Thursday, April 24, 2008

बादल तू ही सुधा-जल तू ही (Devotional Hindi Song): Dr. Harekrishna Meher

भक्ति-गीत : बादल तू ही सुधा-जल तू ही
गीत एवं स्वर-रचना : डाहरेकृष्ण मेहेर
*
Devotional Hindi Song 
Bādal Tū Hī Sudhā-Jal Tū Hī 
Lyrics and Tuning by : Dr. Harekrishna Meher
= = = = = = = = = = = = = = = = = = = = =
बादल तू ही, सुधा-जल तू ही्,
शीतल तू ही, सुकोमल तू ही ।
प्रभु हे ! हरि तू ही हरे सब घाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (१)
*
अन्दर तू ही, उपेन्दर तू ही,
सुन्दर तू ही, समुन्दर तू ही ।
प्रभु हे ! तेरा रूप नयनाभिराम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (२)
*
निर्मल तू ही, समुज्ज्वल तू ही,
भक्त-आँखों का कज्जल तू ही ।
हरि हे ! तू ही सज्जन-शीश-ललाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (३)
*
भक्ति-सुधा का झरना बहे,
मन में रहे, ये रसना कहे ।
हरि हे ! सदा हरेकृष्ण हरेराम,
हरेराम घनश्याम, हरि हे श्रीराम ॥ (४)
*
इन्द्र-धनुषी सरगम तू ही,
जीवन-कला- सुसंगम तू ही ।
प्रभु हे ! तू ही ब्रह्म-नाद सुख-धाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (५)
*
ईश्वर तू ही, अनश्वर तू ही,
अम्बर तू ही, चराचर तू ही ।
प्रभु हे ! तुझे मेरा अनन्त प्रणाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (६)
*
जग-निर्माता, तू ही विधाता,
सबसे है तेरा अनमोल नाता ।
हरि हे ! तू ही आदि मध्य परिणाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (७)
*
तुझे मैं चाहूँ , तुझको बुलाऊँ,
तेरे बिन कैसे शोक भुलाऊँ ?
प्रभु हे ! फिर कैसे रहूँ निष्काम ?
हरेराम घनश्याम, हरि हे श्रीराम ॥ (८)
*
तेरे चरणों में खुशियाँ प्यारी,
तेरी माया है, ये दुनिया सारी ।
हरि हे ! ले भक्त-जनों को थाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (९)
*
जग में अकेला, तू ही निराला,
आनन्द-भरा सुबह का उजाला ।
प्रभु हे ! फिर तू ही शान्तिभरी शाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (१०)
*
हर दुःख में भी, रहे सुख में भी,
हृदय में गूँजे, मेरे मुख में भी ।
हरि हे ! तेरा मंगलमय शुभ नाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (११)
= = = = = = = = = = = = = = = = = = =

[Published in  'Sangeet', Music Magazine, 
September 2003, Geet-Gunjan Page-47,
Sangeet Karyalaya, Hathras, Uttar Pradesh, India.]
= = = = = = = = = = = = = 
Brief Biodata: 
= = = = = = = = 
  

Tuesday, April 15, 2008

Saundarya-Sandarsanam Kavya: सौन्दर्य-प्रकाशः Sanskrit Poem: Dr.Harekrishna Meher

Sanskrit Poem : 
Saundarya-Prakashah 
*
(From Sanskrit Kavya 'Saundarya-Sandarśanam')
By : Dr. Harekrishna Meher  
= = = = = = = = = = = = = = = = = = = = = = = 
सौन्दर्य-प्रकाशः / हरेकृष्ण-मेहेरः    
= = = = = = = = = = = = = = = = = = = = = = = 
सन्ताप-नाशाय  सुखोपलब्धये 
स्वान्तःप्रसादाय  भुवां शिवाप्तये ।
सुमङ्गलं  वाङ्मय-सिन्धु-गर्भतः
काव्याख्य-रत्नं विबुधैः समुद्धृतम् ॥ ()

शब्दार्थ-रूपं  प्रथितं हि काव्यं
भावानुकूला कलिता गिरा स्यात्
वाच्यार्थ-मध्ये लसतीह चारुता
सा लक्षित-व्यञ्जितयोरनन्तरम् (

सत्यं शिवं सुन्दरमत्र लोके
प्रसिद्धमेतत् त्रितयं विभाति
जानाति नित्यं  खलु तत्त्व-दर्शी
नाज्ञाय किञ्चित् स्वदते मनोज्ञम् ()

