Shloka 43
Kṛṣṇa Arrives at Kuṇḍina and Abducts Rukmiṇī
Rukmiṇī-haraṇa Prelude
नानोपहारबलिभिर्वारमुख्या: सहस्रश: । स्रग्गन्धवस्त्राभरणैर्द्विजपत्न्य: स्वलङ्कृता: ॥ ४२ ॥ गायन्त्यश्च स्तुवन्तश्च गायका वाद्यवादका: । परिवार्य वधूं जग्मु: सूतमागधवन्दिन: ॥ ४३ ॥
nānopahāra balibhir vāramukhyāḥ sahasraśaḥ srag-gandha-vastrābharaṇair dvija-patnyaḥ sv-alaṅkṛtāḥ
Singers went along singing and offering praises, and musicians played their instruments. Sūtas, māgadhas, and heralds surrounded the bride and proceeded with her.
Śrīla Viśvanātha Cakravartī explains that from her own quarters up to the temple of Bhavānī, Rukmiṇī went by palanquin and thus was easily protected. Only for the last twelve to fifteen feet, from the palace to the temple area, did she go on foot, with royal bodyguards stationed outside the temple on all sides.
FAQs
This verse describes singers, instrumentalists, and professional eulogists accompanying the bride, showing that auspicious processions are traditionally filled with glorification and celebratory song.
They are traditional bards and panegyrists—groups known for reciting genealogies, histories, and praises—here depicted as part of the wedding procession honoring the bride.
It highlights the power of glorification—bringing kīrtana, prayerful praise, and sacred sound into important life events to keep the mind centered on dharma and devotion.