The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
विमलादिनिषेव्या च ललिताद्यार्चिता सती । पद्मवृन्दस्थिता हृष्टा त्रिपुरापरिसेविता ॥ १७० ॥
vimalādiniṣevyā ca lalitādyārcitā satī | padmavṛndasthitā hṛṣṭā tripurāparisevitā || 170 ||
Ela é servida por Vimalā e pelas demais deusas; a Deusa virtuosa é adorada por Lalitā e pelas outras. Permanecendo entre uma multidão de lótus, ela se alegra, e Tripurā a assiste continuamente.
Narada (as part of a descriptive hymn/section within the dialogue tradition)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: adbhuta
It presents the Goddess as the center of a living tradition of upāsanā—served and worshipped by revered divine forms—highlighting her auspicious presence (lotus-abode) and the joy that arises from divine proximity and constant service.
Bhakti is shown through parisevā (attentive service) and arcana (worship): the verse models devotion as continual honoring of the Divine with reverence, companionship of sacred beings, and delight rooted in worship.
The verse primarily supports mantra-śāstra and nāma-artha (name-and-meaning) practice: learning epithets like Vimala, Lalitā, and Tripurā aids correct recitation, contemplative identification, and structured worship (arcana) in ritual settings.