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Odia language

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Odia language , Indo-Aryan language with some 50 million speakers. A language officially recognized, or “scheduled,” in the Indian constitution, it is also the main official language of the Indian state of Odisha (Oriya). The language has several dialects; Mughalbandi (Coastal Odia) is the standard dialect and the language of education.

Oldest of the eastern group of the Indo-Aryan family , Odia is derived from Ardhamagadhi Prakrit . Odia arguably dates back to the 10th century ce , though it was almost indistinguishable from Bengali until the 11th century. The first poetic classic was composed in the 15th century, and literary prose began to take shape in the 18th century.

Odia has been heavily influenced by the Dravidian languages as well as Arabic , Persian , and English . Its lexicon has been enriched by borrowings from these languages as well as from Tamil , Telugu , Marathi , Turkish , French , Portuguese , and Sanskrit . Words borrowed from Sanskrit occur in two forms: tatsama (close to the original form) and tadbhava (remote from the original form).

Odia allows compounding , but unlike Sanskrit it does not allow elision . The use of compounds is more a feature of written than of spoken Odia. Odia has 6 pure vowels , 9 diphthongs , 28 consonants (3 of them retroflex), 4 semivowels, and no consonant-ending words. The written form uses three diacritics: visarga , anusvara , and candrabindu .

Odia grammar distinguishes between singular and plural number; first, second, and third person; and masculine and feminine gender, although the gender of the noun has no morphological consequences for the pronoun and the verb. It is an inflectionally rich language. Nominals carry number and case inflections, while adjectives carry inflections indicating degree and, for the tatsama adjectives, gender.

Odia is a subject–object–verb (SOV) language with a three-tier tense system. The finite verb agrees with its subject in person and number and also marks the honorific form. The main moods are indicative, imperative , interrogative, and subjunctive. The copula does not surface if the sentence is in the present tense. It is possible for main clauses—and some subordinate clauses—to be without a subject.

In Odia inscriptions from between the 12th and the 14th century, word order is relatively free, and verb–object sequence (with the subject before or after) is not infrequent. Other historical changes include the loss of some plural markers and some postpositions. The indirect speech, relative clauses, and passive constructions found in English have emerged in Odia, although these are considered nonstandard forms. New discursive forms such as the essay and news reporting and analysis have also come to Odia from English. Scholarly speech and writing still remain fairly Sanskritized, however.

1st Edition

Critical Discourse in Odia

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Description

This volume forms part of the Critical Discourses in South Asia series, which deals with schools, movements and discursive practices in major South Asian languages. It offers crucial insights into the making of Odia literature and its critical tradition across a century. The book brings together English translation of major writings of influential figures dealing with literary criticism and theory, aesthetic and performative traditions, and re-interpretations of primary concepts and categories in Odia. It presents twenty-five key texts in literary and cultural studies from late-nineteenth century to early-twenty-first century, translated by experts for the first time into English. These seminal essays explore complex interconnections between socio-historical events in the colonial and post-Independence period in Odisha and the language movement. They discuss themes such as the evolving idea of literature and criteria of critical evaluation; revision and expansion of the literary canon; the transition from orality to print; emergence of new reading practices resulting in shifts in aesthetic sensibility; dialectics of tradition and modernity; and the formation, consolidation and political consequences of a language-based identity.

Comprehensive and authoritative, this volume offers an overview of the history of critical thought in Odia literature in South Asia. It will be essential for scholars and researchers of Odia language and literature, literary criticism, literary theory, comparative literature, Indian literature, cultural studies, art and aesthetics, performance studies, history, sociology, regional studies and South Asian studies. It will also interest the Odia-speaking diaspora and those working on the intellectual history of Odisha and Eastern India and conservation of language and culture.

