By laughter, jesting and utilizing
erotic symbols they try to evoke the sensibility of love in
her mind and make her attracted more and more towards
males and loyal to the hero. The poet has used such
dialogues very consciously at different places.329 These
are meant to create the emotion for love in the wave less
mind of the maiden. Also all these handmaids are equal
to her in age, the daughters of barons or feudal chiefs,
71
experts in erotica, beautiful, eloquent, wise, learned,
intelligent, dexterous and always companions.
The mentality of the girl, alienated from and
ignorant of the out side world and getting no chance to
gain any knowledge except to discuss matters of sexual
excitement with the handmaids must be alike. So the
Bhanjan heroine is nothing except a ‘Lover consort’. Of
course Sîtâ and Revatî (not the heroine) have the role of
sisters-in-law. But it is for a while and quite negligible.
Rastogi says, “Sex interest is explicitly expressed
by an adolescent in his performance for pornographic
literature, odd pictures, exhibition of body parts, acts of
masturbation and some sort of sexual interest.”330 Almost
all of these happen in Bhanjan heroine’s life. The
handmaids try to their extreme limit to make her attracted
and attached to the hero, show the portraits of sixty four
postures of erotica to create sexual thirst in her mind,331
praises the qualities of the hero a lot. So, she has no way
out but to take resort to Sun god, be attracted towards a
handsome male inside the court332 or to express her desire
before the handmaids.333
As time passes by this desire gets stronger in her
mind. She feels, fulfillment of life lies only in getting the
hero. This unfulfilled desire fulfils to some extent in dream.
Freud says: the highest desire of men is sometimes
expressed in dream. So they dream.334 In dream the
Bhanjan heroine meets the hero.335 But depiction of this
meeting is so wonderful in Bhanja’s stylus that it is above
the psychoanalysis of Freud. The heroine bewails and
feels sad after the dream. In some works she controls
her anxiety by patience or getting the chance to glance
the prospective husband in magic.336 She gestures
favorably after direct vision.337 Horripilation is there across
 76
hesitation, have acknowledged the bond between eros
and aesthetics. According to Pt. Santayana sexual
attraction is a part of aesthetic contemplation.342 Gross
has proved sexuality as complementary to it. 343
Sex awaits higher imagination. It affects the
imperceptible consciousness of humans. Critics say: The
high mental development of human consciousness
requires prolonged learning, rather than merely the
hereditary transmission of animal instincts. Eroticism and
consciousness are therefore deeply linked. 344
Cohabitation is the gesture of fearlessness and
assurance. Very often it is depicted in Bhanja’s poetry.
Upendra is a devout mason of aesthetics. So, in his works
the description of love between men and women is very
heart moving and emotional. In the words of D. H.
Lawrence: Now sex and beauty is one thing like flame
and fire. If you hate sex you hate beauty. If you love living
beauty you have a reverence for sex. Of course you can
love old, dead beauty and hate sex. But to love living
beauty you must have a reverence for sex. Again, Bâgchî
says that sex and beauty are inseparable like life and
consciousness. According to Vâtsyâyana, the author of
‘Kâmasûtra’ fame, beauty loses luster when rises the
eros. Hence, it is sure that the distinction that lies between
eros (KÂMA) and love (PREMA) is imperceptible. In this
context we may remember Mr. Banerjee: Love and sex
are the most important aspects of all literature but the
problem lies in the form of its expression.
Cohabitation with no love is not rare. But, every
physical relation can’t be termed as love. Yet, we can’t
deny it to be a limited manifestation of love. When one
can’t decide what to offer the sweet heart, but likes to
give away every thing and any thing under possession,
73
after his SIDDHI (success) in RÂMA TÂRAKA MANTRA.
But can the desire for a ‘Lover consort’ be suppressed
so easily in the inner mind? Probably, Râmacandra is
his ideal who had built ‘Golden Jânankî’ to heal his pain
caused due to separation. But, what the poor poet to do.
He has tried his best to provide life to the ‘Lover consort’
by establishing her in the kingdom of ideas and through
the ever lasting and ever green stylus. This effort again
is bound to be fountainous. So, every work of him is the
so called ‘as usual’. Whole the widower’s personality has
been veiled fully behind the mental idol of the loving lady
whose company he feels fortunate enough to get during
a sojourn of ever joy. All the heroines in Upendra’s whole
works are each an effigy of this loving one only. So his
heroines are not mothers, queens or house wives but
only lovers and lovers to the inner most of their core.
Not only this much, but also Bhanja has exhibited
dexterity in analyzing the different states of female psyche
as acceptable to psychology even on date. The picture
of the younger sister’s mental state on the eve of the
wedding ceremony of her elder that the poet has given
in ‘RasikahârâvalÏî’ is very natural. It makes remember the
“Love’s philosophy” by P.B. Shelly. The fear of Sîtâ of a
co-wife while Râma destroying the pride of Paras|urâma
that the poet describes in canto XVI of ‘Vaidehîs|avilÏâsa’
is not only nearer to reality but coincides with it. The mental
reaction of Subhadrâ, in canto VI of ‘Subhadrâ ParinÏaya’
, after having a look on Arjuna is also accepable to
psychology. The poet has furnished the bare picture of
women’s envy and jealousy through the portrayal of
SûrpanÏakhâ in canto XXIII of ‘Vaidehîs|avilÏâsa’. Isn’t it
natural for a young widow? The portrayal of Kaikeyî, too,
is another example of women’s jealousy. Through the
 74
|
character Kaus alyâ, poet Upendra has successfully tried
to analyze psychologically the affection of women for their
children. Again, Sîtâ is shown incapable of keeping
herself free from shame, natural to women. She has
replied Râmacandra on Ketakî petals only. Alike, through
the dialogues between Sîtâ and the tribal women the poet
has displayed dexterity in analyzing the thoughts of
women heart finely.
To say in a sentence, the Bhanjan women have
taken shape from the gracious intellect of a true scholar,
severe pain of loving widower, winged imagination of raw
youth and scientific analysis of expert psychologist.
VI
Some times Bhanja is criticized for his incapability
to perceive divine beauty cognate to women. It is
complained that his aesthetic contemplation is restricted
to bodily beauty and that too to putting off of girdles and
kissing the lips and the women in Bhanja’s poetry play
no significant role as mother, daughter or sister. But,
when we try to see a woman in different roles no definite
idea can be drawn on her. And here, to understand the
lady it is binding on us to be philosophers or sages; but
not common men. When we see her as mother, sister and
wife in daily life the acquaintance becomes complicated
and indistinct. But, she can’t be put to the sphere of
literature without perceiving a definite quality within her.
