ferred to, which runs through the whole book, and which is chiefly exhibited in the form of moral reflections, such as are so common in many of the Sanscrit tales.
Dramatic vividness is another noticeable feature of the book: a few strokes of the pen suffice to bring before us, as living realities, characters that are drawn from every class of life, and scenes that deal with almost every incident of life in Bengal. In fact a far more vivid picture of social life in Bengal, both in its inner and outer aspects, is presented to us in the pages of this book, than is presented in the pages of many books purporting to give us an account of that life.
And, with this dramatic vividness, there is a general faithfulness to reality that will be appreciated by those who have lived for any time amidst the scenes described; for, though the book describes life in Bengal as it appeared to the eyes of an acute observer writing more than forty years back, the picture, in its general outlines, is as true of the life of the people now as it was then.
Another noticeable feature of the book is the rhythmic flow which marks its language. This is a feature which appears to characterize all books written for the people in the language best understood of the people, no matter what that language is.
As regards the language in which Peary Chand Mitter wrote this novel, the Calcutta Review of the day writes:— "Endowed, as he was, with strong common sense, as well as high culture, he saw no reason why this idol of unmixed diction should receive worship at his hands, and he set about writing 'Alaler Gharer Dulál' in a spirit at which the Sanscritists stood aghast, and shook their heads. Going to the opposite extreme in point of style, he vigorously excluded from his works, except on very rare occasions, every word and phrase that had a learned