Table of Contents

Introduction

Jatindra Kumar Nayak and Animesh Mohapatra

1. Odia folktales

Mohini Mohan Senapati

Translated by Shaswat Panda

2. Village songs in Odia

Chakradhar Mohapatra

Translated by Animesh Mohapatra

3. Colophons of palm-leaf manuscripts in Odisha

Debi Prasanna Pattanayak

Translated by Urmishree Bedamatta

4. Sudramuni Sarala Das: the author of Odia Mahabharata

Shyam Sundar Rajguru

Translated by Niroj Kumar Sethi

5. Reflections on Sarala Das’s Mahabharata : excerpts from Sree Bharata Darpan

Gopinath Nanda Sarma

Translated by Sumanyu Satpathy

6. The portrayal of women in Sarala Das’s Mahabharata

Sarala Devi

Translated by Kalidas Misra

7. Representations of the conflict between the city and the forest in Odia literature

Gaganendra Nath Dash

8. An essay on Dinakrushna Das’s Rasakallola

Mrutyunjay Ratha

9. Baladeb Ratha and his experiments in poetry

Sachchidananda Mishra

Translated by Ujaan Ghosh and Amrita Chowdhury

10. Perso-Arabic influence on Odia literature

Krushna Charan Behera

Translated by Sangram Jena

11. Michael Madhusudan Dutta and his Meghanadvadh Kavya

Fakir Mohan Senapati

Translated by Jatindra Kumar Nayak and Animesh Mohapatra

12. System of patronage and attribution of authorship in Colonial Odisha: the case of Gangadhar Meher

Debendra Dash

Translated by Umasankar Patra

13. War of words: aspects of a literary controversy

Sudarsana Acharya

14. The need for a literary periodical

Biswanath Kar and Chandra Mohan Maharana

Translated by Aditya Nayak

15. Two Odia books: a review

Gopal Chandra Praharaj

16. Fakir Mohan Senapati’s Mamu : a review

Ashraf Ali Khan

17. Literature and morality

Surendra Mohanty

Translated by Aruni Mahapatra

18. Odia drama: a study of its social background

Girija Sankar Ray

Translated by Haramohan Nayak

19. Accounting for literary change: a survey of modern Odia poetry

Basant Kumar Satpathy

20. Netramani’s diary

Natabara Samantaray

Translated by Jyotirmaya Tripathy

21. Rabindranath Tagore and modern Odia poetry

Gopinath Mohanty

Translated by Snehaprava Das

22. The commercial prospects of modern Odia literature

Krishna Chandra Panigrahi

Translated by Amrita Chowdhury and Ujaan Ghosh

23. The poetry of Sachidananda Rautray

Chintamani Behera

Translated by Jatindra Kumar Nayak

24. Odia literature: a historical enquiry

Nilakantha Das

25. Literature and philosophy

Bipin Bihari Ray

Translated Asim Ranjan Parhi

Jatindra Kumar Nayak is former Professor of English, Utkal University, Bhubaneswar, Odisha, India. He is recipient of the Hutch-Crossword Book Award, 2004, and Katha Translation Award, 1997. He is a member of the English Advisory Board, Sahitya Akademi. His English translations of classic Odia novels include Chandrasekhar Rath’s Yantrarudha ( Astride the Wheel, 2003), Fakir Mohan Senapati’s Mamu ( The Maternal Uncle , 2007) and J P Das’s Desh Kal Patra ( A Time Elsewhere, 2009). He has co-edited Reminiscences: Excerpts from Oriya and Bangla Autobiographies (2004) and Memory, Images, Imagination: An Anthology of Bangla and Odia Writings on Colonial Burma (2010).

Animesh Mohapatra teaches English literature at Delhi College of Arts & Commerce, University of Delhi, India. His research interests include literary history, modernity studies, translation and print culture. He has co-edited a selection of critical essays by eminent Odia critic Natabara Samantaray in English translation, which was published by Sahitya Akademi in 2017. He has recently contributed a chapter on Odia devotional songs to a volume titled Bonding with the Lord: Jagannath, Popular Culture and Community Formation (2020).

