232 It is in this depiction ol love that the mundane and the divine merge together. Beneath the external shell of verbal exquisiteness, allegorical and spirltaal romance, the intensity-of emotion, sensitivity of the soul, the warmth of human passion is clearly discernibleo For instance, in the following lines of Gopalakrsna, one can hear the throb and the fervor of a p^sionate heart: Radha to Her Lady-Friend I am n w like the tongs of the blacksmith, my darling, plunged new in water and now in fire; but both are the same t'^ Rim' People hope for happiness through Love, but it has made me most miserable, darlingo 1 remain unsatisfied however long I ga^e upon Him, and my eyes nearly burst if I do njt see Him at all. rhi& dis^ is another characteristic of this sinful love, that ihe more you defame Him»the gladder it makes my hed^, and it sinks the moment ynu praise Him. When we meet, my ^isjLon adheres to His personality. A year's looking passes like a momenta and a moment of non-seeing appears an endless eon. Happiness there is none in Love. I am dying each moment thinking and thinking of Him only» This reminds one or Vidyapati and the earlier Sanskrit poets describing thfc pain and ecstasy of Radha In iht- lyrical grace of poems and depiction of elemental human feelings, the mundane reaches divine heights and the divine descends 'j» the earthy level. Dj^ing thib period Ktsopa Chandpana^da Campu of Kavisurya Baladeva Rath deserves special mention. This was the time when Orissa had evolved Us own musical pattern through the fusion of the Hindustani and Karnatak 'assical musi^. Written though in a oauttsa form and depicting the dr^ma of romance between Radha and Krishna, each individual poem i^ a ly^-iu by irs own right Ea^h poem followed by a stanza and a prose passage ^n Sanskrit fulfils not only the requirements of Sanskrit poet^s 01 -jmpu as a combination of prose and poetry^ but also passes the test jr musical composition as a campu ppabandha^ The dexterity with whi^h musical diction is manipulated in this text to create an acmosphere in the high drama remains unsurpassed even today^ _rhe dawn ot modernity, in Oriya literature was with the advent of Radhana^h Riy (1848~i908) ' The early dawn of modernity marks literature with se^u.a^ism, l^ve or nature^ new urbanity and new form. Although there is perceptive Western influence during this period, Sanskrit continued to provide stimulus to writers of this period in selecting as well as depicting specifi themes From this cime on the impact of Sanskrit began to