Shloka 76

Matsya Purana — Hiranyakashipu’s Boons

Devanagari script

एताः सहस्रशश्चान्या नृत्यगीतविशारदाः उपतिष्ठन्ति राजानं हिरण्यकशिपुं प्रभुम् //

Transliteration

etāḥ sahasraśaścānyā nṛtyagītaviśāradāḥ upatiṣṭhanti rājānaṃ hiraṇyakaśipuṃ prabhum //

Translation

And thousands of other women, skilled in dance and song, stand in attendance upon the king—Hiraṇyakaśipu, their lord.

Word by Word

• एताः (etāḥ): these (women)

• सहस्रशः (sahasraśaḥ): by the thousands, in thousands

• च (ca): and

• अन्याः (anyāḥ): others

• नृत्य-गीत-विशारदाः (nṛtya-gīta-viśāradāḥ): expert in dance and singing

• उपतिष्ठन्ति (upatiṣṭhanti): attend upon, wait upon, stand by in service

• राजानम् (rājānam): the king

• हिरण्यकशिपुम् (hiraṇyakaśipum): Hiraṇyakaśipu

• प्रभुम् (prabhum): lord, master

Speaker

• Primary narrator (Purāṇic narration, traditionally Sūta to the sages; within the Matsya Purana’s frame often conveyed as Matsya’s discourse to Manu)

Entities Mentioned

• Hiraṇyakaśipu

Tags

• Daitya-King
• Royal-Court
• Performing-Arts
• Narrative
• Puranic-Episode

FAQs

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

This verse does not address pralaya; it depicts courtly attendance and cultural refinement (dance and song) surrounding the Daitya king Hiraṇyakaśipu.

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

Indirectly, it reflects the Purāṇic theme of royal courts maintaining artists and attendants; it can be read as a marker of kingship’s public display and patronage, though here it is applied to an asura ruler rather than an ideal dharmic king.

What is the architectural or ritual significance mentioned here?

No Vāstu or ritual procedure is specified in this verse; the focus is on the presence of performers and attendants in the king’s assembly.