GOPALAKRISHNA WROTE SAGE JAIMINI- PART2 Continued from part1
DATED 12 5 26 WHICH HAD MANY REPETITIONS OF MINE AS WELL AS MISMATCHES AND
UNEXPLAIED FOLK TALES SO A BROAD DETAILS FOR PEOPLE TO UNDERSTAD FULLY: K
RAJARAM IRS 13526
G The Test of Sense Control
KR WHAT WAS WRITTEN BY ME REPEATED ONCE AGAIN
GOPALA: Is sage Jaimini related to Ramayana in any manner? What are
the differences in Uttara Ramayana while retelling by sage Jaimini?
KR ANOTHER PERIOD REPEAT OF MINE WITHOUT CONFIRMATIONS. WHEN WE
READ, WE READ IN DEPTH; BUT ONE WHO READS HASTILITY, WRITES IN CONFUSION.
RAMAYANA AND MAHABHARATHAM HAVE SO MANY VERSIONS IN 10000S
FORMS SAID TO HAVE BEEN WRITTEN BY VERY WELL KNOWN RISHIS AS IN THOSE DAYS,
THE WRITER WAS BEHIND REMAINED UNKNOWN, AND PLACED THE GREAT SAGES NAMES AS
AUTHORED; AND ALL THESE HAPPENNED ONLY AFTER THE 500 BCE PERIOD; ESPECIALLY
WHERE PALM LEAVES WERE USED FREELY THESE PSEUDO NAME LENDERS BECAME IN
VOGUE WITHOUT MUCH REFERENCES, SO TOO JAIMINI WHO WAS NEITHE R IN THE
RAMAYANA NOR IN THE MAHABHARTHA PERIOD AT ALL. ASTROLOGY BOOK REALLY
WRITTEN BY JAIMINI AND BEING PRACTICED IN NORTH EVEN TODAY, REVEAL
PLANETARY POSITIONS RELEVEANU AROUND 500 BCE TO1000 AD ONLY. {For example,
Rig vedam speaks about rise of Krittika star as 1st in the east with
certain configurations as seen then, which when tracked places the
precession era 50000 years ago when Krittika was the 1st star and Aswini;
on the contrary Jaimini astrology hold only Ashwini as the first star.}
Hence retold versions of Uttara Ramayana, Ashva Medha parva etc are
very-late -editions, stamped as Jaimini that too in the north sector about
which many books had been written. So there is no point in retelling
without reasons and evidences drawing our attentions. The Uttara Ramayana
is reproduced different from Ramayana below; and the idea arose from Padma
purana where Ramayana is retold differently and if time and space permitted
I shall give those Padma purana notes also.
KR UTTARA RAMA CHARITHAM PRESENTED DIFFRENTLY
1 Padma Purana tells the story of Rama from how Valmiki does it. Reading
the Jaiminiya Ashwamedha Parva recently, I was fascinated by the changes
its author makes when he tells the Uttara Ramayana story.
2 The context is of the narration of the Ashwamedha battle between
Arjuna and his son Babhruvahana. While describing the battle to Janamejaya, the
author-narrator Jaimini compares it to the similar battle between Rama and
his son Kusha. This prompts Janamejaya to ask for the details of the battle
between Rama and Kusha and Jaimini responds by narrating the story at
length, devoting twelve of the total sixty-eight chapters of the book to it.
3 Jaimini
After returning from his fourteen year exile, says Jaimini, Rama begins
ruling Ayodhya. Years pass and yet Sita does not conceive – the duration
mentioned by Jaimini is ten thousand years, whatever he means by it.
Eventually she conceives and completes four months of pregnancy. It is when
she is in the fifth month that Rama has a terrible dream. In his dream Rama
sees that Lakshmana has abandoned Sita on the banks of the Ganga and she is
weeping there like an orphaned child. Next morning he informs Vasishtha of
his dream and requests the sage to fix a date for the pumsavana ritual, so
that the pregnancy is completed without any trouble. Vasishtha fixes a date
in the next fortnight. Accordingly Rama gives orders to Lakshmana to invite
Sita’s father Janaka and sages like Vishwamitra for the ceremony. They
arrive and the pumsavana is royally performed. Following the ritual, Janaka
hands over his kingdom to Rama and retires to the forest for devoting his
whole life for spiritual practices.
It is one night following this while Rama and Sita are in bed that Rama
asks his wife about her daurhrida [dohada – the pregnant woman’s wish].
Sita tells him that by his grace she has no desires, all her desires are
fulfilled, but there is one thing she is keen to do: visit the ashrams of
ascetics on the banks of the Ganga.
