In many cases, when dogs died, they were given respect by performing elaborate death ceremonies, equal to that of human beings.

During the King's absence, Chaisra (the imposter and Sandrembi's stepsister) slaughtered the pigeon and cooked a nice meal from the meat.

It possessed magical spells, due to which it made all the trees of the land able to talk and move like animals.

Henceforth, in the dead of the night, the prince and his friend, who was a minister's son, proceeded to find the parrot, without informing his father, the king.

The prince's answer was 'A king should conduct according to the wishes of the people, should take care of the poor and destitute, and should treat everyone equally.'

[37] Formally developed by Meitei Hindu King Ching Thang Khomba (Meitei for 'Rajarshi Bhagyachandra') of Manipur Kingdom in the 18th century CE,[38][39][40] the Manipuri classical dance form, which is considered to be the highest spiritual expression of the worship of Hindu deity Krishna,[41] spreads across the Indian subcontinent in subsequent centuries.

[44] Pung Cholom and Meitei Nata Sankirtana are the other classical dance forms, which are also related to the Manipuri Raas Leela.

Numerous theatrical plays based on Antigone, a princess from ancient Greek mythology, was and is frequently produced in Meitei language in its own adaptation,[52][53][54] in Imphal.

[56] In 1985–86, Lengshonnei, a play based on Antigone, adapted into Meitei language, by Ratan Thiyam, was performed in Imphal.

[61][62][63] Hojang Taret is a classical Meitei language play based on Euripides's ancient Greek tragedy named "The Phoenician Women".

[64] Directed by Oasis Sougaijam and produced by The Umbilical Theatre in Imphal,[65][66][67] the play shows the moral uncertainty of the royal sibling rivalry that led to the destruction of the ancient city of Thebes, Greece.

Directed by Thawai Thiyam, the Meitei play shows the story of king Pentheus of Thebes and Olympian god Dionysus.

[71][72] Classical Sanskrit plays such as Urubhangam (originally authored by Bhasa in 2nd-3rd century CE) was reproduced into its Meitei version by Ratan Thiyam, shown in Imphal,[73][74] Panaji,[75] Edinburgh,[76] as well as in Athens.

[78] Others include Shakuntala (based on Kalidas' Abhigyanam Shakuntalam), directed by Kshetri Jugindro, shown in the Jawaharlal Nehru Dance Academy in Imphal.

[79] Bhagwatajjukiyam (based on Bodhayana's Bhagavadajjukam) was produced in a Meitei version, directed by Kshetri Jugindro, under the "Manipuri Ensemble", notably staged in the 2023 Bharat Rang Mahotsav.

[83][84] The Government of Manipur developed Marjing Polo Statue, the world's tallest equestrian statue of a player of Sagol Kangjei (Meitei for 'polo game'), riding a Meitei horse (Manipuri pony),[85][83] standing inside the Marjing Polo Complex, the sacred sports site dedicated to God Marjing, which is on the hilltop of the Heingang Ching, being historically, mythologically and religiously associated with the game of polo (Meitei: Sagol Kangjei).

Innumerable shrines and holy sites dedicated to Him are located in its mountainous realms, where Meitei people regularly visit and worship Him.

[91] When Panthoibi, the Meitei princess, was sporting with her paramour Nongpok Ningthou, she reminded him of the crack of dawn and of the fear of them being seen by her mother-in-law Manu Tekngā.

Henceforth the slope has been known as Chingnung Shoy.And this is the place where Nungpan Choupri maintained his kiddle for which he laid a wooden beam across the stream and erected strong reeds densely beneath it to block the passage of fishes.

But for some successive nights no fish could be found in the trap for which his wife developed suspicion of his having illicit relation with another woman.

Blessed as he was, he kept a night-long vigil on the top of a tree and could dispel with his sharp sword a rabble of goblins who clambered up to devour him.

It describes the sprawling branches of the Nongmaiching mountain (Meitei: ꯅꯣꯡꯃꯥꯏꯆꯤꯡ ꯆꯤꯡ), which extends from the North to the South of the Imphal Valley of Kangleipak.

They attain majestic heights, are washed by seven streams, project into nine ranges and abound with deep gorges and sun-drenched ridges...

They catch first the sight of every onlooker and stand steadfast unshaken by great earthquakes as if held by strong iron pegs and with their peaks kissed by white flakes of cloud.

[109][110] Besides the Khamba Thoibi, other notable ancient Meitei narrative literary works which are considered to be classics, include the Nungpan Ponpi Luwaopa, the Chainarol and the story of Petanga.

[111] The tales of Meitei folklore, which are considered to be classical in heights, include the stories of Sandrembi and Cheisra,[112] Emoinu (Imoinu),[113] Hanuba Hanubi Paan Thaaba, Pebet and Hoidong Lamboiba, Thabaton and Keibu Keioiba, Lai Khutshangbi, Uchek Langmeidong, Eeta Thangmei and Tapta.

In an ancient Meitei language narrative poem named the "Hijan Hirao" (Old Manipuri: "Hichan Hilao"), it is mentioned that King Hongnem Luwang Ningthou Punsiba of Luwang dynasty once ordered his men for the cutting down of woods in the forest for crafting out a beautiful royal Hiyang Hiren.