In day to day life we can’t see her though do it, can’t
recognize though have some acquaintance. Upendra,
through his poetry, has strived to create a definite identity
for women. The poet by his own right and light has built
her perceptible to us.
75
The poet’s thirst for female beauty may make some
dissatisfied. But, it’s true that through ages the beauty
and luster of women have remained enticing to men.
Though two bodies of blood and flesh are separate from
each other, the beauty of the lady touches the soul of her
lover and the unseen chain of love binds their hearts and
minds together. Earthly pleasure generates through
physical contact. In the words of Scott:
It is the secret sympathy
The silver link, the silken tie
Which heart to heart and mind to mind
In body and soul can bind.
Bhanja also subscribes to the same view: Gheni eka
jîbana, kebalÏa tanu bhinna’ i.e. though bodily separate,
their life is one.
Lovers at every time are eager for the company
and beauty of their sweet heart: ‘Rûpa lâgi âñkhi jhure/
gunÏe mana bhor, Prati anga lâgi kânde/ prati anga mor
i.e. the eyes bemoan for beauty, also the mind for her
and every limb of mine cries for the same of her. Even, a
puritan as Tolstoy says: there’s no more beauty as
women. Imagining ATÎNDRIYA (imperceptible to organs)
is impossible without the INDRIYA (organs). The
DEHA(body) is just a ladder to reach the ADEHA (non
embodied). In the words of Mânasimha: Taba rûpa talÏe
se rûpara sandhânî muñ hoichi sundarî i.e. O’ elegant! I
search thy grace within your beauty. It is true ‘that which
inclines to love seems beautiful, that which seems
beautiful inclines to love. This intimate union of art and
love is indeed the only explanation of art.... Art is the
accomplice of love.’340 What pleases is attractive and what
is attractive is sort beautiful.341Many scholars,without any
 80
are get manifested through bodily enjoyments; so far as
concerned in the language of Harris: The physical
expressions are gracious and inspiring according to the
degree in which they express a worthy and unselfish love.
But they are more than a mere expression; they become
an actual part of love. Born of love, they in turn create
love. The act of sexual intercourse, at the root of which is
physiological tension is taken up by the partners and
transmitted into a perfect experience of love. All this is
profoundly true of the whole sexual experience from touch
by the hand to the climax of sexual intercourse. Upendra
believes that physical enjoyment is a means to
conciliation of souls which is clearly evident from the
following expressions: (1) Parama drabya pîrati/ parama
sukha surati, Ratiru jâta prîti/ prîtiru Rati i.e. Most valued
treasure is love, And felicity par excellence is coition,
From coition doth emerge love, And from love coition.(Tr.
by B. C. Pattanayak); (2) Yebe mora prânÏa yiba, bâlâ
dehe Sambhâiba i.e. Whenever my life ousts make it
please enter in the body of my darling; (3) Jabâdharî
deha nuhai itara/ yubâ baikunÏtÏhapura i.e. Body of the one,
with chinarose lips, is nothing else to the youth but abode
of VisÏnÏu.
Bhanja is, chiefly, the poet of the emotion
passionate love (S|RÏNGÂRA RASA). While depicting
sexual life of men and women never has he attempted
to brand it spiritual (APRÂKRÏTA PREMA) as the VaisÏnÏava
poets do. Sex is not only a part of life, but also constituent
of Dharma of the medieval age. It is believed that sex
leads to salvation and brings calmness and delight to
mind. So, Upendra has given importance to sex in life to
a greater extent. For this, he should not be criticized as
his S|RÏNGÂRA is not adverse to life and never depicts
the picture of greed, oppression, abduction, persecution,
77
then comes forward to surrender the body, which is own.
It is neither insignificant nor the best, neither contemptible
nor excellent but quite natural. But, love never ends here;
because to what extent they want to enjoy happiness not
the less try to cross it. They search something more than
the body although possess no doubt that it is the fertile
bed and breeding ground fit for love. Love is the most
powerful feeling of their heart which makes merge the
DEHA (body) with DEHÂTÎTA (meta-body) at a certain
point. Hence, never should it be perceived as a mere
physical relationship. But, self-control and continence
must be left unobstructed to play their vital role there in
the company wanted due to excess ANURÂGA
(attachment); else stinking love out is not impossible. It
should be the yardstick while measuring Bhanja.
Love can’t get fulfilled without the joining hands
of passion and sex. Passion with affection, beauty with
quality and body with personality lead to love. Love
without passion is weak and tired. So, it is said that ‘Love
can’t grow without passion’. The combination of the both
is needed. Brokemen says: Eros is to sex what is the soul
is to the body what culture is to the civilization, hence the
humanistic ideal is harmony between the.
Sex is the strongest urge of life. Hence it is told:
You are a play of sex energy and nothing else and unless
you understand this energy and transcend it, you will
never be anything more. Cohabitation manifests latent
energy- the supreme energy from which all things flow
and in virtue of which all things continue is not interrupted
and reinforced. It is the cause for pregnancy and birth.
So never it can be obscene. The first product of the mind
was ‘Kâma’- sexual desire, love, the bond between the
existent and existent. As the desire leads to the
 78
procreation and birth of beings the sages considered it
as the primal source of all existence. All the sexual
activities described in Bhanja’s poetry viz. kissing,
embracing, churning the breasts, nail marks, teeth marks,
the coital postures etc. are the indispensable out come
of this act of creation only. Sexual desire signifies energy
and life. Mukerjee says: Even the figure of women with
her swelling breasts and full hips is derived from her
prospective motherhood; thus her grace and charm are
always blended with serenity, compassion and majesty
associated with mother hood. Again, it is told: If you are
really flush up with sex energy totally surrendered sooner
or later you will reach the stage where you will know that
sex can’t only give birth to a new life, sex can give you
more life, become a life-giving force. According to Charles
W. Socarides, eros creates culture in his struggle against
the death instinct; he strives to preserve being on an ever
longer and richer scale in order to satisfy the life instinct
to protect them from the threat of fulfillment extinction. So,
in human imagination S|RÏNGÂRA (passionate love) has
a place of great import. It’s also the thematic centre in
medieval Oriya literature including the works of Bhanja.