Rama spontaneously bursts out laughing at this – a thing we cannot imagine
Valmiki’s Rama doing. Laughing aloud he asks her if fourteen years of life
in the jungle hasn’t satisfied her. He then promises her that she shall
visit the banks of the Ganga the very next morning.
We can see clearly here that Jaimini is already taking an independent road
in telling the Uttara Katha of Rama. Things are quite different in the
Valmiki Ramayana. In the older telling of the story by the Adikavi, the
prophetic dream Rama sees about Sita being abandoned in the forest is
missing, and so is the pumsavana ritual. Naturally, Janaka does not come to
Ayodhya to attend it nor does he hand over Mithila to Rama to rule over and
retire to the forest for tapas. Rama asks Sita about her dohada not when
they are in bed together, but in entirely different circumstances.
Valmiki
In Valmiki’s version, following his return from the exile and coronation
as king, we find Rama and Sita in each other’s company in an atmosphere of
love in the Ashoka Gardens on the palace grounds, a place filled with all
kinds of beautiful trees. There are ponds in the garden, filled with
acquatic flowers and abounding in chakravakas, swans, cranes, storks and
all other kinds of birds that flock around water. Seated on a couch in the
Ashoka Vanika, Rama lovingly gives Sita with his own hand a beverage called
madhu-maireyaka to drink, just as Indra gives Shachi drinks. Servants bring
varieties of meat and fruits. Naga women, Kinnaris and Apsaras, all pretty,
all adepts at dance, all well adorned, dance around Rama, very close to
him. The dancing women are inebriated and Rama enjoys their dances
thoroughly. Seated with Sita, Rama looks as though Vasishtha is sitting
with Arundhati.
Valmiki then tells us that Rama used to spend the first half of his days
attending to his religious and royal duties and the second half, in the
company of Sita like this for a long time, until winter passes. [The
commentator Govindaraja explains a statement of the Advikavi here to mean
that two winters thus passed after the coronation.] It is then that one day
he notices signs of pregnancy on Sita. He is delighted and asks her what
her dohada is – a pregnant woman’s desires should be fulfilled; what desire
of hers can he fulfill? Sita smiles and tells him of her desire to visit
the sacred tapovanas of the great sages on the banks of the Ganga and to
sit at their feet. She wants to spend at least one night in the holy groves
where these ascetics practice tapas. Rama happily promises that her desire
will be fulfilled the very next day.
It is interesting to take a look at some of the changes introduced by
Jaimini in his narration. Both Valmiki and Jaimini are portraying Rama’s
great love and care for Sita. Valmiki speaks of their evenings together
when Rama gives her drinks, meat is served and beautiful inebriated women
dance around the couple. This is characteristic of Valmiki who is not shy
of speaking of such things. Speaking of the scene of Ravana’s antahpura,
for instance, the sage-poet unabashedly paints the picture of a
post-orgasmic scene there, where few things are left to the imagination.
Similarly in the Aranya Kanda he speaks of Rama giving a piece of cooked
meat to Sita and asking her to try it, telling her it is good to eat, it is
tasty and it is well-roasted – idam medhyam, idam swadu, nish?aptam idam
agnina. Sage Bharadwaj too offers the soldiers of Bharata passing through
his ashram both meat and drinks, along with other kinds of food and drinks.
However, by the time of Jaimini perhaps these things had become
unacceptable in the case of holy men and women like Rama and Sita, and the
poet omits these details. There is no meat eating mentioned in this
context, no intoxicating drinks, and no dance. He chooses other incidents
to portray their intimacy. For instance, Rama’s spontaneous laughter at
Sita’s desire to visit the forest again. That is a very intimate action.
Rama also has the precognitive dream of Sita being abandoned – the kind of
dream a loving person deeply concerned with another is likely to have. His
interpretation of it is that something evil is going to happen to her
pregnancy and he does what he thinks is appropriate – conducting a Vedic
ritual to safeguard the pregnancy and Sita.
Jaimini
Following the promise he makes to Sita that she shall visit the ashram the
next day, later that night, Jaimini tells us, Rama receives his spies and
listens to the reports of each separately. The reports are all good. When
Rama presses them, though, one of them admits that he has heard something
negative too. The wife of a washerman had left her husband and gone away to
her father’s place where she stayed for four days. The father then realizes
that it is wrong for him to keep his married daughter at home for such a
long period and, accompanied by his brothers, he takes her back to her
husband. The furious washerman shouts at them, “Do you think I am Rama? He
can accept back Sita who stayed in the house of the Rakshasas, but I will
not.”
