क्रुश्कूभाौ नांप्रेक । 8的》 that we Asiatics are of a more romantic turn of mind than our European neighbours. Look at the splendid Shakespearean Drama. If you leave out the Mid Sufm. mer Night’s Dream, Romeo and Juliet and perhaps one or two more, what play would deserve the name of Ramantic Romantic in the sense in which Sacoon tala is Romantic ? In the great European Drama you have the stern realities of life, lofty passion, and heroism of sentiment. With us it is all softness, all romance. We forget the world of reality and dream of Fairylands. The genius of the Drama has not yet received even a moderate degree of development in this country. Ours are di amatic poems ; and even Wilson, the great foreign admirer of our ancient language, has been compelled to admit this. In the Sarmista, I often stepped out of the path of the Dramatist, for that of the mere Poet. I often forgot the real in search of the poetical. In the present play I mean to establish a vigilant guard over myself. I hall not look this way or that way for poetry; if I find her before me I shall not drive her away; and I fancy, I may safely reckon upon coming accross her now and then. I shall endeavour to create characters who speak as thature suggests and not mouth-mere poetry. The proof of the Pudding, however, is in the eating, and I hope to send you the First Act in time to enable you to read it with Jotinder Baboo, next Sunday. As for the language, the Drama to be written in, I shall follow Dr. Johnson's advice:-" If there be," says he, "What I believe there is, in every nation a
