পাতা:অনুশীলন (১৩০১).pdf/২০৮

এই পাতাটির মুদ্রণ সংশোধন করা প্রয়োজন।

5 >«»> wi } «rff3ra>f%^i *.« & *tfr« 'ws*f i i 2tf^®i-»r% f^fo* vtfr ***t ^«rrf%ac^ fatfte-faW tftt* f?»r, si*i

  1. afe*ta
  • rf%efaj

^csjt i a a^T i “ft«ro-f«T*” ftinmm «tffs sftfecit ^ f®fSr <?trc**i

9 iwpr® ^vranfq i fat*’' s ra”-sitfc*?fa?sF5i *uk* (A w ^®*r tff.sraf’fBs Jnf5*rf3« ^raac* ^fs8tr>5T a*»r i fai sftwtfa cm c^r, 5® g?r, ‘.'f^rci- «Mtar «rrfro? «rrftc^ n\ <5<ra (a 53511^ c* fsrcs I? ( « cyrocsa knifa split's § •

“In the splendi4 building at ChitporoRoad, to which the Brahmo School was removed in J859, Keshub found a some- what unexpected occiy)aticm. He was entrusfcedUwith the management of an institution very different Brahmo School. It from the was a dramatic club tg put op the stage Bidhaba

Bibaha Natak ( Widow marriage drama ) written with the object of reforming the cruel custom of the forced celibacy of young Hindi# widows.

By repeated representation of Hamlet and oth<tr jferformances, half musical, half dramatic, Keshub had developed stich a talent for stage-management, that the gentlemen, who projected this company, most of them our relatives and neighbours, seniors to us in age, im- plicitly trusted Keshub with sole charge of the antv under- taking. Keahub’s love for Shak<fepeare, and for good dramas in general, was unbounded j it was one of those dispositions which his early asceticism* never wholly effaced, strange as* that’may seem and whiph adhered to day of his life. him till the last He always looked upon dramatic representation not only as a most enligliteped form of f pubHp amusenlenti but also as a ino§t potent agency fof the reformatio# of social evils. (*) I •