i the dissolution his wealth; What is still more interesting to learn, is L that the feminine parts and*creditably the actresses were performed by females and so skilfully go through their^respective roles that the sight inspired the chronicler of 'the day, the Hindoo Pioneer ( 1835 )-~to wax eloquent, over the latent intellectual capacity of the softer sex and' to expatiate on the necessity of female education. One special feature of this seriel of performances wa9 f that the nearest approach was made to nature, different scenes' being enacted in different parts of a big garden and tte audience following the performers from one part to another, llie play was Vidya Sundar, and the scene representing the Underground passage was ho arrangement of canvas find boards, but an actual under* ground passage of brick and mortar. 1 The Jfd actors are dust. But those days * are gone. Their names are all lost But their Hindu souis are Patriot with',the — February saints we 3, trust. 1895 (4). Anushilan vol 1 ros 23. Out of the thirteen papers embodied in the double number of the above magazine before us, no less than six ara devoted to the notice of Bengali Theatricals. Five of these, relate to current plays, and the sixth, rather the first and \oremost, contains an account of amateur theatricals in Bengali which >n point of painstaking researclTforms a ‘/aluablc contribution on the subject. The magazine is under the supervision of pandit Mahendranath Vidyanidbi., who seems to have taken an active and important pai b in its conduct. r gm00 " r,
toststW f^ritf¥«l i Indian Mirror , 23rd Feb. t 1895 . 3^5? irtfar iwm sift5 faniftfi crt ® I CSWT, i •rcw fomnfc *npf«w «ttt* i f’Wtf’ift ®*r^fini atw ^Vtnpr i 'Stft® 4* WfVr®
- fc«i fafip,
’tmtl m fanpw « frofa aWfta i « i 'Thr •'a^W ft? ^t«®t tttj i aWw* «rcrcttr* .flat i” (*) xtfaa *ta jpitCTts* « aattatsa » fwtfafa *i^tt<?« i J’^fW'jrffrWWfclT « *Wtf attf I Hffa *CT 'ftrWf