Critics' Reviews

‘The translation of novels, stories and plays from Indian languages is now a flourishing field. The translation of scholarly and critical works, however, is much less developed. This landmark volume presents a wide-ranging and richly informative history of Odia literature through its translation of major essays in literary criticism. The contributions cover different genres — folk tales, village songs, epics, novels, poems and plays. They discuss literature with regard to its aesthetic aspects as well as in its social and historical context. The book is further enriched by a brilliant introduction by the editors, which provides a magisterial overview of literary production in Odia from oral traditions and palm-leaf manuscripts to print culture.’ Ramachandra Guha, historian and biographer   ‘All literary traditions are constantly evolving and, in this volume, we find this happening before our eyes in the case of Odia. The twenty-five extracts selected here from the critical debates that took place in the modern period convey a vivid sense of the contestations over tradition and modernity, the shaping of the literary public sphere, and the formation of the canon. The editorial headnotes are a model of their kind in their erudition and perspicacity.  Critical Discourse in Odia  will serve to enrich and refine our understanding of Odia Literature substantially.’ Harish Trivedi, critic, scholar and former Professor of English, University of Delhi, India   ‘The twenty-five carefully chosen essays in this excellent volume, competently translated from Odia into English, enlighten us on the origin and the development of literary criticism in Odia, the evolution of the idea of literature, and the gradual emergence of a responsive readership of critical discourse in this language. The introduction to the volume embodies outstanding scholarship. Specialists and general readers will certainly find reading this book an enjoyable and enriching experience.’ Bibudhendra Narayan Patnaik, linguist, scholar, and former Professor of English and Linguistics, IIT Kanpur, India   ‘A remarkable, much-needed resource for anyone — writer, reader, scholar — interested in India’s, and Odisha’s, unique but insufficiently addressed literary modernity.’ Amit Chaudhuri, novelist and critic, and Professor of Contemporary Literature, University of East Anglia, UK   ‘Odisha is the first state in India to be organized on linguistic lines — an index of the pioneering nature of its linguistic consciousness. Falling under the ‘rain shadow region’ of Bangla and English, knowledge about the depth and range of Odisha’s linguistic culture and its encounter with modernity is unfortunately scant. Edited by Odisha’s foremost bilingual scholar with the collaboration of a younger academic,  Critical Discourse in Odia  rectifies this gap with twenty-five essays drawn from nearly one-and-a-half centuries. Introductory notes on the essays are both informative and insightful. A model for future volumes on other literary cultures to emulate.’  A.R. Venkatachalapathy , Professor, Madras Institute of Development Studies and author of  The Province of the Book: Scholars, Scribes and Scribblers in Colonial Tamilnadu   ‘This very important volume features a selection of key Odia-language critical essays in English translation. It foregrounds the critical tradition in Odia, makes essays on Odia oral and literary culture more accessible and promises to significantly transform our university curricula, as well as our understanding of Indian critical discourse.’ Sayantan Dasgupta , Coordinator, Centre for Translation of Indian Literatures, Department of Comparative Literature, Jadavpur University, Kolkata, India   ‘This collection of twenty-five essays in translation — a collaborative project between the two editors and a score of translators — represents a landmark bridge by which to access Odia literature and literary criticism. The selected essays, written by Odisha's leading writers and scholars, document the trends and developments in the Odia critical tradition from the late-nineteenth century to the present. They also reflect the process by which Odia literary culture reconciled its historical manuscript tradition with the modern medium of print.’ Murali Ranganathan , urban historian and translator, Mumbai, India

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ଓଡ଼ିଆ ପ୍ରବନ୍ଧ ବିଦ୍ୟା ଓ ବିଦ୍ୟାର୍ଥୀ - ଚିତ୍ତରଞ୍ଜନ ଦାସ / Odia essay Vidya O Vidyarthi by Chittaranjan Das

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Odia Essay PDF 2024 – For Classes 8th To 12th & Competitive Exams

• April 20, 2024

Are you searching for the Odia Essay to prepare for your upcoming exams and events, we have published Odia Essay or Oriya Essay for students of primary, secondary, and higher secondary schools, and colleges, and also for Competitive Exams. If you are looking for the Odia Essay books or PDF, here we have provided Odia Essay in PDF format you can download and read the Odia essay.

Odia Essay or Odia Rachana

Odia Essay on the Oriya Language: The Essential Odia Essays (Odia Rachana) are intended to meet the growing demand of pupils in Primary, secondary, and higher secondary schools and colleges. Conscious efforts have been made to carefully choose essays on a variety of subjects that are well within the knowledge and experience range of the pupils.

The Odia essays have been presented interestingly in a simple, plain, and idiomatic language containing vocabulary and structural expressions they are familiar with. Meanings of difficult words supposed to be above their vocabulary horizons have been given in their mother tongue. The purpose is to enrich their vocabulary to enable them to express their feelings and thoughts in a better way.

It is important to know that an Odia essay (Odia Rachana) is not always a complete account of the subject matter. There are no rules about how long or short an Odia essay should be. The pupils at the secondary level are, however, supposed to write an essay in 250 to 300 words on the suggested outlines. All that is important is that the essay must be interesting, well-presented, and free of errors.

