Prayāga-māhātmya — The Greatness of Prayāga and the Discipline of Pilgrimage
सर्वरत्नमयैर्दिव्यैर्नानाध्वजसमाकुलैः / वराङ्गनासमाकीर्णैर्मोदते शुभलक्षणः
sarvaratnamayairdivyairnānādhvajasamākulaiḥ / varāṅganāsamākīrṇairmodate śubhalakṣaṇaḥ
Được vây quanh bởi những cung điện thần diệu kết bằng mọi loại châu báu, rợp cờ phướn muôn màu, đông đầy các mỹ nữ cao quý—người mang tướng lành ấy hoan hỷ vui hưởng.
Narrator (Purāṇic narrator describing the scene; traditional transmission via Sūta to sages)
Primary Rasa: shringara
Secondary Rasa: adbhuta
It does not directly define Ātman; instead it depicts outward prosperity and auspicious signs, which the Purāṇa often contrasts with inner realization taught elsewhere (e.g., the Ishvara-gītā’s emphasis on the Self beyond sensory delight).
No explicit yoga practice is stated in this verse; it functions as narrative description of splendor. In the Kurma Purana’s broader teaching, such enjoyments are typically subordinated to dharma and later to disciplined yoga (including Pāśupata-oriented devotion and restraint).
This verse is descriptive and does not name Śiva or Viṣṇu; in the Kurma Purana’s overall synthesis, worldly auspiciousness is ultimately meaningful when aligned with devotion to the one Supreme who is praised through both Śaiva and Vaiṣṇava idioms.