Rama sends the spy away and starts reflecting on his words. He ponders
over what he should do. How can he abandon Sita whose purity has been
proved by fire? No, he cannot, just as an educated brahmana cannot give up
good conduct. Or maybe he should give her up, like brahmanas in the Kali
age who give up the Vedas. By the morning, he makes up his mind to abandon
Sita.
Early next morning his brothers meet Rama. Rama tells him all that
happened in the night and informs them of his decision to abandon Sita out
of fear for the censure of the world - lokabhaya.
The brothers are shocked. It is Bharata who speaks first. He reminds Rama
of Sita’s purity which she has proved by entering fire. He also reminds
Rama of Dasharatha’s words on that occasion. Dasharatha had appeared in the
skies and told Rama not only that Sit is pure but also that she is capable
of purifying others by her presence. In fact, Dasharatha had said then, he
should not have been admitted into heaven because he had died grieving for
his son, but it was because of his daughter-in-law Sita’s purity that he
was admitted into the heaven. Bharata reminds Rama that the gods too had
vouched for Sita’s purity.
Rama admits that it is all true; Sita’s purity is beyond doubt. But what
is he to do with this evil talk that is going on? How can he put an end to
it? For a king, there is nothing worse than ill fame and nothing more
desirable than kirti, yashas – righteous fame. One should give up those who
cause ill fame – be it a son, a brother, or a wife.
Here Rama quotes a few examples from the past, of people who had made
great sacrifices for the sake of righteous fame. One of them is the highly
anachronistic example of Karna ‘long ago’ giving away his armour and ear
rings to Indra.
tathaiva kavacam karno vasavaya dadau pura - Jaimini 27.23
Lakshmana has difficulty in controlling his anger now. Waving his arms in
fury, he tells Rama that his action is like giving up one’s own mother,
like saving a cow from mlecchas and then abandoning it saying it has been
touched by mlecchas and has hence become impure.
Shatrughna is equally furious at what Rama has said. He tells Rama he
should carry out what he says and kill himself – that will make him
immortal. And Sita is such, and her love for Rama is such, that she will
bring him back from death. But, he asks Rama, how will he bring a dead Sita
back to life? He implies that Rama is not capable of doing that, his love
for her is not so powerful.
Rama’s only response is to say that his fear for ill-fame is such that if
necessary he will give up himself and them, his brothers, what to speak of
Sita.
Finding Rama bent on giving up Sita, Bharata and Shatrugha do not wish to
stay with him anymore and go to their own palaces. Lakshmana however is not
able to do so, seeing Rama’s grief. Rama tells him either to chop off his,
Rama’s, head or to carry out his order and abandon Sita in the jungle. “I
touch your feet and beg you,” Rama tells Lakshmana. “Abandon Sita on the
bank of the river in the jungle. That sin will come to me.”
These words of Rama shames Lakshmana. He remembers the injunction of the
scriptures that one should always obey the orders of one’s elders. He
remembers how Parashurama had cut off his mother’s head obeying the orders
of his father Jamadagni. He orders his driver to get his chariot ready and
goes by it to Sita’s house, his head hung heavy in pain.
Here Jaimini adds something beautiful: the horse collapses on the way and
has to be brutally whipped to get up and proceed.
Seeing him bowing to her in her palace, Sita is delighted. He praises
Rama’s generosity: he is fulfilling what she had asked for in the night,
though she had said it in a light mood. She tells Lakshmana she will take
gifts for the sages and their wives. Her words torment Lakshmana, but he
remembers his duty to Rama and silently responds by saying all right, his
head bent, tears flowing from his eyes.
Sita takes leave of Kausalya as well as Kaikeyi and Sumitra and happily
boards the chariot. With a choked voice Lakshmana orders the charioteer to
drive fast.
Valmiki
In Valmiki’s Ramayana, it is not from his spies that Rama hears of the
evil talk about Sita, but from his friends. As usual he was sitting with
his friends in his chamber that night listening to all kinds of humorous
stories told by them. After a while he asks Bhadra, a friend, to tell him
what the citizens are saying about him and his family. Initially Bhadra
tells him of the wonderful things they say, but when Rama insists he tells
him of what they are saying about Sita – or more precisely, about his
continuing to keep Sita as his wife. “What joy can Rama’s heart have from
enjoying Sita who was forcibly taken into his lap by Ravana? Ravana had
taken her with him to Lanka and kept her there in his Ashoka Gardens. Why
does he not reject her? Now we too will have to tolerate such behaviour
from our wives.” Such is the talk going on in the towns and in all the
villages, Bhadra tells Rama. Rama asks his other friends if this is true,
and they all admit it is so.
