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Introduction
    T he Hindu tradition has an amazingly large corpus of religious texts, spanning Vedas, Vedanta (
brahmana
s, 1
aranyaka
s, 2 Upanishads,), Vedangas, 3
smriti
s, Puranas, dharmashastras and
itihasa
. For most of these texts, especially if one excludes classical Sanskrit literature, we don’t quite know when they were composed and by whom, not that one is looking for single authors. Some of the minor Puranas (Upa Purana) are of later vintage. For instance, the Bhavishya Purana (which is often listed as a major Purana or Maha Purana) mentions Queen Victoria.
    In the listing of the corpus above figures itihasa, translated into English as history. History doesn’t entirely capture the nuance of itihasa, which is better translated as ‘this is indeed what happened’. Itihasa isn’t myth or fiction. It is a chronicle of what happened; it is fact. Or so runs the belief. And itihasa consists of India’s two major epics, the Ramayana and the Mahabharata. The former is believed to have been composed as poetry and the latter as prose. This isn’t quite correct. The Ramayana has segments in prose and the Mahabharata has segments in poetry. Itihasa doesn’t quite belong to the category of religious texts in a way that the Vedas and Vedanta are religious. However, the dividing line between what is religious and what is not is fuzzy. After all, itihasa is also about attaining the objectives of
dharma
, 4
artha
, 5
kama
6 and
moksha
7 and the Mahabharata includes Hinduism’s most important spiritual text—the Bhagavad Gita.
    The epics are not part of the
shruti
tradition. That tradition is like revelation, without any composer. The epics are part of the
smriti
tradition. At the time they were composed, there was no question of texts being written down. They were recited, heard, memorized and passed down through the generations. But the smriti tradition had composers. The Ramayana was composed by Valmiki, regarded as the first poet or
kavi
. The word kavi has a secondary meaning as poet or rhymer. The primary meaning of kavi is someone who is wise. And in that sense, the composer of the Mahabharata was no less wise. This was Vedavyasa or Vyasadeva. He was so named because he classified (
vyasa
) the Vedas. Vedavyasa or Vyasadeva isn’t a proper name. It is a title. Once in a while, in accordance with the needs of the era, the Vedas need to be classified. Each such person obtains the title and there have been twenty-eight Vyasadevas so far.
    At one level, the question about who composed the Mahabharata is pointless. According to popular belief and according to what the Mahabharata itself states, it was composed by Krishna Dvaipayana Vedavyasa (Vyasadeva). But the text was not composed and cast in stone at a single point in time. Multiple authors kept adding layers and embellishing it. Sections just kept getting added and it is no one’s suggestion that Krishna Dvaipayana Vedavyasa composed the text of the Mahabharata as it stands today.
    Consequently, the Mahabharata is far more unstructured than the Ramayana. The major sections of the Ramayana are known as
kanda
s and one meaning of the word kanda is the stem or trunk of a tree, suggesting solidity. The major sections of the Mahabharata are known as
parva
s and while one meaning of the word parva is limb or member or joint, in its nuance there is greater fluidity in the word parva than in kanda.
    The Vyasadeva we are concerned with had a proper name of KrishnaDvaipayana. He was born on an island (
dvipa
). That explains the Dvaipayana part of the name. He was dark. That explains the Krishna part of the name. (It wasn’t only the incarnation of Vishnu who had the name of Krishna.) Krishna Dvaipayana Vedavyasa was also related to the protagonists of the Mahabharata story. To go back to the origins, the Ramayana is about the solar dynasty, while the Mahabharata is about the lunar dynasty. As is to be expected, the lunar dynasty begins with Soma (the moon) and goes