112 BHĀRAVI, BHAȚȚI, KUMĀRADĀSA, AND MAGHA Rāma legend produced the unreality of his combats, which every epic poet felt bound to copy. Another influence seen strongly in the first two Cantos is that of the political principles of the day, which have ample opportunity of illustration in the record of Suyodhana's rule and in the arguments by which Yudhisthira seeks to justify the keeping of their faith by his brothers. There is no doubt of the power of Bharavi in description; his style at its best has a calm dignity which is certainly attractive, while he excels also in the observation and record of the beauties of nature and of maidens. The former quality is revealed re- peatedly in the first Canto, the very first line of which strikes the true note of high policy; then follows: krtapramāṇasya mahim mahībhuje: jitāṁ sapatnena nive- dayisyataḥ na vivyathe mano na hi priyam: pravaktum icchanti mṛṣā hitaisinah. 'When he bent low in homage his mind wavered not, thougi. he had to tell the king that his realm had been won by his foe, for men who seek one's good care not to speak flattering words.' In the same strain Suyodhana is praised: na tena sajyam kvacid udyatam dhanuḥ: kṛtam na vā tena vijihmam ananam gunanurāgeṇa çirobhir uhyate: narādhipair mālyam ivāsya çāsanam. 'Never has he raised his bow to shoot, never has a frown dis- torted his face; loving his virtues the kings bear as a garland on their heads his royal orders.' The setting sun and the rising moon are happily portrayed: ançupanibhir ativa pipasuḥ: pankajam madhu bhṛçam rasayitvā klībatām va gataḥ kṣitim eşyanl: lohitam vapur uvāha patangaḥ. 'Ruddy glowed the sun as he hastened to rest, as though over- deep he had drunken with his rays, in his thirst, the sweetness of the lotus.'
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