Naimittika-pralaya and the Theology of Kāla: Seven Suns, Saṃvartaka Fire, Flood, and Varāha Kalpa
केचित् पर्वतसंकाशाः केचिद् गजकुलोपमाः / कूटाङ्गारनिभाश्चान्ये केचिन्मीनकुलोद्वहाः / बहूरूपा घोरूपा घोरस्वरनिनादिनः
kecit parvatasaṃkāśāḥ kecid gajakulopamāḥ / kūṭāṅgāranibhāścānye kecinmīnakulodvahāḥ / bahūrūpā ghorūpā ghorasvaraninādinaḥ
May mga ulap na parang bundok, may mga ulap na tulad ng kawan ng mga elepante. Ang iba’y wari’y bunton ng nagliliyab na uling, at ang iba nama’y tila pinakamatipuno sa isang pulutong ng isda. Sari-saring anyo, nakapanghihilakbot ang hitsura, at umuugong sa nakatatakot na dagundong ng kulog.
Narratorial voice within the Kurma Purana (sage-narration describing extraordinary beings/hosts in the cosmic geography context)
Primary Rasa: bhayanaka
Secondary Rasa: adbhuta
Indirectly: by portraying radically diverse and fearsome forms, the verse supports a Purāṇic-Yogic insight that external forms are mutable manifestations within prakṛti, while the witnessing Self (Ātman) remains unchanged beyond such appearances.
No specific technique is prescribed in this verse; however, its imagery functions as a contemplation aid for vairāgya (dispassion) and steadiness—training the mind to remain undisturbed by frightening or grand phenomenal forms, a prerequisite emphasized across Kurma Purana’s Yoga-oriented teachings.
It does not explicitly mention Śiva or Viṣṇu; yet within the Kurma Purana’s synthesis, such cosmological descriptions are framed as occurring within one divine order (Īśvara-tattva), harmonizing Shaiva and Vaishnava perspectives on the governance of the manifest world.