Books: Odisha Board Textbooks

Benefits of Writing Essays

Three kinds of essays namely descriptive, narrative, and reflective have been dealt with in this book to give the pupils an idea about how each of such essays can be written with ease and facility. Writing an essay on a given topic needs careful planning and appropriate communicative skills.

Pupils are advised to develop each point of the given outlines into a paragraph in their own words. They may, however, show their ability to write sentences containing clauses, phrases, and other elements they learned somewhere. What is significant is that the use of such phrases, words, and clauses should be appropriate and relevant to the topic.

The beginning paragraph of the essay should be impressive and aim at introducing the topic sustaining the interest of the readers. The last paragraph should sum up the writer’s views on the topic and should equally be lively and impressive. Each paragraph should contain one thought and should lead to the next one. All the paragraphs taken together should be a composite whole instead of being segregated parts.

Last but not least, meticulous care should be taken to revise the Odia essay to correct the errors and weed out irrelevant points. Letter writing, on the other hand, calls for a different skill. Its importance is always felt in our everyday life when we need to write personal letters to friends and relatives, business letters to industrial.

If you find any outdated essay with the unavailable download link, please feel free to leave a comment below.

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Essay on odia language (1161 words).

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Essay on Odia Language!

The script in the edicts of Ashoka in 2nd century BC at Dhauli and Jaugada and the inscriptions of Kharavela in Hati Gumpha of Khandagiri give us the first glimpse of possible origin of the Odia language.

From the point of view of language, the inscriptions of Hati Gumpha are near modern Odia and essentially different from the language of the Ashokan edicts. Pali was the prevalent language in Odisha during this period. The Hati Gumpha inscriptions, which are in Pali, are perhaps the only evidence of stone inscriptions in Pali. This may be the reason why the German linguist Prof. Hermann Oldenburg mentioned that Pali was the original language of Odisha.

Traces of Odia words and expressions have been found in inscriptions dating from the 7th century AD. According to scholars, the origin of Odia can be traced back to the 8th or 9th century, but literary works of merit appeared only in the 13th century.

It was in the 14th century, with Saraladasa’s Odia version of Mahabharata, that Odia literature assumed a definite character. Five poets emerged towards the 16th century: Balaram Das, Jagannath Das, Achyutananda Das, Ananta Das and Jasobanta Das.

They are collectively known as ‘Panchasakhas’, since they adhered to the same school of thought, Utkaliya Vaishnavism. The Panchasakha converted ancient Hindu texts into prose (of simple language) easily understood by the people of Udra Desha (Odisha). Achyutananda Das was the most prolific writer of the Panchasakhas.

Under the Bhakti movement, Chaitanya’s influence coloured Odia literature deeply. Upendra Bhanja was adept with words and his poetry had an erotic element. Vishnavism produced great lyrical inspiration and some outstanding poets. Four poets emerged: Baladeb Rath who wrote in champu and the new form of poetry chautisha, Dina Krushna Das, Gopal Krishna and the blind Bhima Bhoi.

But a significant role was played by Brajanath Badjena in starting a tradition of prose fiction, though he is not considered a premier writer of prose. His Chatur Binoda seems to be the first to deal with different rasas, but predominantly the bibhatsa rasa, often verging on nonsense.

It was only in the nineteenth century that prose came to be written in Odia. Fakir Mohan Senapati was a major prose- writer besides being a poet and novelist as well. In mid- nineteenth century contact with the West through English education revolutionised Odia literature. Madhusudan Rao, who founded the Brahmo movement in Odisha, was another great poet of Odisha. Chintamani Mahanty, Nanda Kishore Bal and Gaurisankar Ray are some of eminent writers and poets of this time.

The first Odia printing typeset was cast in 1836 by the Christian missionaries, replacing palm leaf inscription and in the process revolutionising Odia literature. Books were printed, and journals and periodicals published.

The first Odia magazine was Bodha Dayini (1861) published from Balasore. The main object of this magazine was to promote Odia literature and to draw attention to the lapses in government policy. The first Odia paper, The Utkal Deepika, made its appearance in 1866 under the editorship of Gouri Sankar Ray.