So in Valmiki’s version, it is not just one washerman who talks
maliciously of Sita, but there is wide talk of that nature in all towns and
villages. As I point out in my article on the Padma Purana version of the
Ramayana, there the author goes further and gives a reason for that
washerman. In his previous lifetime, he was a parrot and Sita had separated
him and his wife, and caged her. The female parrot had killed herself in
the cage when Sita refused to release her, and the male parrot had jumped
into the Ganga and killed himself, cursing Sita that she too will later be
separated from her husband. Thus to the Padma Purana it is Sita’s past
karma haunting her now. We all have to pay the price of what we do,
whoever we are. Karma is inviolable.
To continue the story as Valmiki tells it, after dismissing his friends,
Rama sends for his brothers in the night itself. When they come, he talks
to them about how nothing is more important than one’s good name and how
nothing in the world is worse than ill fame. He asks Lakshmana to take Sita
and leave her in the jungle beyond the Ganga near the ashrams and tells his
brothers if anyone spoke against his decision, he would treat him as his
enemy forever.
Valmiki’s Rama does not allow his brothers to speak a word against him. He
gives them no choice. Jaimini’s Rama is equally determined about abandoning
Sita, but he at least listens to his brothers’ angry talk. Jaimini’s Rama
shames Lakshmana into obedience by saying that he is requesting his younger
brother by touching his feet. The emotional force used by Jaimini’s Rama is
different too – he asks Lakshmana to chop his head off, if he will not obey
him. Valmiki’s Rama appears more hard-hearted when he says whoever speaks a
word against his decision will become his enemy forever.
Valmiki’s Lakshmana goes to Sita the next morning with his chariot to take
her and abandon her. But he lies to Sita – he specifically tells her he is
taking her to the hermitages of the ascetics on the orders of Rama, as
desired by her. She picks up gifts for the sages and happily starts her
journey.
Jaimini
Let’s now go back to Jaimini.
As the chariot proceeds, Sita sees evil omens everywhere. A female jackal
comes before Sita and begins howling piteously. Flocks of deer are seen
running helter-skelter in large numbers. And Sita’s right eye begins to
flutter continuously. Sita suspects bad things – but not for herself. She
prays for the good of Rama, so that no harm comes to him.
When the chariot reaches the Ganga, the river that destroys sins is in a
spate. Lakshmana gets down from the chariot and takes her across the river
by a ferry. On the other side, both Sita and Lakshmana take a bath in the
Ganga and then proceed on foot into deeper jungles. Jaimini paints a dark
picture of the terrifying jungle here – there are sharp thorns everywhere,
there are ancient trees on which are perched crows which are being eaten by
snakes that hiss constantly. The place is filled with cheetahs, bison, wild
boars and black scorpions with raised tails. Tigers wait still looking for
opportunities to pounce upon does. Wild cats are digging mice out of their
holes.
Fear makes Sita’s hairs stand on their ends. “I do not see any ashrams
here, Lakshmana; nor do I see any sages or their wives,” she tells her
devar. “There are no ashram children running about either. I do not see
smoke rising up from agnihotras. What I see instead is smoke rising from
wild fires burning forest grass and trees. Instead of the sound of Vedic
mantras, I hear the wild cries of forest birds.”
Such is Sita’s innocence that she puts the blame for it all on herself.
Perhaps this is her punishment for turning away from Rama by desiring to
visit the ashrams. She is indeed an ugly woman who does not deserve to see
the sacred ashrams. The auspicious ashram sounds and sights are not for her.
Tears streaming down from his eyes, Lakshmana tells Sita that the ashrams
are still far away. He then informs her how she has been abandoned by Rama
out of fear for the censure of the world – loka-apavada-bhaya.
Sita hears those words and collapses on the ground like a star falling
from the skies. It was as though she has been bitten by a deadly snake.
Lakshmana fans her with the end of his cloth and she comes to and sitting
up, asks Lakshmana, “Once you had left me alone in Janasthana and went
away. How will you again leave me in this terrible forest and go away?”
She tells Lakshmana how he is the dearest of her devars, brothers-in-law,
and recalls one by one his acts of love and devotion to her. She does not
blame Rama for abandoning her for no fault of hers – it must be her karma
from a past life time. She asks Lakshmana to hurry back, or else Rama might
get angry with him for being late. As for her, the god who protected her in
the womb and protected her in Lanka will protect her in the forest too. She
gives messages of love and devotion to her mothers-in-law to Lakshmana.
