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One great advantage which I enjoyed in my younger days was the literary and artistic atmosphere which pervaded our house. I remember how, when I was quite a child, I would be leaning against the verandah railings which overlooked the detached building comprising the reception rooms. These rooms would be lighted up every evening. Splendid carriages would draw up under the portico, and visitors would be constantly coming and going. What was happening I could not very well make out, but would keep staring at the rows of lighted casements from my place in the darkness. The intervening space was not great but the gulf between my infant world and these lights was immense.
My elder cousin Ganendra had just got a drama written by Pandit Tarkaratna and was having it staged in the house. His enthusiasm for literature and the fine arts knew no bounds. He was the centre of the group who seem to have been almost consciously striving to bring about from every side the renascence which we see to-day. A pronounced nationalism in dress, literature, music, art and the drama had awakened in and around him. He was a keen student of the history of different countries and had begun but could not complete a historical work in Bengali. He had translated and published the Sanskrit drama, Vikramorvasi, and many a well-known hymn is his composition. He may be said to have given us the lead in writing patriotic poems and songs. This was in the days when the Hindu Mela was an annual institution and there his song "Ashamed am I to sing of India's glories" used to be sung.
I was still a child when my cousin Ganendra died in the prime of his youth, but for those who have once beheld him it is impossible to forget his handsome, tall and stately figure. He had an irresistible social influence. He could draw men round him and keep them bound to him; while his powerful attraction was there, disruption was out of the question. He was one of those--a type peculiar to our country--who, by their personal magnetism, easily establish themselves in the centre of their family or village. In any other country, where large political, social or commercial groups are being formed, such would as naturally become national leaders. The power of organising a large number of men into a corporate group depends on a special kind of genius. Such genius in our country runs to waste, a waste, as pitiful, it seems to me, as that of pulling down a star from the firmament for use as a lucifer match.
I remember still better his younger brother, my cousin Gunendra. He likewise kept the house filled with his personality. His large, gracious heart embraced alike relatives, friends, guests and dependants. Whether in his broad south verandah, or on the lawn by the fountain, or at the tank-edge on the fishing platform, he presided over self-invited gatherings, like hospitality incarnate. His wide appreciation of art and talent kept him constantly radiant with enthusiasm. New ideas of festivity or frolic, theatricals or other entertainments, found in him a ready patron, and with his help would flourish and find fruition.
We were too young then to take any part in these doings, but the waves of merriment and life to which they gave rise came and beat at the doors of our curiosity. I remember how a burlesque composed by my eldest brother was once being rehearsed in my cousin's big drawing room. From our place against the verandah railings of our house we could hear, through the open windows opposite, roars of laughter mixed with the strains of a comic song, and would also occasionally catch glimpses of Akshay Mazumdar's extraordinary antics. We could not gather exactly what the song was about, but lived in hopes of being able to find that out sometime.
I recall how a trifling circumstance earned for me the special regard of cousin Gunendra. Never had I got a prize at school except once for good conduct. Of the three of us my nephew Satya was the best at his lessons. He once did well at some examination and was awarded a prize. As we came home I jumped off the carriage to give the great news to my cousin who was in the garden. "Satya has got a prize" I shouted as I ran to him. He drew me to his knees with a smile. "And have you not got a prize?" he asked. "No," said I, "not I, it's Satya." My genuine pleasure at Satya's success seemed to touch my cousin particularly. He turned to his friends and remarked on it as a very creditable trait. I well remember how mystified I felt at this, for I had not thought of my feeling in that light. This prize that I got for not getting a prize did not do me good. There is no harm in making gifts to children, but they should not be rewards. It is not healthy for youngsters to be made self-conscious.
After the mid-day meal cousin Gunendra would attend the estate offices in our part of the house. The office room of our elders was a sort of club where laughter and conversation were freely mixed with matters of business. My cousin would recline on a couch, and I would seize some opportunity of edging up to him.
