Shloka 30

Matsya Purana — The Rite of the Jaggery-Cow

Devanagari script

तस्मादग्रे हरेर्नित्यम् अनन्तं गीतवादनम् कर्तव्यं भूतिकामेन भक्त्या तु परया नृप //

Transliteration

tasmādagre harernityam anantaṃ gītavādanam kartavyaṃ bhūtikāmena bhaktyā tu parayā nṛpa //

Translation

Therefore, O king, one who seeks prosperity should always, in the presence of Hari, perform unceasing sacred song and instrumental music, doing so with supreme devotion.

Word by Word

• तस्मात्: therefore

• अग्रे: in front of, in the presence of

• हरेः: of Hari (Vishnu)

• नित्यम्: always, daily

• अनन्तम्: unending, continuous

• गीतवादनम्: singing and playing of instruments (devotional music)

• कर्तव्यम्: should be done, is to be performed

• भूतिकामेन: by one desiring bhūti (prosperity, welfare, flourishing)

• भक्त्या: with devotion

• तु: indeed

• परया: supreme, highest

• नृप: O king

Speaker

• Lord Matsya (Vishnu) instructing the King (Vaivasvata Manu)

Entities Mentioned

• Hari
• Ananta

Tags

• Bhakti
• Ritual Music
• Hari Worship
• Rajadharma
• Prosperity

FAQs

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

This verse does not describe pralaya directly; it emphasizes a practical bhakti-discipline—continuous devotional music before Hari—as a means to welfare and stability even amid cosmic uncertainty.

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

It frames devotion as a duty-linked practice: a ruler (and likewise a householder) seeking prosperity and public well-being should maintain regular worship of Vishnu through song and instruments, cultivating “parā-bhakti” rather than mere formality.

What is the architectural or ritual significance mentioned here?

Ritually, it points to upacāra in pūjā: gīta (hymns) and vādya (instruments) offered before the deity. Architecturally it implies a worship setting (temple or shrine) where such offerings are performed, aligning with Matsya Purana’s broader temple-ritual culture rather than giving a specific Vāstu rule in this verse.