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Shloka 30

Matsya Purana — Origin of Soma

भार्यां च तां देवगुरोर् अनङ्ग बाणाभिरामायतचारुनेत्राम् तारां स ताराधिपतिः स्मरार्तः केशेषु जग्राह विविक्तभूमौ //

bhāryāṃ ca tāṃ devaguror anaṅga bāṇābhirāmāyatacārunetrām tārāṃ sa tārādhipatiḥ smarārtaḥ keśeṣu jagrāha viviktabhūmau //

And her—Tārā, the wife of the preceptor of the gods, whose long and lovely eyes were enchanting like the arrows of Ananga (Kāma)—the lord of the stars, Soma/Chandra, tormented by desire, seized by the hair in a secluded place.

भार्याम् (bhāryām)wife
भार्याम् (bhāryām):
च (ca)and
च (ca):
ताम् (tām)her
ताम् (tām):
देवगुरोः (devaguroḥ)of the guru of the gods (Bṛhaspati)
देवगुरोः (devaguroḥ):
अनङ्ग-बाण-अभिराम-आयत-चारु-नेत्राम् (anaṅga-bāṇa-abhirāma-āyata-cāru-netrām)having beautiful long eyes charming like the arrows of Ananga (Kāma)
अनङ्ग-बाण-अभिराम-आयत-चारु-नेत्राम् (anaṅga-bāṇa-abhirāma-āyata-cāru-netrām):
ताराम् (tārām)Tārā
ताराम् (tārām):
सः (saḥ)he
सः (saḥ):
ताराधिपतिः (tārādhipatiḥ)lord of the stars (the Moon, Soma/Chandra)
ताराधिपतिः (tārādhipatiḥ):
स्मर-आर्तः (smarārtaḥ)afflicted by love/desire
स्मर-आर्तः (smarārtaḥ):
केशेषु (keśeṣu)by the hair
केशेषु (keśeṣu):
जग्राह (jagrāha)seized/took hold of
जग्राह (jagrāha):
विविक्त-भूमौ (viviktabhūmau)in a secluded place
विविक्त-भूमौ (viviktabhūmau):
Sūta (narrator) recounting the episode (narrative voice within Matsya Purāṇa)
Bṛhaspati (Devaguru)TārāSoma/Chandra (Tārādhipati)Kāma (Ananga/Smara)
Puranic narrativeDesire (Kāma)EthicsConflict originsTārā–Soma episode

FAQs

This verse does not discuss pralaya or cosmology; it depicts a moral-psychological cause of conflict—how uncontrolled desire (smara) drives transgressive acts that later ripple into larger social and divine disputes.

It functions as a cautionary example: violating marital boundaries and acting under lust is portrayed as adharma. For householders it underscores fidelity and self-restraint; for rulers it implies the need to curb passion, since private misconduct can trigger public disorder.

No Vāstu or ritual procedure is stated in this verse; the only setting detail—“a secluded place”—serves narrative emphasis rather than prescribing architectural or temple-building rules.