Shloka 57

Matsya Purana — Tārakāsura’s Austerity and Boon; Mobilization for War; Bṛhaspati’s Fourfold P...

Devanagari script

नानासुगन्धिगन्धाढ्या नानाबन्दिजनस्तुताः नानावाद्यपरिस्पन्दाश् चाग्रेसरमहारथाः //

Transliteration

nānāsugandhigandhāḍhyā nānābandijanastutāḥ nānāvādyaparispandāś cāgresaramahārathāḥ //

Translation

Abounding in many kinds of fragrant scents, praised by diverse bards and panegyrists, and resounding with the vibrations of many musical instruments—such were the foremost great charioteers at the head of the procession.

Word by Word

nānāmany kinds of

sugandhisweet-smelling, fragrant

gandha-āḍhyāḥrich/abounding in scents

nānāvarious

bandi-janabards, heralds, panegyrists

stutāḥpraised, eulogized

nānāmany kinds of

vādyamusical instruments

paris-pandāḥthrobbings, reverberations, lively sounds

caand

agresaragoing in front, leading, foremost

mahā-rathāḥgreat charioteers, eminent warriors

Speaker

Suta (Purana narrator) describing the ceremonial/ritual scene within the Matsya Purana’s Vastu-ritual narrative flow

FAQs

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

This verse does not address Pralaya; it depicts auspicious ceremonial grandeur—fragrance, praise-singers, and music—used to mark sacred or royal occasions.

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

It reflects the kingly duty of maintaining auspicious public order and honoring dharma through properly conducted ceremonies—public eulogies, disciplined martial leadership, and culturally sanctioned music in state/temple events.

What is the architectural or ritual significance mentioned here?

Ritually, it highlights standard auspicious markers for temple/royal processions—pleasant fragrances, formal praise (bandi), and sanctioned instrumental music—elements often coordinated with Vastu-ritual timing and spatial arrangement at the front of the procession.