The satire is only merciless where it is directed against the vices of drinking and debauchery, or against the custom of the much marrying of Kulins, or the marrying of old men to young girls, or solely for money. In other cases it is not unkindly, especially where it is directed against that not uncommon failing both in the West and the East, which Shakespeare has immortalized as ‘too much respect upon the world,’ and which is largely exhibited in the East in the form of lavish expenditure, regardless of debt, upon social and religious ceremonies.
Amongst other characteristics of this novel may be noted that deep vein of moral earnestness, already referred to, which runs through the whole book, and which is chiefly exhibited in the form of moral reflections, such as are so common in many of the Sanscrit tales.
Dramatic vividness is another noticeable feature of the book: a few strokes of the pen suffice to bring before us, as living realities, characters that are drawn from every class of life, and scenes that deal with almost every incident of life in Bengal. In fact a far more vivid picture of social life in Bengal, both in its inner and outer aspects, is presented to us in the pages of this book, than is presented in the pages of many books purporting to give us an account of that life.
And, with this dramatic vividness, there is a general faithfulness to reality that will be appreciated by those who have lived for any time amidst the scenes described; for, though the book describes life in Bengal as it appeared to the eyes of an acute observer writing more than forty years back, the picture, in its general outlines, is as true of the life of the people now as it was then.
Another noticeable feature of the book is the rhythmic flow which marks its language. This is a feature which appears to characterize all books written for the people in the language best understood of the people, no matter what that language is.
As regards the language in which Peary Chand Mitter wrote this novel, the Calcutta Review of the day writes:— “Endowed, as he was, with strong common sense, as well as high culture, he saw no reason why this idol of unmixed diction should receive worship at his hands, and he set about writing ‘Alaler Gharer Dulál’ in a spirit at which the Sanscritists stood aghast, and shook their heads. Going to the opposite extreme in point of style, he vigorously excluded from his works, except on very rare occasions, every word and phrase that had a learned appearance. His own works suffered from the exclusion, but the movement was well-timed. He scattered to the winds the time-honoured commonplaces, and drew upon nature and life for his materials. His success was eminent and well-deserved.”
One feature that has especially struck the translator in transferring this novel from its original Bengali into English, is that he has found it necessary to omit nothing, on the score of indelicacy, or bad taste,— a remark which could not be made of every Bengali novel. The author has written with the maxim of the old Roman satirist ever before his eyes,— maxima debetur puero reverentia.
The translator has had three classes of readers before his eyes, in making this translation.
It seemed to him that so excellent a picture of social life in Bengal could not but be interesting to those Englishmen and Englishwomen who are interested in the lives of their fellow-subjects in India.
It also occurred to him that as the rising generation of Bengalis no longer read Bengali literature as of old, it might interest them to see, in an English dress, a novel that has been so popular amongst their older compatriots.