Sarala Das
: Kanakapura
District: Jagatsinghpur
Category : Literature
Born :
Died :
Details : "Sarala Dasa or Sarala Das (Oriya: ସାରଳା ଦାସ) was a 15th-century poet and scholar of Oriya literature. Best known for three Oriya books — Mahabharata, Vilanka Ramayana and Chandi Purana — he was the first scholar to write in Oriya. As an originator of Oriya literature, his work has formed an enduring source of information for succeeding generations.

The life of Sarala Dasa is obscure. He was born at Kanakavati Patana, known as Kanakapura, one of the Sidhikshetras in Jagatsinghpur District. Though the date of his birth cannot be accurately determined, he can safely be placed on the second half of the 15th century AD. Sarala Dasa had no systematic early education, and what he achieved through self-education was attributed to the grace of Sarala, goddess of devotion and inspiration. Though his early name was Siddheswar Parida, he was later known as Sarala Dasa, or 'by the boon of Sarala'. (The title Dasa means a slave or a servant of a particular god or goddess: a long list of poets, preceding and succeeding Sarala Dasa, have names ending this way: for example, Vatra Dasa, Markanda Dasa, Sarala Dasa, Jagannatha Dasa, Balarama Dasa, and Yasovanta Dasa.) A story - similar to those told of other Indian poets, such as Kali Dasa, supposedly illiterate in early life until helped by the goddess Saraswati - tells that Siddheswar as a boy was once ploughing his father's field and singing so melodiously that the goddess Sarala stopped and listened to his song and endowed him with her power of composing beautiful poems. There are several indications in his Mahabharata that he served as a soldier in the army of the Gajapati King of Orissa. Sarala Dasa spent his last time at Bila Sarala but the native place Kanakavati Patana known as Kanakapura at Tentuliapada with a religious establishment known as Munigoswain, which marks as the traditional spot, where he composed his works. Sarala Dasa also wrote the book Laxmi Narayana Vachanika. The Adi Parva Mahabharata opens with a long invocation addressed to the Lord Jagannatha of Puri, from which it is known that Sarala Dasa started writing his Mahabharata in the reign of Kapileswar, otherwise known as Kapilendra, the famous Gajapati king of Orissa (AD 1435–67). He tells us that Maharaja Kapilesvara with innumerable offerings and many a salute was serving this great deity and hereby destroying the sins of the Kali age.

Though Sarala Dasa followed the main outline of the Sanskrit Mahabharata in writing the Oriya Mahabharata, he made numerous deviations and added to it copiously the stories of his own creation and various other matters known to him. In the final form Sarala Dasa's Mahabharata is a new creation analogous to Kalidasa's Raghuvamsa based on the Ramayana.Mahabharata brought to light about the eighteen parvas like:

Virata Parva
Udaya Parva
Vishma Parva
Drona Parva
Kanna Parva
Slaya Parva
Surtika Parva
Stri Parva
Shanti Parva
Anusasanika Parva
Asramavasika Prava
Mahaprasthanika Parva
Asvamedha Parva
Mausala Parva
Swargarohana Parva.

The Chandi Purana was based on the well-known story of Durga killing Mahishasura (the buffalo headed demon) given in Sanskrit literature but here also the Oriya poet chose to deviate from the original at several points. His earliest work, Vilanka Ramayana, was a story of the fight between Rama and Shahasrasira Ravana (thousand headed Ravana).The verse of Sarala Dasa is simple, forceful and musical, without artificiality. Applying colloquial words for his poetical purpose, his writing was free from Sanskritisation. His work can be seen as adapting the popular oral conventions of earlier Oriya folk songs which were used in folk dances such as the Ghoda-nacha (Horse Dance), Dandanacha and Sakhinacha (Puppet Dance). One metrical peculiarity of these songs is that both the lines of a verse do not contain an equal number of letters though the last letters of both the lines produce the same sound. All Sarala Dasa's wors were composed with this metrical peculiarity, and so the metre used by him can be regarded as a direct descendant of the that used in the folk songs. By the fifteenth century the Oriya language had assumed almost its modern form and had become ripe for literary compositions.

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