The Mahabharata's Storytelling Blueprint: Forked Beginnings and Framed Tales (Part II)

1. The Double Beginnings of the Mahabharata: Cosmological and Genealogical Narratives

   As shown earlier, Mahabharata’s narrative opens twice, offering two complementary beginnings that frame its vast and intricate story. These dual openings establish both a cosmic context and a genealogical foundation, emphasizing the cyclical nature of creation and the interconnectedness of all beings.

   Cosmological Foundations in the Anukramaniparvan

   The Adiparvan, the first major section of the Mahabharata, commences with the Anukramaniparvan. This sub-chapter introduces Ugrashrava Sauti, son of Lomaharshana, who recounts the epic in the Naimisha Forest during a twelve-year yagna performed by sages led by Saunaka. The story connects the characters' ancestry with the universe's origins, beginning with the Mahadivya, the cosmic egg, symbolizing the inexhaustible seed of creation.

   The first sub chapter of Adiparvan is like it lists contents covered in the Mahabharata.

   “The chapter starts with the following lines- “The Bard Ugratravas, the son of Lomaharsana, singer of ancient Lore, once came to the Naimisa Forest where the seers of strict vows were sitting together at the Twelve-year Session of family chieftain Saunaka.”

   The cosmological narrative reveals that Brahma emerges first from the Mahadivya, followed by Vishnu and Shiva, along with the Prajapatis, Adityas, Vasus, Ashwins, and sages, who collectively shape the world. This eternal cycle of expansion and contraction encapsulates the Hindu cosmological view, where creation and destruction are interconnected, with no definitive beginning or end.

   In the vast, all-encompassing darkness before time itself, the universe lay dormant, devoid of light and brightness. From this infinite void emerged the primal cause of creation—a mighty egg, Mahadivya. This egg, the inexhaustible seed of all beings, carried within it the eternal Brahman—the true, radiant essence beyond imagination, encompassing both existence and non-existence. It was the subtle, unmanifested cause of everything that was, is, and will be.

   From Mahadivya, the first spark of creation ignited. The lord Prajapati, known as Brahma, was born—the preceptor of gods, revered as Sthanu, Manu, and Parameshthin. Alongside him emerged the cosmic architects: the twenty-one Prajapatis, including Manu, Vasishtha, and Daksha, who heralded the lineage of creation. From Daksha came his sons and their offspring, who filled the worlds with divine and mortal beings. Thus, the wheel of creation began its perpetual motion.

   In this grand cosmic play, the elemental forces unfolded—the water, heavens, earth, air, and sky took shape. The rhythm of time was established with years, seasons, months, days, and nights. With each beat of the universe's pulse, new realms and beings arose. The Viswadevas, Adityas, Vasus, and twin Ashvins appeared, followed by the Yakshas, Sadhyas, Pisachas, Guhyakas, and the Pitris. These divine and semi-divine beings filled the cosmos with their presence.

   

   The wise Brahmarshis and noble Rajarshis were born next, exemplifying divine wisdom and virtue. They, too, played a pivotal role in shaping the order of the world. From them descended the illustrious lineages of the Kurus, Yadus, and Bharatas, as well as those of Yayati and Ikshvaku. The earth became abundant with living beings, their homes, and their stories.

   The narrative of creation did not end here, for it was a continuous cycle, without beginning or end. Just as the seasons follow one another, so too does creation, dissolution, and recreation follow in an eternal loop. At the end of each era, all things—animate and inanimate—merge back into the unmanifested cause, only to be reborn at the dawn of the next age.

   Amidst this divine creation were born the mysteries of knowledge: the Vedas, Yoga, and Vijnana. Dharma, Artha, and Kama were revealed as guiding principles for life. Sage Vyasa, in his infinite wisdom, compiled this eternal knowledge into a vast treasure trove: the Mahabharata. This text, adorned with elegant expressions and profound insights, captured the essence of creation, dharma, and the human journey.

   As Sauti recounted this story to the sages of Naimisha Forest, he bowed in reverence to the primordial being—Isana. This being, eternal and transcendent, embodies the unity of existence and non-existence, the universe itself and beyond it. Isana is Vishnu, the beneficent and immaculate; Hari, the ruler of all; and Brahma, the creator and sustainer of the cosmos.

   Sauti declared that this sacred tale, originating from Sage Vyasa, was a source of unparalleled wisdom. It had been shared by bards of the past, was being taught in the present, and would continue to enlighten future generations. The Mahabharata, with its poetic elegance, divine conversations, and human wisdom, remains a timeless beacon for those seeking knowledge.

   Thus, the story of creation, a cycle of birth, decay, and renewal, reflects the eternal truth of existence: a wheel that turns endlessly, sustaining the rhythm of the universe.

   
   

   

   
   

   

   While the Mahabharata uses mythological symbolism, modern science employs empirical models, yet both address profound questions about our origins. By connecting these perspectives, we see the timelessness of humanity’s curiosity about the cosmos and our place within its infinite expanse. Modern scientific literature bridges ancient philosophy with contemporary understanding. Stephen Hawking’s A Brief History of Time explains the Big Bang as the universe’s origin from a singularity, reminiscent of the Mahadivya or cosmic egg. Brian Greene’s The Elegant Universe discusses string theory and the multiverse, resonating with Hindu cyclical creation. Carl Sagan’s Cosmos and Sean Carroll’s The Big Picture emphasize interconnectedness and cycles, can help to understand this type of themes.

