The humour, though it may occasionally be broad, can never be called coarse, and much of it is the cultured humour that might be expected from a writer well acquainted with his own ancient classics. If Thackeray is the type of the cultured humorist of the West, Peary Chand Mitter is the type of the cultured humorist of the East.
The pathos is especially noticeable in some of the scenes which the author has pourtrayed for us with such vivid reality where the poor are brought before us. We see the utter dependence of the poor upon the generosity of the rich, a generosity that is rarely appealed to in vain: there is pathos too in the scene that brings before us the ryot and his landlord; and in the scenes in the zenana and the bathing-ghât where we have an insight into the lives and the thoughts of both the upper and lower classes of the women of the country. There is a deep pathos in the scene that brings before us the old man at Benares, spending the evening of his days in reading and meditation, in "The Holy City:" it is a scene that gives us an insight into the deeper religious side of the Hindu character.
The satire is only merciless where it is directed against the vices of drinking and debauchery, or against the custom of the much marrying of Kulins, or the marrying of old men to young girls, or solely for money. In other cases it is not unkindly, especially where it is directed against that not uncommon failing both in the West and the East, which Shakespeare has immortalized as "too much respect upon the world," and which is largely exhibited in the East in the form of lavish expenditure, regardless of debt, upon social and religious ceremonies.
Amongst other characteristics of this novel may be noted that deep vein of moral earnestness, already re-
