Shloka 83

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

Devanagari script

ततः सशङ्खानकभेरिभीमं ससिंहनादं हरसैन्यमाबभौ / मयानुगं घोरगभीरगह्वरं यथा सिंहनादितम् //

Transliteration

tataḥ saśaṅkhānakabheribhīmaṃ sasiṃhanādaṃ harasainyamābabhau / mayānugaṃ ghoragabhīragahvaraṃ yathā siṃhanāditam //

Translation

Then Hara’s army came into view—terrifying with conches, kettle-drums, and great war-drums, and resounding with lion-like roars—following after Maya, like a deep and dreadful ravine echoing with the roar of a lion.

Word by Word

• tataḥ: then

• sa-śaṅkha: with conches

• ānaka: with kettle-drums (ānaka)

• bherī-bhīmam: made fearsome by war-drums

• sa-siṃha-nādam: with lion-roars / lion-like shouting

• hara-sainyam: Hara (Śiva)’s army

• ābabhau: appeared / came into view / shone forth

• mayā-anugam: following Maya

• ghora: terrible

• gabhīra: deep

• gahvaram: ravine / chasm / cavern-like depth

• yathā: like

• siṃhanāditam: (a place) made resonant by a lion’s roar / echoing with a lion’s roar.

Speaker

• Sūta (Purāṇic narrator) describing the scene

Entities Mentioned

• Hara (Shiva)
• Maya

Tags

• Shiva
• Battle narrative
• Divine armies
• War-drums
• Roar imagery

FAQs

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

This verse does not discuss Pralaya; it is a martial description, emphasizing the terrifying soundscape and momentum of Śiva’s (Hara’s) advancing army.

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

Indirectly, it reflects the Purāṇic ideal of organized martial readiness—signals (conch, drums) and disciplined following of a leader—values echoed in rājanīti discussions, though the verse itself is purely narrative.

What is the architectural or ritual significance mentioned here?

No Vāstu or temple-rule is stated; the only ritual-adjacent element is the battlefield use of auspicious instruments (śaṅkha, ānaka, bherī) as sonic markers of procession and command.