Conjugal Love of Sita-Rama (सीता-राम का दाम्पत्य प्रेम) : Tapasvini Kavya/ Dr.Harekrishna Meher

Conjugal Love of Sītā-Rāma   
Extracted from 
TAPASVINĪ Mahākāvya
of Poet Gańgādhara Meher  
(From Tapasvini. Canto-II , III)  
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English-Hindi-Sanskrit Translations 
By : Dr. Harekrishna Meher 
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(Original Oriya shown in Devanāgarī Script.) 
सीता-रामङ्क दाम्पत्य प्रेम
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स्रोतस्वती-गति सहज थाए सागर आशे,
लङ्घे शिळा शैळ-सङ्कट य़ेबे बिरुद्धे आसे ।
बारिधि-सङ्गमे बिस्मरे सबु बिगत क्लेश,
उभय जीबने न रहे आउ प्रभेद लेश ॥

बिधि बशे उठि मध्यरे य़ेबे ऊर्द्ध्वकु भेदि,
बालि-स्तूप दिए सरित-सिन्धु- हृदय छेदि ।
सरित मरि त न पारे, तार जीबन भार,
हृदय प्रसारि रख‌इ होइ ह्रद आकार ॥
**
आउ एक कथा कहुछि, एकता
बान्धि तुम्भे मन सङ्गे,
चाल हृद-सरे अनन्त बासरे
बिळसिब रस रङ्गे ॥

मो प्राण-सङ्गिनी नब कमळिनी
फुटि रहिअछि तहिँ,
स्मरण-भास्कर चिर-तेजस्कर
अस्त तार नाहिँ य़हिँ ॥
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(तपस्विनी-काव्य द्वितीय-तृतीय-सर्गरु) 
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Oriya 's Transliteration in Roman Script :  
Sītā-Rāmańka Dāmpatya Prema
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Srotasvatī-gati sahaja thāe Sāgara-āśe /
Lańghe śīļā-śaiļa-sańkaţa yebe biruddhe āse //
Bāridhi-sańgame bismare sabu bigata kleśa /
Ubhaya jībane na rahe āu prabheda leśa //

Bidhi-baśe uţhi madhyare yebe ūrddhvaku bhedi /
Bāli-stūpa die Sarita- Sindhu- hrudaya chedi //
Sarita mari ta na pāre, tāra jībana bhāra /
Hrudaya prasāri rakhai hoi hrada-ākāra //
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Āu eka kathā kahuchi, ekatā
bāndhi tumbhe mana sańge /
Cāla hruda-sare ananta bāsare
biļasiba rasa-rańge //

Mo prāņa-sańginī naba kamaļinī
phuţi rahi achi tahin /
Smaraņa-bhāskara cira-tejaskara
asta tāra nāhin yahin //
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( From Tapasvini. Canto-II and III )
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My English Translation : 
Conjugal Love of Sītā and Rāma
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Spontaneous is the flow of River
to mingle with Sea, her own lover.
She firmly crosses pass and rock
that appear on the way to block.
With Sea, when she enjoys union,
her all previous pains plunge into oblivion.
Between the lives of the two thence
really remains not a jot of difference.

Perchance piercing up in the mid,
any huge mound of sands there
if raises high
and severs the hearts of the loving pair,
River cannot die.
Burthen of her life she bears indeed
by expanding own heart to take
the shape of a large lake.
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One thing more I like to tell,
Be united with mind and hasten to dwell
in the lake of heart where bliss sublime,
you all will sportively enjoy for endless time.

There abides my life-mate
new Lotus-maiden in full efflorescence.
Ever-scintillating and never-set
remains the Sun of reminiscence. 
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(From Tapasvini. Canto-II , III)  
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My Hindi Translation :  
सीता-राम का दाम्पत्य प्रेम
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सागर के प्रति
सरिता की गति
रहती स्वभाव से ।
जब शिला-गिरिसंकट
सामने विघ्न-रूप हो जाते प्रकट,
उन्हें लाँघ जाती ताव से ॥

भूल जाती सब
पिछली व्यथाएँ सागर से मिलकर ।
दोनों के जीवन में तब
रहता नहीं तनिक-भी अन्तर ॥

संयोग-वश यदि बीच में उभर
ऊपर को भेदकर
छिन्न कर डालता बालुका-स्तूप
सरिता और सागर के हृदय को किसी रूप ;
वह स्रोतस्वती
मर तो नहीं सकती ।
सम्हालती अपना जीवन-भार
ह्रद-रूप बन हृदय पसार ॥
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कहता हूँ और एक बात,
तुमलोग मन के साथ
सब सम्मिलित होकर
चलो हृदय-सरोवर ।
उधर अनन्त दिनों तक
रमते रहोगे रस-रंग में अथक ॥

