Shloka 4

Matsya Purana — Devayānī and Śarmiṣṭhā’s Quarrel

Devanagari script

क्रीडन्तीनां तु कन्यानां वने चैत्ररथोपमे वायुर्भूतः स वस्त्राणि सर्वाण्येव व्यमिश्रयत् //

Transliteration

krīḍantīnāṃ tu kanyānāṃ vane caitrarathopame vāyurbhūtaḥ sa vastrāṇi sarvāṇyeva vyamiśrayat //

Translation

But when the maidens were sporting in the forest, lovely like Caitraratha, he—having become the wind—thoroughly scattered and mixed up all of their garments.

Word by Word

• kṛīḍantīnām: of those playing/sporting

• tu: but/indeed

• kanyānām: of the maidens

• vane: in the forest

• caitra-ratha-upame: comparable to Caitraratha (Kubera’s divine grove), exceedingly beautiful

• vāyuḥ-bhūtaḥ: having become (assuming the form of) wind

• sa: he

• vastrāṇi: garments/clothes

• sarvāṇi eva: all indeed

• vyamiśrayat: mixed up, jumbled, scattered in confusion

Speaker

• Suta (narrator) describing the episode within the Matsya Purana’s narrative flow

Entities Mentioned

• Caitraratha (divine grove of Kubera)

Tags

• Mythic episode
• Illusion
• Forest
• Narrative ethics
• Puranic storytelling

FAQs

What does this verse reveal about the creation or dissolution (Pralaya)?

This verse is not about Pralaya; it uses a “wind-form” motif to depict sudden disruption and confusion, a narrative device rather than a cosmological teaching.

How does this verse relate to the duties of a King or Householder?

Indirectly, it highlights social ethics around modesty and protection: a householder/king is expected to uphold dignity and safeguard the vulnerable, countering disorder and exploitation.

What is the architectural or ritual significance mentioned here?

No direct Vastu or ritual instruction appears here; the key cultural marker is the comparison to Caitraratha, evoking an idealized, divine grove as a literary setting.