Historically, a large majority of ancient Odia poets emerged from the districts of Puri and Ganjam. This geographical concentration occurred because Puri has served as the cultural capital of the Odia race and the land of Odisha for ages. Odia language, culture, and society are deeply nurtured and enriched around Lord Jagannath, who is revered in Puri. Lord Jagannath is truly the soul and epicenter of the Odia identity. In ancient times, literary creations were predominantly spiritual, and since Puri had long been a major center for Sanatan Dharma and culture, the development of literature flourished most significantly in this region.
However, since ancient times, hundreds of poets have also thrived in Western Odisha. Unfortunately, because many ancient poets in our country did not explicitly record their birthplaces within their literary works, their exact origins often remain ambiguous. Among the ancient Odia poets of Western Odisha, Ratnakar Das (also known as Ratna Das) holds a prominent place. He is believed to have lived around the 18th century. Historical references indicate that his father's name was Shyamsundar Das. Poet Ratnakar Das was an inhabitant of the Sonepur region. By caste, he belonged to the Bhulia community, who were traditional weavers. On page 6980 of the monumental Purnachandra Odia Bhashakosha, this poet's name is explicitly mentioned under the entry for 'Ratnakar'. It is recorded there that Ratnakar Das was an ancient Odia poet who had embraced Mahima Dharma. Interestingly, it is worth noting that the original name of the epic poet Mahakavi Valmiki was also Ratnakar.
In this Saraswata Gita, he has beautifully explained the profound mysteries of Yoga Shastra (the philosophy of yoga) and religious philosophy in a very simple Nabakshari Brutal (a traditional nine-syllable poetic meter).
Among the many scholars named "Krishna Das" in Odia literature, one specific Krishna Das is known to have been his disciple.
In the very first chapter of his Saraswata Gita, poet Ratnakar Das invokes the Almighty with deep devotion:
"Tumbhe sabura ansa bansa,
Saburi sattana purusha.
Tini bhubane jete chhanti,
Samaste tumbhara sampatti.
Keetaru brahmaloka jae,
Tumbhara sampatti sabihe.
Sattanapurusati tuhi,
Ajapa pitruti gosai.
Brahma kshatriya sudra baisya,
Tu prabhu sabunkara ansa.
Tumbhe jahaku daya kara,
Sampatti hoiba tahara.
Ke aba neecha ucha heu,
Tumbha dayare bakta sehu.
Tenu mo hoila bharasa,
Padapadmaku kali asa."
(O Lord, You are the origin and part of everything, You are the supreme progenitor of all existence. Whosoever exists within the three worlds, they are all Your divine possessions. From a tiny insect to the celestial realm of Brahma, everyone belongs to You. You are the ultimate creative soul, the silent eternal father. Whether one is a Brahmin, Kshatriya, Shudra, or Vaishya, You, O Lord, are the inner essence of everyone. Whomever You bestow Your mercy upon, divine fortune becomes theirs. Let someone be deemed low or high by worldly standards, it is by Your grace alone that they become an eloquent speaker or a poet. Therefore, my heart is filled with hope, and I seek ultimate refuge at Your lotus feet.)
Through the character of King Yudhishthira, the poet beautifully conveys that any individual who receives the Lord's grace can praise Him, become a speaker or a poet, and compose spiritual literature.
Odisha has been blessed with numerous phenomenal poets from diverse social backgrounds, such as Bhima Dhibara (fisherman), Sadashiva Vaishya (trader), Limba Majhi (tribal), Harikrishna Maharana (artisan), Lohi Natha, Hari Vaishya, Hadibandhu Das (blacksmith), Lokanath Dhibara, and the Muslim devotee Salabega. All of them sang praises of the Divine and enriched spiritual literature. Such egalitarian inclusivity and social broad-mindedness in literary creation were rarely seen elsewhere in contemporary Indian society of that era. This clearly demonstrates that in medieval Odisha, a poet's inner virtues and spiritual actions (Guna and Karma) were valued above all, allowing individuals from any caste or community to create timeless spiritual literature.
The foundational narrative of the Saraswata Gita is rooted in the lore of the Mahabharata. The epic describes how Dharma (the God of Righteousness) tested the Pandavas, particularly Yudhishthira. Impressed by Yudhishthira passing the rigorous ethical test, Dharma imparted profound spiritual discourses to his son. Similarly, in the Saraswata Gita, Dharma delivers deep spiritual and philosophical lessons to Yudhishthira.
In the twenty-fifth chapter of the Saraswata Gita, poet Ratnakar Das weaves his own identity and the name of Lord Jagannath into the text:
"Se prabhu jananti mo janma,
Kahai ratnadasa heena.
Tenu kahanti yogajnana,
Shreejagannathanka prasanna.
Se prabhu mora hrude thai,
Gita kahanti daya bahi.
E saraswata gita grantha,
Dharma kahanti shuna putra."
(That Supreme Lord alone knows the purpose of my birth, says the humble Ratna Das. Therefore, the spiritual knowledge of Yoga is being revealed here, solely through the divine pleasure of Lord Jagannath. That Lord, residing deep within my heart, dictates this Gita out of His boundless compassion. This holy scripture of Saraswata Gita is what Dharma is narrating—listen intently, O my son!)
Despite creating such a monumental spiritual work like the Saraswata Gita, poet Ratnakar Das has unfortunately been faded out from the collective memory of modern Odia society. Today, many people in Western Odisha, and ironically even within his native region of Sonepur, remain largely unaware of his existence and contributions.
Long before the birth of the legendary 'Swabhaba Kabi' Gangadhar Meher, another brilliant poet born into the very same Bhulia community had left behind the magnificent legacy of the Saraswata Gita. Why, then, does he remain forgotten and neglected by Odia society today? It is a poignant question that demands deep reflection and academic revival.
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