The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
महालीला प्रकृष्टा च नागरी नगचारिणी । नित्यमाघूर्णिता पूर्णा कस्तूरीतिलकान्विता ॥ १४२ ॥
mahālīlā prakṛṣṭā ca nāgarī nagacāriṇī | nityamāghūrṇitā pūrṇā kastūrītilakānvitā || 142 ||
Līlā-nya amat luas dan luhur; halus bak gadis kota namun mengembara di pergunungan. Sentiasa berputar dalam sukacita, sempurna pada segala sisi, dan berhias tilaka kastūrī di dahi.
Narada (within the Narada–Sanatkumara dialogue framework)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It uses devotional visualization—ornament, movement, and auspicious marks—to fix the mind steadily on the deity’s auspicious form, a key method for cultivating bhakti through remembrance (smaraṇa).
By giving vivid, auspicious attributes (tilaka, completeness, graceful motion), the verse supports loving contemplation and recitation, turning aesthetic description into a practical bhakti discipline.
The verse reflects chandas/alankāra usage—compact, rhythmic description suited to oral recitation—showing how poetic structure aids memorization and devotional chanting in Purāṇic practice.