Some possess a wrong notion that in ideal love
body plays no role. Pointing to this M. Exner says: The
repression and distortion of sexuality which grow out of
such attitude fills the grave yard of mutual hopes and
happiness. Poet Upendra has the belief that spiritual
experience is possible through human body only. So, that
body is never disregarded in his poetry. As he feels the
essentiality and import of the study of erotica by the
couple for excellent cohabitation it can’t be assumed
that in supporting sexual intercourse Bhanja has
propagated obscenity or pontificated pornography. In the
79
words of Eilis, ‘Sexual pleasure wisely used and not
abused may prove the stimulus and liberator of our finest
and most exalted activities. It is largely this remarkable
function of sex pleasure which is decisive in settling the
argument of those who claim that continence is the only
alternative to the animal end of marriage. That argument
ignores the liberating and harmonizing influences giving
wholesome balance and sanity to the whole organism,
imparted by a sexual union, which is the out come of the
psychic as well as the physical needs. There is also the
effect on the union itself. For through harmonious sex
relationships a deeper spiritual unity is reached than
possibly be derived from continence in or out of marriage,
and the marriage association becomes an after
instrument in the service of the world. Apart from any
sexual craving, the complete spiritual contact of two
persons who love each other can only be attained
through some act of rare intimacy. In its accomplishment,
for all who have reached a reasonable human degree of
development, the communication of bodies becomes the
communion of souls. The outward and visible sign has
been the consummation of an inward spiritual grace.’
From this point of view Bhanja has laid stress on sexual
acts like kissing, embracing etc. Milton has presented the
kissing of Eve by Adam as follows:
Smiled with superior love
And pressed her matron lip
With kisses pure.
Hence, it is clear that love includes bodily
enjoyments. The description of this in Bhanja’s poetry
symbolizes deep devotion of the couple towards each
other. The deepest love and affection in the inner-self
 84
Love, for Bhanja, is not restricted to this birth only;
but encompasses all the births that to come. When inside
the honey moon chamber the poet’s Râma tells SÏîtâ that
he can’t be indulged with another women up to which
life is there in his body, SÏîtâ reacts in the following manner:
Pulling out the KETAKÎ from her chignon,
wiping the musk VaidehÏî doth write down-
Not pertained till me towards another,
Nor will do so in the births after
The groom will return from the altar
And I shall have called you by the messenger.
His hero knows nothing but sincerity to wife. On
the other hand Premasudhânidhi hopes to die
remembering her husband’s face. Every where Bhanja
has presented love refined, disciplined, transparent and
socially acceptable. If every treatment by Bhanjan male
owes origin to animal instinct then only her heroine can
be termed just a fuel to satiate sexual fire. But, is it so
real? Let’s examine the hero’s thought during separation:
No belief is there to meet her again,
Contrivance is only one;
May the body be quickly burnt
81
exploitation, outrage, misappropriation, pretence,
sensuality or villainy. Bhanja has nowhere dignified
vulgarity. In the tradition of Sanskrit poetry and during the
medieval times many established poets, like Upendra,
have described vividly the private parts of women
including the fanny. Many Sanskrit and Prakrit works have
taken for granted the equality of eros and love. No line of
demarcation is drawn there between these two. Bhanja
has only increased the number of followers of this trend
by one. There is also an assumption that the sexual
postures described in his literature are the ultimate result
of Tantric influence. Love has always remained the chief
constituent of Indian literature. Upendra is one of the
principal poets of this great tradition. His contemporaries,
who have otherwise produced voluminous works either
spiritual or puranic, at places left descriptions sexually
very exciting where as Bhanja’s love is not only the
manifesto of male’s animal instinct but also the perfect
medium for unison between body, mind and soul- one of
the basic concepts of Indian literary ideal and tradition.
There remains always a large space between art
and ethics. Ethics or sermon of any time should never be
the yardstick to measure art. Art is full-fledged; a complete
universe within itself. To realize it social ethics do not and
should not play a significant role. Hence, Bhanjan women
must be measured by the eternal ideology of literature
as the anthropocentric emotions are also the same at
every place and in every time. There may be and will be
changes in attire, etiquette, administration, circumstances
and socio-political economy. But the attraction of male
towards female beauty and the attachment of women to
men are primitive and eternal. Like any poet Upendra
possesses attraction for female beauty. He is conscious
very much of the horripilating experiences of life. This
 82
artistic consciousness is central to his creation; its soul
focus and cornerstone. The ornamental excellence in
Bhanja’s poetry is just a technique to express his
awareness and jovial perception in which the sexual and
pious experiences of love meet and inter mingle with
symbols and crooked-speeches(VAKROKTI); very often
sportive, agile and playful .So, it is unjust to term the
Bhanjan women only a puppet for the game of sex.
Let’s have a brief discussion on it. At first, what
Bhanja has admitted in his poetry on love and the joy
generating from love:
(1) For love the bird did die
And for love cloth stone melt away
And I am a slave to my beloved’s love.
(2) Most valued treasure is love
And felicity par excellence is coition
From coition doth emerge love
And from love coition.
(3) Life’s highest bliss is the beloved
And if she were near of what use
Are all the treasures of the god of wealth?
83
Even the departing of life from the body
Is not fraught with pain
As the separation from her company.
(Translations adopted from B.C.Pattanayak.)
Here, the poet is both serving and uncovering
before the readers by underscoring the greatest secret
of life and aesthetics through eros and love. It is only sex-
centered? Can rancid of animalism only liberate from it?
No, the Bhanjan love is austere, balanced and dignified
through conjugal life. In some place or the other marriage
may be a genuine license for sex-relationship between
men and women. But, the Indian culture preaches
‘Yadetat hr Ï d ayam tava/ tadasta hr Ï d ayam mama,
yadeyam hrÏdayam mama/ tadasta hrÏdayam tava’ i.e.
Where your heart is, there’s mine’s and where mine’s
there’s yours. Not exchange, union or unison alone but
unification of hearts is the ideal of our conjugal life. Only
Bhanja, the spokesperson of this great ideology, can utter
sportively, ‘Ksîranîra parâ abheda pîrati/ beni tanu eka
prânÏa’ i.e. Impenetrability of their love is as water with
milk; and despite two bodies their life is one. Hence, the
Bhanjan heroine can’t sleep when separated from
her husband’s chest. His hero also admits: PrânÏa châdÏi
hoe/ stirî châdÏi nohe i.e. Sacrifice able is life, but not the
wife. The heroine of Bhanja, at every juncture, is chaste
and his hero monogamous. They not only believe but put
to practice the ideal that conjugal life can be joyful,
unrestrained and melodious if and only if both the
partners are faithful to each other.
 88 85
(1) Why is this separation, In the fire of separation.

but not execution? Blowing the ashes being kind

(2) No more austerity is there, says May throw near her the wind;

Upendra, in this universe; May see look thinking what,

Than a king to be ousted Nectar shall rain over it.

or youth to be separated. Being embodied looking her face

Pointing to ‘KalÏâkautuka’ and ‘ChândabhûsÏanÏa’
some try to hurt the fame Upendra enjoys as the exponent
of SVAKÎYÂ form of love. But, description of PARAKÎYÂ is
essential and quite contextual there. The only reply to
such frivolous opinion is to make remember the remark
of Upendra on harlots discussed in Para II.
