*to all knowing members or arguing members* for the sake of arguing. written by Gopala; whether all knowing or sake of argument;m which is correct? Did Gopala prove any "for the sake of argument as wrong so far? Never because "HE DOES NOT KNOW WHAT IS HE WRITING EXCEPT DOING CUTTING AND PASTIONG EVEN MORE THAN ONCE. 2 Pulaha (पुलह).—One of the Prajāpatis. The references about him in the Purāṇas are the following:
Pulaha was one of the spiritual sons of Brahmā. (Śloka 12, Chapter 204, Vana Parva). Kṣamā, wife of Pulaha, delivered three sons named Kardama, Urvarīvān and Sahiṣṇu. (Chapter 10, Aṃśa 1, Viṣṇu Purāṇa). Pulaha got of his wife Kṣamā another son named Karmaśreṣtha. (Chapter 20, Agni Purāṇa). Pulaha is included in the group of six powerful sages. (Śloka 4, Chapter 66, Ādi Parva). >From Pulaha were born the butterflies, lions, tigers, lambs, wolves and Kimpuruṣas. (Śloka 3, Chapter 66, Ādi Parva). Pulaha took part in the Janmotsava of Arjuna. (Śloka 52, Chapter 122, Ādi Parva). Pulaha was also among the sages who dissuaded Parāśara from conducting a yāga to kill all the rākṣasas. (Śloka 9, Chapter 180, Ādi Parva). Pulaha was a member of the court of Indra. (Śloka 17, Chapter 7, Sabhā Parva). Pulaha was a worshipper of Brahmā. (Śloka 18, (Chapter 11, Sabhā Parva). Pulaha did penance at a place on the shores of Alakanandā, a tributary of river Gaṅgā. (Śloka 6, Chapter 142, Vana Parva). He took part in the Janmotsava of Subrahmaṇya. (Śloka 9, Chapter 45, Śalya Parva). Pulaha is included in the twenty one Prajāpatis. (Śloka 35, Chapter 334, Śānti Parva). Pulaha is one among the group of Saptarṣis called Citraśikhaṇḍins. (Śloka 29, Chapter 335, Śānti Parva). Pulaha is also one of the Aṣṭaprakṛtis. (Chapter 340, Śānti Parva). 2 Natyashastra (English)by Bharata-muni Chapter XXXV - Distribution of Roles (bhūmikā) 2. After considering together their gait, speech and movement of limbs as well as their strength and nature, the experts are to employ actors to represent different roles [in a play].3. Hence the selection of actors should be preceded by an enquiry into their merits. The Director (lit. the master) will not feel difficulty in the choice [if such procedure is followed].4. After ascertaining their natural aptitudes, he is to distribute roles to different actors. The Role of gods 5-6. Persons who have all the limbs intact, well-formed and thick-set, who are full-grown (vayo'nvita), not fat or lean or tall or large, who have vivacity, pleasant voice and good appearance, should be employed to take up the role of gods. The Role of Rākṣasas etc. 7-8. Persons who are fat, and have a large body and a voice like the peal of thunder (lit. cloud), furious looking eyes and naturally knit eyebrows, should be employed to take up the role of Rākṣasas, Dānavas and Daityas; for the performance of male actors [should be] in conformity with their limbs and movements. The Role of Kings 9-11. Actors of the best kind who have beautiful eyes, eyebrows, forehead, nose, lips, cheeks, face, neck, and every other limbs beautiful, and who are tall, possessed of pleasant appearance, dignified gait, and are neither fat nor lean, and are well-behaved, wise and steady by nature, should be employed to represent the role of kings and princes (kumāra). The Role of Army-leaders and Secretaries 12-13. Persons who have well-formed limbs, distinct speech, are neither tall nor fat, are heroic, have reasoning positive and negative, are brave, and eloquent and have presence of mind, should be employed to take up the role of army-leaders (senāpati) and secretaries (amātya). The Role of the Kañcukīyas and the Śrotriyas 14. Persons who have brown eyes, long nose, and who are short or tall, should be employed in the role of Kañcukīyas and Śrotriyas.[1] The Role of Minor Characters 15. In other cases too, similar dramatic convention has been prescribed; roles should be assigned after considering the actors’ age and physical condition. 16-17. [For example], persons[2] who are slow-moving, very dwarfish, hunch-backed, uncouth, odd-faced and fat, who have expressionless (lit. motionless) eyes, one eye blind, small chin and low nose, ugly raiments, evil nature, deformed body and who have marks of a slave, should be employed in the role of slaves. The Role of Fatigued Persons 18. A person who is naturally thin, should be employed in a play to represent a tired person. The Role of a Person in Health A fat person should be employed to represent a person without any disease. Special Cases of Assigning Roles 19. If however such persons are not available, the Director (lit. the master) should exercise discretion to employ [some one] after a consideration of the latter’s nature and movement as well as States [to be represented], 20. Such persons’ natural movements whether good, bad or middling, should be regulated by contact with the Director (lit. the master), and then they will properly represent [all] the States. 