निस्सीम-सौन्दर्य-महासमुद्रो
ब्रह्मैव नित्यं परमात्म-तत्त्वम् ।
विभ्राजते शाश्वतमेवमव्ययं  
तदुद्भवा नान्दनिकी प्रवृत्तिः ॥ ()

यद्दर्शनाद् दृङ्-मनसो-र्जनस्य वै 
तृप्तेः समाप्ति-र्न भवत्यहर्निशम् ।
स्वान्तं यदार्द्रीकुरुते नितान्तं
तत् सुन्दरं वस्तु  बुधै-र्निगद्यते ॥ ()

क्षणे क्षणे यन्नवतामुपैति
तदेव रूपं रमणीयतायाः
इत्युक्तिरेषा प्रथितास्ति माघे
किं स्वानुभूत्या भजते सार्थताम् ? ()

विचारणीयाऽऽन्तर-सूक्ष्म-दृष्ट्या
सर्वत्र धीरं  रमणीयता बुधैः
यत्रौचिती विद्यत एव निश्चिता
तत्रैव सौन्दर्यमभिप्रकाशते ()

सौन्दर्यमुत्समतुलं भव-सर्जनाया
आकर्षणं प्रभवति श्रित-मूल-तत्त्वम्
यत्रास्ति यस्य रुचिराऽऽन्तरिकी नितान्तं
तत्रैव तस्य रुचिरा भवति प्रतीतिः ()

मन्नेत्रयो-र्यत् प्रतिभाति सुन्दरं
त्वन्नेत्रयोस्तन् भवेत् तथाविधम्
यदन्य-नेत्रे  रुचिरं प्रपश्यत-
स्तथैव नैतन् मम ते नेत्रयोः ()

परन्तु किञ्चिद् भुवि वस्तु विद्यते
विचित्रमेवं  रचितं विधात्रा
यद् वै जनानां जगतां समेषां
नेत्राणि पश्यन्ति सदैव सुन्दरम् (१०)
= = = = = 

Related Links: 
Saundarya-Sandarshanam (Sanskrit Kavya) : 
*
Contribution of Dr. Harekrishna Meher to Sanskrit Literature:  
*
 = = = = = 

Monday, April 14, 2008

Oriya Literature: Kavi-Samrat Upendra Bhanja: The Great Poet of Orissa

कविसम्राट्  उपेन्द्र भञ्ज (ओड़िआ साहित्य के महान् कवि)  
* * * 
Upendra Bhanja : The Great Poet of Orissa 

Article By : Dr. Harekrishna Meher 
= = = = = = = = = = = = = = = = = = = = = = =  

In the history of Oriya literature, the medieval period, i. e. from the last part of sixteenth century to the last part of nineteenth century, is known as Kāvya-Yuga, Rīti-Yuga or Bhañja-Yuga. Upendra Bhañja is the protagonist among the poets of this time. His is an epoch-making age, the last part of seventeenth century. He has made a revolutionary challenge and a great change in Prakrit language group to establish Oriya as a prosperous and prominent language in rivalry with Sanskrit. He has furthered Oriya language and Orissan culture by composing numerous epics, lexicons, lyrics and musical songs.

In Oriya literature, ‘Rīti’ generally implies the pompous and embellished feature of physical structure of poems. Though different from Sanskrit ‘Rīti’ in view of nature, Oriya ‘Rīti’ with its originality forms a reflection of the former. Rīti-Yuga in Oriya literature, having its genesis from the epic poems ‘Rukminī-Bibhā’ of Kārttika Dās and ‘Śaśisheņā’ of Pratāp Rāy, has attained the apex in the compositions of Upendra Bhañja. In Bhañja’s poems direct influence of Sanskrit poets like Bhāravi, Māgha and Śrīharsha is obviously observed. Upendra has embellished the Oriya literature with copious verbal grandeurs, sentimental expressions, bandha poems, various figures of speech, musical metres, depiction of Nature and other several poetical phenomena. His word-complexities have almost made his epics not easily intelligible by the general readers. Dhanañjaya Bhañja, the grandfather of Upendra and poet of ‘Raghunātha-Bilāsa’, had inspired Upendra to compose epics in the ornate style.

