The purity, self-denial, innocence, that once graced their lives and homes, now seem restless, as if disgusted with their abodes, and ready to migrate to some more genial sphere. Here and there the banner of ambition floats on the palaces. Luxury succeeds; display and injustice dethrone charity. The heart ceases to be the temple of God. Its every corner is occupied by strange, unchaste, delusive propensities, found where nobler aspirations once dwelt. The altars are to be seen here and there, the offerings of beasts are dedicated unto the gods, ritualism takes the place of the worship in spirit. The great actors upon the stage are Rama and Rabōna, one a god and the other a monster. The conduct of Rabōna was such, that it filled the earth with fear. Both the Shoors and the Oshoors (gods or good men, and the monsters or cruel tyrants) trembled at his presence. The complaints against him grew universal; the gods solicited protection and the interposition of the great Rama, who alone had the power to check the tyrant Rabōna. Accordingly the incarnation of Bishto appears in the world to pour out a healing balm over its injured people. Now it was foretold that the age of Rama will be called Trita, the Third, but the condition of the world demanded his advent earlier, so the age he lived in, though second, being the immediate successor of the First, or Shoto, retained the name Trita, fulfilling the prophecy thereby. We are introduced to Dawpur now, which means the second. What the world sowed in the age previous is coming up luxuriantly in this, but the harvest is by and by. The Trita sows the seeds of confusion, injustice, impurity, ambition; the Dawpur waters them, and the Kolie gives the increase. Among others the chief actor on the stage is Krishto, another incarnation of Bishto. His mission in this is rather delicate in its nature. After the display of heroic deeds to relieve the world, which was groaning under the heavy yoke of Rabōna, he feels tired; perhaps comes to refresh himself, and spend his time in marriage, music, and romance. Handsome in person, a god in nature, active in movements, a good musician, he casts a net of charms around a host of young women, and draws them all out without breaking the net or sinking the vessel. Hindoo legends say that the prime object of his learning to play his Banay was to sing the praise of Radha, wife of Awe-an, and who is also his own wife from eternity.[8]