The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
भिन्नर्गलः भिन्नलोहः पितृबाह्यः पितृस्तुतः । मातृस्तुतः शिवध्येयो यमुनाजलभेदनः ॥ ३८ ॥
bhinnargalaḥ bhinnalohaḥ pitṛbāhyaḥ pitṛstutaḥ | mātṛstutaḥ śivadhyeyo yamunājalabhedanaḥ || 38 ||
هو كاسرُ الأقفال، شاقُّ الحديد؛ متعالٍ عن منال الـPitṛ (الآباء الأسلاف) ومع ذلك يمدحونه؛ وتمجّده الـMātṛ (الأمهات الإلهيات)؛ يُتأمَّل فيه كـ«شِڤا»؛ وهو الذي يشقّ مياه يَمُنا.
Narada (stotra-style recital within the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
The verse presents protective and liberating epithets: the deity is described as breaking restraints and overcoming hard obstacles, transcending ancestral limitation while still being honored by Pitṛs and Mātṛs, and as a focus of auspicious meditation—pointing to purification and liberation.
It models Bhakti through nāma-recitation and contemplation: praising the Lord by names, meditating on His auspicious form (śivadhyeya), and trusting His power to remove inner and outer bonds—core devotional attitudes emphasized in Purāṇic practice.
The practical takeaway is the stotra/nāma method—structured epithets used for japa and recitation, aligning with Vyākaraṇa-based precision of names and accents in chanting, and with ritual application for protection and purification.