Radhanath Ray was the principal architect of modernity in Odia poetry during later part of nineteenth century. That was a turbulent time for Odisha. Brihsh Government abolished use of Odia Language in schools and offices in Orissa Division and replaced it by Bengali. This led to much bitterness. Public agitation was organised for restoration of Odia Language along with the demand for a seperate Odisha State on linguistic basis. Ultimately Government agreed to implement Odia as the medium of instruction in all shools of Odisha Division. But then the problem of non-availability of text books in Odia arose. Radhanath Ray, Madhusudan Rao, Fakirmohan Senepati with their associates came forward to take up the challenge of writing text books in Odia. Thus began the literary journey of Radhanath Ray.
Apart from text books, Radhanath started writing poems, prose and began translting texts from Sanskrit to Odia. At the beginning he wrote in Bengali and subsequently switched over to Odia. He worte nine kavyas starting with Kedar Gouri and ended with the publication of Durbar.
His other kavyas were, Parbati, Mahajatra (Both were incomplete), Chardarabhaga, Nandikeswari, Usha, Jajati Keswari, and Chilika. In these kavyas he experimented with new form, style and subjects, which were a break with the 'Riti (Ornet) poetic tradition, prevalent at that time.
Chilika is full of descriptions of natural scenes of Chilika Lake, and the landscape around it, the hills forest, birds, fishes, boats, men and women all described in vived details. Durbar is a satire containing descriptions of quarrelling landlords, their competition for British recognition, denuncation of Gadajat king and praise for people like Samanta Chandrasekhar. Whereas chilika led the foundation of Odia patriotism Durbar is a critic of then colonial administration
Odisha Sahitya Akademi has taken up translation of classics of Odia literature into English and other Indian languages. Present anthlogy containing two kavyas, Chilika and Durbar, of Radhanath Ray, have been translated into English, Hindi and Bengali.
I am grateful to Dr. Sangram Jena, well-known poet, translator editor and former Vice-President Odisha Sahitya Akademi, for editing this multilingual anthology. I also thanks all translators who have translated these two kavyas in English, Hindi and Bengali. I hope the publication of the book will be appreciated by non-Odia readers in India and abroad.
Like elsewhere in India, modernity in Odia literature emerged in the late nineteenth century in the wake of the introduction of print culture. Cuttack Printing Company, the first printing company owned and managed by Odias, was set up in 1865, in the middle of a terrible famine (Na' Anka) that devastated Odisha. During the same period, an English-educated class emerged in Odisha, who were exposed to the influence of western society, culture, and literature. An Odia periodical, Utkal Dipika was also published in 1866 by Cuttack Printing Company. Apart from publishing news it also published poetic and fictional compositions along with book reviews. Subsequently periodicals such as Baleswar Sambad Bahika, Utkal Darpana, Utkal Prava, Utkal sahitya, Sambalpur Hiteisini, Bijuli, Indradhanu, Mukur all widened the scope of the publication of literary works. As a result, a new body of writing began reshaping literary landscape of Odisha. This comprises the poetic work of Radhanath Ray (1848-1908) and his close associates.
Recipients of modern education, Radhanath and his associates were exposed to the ideas of the West. Hence their modernity consisted in moving closer and emulating to western literary models. Experimenting with new forms, themes, styles, techniques and narrative methods Radhanath shaped a new idiom in Odia poetry. Many of his celebrated kavyas were based on European narratives such as Metamorphosis, Agammenon and Siege of Corinth. He wrote kavyas with tragic endings, which were generally absent in traditional Odia kavyas. He also employed amitraksahra chanda (blank verses) in his kavya Mahajatra and other writings He was influenced by the ideas of Sanskrit poetics and Aristototelian tragedy. He introduced bold themes that went against conventional morality. In his kavyas Radhanath feelingly described natural scenery and places, expressed deep concern over social problems, encouraged the spirit of protest and stimulated patriotic sentiments.
The riti tradition which valued intricate ornateness dominated Odia poetry before Radhanath appeared on the literary scene. His poetry could be understood by readers having elementary knowledge of Sanskrit, for which it gained ready acceptance in preference to ornate Riti poetry. His poetry was simultaneously a bridge as well as a rupture with the tradition. This strikingly new style influenced subsequent generations of writers in Odisha.
Although Radhanath began his literary career writing in Bengali, He shifted to Odia. He composed 23 minor poems and two translations, Meghaduta and Tulasi Stabak. He also rewrote episodes described in Sarala Das's Mahabharata, which for the first time made an attempt to modify and modernize old Odia, the language and rhyme of that great ancient epic.
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