colleagues even to the slightest extent, These scholars must not have been paying the credit he deserved at their hands, and he must have thought of teaching them a lesson by demonstrating his great learning in English, Telugu and Sanskrit both in Literature and language. His method had always been to face the lion in his den and shake him by the mane. An open staggering, frontal attack to deal a fatal blow on his adversaries has been his method.
For this purpose, his proficiency in sematic languages, or his great mastery of the histrionic arts, or his wide popularity with the classes and masses which began in Yi jayanagaram, could not provide him with an opportunity. To outshine them in English, Sanskrit, and Telugu, in literary composition, and exhibit his wide learning and stupendous energy, he took up this work.
This present work required a mastery of all the works of Shakespeare, consisting of 37 dramas, the sonnets and other miscellaneous works and all the works of Kalidasa, his 3 dramas 4 poetic classics and other works which were doubtful in author-ship but ascribed to him. The scholars in English, Sanskrit or Telugu whom he knew, had been familiar only with a few of the works of a particular author in that particular language. He made a thorough study of all these works, analysed them, collected the pieces in all of them, amounting to 594 in English and 231 in Sanskrit. All these were classified into the native Rasas, the sentiments of love, hate, mercy, disgust, fear,. Tranquility, gaiety, wonder, energy or vigour, and Benfvolence.
These have been translated into chaste Telugu Verse mostly free from Sanskrit vocabulary, a stupendous task requiring understanding, analysis, equivalence, and precision, in Vocabulary and persistent labour. In addition he has provided a critical introduction in Telugu of 75 pages comparing the dramatic and poetic Techniques, of both Shakespeare and Kalidasa with also a summary
