Page:Works of Tagore from the Modern Review, 1909-24 Segment 1.pdf/9

Rh gave a remarkable proof of the consummate skill he has acquired in his art by making the sketch in less than ten minutes. The sculpture shows in spendidsplendis [sic] relief a stately royal barge propelled by lusty oarsmen with all their might and one almost hears the very splash of their oars: the water through which it cuts its way is thrown into ripples and waves indicated by a few simple and yet masterly touches; and the entire scene is one of dash and hurry, indicative of the desparatedesperate [sic] speed of a flight or escape from danger. The beauty of the cabin, and the simplicity of its design are particularly noticeable: the chain that hangs from the top which the master of the vessel grasps by the hand to make himself steady amidst rolling is a most ingenious invention. It is difﬁcult to ascertain what particular scene from our Sastras is here represented, for it is very probably not a mere secular picture or ornament. The interpretation put upon it by one of the many Pandas of whom I inquired about it seems to be acceptable: according to him, the scene here represented is that of Srikrishna being secretly and hurriedly carried away beyond the destructive reach of king Kamsa. The vessel is that of the MadhyamadiraMadhyamandira [sic] (मध्यमन्दिरा) type as defined in the Yuktikalpataru.

The same representation of a barge, I was also credibly informed, appears among the sculptures on the Great Temple at Bhubaneshwar, that triumph of Indian art, which however we missed because we had no information about it beforehand.

Lastly, I may mention that in the Great Temple at Madura, among the fresco paintings that cover the walls of the corridors round the Swarnapushpakarini tank there is a fine representation of the sea and of a ship in full sail on the main, as big as that among the sculptures of Borobudur.

ABU Krishna Gopal Sircar, zemindar of Jhikrakota, made over his estates to his eldest son and retired to the holy city of Benares, as befits a good Hindoo, to spend the evening of his life in religious devotion. All the poor and the destitute of the neighbourhood were in tears at the parting. Every one declared that such piety and benevolence were rare in these degenerate days.

His son, Bepin Bihari was a young man well-educated on modern lines, holding the degree of Bachelor of Arts. He sported a pair of spectacles, wore a beard and seldom mixed with others. His private life was unsullied. He did not even smoke and never touched cards. He was a man of stern disposition, though he looked soft and pliable. This trait of his character soon came home to his tenantry in diverse ways. Unlike his father, he would on no account allow a remission of one single pice out of the rents justly due to him. Under no circumstances would he grant any tenant one single day's grace in paying up.

On taking over management of the property, Bepin Bihari discovered that his father had allowed a large number of Brahmins to hold land entirely rent-free and a larger number to hold at rents much below the prevailing rates. His father was incapable of resisting the importunate solicitation of others—such was the weakness of his character.

Bepin Bihari said, this could never be. He could not in this way abandon the income of half his property—and he reasoned with himself thus:—Firstly, the persons who were in actual enjoyment of the concessions and getting fat at his expense were a lot of worthless people and so undeserving of charity. Charity bestowed on such