Page:History of Bengali Literature in the Nineteenth Century.djvu/429

 সিসির, বর সস LOVE-LYRICS 405 exhibit any marked literary characteristics.'. His short “ piece. ? মনের কথা, সই, এমন অরি। ন। কহিলে মরি, তাহা! কহিলেও মরি | যদি না চাহি কহিতে চাহি গোপনে রাখিতে দহে হৃদি অনলের তেজ সে ধরি ॥ কিঞ্চিৎ কহিতে যার কি কব যাতন৷ তার রসনা দহিয়া যায় বল কি করি ॥9 is so much better than the rest that it would be hardly fair to quote anything else unless we could quote a good deal more. The minor group of lyrists and songsters in this sec- tion are not always strictly speak- eo minor songs- ing writers of tappas; but they wrote on amatory, devotional and other themes. It is unprofitable to take them in detail ; for none of them, not even Sridhar Kathak or Kali Mirja, could approach Nidhu Babu in variety, extent or power, though all of them show more or less a touch of the natural vocal quality. Their songs (excepting perhaps some deservedly popular pieces of Sridhar) do not possess the rare merit of uniting the grace and imagery of the lyric to the music and fashion of song. They are hardly literary and are often carelessly made: they are ॥ 1018 আমি নারী, হর নহি, শুনহে মদন। বিন| অপরাধে বধ রাধার জীবন ॥ ০০. is often praised but is chiefly imitative of Jayadeb's হৃদিবিষলতাহারে। নায়ং ভুজঙ্গমনায়কঃ, of Bidyapati’s foe মদন তনু দহসি হমারি। হাম নহ" শঙ্কর ছ' বরনারী 800 ০1 819 0980'8 হুর নই হে, আমি যুবতী, কেন জ্বালাতে এলে afe"fS | The idea is conventional. Radhémohan’s noticeable pieces.
 * Besides the Bahgabasi edition, Pritigiti gives a good selection of
 * Sangit-taranga (Bangabasi edition), p. 20.