21. In other cases too, similar dramatic convention has been prescribed, and roles should be assigned to persons after considering their native places (deśa) and costume (veśa). The Role of a Character with Extra and Special Limbs 22-24. In case of characters which have many arms, many heads, and uncouth faces and faces of animals, including beasts of prey, asses, camels, horses and the like, the Director (lit. the master) should according to his direction have the masks (lit. them) made with clay, wood, lac and leather. [3] The Entry of a Character 24. One should not enter the stage in his own natural appearance. His own body should be covered with paints and decorations. The Result of Impersonation 25. In the production of a play, a person in his natural form of the body, should be employed [to assume a role] according to his age and costume. The Method of Proper Impersonation 26-27. Just as a man who renounces his own nature together with his body and assumes another’s nature by entering into his body[4] so the wise actor thinking within himself that ‘I am he’ should represent the States of another person by speech, gait, gesture and other movements. Three Kinds of Impersonation 28. Human characters as they are represented on the stage fall into three classes: natural (anurūpā), unnatural (virūpā) and imitative (rūpānusāriṇī). The Natural Impersonation 29. When women impersonate female characters and men male characters, and their ages are similar to that of the characters represented, the impersonation is called ‘natural’ (anurūpā). The Unnatural Impersonation 30. When a boy takes up the role of an old man or an old man takes up that of a boy and betrays his own nature in acting, the representation is called ‘unnatural’ (virūpā). The Imitative Impersonation 31-32. When a man assumes a woman’s character,the impersonation is called imitative (rūpānusāriṇī) by the best actors. A woman also may assume if she likes, a man’s role in actual practice. But an old and a young man should not try [to imitate] each other’s manners. Special Suitability of Men and Women 33-34. Bold men who have heroism and strength, should be employed for recitatives, and women [should always be employed] for songs. Women’s nature is suited mostly to songs and that of men to recitatives For women’s voice is naturally sweet and that of men is forceful. 35-36. Though men know the rules of singing in their traditional characteristics, their songs being devoid of sweetness, do not create beauty. Whenever there is [any] merit in women’s recitation and sweetness of voice in men, these are to be considered as being due to freaks (lit. inversion) of nature, and as such these should be [considered] ornaments.Women in Men’s Roles 37. In temples, palaces and houses of army-leaders and other prominent persons, dramatic performances (prayoga) are mostly held by women in men’s role. Women’s Special Merit 38. A delicate person’s role is always to be taken up by women. Hence, in case of women as well as gods and men of delicate nature [women are to assume the roles]. 39. [It is for this reason that] drama came to be established in heaven through Rambhā, Urvaśī and the like [nymphs]. And similar has been the case in king’s harems in this world. Training Women in Different Roles 40. Directors (lit. masters) should instruct women according to the Śāstras, but they should not themselves give coaching to women in learning their [feminine] roles. 41-42. But masculine (lit. depending on men) roles should be carefully directed by them. As natural amorousness is observed in women, their naturally graceful limbs are easily accessible to Sauṣṭhava; and sportful nature will be their additional qualities (lit. ornaments) [when they assume a male role]. Result of Proper Assignment of Roles 43. When actors and characters in a play have similar conditions and behaviour, and have natural limbs and organs (karaṇa), they will embellish a dramatic performance. 44. Want of fatigue in dance and music, is always a quality of women, and a dramatic production partly attains its sweetness and partly its strength due to this. 45. A woman who is an adept in the practice of love, and is an expert in [representing] love-affairs, appears through her graceful acting on the stage, like a creeper full of various charms, on account of its [many] flowers. 