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poet free scope for his artistic painting and delineation. Imagery and description find a longer pace in the latter. The language generally is free from verbal jugglery and. enigmatic conceits. Kalidasa is therefore an epitome of the age of poetic perfection in India. ,.
Dhanesvara's Satruojaya-Mahatmya—a poem of 14 cantos—was composed at Valabhi under JQng Siladitya (605-615 A«D»). It consists for the most part of popular folk-lore and legend and there is little of history in it.
Bharavi's Kiratarjuniya, a poem of 18 cantos, describes the fight between Arfuea and Siva in the garb of a mountaineer. The last cantos are occupied with the description of the battle proper. Bharavi describes the Maharashtra country and so he may have belonged thereto* But this has not been verified. His name is mentioned along with KalidasaV in ~~~ an inscription dated Saka 556 (A.D., 634). Besides in an inscription of 776 A.D., mention is made of Prithivi Jfongani, whose fifth ancestor Durvinita wrote a commentary on Bharavi's poem. Allowing about 100 years for the interval from the accession of King Kongani (726 A.D.), Durvinita must have reigned about 620 A.D. It is reliable, therefore, that Bharavi's work to have become popular and famous by this date must have been composed in the latter half of ike sixth l
century. His nice similes drawn from nature's art are very I
amusing. His language cannot be called easy or simple.* I
MaHinatha calls it ''Narikela-paka? His style compares itself *
with that of Magha and has been the standard of vigour and gravity.
* The fifteenth cattto illustrates all kinds of verbal gymnastics a& y
described in Dandin's Kavyadarsa. , ^exactly in most of their minute particulars. Of course it must be admitted that their present form. Quite the, ^