Narada Purana — Purva Bhaga, Shloka 109
The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
उन्मीलन्नवकैरवालिविगलन्माध्वीकलब्धांतरं भ्राम्यन्मत्तमिलिंदगीतललिते सन्मल्लिकोज्जृम्भिते । पीयूषांशुकरैर्विशालितहरित्प्रांते स्मरोद्दीपने कालिन्दीपुलिनांगणे स्मितमुखं वेणुं रणंतं मुहुः ॥ १०९ ॥
unmīlannavakairavālivigalanmādhvīkalabdhāṃtaraṃ bhrāmyanmattamiliṃdagītalalite sanmallikojjṛmbhite | pīyūṣāṃśukarairviśālitaharitprāṃte smaroddīpane kālindīpulināṃgaṇe smitamukhaṃ veṇuṃ raṇaṃtaṃ muhuḥ || 109 ||
No pátio arenoso da margem da Kāliṇdī—onde se abrem novos cachos de lótus brancos, onde o mel se insinua no seu interior, onde abelhas embriagadas vagueiam cantando docemente e onde o nobre jasmim desabrocha—ali, na vastidão verde alargada por raios lunares, frescos como néctar e que acendem o amor, ele, de rosto sorridente, faz soar a flauta repetidas vezes.
Narada (in the narrative flow of Book 1.3, typically within instruction/description addressed in the Narada–Sanatkumara dialogue frame)
Vrata: none
Primary Rasa: shringara
Secondary Rasa: bhakti
FAQs
The verse uses sacred nature imagery on the Yamunā (Kālindī) bank to direct the mind into dhyāna: the sweetness of blossoms, bees, moon-cool rays, and flute-sound together model how devotional contemplation transforms sensory beauty into remembrance of the Divine.
Bhakti is shown as repeated, affectionate remembrance—“muhuḥ” (again and again)—centered on the Lord’s līlā-like presence (smiling face, flute music) within a sanctified setting, where the heart naturally becomes absorbed through rasa rather than dry argument.
Indirectly, the verse showcases chandas and kāvya-alankāra (meter and poetic ornament), a style of disciplined expression aligned with Vedāṅga sensibilities—using precise compounds and imagery to support memorization and contemplative recitation.