----- Forwarded message ----- From: gopala krishnan <[email protected]>To:
[email protected] <[email protected]>;
[email protected] <[email protected]>Sent: Friday, 20
March 2026 at 12:55:08 pm ISTSubject: Re: [KeralaIyers] Re: SAGE PULAHA- PART 1
Sirs,
Mr. Rajaram has stated in his response- a Tamil proverb partially. Even that he
has not written properly. He is not responding, but reacting. The proverb is
more suited to him.
Even this response has many glaring Grammar mistakes. He simply copies 20-25
pages from somewhere and makes 3-5 postings a day.
I read, collect relevant parts parts from websites and Google search and
present in the most understandable form with better medium letters,
highlighting for skipping members or for topics .
There is no purpose by envying at others. Mr. Rajaram fails to understand all
members have good caliber. Not all are curators like him.
Sincerely,
Gopalakrishnan R Former ITS (7024 )
On Thursday, 19 March 2026 at 06:48:38 pm IST, Rajaram Krishnamurthy
<[email protected]> wrote:
dot without circumventing hiding your dark face, gOPALA WHY HIDING UNDER
KERALA IYER ONLY. aFRAID OF YOUR NEGATIVE REPLY? yOUR SUBJECT IS WRITTEN
WITHOUT YOUR UNDERSTANDING THAT SUBJECT; MY GRAMMAR IS QUITE GOOD AND ONE NEED
NOT WORRY SINCE EVEN THAT YOU ARE UNABLE TO PROPERLY PULL THROUGH sO THERE IS
APROVERB: aadath teriyada..............mutram konal endraalaam. You are that .
When you reply all my queries on dot without circumventing under a subject
where you failed, that day you are doing something worthwhile. Thank U KR IRS
19326
On Thu, 19 Mar 2026 at 18:24, 'gopala krishnan' via KeralaIyers
<[email protected]> wrote:
Sirs,
Please Read the response of Mr. Rajaram for the number of grammar mistakes. If
I point out he will start abusing in Tamil. I am sorry to make the remark on a
retired IRS officer. I never make such glaring mistakes. Gopalakrishnan
On Thursday, 19 March 2026 at 02:25:08 pm IST, Rajaram Krishnamurthy
<[email protected]> wrote:
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 thePrajāpatis. 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 wereborn 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 alsoamong the sages who dissuaded Parāśara from conducting a yāga to
kill all therākṣasas. (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 theJanmotsava of Subrahmaṇya. (Śloka 9, Chapter 45, Śalya
Parva).
Pulaha is includedin the twenty one Prajāpatis. (Śloka 35, Chapter 334, Śānti
Parva).
Pulaha is one amongthe group of Saptarṣis called Citraśikhaṇḍins. (Śloka 29,
Chapter 335, ŚāntiParva).
Pulaha is also oneof 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 andmovement of limbs as well
as their strength and nature, the experts are toemploy actors to represent
different roles [in a play].3. Hence the selectionof 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 isfollowed].4. After ascertaining
their natural aptitudes, he is to distributeroles to different actors.
The Role of gods
5-6. Persons who have all the limbs intact, well-formedand thick-set, who are
full-grown (vayo'nvita), not fat or lean or tall orlarge, who have vivacity,
pleasant voice and good appearance, should beemployed to take up the role of
gods.
The Role of Rākṣasas etc.
7-8. Persons who are fat, and have a large body and avoice like the peal of
thunder (lit. cloud), furious looking eyes and naturallyknit eyebrows, should
be employed to take up the role of Rākṣasas, Dānavas andDaityas; for the
performance of male actors [should be] in conformity withtheir 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 limbsbeautiful, 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, distinctspeech, are neither tall nor
fat, are heroic, have reasoning positive andnegative, are brave, and eloquent
and have presence of mind, should be employedto 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 areshort 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 hasbeen prescribed; roles
should be assigned after considering the actors’ age andphysical condition.
16-17. [For example], persons[2] who are slow-moving, verydwarfish,
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 inthe
role of slaves.
The Role of Fatigued Persons
18. A person who is naturally thin, should be employed ina play to represent a
tired person.
The Role of a Person in Health
A fat person should be employed to represent a personwithout any disease.
