The drama owes in part its origin to the epics of India; from them throughout its history it derives largely its inspiration, far more truly so indeed than Greek tragedy as compared with the Greek epic. [147] From the epics also developed the Kāvya, the refined and polished epic, which appears at its best in the Kumārasambhava and Raghuvaṅça of Kālidāsa. The parallelism between the developed form of both is close and striking. The Sāhityadarpaṇa [148] lays down that it is a composition in several cantos, the hero a god or Kṣatriya of high race, of the type noble and superior; if there are several heroes, they are persons of royal rank of one family. The sentiment which predominates is the erotic, the heroic, or occasionally that of calm; the others serve in a subsidiary rôle. The subject-matter is either taken from tradition or not, but the heroes must be virtuous. The work begins with a prayer, a benediction, or an indication of the subject-matter. The development of the story employs the same five junctures as the theory prescribes for the drama. One or other of the four aims of man, wealth, love, performance of duty, or release, is to be attained by the action. The number of cantos is not to be less than eight; each should end in a different metre, and should announce the subject of the following act. Descriptions of every kind are essential; objects of these are the different times of day, the sun, the moon, night, the dawn, twilight, darkness, morning, midday, the hunt, mountains, the seasons, forests, the ocean, the sky, a town, the pleasures of love, the misery of separation from one’s beloved, a sacrifice, a battle, the march of an army, a marriage, the birth of a son, all of which should be developed in appropriate detail. The essential feature of these little epics is the enormous development of the art of description, and the feature occurs in the other forms of narrative literature, the Kathā, tale, and the Ākhyāyikā, romance, types which blend with each other. Whether the subject be an imaginary theme, as is the Vāsavadattā of Subandhu, or a historical one, as in the Harṣacarita of Bāṇa, we find nothing treated as really important save the descriptions as contrasted with the narrative. The Sanskrit lyric also, in Kālidāsa’s masterpiece, the Meghadūta, is essentially descriptive, as is the Prākrit lyric preserved in the collection of Hāla, which is based on the model of an older lyric in Sanskrit, whose existence is revealed to us by the Mahābhāṣya. The love of description, however, is not new; it is a characteristic of the epic itself, and the Rāmāyaṇa in special shows us how the way for the court poetry was being prepared. [149] Hence the fact that the verses of the drama are overwhelmingly descriptive, when not gnomic in character, is no matter for surprise. The peculiarity is a direct inheritance from the epic.