Chapter 7 - A comparative analysis of musical potentials of both the works

The people of Odisha were scattered in four different provinces. Their literature alone was their national life. 23 Musical speciality of the riti-age is the sole property. of that era. Though the rīti-poetry had certain short-comings but their musicality made them immortal forever. The vast chanda literature of that period is a major contribution to the people of Odisha which is achieved through the tradition of the right of succession. For the composition through the metre or bondage by the chanda-s the rīti-poetry is also known as the chanda-kāvya. Towards the middle of rīti age the technique of chanda has changed into the musical pattern. The traditional chanda and vṛtta-s were replaced by the śāstrīya-rāga-s which marks a clear impact of Jayadeva's introduction of rāga-saṃgīta in the Gg.24 Baladeva Ratha was the poet of lyrical generation. During that time each poem was composed under musical settings. New musical system ushered in by the mixing of local composition with the textual rules of music. The Odisi system was influenced by the Karṇāṭaki system by a commandable degree. 25 It is for the administrative dependance of south Odisha on the Madras presidency for many. years. Kavisūrya faithfully followed the tradition of his time and proved his superiority by own composition through the musical ethos. He had mastery over both the śästriya-rāga-s and the local folk songs at the same time which were much developed in those days. This is known from his magnum-opus KCC. 6.4:-The rāga-s having equal subject matter Kavsürya has tried his best to use the rules of composition of Sanskrit poetics as per the tradition of composition. The experts of Odisi music can agree 23. Manasinha, Mayadhara, A History of Oriya literature, p.155 24. Dasa, Asoka, Kahita nuhai bhāratire, p.118 25. Chatterji, S.K., Ed. Kavisürya Baladeva Ratha, p.18 209