   

   The concept of cosmological beginnings is not unique to Hindu philosophy; it is reflected in the myths and literature of various cultures. In Mesopotamian mythology, the Enuma Elish describes the universe’s creation from primordial chaos, where Apsu (freshwater god) and Tiamat (saltwater goddess) give rise to younger gods. Marduk’s victory over Tiamat symbolizes the triumph of order over chaos, paralleling the Hindu depiction of Brahma, Vishnu, and Shiva maintaining cosmic balance. Greek mythology’s Theogony by Hesiod also begins with Chaos, the primordial void, from which Gaia (Earth), Tartarus (Underworld), and Eros (Love) emerge, representing foundational elements of existence. This mirrors the Mahabharata’s Mahadivya as the source of creation. Norse mythology, as described in the Prose Edda, introduces Ginnungagap, a void between Muspelheim (fire) and Niflheim (ice), leading to Ymir’s creation, whose body forms the world. This elemental interaction aligns with the Hindu concept of cosmic energies—creation, preservation, and destruction—manifested through Brahma, Vishnu, and Shiva. The Abrahamic tradition’s Genesis account also explores cosmological beginnings, depicting a divine proclamation, "In the beginning, God created the heavens and the earth." This linear creation narrative contrasts with the cyclical Hindu worldview but shares the theme of divine origin. Brahma’s emergence from the cosmic egg reflects a similar divine intent. Taoist philosophy, particularly in the Tao Te Ching, views creation as flowing from the Tao, the source of all existence. The sequential unfolding from one to ten thousand things mirrors the Hindu idea of the Mahadivya’s expansion into a multifaceted world. Literary works like Dante’s Divine Comedy portray a cosmological framework rooted in divine order, with celestial spheres echoing the hierarchical structure of the Hindu cosmos. Similarly, John Milton’s Paradise Lost explores cosmic order and chaos, with the Holy Spirit as the creative force paralleling Hindu visions of divine energy.

   These parallels underscore humanity’s shared quest to understand the cosmos, linking myth, literature, and science in exploring our origins and existence.

   The Mahabharata's cosmological beginning and modern cosmology, both delve into humanity's fundamental quest to understand the universe and our place within it. Though they emerge from different epistemological traditions—ancient metaphysical inquiry and empirical science—they intersect in profound ways that highlight the importance of the Mahabharata's perspective in contemporary cosmological discourse.

   Modern cosmology, as emphasized in the passage, grapples with the universe's uniqueness—an object without peer. This singularity makes cosmology a historical science, much like the Mahabharata’s emphasis on cyclical time (kalpas) and the interconnectedness of creation, preservation, and destruction. While modern science observes these cycles in the universe's birth, expansion, and potential collapse (Big Bang, inflation, and possible Big Crunch), the Mahabharata integrates these cycles into a broader spiritual framework. This approach adds a moral dimension often absent in scientific narratives, encouraging humanity to align its actions with the rhythm of the cosmos. By emphasizing cycles, the Mahabharata complements the symbolism of the Cosmic Uroboros. Both frameworks see humanity as positioned within a vast continuum—neither at the center nor entirely insignificant. This shared understanding fosters humility and a sense of responsibility, urging us to transcend anthropocentric paradigms and embrace our interconnectedness with the universe. In the Cosmic Uroboros, humanity lies at the midpoint between the microscopic and macroscopic scales, representing the emergent properties of the universe. Similarly, the Mahabharata places humanity at a crucial juncture in the cosmic cycle, bound by the principles of dharma and karma. These teachings remind us that our actions reverberate throughout the cosmic order, much like modern cosmology's acknowledgment of humanity's role in shaping the planet and its future through technological and environmental impacts.

Both perspectives elevate the significance of human existence—not as mere accidents of the universe but as participants in its ongoing evolution. The Mahabharata’s moral and spiritual guidance complements the Uroboros’ scientific insights, offering a holistic understanding of humanity’s place in the cosmos.

The idea of cosmic inflation in modern cosmology, a phase of rapid expansion after the Big Bang, parallels the Mahabharata's narratives of transformation and renewal. This concept underscores the universe’s dynamic nature, much like the epic's portrayal of cycles of destruction and recreation. Both perspectives suggest that periods of rapid change—whether cosmic or societal—are necessary for the emergence of new order.

The Mahabharata's teachings on transformation serve as a metaphorical guide for humanity’s challenges today. Just as inflation expanded the universe, humanity must transition from unsustainable behaviors to balanced coexistence, echoing the moral imperatives derived from ancient cosmology.

The Mahabharata’s cosmological vision addresses humanity's existential questions, providing a narrative that integrates the physical and metaphysical. Modern cosmology, while grounded in empirical observation, increasingly acknowledges the need for a framework that imbues the universe with meaning. The passage notes that ancient cosmologies anchored cultural identities and moral codes, while modern scientific discoveries risk fostering disconnection and existential rootlessness. The Mahabharata bridges this gap, offering a cosmology that is both scientifically resonant and spiritually fulfilling.

