pffffè ዪ9ኴፖ S Theatre was opened in the early part of 1866, and continued in all its splendour for not less than 7 years. It was in 1869 or 1870 that Maharajah Jotteendra Mohun, though not bound by a previous promise, made every arrangement for having 33 at acted at the Pathuriaghatta Theatre, but the strong objection of his late rever ed old mother, to the tragic end of the heroine being represented within the sacred precincts of a Hindu dwelling, stood in his way and he had to abandon the idea. It is, however, a significant fact worthy of note, that the Bengalee language is no less indebted to the kind patronage of the Maharajah, than to the eminent genius of Michael M. S. Dutt, for its first tragedy properly so called, and its first poem in blank verse. I must not omit to mention here that though “ace f * 9Toi" and reali" failed to find a favourable reception at the Belgachia or the Pathuriaghatta Theatre, they met with an enthusiastic welcome from the "Shobha Bazar Theatrical Society.' The farce was acted there in 1865, and the tragedy in 1866. These are the only few incidents and remarks that I have to Communicate to you. I must now take leave of my friend, Michael Modhu Sudan Dutt, with a few words about his intellectual capacities, and his general character, which, from my intimate acquaintance of him for a period of seven years of the most important stage of his life, I had ample opportunities of studying. His intellectual capacities were of a high order, and rose above the level of ordinary run. His clear judgment, his quickness of comprehension, and the marvellous rapidity with which he could compose a play or a poem, are proofs of the vigour of his transcendent intellect. From a trivial incident he could mature a gigantic plot, with the rapidity of lightning. Materials, how insignificant soever thay raught be, were to him sufficient to build up a stupendous structure. One would wonder how he could store up in his mind a thesaurus of literary information, such is he was master of. As a man he was often swayed by frantic impulses, which sometimes led him astray. These impulses never left him till his death, and may be said to have been the true cause of all miseries and their train, which visited him and his family. Added to these was his thoughtlessness for to-morrow, which almost brought him to the brink of starvation. As a private man, his disposition was peaceful, and his manners were amiable and kind to a fault. Patiently he bore insults and abuses, but never offered them to others. He knew not to retaliate wrongs. Like Oliver Goldsmith he squandered his last pice to leave no m It is on account of this superstitious dread of ill omens that the last tragic Scene oi Dueso Vojno is not allowed to be performed in Watara in private Hindu houses.
