Narada Purana — Purva Bhaga, Shloka 109
The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
उन्मीलन्नवकैरवालिविगलन्माध्वीकलब्धांतरं भ्राम्यन्मत्तमिलिंदगीतललिते सन्मल्लिकोज्जृम्भिते । पीयूषांशुकरैर्विशालितहरित्प्रांते स्मरोद्दीपने कालिन्दीपुलिनांगणे स्मितमुखं वेणुं रणंतं मुहुः ॥ १०९ ॥
unmīlannavakairavālivigalanmādhvīkalabdhāṃtaraṃ bhrāmyanmattamiliṃdagītalalite sanmallikojjṛmbhite | pīyūṣāṃśukarairviśālitaharitprāṃte smaroddīpane kālindīpulināṃgaṇe smitamukhaṃ veṇuṃ raṇaṃtaṃ muhuḥ || 109 ||
Sur le parvis sablonneux de la rive de la Kāliṇdī—où s’ouvrent de fraîches grappes de lotus blancs, où le miel suinte en leur cœur, où des abeilles ivres errent en chantant doucement, et où le noble jasmin s’épanouit—là, dans l’étendue verte élargie par des rayons lunaires, frais comme le nectar et qui attisent l’amour, lui, le visage souriant, fait résonner la flûte à maintes reprises.
Narada (in the narrative flow of Book 1.3, typically within instruction/description addressed in the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: shringara
Secondary Rasa: bhakti
FAQs
The verse uses sacred nature imagery on the Yamunā (Kālindī) bank to direct the mind into dhyāna: the sweetness of blossoms, bees, moon-cool rays, and flute-sound together model how devotional contemplation transforms sensory beauty into remembrance of the Divine.
Bhakti is shown as repeated, affectionate remembrance—“muhuḥ” (again and again)—centered on the Lord’s līlā-like presence (smiling face, flute music) within a sanctified setting, where the heart naturally becomes absorbed through rasa rather than dry argument.
Indirectly, the verse showcases chandas and kāvya-alankāra (meter and poetic ornament), a style of disciplined expression aligned with Vedāṅga sensibilities—using precise compounds and imagery to support memorization and contemplative recitation.