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 ||
وِملا وغیرہ دیویاں اُن کی خدمت کرتی ہیں؛ للِتا وغیرہ اُس ستی دیوی کی پوجا کرتی ہیں۔ کنولوں کے جھرمٹ میں مقیم وہ ہَرشِتا رہتی ہیں، اور تریپورا نِتّیہ اُن کی پرِچریا کرتی ہے۔
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.