Shloka 32

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

Devanagari script

प्रदोषसमये ताश्च देवदेवं जनार्दनम् राजन्सदोपनृत्यन्ति नानावाद्यपुरःसराः //

Transliteration

pradoṣasamaye tāśca devadevaṃ janārdanam rājansadopanṛtyanti nānāvādyapuraḥsarāḥ //

Translation

O King, at the time of pradoṣa (evening twilight), those celestial women continually dance in worship before Janārdana, the God of gods, accompanied by many kinds of musical instruments.

Word by Word

• प्रदोष-समये: at the pradoṣa time (evening twilight)

• ताः च: and those (feminine plural—celestial women/apsarases)

• देव-देवम्: the God of gods

• जनार्दनम्: Janārdana (Viṣṇu, the remover of afflictions)

• राजन्: O King

• सदा: always/continually

• उपनृत्यन्ति: dance near/in attendance (as devotional performance)

• नाना-वाद्य: various musical instruments

• पुरःसराः: having at their forefront/preceded by (i.e., led by instrumental music)

Speaker

• Lord Matsya (Vishnu) addressing Vaivasvata Manu (the King)

Entities Mentioned

• Janārdana
• Devadeva (God of gods)

Tags

• Pradoṣa
• Bhakti
• Ritual Worship
• Devotional Music
• Vishnu

FAQs

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

This verse does not describe pralaya; it highlights pradoṣa-time devotion, portraying divine worship through music and dance offered to Janārdana.

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

By addressing “O King,” the text models that rulers and householders should honor pradoṣa (twilight) as a sacred daily junction for worship—supporting orderly religious practice and patronage of dharmic rites.

What is the architectural or ritual significance mentioned here?

Ritually, it emphasizes pradoṣa-kāla as an auspicious time for temple/household worship where offerings can include vādyas (instruments) and nṛtya (dance) as forms of upacāra (devotional service).