Shloka 46

Matsya Purana — Inquiry into Yayāti’s Story and the Kacha–Devayānī Episode

Devanagari script

स ब्रह्मचारी च तपोधनश्च सदोत्थितः कर्मसु चैव दक्षः कचस्य मार्गं प्रतिपत्स्ये न भोक्ष्ये प्रियो हि मे तात कचो ऽभिरूपः //

Transliteration

sa brahmacārī ca tapodhanaśca sadotthitaḥ karmasu caiva dakṣaḥ kacasya mārgaṃ pratipatsye na bhokṣye priyo hi me tāta kaco 'bhirūpaḥ //

Translation

“He is a celibate student and rich in ascetic merit, ever vigilant and skilled in duties. I shall take the path after Kaca; I will not eat, dear father—for Kaca is beloved to me and handsome.”

Word by Word

• saḥ: he

• brahmacārī: a celibate student (brahmacārin)

• ca: and

• tapodhanaḥ: one whose wealth is austerity/penance

• ca: and

• sadā-uttithaḥ (sadotthitaḥ): ever alert/ever risen (always active)

• karmasu: in duties/acts

• ca eva: indeed also

• dakṣaḥ: capable, efficient

• kacasya: of Kacha

• mārgaṃ: the path/route

• pratipatsye: I will set out/I will follow (lit. I will take up)

• na bhokṣye: I will not eat

• priyaḥ: beloved/dear

• hi: indeed

• me: to me/of mine

• tāta: dear father

• kacaḥ: Kacha

• abhirūpaḥ: handsome, pleasing in form.

Speaker

• Likely Devayani (addressing her father Shukra/Kavya), within the Kacha narrative context

Entities Mentioned

• Kacha
• Brahmacharya (brahmacārin)
• Tapas (austerity)

Tags

• Kacha-Devayani
• Brahmacharya
• Tapas
• Resolve
• Puranic narrative

FAQs

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

Nothing directly—this verse is a character-focused narrative statement praising Kacha’s brahmacarya and tapas, not a pralaya or cosmology passage.

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

It elevates virtues prized in dharma literature—discipline, vigilance, and competence in duty (dakṣatā). For householders and rulers, it implies that self-control and steadfastness underpin right conduct and reliable action.

What is the architectural or ritual significance mentioned here?

No Vastu, temple-building, or ritual procedure is specified here; the technical emphasis is ethical/ascetic (brahmacarya, tapas) rather than architectural.