The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma
चारुरूपा चारुवक्त्रा चारुहेमांगदा शुभा । श्रीकृष्णवेणुसंगीता मुरलीहारिणी शिवा ॥ १३४ ॥
cārurūpā cāruvaktrā cāruhemāṃgadā śubhā | śrīkṛṣṇaveṇusaṃgītā muralīhāriṇī śivā || 134 ||
وہ حسین صورت والی، خوبصورت چہرے والی، مبارک، اور دلکش سنہری بازوبندوں سے آراستہ ہے؛ وہ شری کرشن کی وینو کی دھن میں محو، مُرلی سے دل چرا لینے والی، اور سراسر مَنگل (شیوا) ہے۔
Narada (within the Narada–Sanatkumara dialogue context of Book 1.3)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: shringara
It functions as a praise-verse describing an auspicious divine presence irresistibly drawn to Śrī Kṛṣṇa’s veṇu (flute), emphasizing devotional attraction (ākarṣaṇa) and the mind’s absorption in Kṛṣṇa as a sacred ideal.
Bhakti is shown as loving captivation: the devotee (or divine beloved) becomes ‘tuned’ to Kṛṣṇa’s flute-song—an image for continuous remembrance (smaraṇa) and heartfelt listening (śravaṇa) that naturally pulls the mind away from distractions.
Practically, it points to stotra-recitation as a disciplined practice: correct pronunciation and cadence (Śikṣā/Chandas) support focused contemplation, making praise-verses effective for japa, kīrtana, and ritual recitation.