46. Hence [a Director] should always bestow undivided attention to women’s exercise (yogyā) [in dance and music], for without this, the States, Sentiments, the Sauṣṭhava cannot be produced by them in the least. Types of Dramatic Production 47. The production of a drama which includes many States and Sentiments, is of two kinds: delicate (sukumāra) and energetic (āviddha). The Delicate Type of Production 48. Nāṭaka, Prakaraṇa, Bhāṇa, Vīthī and Aṅka are to be known of the delicate type. For they depend on human beings. 49. This delicate type of production is pleasing to kings. Hence plays of this class including the Erotic Sentiment, should be produced by women. 50. The play in which there occur violent fighting, great speed [of movement], and much excitement, should not be enacted by females, but by males. 51-52. If a play includes ordinary (lit. not exalted) incidents and no hurried or violent movement of limbs, and requires an observance of proper tempo, Tāla, Kalā and regulated utterance of syllables, and clearly divided words and has plenty of desired Sentiments, it should be produced by women. The Energetic Type of Production 53-54. The play which requires energetic (āviddha) type of Aṅgahāras to represent cutting, piercing, and fighting, and includes [a representation of] the use of magic and thaumaturgy as well as artificial objects and costumes, and has among its dramatis personae many males and a small number of females who are of quiet nature, and mostly the Grand and the Energetic Styles applied in its production, is of the energetic type. 55-56. Ḍima, Samavakāra, Vyāyoga and Īhāmṛga are known to be plays of the energetic of type by producers. Production of plays of this kind, should be made by [an impersonation of] gods, Dānavas and Rākṣasas. 56. Thus one should assign different roles in the production of a play. Next I shall speak how a play attains excellence due to costumes and make-up. The Typical Impersonation of a King 57-59. How are the qualities of a king to be represented by an actor who has a few wearing apparels? In this connection it has been said that when dramatic conventions have come into vogue I have made plays furnished with all these (i.e. conventions). In them (i.e. plays) the actor (naṭa) covered with paint, and decorated with ornaments, reveal the signs of kingship when he assumes a grave and dignified attitude, and then he alone becomes, as it were, a refuge of the seven great divisions (saptadvīpa) of the world. 60-61. He should move his limbs only after he has been covered with paints. And trimmed according to the discretion of the Director and having the Sauṣṭhava of limbs, the actor becomes like a king, and [thus trimmed] the king also will be [very much] like an actor.[20] 61-63. Just as an actor is, so is the king and just as a king is, so is the actor. The two will represent their States by similar deportments and Sauṣṭhava of limbs. Just as by properly carrying out the instruction of the Director, the actor illumines the stage, similarly the king also will always be naturally brilliant. His followers will be like that of divine personages.[22] In a play they are to be introduced with proper costume, language and age. 64. The producer should let the actor have the natural appearance of a character [by giving him suitable costume] and by associating him with suitable age through [proper] make-up. 65. Thus one should make a selection of persons for representing kingly manners. I shall next speak of the qualities of a Director (sūtradhāra). In this connection I shall speak of the qualities of a Director. First of all, he should possess knowledge of characteristics [of everything concerning the theatre], desirable refinement of speech, knowledge of the rules of Tāla and theory of notes and instruments [in general] 66-71. One who is an expert in playing the four kinds of musical instrument, has various practical experience, is conversant with the practices of various religious sects, and with polity and the science of wealth (arthaśāstra) and the manners of courtezans and ars amatoria, and knows the various conventional Gaits and movements, thoroughly understands all the Sentiments and the States, and is an expert in producing plays, acquainted with all arts and crafts, with words and the rules of prosody, and proficient in all (the Śāstras, the science of stars and planets, and the working of the human body, knows the extent of the earth, its continents, devisions, and mountains and people inhabiting them, and the customs these have, and the names of descendants of royal lines, and who listens about acts prescribed in Śāstras, can understand the same, and puts them into practice after understanding them, and gives instructions in the same, should be made a teacher and Director. Natural Qualities of a Director 72-74. Now listen to me speaking about the natural qualities [which he should possess]. He should be possessed of memory and intelligence, and should be patient, liberal, firm in his words, poetical, free from any disease, sweet [in his manners], forbearing, self-possessed, sweet-tongued, free from anger, truthful, impartial, honest, and free from greed for praise.