ପୃଷ୍ଠା:Typical selections from Oriya literature.pdf/୨୭

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INTRODUCTION.

XXI

pur has been the last noted preacher but as Alekhism seems to be as old as, if not older than, the temple at Bhubaneswar, a modern date cannot necessarily be assigned to this poem. The Chautisa form of poems appears to be as old as the Oriya literature excepting the Season Koili all ^. _, , ^ The Chautisa form. ,, ^^, ,^ .,. ,. _ mi other Koihes are Chautisa form. The form of a Chautisa poem is that it should contain at least 34 lines and the letters Ka to Ksa should 'be the initial letters of the in this order of letters^ this exception lines in regular succession is only made that the vowels ^ or C7 or the consonant takes the

.

.

m .

/.

N

place of or

An

N> the

letter

Ni

takes the place of

takes the place of

A'.

may

I

note

N

tha,t

and

N is

either

^4

or

J^

pronounced as

N

Tt is in consequence of as Nia and A' as Ana in Orissa. Uma^ the artistic development of this method or fashion that a single letter has been used by some poets as the initial letter of all the for instance, lines of a poem, no matter how lengthy the poem is the Rasa-kallola by Dinakrisna Das has the Ka initial all throughout, and all the lines of Vaidehlsa-Vilasa by Upendra Bhanja have .B or F for their initial letters. The origin of the Chautisa form is easy tn trace. In the later time Tan trie system a mystic religious value was assigned to each and every letter, and Stotra-verses (hymns) were composed according to the aforenamed Chautisa succession of letters, for It is in Ori.ssa only special efficacy in the prayer or incantation. tliat this form has been adopted in general literature. Reference by old poets to many Chautisas in the matter of naming the tune of their verses or songs, shows that the form got most of the Chautisas referred to into vogue from a remote past by the old poets are now lost. It may also be pointed out that the adoption of the old Chautisa tunes by the later poets for the tune and metre of their verses, shows unmistakably that the poets

have used the popular and genuine Oriya metre

in their versifica-

tion. I

should

first

krit

Tune^and_Vani and

word of caution that the Sanssome of the tunes should not ^l^^ wrong sccnt, for despite the

of all use this

names

p^^^ ^^ ^^^

of

names of the tunes, basic Oriya notes of the songs are unmistakably noticeable when they are sung. We have to note in this connection that the sections or chapters or cantos of the poetical works are not generally called by the name ^urT^T or ^^ but by the name spt*^; each complete piece of poem as a lyrical piece for instance, is a wi*^ by itself. has been set to tune, and the name Each and every metre of a of the tune occurs at the heading. The name of the tune occurs

m^

what this direction regarding the tune and how a itt differs from a ^ft, may be briefly discussed. It has been suggested to me by Babu Kishori Mohan Das of Balasore, who knows a good deal of Oriya music, that err^ is the tune which is to be followed in the ordinary recitation of a as a

rrir

or a ?tt or a w[^;

of the WT5^ signifies,

piece of poetry, while ^ijt indicates how the piece sung as a songr. This is perhaps the reason why

is

to be regularl}'get the name

we