Will make her know all the austerities.
The poet’s hero is a prince. Polygamy is his
common tradition. Complaining against such authority
the heroine, while in separation, with much hope and
anxiety writes in a letter to the prince:

Dear readers! Now it is quite clear that why our Do I not know that you are a prince
poet has described vividly the beauty of his heroine
despite all efforts to glorify SVAKÎYÂ love. Surely it is done And wishing many damsels is your choice.
so to blend the melody of PARAKÎYÂ into SVAKÎYÂ
without compromising on any of its basic features. If in Umâ pleases S|iva, the Lord
PARAKÎYÂ the hero can be described a slave
(KINÏ Â KOYARA) of the heroine, then where lies the Yet bears He Gangâ regretless, over the head.
problem for the hero in SVAKÎYÂ to become the servant
(KOYARA) of his beloved ? Why’s the objection? Both To this replies the prince:
the Bhanjan male and female can wish a quicker sunset
for their early meet (‘LâvanÏyavatî’); but what’s wrong in If me have else one than you
it? Here, the female is no doll of the male. Rather, at the
climax of sexual excitement never has she crossed the Make me promise before you.
social norms. Always she is vigilant and alert of the high
 86
With mine any fault if you find
Order to punish that comes to your mind.
There’s none for me the one than you
O’ darling! Soul of mine are you.
While far away from home the hero, at every step,
remembers his wife. What more an ideal lover can be?
Râma is aware pretty well that Hastinî SûrpanÏakhâ
is capable to afford better pleasure in sexual intercourse.
But, never any Bhanjan hero sees love only from the
angle of sexual enjoyment. So, Râma has replied:
How clean, O’ signora! is the Gangâ water;
But for the muddy one CÂTAK hopes the cloud.
Distance can never impede ideal love. So is the
case with Bhanjan hero:
While at far take me near,
Where’s the moon and the lily is where.
Impenetrable their love is,
Despite the distance he is her and she is his.
It is, surely, the sweetest form of love. Is this short
description, in any count, lesser than the thoughts of
Kâlidâs’ YaksÏa? Instead of torturing or compelling his
87
lady to be chaste and virgin and himself a black bee
flying from flower to flower, the Bhanjan hero prefers
self-sacrifice:
(1) The peer of that fortunate man/
is not to found in the world
Who dieth with his beloved at his side
And with his gaze fixed on her lotus-face.
(Translation adopted from B.C.Pattanayak.)
(2) While muttering in heart your name
and contemplating your form,
Let pass away the life and spread the fame
Is there to that any greater fortune?
And in return he aspires only two drops of tear:
You to shed tears for me,
Such a fortunate am I?
Not sexual enjoyment but tear, the symbol of
inflinching love and affection, is most precious to him.
Even death is preferable but not life without the ‘Lover
consort’:
 92
productive can’t afford it for the purpose mentioned. It’s
not simply an argument; but the reality we face. Both the
father and mother are working in offices and
establishments. The off springs are brought up by paid
AYÂS or maids. But can a rented servant fulfill all that
expected of a mother by the restless child? With what
ideals will he grow? Bringing up a child is not simply
breeding or fulfilling his requirements of food, cloth, drink
and play etc. It requires heavily human sensibilities and
awaits many greater means and meanings. The child is
the father of the nation. Today’s child is tomorrows grown
up man, a duteous citizen. This discussion makes me
remind the short story ‘MANÏISA’ by the youth writer P. K.
Sinha. In this story Biku, the child of a working couple
nursed by a paid maid, has turned dumb at the end. It is
not mere story. Art reflects reality and prognosticates
simultaneously. We also observe in our day to day life
how offspring of such parents are spoilt. It’s not simply
luck; but the natural consequence. A child is like an
earthen pot.
The so called productive women should keep it
in mind that highest success in life for a woman is her
motherhood. A good mother of a disciplined child is the
controller of humanity’s future. She is the first teacher to
her son or daughter. Though for tradition’s shake the
Bhanjan heroine is brought up by maids but her mother’s
role to build her tough in character can not be ignored.
Her mother’s advice to be a good house wife has social
relevance even today. It leads to a better family and in
turn to a disciplined society and ideal and integrated
humanity. Bhanja’s heroine is always alert of the social
customs. Isn’t it sufficient and relevant for a maiden of
today to learn and follow?
89
dignity of Hindu women. Like a vanguard she has
dissuaded the male from all the activities that go against
the then social norms and customs. Copulation during
daytime is against canon. Her self control and personality
get manifested through the clever avoidance of such
undue wish of the hero.
In Bhanjan love treatment for separation is not
possible by leaves or stalks of lotus or Venâ roots as
prescribed generally in PARAKÎYÂ. Only treatment lies in
the union with the beloved. Isn’t it divine? Haven’t the
chastity and devotion of the heroine get manifested
through it? So, it is clear that the Bhanjan woman has
never been a doll in the game of sex. Rather, she is the
controller of the society. Her chastity, forbearance and
duteousness is alive age long and will remain so for ages
to come. Though she is identical to and embodiment of
the emotion S|RÏNGÂRA and has dedicated herself
voluntarily to the hero, her personality is nowhere pale
or trifle. Hence, it is correct to say: Rîti kâlke purusÏko nârî
vis|esÏki vaiktik sattâ (individuality) se prem nahiñ thâ,
uske naritvase hî prem thâ. i.e. For the male in the rîti
age love was not there in the individuality of woman but
in her woman hood.
Now, let’s study how the poet has viewed woman
out side the controversial sphere of sex and love and
what is her importance in the poet’s eyes.
