DOI Page / Citation link:
https://doi.org/10.11588/diglit.16242#0194
158 LITERATURE OP ^BENGAL.
of Makunda Ram's w/>rks and mark the. pictures he has
drawn. Poor Fullora, the hunter's wife, taking baskets
of meat' to the market to sell, cooking food for her hus-
band and herself, content in poverty and in her husband's
love;—what a simple, artless, true picture ! What sweet'
pathos in the1 very simplicity of the picture ! Poor Khul-
lona oppressed by an intriguing fellow-wife j^her,, lord
an elderly, ease-loving, simple-minded husband; the as-
tute Bharu Dutt;—every picture that you see is frOm
life; *,ot a shade of coloring has been added from the
poet's imagination to make it fascinating or romantic.
Read Bharat Chandra from cover to cover, and what ii
there which you will compare to these simple truthful
pictures'? Th^ gorgeous coloring with which Bidya has
been painted has well nigh hidden every feature of her
countenance as of her mind. Twenty different monstrous
metaphors about her hajr, her nose, her eyes, her lips,
leave oue entirely in the dark as to the real expression of
her face; we do not know if she has a mild good-humoured
countenance, or if she has a bright slender face with spark-
ling eyes; if she is a wasp-waisted beauty or if she has fine
founded limbs and a well developed figure, Similarly
with regard to her mind. That she is susceptible of
love,—love, that is, of a very sensual character we
know j but through pages of rank and offensive descrip-
tions we fail to discover her real character, if she is
Btrong-minded and capable of forming high resolutions,
or mild and submissive,—if she is revengeful or generous,
kind-hearted or cruel. Lovers the one passion described
in the much admired Bidya Sundar, and yet how has
of Makunda Ram's w/>rks and mark the. pictures he has
drawn. Poor Fullora, the hunter's wife, taking baskets
of meat' to the market to sell, cooking food for her hus-
band and herself, content in poverty and in her husband's
love;—what a simple, artless, true picture ! What sweet'
pathos in the1 very simplicity of the picture ! Poor Khul-
lona oppressed by an intriguing fellow-wife j^her,, lord
an elderly, ease-loving, simple-minded husband; the as-
tute Bharu Dutt;—every picture that you see is frOm
life; *,ot a shade of coloring has been added from the
poet's imagination to make it fascinating or romantic.
Read Bharat Chandra from cover to cover, and what ii
there which you will compare to these simple truthful
pictures'? Th^ gorgeous coloring with which Bidya has
been painted has well nigh hidden every feature of her
countenance as of her mind. Twenty different monstrous
metaphors about her hajr, her nose, her eyes, her lips,
leave oue entirely in the dark as to the real expression of
her face; we do not know if she has a mild good-humoured
countenance, or if she has a bright slender face with spark-
ling eyes; if she is a wasp-waisted beauty or if she has fine
founded limbs and a well developed figure, Similarly
with regard to her mind. That she is susceptible of
love,—love, that is, of a very sensual character we
know j but through pages of rank and offensive descrip-
tions we fail to discover her real character, if she is
Btrong-minded and capable of forming high resolutions,
or mild and submissive,—if she is revengeful or generous,
kind-hearted or cruel. Lovers the one passion described
in the much admired Bidya Sundar, and yet how has