I could not have been more than eight years old at the time. Jyoti, a son of a niece of my father's, was considerably older than I. He had just gained an entrance into English literature, and would recite Hamlet's soliloquy with great gusto. Why he should have taken it into his head to get a child, as I was, to write poetry I cannot tell. One afternoon he sent for me to his room, and asked me to try and make up a verse; after which he explained to me the construction of the payar metre of fourteen syllables.

I had up to then only seen poems in printed books—no mistakes penned through, no sign to the eye of doubt or trouble or any human weakness. I could not have dared even to imagine that any effort of mine could produce such poetry.

One day a thief had been caught in our house. Overpowered by curiosity, yet in fear and trembling, I ventured to the spot to take a peep at him. I found he was just an ordinary man! And when he was somewhat roughly handled by our door-keeper I felt a great pity. I had a similar experience with poetry.

When, after stringing together a few words at my own sweet will, I found them turned into a payar verse I felt I had no illusions left about the glories of poetising. So when poor Poetry is mishandled, even now I feel as unhappy as I did about the thief. Many a time have I been moved to pity and yet been unable to restrain impatient hands itching for the assault. Thieves have scarcely suffered so much, and from so many.

The first feeling of awe once overcome there was no holding me back. I managed to get hold of a blue-paper manuscript book by the favour of one of the officers of our estate. With my own hands I ruled it with pencil lines, at not very regular intervals, and thereon I began to write verses in a large childish scrawl.

Like a young deer which butts here, there and everywhere with its newly sprouting horns, I made myself a nuisance with my budding poetry. More so my elder[10] brother, whose pride in my performance impelled him to hunt about the house for an audience.

I recollect how, as the pair of us, one day, were coming out of the estate offices on the ground floor, after a conquering expedition against the officers, we came across the editor of "The National Paper," Nabagopal Mitter, who had just stepped into the house. My brother tackled him without further ado: "Look here, Nabagopal Babu! won't you listen to a poem which Rabi has written?" The reading forthwith followed.

My works had not as yet become voluminous. The poet could carry all his effusions about in his pockets. I was writer, printer and publisher, all in one; my brother, as advertiser, being my only colleague. I had composed some verses on The Lotus which I recited to Nabagopal Babu then and there, at the foot of the stairs, in a voice pitched as high as my enthusiasm. "Well done!" said he with a smile. "But what is a dwirepha?"[11]

How I had got hold of this word I do not remember. The ordinary name would have fitted the metre quite as well. But this was the one word in the whole poem on which I had pinned my hopes. It had doubtless duly impressed our officers. But curiously enough Nabagopal Babu did not succumb to it—on the contrary he smiled! He could not be an understanding man, I felt sure. I never read poetry to him again. I have since added many years to my age but have not been able to improve upon my test of what does or does not constitute understanding in my hearer. However Nabagopal Babu might smile, the word dwirepha, like a bee drunk with honey, stuck to its place, unmoved.