[24] Characteristics of an Assistant of the Director 74-75. A person of the middling type who has slightly less number of qualities than that the Director is to possess, should be known as an Assistant ( pāripārśvika) of the Director. Characteristics of an Actor 75-76. An actor (naṭa) should be lively (lit. bright), possessed of a good physique, acquainted with [theatrical) accessories and their uses, possessed of intelligence, conversant with the rules [of the theoretical practice], and expert in his own work. Characteristics of a Parasite 76-77. Possessing all the qualities which the Director is to have with regard to the theatrical production, the Parasite (viṭa) should be an expert in dealing with courtezans, sweet [in his words], impartial, poetic, proficient in the meaning of the Śāstras and in the knowledge of courtezans, capable seeing the positive and the negative side of any argument, and eloquent and clever. Characteristics of the Śakāra 78. The Śakāra[25] is one who wears gaudy (lit. brilliant) clothes and ornaments and grows angry without adequate reason and gets pacified likewise, and who is an inferior character and speaks Māgadhī[26] and has manifold changes [in his conduct]. Characteristics of the Jester 79. The Jester (vidūṣaka) should be dwarfish, should possess big teeth, and be hunch-backed, double-tongued[27] bald-headed and tawny-eyed. Characteristics of a Servant 80. A servant (ceṭa) be should be fond of quarrel,[28] garrulous, uncouth in form and give service under bondage, and be expert in distinguishing between persons who are to be honoured and who are not. Characteristics of a Courtezan 81-83. A woman who is always engaged in attending the teacher (ācārya) in connection with application of [various] arts and crafts, and is endowed with amorous movements, Emotion (hāva) and Feeling (bhāva), Temperament (sattva), discipline, sweetness [of manners], and is conversant with the sixty-four arts and crafts (kalā), is expert in dealing with the king, and free from female diseases, and has sweet and endearing words, is clear in her speech, clever and undaunted by fatigue[29] is called a courtezan (gaṇikā). Characteristics of a typical Heroine 84-86. A woman with the following qualities should be given the role of a Heroine: she should be endowed with a good physical form, good qualities, character and young age and should possess gold necklace and garlands and should be shining, affectionate, sweet, and should possess charming words with a lovely voice and should be steady (lit. unperturbed) in the exercise (yogyā), and conversant with Laya and Tāla and Sentiments, and should have all kinds of ornaments and be dressed with garlands and scents.[30] Women disqualified to take up a role 86-87. But a woman should not be made a Heroine in any theatrical show when she smiles on wrong occasions, is rough [in appearance], has an uneven gait and movement, persistent anger, miserable look, and is always haughty and fickle. These are the characters that the producers of plays should know about. Members of a typical theatrical party88-90. I shall next speak of different members of a theatrical party (bharata). They are: Bharata[31] [proper] (actor), who resort to Bharata (i.e. his art), the Jester (vidūṣaka), the musicians (tauripa), the actor-dancers (naṭa), the Director (sūtradhāra), playwright (nāṭyakāra) the crown-maker (mukuṭakāraka), the maker of ornaments (ābharaṇakṛt) and garlands, the dyer (rajaka), the painter (citrakāra), other and craftsmen (kāru and śilpin), and Kuśīlavas and others who are to be known by their names. Characteristics of Bharata 91. As he alone conducts as the leader [the performance of] a play by acting in many roles and playing many instruments and by providing many accessories, he is called Bharata.[32] Characteristics of a Jester 92-93. One who looks to people’s pleasure, can imitate manners of all people, resorts to various [means] and mixes with women, is ready-witted in disclosures made through Pleasantry,[33] or in Covert Pleasure[34] and is clever, and can give censure through his words, is to be known as a Jester (vidūṣaka).