Upendra himself has expressed about the stiffness and flavoury compositions of his own. In his epic poem Prema-Sudhānidhi’ (16/15), he says : Puņi ehi gīta nārikeļa-phaļa-bata’ (Again this poem is like coconut fruit). In his ‘Lābaņyabatī’(16/44) also, he has construed his poem as a juicy coconut which is beyond the reach of a monkey’s relish (Nārikeļa je rasa-pūra / Bhakshina pārai bānara). In ‘Baidehīśa-Bilāsa’ (52/52), he opines his writing as both stiff and sentiment-fraught (Budhe sarasa karkaśa rasāļa e gīta). His poems look externally very critical, but after entering into them, they gladden the readers by internal sweetness and emotional relish. The statements of Upendra reveal his ardent desire for adopting Sanskrit style and make us remember the remarks of Mallinātha, the eminent commentator on Bhāravi’s ‘Kirātārjunīya’ (Nārikela-phala-sammitam vacho Bhāraveh sapadi tad vibhajyate).  Bhāravi’s verses are coconut-like and Upendra has followed his poetic path.

In the epic ‘Koţi-Brahmāņda-Sundarī’ (Chapter-XX), Upendra has neatly declared  ‘Ghena Naishadha parāye’ (Take this epic as Naishadha). He is immensely influenced by the'Naishadhacharita' of Śrīharsha, mostly in regard to similarity of ideas, puns, expressions and style. Also in some verses of his other epic poems such as ‘Lābaņyabatī’ and ‘Subhadrā-Pariņaya’, the style and ideas of ‘Naishadha Mahākāvya’ are fluently reflected. He is also very much impressed by ‘Gīta-Govinda’ of Jayadeva in composing the melodious songs. Observing the specialities of poets of Sanskrit Literature, Indian scholars have paid  high homage to Kālidāsa, Bhāravi, Śrīharsha and Māgha by saying :

'Upamā Kālidāsasya Bhāraver artha-gauravam /
Naishadhe pada-lālityam Māghe santi trayo gunāh //' 

A Sanskrit verse composed by Paņdit Mrutyuñjaya Rath, a renowned litterateur of Orissa, is worth-mentioning in this respect. Emulating the Sanskrit style pertaining to Oriya literature, Paņdit Rath has said :
'Upamā Bhañja-vīrasya tasyaiva chārtha-gauravam /
Kallole pada-lālityam santi chintāmaņau trayah // '

In Oriya literature, significant are the simile as well as profundity of meaning in the epic poems of Upendra Bhañja, grace of diction in ‘Rasa-Kalloļa’ of Dīnakrushņa Dās, and the amalgamation of these three qualities (simile, profundity of meaning and grace of diction) in ‘Bidagdha-Chintāmaņi’ of Abhimanyu Sāmanta Simhāra. All the epic poems of these three poets have made the Oriya Literature affluent to a great extent.

Upendra has honourably and humbly referred to Vālmīki, Vyāsa, Hanumān, Kālidāsa and Bhojarāja of Sanskrit literature, and to Baļarāma Dās of Oriya literature, in his Rāma-epic‘Baidehīsa-Bilāsa’ composed in ‘ba’ pūrvānuprāsa. In writing this epic poem, he is highly influenced by Baļarāma Dās, the poet of ‘Dāņdi Rāmāyaņa’, which is also known as 'Jaga-mohana Rāmāyaņa' or ‘Dakshiņī Rāmāyaņa’

Upendra has influenced the Oriya poets like Brajanāth Badajenā, Baļadeba Rath, Jadumaņi Mahāpātra and many others. Poet Rādhānāth Rāy, the pioneer and father of modern Oriya literature has praised and accepted Upendra Bhañja as his own ‘Kāvya-Guru’. Gańgādhara Meher, the noted ‘Prakriti-Kavi’ and a contemporary of Rādhānāth Rāy, has been initially influenced by Upendra. Poets like Rājakabi Brajarāj Singh and Khageśwar Seţh have been much influenced by Upendra. Brajarāj Singh, for his ornate style, is known as ‘Second Upendra Bhañja’. Khageśwar Seţh has humbly compared Upendra as an aerial chariot and his own self as a bullock cart; but has very successfully followed the Bhañja style making it suitable to the modern taste. In Oriya literature, the latent genesis of Rīti can be found in the writings of Ādikabi Sāralā Dās and Baļarāma Dās also. The simple and lucid style flows from Sāralā Dās; but in view of the ornate style and poetic grandeur, Upendra Bhanja is the premier poet of medieval Oriya Literature.