वहाँ खिली है नयी पद्मिनी
मेरी जीवन-संगिनी ।
स्मरण का सूरज वहीं सदा जगमगाता,
अस्त कभी नहीं जाता ॥
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[तपस्विनी-काव्य. द्वितीय-तृतीय सर्ग से]
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My Sanskrit Translation :  
सीता-रामयोः दाम्पत्य-प्रेम
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स्वत एव गति-र्भवति
स्रोतस्वत्याः सागरं प्रति ।
लङ्घति सा शिला-शैल-सङ्कट-सकलम्
आयाति मार्गे यद् विरुद्धमर्गलम् ॥

पूर्व-क्लेश-समस्तं विस्मर्यते
तया तोयनिधे-र्मिलने ;
भेद-लेशोऽपि पुन-र्नावशिष्यते
तयोरुभयो-र्जीवने ॥

मध्ये दैव-वशात् समुत्थाय सपदि
ऊर्द्ध्वं भित्त्वा यदि
छिनत्ति वालुका-स्तूपस्तयोः
हृदयं ह्रादिनी-समुद्रयोः ,
कल्लोलिनी तु न म्रियते ;
प्रियतमस्य कृते
वहति सा जीवन-भारं स्वयम्
ह्रदाकारं प्रसार्य स्व-हृदयम् ॥
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ब्रवीमि विषयमेकमपरम्,
यूयं स्वान्तेन सार्धम्
ऐक्य-बद्धाः सर्वे निर्बाधम्
व्रजत हृदय-सरोवरम् ।
अशेष-दिवसान्यथ
रस-रङ्गेषु विलसिष्यथ ॥

तत्र वर्त्तते मम जीवन-सङ्गिनी
प्रफुल्ला नवीना राजीविनी ।
यस्मिन् सुचिर-ज्योतिष्मान्
स्मरण-विवस्वान्
अविरतं विराजते,
कदापि नास्तं भजते ॥
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(तपस्विनी-काव्यस्य द्वितीय-तृतीय-सर्गतः) 
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[All Extracts of Translations are from 
Published Works of Dr. Harekrishna Meher]
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Link: Published Books : 

‘Tapasvini’ Mahakavya of Poet Gangadhar Meher (1862-1924).

From Original Odia, Translated in to Hindi, English and Sanskrit :

Complete Works : Link :

http://tapasvini-kavya.blogspot.in/2013/05/complete-tapasvini-kavya-hindi-english.html

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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 : डा. हरेकृष्ण मेहेर

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Devotional Hindi Song 
Bādal Tū Hī Sudhā-Jal Tū Hī 
Lyrics and Tuning by : Dr. Harekrishna Meher
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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)
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भक्ति-सुधा का झरना बहे,
मन में रहे, ये रसना कहे ।
हरि हे ! सदा हरेकृष्ण हरेराम,
हरेराम घनश्याम, हरि हे श्रीराम ॥ (४)
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इन्द्र-धनुषी सरगम तू ही,
जीवन-कला- सुसंगम तू ही ।
प्रभु हे ! तू ही ब्रह्म-नाद सुख-धाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (५)
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ईश्वर तू ही, अनश्वर तू ही,
अम्बर तू ही, चराचर तू ही ।
प्रभु हे ! तुझे मेरा अनन्त प्रणाम ।
हरेराम घनश्याम, हरि हे श्रीराम ॥ (६)
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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)
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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)

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[Published in  'Sangeet', Music Magazine, 

September 2003, Geet-Gunjan Page-47,
Sangeet Karyalaya, Hathras, Uttar Pradesh, India.]

