Shloka 64

Matsya Purana — The Burning of Tripura and Rudra’s Victory

Devanagari script

बालो ऽयं दुःखलब्धश्च मया पावक पुत्रकः नार्हस्येनमुपादातुं दयितं षण्मुखप्रिय //

Transliteration

bālo 'yaṃ duḥkhalabdhaśca mayā pāvaka putrakaḥ nārhasyenamupādātuṃ dayitaṃ ṣaṇmukhapriya //

Translation

“This is only a child—won by me through suffering—the little son of Pāvaka (Agni). It is not fitting that he be taken away; he is beloved and dear to the Six-faced One (Ṣaṇmukha).”

Word by Word

• बालः (bālaḥ): a child

• अयम् (ayam): this

• दुःख-लब्धः (duḥkha-labdhaḥ): obtained through hardship/sorrow

• च (ca): and

• मया (mayā): by me

• पावक-पुत्रकः (pāvaka-putrakaḥ): the little son of Agni (Pāvaka)

• न अर्हस्य (na arhasi): you ought not/it is not proper

• एनम् (enam): him/this one

• उपादातुम् (upādātum): to take away/remove

• दयितम् (dayitam): beloved, dear

• षण्मुख-प्रिय (ṣaṇmukha-priya): dear to Ṣaṇmukha (Kārttikeya/Skanda).

Speaker

• A maternal/guardian figure in the Skanda episode (likely one of the Kṛttikās or a divine foster-mother speaking about the child connected with Agni and dear to Ṣaṇmukha)

Entities Mentioned

• Agni (Pāvaka)
• Ṣaṇmukha (Skanda/Kārttikeya)

Tags

• Skanda
• Agni
• Divine child
• Puranic narrative
• Deva traditions

FAQs

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

This verse does not address Pralaya; it belongs to a mythic narrative about a divine child (linked to Agni) and his guardianship, emphasizing protection and rightful custody rather than cosmic dissolution.

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

Indirectly, it highlights dharmic restraint and guardianship: one should not seize what is “beloved” and rightfully protected, especially a vulnerable child—an ethical principle applicable to rulers (non-appropriation, protection of dependents) and householders (care, compassion, rightful conduct).

What is the architectural or ritual significance mentioned here?

No explicit Vāstu/temple-building rule appears in this verse, but the mention of Ṣaṇmukha is relevant for iconography: it supports identifying Skanda as “six-faced,” a key descriptor used in pratima-lakṣaṇa (image characteristics) and temple storytelling contexts.