Upendra’s poems are mostly dominated by Eros, the first among the nine sentiments of literature. Some narrations of the sensuous erotic dealings are seen in his poems. So his works have suffered a lot in the pens of some modern critics. Great poets like Vyāsa, Kālidāsa, Māgha, Śrīharsha of Sanskrit, and Ādikabi Sāraļā Dās, Dīnakrushna Dās, Kabisūrya Baļadeba Rath and others of Oriya literature have unhesitatingly delineated the contextual erotic dalliance in their poems. In Oriya literature, all such erotic depictions, though indicative of so-called obscenity and lack of some refined taste, are due to the influence of Sanskrit literature. Such descriptions may be poetic lapses; but are not detrimental to the poetic genius. Several instances of eroticism can be found in modern literatures also.

In all his epical compositions, Upendra has not only shown the ornate style, but also distinctly portrayed the emotions, feelings and sentiments of mankind. So his writings are not simply crammed with poetic imaginations. His poetic pen has also recorded the reality of life, psychological analysis and various facets of worldly experiences. Several data of socio-cultural, historical, geographical, religious and like conditions of his age are also diffused in his works. Both imagination and truth are mingled charmingly.

Love in Upendra’s pen is seen very sensuous, alluring and romantic. He has preached 'Swakīyā Prīti', one’s love for own wife only or for an unmarried loving maiden, the would-be wife. He has never supported or depicted 'Parakīyā Prīti', one’s love for the wives of others. Such attitude strengthens the social discipline by preserving the ethical value of mankind, especially in Indian culture.

An illustration of the heart-touching love is cited here from his work. As the context goes on, in ‘Prema-Sudhānidhi’  kāvya (Chapter-XIV), the young lover and the beloved maiden both pine for each other during their separation. The prince passionately writes a love-letter to his sweetheart princess, consoling their hearts, bearing the pangs of separation and preserving their lively love. One of the stanzas in Oriya addressed to the princess is : 

'Dūre thile pāśe achhi thibu ehā gheni /
Kete dūre Chandra kete dūre Kumudinī /
Prīti abheda tāńkara /
Jete dūre thile je jāhāra se tāhāra //'

This may be rendered into English as follows : 

‘Even far, I’m thy very near.
This always keep in the heart, My Dear !
Moon and Lily both are
from each other, away very far.
Still flows all the while
their love ever-juvenile.
For a loving couple, see,
the distance may whatever be,
hers is he
and his is she.’ 

**
[From Original Oriya, Translated by : Dr. Harekrishna Meher]

Poet Upendra is a strong devotee of God Rāmachandra. He has also depicted Lord Jagannātha and Rāmachandra one and undifferentiated. Upendra, as he himself says, has attained the great unique poetic calibre by the divine mercy of Rāma-Tāraka-Mantra. This case makes us recall Śrīharsha, who achieved the grace of Chintāmaņi Mantra and became the poet of Naishadha Mahākāvya. Upendra’s literary eruditions and proficiency in composing epic poems are commendable indeed conducive to his milieu. Hence his works should not be stigmatized from modern perspectives alone. His compositions cover almost all the scholarly structure and are mainly meant for the learned community. He has also fulfilled the literary thirst of common people by composing numerous melodious songs.

Poems of Upendra Bhañja have earned profuse fame from different dimensions of the society. Utkaļamaņi Gopabandhu Dās, in his ‘Abakāśa Chintā’, a collection of Oriya poems, has rightly appreciated the wide popularity of Upendra’s poems which the learned scholars sing in the literary assembly, the gay wayfarers on the path, farmers in the corn-fields, ladies in the harems and courtesans in the dalliance of dances. Upendra Bhañja, traditionally renowned as “Kavi-Samrāţ” (The Emperor among the poets) is really a peerless glory not only of Oriya literature, but also of Indian literature in the national level. In the present day also, his works are hailed through scholarly discussions, translations, researches and other literary activities. 
* * * * * 

(Compiled in the English Book “UPENDRA BHANJA”
Published by : Kalinga Bharati, Dagarpara, Cuttack, Orissa, 1990.)
= = = = = = = = = = 


Related Links : 
Biodata :  Dr. Harekrishna Meher :
* * * 
List of Places where Dr. Harekrishna Meher and his works 
are referred, discussed and reviewed in Research and other fields : 
http://hkmeher.blogspot.in/2010/06/places-where-drharekrishna-meher-and.html
* * * 
Contribution of Dr. Harekrishna Meher to Sanskrit Literature:  

Wednesday, April 9, 2008

Hindi Devotional Song / नीलाचल-नायक हे !


