es औदन-bब्रिङ enthusiastic audience. The unprecedented sensation into which the whole native community was thrown, after the celebration of the first widow marriage, under the aegis of that redoubtable apostle of social reform, Isvara Chandra Vidyasagara, accounted for the interest and excitement which these performances of a play representing a most important social reforn, created at the time. As naturally expected, Vidyasagara and Babu Kali Prasanna Singha, always on the van of national progress, encouraged the actors in Babu Gadadhar Sett's house, by their presence and personal interest. The late Babu Kali Prasanna Singha evidently drew his inspiration of a native theatre from these performances, for it was about this time that he set up a stage in his mansion, on which were produced in a Superb native style, and before a large and influential audience composed of the elite of the European and native society, the Sanskrit plays of Yemisamahara, Malati Madhava and Vakramo? wast. These plays were translated into Bengali by hin. Then the grandsons of the late Babu Ashutosha Dey gave some dramatic performances in their house. But it was not till our Barra and Chota Rajas of Paikpara, as Pratap Chunder and Issur Chunder Singhs were lovingly called and known, two Nature's noblemen, impregnated as they were with true patriotic zeal for the welfare and advancement of their country, appeared in the field, that the native theatre took deep root, and a native orchestra was organised. In the construction of this orchestra Khetter Mohun Gossain, a genius in music, and Babu Jadu Nath Paul had the principal hand. The Gossain for the first time put into notation some of the native tunes and ragas, and thus created a native Band known as the Belgatchia Amateur Band, headed oy Babu Jadu Nath Paul. It was expected that this Band which had won encomiums from unprejudiced and appreciative Europeans, naturally averse to lndian music, would continue to be the model for a pure national Band; but unfortunately the later pioneers of the Dramatic Art have introduced some European instruments, and made it a mongrel affair. To say that the Belgatchia. Theatrescored a brilliant success, is to repeat a truism that has passed into a proverb. It achieved a success unparalleled in the annals of Amateur Theatricals in this country. The graceful stage, the superb sceneries, the stirring orchestra, the gorgeous dresses, the costly appurtenances, the splendid get up of the whole concern, were worthy of the brother Rajas, and the genius of their intimate friend Maharaja Sir Jotindro Mohun Tagore, an accomplished connoisseur. The performance of a single play, Ratnavali, which alone cost the