Both the Mahabharata and modern cosmology elevate the study of the universe to a sacred inquiry. The Mahabharata’s cosmology, rooted in dharma and spiritual principles, parallels the philosophical dimensions of contemporary science, which views the pursuit of cosmic understanding as an act of intellectual and spiritual devotion. As the passage highlights, the commitment, intuition, and faith required in scientific research echo the values upheld in the Mahabharata's cosmological teachings.

The Mahabharata’s narratives have historically shaped cultural identities, much like ancient cosmologies provided frameworks for morality and societal order. Today, modern cosmology has the potential to inspire a similar cultural renaissance by integrating scientific discoveries with philosophical and spiritual insights. The Mahabharata’s emphasis on balance, sustainability, and interconnectedness offers timeless lessons for navigating the ethical and existential challenges of our time.

The Mahabharata’s cosmological beginning, with its cyclical vision of the universe and emphasis on moral harmony, enriches modern cosmology’s scientific narratives. While the Cosmic Uroboros and other contemporary models illustrate the universe’s interconnected scales and emergent properties, the Mahabharata provides a complementary spiritual framework that connects humanity to the cosmos in a meaningful way. Together, these perspectives encourage us to embrace our role as stewards of the universe, fostering a deeper understanding of existence and inspiring solutions to global challenges. By bridging ancient wisdom and modern science, we can cultivate a holistic cosmology that unites empirical inquiry with spiritual transcendence, guiding humanity toward a sustainable and enlightened future.

Genealogical Context in the Paulomaparvan

The fourth chapter of the Adiparvan, the Paulomaparvan, shifts focus to the genealogical origins of the Mahabharata’s central characters. Ugrashrava recounts the tale to the sages in Naimisha Forest, detailing the ancestry of the Bharata dynasty. This section ties the epic’s protagonists to divine and mortal lineages, grounding their actions and struggles in their ancestral legacies.

The sages, who had been listening attentively for quite some time, suddenly grew a bit self-conscious. Kulapati Śaunaka, the chief of the gathering, was still preoccupied in the fire altar house, busy overseeing the twelve-year-long yajña. The sages realized their leisure in storytelling was at odds with Śaunaka’s duties, which included arranging for sacrificial wood, soma juice, and seating arrangements for the Vedic priests. Feeling somewhat embarrassed, they said, “Sauti! Let Kulapati Śaunaka join us here. We wish to listen to many tales, but Śaunaka is well-versed in the affairs of gods, asuras, gandharvas, humans, and nāgas. Once he joins, our questions will carry more depth and relevance.”

This 4th Upaparvan named Paulamaparvan i.e. the 4th Chapter” starts with the following lines-

“The Bard Ugrasravas, the son of Lomaharsana, teller of ancient Lore, came to the sages who had gathered to attend the twelve year Sacricficial session of the of family chieftain Saunaka in the Naimisa Forest.”

There was no escaping scrutiny for Sauti Ugraśrava. It’s one thing to entertain a casual audience, but a scholar like Śaunaka would demand intellectual rigor. When Śaunaka arrived, he didn’t immediately ask to hear a story. Instead, he tested Sauti’s knowledge. “Your father Lomaharṣaṇa was a learned man, tutored by Vyāsa himself. Have you attained such mastery in your studies, or are there gaps in your knowledge?” Śaunaka then asked Sauti to recount the tales of the Bhṛgu lineage, a subject he himself knew intimately.The mention of the Bhṛgu lineage heightened the ambience’s attention. And, from this very section readers enters into the world of ancestry of various important links like that of Takshaka in Astika Parva  that ultimately leads to  Adi-vamshavatarana Parva (the ancestry of Vyasa, descandants of Pandavas) and then Sambhava Parva (detailed lineage of Mahabharata kings starting from Brahma).

This genealogical narrative complements the cosmological themes of the Anukramaniparvan, offering a microcosmic view of the larger universal cycles. Together, these dual beginnings—cosmic and genealogical—create a layered introduction that reflects the Mahabharata’s philosophical depth and its recursive storytelling structure.

Thus the Paulomaparvan, the fourth chapter of the Adiparvan, introduces genealogical origins, complementing the cosmological beginnings of the Anukramaniparvan. Through Ugrashrava’s narration to the sages in the Naimisha Forest, the lineage of the Bharata dynasty is traced, connecting the epic’s characters to divine and mortal ancestry. This detailed genealogical recount grounds the actions and destinies of the Mahabharata’s protagonists in their inherited legacies, showcasing the intertwined nature of personal identity and ancestral history.

This focus on genealogy finds parallels in world literature and mythology, where lineage often shapes narratives and character motivations. In Greek mythology, Hesiod’s Theogony charts the lineage of gods, beginning with Chaos and proceeding through generations of deities, titans, and mortals. This genealogical structure explains the relationships and power dynamics among the gods, offering a framework for understanding their roles in shaping the cosmos and human affairs. Similarly, the Old Testament of the Bible places significant emphasis on genealogical records. The Book of Genesis traces the ancestry of humanity, beginning with Adam and Eve and continuing through Noah, Abraham, and their descendants. These genealogies establish continuity between divine will and human action, anchoring historical events in familial relationships. In Norse mythology, the Poetic Edda and the Prose Edda recount the genealogies of gods and giants, tying their fates to familial bonds. For instance, the lineage of Odin connects him to both the Aesir and Vanir gods, whose alliances and conflicts shape the mythological world.

