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 ||
അവൾ ചാരുരൂപിണി, ചാരുമുഖിണി, ശുഭമയി, മനോഹര സ്വർണാംഗദങ്ങളാൽ അലങ്കൃത; ശ്രീകൃഷ്ണന്റെ വേണുനാദത്തിൽ ലയിച്ചവൾ, മുരളിയാൽ ഹൃദയം ഹരിക്കുന്ന മംഗളസ്വരൂപിണി (ശിവാ)।
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.