Shloka 31

Matsya Purana — Purūravas Witnesses the Sports of Apsarases and Gandharvas; Attains the Grace...

Devanagari script

आपानगोष्ठीषु तथा तासां स नरपुंगवः शुश्राव विविधं गीतं तन्त्रीस्वरविमिश्रितम् //

Transliteration

āpānagoṣṭhīṣu tathā tāsāṃ sa narapuṃgavaḥ śuśrāva vividhaṃ gītaṃ tantrīsvaravimiśritam //

Translation

And in those drinking-assemblies, that bull among men listened to their many kinds of songs, blended with the tones of stringed instruments.

Word by Word

• āpāna-goṣṭhīṣu: in drinking gatherings/banquet-assemblies

• tathā: and likewise/also

• tāsām: of those women/among them

• saḥ: he

• nara-puṅgavaḥ: the foremost of men, an excellent man (often a king)

• śuśrāva: heard, listened to

• vividham: varied, manifold

• gītam: song, singing

• tantrī-svara-vimiśritam: mixed with the sound/notes (svara) of lute-like string instruments (tantrī).

Speaker

• Sūta (narrator) describing the scene

Entities Mentioned

• narapuṅgava (the king/foremost man)
• tantrī (stringed instrument)

Tags

• Royal life
• Court music
• Entertainment
• Narrative episode
• Cultural history

FAQs

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

This verse does not address pralaya or cosmology; it depicts a worldly, courtly scene focused on music and social gatherings.

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

It portrays the king (narapuṅgava) engaging with refined arts in an assembly; in Purāṇic ethics, such enjoyment is acceptable when governed by restraint and does not obstruct dharma and governance.

What is the architectural or ritual significance mentioned here?

No Vāstu or ritual procedure is stated directly; the only cultural detail is performance practice—singing accompanied by string-instrument tones (tantrī-svara).