The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
महालीला प्रकृष्टा च नागरी नगचारिणी । नित्यमाघूर्णिता पूर्णा कस्तूरीतिलकान्विता ॥ १४२ ॥
mahālīlā prakṛṣṭā ca nāgarī nagacāriṇī | nityamāghūrṇitā pūrṇā kastūrītilakānvitā || 142 ||
Ihre Līlā ist groß und erhaben; fein wie eine Dame der Stadt und doch durchstreift sie die Berge. Immer wirbelt sie in Wonne, in allem vollkommen, und trägt auf der Stirn ein Tilaka aus Kastūrī (Moschus).
Narada (within the Narada–Sanatkumara dialogue framework)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It uses devotional visualization—ornament, movement, and auspicious marks—to fix the mind steadily on the deity’s auspicious form, a key method for cultivating bhakti through remembrance (smaraṇa).
By giving vivid, auspicious attributes (tilaka, completeness, graceful motion), the verse supports loving contemplation and recitation, turning aesthetic description into a practical bhakti discipline.
The verse reflects chandas/alankāra usage—compact, rhythmic description suited to oral recitation—showing how poetic structure aids memorization and devotional chanting in Purāṇic practice.