[35] Characteristics of a Master-musician 94. One who is skilled in playing Tūra,[36] has a liking for all the instruments and is an expert in playing them all, and possesses [all kinds of] musical instruments, is called Tauripa[37] (master-musician). Meaning of the word ‘Naṭa’ 95. Meaning of the root naṭ is ‘to act’ (lit. acts) and hence, as he acts (naṭayati) again and again the stories of men with Sentiments, States and Temperament, he is called (lit. he becomes) a Naṭa (actor). The Benediction 96-97. As one pleases by it the audience (lit. people) with sweet words of blessing, it is called Nāndī (Benediction). That which is spoken in the performance of a play to please people in various ways, with Sanskrit and Prakrit recitatives, is to be known as Nāndī. Definition of a Director 98. One who knows from the teaching of the learned (śiṣṭa) the principles (sūtra) of applying songs, instrumental music and recitatives in their unity, is called a Sūtradhāra (Director).[38] Definition of a Playwright 99. Because he puts in [different] Sentiments, States and Temperaments, as taught in the Śāstra, in different characters, a person is called a playwright (nāṭyakāra).[39] Definition of an Actor 100. One who can apply the music of four kinds of instrument, and produce a play according to the meaning of the Śāstra as well as his own reasoning, is called an actor. (naṭa).[40] la and is conversant with Sentiments, and is beautiful in all her limbs, should be made an actress[41] (nāṭakīyā). The Crown-maker 102. He who makes masks and various special dresses together with headgears (śīrṣaka = pratiśīrṣaka) suited to various characters, is called a crown-maker (mukuṭakāra).[42] The Maker of Ornaments 103. One who makes ornaments according to various rules, is called a maker of ornaments[43] (ābharaṇakṛt) and each [maker of ornaments] is to be named according to the material he uses. The Maker of Garlands 104. He who makes five kinds[44] of garland, is called a maker of garlands (mālyakṛt). The Veṣakāra He who looks after dressing is called Veṣakāra.[45] The Painter, the Dyer and the Craftsman 105. One who knows painting is a painter (citrakāra), and from his [knowledge of] dying (rañjana) [clothes][46] a person is called a dyer (rajaka).[47] And one who fashions different objects out of lac, stone, metal and wood, is called a craftsman (kāru). The Kuśīlava 106. He who can apply the principles of instrumental music and is himself an expert in playing instruments, is called a Kuśīlava because of his being kuśala (clever) and avadāta (refined) and free from agitation (avyathita).[48] 107. The man who takes to an art or a craft (śilpa), a profession or a practice, and has himself acquired proficiency in it, is called by its name.[49] 108. So much about the hereditary groups (jāti) known in connection with the rules of theatre as Naṭas who relate to various accessories [needed] for the production of various types of play. 109. I have spoken about the assignment of roles and about the makers of a drama according to their function, and have pronounced the Canons of Drama. Please mention, O sages, what more is to be said now. Here ends the Chapter XXXV of the Nāṭyaśāstra, which treats of the Distribution of Roles. ANY PULAHA FACTOR WRITTEN BY GOPALA IN UYJE ANVIL? NOT ARGUMENT FOR ARGUMENT SAKE. k rajaram irs 19326 On Thu, 19 Mar 2026 at 11:38, 'gopala krishnan' via Thatha_Patty < [email protected]> wrote: > *SAGE PULAHA- PART 1* > > Dear friends, > > This posting is about Sage Pulaha of the first manvantara. I have compiled > the information from various websites and QA with Google. *The posting is > intended to members like me – curious to know about sages.* > > The posting is least intended *to all knowing members or arguing members* for > the sake of arguing. This is first part of the posting > > Gopalakrishnan 19-3-2026 > > *Introduction* > > Sage Pulaha is a revered Hindu sage created directly from Lord Brahma’s > navel as one of the ten Prajapatis (progenitors) and a member of the > Saptarshi (seven great sages) in the first Manvantara. Known for his > compassion and severe penance on the banks of the *Alakananda River*, he > is a dedicated devotee of Lord Shiva. > > *Key Aspects of Sage Pulaha:* > > Role in Creation: As one of the Prajapatis, Pulaha helped Brahma *generate > various species*, ensuring the continuity, diversity, and stability of > life. > > Lineage & Family: He was married to Kshama daughter of Daksha Prajapati > and is sometimes linked with Gati. > > Spiritual Significance: He is recognized for his immense wisdom, > simplicity, and adherence to Dharma. He is frequently mentioned in Puranic > literature, including the Mahabharata, as a great sage . > > Associations: He was the guru to *Sage Gautama* and a disciple of the > boy-sage *Sanandana.