Sita has only one complaint against Rama – he should not have entrusted
the tender hearted Lakshmana with the work of abandoning her in the jungle.
He should have asked someone like the hard hearted Sugriva, slayer of his
own brother, or Vibhishana who turned against his own brother, to do that
job. She gives her blessings to Lakshmana and asks him to leave her and go
back. Lakshmana goes round her in reverence and praying to the forest gods
and goddesses to protect her, begins walking away and finds his legs are
refusing to carry him away from Sita. Sita looks on at the disappearing
Lakshmana and hopes perhaps he would return. When she finds that he does
not, she swoons again.
The Jaiminiya Ashwamedha Parva turns eloquent here in describing the
sympathy of the forest for Sita. It describes how swans give up lotus
stalks and start wailing in their harsh voices. The does and their babies
give up feeding on grass and raising their heads stall still watching Sita
lying in a swoon. Peacocks give up their dances and run towards her. Birds
stop searching for food and instead spread their wings and protect Sita
lying on the forest floor. Water fowls sprinkle water on her with their
wings. The chamaris fan her with their chamara-like hairy tails. The wind
takes a dip in the Ganga and then gathering the flowers lying around,
showers them on Sita in an act of worship.
Sita wakes up taking Rama’s name. Because of contorting in pain as she lay
in swoon, her hair is open now and like the rest of her body, it is covered
in dust. Her first impulse is to end her life, but that would be the great
sin of bhroonahatya – killing an embryo in the womb. Not knowing what else
to do, she runs first in one direction, then in another, falling every now
and then in her agony and loneliness. Her feet start to bleed from running
in the thorn-filled and rough forest floor and from falling down repeatedly.
It is in this state that Sage Valmiki finds her in the jungle while he is
roaming there along with his disciples looking for wood appropriate for a
sacrificial pillar.
Valmiki
Jaimini differs from Valmiki in where Sita is left. In Valmiki Ramayana,
Rama’s instructions are to leave Sita at some lonely place near Valmiki
Ashram and that is precisely what Lakshmana does. In fact it is possible
that from where Sita was left the ashram was visible and Sita was visible
from the ashram too. For, Lakshmana says to Sita when they reach there:
asramante?u ca maya tyaktavya tvam bhavi?yasi
rajnah sasanam ajnaya tava evam kila daurh?dam
tadetajjahnavi tire brahma??i?am tapovanam
pu?yam ca rama?iyam ca ma vi?adam k?thah subhe
“Obeying the order of the king and as per your pregnancy wish, I am to
abandon you near the ashram. Here is the sacred and beautiful tapovana of
the brahmarshis on the banks of the Ganga. Do not grieve.”
Jaimini changes this and there is no indication that it is near the ashram
that she is left. In fact, there are all kinds of contrary indications.
Sita complains that she does not see any ashrams there, nor any sages nor
their wives. She speaks of seeing no ashram children running about, seeing
no smoke rising up from agnihotras. All she sees is smoke rising from wild
fires burning forest grass and trees. Instead of Vedic mantras, she points
out, all she hears is the wild cries of forest birds.
Jaimini’s forest is also not the gentle forest near ashrams – what we find
everywhere is sharp thorns, ancient trees on which are perched crows who
are being hunted by hissing snakes, and the forest floor filled with
cheetahs, bison, wild boars, black scorpions with raised tails, tigers
waiting to pounce upon does, cats digging mice out of their holes.
In Valmiki she is so close to the ashram the young ashram children see and
hear her cries and inform the sage of her. Sita here has no consolation of
being anywhere near ashrams. And she runs about madly in intolerable agony,
first running in one direction and then in another. It is in this state
that Valmiki who is looking for wood for making a sacrificial post finds
her in Jaimini.
Also, in Jaimini, it is the fear of bhroonahatya – the sin of killing the
children in her womb – that prevents Sita from killing herself. In Valmiki
it is the fear that with it Rama’s ancient royal line will come to an end.
Summing Up
Summing up the differences so far, Jaimini in spite of being a lover of
Rama, is quite critical of his action of abandoning Sita. He makes Rama
himself compare his action to that of the brahmanas of Kaliyuga giving up
the Vedas – when the brahmanas who are supposed to live for protecting the
Vedas give them up, it is always for unholy purposes, for selfish ends.
Jaimini does not see Rama’s fear of lokapavada – the censure of the world –
as anything noble. Like so many of us today, he perhaps feels Rama took the
easy way out. Instead of standing by Sita and fighting for her like a hero
and making the people of Ayodhya realize their error, he chose to get rid
of her so that he can be in their good books. He definitely was not setting
up a good example before the world, just as a brahmana who gives up the
Vedas is not, whatever his reason.