In his eyes woman is uncommon, rare and joy
embodied. Where she dwells that’s the abode of Lord
VisÏnÏu. Again he has described her as replete in all the
thirty two sings of fortune. In seeing and describing her
 90 91
the eyes, speech and dress turn pure. How high Dimond, VII
Topaz, Ruby, Pearl and Coral have their own price; but
The artist or poet may or may not be conscious
she is a priceless gem. Here lies the prestige of woman;
but for art or literature that takes birth and grows in the
her excellence and honor. In ‘Vaidehîs|avilÏâsa’ she is
society is very natural to be influenced by it and vice
described as collection of jewels. The poet says that the
versa. Bhanja is also not an exception. Yet, some blame
title ‘VANITÂ RATANA’ is inferior and too less to her. Later
his works for having no social relevance. But, it is not
Bankimcandra has viewed women in such a light. The
possible as indicated earlier. Surely, the works of Bhanja
house is felt a forest without her. She is the touch-stone
possess social relevance. In past when PARAKÎYÂ was
and man iron. Her love can’t be availed if one is not too
about to shake the foundation of Orissan culture it is need
fortunate and peer. Her actual love lies in heart, but not
less to mention the role that played the Bhanjan works
in external behavior. Cohesion of two souls, minds, lives
for the reinforcement of the society. Later, every one is
and hearts is the real union. In a similar context also
aware of the contribution it made to protect the Oriya
Shakespeare says: Love looketh not by the eyes, but the
language and consequently the nation. But here, it is felt
mind. Our poet has not given exalted place only to
fit and proper to discuss the social relevance of Bhanjan
beautiful ladies but also compared ladies of black, fair
women during the present times.
and mixed complexion to Kâlimâtâ, Pârvatî and Ugratârâ
respectively. To his eyes every woman looks beautiful. In
Some so called pragmatists raise the question,
‘KotÏibrahmândÏasundarî’, immediately before his journey
what Bhanja can contribute to a maiden preparing for
the hero has supposed to see all the good omens by
I.A.S. or such competitive examinations today. But, why
remembering the physique of her wife.
expensive researches on the art of KONÏÂRKA or Monalisa
are carried on where half the population of the world is
The Bhanjan hero also practices religious
still unable to get pure water for daily use or millions in
austerities to get divine damsel as her wife. In this regard
he has very few parallels. The uncommon beauty of the third world are on the verge of extinction for want of
woman has bestowed the hero with heavenly fortune.In food, shelter, clothes and medicine? What are the
his thought death is better than occupation of another’s common people to do with the costly historical and
wealth or wife. archaeological researches and excavations carried on
utilizing public fund? Let’s discuss first the social
Poet Upendra has seen the universe within problems faces humanity with the so called progress of
woman and woman in every object of the universe. For women.
him universe is the extended embodiment of woman and
woman is universe in miniature. Hence, in his works
different parts of woman are compared with different The role of women to build happy families and
aspects of nature and vice versa. No other poet has healthy society can’t be undermined. But, every job
bestowed such regard upon woman tiII date. demands full and whole devotion. The women allegedly
 96 93
(ii) Banerjee, R.D. History of Orissa. Not childless conjugal life as taken normally but
(iii) Dâs, Sri M. Bhanjavams|ânucarita deferred maternity is the remarkable feature of Bhanja’s
works. Another notable peculiarity is the continence
(iv) Dâs, Sri M. Bhanjavams|a O
displayed by his heroine. Surely these lead towards a
Ghumusara
better society. Again the heroine’s complete devotion
(v) Dâs, Sri M. Bhanjavams|âvalî
teaches so much to the maidens and house wives of
(vi) Majumdar, B.C. T.S.O.L. today towards creation of a society, well refined and
(vii) Mahatab, Dr. H. K. History of Orissa disciplined . If a small fraction of these qualities of the
(viii) O.T.B.B. Bhârata Itihâsa Bhanjan heroine is followed then most of the grave
problems the society facing today like rape,
(ix) Pâdhi, B.M. Bhanjîya Kâvya misappropriation, judicial separation, rampant corruption,
Bhâvanâ dowry death, torture to women and youth indiscipline
(x) Pâdhi Adhyâpaka N.(ed) LâvanÏyavatî: SrÏistÏi O can be solved automatically. What’s more?
Soundarya
(xi) Pattanâyak, P. (ed) LâvanÏyavatî In brief, the women in Bhanja literature represent
(Mukhavandha) eternity. She belongs never to another world as commonly
alleged but is found always and every where within us.
(xii) Ratha, T.C..... Ghumusara Itihâsa
Bhanja’s women is never felt a creature with divinity, but
(1912 ed.)
the one like ourselves with joys and sorrows and every
(xiii) Sahu, Dr. N. K. & Others History of Orissa thing good and bad of human nature. Really speaking,
(xiv) The Crisis of Indian Civilisation the poet is felt a great genius par excellence while
(xv) KonÏârka - April 1960 studying his description of women from different angles.
(xvi) O.H.R.J.
39. It’s my classification; generally critics classify them
---
into three categories-(1) Daughter, (2) Handmaids
and (3) Common women.
40. L.V.III/73-88.
41. Ibid IV/6-17.
42. Ibid V/15-20.
43. Ibid VI.
44. Ibid VI/49-51.
 94 95
22. Ibid Vol.I P.13
BACK NOTES 23. 5th C.A.D.
24. History and Culture of the Indian People: Classical
1. Bible and Apocrypha. age, Vol. III P.568.
2. ManusmrÏti. 25. Ibid.
3. MahânâtÏaka: Act V /Scene VII. 26. Kâlidâs - Abhijñâna S|âkuntalam: IV
4. Ardham bhâryâ manusÏyasya bhâryâ priyatama sakhâ 27. (i) S|ûdraka’s ‘MrÏcchakatÏikam’: Marriage of
Bhâryâm mûla trivargasya bhâryâ mûlam karisÏyati. Vasantasenâ with Cârudatta.
:The Mâhâbhârata. (ii) Dandî’s ‘Das|akumâra caritam’: Marriage of
Râgamanjarî with Candrasena.
5. RÏg-Veda Mandala II.
28. Kâlidâs-‘Meghadutam’P.36.
6. Ibid I/ 3.4, IV/ 5. 5, VII/17.7.
29. History and culture of the Indian people, Vol. II P. 242.
7. Ibid I/134, IV/5.5, VIII/17.7. 30. Ibid P.573.
8. Shastri, S. R. - Women in Vedic age, P. 72. 31. Kâlidâs-‘Raghuvams|am’(Mourning of Aja)
9. Ibid P.84. 32. Composition of ‘NAISÏADHÎYA CARITAM’- 12th C.A.D.
10. BrÏhadâranÏyaka I/4.17. 33. Composition of ‘Gîtagovindam’- 12th C.A.D.
11. Ibid III/8.2. 34. Kara, Dr. KarunÏâkara - Âs|charya Charyâcaya, P. 214,
12. Ibid. 215, 276.
13. Gobhila GrÏhyasûtra III/13.7, II/1. 35. (I) Mahatab, Dr. H. K. - H.O.O., (II) Panigrahi, Dr. K. C.
14. Shastri, S.R. - Women in Vedic age. - H. O. O.
15. ManusmrÏti IX/96. (III) Sahu, Dr. N. K. - Buddhism in Orissa, (IV) Sahu,
Dr. N. K. & Others - H.O.O.
