Shloka 25

Matsya Purana — The Birth of Tāraka: Varāṅgī’s Lament

Devanagari script

जगुर्हर्षसमाविष्टा ननृतुश्चासुराङ्गनाः ततो महोत्सवो जातो दानवानां द्विजोत्तमाः //

Transliteration

jagurharṣasamāviṣṭā nanṛtuścāsurāṅganāḥ tato mahotsavo jāto dānavānāṃ dvijottamāḥ //

Translation

Overcome with delight, the women of the Asuras sang and danced; thus, O best of the twice-born, a great festival arose among the Dānavas.

Word by Word

• jaguḥ: they sang

• harṣa-samāviṣṭāḥ: immersed/overwhelmed with joy

• nanṛtuḥ: they danced

• ca: and

• asura-aṅganāḥ: Asura women (demon maidens)

• tataḥ: then/thereupon

• mahā-utsavaḥ: a great festival/major celebration

• jātaḥ: arose/occurred

• dānavānām: of the Dānavas (a class of demons/anti-gods)

• dvija-uttamāḥ: O best of the twice-born (address to a Brahmin sage).

Speaker

• Sūta (narrator) addressing the assembled sages (dvijottamāḥ) (likely narrative voice within Matsya Purana)

Entities Mentioned

• Asura
• Asurāṅganāḥ
• Dānava
• Dvijottamāḥ

Tags

• Daitya-Dānava episode
• Festival
• Narrative
• Puranic society
• Celebration

FAQs

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

This verse does not describe Pralaya; it depicts a worldly scene of rejoicing—Asura women singing and dancing—indicating a festive moment among the Dānavas rather than cosmic dissolution.

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

Indirectly, it functions as a narrative contrast: Purāṇas often show that pleasure, celebration, and social spectacle can arise even among unrighteous groups, reminding kings/householders to govern and live by dharma rather than being led solely by revelry.

What is the architectural or ritual significance mentioned here?

No Vāstu or temple-ritual rule is stated explicitly; the only ritual implication is the notion of a “mahotsava” (grand festival), a term later used in dharmic contexts for public celebrations, processions, and communal rites.