Special Cases of Assigning Roles
19. If however such persons are not available, theDirector (lit. the master)
should exercise discretion to employ [some one]after a consideration of the
latter’s nature and movement as well as States [tobe represented],
20. Such persons’ natural movements whether good, bad ormiddling, 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 hasbeen prescribed, and
roles should be assigned to persons after consideringtheir 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, manyheads, and uncouth faces
and faces of animals, including beasts of prey, asses,camels, horses and the
like, the Director (lit. the master) should according tohis 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 naturalappearance. 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 naturalform of the body,
should be employed [to assume a role] according to his ageand costume.
The Method of Proper Impersonation
26-27. Just as a man who renounces his own nature togetherwith his body and
assumes another’s nature by entering into his body[4] so thewise actor thinking
within himself that ‘I am he’ should represent the Statesof another person by
speech, gait, gesture and other movements.
Three Kinds of Impersonation
28. Human characters as they are represented on the stagefall into three
classes: natural (anurūpā), unnatural (virūpā) and imitative(rūpānusāriṇī).
The Natural Impersonation
29. When women impersonate female characters and men malecharacters, 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 oldman takes up that of a
boy and betrays his own nature in acting, therepresentation is called
‘unnatural’ (virūpā).
The Imitative Impersonation
31-32. When a man assumes a woman’s character,theimpersonation is called
imitative (rūpānusāriṇī) by the best actors. A womanalso may assume if she
likes, a man’s role in actual practice. But an old and ayoung 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 beemployed for
recitatives, and women [should always be employed] for songs.Women’s nature is
suited mostly to songs and that of men to recitatives Forwomen’s voice is
naturally sweet and that of men is forceful.
35-36. Though men know the rules of singing in theirtraditional
characteristics, their songs being devoid of sweetness, do notcreate beauty.
Whenever there is [any] merit in women’s recitation andsweetness 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.Womenin Men’s Roles
37. In temples, palaces and houses of army-leaders andother prominent persons,
dramatic performances (prayoga) are mostly held bywomen in men’s role.
Women’s Special Merit
38. A delicate person’s role is always to be taken up bywomen. 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 beestablished in heaven through
Rambhā, Urvaśī and the like [nymphs]. And similarhas been the case in king’s
harems in this world.
Training Women in Different Roles
40. Directors (lit. masters) should instruct womenaccording to the Śāstras, but
they should not themselves give coaching to womenin learning their [feminine]
roles.
41-42. But masculine (lit. depending on men) roles shouldbe carefully directed
by them.
As natural amorousness is observed in women, theirnaturally graceful limbs are
easily accessible to Sauṣṭhava; and sportfulnature will be their additional
qualities (lit. ornaments) [when they assume amale role].
Result of Proper Assignment of Roles
43. When actors and characters in a play have similarconditions and behaviour,
and have natural limbs and organs (karaṇa), they willembellish a dramatic
performance.
44. Want of fatigue in dance and music, is always aquality of women, and a
dramatic production partly attains its sweetness andpartly its strength due to
this.
45. A woman who is an adept in the practice of love, andis an expert in
[representing] love-affairs, appears through her gracefulacting on the stage,
like a creeper full of various charms, on account of its[many] flowers.
46. Hence [a Director] should always bestow undividedattention 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 Statesand Sentiments, is of
two kinds: delicate (sukumāra) and energetic (āviddha).
The Delicate Type of Production
48. Nāṭaka, Prakaraṇa, Bhāṇa, Vīthī and Aṅka are to beknown 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 bywomen.
50. The play in which there occur violent fighting, greatspeed [of movement],
and much excitement, should not be enacted by females, butby males.
51-52. If a play includes ordinary (lit. not exalted)incidents and no hurried
or violent movement of limbs, and requires anobservance of proper tempo, Tāla,
Kalā and regulated utterance of syllables,and clearly divided words and has
plenty of desired Sentiments, it should beproduced by women.
The Energetic Type of Production
53-54. The play which requires energetic (āviddha) type ofAṅgahāras to
represent cutting, piercing, and fighting, and includes [arepresentation of]
the use of magic and thaumaturgy as well as artificialobjects and costumes, and
has among its dramatis personae many males and asmall number of females who are
of quiet nature, and mostly the Grand and theEnergetic Styles applied in its
production, is of the energetic type.
55-56. Ḍima, Samavakāra, Vyāyoga and Īhāmṛga are known tobe plays of the
energetic of type by producers.
Production of plays of this kind, should be made by [animpersonation of] gods,
Dānavas and Rākṣasas.