16. Ibid IX/5.7.
36. Time of LaksÏmînkarâ - 8th C.A.D.
17. Bouddhâyana GrÏhyasûtra I/5.3, Mantrapâtha1.16.9.
37. Dâsa, Jagannâtha- S|RÎMAD BHÂGAVATA, III/ P.138,
18. Shastri, S.R. - Women in sacred law.
IV/ P.173, IX /P.75 etc.
19. Bouddhâyana GrÏhyasûtra II/5.48.
38. This paragraph has been written mainly on the
20. Jâtaka Vol.I.P.207; Vol.II.P.191-3; Vol. III P. 140, 374- basis of the following works:
402; Vol. IV P. 25, 167, 472.
(i) Âchârya, Dr. S SrastÏâ O SrÏistÏi
21. Ibid Vol. IV P. 507.
 100 97
103. Ki rasa racibi dhaba sange ehâ bhâbi, 45.Mahânti,VisÏnu
Ï mohana: Upendra Sâhitya Samâlocana
BilÏambe game rasikâ ana anaanubhabî ye. P. 164.
Ke karnÏe kahe tuparâ caturî rambhouru, 46. V.V. V/5.
BilÏambe etiki lâbha achi nabicâru ye. 47. R.L.
Manamatha rase manoratha nohu purnÏa, 48. De, S. K. - The early history of vaisnava faith in Bengal
P. 209.
S|arbarî sari yibatÏi hua sâbadhâna ye:Ibid xxxiv/22-3.
49. L. V. XII/18, 29-31.
104. EsÏaivacâti pras|ayadati-vis|rabdha-nabodÏhâ.
50. Ibid XX/38.
105. Mora nacâhiñlâ belÏe anâi
51. Ibid, K.B.S. XXIII/8.
Câhiñdele mahî drÏsÏtÏi karai.
52. L.V. XXII/1.
Mote câhiñbâku badÏa s|aradhâ,
53. Ibid XXXV/74.
Lâja krÏpanÏa karuthâi bâdhâ: S.R. IV/10-11.
54. V.V. XVII/29
106. Gaurîki îs|apâs|e nebâ ranga tahiñ
55. Ibid XVII/30
LaksÏyarûpe dis|igalâ svabhâbita ehi ye.
56. C.B. V.
Lajjâ anurâgara upujilâ bâda,
57. L.V. I/15-23.
NabalÏi balÏi nacalÏi calÏi manapâda ye: K.B.S XXXIV/18
58. Ibid III/95.
107. Mora ki galâ ki nindâ tumbhanku hoilâ,
59. Ibid IV/2.
Mohinî bolibe bhalâ pumse prîtikalâ ye:C.B. XXVP.66.
60. Ibid XXVII/32.
108. MalÏayaja taru bhoga helâ uragaku,
61. Ibid I/62.
MudÏhapanÏa kalâ dhâtâ kahibâ kâhâku: Ibid P.67.
62. R.H. I/16.
109. Nâyaka osÏtÏha suranjana naba anjana câhiñ
Sarumadhyâ madhyâ adhînâ halÏa bandhure kahi 63. V.V. XVII/29.
Chuñnâ sunâ tanu târa târa nûtanâhiñ sehi, 64. K.B.S. II/22.
|
Sehi tâ pâs are sukhî hoi dhîra hi birahî: C.K.B.74-5. 65. L.V. II/26.
110. Parikari paricârîki kahi, 66. Ibid XIII/1-21.
Cintâ citta nakari yâa sahi. 67. Ibid XIII/26.
IsÏanÏa upamâ thilâ bârija 68. Ratha, Sri D.- Sâhitya Bicâra,P.96.
be ksanare taku kala barija
69. L.V. V/15-20.
 98
70. Ibid VI/25-9.
71. Ibid XII/6-8, 33-4.
72. Ibid XX/36-7.
73. L.V. XVIII/52.
74. Ibid XV.
75. V.V. IV/43-4.
76. L.V. V/20.
77. Ibid XXXXIV/12.
78. V.V. XIV/12.
79. R.P. P.31
80. L.V. XXX/10-13.
81. S.P. VII/17.
82. L.V. XVII/1.
83. Ibid XVII.
84. V.V. XIII/18, XIV/31.
85. Ibid XVII/12, 14, XVIII/19.
86. L.V. II/45.46.
87. V.V. XIV/39.
88. L.V. XVII.
89. Ibid.
90. V.V. XXXIV/39, XXXV/15.
91. Ibid XXXV/18.
92. Ibid XXXVI/7-8.
93. Ibid VL/5.
94. Ibid XXIII/7.
95. Ibid XXIII/31-5.
99
96. Ibid XXIII/55.
97. Comparative study of Bhanja’s SûrpanÏakhâ and
‘UpeksÏitâ’ i.e. needed.
98. Bhânudatta-Rasamanjarî P.7:
Patyatiraktânanuraktatve satî navîna
saliham mugdhâyah laksÏanam.
99. Sarâgare dharante pumsa kara,
Sâdhabi ye ucce kalâ e svara.
Sakhî sâhâ heu nâhañ kincite,
Sâhasika e balÏe dhare mote: S.P. XI/89-90.
100. Sâranga danta palyanke samarpilâ
dhâtrî kolÏa snehamâna,
Svacchanda bhramanÏi yâi abarodhe
bandî helâ pratidina.
Samabayasî bayasîre
kapatÏa karâilâ lajjâ âli,
Sakhî parihâsa bacana mânanku
kahi jânÏilâ se chalÏi: S.P. II/18.
101. Ehi dibase madhura madhu-mâse
madhura madhu-kanÏtÏha bhâsÏi,
Sudhâms|u prabhâ sudhâpure
basudhâ manÏdÏani sukhe thilâ basi,
Câhiñ stanaku, ki gheni mardalÏa bajâi,
KhelÏibâ go pas|â tapasyâ-bhanginî
sanginîki câhiñ bolai: K.B.S. X/1.
102. Kumâra basâu kolÏe râmâ s|eye basi,
Mâra sâranÏi khelÏilâ s|obhâra sâdrÏs|î ye: Ibid xxxiv/33.
 104 101
129. Ghana ghosÏa ghosÏanÏa sÏanÏapusÏpa dûsÏanÏa JânÏilâ nâyaka îrisÏâ mâna,
kânti s|unÏi sedinu manÏe, Dhanî gheni helâ heñ badana: C.K.B.61-3.
