6 POST visnuram Dwija Kalidas Kavisekhar Kesava Das Raghunath Mahanta Bhavananda Dwija Narayana Das Ananta Acarya Kaviraja Saraswati Kaviraja Cakravarti Hari Rai Harivara Vipra Ghanasyama Jagannath Dvija Gangadas Lakhinath Vhavadeva Vipra Raghunath Das অসমীয়া ব্যাকৰণ আৰু ভাষাতত্ত্ব POETICAL WoRIS Data Karna. ... ... Yama Gita. Harivasa. Bhagavata-VI. Bhagavata-IX. Adbhut Ramayana. Harivarisa. Arjun Sarmvad, Ananda Lahari, Brahma-Vaivarta Purana, Sankhaguda Vadha. Gita Govinda. Ajamil Upakhyan. Babruvahana. Kalki Purana. Lakhmi garita. Mahabharata,Asvamedha Parva. Mahabharata,—nti Parva. Ramayana-Nagaksa Yuddha. Satrunjaya, Devajit. Nava Ghos. Parasuram (ii) Drama Next to the religious poetry, as the second phase in the development of Assamese poetry. comes the Drama. The Assamese word for drama is Nat, which implies, like the Sanskrit word Naraka, dancing. The actors in Assamese are called Nauds. This word is derived from vedic arta (from nrt = to dance), S.nariaka. Thus drama developed from dancing which was accompanied by music and songs. Before the intro- duction of drama by Sankar Deva the songs of Durgavari were sung in chorus and the poems of Hem Saraswati, Madhava Kandali and others recited in popular assemblies by bands of chorus-singers known as “Oja- palis". This system of chorus-singing is still in vogue. But the drama was an improvement on it in that, besides singing and dancing, procession and dialogue were incorporated in it. Sri Sankar Deva introduced for the first time Assamese prose in the dialogue of the actors and in the address of the Sutradhara to the assembly. .. Prose had also been used by the Maithi poets-Vidyapati, Harsanitha and others-in their dramas. But whereas the Maithili poets | in Sanskrit and their songs alone in Maithili Sankara Deva's prose and songs were both in kamrup. In this sense Assamese dramas wee