My Hindi Devotional Song
*

भक्ति-गीत : नीलाचल-नायक हे !
[गीत एवं स्वर-रचना : डा. हरेकृष्ण मेहेर ]


Nīlāchala- Nāyak He !
Lyrics and Tuning By : Dr. Harekrishna Meher
_ _ _ _ _ _ _ _ _


नीलाचल-नायक हे !
जय पुरुषोत्तम ब्रह्म परम,
पुरी मन्दिर में तुम अनुपम ॥ (ध्रुव)
*
लक्ष्मी-रमण हे श्रीजगन्नाथ !
भगिनी सुभद्रा बलराम साथ ।
भक्ति-सुमन की माला पहन,
तुम तो विराजित हो भगवन् ।
हे जगमोहन पतित-पावन
मन के मिटा दो सारे भरम ।
जय पुरुषोत्तम ब्रह्म परम ॥ [१]
*
तुम तुलसी के रघुवर राम,
तुम चैतन्य के गिरिधर श्याम ।
रथ-यात्रा का शुभ अवकाश,
मन में जगाता दिव्य प्रकाश ।
चक्र-नयन के दर्शन करके
सफल हो जाये मेरा जनम ।
जय पुरुषोत्तम ब्रह्म परम ॥ [२]
*
तुम करुणा के सिन्धु अपार,
दीन जनों के बन्धु उदार ।
नाम तुम्हारे हैं अनगिन,
और शरण नहीँ प्रभु तुम बिन ।
हे भूत-भावन पाप-विनाशन
कृपा करो हरि मैं हूँ अधम ।
जय पुरुषोत्तम ब्रह्म परम ॥ [३]

= = = = = = = = = = = = = = = = = =

[ Published in "Sangeet", Music Magazine,
September 2003, 'Geet-Gunjan' page-47.
Sangeet Karyalaya, Hathras, Uttar Pradesh, India.]
* *

Tuesday, April 1, 2008

‘Utkala-Janani Mahiyataam’ (Sanskrit Song from 'Utkaliya-Satkalaa' Kavya): Dr.Harekrishna Meher

 Sanskrit Gīti-Kāvya: Utkalīya-Satkalā' 
= = = = = = =
Extracts : 

Original Sanskrit Poem 

Utkala-Jananī Mahīyatām’
Lyrics and Tuning by : Dr. Harekrishna Meher
= = = = = = = 
उत्कल-जननी महीयताम् 
('उत्कलीय-सत्कला' - गीतिकाव्यतः)
गीत-रचना तथा स्वर-रचना : डॉ. हरेकृष्ण मेहेरः  
= == = = = = = = = = = = = = = = = 