In classical literature, Virgil’s Aeneid roots its protagonist, Aeneas, in the lineage of the Trojan royal family. His divine ancestry, as a son of Venus, legitimizes his quest to found Rome and links his journey to both human and divine realms. This emphasis on ancestry underscores the interconnectedness of personal destiny with larger historical and cosmic cycles. Even in modern literature, J.R.R. Tolkien’s The Silmarillion employs genealogical narratives to establish the heritage of its characters. The lineages of the elves, humans, and dwarves are intricately detailed, influencing the relationships and conflicts that drive the epic’s plot.

The Paulomaparvan mirrors these traditions by intertwining personal and cosmic histories. It not only provides a microcosmic view of universal cycles but also reflects the Mahabharata’s layered storytelling. By linking its characters to divine and mortal ancestry, the text highlights the significance of lineage in shaping identity and destiny, a theme that resonates across cultures and epochs.

Genealogical beginnings, while often rooted in mythology and literature, also find intriguing parallels in modern science books that explore ancestry and the origins of life. These works delve into the biological, genetic, and evolutionary lineages that shape not only individuals but also entire species, drawing a fascinating parallel to texts like the Paulomaparvan of the Mahabharata.

For instance, Richard Dawkins’ The Ancestor’s Tale takes readers on a reverse journey through time, tracing the genealogical connections of all living organisms to their common ancestors. Dawkins’ approach mirrors the genealogical structure of the Paulomaparvan, where the lineage of the Bharata dynasty is recounted to explain the origins and destinies of its characters. In both narratives, ancestry is not merely a historical record but a means to understand identity, relationships, and continuity. Similarly, Neil Shubin’s Your Inner Fish traces human lineage back to ancient fish, demonstrating how our anatomical features are inherited from distant evolutionary ancestors. Shubin’s exploration of genetic and anatomical traits reflects the idea that understanding our origins provides insight into who we are—a concept central to genealogical storytelling in texts like the Mahabharata. In Sapiens: A Brief History of Humankind by Yuval Noah Harari, the genealogical evolution of Homo sapiens is explored within a broader framework of history and culture. Harari highlights how humanity’s shared ancestry influences social structures, behaviors, and global developments, much like the Mahabharata ties its protagonists’ struggles to their divine and mortal heritage. Even modern genetics-based books like Siddhartha Mukherjee’s The Gene: An Intimate History delve into the biological and historical narratives of inheritance. Mukherjee’s exploration of genetic lineage—how traits and diseases are passed down—mirrors the Paulomaparvan’s focus on ancestral connections, demonstrating how lineage influences both identity and destiny.

These scientific works, like the Paulomaparvan, use genealogical narratives to bridge the past with the present. Whether through myth or molecular biology, they highlight the enduring importance of ancestry in shaping existence, offering a modern lens to appreciate the timeless themes of lineage and legacy.

The genealogical beginnings of the Mahabharata can offer valuable insights for modern society, particularly in understanding the importance of heritage, legacy, and relationships within a familial context. The Mahabharata’s intricate family tree, which spans multiple generations, illustrates the interconnectedness of individuals within a family and how their actions resonate across time. This deep-rooted understanding of genealogy can help modern society in several ways:

• Family and Social Structures: By exploring the genealogical lineage in the Mahabharata, modern readers can gain an understanding of how family dynamics, loyalty, and power shifts influence the course of events. The epic shows how the actions of ancestors shape the destinies of their descendants. In today's world, this knowledge can be applied to understanding societal structures and how family backgrounds can affect individual lives and relationships. It can encourage individuals to explore their own ancestry to understand the factors that influence their present-day choices and social standing.

• Ethical and Moral Reflection: The Mahabharata’s genealogical storylines often involve ethical dilemmas that arise due to family ties—such as the complex relationship between the Pandavas and Kauravas, who are bound by blood but are starkly divided by conflict. This scenario can inspire modern societies to reflect on the importance of ethical decision-making within family and community settings. It reminds us that our actions, especially those involving our families, can have lasting effects on future generations.

• Heritage and Identity: The Mahabharata serves as a reminder of the significance of one's heritage. In modern times, exploring genealogy has become a way to reconnect with one’s roots and understand the cultural, social, and moral values passed down through generations. This understanding can create a sense of identity and belonging, helping individuals navigate the complexities of the modern world while staying grounded in their cultural traditions.

• Conflict Resolution and Mediation: Many conflicts in the Mahabharata stem from unresolved family issues. The genealogical backdrop can be a tool for modern conflict resolution, highlighting how family histories and legacies can influence contemporary disputes. By understanding the origins of conflicts, modern societies can work towards mediating and resolving issues more effectively, with an emphasis on dialogue, reconciliation, and mutual respect.

• Generational Learning: The Mahabharata’s multi-generational story emphasizes the transmission of knowledge and wisdom across generations. In the modern world, this idea can help create educational frameworks that encourage intergenerational learning, where the experiences and teachings of older generations are valued and passed on to the younger ones, fostering wisdom and continuity in society.

Connecting the "Story Within a Story" and “Nested Story Structure” Device:

So, at its essence, the Mahābhārata resists linear storytelling. Instead, much like the nested narratives found in works such as The Princess Bride, Wuthering Heights, or The Odyssey, this epic begins not once, but twice. Each beginning functions as a story within a story, reframing and enriching the central narrative. This deliberate structural choice mirrors the vast complexity of the text, inviting its readers to engage with its profound layers of meaning.