Jaimini makes Sita say that the god who protected her in the womb and in
Lanka will protect her in the forest too.
yo garbhe rak?ita devo yo vai lankadhivasinim
mam sa vai rak?ita cadya na duhkham kartumarhasi.
These are the words of a woman who has been given up by the very man who
is supposed to protect her. In fact, it is he who has thrown her into the
middle of dangers. These words remind us of Draupadi, wagered and lost by
Yudhishthira and thus made a slave, turning to God in the form of Krishna
for protection, when they fail her.
In one of the most eloquent expressions of kindness and compassion the
world has seen, Jesus from the cross asks God to forgive his tormentors and
crucifiers. Valmiki’s Sita does the same, a few thousand years before
Jesus. And Sita does not ask Rama just to forgive those who have been cruel
to her, but going beyond it, to actively love them.
yatha bhrat??u vartethas tatha paure?u nityada
Valmiki’s Sita thus asks Rama to love the people of Ayodhya
who have sent her to the jungle; and not love them with the common love of
a king for his subjects, but as Rama loves his brothers – he loves no one
more than he loves his brothers, not even her. This is loving your enemies
in the truest sense of the term. She asks Rama to love her tormentors, her
crucifiers with all his heart.
And when she does not kill herself by jumping into the Ganga, it is
because she does not want Rama’s line to come to an end with her.
Valmiki’s Sita is almost superhuman in her compassion and kindness. But
Jaimini brings her down to the earth, without reducing her in any way. She
is so tormented by her fear and agony – it is not near the ashram that she
has been abandoned, but in a terrifying jungle with scorpions and snakes
and cheetahs and wild boars all around her – that she has no thoughts for
the citizens of Ayodhya. And we can understand Sita if she refuses to kill
herself out of the fear for bhroonahatya rather than out of the fear of
loss that it will cause Rama. She is just being human there. Perhaps the
thought that {TO BE CONTD K RAJARAM IRS 13526}
On Tue, 12 May 2026 at 11:26, 'gopala krishnan' via Thatha_Patty <
[email protected]> wrote:
> *SAGE JAIMINI- PART2*
>
> Continued from part1
>
> *The Test of Sense Control*
>
> Jaimini reportedly felt that he had mastered his senses to a point where
> he was above all lust and temptation.
>
> The Scenario: To test him, *Vyasa left Jaimini in charge of the hermitage
> and later appeared in the disguise of a beautiful young woman seeking
> shelter during a storm*.
>
> The Outcome: Despite his vows, Jaimini found himself overcome with
> attraction.
>
> *When he eventually succumbed and reached for her, Vyasa revealed his true
> form.*
>
> This event was a turning point for Jaimini, teaching him that true wisdom
> requires eternal vigilance and that no *one is beyond the power of
> illusion (Maya*).
>
> * Is sage Jaimini related to Ramayana in any manner?*
>
> Sage Jaimini is traditionally *associated with the Mahabharata era, not
> the Ramayana period.* He lived long after the events of the Ramayana had
> concluded.
>
> While he did not personally live during the time of Lord Rama, he is
> connected to the Ramayana through his literary work:
>
> Author of Uttara Ramayana:
>
> In some traditions, Jaimini is credited with a unique *retelling of the
> Uttara Ramayana*, which covers the later events of Lord Rama's life, such
> as his return to Ayodhya and the story of Lava and Kusha.
>
> Time Gap: Chronologically, the Ramayana occurred during the Treta Yuga,
> while Jaimini lived during the Dvapara Yuga and the beginning of Kali Yuga
> as a disciple of Veda Vyasa. This represents a gap of thousands, or in some
> views, hundreds of thousands of years.
>
> *What are the differences in Uttara Ramayana while retelling by sage
> Jaimini?*
>
> The retelling of the Uttara Ramayana by Sage Jaimini—*primarily found
> within his version of the Ashvamedha Parva—diverges significantly from the
> standard version composed by Sage Valmiki*.
>
> While Jaimini's text maintains the core sequence of events, his narrative
> alters specific plots, introduces independent theological motivations, and
> directly shifts character dynamics.
>
> The fundamental differences between the two retellings include:
>
> Prophetic Omens: In Jaimini's retelling, Rama experiences a terrifying
> prophetic dream forecasting the abandonment of Sita long before it occurs.
>
> Valmiki's text contains no such dream; Rama acts solely based on reports
> of local rumours.
