Shloka 17

Matsya Purana — The Battle at Tripura: Shiva’s Strategy

Devanagari script

देवानां सिंहनादश्च सर्वतूर्यरवो महान् ग्रस्तो ऽभूद्दैत्यनादैश्च चन्द्रस्तोयधरैरिव //

Transliteration

devānāṃ siṃhanādaśca sarvatūryaravo mahān grasto 'bhūddaityanādaiśca candrastoyadharairiva //

Translation

The Devas’ lion-roar and the mighty clamour of all their war-instruments were swallowed up by the Daityas’ uproar—just as the moon is engulfed by water-bearing clouds.

Word by Word

• देवानाम् (devānām): of the gods (Devas)

• सिंहनादः (siṃhanādaḥ): lion-roar, triumphant roar

• च (ca): and

• सर्व (sarva): all

• तूर्य (tūrya): musical/war instruments, trumpets and drums

• रवः (ravaḥ): sound, clamour

• महान् (mahān): great, mighty

• ग्रस्तः (grastaḥ): swallowed, overwhelmed, eclipsed

• अभूत् (abhūt): became, came to be

• दैत्यनादैः (daitya-nādaiḥ): by the roars/cries of the Daityas

• च (ca): and

• चन्द्र (candra): the moon

• स्तोयधरैः (stoya-dharaiḥ): by water-bearing clouds (rain-clouds)

• इव (iva): like, as if.

Speaker

• Suta (narrator) describing the battlefield scene (narrative voice within Matsya Purana)

Entities Mentioned

• Devas
• Daityas
• Chandra (Moon)

Tags

• Deva-Asura War
• Battle Imagery
• Omens
• Puranic Narrative
• Poetic Simile

FAQs

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

This verse does not describe Pralaya directly; it uses a cosmic image (the moon obscured by clouds) to portray how the Daityas’ tumult overwhelms the Devas’ roar, emphasizing temporary eclipse of divine advantage rather than cosmic dissolution.

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

Indirectly, it reflects a Rajadharma-style lesson in morale and strategy: even a strong side can be ‘drowned out’ if the opponent’s force and coordination dominate—suggesting the importance of disciplined organization, timely action, and maintaining collective resolve.

What is the architectural or ritual significance mentioned here?

No Vastu or temple-ritual rule is stated here; the only ritual-adjacent element is the reference to tūrya (ceremonial/war instruments), highlighting their role in public, martial, and auspicious soundscapes rather than architecture.