56. Thus one should assign different roles in theproduction of a play. Next I
shall speak how a play attains excellence due tocostumes and make-up.
The Typical Impersonation of a King
57-59. How are the qualities of a king to be representedby an actor who has a
few wearing apparels? In this connection it has been saidthat when dramatic
conventions have come into vogue I have made plays furnishedwith 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 agrave and dignified
attitude, and then he alone becomes, as it were, a refugeof the seven great
divisions (saptadvīpa) of the world.
60-61. He should move his limbs only after he has beencovered with paints. And
trimmed according to the discretion of the Directorand having the Sauṣṭhava of
limbs, the actor becomes like a king, and [thustrimmed] 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 aking is, so is the
actor. The two will represent their States by similardeportments and Sauṣṭhava
of limbs.
Just as by properly carrying out the instruction of theDirector, the actor
illumines the stage, similarly the king also will always benaturally 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 naturalappearance of a character
[by giving him suitable costume] and by associatinghim with suitable age
through [proper] make-up.
65. Thus one should make a selection of persons forrepresenting kingly manners.
I shall next speak of the qualities of a Director(sūtradhāra).
In this connection I shall speak of the qualities of aDirector. First of all,
he should possess knowledge of characteristics [ofeverything concerning the
theatre], desirable refinement of speech, knowledgeof the rules of Tāla and
theory of notes and instruments [in general]
66-71. One who is an expert in playing the four kinds ofmusical instrument, has
various practical experience, is conversant with thepractices of various
religious sects, and with polity and the science of wealth(arthaśāstra) and the
manners of courtezans and ars amatoria, and knows thevarious conventional Gaits
and movements, thoroughly understands all theSentiments and the States, and is
an expert in producing plays, acquainted withall 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 humanbody, knows the extent of the
earth, its continents, devisions, and mountainsand people inhabiting them, and
the customs these have, and the names ofdescendants 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 naturalqualities [which he should
possess]. He should be possessed of memory andintelligence, and should be
patient, liberal, firm in his words, poetical, freefrom any disease, sweet [in
his manners], forbearing, self-possessed,sweet-tongued, free from anger,
truthful, impartial, honest, and free fromgreed for praise.[24]
Characteristics of an Assistant of the Director
74-75. A person of the middling type who has slightly lessnumber of qualities
than that the Director is to possess, should be known as anAssistant (
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 andtheir uses, possessed of
intelligence, conversant with the rules [of thetheoretical practice], and
expert in his own work.
Characteristics of a Parasite
76-77. Possessing all the qualities which the Director isto have with regard to
the theatrical production, the Parasite (viṭa) should bean 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 eloquentand 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 pacifiedlikewise, and who is
an inferior character and speaks Māgadhī[26] and hasmanifold changes [in his
conduct].
Characteristics of the Jester
79. The Jester (vidūṣaka) should be dwarfish, shouldpossess big teeth, and be
hunch-backed, double-tongued[27] bald-headed andtawny-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 indistinguishing 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 theteacher (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 conversantwith 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 inher 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 begiven 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 andgarlands and should
be shining, affectionate, sweet, and should possesscharming words with a lovely
voice and should be steady (lit. unperturbed) inthe exercise (yogyā), and
conversant with Laya and Tāla and Sentiments, andshould 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 anytheatrical show when she
smiles on wrong occasions, is rough [in appearance],has an uneven gait and
movement, persistent anger, miserable look, and isalways haughty and fickle.
These are the characters that the producers of playsshould know about.
Members of a typical theatrical party88-90. I shall nextspeak 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 makerof ornaments (ābharaṇakṛt)
and garlands, the dyer (rajaka), the painter(citrakāra), other and craftsmen
(kāru and śilpin), and Kuśīlavas and otherswho are to be known by their names.
Characteristics of Bharata
91. As he alone conducts as the leader [the performanceof] a play by acting in
many roles and playing many instruments and byproviding many accessories, he is
called Bharata.[32]
Characteristics of a Jester
92-93. One who looks to people’s pleasure, can imitatemanners of all people,
resorts to various [means] and mixes with women, isready-witted in disclosures
made through Pleasantry,[33] or in CovertPleasure[34] and is clever, and can
give censure through his words, is to beknown as a Jester (vidūṣaka).[35]
Characteristics of a Master-musician
94. One who is skilled in playing Tūra,[36] has a likingfor 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) andhence, as he acts
(naṭayati) again and again the stories of men withSentiments, 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 isspoken in the
performance of a play to please people in various ways, withSanskrit 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 intheir unity, is
called a Sūtradhāra (Director).[38]
Definition of a Playwright
99. Because he puts in [different] Sentiments, States andTemperaments, as
taught in the Śāstra, in different characters, a person iscalled a playwright
(nāṭyakāra).[39]
Definition of an Actor
100. One who can apply the music of four kinds ofinstrument, and produce a play
according to the meaning of the Śāstra as wellas his own reasoning, is called
an actor. (naṭa).[40]
la and is conversant with Sentiments, and is beautiful inall her limbs, should
be made an actress[41] (nāṭakīyā).
