INTRODUCTION
dramatic dialogues in rimed couplets, a medium which he chose in preference to blank verse, because it gave his decorative gifts an opportunity. The surprising thing is that so little dramatic power is lost. The realer will feel the rich, discursive beauty of The Curse at Farewell, the fine, open, leisurely landscape-painting and peace; but he will feel also how the verse quickens with passion when Debjant’ has failed to get past all the elaborate parrying of Kach—a very skilful pre- sentation—and has to declare herself, in the boldness of her great confidence— “Indra is not your Indra.” Her last two speeches are tense with indignation, especi- ally in her desperate rejection of his request for ‘ forgiveness '—" Brahmin, where in my mind will you find forgiveness? ”
1 From this point I keep the Bengali forme Debjani for Devayani, and Kach for Kacha.
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