deepening the contemplative side of Hindoo character, and the drama
and historical plays came in, generalities gave way to definite
localizing, and in the Epics ornate descriptions of actual landscape
took independent place. Nature's sympathy with human joys and griefs
was taken for granted, and she played a part of her own in drama.

In the _Mahâbhârata_, when Damajanti is wandering in search of her
lost Nala and sees the great mountain top, she asks it for her
prince.

Oh mountain lord!
Far seen and celebrated hill, that cleav'st
The blue o' the sky, refuge of living things,
Most noble eminence, I worship thee!...
O Mount, whose double ridge stamps on the sky
Yon line, by five-score splendid pinnacles
Indented; tell me, in this gloomy wood
Hast thou seen Nala? Nala, wise and bold!
Ah mountain! why consolest thou me not,
Answering one word to sorrowful, distressed,
Lonely, lost Damajanti?

And when she comes to the tree Asoka, she implores:

Ah, lovely tree! that wavest here
Thy crown of countless shining clustering blooms
As thou wert woodland king! Asoka tree!
Tree called the sorrow-ender, heart's-ease tree!
Be what thy name saith; end my sorrow now,
Saying, ah, bright Asoka, thou hast seen