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114 welcome. It will be recalled that in the early Elizabethan days there was much practice in adaptation and translation and even the highest geni-uses recast into English mould with an infusion of their own originality romances, legends, dramas. In this Telugu renaissance, our writers have a vaster field from which to gather suggestions and, indeed, there are already many adaptations and translations of Shakespeare's plays, King Lear, The Tempest, Cymbeline and of Molière's Comedies, Le Médècin Malgré Lui L' Avare. But whereas those Elizabethans, adopted foreign originals into their living English, with rare exceptions our writers and adapters eschew the living tongue; they follow ancient rules of rhetoric and seek in pseudoancient Telugu their medium of expression. With dissertations on the art of translation open to them, they prefer to follow the erroneous guidance of the pedants' method of the Sabdârtha. We should, therefore, welcome ídiomatic renderings in real Telugu of good English, French or other originals and original experiments in living prose, tales of current life handled freely and with an imagination untrammelled by stereotyped Lakshana, recondite allusions and stale conventional figures and images.

We desire discussion on the art of writing; thus, How may the living tongue be made an artistic medium? What devices in harmony with the