He usually told me stories from Indian History. I still remember the surprise with which I heard how Clive, after establishing British rule in India, went back home and cut his own throat. On the one hand new history being made, on the other a tragic chapter hidden away in the mysterious darkness of a human heart. How could there be such dismal failure within and such brilliant success outside? This weighed heavily on my mind the whole day.
Some days cousin Gunendra would not be allowed to remain in any doubt as to the contents of my pocket. At the least encouragement out would come my manuscript book, unabashed. I need hardly state that my cousin was not a severe critic; in point of fact the opinions he expressed would have done splendidly as advertisements. None the less, when in any of my poetry my childishness became too obtrusive, he could not restrain his hearty "Ha! Ha!"
One day it was a poem on "Mother India" and as at the end of one line the only rhyme I could think of meant a cart, I had to drag in that cart in spite of there not being the vestige of a road by which it could reasonably arrive,--the insistent claims of rhyme would not hear of any excuses mere reason had to offer. The storm of laughter with which cousin Gunendra greeted it blew away the cart back over the same impossible path it had come by, and it has not been heard of since.
My eldest brother was then busy with his masterpiece "The Dream Journey," his cushion seat placed in the south verandah, a low desk before him. Cousin Gunendra would come and sit there for a time every morning. His immense capacity for enjoyment, like the breezes of spring, helped poetry to sprout. My eldest brother would go on alternately writing and reading out what he had written, his boisterous mirth at his own conceits making the verandah tremble. My brother wrote a great deal more than he finally used in his finished work, so fertile was his poetic inspiration. Like the superabounding mango flowerets which carpet the shade of the mango topes in spring time, the rejected pages of his "Dream Journey" were to be found scattered all over the house. Had anyone preserved them they would have been to-day a basketful of flowers adorning our Bengali literature.
Eavesdropping at doors and peeping round corners, we used to get our full share of this feast of poetry, so plentiful was it, with so much to spare. My eldest brother was then at the height of his wonderful powers; and from his pen surged, in untiring wave after wave, a tidal flood of poetic fancy, rhyme and expression, filling and overflowing its banks with an exuberantly joyful pćan of triumph. Did we quite understand "The Dream Journey"? But then did we need absolutely to understand in order to enjoy it? We might not have got at the wealth in the ocean depths--what could we have done with it if we had?--but we revelled in the delights of the waves on the shore; and how gaily, at their buffettings, did our life-blood course through every vein and artery!
The more I think of that period the more I realise that we have no longer the thing called a mujlis. In our boyhood we beheld the dying rays of that intimate sociability which was characteristic of the last generation. Neighbourly feelings were then so strong that the mujlis was a necessity, and those who could contribute to its amenities were in great request. People now-a-days call on each other on business, or as a matter of social duty, but not to foregather by way of mujlis. They have not the time, nor are there the same intimate relations! What goings and comings we used to see, how merry were the rooms and verandahs with the hum of conversation and the snatches of laughter! The faculty our predecessors had of becoming the centre of groups and gatherings, of starting and keeping up animated and amusing gossip, has vanished. Men still come and go, but those same verandahs and rooms seem empty and deserted.
In those days everything from furniture to festivity was designed to be enjoyed by the many, so that whatever of pomp or magnificence there might have been did not savour of hauteur. These appendages have since increased in quantity, but they have become unfeeling, and know not the art of making high and low alike feel at home. The bare-bodied, the indigently clad, no longer have the right to use and occupy them, without a permit, on the strength of their smiling faces alone. Those whom we now-a-days seek to imitate in our house-building and furnishing, they have their own society, with its wide hospitality. The mischief with us is that we have lost what we had, but have not the means of building up afresh on the European standard, with the result that our home-life has become joyless. We still meet for business or political purposes, but never for the pleasure of simply meeting one another. We have ceased to contrive opportunities to bring men together simply because we love our fellow-men. I can imagine nothing more ugly than this social miserliness; and, when I look back on those whose ringing laughter, coming straight from their hearts, used to lighten for us the burden of household cares, they seem to have been visitors from some other world.
 Father of the well-known artists Gaganendra and Abanindra. Ed.
 In Bengali this word has come to mean an informal uninvited gathering.
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