The Crown-maker
102. He who makes masks and various special dressestogether 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 amaker 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), andfrom 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 musicand is himself an
expert in playing instruments, is called a Kuśīlava becauseof 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), aprofession or a practice,
and has himself acquired proficiency in it, is calledby its name.[49]
108. So much about the hereditary groups (jāti) known inconnection 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 aboutthe makers of a drama
according to their function, and have pronounced theCanons of Drama. Please
mention, O sages, what more is to be said now.
Here ends theChapter XXXV of the Nāṭyaśāstra, which treats of the Distribution
of Roles.
ANY PULAHA FACTOR WRITTEN BY GOPALA IN UYJE ANVIL? NOT ARGUMENTFOR ARGUMENT
SAKE.
k rajaram irs 19326
On Thu, 19 Mar 2026 at 11:38, 'gopala krishnan' via Thatha_Patty
<[email protected]> wrote:
SAGEPULAHA- PART 1
Dear friends,
This posting is about Sage Pulaha of the first manvantara. Ihave compiled the
information from various websites and QA with Google. The posting is intended
to memberslike me – curious to know about sages.
The posting is least intended toall knowing members or arguing members forthe
sake of arguing. This is first part of the posting
Gopalakrishnan 19-3-2026
Introduction
Sage Pulaha is a revered Hindu sage created directly fromLord Brahma’s navel as
one of the ten Prajapatis (progenitors) and a member ofthe Saptarshi (seven
great sages) in the first Manvantara. Known for hiscompassion and severe
penance on the banks of the Alakananda River, he is a dedicated devoteeof Lord
Shiva.
Key Aspects of SagePulaha:
Role in Creation: As one of the Prajapatis, Pulaha helpedBrahma generate
variousspecies, ensuring the continuity, diversity, and stability of life.
Lineage & Family: He was married to Kshama daughter of DakshaPrajapati and is
sometimes linked with Gati.
Spiritual Significance: He is recognized for his immensewisdom, simplicity, and
adherence to Dharma. He is frequently mentioned inPuranic literature, including
the Mahabharata, as a great sage .
Associations: He was the guru to Sage Gautama and a disciple of the
boy-sageSanandana.
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 Firstmanvantara
Pulaha is a character in Hindu epics. He is the son ofBrahma, the creator god,
and also one of the Saptarshi (seven great sages), inthe first Manvantara (age
of Manu), with others being Marichi,Atri, Angiras, Kratu, Pulastya, and
Vasishtha.
In anotherclassification, Pulaha is one of the ten Prajapatis, the progenitors
ofcreation created by Brahma. Therace of the kimpurushas are the children of
Pulaha, according to theMahabharata.
The kimpurushas are a race of beings featured in Hinduliterature, described as
possessing the bodies of humanbeings and lion head
Difference between Kimpurushas and Narasimha
The primary difference between Narasimha and Kimpurusha liesin their divine
status and purpose: Narasimha is a Supreme Avatar of LordVishnu (God), while
Kimpurushas are celestial beings or demigods.
While both may share a partial lion-like appearance, they areentirely 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 demonking Hiranyakashipu
and protect his devotee, Prahlada.
Status: An object of supreme worship and devotion, oftencalled Ugra (ferocious)
Narasimha.
Kimpurusha (The CelestialBeing)
Nature: A species of celestial beings, often described as"man-like" or
"half-human/half-lion," originating from the creation ofBrahma.
Appearance: Sometimes depicted with a lion's head and humanbody, or sometimes
with other hybrid features (like horse heads, similar toKinnaras).
Purpose: Theyare 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 divinerealms (often north
of the Himalayas) rather than incarnations of the divinethemselves.
