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42 Translating Medieval Orissadivided into seven parts and is quite different from its Sanskritoriginal, even if we completely excise the Mahatmya portion.According to Natabara Satapathy (1990), the Oriya work excelsmore in its aesthetic quality, psychological insight, and coherence ofstructure than in its religious significance. Although the subversiveedge of Sarala Das’s Mahabharata is missing, like Sarala Das’sMahabharata, it is a restructuring of the original, catering tocontemporary literary tastes in the name of translation.Lanka Ramayana 6 by Siddheswar Das inaugurates anothertranslational practice by choosing a part of the source text, AdbhutaRamayana, which practice corresponds to his own belief system.Since the source text is a shakta one, it totally undermines theoriginal Ramayana by Valmiki and valorizes the female protagonistSita as the real slayer of the evil forces in the place of Rama. Thenovelty of such a formulation is quite attractive for the translator,which according to Grierson (1904), “is a comparative modernwork”,“distinctly Shakta in character”. But the subversive dimensionis too combustible for the Oriya audience of those times. SoSiddheswar begins the text from the seventeenth chapter of thesource text and changes the ending in such a manner that it becomesa delicate balance between tradition and novelty, the Vaishnav andShakta strains and the original Ramayana and Adbhuta Ramayana.The elements of other translational practices like excising, expansionare also present in this text. More than theological and literaryintentions, the novelty of the story seems to be the main source ofinspiration for this translation.Ichhabati by Dhananjaya Bhanja is a purely imaginativeliterary text of the later part of the eleventh century, whichincorporates the translation of two independent Sanskrit texts i.e.Chaura Panchasika by Bilhana and Purva Panchasika by ananonymous writer. Bhanja, a king of Ghumusara reworked theoriginal literary creation of Banamali Das and then fused the iconic