>
> *The Pumsavana Ritual*: Jaimini introduces the Pumsavana ritual (a Vedic
> ceremony performed for a secure pregnancy) for Sita.
>
> Janaka's Abdication: Due to the ritual, King Janaka travels to Ayodhya,
> chooses to hand over the rule of Mithila to Rama, and leaves immediately
> for the forest to practice tapas (austerities).
>
> In Valmiki's Uttara Kanda, Janaka remains the ruling king of Mithila and
> does not hand his kingdom to Rama.
>
> Investigation of the Rumours-Spy Interviews:
>
> After Rama promises Sita that she can visit the forest hermitages, Jaimini
> specifies that Rama secretly interviews multiple spies individually at
> night to review public opinion.
>
> The Circle of Friends: In Valmiki's text, Rama does not gather direct
> intelligence from isolated undercover spies; he learns about the critical
> gossip regarding Sita's purity during an open discussion with his close
> companions and friends.
>
> The Abandonment and Valmiki's Hermitage-Location of Banishment:
>
> Jaimini changes the exact location where Lakshmana leaves Sita, *positioning
> her further away from the initially planned river banks*.
>
> Valmiki’s Ignorance: When Sage Valmiki encounters the weeping, abandoned
> Sita in Jaimini's text, *he does not recognize her.* He must explicitly
> ask for her identity.
>
> Valmiki's Omniscience: In the original Valmiki Ramayana, Valmiki possesses
> immediate, divine spiritual insight (tapas-shakti). He already knows
> exactly who Sita is, why she was exiled, and affirms her absolute purity
> without asking a single question.
>
> Ashvamedha Yajna and Military Focus
>
> Devotional Martial Scale: *Jaimini's Ashvamedha Parva transforms the
> military campaign protecting the sacrificial horse into an expansive,
> highly devotional saga*.
>
> Lava and Kusha’s Combat: While Valmiki focuses heavily on Lava and Kusha
> singing the Ramayana epic in the royal court, *Jaimini focuses intensely
> on the dramatic combat details between Rama’s royal army and his twin sons
> in the forest*
>
> *Jaimini Presence in Mahabharata:*
>
> Historical and scriptural records place Jaimini firmly in the Mahabharata
> timeline. *He was part of Yudhishthira’s council, visited Bhishma on the
> bed of arrows, and was present at King Janamejaya’s serpent sacrifice
> (Sarpasatra*).
>
> Scholarly Perspective: From a historical-academic viewpoint, Jaimini is
> estimated to have lived between the 4th and 2nd century BCE, whereas the
> core events of the Ramayana are traditionally dated much earlier.
>
> *Sage jaimini during Dwaparayuga*
>
> During the Dwapara Yuga, Sage Jaimini played a pivotal role as one of the
> chief architects of Vedic preservation and a key figure in the events
> following the Great Kurukshetra War.
>
> *Key Roles in Dwapara Yuga*
>
> The Division of the Vedas: As a direct disciple of Veda Vyasa, *Jaimini
> was tasked with preserving the Sama Veda.* During this era, Vyasa foresaw
> the coming of the Kali Yuga and the decline of human memory, so he
> instructed Jaimini to master and pass down the melodic and musical portions
> of the Vedas.
>
> Advisor to the Pandavas: Jaimini served as a respected member of King
> Yudhishthira’s council in the Sabha Parva.
>
> Witness to the Great War: He was present during the Kurukshetra War and
> visited the dying patriarch Bhishma as he lay on the bed of arrows
> (Sharashayya).
>
> Famous Events & Interactions
>
> The Snake Sacrifice (Sarpa Satra): After the transition to the Kali Yuga,
> Jaimini acted as the Brahmana priest (the chief supervisor) during King
> Janamejaya’s massive ritual to exterminate all serpents.
>
> This sacrifice was performed to avenge the death of *Janamejaya's father,
> King Parikshit.*
>
> Retelling the Mahabharata: While Veda Vyasa composed the original epic,
> Jaimini wrote his own version known as the Jaimini Bharata. Legend says
> he recited this version to King Janamejaya during the intervals of the
> Sarpa Satra.
>
> *Legacy in the Dwapara-Kali Transition*
>
> Jaimini is often credited with bridging the gap between the eras by
> founding the Mimamsa school of philosophy, which systematised the Vedic
> rituals necessary for maintaining Dharma as spiritual knowledge began to
> fade in the early Kali Yuga.