While some textsdescribe Kim purushas are creation of Brahma, some describe as
sage Pulaha
It is consideredcorrect according to specific Hindu Puranic and epic texts
that the Kimpurushas are a species associatedwith the sage Pulaha, who is a
Manasa Putra (mind-born son) of LordBrahma.
Here is a breakdown of the origin and nature of Kim purushasbased on various
sources:
Connection to Sage Pulaha: According to the Mahabharata (Adi Parva, Chapter
66), theKimpurushas are described as the children of Sage Pulaha, one of
theseven great sages (Saptarishis).
Alternative Creation Origin: Some Puranas, including the Bhagavata Purana,
describe that Brahma created theKinnaras and Kimpurushas from his own reflected
image or "shadow"during the process of creation.
Nature and Appearance: They are often described as hybridcreatures with the
head of a lion or horse and a human body. They areconsidered an "exotic tribe"
of mythical beings or spirits, often described as residing in theHimalayan
regions (Kimpurushavarsha) and serving as attendants of Kubera, thegod of
wealth.
Relationship to Others: In some narratives, they arelinked 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 ofLord Brahma. Therefore,
both aspects of the claim are supported in different,yet related, Hindu
mythological contexts.
Sage Pulaha – Wife andchildren
During his birth in the first Manvantara, Pulaha was marriedto Daksha's
daughter,Kshama. Together they had three sons, Kardama, Kanakapeetha and
Urvarivat, and adaughter named Peevari.
According to BhagavataPurana, sage Pulaha Rishi was also married to Gati,a
daughter of Kardama and Devahuti. The twohad three sons – Karmasreshtha,
Vareeyaamsu and Sahishnu.
Pulaha is believed tobe 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 whomall human beings are believed to have been born.
Sage Gouthama- Studentof sage Pulaha
Sage Pulaha learned the power of knowledge from sageSanandana and in turn
transmitted all knowledge to sage Gautama.
Sage Pulaha and kingBharatha
He performed intense penance on the banks of river Alakanandaand was rewarded
to be present in the court of Indra. King Bharata son of Rishab devarenounced
all his kingdom and sought refuge in the hermitage of Pulaha.
Other creations ofsage Pulaha
According to the Adi Parva of Maha Bharatha , Pulaha was thecreator of
butterflies,lions,lambs, tigers, lambs, wolves in addition to Kim purushas.
Kimpurushas, mentioned in the Mahabharata, who were conjectured to be
lion-headedmen or kinnars, settled in the Himalayas and known to be the
attendants of LordKubera.
Pulaha took part inthe Janmotsava of Arjuna. (Śloka 52, Chapter 122, Ādi Parva).
According to the Mahabharata (Adi Parva), Sage Pulaha is oneof 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 divineevent
celebrated by the gods (devas), gandharvas, apsaras, and the Sapta Rishis(seven
great sages) on Mount Shatashringa.
The Role of Sage Pulaha inthe Legend:
Presence at Birth: Sage Pulaha, along with other Prajapatisand 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
regardingArjuna's future glory, including his strength equal to Indra and
Shiva, hisdefeat of kings, and the obtaining of the Pashupata weapon.
Joyful Celebration: Their presence signifies that Arjuna’sbirth was highly
auspicious and approved by the highest spiritual authorities,as they showered
flowers and sang praises of the child born to Kunti and KingPandu (via the god
Indra).
Contextual Details of theBirth:
Arjuna's birth was marked by a celestial voice predicting hisunparalleled
prowess. Pulaha, as one of the mind-born sons of Brahma and aprogenitor of
humanity, was among the heavenly observers who recognized theimportance of
Arjuna’s incarnation for the protection of righteousness (dharma.
Pulaha was a member ofthe 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 therishis (sages) who were
members of Indra's court.
Stature: As one of the ten Prajapatis or Saptarishis createdfrom Brahma's mind,
Pulaha was a highly revered sage, and his presence in thedivine assembly
signifies his elevated status.
Background: Known for his intense penance on the banks of theAlakananda River,
Pulaha is often associated with high spiritual attainment.
Context: Heis also noted for his compassion, such as when he advised Sage
Parashara toabandon his vengeful sacrifice and spare the Rakshasa race.
His inclusion in the Indra Sabha reinforces his role as abridge between the
mortal sages and the divine realms.
My note- The Parasara yagna to sacrificeRakshasas in the yagna fire was said
tobe 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 Nāṭyavedathem, according to the Natyashastra chapter 35.
I will continue inthe next posting
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