The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
चारुरूपा चारुवक्त्रा चारुहेमांगदा शुभा । श्रीकृष्णवेणुसंगीता मुरलीहारिणी शिवा ॥ १३४ ॥
cārurūpā cāruvaktrā cāruhemāṃgadā śubhā | śrīkṛṣṇaveṇusaṃgītā muralīhāriṇī śivā || 134 ||
Ia berwujud elok, berwajah indah, penuh keberkahan, berhias gelang lengan emas yang menawan; ia selaras dengan nyanyian seruling Śrī Kṛṣṇa, sang pencuri hati oleh murali, dan ia sendiri adalah kemuliaan yang membawa auspisius (Śivā).
Narada (within the Narada–Sanatkumara dialogue context of Book 1.3)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shringara
It functions as a praise-verse describing an auspicious divine presence irresistibly drawn to Śrī Kṛṣṇa’s veṇu (flute), emphasizing devotional attraction (ākarṣaṇa) and the mind’s absorption in Kṛṣṇa as a sacred ideal.
Bhakti is shown as loving captivation: the devotee (or divine beloved) becomes ‘tuned’ to Kṛṣṇa’s flute-song—an image for continuous remembrance (smaraṇa) and heartfelt listening (śravaṇa) that naturally pulls the mind away from distractions.
Practically, it points to stotra-recitation as a disciplined practice: correct pronunciation and cadence (Śikṣā/Chandas) support focused contemplation, making praise-verses effective for japa, kīrtana, and ritual recitation.