'Mahabharat- Different Versions -Perspectives' - Page 19

Veda Vyasa's Mahabharata - Some thoughts

It is common knowledge how MB was written. Ganapati wanted Veda Vyasa (VV) to recite non stop and VV added another condition that Ganapati would not write until he had understood the meaning of the verse to be written.

So whenever Ganapai paused to understand the meaning of a particular verse, Veda Vyasa wouldcompose the next one. And in some cases, Ganapati took so much time that VV could even attend nature's call or perform his sandhyavandana

Now, VV was no Kalidasa or Bana. The language of MB is not even remotely as difficult asKumarasambhavam or Kadambari. Anyone with a fair amount of Sanskrit knowledge can understand the verses.

So, when it seems easy enough for us mortals, for Ganapati it should have been a child's play. And yet he paused... he took time to understand the full meaning of some verses before writing it down. Why?

The answer is : MB is not just a story. While at the outer level, each verse may seem to be telling a story, there are deeper meanings and spiritual truths hidden in them. A subtle shift of letters or a deft transposition of a syllable from a here to there, can reveal a spiritual mantra, which was originally hidden in the verse.

Every text -which claims to tell a story- be it Ramayana or Mahabharata or Devi Bhagavtham employs this technique. There is something called Pratyaksha artha and Paroksha artha. Pratyaksha artha is that which is visible and apparent. Paroksha artha is what is hidden within.

For instance the first line of Devi Bhagavatham is something like this "Savarni surya tanu yo manu gadyateshatmaha" The visible logical meaning is "This is the story of Savarni- the eighth Manu". But transferring a syllable here and there we get a more powerful meaning "This is the story of the power of the mantra Hreem"

Similarly it is said that the bijakshara mantra of Varuna is hidden in the Virata Parva - chanting of which is ensures rains. Similarly the very powerful pratismrti mantra- ability to transcend ordinary levels of consciousness- is also embedded in the Aranya Parva.

It was in order to understand the full import of the pratyaksha and the paroksha artha that Ganapati paused and took time.

This is what raises Veda Vyasa's creation from a mere narrative to a truly divine work. If only we take the time and effort to understand.

Similarly take the prayer by Yudhishthira to please the Sun God. At the surface level it seems to be just a list of names, but when it is chanted, due to the syllables involved in it, a subtle harmonic vibration sets in. In fact just chant this one line " Bhutashrayo Bhutapati Sarva Bhuta niveshita / Manihi Suvarno bhutadi Kamado sarvato mukha" (Vana Parva) and see the effect. And this is only one of the 108 lines.

Of course I have not even touched the linguistic beauty in the epic.

This is something no Devadutt patnaik, Palace of Illusions, Yagnaseni, etc etc...can never even hope to emulate.

To give just one example- when the Yaksha asks Yudi which of his brothers should he revive, Yudhishthira three times in three verses says " Nakulo Yaksha jeevatu" O Yaksha, let Nakula come to life. Why three times ? Of course Yudi gives three reasons why he prefers Nakula to be revived... but saying " Nakulo Jeevatu" three times has deeper significance. When something is said three times, it becomes binding, irrevocable and definite. Similarly by saying "Nakulo yaksha Jeevatu" Yudhishthira establishes it firmly that his decision is final and irrevocable.

One can go on and on discovering gems within this great literary work. After all it not for nothing it is said "What is found MB may be found elsewhere but what is not found in here cannot be found anywhere"