in prose of the plots, of the dramas etc, A list of all the Dramatic personae, and a glossary of difficult words has been a welcome addition. All this he did collect by himself without any assistance.
The English teachers of the colleges who would always look down upon the oriental scholars and the musicologists, had been familiar with a few of those Shakespeare's plays which were being prescribed for the study in the classes. They had been generally negligent of the 'others, not to speak of his other works, the sonnets etc., but this gentleman had rummaged all his works and collected the best passages dealing with all sentiments (Rasas). The Sanskrit scholars who had been teaching Kalidasa's works had been reading through a few cantoes of Raghuvamsa or portions of other works, but so far I could know there had been few who had studied the whole of Raghuvamsa or Kumarasambhava. The present work has silenced the Sanskrit scholars. The telugu teachers were writing in the kavya style of Telugu replete with Sanskrit vocabulary and had not been accustomed to write simple chaste current native Telugu? even in original composition not to speak of Translations. By using mostly indigenous vocabulary (Accha Telugu) he had silenced them. In this way Sri A. N. Das had been able to silence all the scholars who had been competing with him for gaining the favour of the Maharajah and his courtiers. The Musicians, the Musicologists were no-where before him. His victory had been complete.
Now for the matter and manner adopted in the book much more need not be said as it has been discussed to some extent above. He had selected for translation long passages minutely depicting mental conditions, agonising soliloquies or detailed descriptions and short statements, couplets, pithy sayings, from every one of the works practically from all the chapters or acts. I leave the work of going through the whole work to the reader to select
