230 stanza, or part of a stanza„ The oautisa is so named because of the thirty-tour consonant letters and the sodasa because of the sixteen vowel letters It may be recalled that irrespective of the phonemic system of all the Indo-Aryan languages, the Sanskrit alphabet was borrowed and adopted in its entirety and this made possible the vamaksapa type of composition in Oriya and the allied languages« The seventeenth and the eighteenth centuries saw the evolution of a type of Oriya literature which claimed recognition as being in no way inferior in excellence to the Sanskrit literatureo In his RasikahaPWalikavya^ Upendra prayed to God as follows: Be propitious, 0 Lord Sriram, That this book of mine May fall in the hands of the wise And its strains not enter The earholes of stupid ignoramuses; And it may stand the havoc Done to palm Leaf books by mice, fire and white ants, And get propagated in all countries of the globe Without being run down anywhere in the company of the good. (translated by Bichhanda Charan Patnaik) Upendra Bhanja, the poet laureate of Orissa who is credited to have written sixty-two kavyas besides a number of other poetic tracts, and a dictionary in verse for those who intended to use his literary products, was the unrivalled literary wizard of this period in Orissa. Through his magic of works, he built up a tradition which was followed for 100 years. After breaking the barriers of "privatization" and freeing literature from all constraints of formal ornateness during the past 300 years, now literature was moving towards a new peak of literary artistry where literature was again meant for the hands of the wise, as if Upendra wanted to challenge the Sanskrit pundits by saying that anything capable of being written in Sanskrit could also be written in Oriya, both in terms of form and content Upendra was well versed in the tradition of Sanskrit poeticso He was one of the foremost musicologists of his timeo In Sanskrit literature the literary luminaries from the fifth to the twelfth centuries were Kalidasa, Bharavi, Bana, Magha and the Naisadhakarao Sanskrit literature moved from one peak of difficulty to another during this periode Upendra Bhanja, in his anxiety to get his regional literature accepted by pundits, took the Sanskrit kavya model and created unparalleled literary masterpieces based on the traditional culture of Orissae Upendra Bhanja accepted the tenet of sringaricet kavih and depicted an enchanted universe of love,, where the voluptuous bodies of the beloved like the life-size stone images of Konarak, and the raw experiences of love-possessed, youthful pair are shaded from the common man^ glare by the esthetic effect created by word magic, dictional tapestry and subtle rhythm of his poemso He used alliterations, assonances, puns, metaphors and almost all difficult figures of speech used in Sanskrit so that Oriya poetry can command the attention of the Sanskrit-loving pundits.