Pather Panchali ("The Unvanquished", 1956), the second film of the Apu trilogy. Satyajit Ray, working as a graphic designer for Signet Press, created the illustrations for a new abridged edition of the book in 1944. At that time, Ray read the unabridged novel; Signet's owner D. K. Gupta told Ray that the abridged version would make a great film. The idea appealed to Ray, and around 1946–47, when he considered making a film, he turned to "Pather Panchali" because of certain qualities that "made it a great book: its humanism, its lyricism, and its ring of truth". The author's widow permitted Ray
Pather Panchali and their fate, as signifying a philosophical core: that both the young and the old die. Seton writes of the film's "lyrical" qualities, noting especially the imagery immediately before the onset of monsoon. Robinson writes about a peculiar quality of "lyrical happiness" in the film, and states that "Pather Panchali" is "about unsophisticated people shot through with great sophistication, and without a trace of condescension or inflated sentiment". Darius Cooper discusses the use of different "rasa" in the film, observing Apu's repeated "epiphany of wonder", brought about not only by what the boy sees around him, but also when he