Shloka 11

Matsya Purana — Saubhagya-Śayana Vow: Lalitā/Gaurī–Śiva Worship

Devanagari script

लोकानतीत्य लालित्याल् ललिता तेन चोच्यते त्रैलोक्यसुन्दरीम् एनाम् उपयेमे पिनाकधृक् //

Transliteration

lokānatītya lālityāl lalitā tena cocyate trailokyasundarīm enām upayeme pinākadhṛk //

Translation

Surpassing all the worlds in grace, she is therefore called “Lalitā”. This Trailokyasundarī—“the Beauty of the three worlds”—was taken in marriage by the bearer of the Pināka bow (Śiva).

Word by Word

• लोकान् (lokān): the worlds

• अतीत्य (atītya): having surpassed, transcended

• लालित्याल् (lālityāl): by/through grace, charm, elegance

• ललिता (lalitā): Lalitā, the graceful one

• तेन (tena): therefore

• च (ca): and

• उच्यते (ucyate): is said, is called

• त्रैलोक्यसुन्दरीम् (trailokyasundarīm): (as) Trailokyasundarī, the most beautiful in the three worlds

• एनाम् (enām): her, this one

• उपयेमे (upayeme): married, accepted as wife

• पिनाकधृक् (pinākadhṛk): the bearer of Pināka (Śiva).

Speaker

• Sūta (narrating Purāṇic tradition; speaker not explicitly marked in this single verse)

Entities Mentioned

• Lalitā
• Trailokyasundarī
• Śiva
• Pināka

Tags

• Devi
• Shiva
• Iconography
• Divine Marriage
• Names and Epithets

FAQs

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

This verse does not address pralaya directly; it focuses on a goddess’s epithet (Lalitā) and Śiva’s marriage to Trailokyasundarī, highlighting divine qualities rather than cosmic dissolution.

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

Indirectly, it affirms the Purāṇic ideal of auspicious union and reverence for divine archetypes; householders are encouraged to honor sacred marriages and cultivate ‘lālitya’ (refined grace) as a dharmic virtue in conduct and worship.

What is the architectural or ritual significance mentioned here?

No explicit Vāstu or temple-construction rule appears here; ritually, the verse supports name-based devotion (nāma-smaraṇa) to Lalitā/Trailokyasundarī and Śiva (Pinākadhṛk) in hymns, icon consecration contexts, and marriage-auspice rites.