The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
हालालोलो नीलवासा हलवानेककुंडलः । कला या श्यामला भद्रा सुभद्रा भद्रभूषणा ॥ ६७ ॥
hālālolo nīlavāsā halavānekakuṃḍalaḥ | kalā yā śyāmalā bhadrā subhadrā bhadrabhūṣaṇā || 67 ||
Elle est la joueuse qui se balance avec grâce, vêtue de bleu et parée de multiples boucles d’oreilles. Elle est la Kalā divine—sombre de teint, auspicious, très auspicious, ornée d’ornements de bon augure.
Narada (in a recitational/technical-stotra listing context, transmitted within the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It functions as a nāma-style praise: by contemplating the deity’s auspicious qualities—beauty, sacred adornment, and beneficence—the reciter cultivates śubha (auspiciousness) and devotional focus (bhakti-smṛti).
Bhakti here is practiced through reverent naming and visualization: repeating epithets like śyāmalā, bhadrā, and subhadrā trains the mind to dwell on the deity’s benevolent presence rather than worldly distraction.
The verse supports Vedāṅga-style disciplined recitation—clear phonetics (śikṣā) and structured name-lists useful for pāṭha/japa—where precision of sound and consistent repetition are treated as spiritually efficacious.