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of reverence as in Prabhudatta Brahmachari's Sri Chaitanya Charitawali (Hindi). Other characters, too, are flesh and blood individuals. They are distinguishable from one another. All of them are appropriate, i.e., they are true to their nature. They are consistent as individuals in their behaviour. Sachi differs from an average mother in giving her consent to her son to become a monk restraining all her intensity of love for him. All the characters are also typically Indian, to be still more precise. Bengali. Sachi and Vishnupriya behave tenderly and look over -emotional like all Indian women more or less. While Sri Chaitanya, though he is full of love for everybody, is capable of austerity and detachment like great Indian mystics. There are no sudden and unconvincing changes in any of the characters. The changes that appear in Jagai and Madhai are credible. transformations of bad characters at the touch of a saint.
The author's clarity of thought emerges from the utterances of various. characters. All characters speak appropriately according to the occasion.
The playwright, being a poet and musician, is very careful in selecting proper words to express different moods. His capacity to describe different objects, persons, situations and emotions with picturesque epithets is remarkable. His language could be reflective or argumentative in keeping with situational requirements. The talk of Keshav with Sri Chaitanya is quite contemplative. At the same time, simple and lyrical diction is used to create emotional situations between the son and the mother in Act I and between Sri Chaitanya and Vishnupriya in Act III.
The dialogues of the play are at times witty and pregnant with layers of meaning. The sparkling intelligence flashes in the speeches of Sri Chaitanya. But his intellect is fused with his general concern for humanity and intense love of Krishna as well. His tone remains persuasive and, at times, is modest and yet emphatic. The conversation between Keshav and Murari is witty and humorous. Murari spares no means to tease the proud pedant.
For instance, soon after Keshav's recitation of a hymn, the following humorous exchange of words takes place at the beginning of Act II:
"MURARI
But have you not, sir, mispronounced a word?
KESHAV (nettled)
What?
MURARI
I only mean sir..
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