Teji mahî s|ayana prakâs|i bâtâyana 111. MânÏÏikyaku gunÏika banÏika sinâ ghene,
MahâranÏyabâsî paraksÏiba ki yatane ye.
nayana nibes|i taksÏanÏe se,
Mahes|a parâ tu badÏa abibekî sata,
Sahacarîmânanku bhâsÏai e bhâsÏa
Munci se ketakî yathâ dhûstara bhûsÏita ye.
bâhâre mudusulî pesÏa,
Mûrti dharu rasika ayogya gunja tuhi,
Heleki mânabes|a suta âja prabes|a e des|a Mahâârte ehâ kahi se râmâ kândai ye:C.B. XXV.
bujha e sandes|a re: L.V. XXII/20. 112. Surata huda kari pas|âkhedÏa,
130. K.B.S. XI/31. Sarasita kari ânanda badÏa,
131. Ibid II/49. Samâna prîtire duhinki duheñ,
132. L.V. II/56. Samyoga eka jîba beni dehe.
133. P.S.N. 1/24. Se nuhañi bâri, Sambara ksÏîrare mis|ilâ pari.
Sundarîki iksÏu sadrÏs|e ghena,
134. V.V. XXXVI/7-8.
Surasa jâta kare âna âna.
135. S.P. I/52.
Se yemanta gudÏa khanÏdÏa nabâta,
136. K.B.S. II. Sâkara sâci hoi mohe citta.
137. L.V. I/37-60. Se separi hoi, SupurusÏÏa mana bhâbare mohi.
138. R.H. II. Sundara tahiñre paya sadrÏs|e,
139. V.V. III/13. Sumati mohe âna âna rase.
140. S.P. I and other works. Sara labanÏî dadhi ghrÏta âdi ,
141. K.B.S. XXXII/12-7. Se drabya yathâ adhike pramodi.
142. L.V. III/41-7 XXX/35-9 etc. Se prakâre hoi,SabaÏs|a kale se duhiñki dui: S.P. XVII/15-7.

143.Padhi, S.- Bhanjîya Sâhityare Kâbya Nâyikâ 113. ParinÏitve sati bhartrÏradhika snehâ jyesÏtÏhâ.
Dt.957(B.U.). 114. YenÏiki caheñ muhiñ se dige dis|u tuhi
144. S.P. I/49. yemanta hasuthâire,
145. V.V. III/21. Aujâi ankare basibi palankare
146. L.V. II/49. nathilâ mane aure prânÏabandhu!
147. R.H. I/18. Sarba lâbanÏya sindhure,
 102 103
Mora ki bhâgya thilâ dhâtâ tote rakhilâ 123. Dûtî kahibu go cittacoranku etaka,
madana bindhu bindhure:L.V. III L/2. Gata sneha hari gale dura kari
|
115. Keuñ dampati khelÏuthilâ pas a mana karinÏa ullâsa, citta hue daka daka:S.U.P.5.
KhelÏa lâgithilâ pânca patÏare, 124. Abhisârayate kântam ya manmatha bas|ambadâ
Nâyaka dâna pakâila khare. svayamvâbhisârayetsâ dhîrairuktâbhisârikâ: S.D.3.
HarasÏe dvitîyâ helâ boilâ 125. Sus|îlâku dibya bes|a kari harinârî
Harastanâ mane âna ghenilâ. bâhâra sange gheni,
ChâdÏi se rasa hoilâ birasa, SâtaghatÏî hoibâre rajanî,
Mukhendu kalâ naba dibases|as|a: C.K.B.57-60. Sarasvâna pâs|e Bhagîratha kibâ
116. Kurute manÏdÏanam yâtu sajjite vâsaves|mani neuachi mandâkinî se sundarî,
Sâtu vâsaka sajjât vidita priyasangamâ:SâhityadarpanÏa. Sabyasâcî s|ayana pura dvâre,
117. Sajâi kusuma s|eya sinci tahiñ bidhuraja, Satyabhâmâe dÏâkile madhure,
Kunci jhînabâsa âja bancili baraji lâja, S|akatÏabhanjana âjñâku kahibi
Munci mote ghuncile kimpâi go. phitâa kapâtÏa thare he: S.P. IX/12.
Âsibe boli nâgara manÏdÏithili kelÏipura, 126. Candra candana ange dele nei,
JâlÏi basili jâgara nis|i hoi ujâgara, AnalÏa sari nâgarî ghenai.
S|okajalÏe deletÏi utÏhâi go: S.U.P.9 G IXX.S.2,3. NalÏina nâlÏa dehile dÏarai,
118. Priyah katvâpi sanketam yasyâ nâyâti sannidhim GarudÏa GarudÏa se uccârai.
Vipralabdhâ sâ jñeyâ nitânta madamânitâ:SâhityadarpanÏa. KsÏiti s|ayana târa nirantara,
119. Baragile suyajñopabitâ dûtî tahiñ, Nayanu narahe lotaka dhâra.
Bipralabdhâ hoithile ânÏile bodhâi: V.V. Ki karetÏi kahi esana sajanî,
120. Pârs|vemeti priyayasyâ anya sambhoga cinhita KasÏtÏare jiai achu sajanî: C.K.B.30-34.
Sâ khanÏdÏiteti kathitâdhîrairirsÏyâkasÏâyita:SâhityadarpanÏa. 127. BâlÏâ pache pache dhaba s|obhâ dekhibâku,
Âsibâ belÏaku sehi dvâra nikatÏaku ye,
121. K.K. VII/18-9.
JânÏi sihânÏi rahilâ pacha hele boli,
122. CâtÏukâramapi prânÏanâtham rosÏâdapâsya yâ
Ke kâhâku nayâanti seneha balÏe balÏi ye: L.V. XXXIII/38.
Pas|câttâpamabâpnoti kalahântaritâ tu sâ:SâhityadarpanÏa3.
128. Bhânudatta- Rasamanjarî: P.94.
 108 105
The two breasts are like two young roses that are 148. V.V. III/23.
twins:The Holy Bible (Song of Solomon: 7/1-6). 149. L.V. II/49.
224. Meghadûtam: Uttaramegha/19. 150. R.H. I/20.
225. SâralÏâ Mahâbhârata (Âdiparba)II/P.773, Dept. of 151. Ibid.
Cultural affairs, Govt. of Orissa.
152. L.V. II/50.
226. K.B.S. II/48.
153. Ibid II/52.
227. R.H.
154. R.H.
228. L.V. II.
155. Ibid I/22.
229. Ibid.
156. L.V. II/50.
230. Ibid III.
231. Ibid II. 157. V.V. III/26.
232. L.V. III. 158. L.V. II/52.
233. V.V. 159. V.V. III/28.
234. Act I Scene V. 160. Ibid.
235. L.V. VI. 161. Ibid III/24.
236. Ibid II. 162. K.B.S. II/3.
237. L.V. VI/13. 163. Ibid.
238. K.B.S. XI/5, 6. 164. S.P. I/59.
239. Ibid XXII/5. 165. Ibid I/5.
240. Ibid V/14-6. 166. Bh.V I/11.
241. Ibid. 167. Ibid I/13.
242. L.V. CII/80. 168. S.R. I/15.
243. K.B.S. XIV/3. 169. S.P. I/53.
244. V.V. X/19.
170. K.B.S. II/4.
245. Ibid XIV/20.
171. Ibid III/3-5.
246. K.B.S XII/6.
172. V.V. III/32.
247. K.B.S. II/48, VIII/2; S.P. IV/4; V.V. VIII/9; L.V. VII/76;
S.P. III/2; V.V. VIII/57; L.V. IX/23 etc. 173. S.P. II/3.
