During the last quarter of the 19th century with the introduction of English education these poetic forms were discarded and have become outdated. In imitation of the English poetic form the Oriya poets composed sonnets, odes, elegies and ballads. The old rhyme scheme and the metre were rejected, giving place to blank verse and verse livre. Hence a new type of poetry different both in form and content emerged in the last quarter of the 19th century bringing about a new horizon in Oriya Literature.

In fact 'Kavitabali' (1876) a collection of poems by Radhanath and Madhusudan, and a collection of essay' named 'Prabandhamala' (1880) by Madhusudan opened new outlook in the academic curriculum of Oriya lit erasure. A new atmosphere in the socio-educational field was very much marked in these years and a new type of literature to exist. Fakirmohan Senapati (1843-1918) and Radhanath Roy (1848-1908) were widely accepted as the pioneers of this new type of literature. This was a period for assimilation of Western ideas with those of the East as had been marked in the advent of Brahmo movement resulting out of collision of Hinduism with Christianity. The personalities of modern Oriya literature like Madhusudan, Biswanath Kar and some others accepted this new religion and reflected its thoughts in their literature.

The modern Oriya literature was shaped in the forms of translation imitation and assimilation and new creation. Radhanath, Ramsankar, Madhusudan and later Nandakishore were the four talented English educated writers of Orissa who tried all these three ways. Fakirmohan, though devoted to translation of Sanskrit classics and epics including Vedic literature in the first phase of his literary career, soon switched over to fiction writing. Radhanath, on the contrary, switched over to poetry and brought Kavyas one after another. Thus Radhanath in imitation of 'Pyramus and Thisbe' of Ovid wrote his first Kavya 'Kedar-gouri' (1886). His Kavya 'Usha' (1888) was designed after 'Atlanta's Race' of Ovid and 'The Milanion' of William Morris. Similarly his Kavya 'Chandrabhaga' (1886) and 'Nandikeswari' (1887) were imagined after Ovid's 'Apollo and Daphne' and The Scylla' respectively. His 'Nandikeswari' also adopted ted the war pictures from Byron's romantic poetry 'Siege of Corinth'. His 'Parbati' (1890) though gives an illusion of the History of Orissa, was totally based upon the drama of Aeschylus namely 'Agamemnon' and Shakespeare's classic drama The Hamlet'. 'Chilika' (1891) a poetry on nature shows masterly talents of assimilation which gave a new dimension to study of nature in Oriya literature. Radhanath in this romantic poetry followed the poets of the romantic School in English literature in general, and also Scott, Arnold and Tennyson so far as its historical aspect is concerned. 'Mahayatra' (1892), the only epic he produced, though picked up characters from our own mythology like 'Mahabllarata' about the 'Pandavas' totally differed from eastern spirit as specified for epic poetry and adopted Western outlook in its development. Even the irregular metre he used in this epic was a new experiment in Oriya literature and it was widely adopted by poets after Radhanath. Even in a satire like 'darbar' (1894) he adopted the Western outlook and hinted upon social evils during the British regime.

While Radhanath emerged as the most important poet of the time his contemporary, Madhusudan gave a new outlook to poetry in shape of odes, elegies and sonnets. Like Radhanath he was also a romantic, though his sense of romanticism was confined to religious transcendentalism only. But Nandakishore (1875-1928) and Gangadhar Mehar (1862-1924) emerged as two popular poets of the period. They dealt with mythological themes from Mahabharata' and 'Ramayana'. Nandakishore concentrated on rural elements, folkrymes and fold traditions in his lyrics whereas Gangadhar gave a new flavour to ancient themes and portrayed characters in a novelistic way.

