358 M. M. Cliakravarti —Language and literature of Orissa . [No. 4 r 
manuscript Pratapasindhu, and in print Rasakallola, Gundicabije 
and Artatrana Cautisa. 1 Gundicabije describes the car festival of 
Jagannatha; Artatrana Cautisa is a prayer to Jagannatha for deliver¬ 
ance. Pratapasindhu is larger and occupies in manuscript 131 folios 
with three lines on each page. The poem purports to have been 
delivered by the sage Vasistha in answer to Da 9 aratha. It contains 
mnxims mostly culled from Sanskrit, with illustrative examples and 
stories. Occasionally Sanskrit ^lokas are quoted and translated. The 
versification is simple and has no special merit. Among maxims a very 
low view of woman’s reliability is prominent. 
It is on Rasakallo]a that Dinakrsna’s fame rests. The work is in 34 
Chandas with 20 to 99 stanzas in each. Its subject-matter is the early 
pastoral life of fri-Krsna and is based on the 10th Skandha of the 
Bhagavata. The first Chanda is introductory ; the 2nd to 10th deal 
with the birth and adolescence of Krsna; 11th to 17th describe the 
various seasons beginning with winter and the amorous sports of (^ri- 
Krsna with the Gopis in each season ; 18th to 24th poetise the Rasallja 
or the dance and dalliance of Krsna and the Gopis in the groves of 
Brndabana; 25tli to 29th narrate his march to Mathura and the slaying 
of its demon king Kamsa; the last five cantos are taken up in describing 
the griefs of Krsna and of the Gopis on account of separation, and the 
embassy of Urdhaba to Brndabana under orders of Krsna. The plot 
is thus familiar to most and appeals strongly to the religious instinct 
of the highly conservative Oriyas. 
In versification the peculiarity of Basakallola is that every line of 
a stanza begins with one and same letter ka —a very difficult task in the 
case of a whole poem. On the whole, however, the sentences are more 
intelligible than in many poems of Upendra Bhanja. Good descriptions 
of natural sceneries, though of the conventional type, are not rare; 
while poetical passages reckoned excellences according to the rules 
of Sanscrit rhetorics, abound. 2 Some of the closing lines are personal, 
* Hunter’s list names nine more:—Cakradharabilasa, Madhusudanabilaaa, 
Madhabakara Gita, Baramasa K5-ili, Jagamohana, Samudrika, Guna Sagara, Ujjvala- 
nilamanikarika, Radha Kanaoa (?), Dvadasakunjalila, and Krsna Dasa Bali. I have 
seen in print Baramasa K5-ili ; it is not Dina Krsna’s. I have also seen in manus¬ 
cript a Guna Guyana Sagara of one Bhabi-a Dasa. Some of the works enumerated, 
such as the medical works, are not probably of Dinakrsna. 
2 For some of the rhetorically fine passages the reader may be referred to the 
description of the various seasons (11th, 12th, 15th and 17th Chandas), and to the 
description of Radha’s beauty (10th Chanda). In mere rhetorical excellences, 
however, the author cannot vie with Upendra Bhanja or Abhiuianyu Samanta- 
simhara. 