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Updated :

FaceBook Link:

https://www.facebook.com/harekrishna.meher.7/posts/3252280034798183

*

Twitter Link :

https://twitter.com/DrHarekrishnaM/status/1111516282455650305

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Brief Biodata: 

http://hkmeher.blogspot.in/2012/06/brief-biodata-english-dr-harekrishna.html

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

Sanskrit Poem : 
Saundarya-Prakashah 
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(From Sanskrit Kavya 'Saundarya-Sandarśanam')
By : Dr. Harekrishna Meher  
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सौन्दर्य-प्रकाशः / हरेकृष्ण-मेहेरः    
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सन्ताप-नाशाय  सुखोपलब्धये 

स्वान्तःप्रसादाय  भुवां शिवाप्तये ।

सुमङ्गलं  वाङ्‌मय-सिन्धु-गर्भतः

काव्याख्य-रत्नं विबुधैः समुद्धृतम् ॥ (१)

शब्दार्थ-रूपं  प्रथितं हि काव्यं

भावानुकूला कलिता गिरा स्यात् ।

वाच्यार्थ-मध्ये लसतीह चारुता

सा लक्षित-व्यञ्जितयोरनन्तरम् ॥ (२) 

सत्यं शिवं सुन्दरमत्र लोके

प्रसिद्धमेतत् त्रितयं विभाति ।

जानाति नित्यं  खलु तत्त्व-दर्शी

नाज्ञाय किञ्चित् स्वदते मनोज्ञम् ॥ (३)

निस्सीम-सौन्दर्य-महासमुद्रो

ब्रह्मैव नित्यं परमात्म-तत्त्वम् ।

विभ्राजते शाश्वतमेवमव्ययं  

तदुद्भवा नान्दनिकी प्रवृत्तिः ॥ (४)

यद्दर्शनाद् दृङ्-मनसो-र्जनस्य वै 

तृप्तेः समाप्ति-र्न भवत्यहर्निशम् ।

स्वान्तं यदार्द्रीकुरुते नितान्तं

तत् सुन्दरं वस्तु  बुधै-र्निगद्यते ॥ (५)

क्षणे क्षणे यन्नवतामुपैति

तदेव रूपं रमणीयतायाः ।

इत्युक्तिरेषा प्रथितास्ति माघे

किं स्वानुभूत्या भजते न सार्थताम् ? (६)

विचारणीयाऽऽन्तर-सूक्ष्म-दृष्ट्या

सर्वत्र धीरं  रमणीयता बुधैः ।

यत्रौचिती विद्यत एव निश्चिता

तत्रैव सौन्दर्यमभिप्रकाशते ॥ (७)

सौन्दर्यमुत्समतुलं भव-सर्जनाया

आकर्षणं प्रभवति श्रित-मूल-तत्त्वम् ।

यत्रास्ति यस्य रुचिराऽऽन्तरिकी नितान्तं

तत्रैव तस्य रुचिरा भवति प्रतीतिः ॥ (८)

मन्नेत्रयो-र्यत् प्रतिभाति सुन्दरं

त्वन्नेत्रयोस्तन् न भवेत् तथाविधम् ।

यदन्य-नेत्रे  रुचिरं प्रपश्यत-

स्तथैव नैतन् मम ते च नेत्रयोः ॥ (९)

परन्तु किञ्चिद् भुवि वस्तु विद्यते

विचित्रमेवं  रचितं विधात्रा ।

यद् वै जनानां जगतां समेषां

नेत्राणि पश्यन्ति सदैव सुन्दरम् ॥ (१०)

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Related Links: 

Saundarya-Sandarshanam (Sanskrit Kavya) : 

http://hkmeher.blogspot.in/2016/04/sanskrit-kavya-saundarya-sandarshanam.html

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Contribution of Dr. Harekrishna Meher to Sanskrit Literature:  

http://tapasvini-kavya.blogspot.in/2013/04/contributions-of-drharekrishna-meher-to.html

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Translated Works of Dr. Harekrishna Meher : 
http://hkmeher.blogspot.in/2016/08/translated-works-of-dr-harekrishna-meher.html

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

कविसम्राट्  उपेन्द्र भञ्ज (ओड़िआ साहित्य के महान् कवि)  

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Upendra Bhanja : The Great Poet of Orissa 

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Article By : Dr. Harekrishna Meher 
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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.’ 
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[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. 
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(Compiled in the English Book “UPENDRA BHANJA”

Published by : Kalinga Bharati, Dagarpara, Cuttack, Orissa, 1990.)
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Related Links : 

Biodata :  Dr. Harekrishna Meher :

http://hkmeher.blogspot.in/2012/06/brief-biodata-english-dr-harekrishna.html

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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

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Contribution of Dr. Harekrishna Meher to Sanskrit Literature:  

http://tapasvini-kavya.blogspot.in/2013/04/contributions-of-drharekrishna-meher-to.html

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Translated Kavyas By Dr. Harekrishna Meher : 

http://hkmeher.blogspot.in/2016/08/translated-works-of-dr-harekrishna-meher.html
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