Shloka 6
Durjaya, Urvaśī, and the Expiation at Vārāṇasī
Genealogy and Sin-Removal through Viśveśvara
स कदाचिन्महाभागः कालिन्दीतीरसंस्थिताम् / अपश्यदुर्वशीं देवीं गायन्तीं मधुरस्वनाम्
sa kadācinmahābhāgaḥ kālindītīrasaṃsthitām / apaśyadurvaśīṃ devīṃ gāyantīṃ madhurasvanām
स कदाचित् महाभागः कालिन्दीतीरसंस्थिताम्। अपश्यदुर्वशीं देवीं गायन्तीं मधुरस्वनाम्॥
Sūta (narrator) relating the Purāṇic account to the sages
Primary Rasa: adbhuta
Secondary Rasa: shringara
FAQs
This verse is primarily narrative and descriptive; it does not directly teach ātma-tattva, but it sets a scene where sensory beauty (sweet song, divine form) can later be contrasted with inner discipline and dharma-oriented insight found elsewhere in the Kurma Purana.
No explicit yoga practice is taught in this line; however, the setting at a riverbank (tīra) echoes Purāṇic tīrtha culture, where śravaṇa (listening), smaraṇa (recollection), japa, and dhyāna are traditionally undertaken—themes developed more systematically in the Kurma Purana’s later yoga-oriented passages.
This specific verse does not mention Śiva or Viṣṇu; it belongs to a narrative layer of the Purāṇa. The Kurma Purana’s broader Shaiva–Vaishnava synthesis is expressed more directly in its doctrinal sections (notably the Upari-bhaga’s Ishvara Gita), rather than in this descriptive scene.