231 He wrote whole kavyas with ba as the initial letter or ka as the initial as well as the final letter in each stanza; he wrote entire cantos where removal of the first letter of each stanza will give a different musical composition and description of a different season, removal of the second letter will give yet another metrical composition and description of yet another seasono The dexterity with which he weaves his words and creates music can be seen from the following lines: dekhi naba kalika bakatika malika ati kalika kanta smari mksa kemante kari kari ba mattakapi gatiki re sdhaoari. The dexterity in the art of formal execution of the poets of this period may also be viewed from another anglee Kalidasa depicted Parvati as Sawa^in^l patlavini lataiva and in the Bhattikavya Sita is depicted as hzranma^ salal^teva jahgama^ Upendra Bhanja in depicting his heroine not only calls her mdhl.j'ata hemama^japi ("golden creeper born on this earth^'), but contends that sapata jati phula phala bihanga latake thiba suna nahi ("it is not even heard that seven kinds of flowers, fruits and birds are in one creeper"), which obviously is to be found in the heroine imagined as a golden creepere The poets of this century are sometimes aiLUsed of "stupid pedantry" and "guilty of errors of taste." But through their grand music and immense metrical success, not to speak of their verbal filigree, they dominated the Oriya literary scene for nearly two hundred years. The subsequent Vaisnava song makers tried to free literature from the excessive ornateness and bring it nearer people. Yet the Sanskrit domination was there. Whether in following the Vaisnava pasa theory or in depicting the amorous sports of Radha and Krishna,they followed the dictates of Sanskrit poetics and esthetics» Many of them followed the kavya iradition and the ornate genre» Even their depiction of the supra-physical love of the Divine hero and the heroine has an earthy smell. The ^ ml gifts itself away to one it finds worthy Ano the more unapproachable he is^ the greater becomes the attraction, The greater the secrecy^ the more violent the tide of infatuation, And the greater the impediment, the more the determination; But love looks really beauteous In the measure of its decency and modesty. (Bzdagdha-cintamani^ XXXII; translated by Mo Mansingh)