* > > He is also associated with the hermitage of king Bharata, son of > Rishabadeva. (Not son of Sakunthala ) > > Pulaha is celebrated as a key ancestor in Hindu tradition, representing > the divine lineage of sages > > *Pulaha-Sage of First manvantara* > > Pulaha is a character in Hindu epics. He is the son of Brahma, the creator > god, and also one of the Saptarshi (seven great sages), in the first > Manvantara (age of Manu), with others being Marichi, Atri, Angiras, > Kratu, Pulastya, and Vasishtha. > > In another classification, Pulaha is one of the ten Prajapatis, the > progenitors of creation created by Brahma. *The race of the kimpurushas > are the children of Pulaha, according to the Mahabharata.* > > *The kimpurushas are a race of beings featured in Hindu literature, > described as possessing **the bodies of human beings and lion head* > > *Difference between Kim purushas and Narasimha* > > The primary difference between Narasimha and Kimpurusha lies in their > divine status and purpose: Narasimha is a Supreme Avatar of Lord Vishnu > (God), while *Kim purushas are celestial beings or demigods. * > > While both may share a partial lion-like appearance, they are entirely > different in nature and role. > > Narasimha (The Man-Lion Avatar) > > Nature: The fourth avatar (incarnation) of Lord Vishnu, representing a > Divine Protector. > > Appearance: Visualized with a human torso and lower body, with a lion's > face and razor-sharp claws. > > Purpose: Appeared in a fiery, urgent form to kill the demon king > Hiranyakashipu and protect his devotee, Prahlada. > > Status: An object of supreme worship and devotion, often called Ugra > (ferocious) Narasimha. > > Kimpurusha (The Celestial Being) > > Nature: A species of celestial beings, often described as "man-like" or > "half-human/half-lion," originating from the creation of Brahma. > > Appearance: Sometimes depicted with a lion's head and human body, or > sometimes with other hybrid features (like horse heads, similar to > Kinnaras). > > Purpose: *They are known to be devotees of Lord Vishnu, often singing his > praises, particularly after the Narasimha avatar appeared.* > > Status: They are considered residents of heavenly or divine realms (often > north of the Himalayas) rather than incarnations of the divine themselves. > > *While some texts describe Kim purushas are creation of Brahma, some > describe as sage Pulaha* > > It is considered correct according to specific Hindu Puranic and epic > texts that the Kim purushas are a species *associated with the sage > Pulaha,* who is a Manasa Putra (mind-born son) of Lord Brahma. > > Here is a breakdown of the origin and nature of Kim purushas based on > various sources: > > Connection to Sage Pulaha: According to the *Mahabharata (Adi Parva, > Chapter 66), the Kimpurushas are described as the children of Sage Pulaha,* > one of the seven great sages (Saptarishis). > > Alternative Creation Origin: Some Puranas, including the *Bhagavata > Purana, describe that Brahma created the Kinnaras and Kimpurushas from his > own reflected image or "shadow" during the process of creation.* > > Nature and Appearance: They are often described as hybrid creatures with > the head of a lion or horse and a human body. They are considered an > "exotic tribe" of mythical beings or spirits, *often described as > residing in the Himalayan regions (Kimpurushavarsha) and serving as > attendants of Kubera, the god of wealth.* > > Relationship to Others: In some narratives, they are linked with other > tribes like Yakshas and Gandharvas. > > While the Mahabharata specifically ties them to Sage Pulaha, the broader > Puranic tradition credits them as part of the creative output of Lord > Brahma. Therefore, both aspects of the claim are supported in different, > yet related, Hindu mythological contexts. > > *Sage Pulaha – Wife and children* > > During his birth in the first Manvantara, Pulaha was married to *Daksha's > daughter, Kshama*. Together they had *three sons, Kardama, Kanakapeetha > and Urvarivat, and a daughter named Peevari*. > > According to Bhagavata Purana, sage Pulaha Rishi was also married to Gati, > a daughter of Kardama and Devahuti. *The two had three sons – > Karmasreshtha, Vareeyaamsu and Sahishnu*. > > Pulaha is