Now, till now it is clear that the dual beginnings, found in the Anukramaṇiparvan and the Paulomaparvan, are not accidental; they serve distinct yet complementary purposes. The first establishes the epic’s central themes and characters, setting the stage for the grandeur of its narrative. The second, however, delves into more profound philosophical inquiries, adding another dimension to the tale. This technique, akin to the "story within a story" structure in Geoffrey Chaucer’s The Canterbury Tales or Shakespeare’s Hamlet, allows readers to perceive the epic through multiple lenses, enriching their understanding of its themes.

This layering is comparable to the Russian nesting doll effect, such as that found in One Thousand and One Nights or the labyrinthine structure of Mark Z. Danielewski’s House of Leaves. Each narrative layer in the Mahābhārata deepens the reader’s exploration of its central concerns—time, fate, dharma, and the goals of human life (puruṣārthas). These layers invite the audience to engage with each philosophical and narrative element, uncovering profound truths hidden beneath the surface.

To illustrate how the "story within a story" device enriches the Mahābhārata, consider parallels with other renowned works. In Homer’s The Odyssey, Odysseus recounts his adventures to the Phaeacians, embedding a story within the larger narrative. This layered storytelling allows audiences to engage not just with the events but also with Odysseus’s reflections on his journey, transforming it into both a literal and a philosophical exploration.

Odysseus: "I have wandered, lost in the seas of fate, seeking a home that seems forever out of reach."

Phaeacian: "But your journey is more than a return to Ithaca. It’s a return to yourself."

[idea taken from Book 13 of The Odyssey lines 399-404 (Lattimore translation)]

In House of Leaves, the narrative constructs itself like a labyrinth, with a manuscript referencing another documentary, challenging the boundaries of reality for both the protagonist and the reader. The Mahābhārata mirrors this complexity, as its second beginning does not merely reiterate the first but shifts the philosophical focus, compelling readers to rethink their understanding of the epic’s meaning. Similarly, in Shakespeare’s Hamlet, the play within the play unveils hidden truths about King Claudius’s guilt, just as the Mahābhārata’s layered beginnings guide readers toward uncovering deeper truths. The second beginning, much like Hamlet’s theatrical strategy, serves as a reflective device, inviting the audience to reconsider what they perceive as reality.

Hamlet: "Watch the play, Horatio. The truth will reveal itself within its scenes."

Horatio: "But what if the truth hides even deeper, Hamlet?"

[Reference: Hamlet (Act 3, Scene 2): "Watch you now!
A silly play, that’s the thing we’re playing.
Let the scene be played in a straightforward manner, but let the actors speak clearly.
For it is a truth that will not hide, Horatio."]

In One Thousand and One Nights, Scheherazade’s tales within tales gradually transform the sultan’s heart and perspective. Likewise, the Mahābhārata uses its dual openings to layer themes of dharma, destiny, and the human condition, inviting readers to navigate its intricate philosophical landscape.

Through these parallels, the Mahābhārata’s two beginnings emerge not as mere textual curiosities but as intentional narrative strategies. Each opening provides a distinct mode of engagement: one introduces the epic’s characters and conflicts, while the other challenges the reader to contemplate its deeper, existential questions. This structure transforms the Mahābhārata from a simple narrative into a profound experience, where each layer of storytelling deepens the plot and enriches its philosophical reflections.

Why does the Mahābhārata begin twice? Much like other frame narratives, the dual openings encourage the reader to approach the text on multiple levels. The first beginning situates the audience within the epic’s world, offering a foundation for its expansive story. The second opening, however, invites a deeper introspection, urging the reader to explore the text’s metaphysical dimensions. Together, these beginnings create a layered narrative structure that mirrors the complexities of existence itself.

Yes, the Mahābhārata thus opens twice, each beginning equally significant yet serving a unique purpose. This duality draws the reader into a labyrinth of meaning, challenging them to peel back each layer and uncover the truths embedded within. Much like life itself, the epic unfolds through reflection and discovery, offering not just a story but a profound engagement with the nature of existence.

The Mahābhārata’s layered storytelling is not confined to its beginnings; it is a continuous interplay of narratives within narratives, much like the recursive structures found in modern concept albums and tales. This method not only enriches the texture of the epic but also mirrors the intricate ways in which meaning and reality are constructed in art and life.

In The Amory Wars, the story initially appears linear, but by the third album, it is revealed that the narrative is being actively shaped by a character known as the Writer. This revelation transforms the perspective of the listener, who must now grapple with the fact that the creator is simultaneously part of the creation. The Mahābhārata operates similarly, with the sage Vyasa not only composing the epic but also appearing as a character within it. His presence blurs the boundaries between creator and creation, inviting readers to ponder the nature of authorship and reality.

Imagine Vyasa the great grand-father saying: “I have written this tale, and yet, I live within it.”

Arjuna, the great grand-son replying: “Then is my fate merely a line in your text?”

Ha ha!