Another important writer of the period was Ramsankar who took to dramas as a branch of literature. His first drama 'Kanchi Kaveri' (1881), though designed after five-act plays of the West, deals with a patriotic theme regarding the Deccan invasion of the Oriya King Purushottama Deva of the 15th Century. Umesh Chandra Sarakar's 'Padmamali' (1888) was considered as the first modern novel in Oriya literature which, also, represented a new branch not dealt before. Fakirmohan Senapati (1843-1918) is considered as the father of the modern Oriya prose literature in the areas of stories and novels. His short story 'Rebati' (1896) dealing with human love and loss has stood the passage of time and still claims a high position in the modern Oriya literature for its eternal pathos. So also his novel 'Chha Mana Atha Guntha' symbolising the exploitation and torture of a new class of landlords on the poor rural p casants is a heart touching story about the 19th century Orissa. Fakirmollan had a lot of wit and intelligence Although he had no background in modern English literature he could write four novels and hundreds of lyrics including ballads which speak of his great inborn talent. Unlike Radhanath, Fakirmohan did not imitate anybody and wrote a in his own way. Even his autobiography is a piece of fine literature and his style can be compared with the style of Thomas Hardy, the great English Master. As a great satirist Fakirmohan aimed at social reforms and he relentlessly exposed social maladies due to western civilization.
The 19th Century modern literature ushered in an era of nationalistic spirit thus paving the way for Satyabadi literature best known for its pure Orissan aspects. The Sayabadi School of poets led by Utkalmani Gopabandhu Das aimed at unification of Orissa. The poetry of Gopabandhu goes deep into the problems of the people and upholds a sense of faith for better future. Also the plays and novels of his friend and colleague Pandit Godavarish Mishra and long poems and essays of Pandit Nilakantha deal with different problems of the people in a historical frame with a view to arousing the lost sense of patriotism among the Oriyas. Madhusudan Das's poems, though few, were quite notable for their evocative charm. Other writers who subscribed to the Satyabadi ideology were Kabisekhar Chintamani, a poet, Padma Charan, a lyricist Bhikari Charan, a dramatic, Kuntala Kumari, both a lyricist and novelist, and Kanta Kavi Laxmikanta, a fiction writer and lyricist. They devoted themselves very much to the nationalistic upsurge of the twenties. Similarly Gopal Chandra Praharaj, another prolific writer of the time took to prose and wrote with humour and pungency on the social evils of the modern civilization.

Other writers who took to writing of essays and literary criticism during the period also aimed at social reform along with philosophic reflections and discussions of socio-cultural problems. They were professors Ratnakar Pati, Bipin Bihari Ray, Mohinimohan Senapati and Braja Bihari Mahanty. Anolher writer was Sashi Bhusan Roy, the son of Radhanath Roy, who wrote about the beauties of nature with a powerful style, whereas, the professors are better known for their philosophic ideas and scholastic representation.

When Oriya literature was concerned with the socio-political problems of the State as well as of the nation, a group of young writers known as Sabujites led by Annada Sankar Roy, Baikunthanath Pattnaik and Kalindi Ch. Panigrahi drifted from the mainstream and revived the romantic trend without any ideology. They wrote poetry of dreams and imagination. Youthful imaginary love was the only essence of their creation.

But this period has witnessed greater talents in fiction and prose literature then in poetry, although numerically speaking, the poets always outnumbered the fiction writers. Kalindi Charan Panigrahi, the Sabujite, exhibited greater talent as a novelist than as a poet. When the first spell of 'Sabuja' was over he paid his attention to the real problems of the society and wrote his classic novel 'Matir Manish' (The man of the soil) in the year 1931. He was very much influenced by the freedom movement and Gandhian philosophy which preached and experimented passive resistance as a matchless weapon. His hero, within his own limitations, practiced this doctrine and won't the heart of his bitterest enemies. Mr. Panigrahi as an all-round writer, also, proved his worth in short stories and cri ticism. The latter part of his poetry is marked with realism and has been identified with the leftist views.

Oriya literature experienced some change in the later thirty when Marxism as a concept was accepted by its exponents. Bhagabati Charan Panigrahi created a forum namely 'Nave Yuga Sahitya Sansad' (1935) which was oriented towards leftist views. His short stories Jangali' (1929) and Sikar' (1938) were two symbolic creations of the age which dealt with the psychological and social aspects of the persons concerned. These two stories represented new outlooks where references have been made to Freudism and Marxism in Oriya literature. Perhaps it will not be out of the way to say that the Post-lndependence modern Oriya literature springs from these two ideologies which gave altogether new outlooks to the literature during the thirty and fourty of the present century. Poets led by Shri Sacchidananda Routray, Ananta Patnaik, Manmohan Misra and Raghunath Das, all devoted to Marxism, brought to Oriya poetry revolutionary leftist ideology. They meant to break the socio-economic disparity which denied privileges to the poor have-nots in the society. Theshort stories of Godavarish Mohapatra and S. Routray also aimed at tile social justice and parity whereas those of Shri Nityananda Mohapatra dealt with suffering of the characters in the context of the struggle for Indian Independence