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2. In is an admission that the epics hyperboles. jRanging from the sacrifice of the return of Rama to Ayodhya in the serial c dent appears an evolution of the poet's i yana represents its actors as never moving in But uin the latter" says Weber himself, ** h everywhere predominates and a number of w« sonages are introduced, to whom the possit»ilit •existencecannot be denied......." No scholar c
improbability in gambling, loss of kingdom, » Besides the Mababharata deals with men and monkeys. An advanced race of men can plaoe in the story of a ten-headed monster. The GX into the world's history, the more simple add world is. So the Ramayana must have beeta co the Indian public had yet time to grow praetlc; ;able.
3. Rishyasriuga is represented in the ever in solitude and unseen by men or womem. of a hind and had a horn on his head. The inti mythical character like this demonstrates the an
4. In the Makabkarata Adifarvan a house oi is erected by a JUlecfa called Ptfrockana at ti Daryodhana, Again Vidura, trying to reveal tfoe •the lac house to his friends the Pandavas, €a 'maMleeha tongue uuunderstood by the aooor spulous. The war-portion of the same epic naxo^s hah° a dozen Mieefaa Kings taking part i& the ^w« , 93, 119, 122). On the contrary tld's history, fails to have the least reference to it in Valmiki's work ? Valmiki's ignorance of the* Great War cannot stand as an argument. Nor can the sanctity of Kurukshetrabe less conspicuous than that of Sringiberapurar, so as to lose mention of it in a religious work as the Ramayana. Therefore it must be conclusively granted that the argument of interpolation fails, as it has neither purpose nor probabilit5^. It is however a hobby for many European critics in their study of Oriental works, whose archaic constructions are rarely-palatable to their modern tastes,e was an incarnation, of Vlshnu-^bmt Vishnu himself had not risen to prominence;