This meta-awareness is echoed in the dual beginnings of the Mahābhārata, as they compel the audience to engage with the text on both a narrative and a philosophical level. Like the layered albums of Coheed and Cambria or the Beatles' Sgt. Pepper’s Lonely Hearts Club Band, the epic challenges its audience to see beyond the surface story, uncovering deeper truths through reflection and reinterpretation.

For example, the Beatles’ Sgt. Pepper’s uses its fictional stage show framework to weave a tapestry of surreal and personal reflections. The song “A Day in the Life” transcends its dreamlike narrative, leaving listeners to interpret its fragmented reality. Similarly, the Mahābhārata’s Vishwaroopam episode within Kuruketra war from the eyes of Sanjaya, narrated to Dhritarasthra invite readers to navigate the boundaries of myth, philosophy, and lived experience, creating a space where personal introspection meets cosmic inquiry.

Consider Ayreon’s sprawling science fiction narratives, which unfold across multiple albums, each revealing a fragment of a larger story. The Mahābhārata, too, operates on this grand scale, with its nested tales forming an intricate mosaic of interconnected themes. Again, the philosophical dialogues between characters such as Bhishma and Yudhishthira function like Ayreon’s recurring motifs, returning to central questions about duty, fate, and the human condition.

Bhishma: “What binds us, Yudhishthira, if not dharma?”

Yudhishthira: “And yet, Grandfather, dharma itself can appear as a riddle, with many answers.” [reference- adapted from In Shanti Parva (Chapters 240-245)]

The Mahābhārata’s multi-layered structure finds echoes even in the works of Janelle Monáe, whose albums explore interconnected narratives of identity and resistance. Her use of alter-egos and recurring motifs parallels the epic’s exploration of identity through its characters. In Bhagavat Gita 10.37 we find “Amongst the descendants of Vrishni, I am Krishna, and amongst the Pandavas I am Arjun”. 

Arjuna’s struggle with his role as a warrior, for instance, resonates with Monáe’s narratives of self-discovery and rebellion.

Arjuna: “I stand on the battlefield, torn between duty and compassion. Who am I if I choose one over the other?”

Krishna: “You are both and neither, Arjuna, for your true self transcends these roles.”

[Reference: Adapted from a similar exchange Bhagavad Gita Chapter 2, Verses 47-50, and Chapter 3, Verses 35-43, where Krishna explains the nature of duty, action, and the self to Arjuna.]

Through these comparisons, we can better appreciate how the Mahābhārata’s structure allows it to transcend simple storytelling and become a profound exploration of human existence, dharma, and the interplay of fate and free will.

In the Mahābhārata, the Anukramaṇiparvan and the Paulomaparvan similarly frame the epic’s larger narrative, inviting readers to move beyond the surface of the story. Just as the character of Katharina's submission in The Taming of the Shrew might serve as a meta-commentary, the philosophical inquiries embedded in the Mahābhārata’s second beginning compel the audience to reconsider their understanding of dharma and cosmic order.

The musical Kiss Me, Kate expands upon the layered narratives of Shakespeare's The Taming of the Shrew by embedding the struggles of the actors performing the play into the production itself. This interplay between reality and fiction resonates with the Mahābhārata's nested storytelling. The epic’s various layers—from the overarching story of the Kuru dynasty to the smaller yet profound tales such as those of Nala-Damayanti or Savitri—each reflect the central concerns of dharma, morality, and human struggle.

Moreover, The Mahābhārata’s intricate structure finds a modern parallel in the concept albums of musical artists like Coheed and Cambria (The Amory Wars) or Tom Waits (Alice). In The Amory Wars, the narrative complexity is heightened when the Writer becomes a character in the story, blurring the boundaries between creator and creation. Similarly, in the Mahābhārata, the Sage Vyasa, traditionally credited as the author of the epic, also appears as a character within it. This duality reflects on the nature of authorship and the interplay between the storyteller and the story. Philip K. Dick’s The Man in the High Castle also uses nested narratives to question truth and reality, paralleling the Mahābhārata’s use of embedded tales for alternative perspectives on fate.

Thus, the concept of frame of reference in storytelling, as explored in the Mahabharata, offers insightful lessons for the modern world. A frame of reference in storytelling helps establish context, guide interpretation, and shape the way narratives are received by an audience. This idea is present in the Mahabharata, where multiple layers of narrative frames are used to convey moral lessons, cultural values, and ethical dilemmas.

• Narrative Structure and Layered Storytelling: For instance, the story of the Pandavas is framed within the broader context of the Kuru dynasty's history, with stories of gods, sages, and earlier kings woven into the fabric of the tale. This multi-layered approach encourages modern readers to look beyond the surface of a single event and understand its broader implications in the context of history, family, and society. It reminds modern audiences that every action and event has a larger context that shapes its meaning.

• Cultural and Ethical Frames: The Mahabharata offers a rich cultural frame of reference, which can help individuals understand ethical complexities and cultural differences in today's globalized world. The conflict between the Pandavas and Kauravas, for example, can be interpreted in light of family loyalty, justice, and moral responsibility, all of which have varying interpretations across different cultures. The epic encourages the modern world to view conflicts not in isolation but through the lens of cultural backgrounds, values, and ethical dilemmas, fostering empathy and understanding.

