His style is sweet and distinctive. Such an argument is made in English literature, especially in poetry about not writing with metre and rhyme any more. There does not appear to be a complete digitized text of this work available online, but for anyone who wants to read it, here are some resources available: Text and commentary scanned books Calcutta Text of the work, edited by Jibananda Vidyasagara, published from Calcutta. The printing quality is not as legible as that of Nirnaya Sagar Press below , and with va-s and ba-s tend to be mixed up. Without commentary : here , here. With commentary by Jibananda Vidyasagara
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Telugu[ edit ] Telugu poets have used the champu way of rendering poetry. Krishnamaacharya carried this tradition of Champu Marga step further by putting his writings mainly in devotional prose called Vachana. In Odia literature too, there are numerous works in this genre. There is an added feature though- a Champu in Odia usually has 34 songs, one for each consonant of the alphabet.
This rule, though absent in Sanskrit definitions is followed in most of the creations of the Champu genre in Odia. All lines of a song start with its assigned letter. Also known as champu-kavya was the most popular written form from the 9th century onwards, although it started to fall into disuse in the 12th century.
When people moved towards other Sanskritic metres like tripadi three line verse , the saptapadi seven line verse , the ashtaka eight line verse , the shataka hundred-line verse , hadugabba song-poem and free verse metres. Other works in Hoysala literature period were also in this style. Sri Gopala Champu of Jiva Gosvami is in champu style.
The Champu Ramayana of Bhoja