Page:Encyclopædia Britannica, Ninth Edition, v. 13.djvu/862

828 of both mirrors,—first, because in that position only the direct and reflected sectors are all at the same distance from the eye, and, in consequence, no want of symmetry is introduced by the foreshortening of one sector more than another; and, secondly, because in that position the maximum amount of light is reflected to the eye by the mirrors, and, in consequence, the various sectors appear as nearly as possible equally illuminated. Of course a certain amount of light is necessarily lost at each reflexion, and hence there is always a slight difference between the luminosity of the various sectors. However, this is found not to introduce any serious want of symmetry when the instrument is properly constructed.

A modification of the simple kaleidoscope was introduced by Sir David Brewster, whereby the images of large and distant objects can be introduced into the picture. This is effected by removing the object box and replacing it by a tube carrying at its outer end a double convex lens, represented by LL in fig. 5. By a screw adjustment the lens can be so placed as to focus the distant object exactly in the plane of the sector AOB, and so bring its image into the very best position for producing symmetrical patterns. When this instrument is directed towards a tree in full foliage, or towards an arrangement of flowers in full bloom, a very beautiful effect is produced, which can be varied by gradually moving the instrument. This form was called by Brewster the telescopic kaleidoscope.

Another form is called the polyangular kaleidoscope. (fig. 6). The only essential difference in it is that the mirrors are so arranged that the angle between them can be varied at pleasure. This, being very useful for illustrating the theory of the instrument, is the form usually found in collections of philosophical apparatus.

1em

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1em (J. BL.)

 KALGAN, or undefined, a large of, in the of, with a  estimated at from 70,000 to 100,000. It lies in the line of the, 137 s north-west of , “commanding one of the most important es between and  and the main  of the overland route between  and ” (Bushell). Fritsche gives its position as in 40° 50′N. and 114° 54′E. , and its height above the as 2810. The amid the  in which it is situated is under excellent, and thickly studded with s. Kalgan consists of a   or  and suburbs 3 s long. The s are wide, and excellent are abundant; but the ordinary  have rather an odd appearance, from the fact that, like those of, they are usually ed with  and become covered with green. Large quantities of are manufactured; and the position of the  renders it the seat of a very extensive transit. In early autumn long lines of s come in from all quarters for the conveyance of the -chests from Kalgan to ; and each usually makes three journeys in the winter. There is an excellent in the  frequented by the  s, some of whom have permanent s and s just outside the gate. On the way to the  passes over a beautiful  of seven es, ornamented with  figures of s, s, s, and other s. The name Kalgan is, and means a barrier or “gate-beam.”  KÁLIDÁSA is the most illustrious name among the writers of the second epoch of Sanskrit literature, which, as contrasted with the age of the Vedic hymns, may be characterized as the period of artificial poetry. Owing to the utter absence of the historical sense in the Hindu race, it is impossible to fix with chronological exactness the lifetime of either Kálidása or any other Sanskrit author. Native tradition places him in the ; but the evidence on which this belief rests has been shown to be wholly worthless. The works of the poet have been found to contain no allusions by which their date can be directly determined; yet the extremely corrupt form of the Prakrit or popular dialects spoken by the women and the subordinate characters in his plays, as compared with the Prakrit in inscriptions of ascertained age, has led the chief authorities, Weber and Lassen, to agree in fixing on the of  as the approximate period to which the writings of Kálidása should be referred.

The richness of his creative fancy, his delicacy of sentiment, and his keen appreciation of the beauties of nature, combined with remarkable powers of description, which are conspicuous throughout his works, place Kálidása in the first rank of Oriental poets. The effect, however, of his productions as a whole is greatly marred by extreme artificiality of diction, which, though to a less extent than in other Hindu poets, not unfrequently takes the form of puerile conceits, and plays on words, the matter being treated merely as a means for displaying dexterity in the manipulation of the language. In this respect his writings contrast very unfavourably with the more genuine poetry of the Vedas. Though a true poet, he is wanting in that artistic sense of proportion so characteristic of the Greek mind, which exactly adjusts the parts to the whole, and combines form and matter into an inseparable poetic unity. Kálidása’s fame rests chiefly on his dramas, but he is also distinguished as an epic and a lyric poet.

