The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
वंशी वटी वेणुवादी गोपीचिन्तापहारकः । सर्वगोप्ता समाह्वानः सर्वगोपीमनोरथः ॥ ६८ ॥
vaṃśī vaṭī veṇuvādī gopīcintāpahārakaḥ | sarvagoptā samāhvānaḥ sarvagopīmanorathaḥ || 68 ||
Lui qui porte la flûte; Seigneur du bosquet sacré Vāṭī; le divin joueur de veṇu, la flûte de bambou; celui qui ôte les soucis des gopīs; le protecteur de tous; dont l’appel rassemble tous; et l’accomplisseur des désirs du cœur de chaque gopī.
Narada (in a devotional recitation/teaching context addressed within the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shanta
It presents Krishna/Vishnu through intimate devotional epithets—protector of all and especially the gopīs—teaching that remembrance of the Lord’s names and qualities removes anxiety and fulfills the devotee’s inner longing.
Bhakti is shown as personal, affectionate relationship: the Lord “calls” the devotees (samāhvānaḥ), protects them (sarva-goptā), and alleviates their mental suffering (gopī-cintā-pahārakaḥ), indicating surrender and loving remembrance as the core practice.
Primarily Vyākaraṇa and Nirukta-style understanding of divine names: unpacking compound meanings (e.g., gopī-cintā-pahārakaḥ) supports accurate recitation, comprehension, and purposeful nāma-japa as a disciplined devotional practice.