In 1869, Bhagavati Charan Das started Utkal Subhakari to propagate Brahmo faith. In the last three-and-a-half decades of the 19th century, a number of newspapers were published in Odia.

Prominent amongst them were Utkal Deepika,Utkal Patra, Utkal Hiteisini from Cuttack, Utkal Darpan and Sambada Vahika from Balasore, and Sambalpur Hiteisini (1889) from Deogarh. The publication of these papers indicated the desire and the determination of the people of Odisha to uphold the right of freedom of expression.

They encouraged modern literature. Radhanath Ray (1849-1908) is the prime figure, who tried to write his poems under the influence of Western literature. He is seen as the father of modern Odia poetry. He wrote Chandrabhaga, Nandikeshivari, Usha, Mahajatra, Darbar and Chilika.

In the twentieth century, a famous name was that of Madhusadan Das, who may not have written much but whose one song composed for the Odia movement is still sung in Odisha. The nationalist movement also produced the Satyavadi group of writers whose leader Gopabandhu Das’s Kara Kabita is noteworthy.

In the post-independence era, Odia fiction assumed a new direction. The trend which Fakir Mohan started actually developed more after the 1950s. Gopinath Mohanty, Surendra Mohanty and Manoj Das are considered the three jewels of this time.

They are the pioneer of a new trend, that of developing or projecting the ‘individual as protagonist’ in Odia fiction. Sachitanand Routray undertook to expose the evils of traditional society and project new social realities.

His Baji Raut and Pandulipi are outstanding. He has won the Jnanpith Award. The other significant fiction writers are Chandrasekhar Rath (Jantrarudha is one of the renowned classics of this period), Shantanu Acharya, Mohapatra Nilamani Sahoo, Rabi Patnaik and JP Das.

The trend started by the writers of 1950s and the 1960s were challenged by the young writers in 1970s. In the 1960s, a little magazine Uan Neo Lu was published from Cuttack. The writers associated with the magazine were Annada Prasad Ray, Guru Mohanty, Kailash Lenka and Akshyay Mohanty.

These writers began a revolution in the text and style of Odia fiction. They brought sexuality into the purview of current literature and they created a new style in prose. ‘Groups’ of writers emerged from different parts of Odisha Anamas from Puri, Abadhutas from Balugaon, Panchamukhi from Balangir, Abujha from Berhampur and Akshara group from Sambalpur.

Jagadish Mohanty, Kanheilal Das, Satya Mishra, Ramchandra Behera, Padmaja Pal, Yashodhara Mishra and Sarojini Sahoo later created a new age in the field of fiction. Jagadish Mohanty is considered as the introducer of existentialism and a trend-setter in Odia literature (Ekaki ashwarohi, Dakshina Duari Ghara, Album, Dipahara Dekhinathiba Lokotie, Nian o Anyanya Galpo, Mephestophelesera Pruthibi short story collections and Nija Nija Panipatha, Kanishka Kanishka, Uttaradhikar and Adrushya Sakal are his novels). Ramchandra Behera and Padmaj Pal are known for their short stories. Sarojini Sahoo’s Gambhiri Ghara is seen as a landmark among Odia novels and she has gained international fame for her feministic and liberal ideas.

Popular Fiction Writing Parallel to aesthaticism in literature, a parallel trend of populist literature also appeared after the 1960s.

Bhagirathi Das, Kanduri Das, Bhagwana Das, Bibhuti Patnaik and Pratibha Ray are among the best-selling writers of Odia literature. The starting of a women’s magazine called Sucharita in 1975 went a long way in helping women writers express their concerns. Writers like Jayanti Ratha, Susmita Bagchi.

Paramita Satpathy, Hiranmayee Mishra, Chirashree Indra Singh, Sairindhree Sahoo, Supriya Panda, Gayatri Saraf, Mamata Chowdhry are a few popular fiction writers in this period. Sarojini Sahoo played a significant role for her feministic and sexuality-oriented approach in fiction.

Popular science writers from Odisha are Gokulananda Mohapatra, Gadadhar Mishra, Debakanta Mishra, Sarat Kumar Mohanty, Nityananada swain, Sashibhusan Rath, Ramesh Chandra Parida, Kamalakanta Jena and others.

A big initiative, Pratishruti, has been started in North America to connect the literary-minded individuals writing in Odia with their peers back in India.

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