उत्कल-जननी सत्कला-धना महीयताम् ।
महाजनानां 
वर-तनुजानां
पुण्य-साधना महीयताम् । 
सत्कला-धना महीयताम् ॥ (ध्रुवम्)
*
शिल्प-कल्पना-स्पन्दित-मन्दिर-माला,
अनिन्द्य-रूपा  वन्दित-सुन्दर-भाला ।
निसर्ग-देव्या  रङ्ग-सुविशाल-शाला,
मङ्गल-भङ्ग्या  वाङ्‍मय-मयूख-जाला ।
मन्दाकिनीव पुनती नाशित-मन्दा,
संस्कृति-सुरुचा  सञ्चारित-मकरन्दा ।
वसुन्धरा सा 
सिन्धु-विलासा 
स्निग्ध-बन्धना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [1]
*
या तीर्थमयी  सत्पथ-सेवित-कामा,
गर्भित-रत्ना  सुरभित-कुसुमारामा ।
धान्य-सुधन्या  वन्य-धनैरभिरामा,
या रमणीया  मणि-माणिक्य-ललामा ।
प्रेम-भास्वरं  शाश्वतं राजमानम्,
संस्कारवतां  पुष्कलमिदं निधानम् ।
शिव-सङ्कल्पा 
पङ्कज-तल्पा 
भव्य-भावना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [2]
*
चारु-कलानां  प्रसन्न-सन्निधि-भूता,
तारुण्यमयी  दारु-कलाकृति-सूता ।
कारु-फलानां  सूक्ष्म-लक्ष्म-परिपूता,
बान्ध-कलानां  सम्बल-कदम्ब-धूता ।
शृङ्ग-मृत्तिका-पित्तल-कला-सुभित्तिः,
पट-चित्राद्यैश्‍चित्त-मोदिनी कीर्त्तिः ।
मयोभूरियं  
बिभर्त्ति श्रियं  
भूरि-वर्धना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [3]
*
कम्बराम्बरैः  सम्बलपुरीति नृत्यम्,
करम्बिताङ्गं  सङ्गत-सुगीत-कृत्यम् ।
सहृद्य-वाद्या  वीर-रसामृत-पाना,
रमयति घुमुरा  जनं स्वनित-निःशाना ।
छ‍उ-दण्डाद्यै-र्मण्डित-भाण्डागारा,
कला-भूरसौ  नयन-विमोहन-कारा ।
विभात्योड़िशी 
नित्य-षोड़शी  
लास्य-शोभना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [4]
*
रथयात्रायाः  प्रथिता यत्र सुगाथा,
वसुज-दर्शनाद् भक्त-जनता कृतार्था ।
पुरी प्रसिद्धा  श्रीपुरुषोत्तम-धाम्ना,
इह महोदधि-र्दधौ सार्थतां नाम्ना ।
यशस्विनीयं  विश्‍वबन्धुता-दाम्ना,
सरसाम्नाता  मुदा समुदात्त-साम्ना ।
आस्तिक-नावा  
प्रशस्त-भावा  
स्वस्ति-दर्शना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [5]
* * 
यत्र राजिता  विश्‍वनाथ-कविराजः,
सामन्त-चन्द्रशेखर-विद्वद्‍राजः ।
श्रीजयदेव-प्रभृति-प्रतिभाभाजः,
उपेन्द्र-भञ्जो  रञ्जित-विबुध-समाजः ।
कृष्ण-बल-रथाभिमन्यु-यदु-गोपालाः,
सब्रजराजा  वाणी-सरो-मरालाः ।
विचित्र-पर्णा  
रचित-सुवर्णा  
रुचिर-वर्णना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [6]
*
भारत-कर्त्ता  यत्र सारला-दासः,
कथा-सम्राट्  फकीरमोहनो व्यासः ।
काव्य-पुरोधाः  कविवर-राधानाथः,
व्यधत्त नव्यं  भक्त-मधुना सनाथः ।
तूली गङ्गाधरस्य मधुर-सुरङ्गा,
समृद्धमकरोत्  निधिं सुधामय-सङ्गा ।
ग्रन्थ-मन्थनं  
तत्त्व-चिन्तनं  
स्वान्तरात्मना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [7]
* *
अस्मितामयी  सुस्मित-विस्मय-धानी,
नन्दित-भुवना  विभाति यत्र वनानी ।
अंशुपया सह  शंसित-सरसोद्‍वेला,
निखिल-लेखनी  यत्र सुलक्षित-खेला ।
केली-कलिता  चिलिका चञ्चल-चेला,
लसति यदङ्गे  रङ्गिम-विहङ्ग-मेला ।
क्वणत्-कङ्कणा  
दीप्त-दर्पणा  
व्याप्त-जीवना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [8]
* *
दीव्यतु मनसो  व्योम-स्थली सुनीला,
तत्र राजतां  तपन-ज्योति-र्लीला ।
अन्तःकरणे  सन्तत-चिन्तन-धारा,
प्रसरतु चार्वी  सत्त्व-विशुद्ध-विचारा ।
संसार-सुधारणे सुधा-रस-सारा,
शुभ्र-सौरभा  हृदय-दयोज्ज्वल-तारा ।
नव्य-सर्जना  
दिव्य-चेतना  
शान्ति-चन्दना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [9]
*
वल्गु-वादिनी  सुभगा विगलित-दैन्या,
सुरक्षणीया  दक्ष-सूनु-गण-सैन्या ।
भारत-मातु-र्मूर्त्तिमती प्रतिमेयम्,
उत्कृष्ट-कला-वैशिष्ट्यं प्रणिधेयम् ।
यत्र हि जैत्रं  प्रेममयमप्रमेयम्,
मानवताया  मधु-सङ्गीतं गेयम् ।
कम्र-कोमला 
नम्र-निर्मला  
मातृ-वन्दना महीयताम् ।
उत्कल-जननी सत्कला-धना महीयताम् ॥ [10]
= = = = = = = = = = = = = = 

Ref : 
Contributions of Dr. Harekrishna Meher to Sanskrit Literature:  
 = = = = =