• Personal and Collective Narratives: In the Mahabharata, characters’ actions are often shaped by their own personal stories, desires, and internal conflicts. This can be seen as a form of personal frame of reference, where each individual’s actions are influenced by their upbringing, experiences, and goals. Modern-day individuals can learn from this, recognizing how their personal experiences shape their decisions and perceptions, and how understanding others' personal narratives can lead to better conflict resolution and interpersonal relationships.

• Learning and Adaptation: The Mahabharata is a source of timeless wisdom that uses narrative frames to impart lessons about life, duty, and spirituality. In today’s educational context, the Mahabharata’s storytelling methods can inform the development of 21st-century skills like critical thinking, ethical reasoning, and the ability to navigate complex societal structures. Just as advancing storylines for learning with visuals can enhance student engagement today, incorporating diverse narratives and perspectives like those found in the Mahabharata can improve comprehension and broaden students’ worldviews.

• Digital Storytelling and Modern Media: The rise of digital storytelling and media in classrooms and other learning environments mirrors the Mahabharata’s use of multiple frames to deliver its messages. By incorporating diverse viewpoints and a wide range of voices, modern digital platforms can similarly provide richer, more nuanced stories that reflect diverse experiences, much like the Mahabharata does through its diverse characters and parallel storylines.

In conclusion, the Mahabharata’s use of frame of reference serves as a powerful tool for understanding the complexities of human nature, society, and ethics. In the modern era, this approach helps foster empathy, critical thinking, and the ability to view problems from multiple perspectives. Whether in literature, education, or digital storytelling, the Mahabharata’s narrative structure can guide the development of deeper, more meaningful interactions and solutions in contemporary society.

My friend Sourav Bhattacharya once posted in the name of “Encryption”…

Sri Ramakrishna often said, "God cannot be attained through mere scholarship."

Does that mean one must retreat to the caves of the Himalayas?
But Sri Ramakrishna never saw the Himalayas. He didn’t lock himself away in some secluded cave seeking peace. Even in pilgrimage, he found no solace.

Is God real? Does the Divine truly exist? Life is shrouded in layers of mysteries, one after another. These can be felt, yet one wonders—beneath all these mysteries, is there a truth? Is there a harmony?

Sitting silently, a beast and a human being may appear alike on the outside, but what a colossal difference lies within. While outwardly quiet, the human mind builds empires within. It creates homes, kinships, and identities—enemy, friend, stranger, neighbor, family—all born within. Relationships are not external constructs; they are internal phenomena, mirrors in which we measure our existence. Through them, we judge our worth—at times feeling fulfilled, successful, joyful, and at others, defeated, sorrowful, or deprived. Life becomes meaningful when everything aligns toward happiness. But when it spirals into sorrow, one curses fate.

That is the inner world. The outer world is no less chaotic—obedience here, rebellion there; serenity here, irritation there; comfort in one corner, crisis in another. Sometimes trapped, sometimes perched precariously, sometimes swept up in waves of joy, and sometimes simmering like a volcano. At moments, death looms nearby, and at others, life clings on.

Amid all this, the only command is: maintain balance. Walk the tightrope.

But who is to balance it? And who is this 'self' tasked with balancing? From birth, we are trained to become functional beings. Yet, what do we truly learn? Arithmetic, history, geography, literature—these fill our minds, alongside cunning, mischief, and occasional glimpses of honesty or compassion. Religious beliefs and rituals are adopted, challenged, or quietly accepted. Social customs are negotiated. The more we learn, the more confused we become. The more confused, the less we think. The less we think, the more mechanical we grow. This mechanical nature fosters falsehood, which breeds despair. Despair numbs sensitivity. One day, the human either loses their mind or turns to stone.

And this person is to balance life? For how long? How much? In how many directions? What within this chaos is cohesive? Where is the grounding? Life, suspended in contradictions, offers no firm ground—standing is a struggle, and so is moving forward. Joy carries its conflicts, as does sorrow. Love is riddled with contradictions, as is indifference. To awaken is to confront paradoxes. Life itself is a paradox.

And yet, balance is demanded. How is one to achieve it? Is there a magic wand? No, there is nothing. We spend our lives waiting for a magician to appear. We live in fear and anxiety, hoping for a glimpse of a blissful imagined divinity. But where is it? Finally, one by one, we let go of our threads of control. To life, we say, "Take me where you will. I have no more to ask, no more to say. Just don’t drive me mad."

If fortune allows, a faint flame of awareness may ask, “Who are you? Detached like the sky, a silent witness to all my struggles—who are you?”

And thus begins a new journey. This journey could be guided by anyone; here, it is Sri Ramakrishna. Sri Ramakrishna does not preach. He tells stories. Hidden within these stories are the encrypted codes—veiled, concealed. The entire world is encrypted. Can you decode it? Come closer. Come to me. I am no guru, no master, no god. In truth, I am nothing. There is within you a small, curled-up consciousness. The closer you draw to it, the more peace you will find. You need change nothing outwardly. But inwardly, you will transform. Will you come?

The Ganga flows, a soothing breeze accompanies it. Not the Himalayas, nor some mystical cottage in a deep forest, nor smoky ancient beliefs. Just a simple, ordinary man speaking in straightforward words. All you need is to sit beside him. Take his words into your being, reflect on them in solitude, and let them stir your soul. A fragrance will begin to spread within. He demands nothing, holds no authority, seeks nothing from you. All he has is stories to share—stories that will unravel life’s encrypted complexities.

