For if there is one trademark highlight which recognizes the Mahabharata (just as the other Indian Epic, the Ramayana) from all later Sanscrit writing, it is the fantastic straightforwardness of its story, which appears differently in relation to the fake graces of later Sanscrit verse. The verse of Kalidasa, for example, is lavish and wonderful, and nearly glimmers with likenesses in each section; the verse of the Mahabharata is plain and unpolished and hardly stoops to a metaphor or a saying except if the comparison falls into place without any issues for the artist. The incredible deeds of divine rulers some of the time recommend to the artist the relentless deeds of divine beings; the hurrying of warriors proposes the surging of irate elephants in the resounding wilderness; the trip of whistling bolts proposes the trip of ocean winged animals; the sound and development of flooding groups propose the hurling of surges; the erect demeanor of a warrior proposes a tall precipice; the magnificence of a lady recommends the delicate excellence of the blue lotus. At the point when such examinations easily fall into place for the artist, he acknowledges them and notes them down, yet he never appears to go in journey of them, he is never restless to enhance and beautify. He appears to trust altogether to his fantastic account, to his gallant characters, to his blending occurrences, to hold a large number of audience members in interminable thrall. The grand and resonating Sanscrit meter is at his Translator's Epilog order, and even this he utilizes indiscreetly, and with regular slips, known as arsha to later grammarians. The artist surely looks for no craftsmanship to embellish his story, he trusts to the grandiose.
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