The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
चारुरूपा चारुवक्त्रा चारुहेमांगदा शुभा । श्रीकृष्णवेणुसंगीता मुरलीहारिणी शिवा ॥ १३४ ॥
cārurūpā cāruvaktrā cāruhemāṃgadā śubhā | śrīkṛṣṇaveṇusaṃgītā muralīhāriṇī śivā || 134 ||
Von lieblicher Gestalt und schönem Antlitz, glückverheißend, geschmückt mit anmutigen goldenen Armreifen. Im Einklang mit der Musik von Śrī Kṛṣṇas Flöte ist sie die Verzauberin, die mit der Murali das Herz raubt, und sie ist selbst die Glückseligkeit des Heils (Śivā).
Narada (within the Narada–Sanatkumara dialogue context of Book 1.3)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shringara
It functions as a praise-verse describing an auspicious divine presence irresistibly drawn to Śrī Kṛṣṇa’s veṇu (flute), emphasizing devotional attraction (ākarṣaṇa) and the mind’s absorption in Kṛṣṇa as a sacred ideal.
Bhakti is shown as loving captivation: the devotee (or divine beloved) becomes ‘tuned’ to Kṛṣṇa’s flute-song—an image for continuous remembrance (smaraṇa) and heartfelt listening (śravaṇa) that naturally pulls the mind away from distractions.
Practically, it points to stotra-recitation as a disciplined practice: correct pronunciation and cadence (Śikṣā/Chandas) support focused contemplation, making praise-verses effective for japa, kīrtana, and ritual recitation.