You need not believe anything. All you need is a heart willing to listen, and a life scarred and seasoned like roasted eggplant—burnt, spiced with fiery salt and pepper. Is that too much to ask? That alone will suffice.

The Mahābhārata: Where Every Beginning Begins Again

Once upon a time—wait, scratch that. 

Every story starts somewhere, but not all beginnings are straightforward, as any avid Mahābhārata reader would tell you. Imagine being seated in the Naimiṣha forest amidst chanting sages, the scent of sandalwood swirling in the air, and a bard with an oddly dramatic flair declaring, 

In a dense forest, far removed from the bustling kingdoms of Hastinapura or the chaos of Kurukshetra, the scene is set—a group of solemn, wise sages, known for their intellectual prowess, gathers around the sacred fire. The air is thick with incense, the murmurs of mantras reverberating through the woods, and a sense of anticipation hangs heavy. 

Our tale revolves around Ugrasravas, a bard with an epic-sized memory and a knack for storytelling, and the eternally curious Śaunaka, who leads a band of sages with more questions than answers. Somewhere between their debates on cosmic time and dharma, the forest transforms into a grand stage—a theater of stories, philosophies, and oh-so-many plot twists. In the midst of all this, one man, Ugrasravas, steps forward, with the air of someone who knows that all eyes are on him—and not just the eyes of the sages.

The great sages, renowned for their asceticism, were gathered in Naimisharanya for the twelve-year yajña led by Kulapati Shounaka. It was here that Ugrashrava, son of Lomaharshana and a learned suta, arrived. Humbly bowing before the sages, he was welcomed with respect, and the sages eagerly gathered around him, desiring to hear his marvelous tales. After exchanging pleasantries and inquiries about their sacred endeavors, Sauti was offered a seat and invited to speak.

A sage, curious about his journey, asked, “O Sauti, tell us where you have been and what tales you carry.” Sauti replied, “I have come from King Janamejaya’s snake sacrifice, where Vaishampayana narrated the divine and wondrous stories of the Mahabharata, composed by Krishna Dvaipayana Vyasa. After listening to those profound tales, I visited many sacred sites, eventually arriving here, drawn by a desire to share my knowledge with you. O revered sages, what would you like to hear? Shall I recount the sacred Puranas, filled with dharma and artha, or the histories of kings and sages?”

The sages responded, “We wish to hear the story composed by the supreme sage Vyasa, which was recited at King Janamejaya’s sacrifice. This sacred narrative, adored by gods and brahmarshis, is the supreme collection of tales, blending subtle meanings, logic, and the essence of the Vedas. It surpasses all other compositions and dispels the fear of sin. Recite to us the Mahabharata, the great history of the Bharatas.”

Sauti began with reverence, bowing to Ishana, the eternal and unchanging truth, and to Vishnu, the lord of all beings, the pure and sinless one. He said, “I will narrate the sacred story composed by Vyasa, venerated throughout the world. It is a repository of divine knowledge, enriched with elegant language, diverse metres, and adorned with wisdom. Past poets have sung it, present scholars teach it, and future ones will continue to cherish it. It is a treasure for the learned, encompassing human and divine experiences, and stands as the greatest narrative of all time.”

With this invocation, Sauti prepared to unravel the timeless epic, as the sages listened with rapt attention, eager for the journey into the world of the Mahabharata. And then—like a melody that lingers, like the echo of a flute across the silent woods, like a whisper carried on the wind—Naimisharanya became more than a place. It became a song, an eternal rhythm woven through time as if the Mahabharata and every elements of nature were now getting closer in romance- as if the following is uttered by in the ears of the latter.

“You are my song of forever,
I am your melody of time.
The distant horizon comes closer,
As we entwine in sacred rhyme.

Tell me, O forest, of the verses you hum,
Of sages lost in trance,
Of prayers whispered beneath silvered stars,
Where echoes of dharma dance.

The tune that weaves the night’s poetry,
The call of the flute in longing sighs,
The rhythm where weary hearts draw near,
Where even fallen blossoms rise.

Tell me, O ancient grove, of the stories untold,
Of sacrifices, of wisdom, of loves.
For here in Naimisharanya’s embrace,
Time lingers—but never stops.”

Finally, the story was getting increasingly gripping. The assembled sages, now deeply engrossed in Ugraśrava Sauti’s tale, sit with bated breath, eager to know what happened next. What did King Janamejaya do after being incited by Uttanka? 

Well, let’s get back to the story, shall we?. But remember this—every time you think you've got the Mahābhārata figured out, it throws another curveball. And this, my friends, is just the beginning. Or should I say... beginnings?

References:

https://www.facebook.com/indrajit.bandyopadhyay1

FRAME NARRATIVES AND FORKED BEGINNINGS: OR, HOW TO READ THE ÅDIPARVAN by Vishwa P. Adluri

Adi and Sabha Parva by Bibek Debroy

The Mahābhārata: Book 1, Chapter 1: Anukramanika Parva,

Creationism in Hinduism: Ugrasrava Sauti’s Divine Narration - Ancient Indian Stories

Cover

Creation Story of the Universe as Explained in the Adi Parva - Mahabharata condensed and complete

For photos: The Tale of the Birth of Brahma, A Story Worth Reading on GatherTales 

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