The Exposition of the Krishna Mantra (Kṛṣṇa-mantra-prakāśa): Nyāsa, Dhyāna, Worship, Yantra, and Prayoga
इतरेतरबद्धकरप्रमदागणकल्पितरासविहारविधौ । मणिशंकुगमप्यमुना वपुषा बहुधा विहितस्वकदिव्यतनुम् ॥ ११३ ॥
itaretarabaddhakarapramadāgaṇakalpitarāsavihāravidhau | maṇiśaṃkugamapyamunā vapuṣā bahudhā vihitasvakadivyatanum || 113 ||
ஒருவருக்கொருவர் கைகளைப் பிணைத்த இளம்பெண்கள் அமைத்த ராசவிஹார விதியில், அவர்—ரத்தினத் தலைச்சூடிய தூண் போலத் தோன்றினாலும்—தன் உடலினாலேயே பலவிதமாகத் தன் தெய்வீக உருவத்தை வெளிப்படுத்தினார் (பலரூபமாயினார்)।
Narada (narration within the Narada Purana discourse tradition)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It presents Krishna’s rāsa-līlā as a revelation of divinity: the Lord freely manifests multiple divine forms, teaching that the Supreme can be simultaneously present with all devotees.
By showing the Lord responding to the devotees’ loving circle-dance, the verse emphasizes intimate, personal devotion—Bhakti in which God becomes directly accessible and reciprocates with each devotee.
The verse uses precise poetic construction and compound-formation (Vyākaraṇa/grammar) to encode theology: terms like rāsa-vihāra-vidhi and divya-tanu convey a disciplined ‘mode’ of contemplation rather than a mere story.