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Narada Purana — Purva Bhaga, Shloka 69

The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma

व्यंगधर्मप्रवक्ता च गोपीमण्डलमोहनः । रासक्रीडारसास्वादी रसिको राधिकाधवः ॥ ६९ ॥

vyaṃgadharmapravaktā ca gopīmaṇḍalamohanaḥ | rāsakrīḍārasāsvādī rasiko rādhikādhavaḥ || 69 ||

Il est le maître qui enseigne le dharma par une instruction subtile et indirecte; l’enchanteur du cercle des gopīs; celui qui goûte le nectar du Rāsa‑līlā; le Rasika suprême — Śrī Kṛṣṇa, le Seigneur bien‑aimé de Rādhikā.

व्यङ्ग-धर्म-प्रवक्ताexpounder of subtle/implicit dharma
व्यङ्ग-धर्म-प्रवक्ता:
Karta (कर्ता/Subject—स्तुत्य-विशेषण)
TypeAdjective
Rootव्यङ्ग (प्रातिपदिक) + धर्म (प्रातिपदिक) + प्रवक्तृ (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; तत्पुरुषः (व्यङ्गधर्मं प्रवक्ति/प्रवक्तृ)
and
:
Sambandha (सम्बन्ध/Connector)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक-अव्ययम् (conjunction)
गोपी-मण्डल-मोहनःenchanter of the circle of gopīs
गोपी-मण्डल-मोहनः:
Karta (कर्ता/Subject—स्तुत्य-विशेषण)
TypeAdjective
Rootगोपी (प्रातिपदिक) + मण्डल (प्रातिपदिक) + मोहन (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; तत्पुरुषः (गोपीनां मण्डलं मोहयति इति/गोपिमण्डलस्य मोहनः)
रास-क्रीडा-रस-आस्वादीtaster/enjoyer of the rasa of the rāsa-dance play
रास-क्रीडा-रस-आस्वादी:
Karta (कर्ता/Subject—स्तुत्य-विशेषण)
TypeAdjective
Rootरास (प्रातिपदिक) + क्रीडा (प्रातिपदिक) + रस (प्रातिपदिक) + आस्वादिन् (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; बहुपद-तत्पुरुषः (रासक्रीडायाः रसः तं आस्वादयति इति)
रसिकःconnoisseur; enjoyer of rasa
रसिकः:
Karta (कर्ता/Subject—स्तुत्य-विशेषण)
TypeAdjective
Rootरसिक (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन
राधिका-अधवःhusband/beloved of Rādhikā
राधिका-अधवः:
Karta (कर्ता/Subject—नाम/उपाधि)
TypeNoun
Rootराधिका (प्रातिपदिक) + धव (प्रातिपदिक)
Formपुंलिङ्ग, प्रथमा, एकवचन; षष्ठी-तत्पुरुषः (राधिकायाः धवः = पति/वल्लभः)

Narada

Vrata: none

Primary Rasa: shringara

Secondary Rasa: bhakti

K
Krishna
R
Radhika
G
Gopis

FAQs

It praises Śrī Kṛṣṇa as the supreme rasika who reveals dharma not only through rules but through lived divine play (līlā), showing that the highest spiritual realization culminates in loving devotion (bhakti) saturated with rasa.

By calling Kṛṣṇa the enchanter of the gopīs and the savorer of the Rāsa, the verse points to intimate, selfless love as a valid and exalted mode of bhakti—where devotion becomes an experiential relish of the Divine rather than mere obligation.

The verse implicitly uses the aesthetic theory of “rasa” and the idea of suggestive teaching (vyaṅga), aligning with refined interpretive tools used in śāstric study—how meaning can be conveyed indirectly and tasted as spiritual experience.