believed to be the fifth son who sprang from Brahma's head. > Brahma created the Saptarishis (the seven sages) and ten Prajapatis (some > accounts place it at 21), from whom all human beings are believed to have > been born. > > *Sage Gouthama- Student of sage Pulaha* > > *Sage Pulaha learned the power of knowledge from sage Sanandana and in > turn transmitted all knowledge to sage Gautama*. > > *Sage Pulaha and king Bharatha* > > He performed intense penance on the banks of river Alakananda and was > rewarded to be present in the court of Indra. *King Bharata son of Rishab > deva* renounced all his kingdom and sought refuge in the hermitage of > Pulaha. > > *Other creations of sage Pulaha* > > According to the Adi Parva of Maha Bharatha , Pulaha was the creator of > *butterflies, > lions,lambs, tigers, lambs, wolves* in addition to Kim purushas. Kim > purushas, mentioned in the Mahabharata, who were conjectured to be > lion-headed men or kinnars, settled in the Himalayas and known to be the > attendants of Lord Kubera. > > *Pulaha took part in the Janmotsava of Arjuna. (Śloka 52, Chapter 122, Ādi > Parva).* > > According to the Mahabharata (Adi Parva), Sage Pulaha is one of the > revered sages who assembled at the birth of Arjuna, but *he does not play > a direct, personalized role in the conception*. Arjuna's birth was a > divine event celebrated by the gods (devas), gandharvas, apsaras, and the > Sapta Rishis (seven great sages) on Mount Shatashringa. > > *The Role of Sage Pulaha in the Legend:* > > Presence at Birth: Sage Pulaha, along with other Prajapatis and Sapta > Rishis such as Marichi, Atri, Angira, Pulastya, and Vashishtha, arrived at > the scene of Arjuna's birth in the Himalayas to bless the child. > > Celebration: *The sages witnessed the divine proclamation from the sky > regarding Arjuna's future glory, including his strength equal to Indra and > Shiva, his defeat of kings, and the obtaining of the Pashupata weapon.* > > Joyful Celebration: Their presence signifies that Arjuna’s birth was > highly auspicious and approved by the highest spiritual authorities, as > they showered flowers and sang praises of the child born to Kunti and King > Pandu (via the god Indra). > > *Contextual Details of the Birth:* > > Arjuna's birth was marked by a celestial voice predicting his unparalleled > prowess. Pulaha, as one of the mind-born sons of Brahma and a progenitor of > humanity, was among the heavenly observers who recognized the importance of > Arjuna’s incarnation for the protection of righteousness (dharma. > > *Pulaha was a member of the court of Indra. (Śloka 17, Chapter 7, Sabhā > Parva).* > > Pulaha is mentioned as an honoured member of Indra's court (Indra Sabha) > in Hindu mythology, particularly in the Mahabharata. > > Member of Indra's Court: According to the Sabhā Parva (Chapter 7, Śloka > 17) of the Mahabharata, Pulaha is explicitly listed among the rishis > (sages) who were members of Indra's court. > > Stature: As one of the ten Prajapatis or Saptarishis created from Brahma's > mind, Pulaha was a highly revered sage, and his presence in the divine > assembly signifies his elevated status. > > Background: Known for his intense penance on the banks of the Alakananda > River, Pulaha is often associated with high spiritual attainment. > > Context: *He is also noted for his compassion, such as when he advised > Sage Parashara to abandon his vengeful sacrifice and spare the Rakshasa > race.* > > His inclusion in the Indra Sabha reinforces his role as a bridge between > the mortal sages and the divine realms. > > My note- The Parasara yagna to sacrifice Rakshasas in the yagna fire was > said to be abandoned after advice of *sage Pulasthya* in some texts. > > > > *Sage Pulaha and Natyashastra (theatrics and dramaturgy)* > > Pulaha is the name of a sage who was in the company of *Bharata when he > recited the Nāṭyaveda them, *according to the Natyashastra chapter 35. > > > > I will continue in the next posting > > -- > You received this message because you are subscribed to the Google Groups > "Thatha_Patty" group. > To unsubscribe from this group and stop receiving emails from it, send an > email to [email protected]. > To view this discussion visit > https://groups.google.com/d/msgid/thatha_patty/844045676.336558.1773900504463%40mail.yahoo.com > <https://groups.google.com/d/msgid/thatha_patty/844045676.336558.1773900504463%40mail.yahoo.com?utm_medium=email&utm_source=footer> > . > -- You received this message because you are subscribed to the Google Groups "Thatha_Patty" group. 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