Shloka 22

Matsya Purana — Tripura’s Prosperity

Devanagari script

पार्श्वयोस्तारकाख्यश्च विद्युन्माली च दानवः उपविष्टौ मयस्यान्ते हस्तिनः कलभाविव //

Transliteration

pārśvayostārakākhyaśca vidyunmālī ca dānavaḥ upaviṣṭau mayasyānte hastinaḥ kalabhāviva //

Translation

On either side sat the Dānava named Tāraka and Vidyunmālī, seated close beside Maya—like two young elephant-calves beside an elephant.

Word by Word

• pārśvayoḥ: on the two sides

• tārakākhyaḥ: (one) named Tāraka

• ca: and

• vidyunmālī: Vidyunmālī (proper name)

• ca: and

• dānavaḥ: the Dānava/demon

• upaviṣṭau: the two sat down/were seated

• mayasya: of Maya (Mayāsura)

• ante: near, at the side/end

• hastinaḥ: of an elephant

• kalabhau: two calves/young elephants

• iva: like, as if

Speaker

• Sūta (Purāṇic narrator) describing the scene (narrative voice within Matsya Purana)

Entities Mentioned

• Maya (Mayāsura)
• Tāraka
• Vidyunmālī
• Dānava

Tags

• Danavas
• Maya
• Iconography-Context
• Vastuvidya-Stream
• Puranic-Narrative

FAQs

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

This verse does not describe pralaya directly; it is a scene-setting description of Dānava figures seated beside Mayāsura, using an elephant-and-calves simile to emphasize proximity and dependence.

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

It is not a prescriptive dharma verse; indirectly, it exemplifies Purāṇic narrative technique—introducing key agents around a central figure (Maya)—which later chapters may connect to instructive material (e.g., craft, construction, or ritual order).

What is the architectural or ritual significance mentioned here?

No explicit Vāstu or ritual rule appears in this line; however, Mayāsura is traditionally linked with extraordinary craft and construction lore, so the verse functions as contextual setup within the broader Vāstu/iconography-oriented flow.