>
> *The Jaimini Bharatha*
>
> The Jaimini Bharata is most famous for its detailed and often *fantastic
> version of the Ashvamedha Parva* (The Book of the Horse Sacrifice), which
> is the only surviving portion of Jaimini's original epic.*Unlike Vyasa's
> version, Jaimini’s narrative is deeply rooted in Bhakti (devotion) and
> portrays Arjuna not as an invincible conqueror, but as a warrior who
> frequently requires Krishna's intervention* to overcome more powerful
> adversaries.
>
> Unique Episodes in Jaimini Bharata-Story of Chandrahasa:
>
> One of the most popular segments, it tells of an orphan boy who, despite
> various death plots by the wicked minister Dustabuddhi, miraculously
> survives and eventually becomes king.
>
> *The legend of Dushta buddhi-in detail*
>
> The story of Chandrahasa in the Jaimini Bharata is a classic tale of
> destiny and divine protection. Born as a prince of Kerala, *he had a
> sixth toe on his left foot*—a sign interpreted by astrologers as an omen
> of either extreme poverty or great royalty.
>
> *The Early Murder Plot-*After his parents were killed in battle,
> Chandrahasa became a beggar in the kingdom of Kuntala. *The wicked
> minister Dustabuddhi, who wished to seize the throne for his own son
> Madana, grew fearful when astrologers predicted the boy would one day rule.*
>
> The Jungle Escape:
>
> Dustabuddhi hired assassins to kill the boy in the forest. However, moved
> by the child's beauty and innocence, the assassins could not bring
> themselves to kill him.The Proof: *Instead of his life, they took his
> sixth toe as "proof" of his death to show the minister*.
>
> *The Letter of "Poison" (Visha)*
>
> Years later, a grown Chandrahasa was found by a vassal and became a famous
> warrior. Dustabuddhi, realizing the boy was still alive, hatched a second
> plot.
>
> The Fatal Instruction: He sent Chandrahasa to his son Madana with a sealed
> letter. The letter explicitly ordered Madana to give the messenger "*Visha"
> (Poison) immediately.*
>
> The Divine Twist: Exhausted, Chandrahasa fell asleep in a royal garden.
>
> There, *Dustabuddhi’s daughter, Vishaya*, found him and fell in love at
> first sight. She noticed the letter protruding from his clothes and read
> it.
>
> The Edit: Realizing her father's cruel intent, *she used her cosmetic
> charcoal and a small stick to cleverly add one letter to the word "Visha,"
> changing it to "Vishaya"* (her own name).
>
> The letter now read: "Give Vishaya to this messenger in marriage
> immediately".
>
> Madana, obeying his father’s "command," married his sister to Chandrahasa
> that very day.
>
> The Final Temple Plot
>
> A furious Dustabuddhi tried one last time, arranging for assassins to wait
> at a Kali temple to kill the first person who entered.
>
> The Boomerang Effect: Chandrahasa was delayed, and *it was Dustabuddhi’s
> own son, Madana, who entered the temple first and was killed by the waiting
> guards.*
>
> Resolution: Overcome with grief and realizing he could not fight destiny,
> the minister attempted to kill himself. However, Chandrahasa's great
> devotion moved the goddess, who restored Madana to life. *Ultimately,
> Chandrahasa was crowned King of Kuntala*.
>
> *The Battle with Sudhanva*: Jaimini provides an elaborate account of *King
> Hamsadhvaja and his son Sudhanva, who stops the sacrificial horse*.
>
> Sudhanva is a great devotee of Krishna and battles Arjuna fiercely to
> prove that devotion is superior to martial pride.
>
> *Chandi and Uddhalaka*: A humorous episode involving the short-tempered
> Chandi and the sage Uddhalaka, used to illustrate human emotions and the
> power of domestic life.
>
> Mairavana Carita: This unique episode features Hanuman and Sita using
> mantra-infused blades of grass to destroy demons, a concept Jaimini likely
> adapted from his teacher Vyasa.
>
> The Rescue of the Horse by Bhima: While Vyasa focuses on Arjuna’s solo
> journey; Jaimini features Bhīma defeating King Juvanaswa of Bhadravatipur
> to recover the white sacrificial horse.
>
> Babruvahana and the Sanjeevani Gem: Jaimini adds more details to the *conflict
> between Arjuna and his son Babruvahana*. In this version, a cobra (kin of
> the one killed in the Khandava fire) seeks revenge by refusing to provide
> the life-giving Amritamani gem to revive the fallen Arjuna.
>
> Sacrificial Horse-Jaimini mentions of two horses (one white, one
> dark).Features only one white horse while telling by Vyasa.
>
>
>
> *I will continue in next part.*
>
>
>
> *Compiled by R. Gopalakrishnan from websites and Google QA. 12-05-2026*
>
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