 106 107
174. Ibid II/5. 200. V.V. IX/31.
175. K.B.S III/3. 201. K.B.S. XXXIV/35.
176. Ibid. 202. S.R. I/20, S.P. VII/10-22.
177. Ibid III/4. 203. R.H. VII/2.
178. Ibid III/14. 204. L.V. XXXIX.
179. Bh. V. I/18. 205. R.L. XVII/22.
180. Ibid I/20. 206. Bh. V. III/19.
181. Ibid I/22. 207. L.V. XXXXIV/19.
182. V.V. III/32. 208. L.V. XXXXIV/20.
183. S.P. II/17. 209. L.V. IIL/7.
184. Ibid II/23. 210. V.V.
185. V.V. III/34. 211. L.V. II/68.
186. Ibid III/35. 212.K.B.S.
187. K.B.S. III/13. 213. S.P.
188. Ibid V/2 . 214. K.B.S. X/13.
189. Ibid V/2.
215. L.V. VI.
190. S.P. II/18.
216. K.B.S. V/38-9.
191. Ibid II/20.
217. L.V. IV/3.
192. L.V. II/65.
218. R.L. II.
193. S.D. III/132.
219. KsÏanÏe KsÏanÏe yannavatâmupaiti-
194. K.B.S. XXVI/28.
tadeva rûpa ramanÏîyatâyâh.’
195. Ibid XXVI/54.
220. Santayan, G.-The sense of beauty:P.53.
196. K.B.S. V/10-16.
221. Ibid. P.14.
197. Ibid X/1.
222. Ibid P.270.
198. P.S.N. IV/14.
223. How beautiful are the feet with echoes, prince’s
199. Dars|ananca bhavet svapne citrâdabucchavepivâ daughter, the joints of the thighs are like jewels,
S|ravananca bhavetatra dûta vandi sakhî mukhât: S.D. the work of the hands of a cunning work man...
 112 109
327. Rastogi, R.- Educational Psychology: P. 73. 248. K.B.S. XIV/4.
328. K.B.S. III/4. 249. L.V. XIII/19,R.H.C. IV/9,K.K.C. X/7.
329. R.L. IV/11-3 etc; L.V. V/5-20, 25, IV/10 etc; K.B.S. X/
3,XII/14-21etc. 250. L.V II/33.
330. Rastogi, R.-Sex interests of adolescent, Edn. Psy. 251. Ibid XIII/2.
P.123. 252. Na acaurastu kavih kvacit.
331. K.B.S. III/13.
253. T. S. Eliot.
332. L.V XX/5,K.B.S. III/44,S.P.
254. L.V. XVI/40-41.
333. K.BS. XVI/7.
334. Rastogi, R.- Edn. Psy. P.289. 255. N.C. II/27.
335. L.V. XI/6. 256. S.P. III/11.
336. K.B.S. XV/43. 257. K.B.S. V/10.
337. R.H. IV/4. 258. Ibid VII/10.
338. V.V. IX/20. 259. Ibid XIV/4.
339. L.V. XX/1.
260. HrÏtasâramivendumanÏdÏalam
340. Gourmont de Remy- Culture des ideas.
damayantî vadanâya vedhasâ,
341. The Journal of Aesthetic and Art criticism VOL XXXV.
No.1 Fall - 1976 KrÏta madhya vilam vilokyate
342. Santayan, G.- The sense of Beauty dhrÏta gambhîra khanîkhanilîm.
343. Gross- Der Aesthetic Gernuss. 261. V.V.
344. Richard Lonney- The eye of love in the temple of 262. N.C. II/20.
India, New york, 1976. P.27.
263. K.B.S. VII/13.
264. N.C. VII/22.
265. S.P.C. III/3.
266. N.C. VII/21.
267. L.V. VII/21.
i 268. N.C. II/23.
269. K.B.S. VII/8.
270. N.C. VII/77.
271. S.P. III/28.
 110 111
272. N.C. II/31. 302. K.B.S. VII/22.
273. S.P. III/31. 303. K.S.
274. N.C. III/128. 304. Ibid III/54.
275. K.B.S. VII/21. 305. R.V. XIII/32.
276. N.C. VII/92. 306. Ibid XIX/90.
277. S.P. II/3. 307. RÏ.S.IV/19.
278. K.B.S. XIII/19. 308. K.B.S. XXX/7.
279. N.C. II/24,VII/39. 309. Ibid VII/17.
280. Ibid VII/96. 310. K.B.S. III/7.
281. K.B.S. VII/5. 311. Ibid VIII/10.
282. N.C. II/28,VII/24-5. 312. Ibid XIV/28.
283. K.B.S. XIV/16-7. 313. Upamaikâ s|ailusÏî samprâptâ
284. Ibid III/35. citra bhûmikâtabhavân,
285. N.C. VII/94. Ranjayantî kâvyarange
286. N.C. II/38-9,VII/106. nrÏtyanti tadvidam cetah: CITRAMÎMÂMSÂ.
287. K.B.S. VI/10. 314. L. V. XVI/6.
288. N.C. VII/50. 315. v. S.
289. K.B.S. XXII/4. 316. L. V. VI/34-6.
290. N.C. VII/95. 317. Ibid XXVII/1.
291. K.B.S. VII/8. 318. G.G. X/15.
292. Ibid III/18. 319. S.P. VI/25.
293. Ibid III/15. 320. Padhy, K.C.- The Loan of Upendra.
294. Ibid VII/9 321. P.S.N. II/8.
295. A.S|. II/9. 322. S.P. IV/8.
296. K.S. I/41. 323. Rastogi, R. - Educational Psychology: P.68.
297. K.B.S VI/24. 324. Ibid P.72.
298. Ibid VII/25. 325. Millar & Dollard- Social learning and Immitation,Yale
299. Ibid VII/26. University press, 1941.
300. M.D: Uttarmegha/46. 326. Lippits etc- The dynamics of power, A field study of
301. K.S. I/39. social influence of groups of children, Hold Rinchard
and Winston Inc,New york, 1952.