The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
बलदोलाशयशयः श्यामलः सर्वसुंदरः । पद्मनाभो हृषीकेशः क्रीडामनुजबालकः ॥ ४१ ॥
baladolāśayaśayaḥ śyāmalaḥ sarvasuṃdaraḥ | padmanābho hṛṣīkeśaḥ krīḍāmanujabālakaḥ || 41 ||
Он возлежит на ложе, которым служит змей Бала; тёмно-синий (шьяма), прекраснейший во всём — Падманабха, Хришикеша — Он играет среди людей, как ребёнок.
Narada (in dialogue context with the Sanatkumara brothers)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shanta
The verse compresses key Viṣṇu-tattva markers—His cosmic repose on Ananta (stability of dharma), His lotus-navel (source of creation), and His mastery of the senses (Hṛṣīkeśa)—inviting devotion through form-based contemplation and sacred names.
It models bhakti through nāma and rūpa-dhyāna: remembering Viṣṇu by epithets (Padmanābha, Hṛṣīkeśa) and visualizing His gentle, playful accessibility “like a child among men,” making reverence intimate and continuous.
Primarily Vyākaraṇa and Nirukta-style insight: the compound epithets (e.g., padma-nābha, hṛṣīka-īśa) function as technical name-meanings that guide correct understanding and dhyāna; no specific ritual-astronomy instruction is directly stated in this verse.