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Narada Purana — Purva Bhaga, Shloka 195

The Recitation of the Thousand Names of Rādhā and Kṛṣṇa (Yugala-Sahasranāma) and Śaraṇāgati-Dharma

नीलोत्पलजिताक्षी च सद्रत्नकवरान्विता । प्रेमपर्यकनिलया तेजोमंडलमध्यगा ॥ १९५ ॥

nīlotpalajitākṣī ca sadratnakavarānvitā | premaparyakanilayā tejomaṃḍalamadhyagā || 195 ||

اُس کی آنکھیں نیلے کنول کو بھی مات دیتی تھیں؛ وہ بہترین جواہرات کے زیوروں سے آراستہ تھی۔ محبت کے پلنگ پر آرام فرما کر وہ نورانی ہالے کے عین وسط میں جلوہ گر تھی۔

नीलोत्पलजिताक्षीshe whose eyes surpass blue lotuses
नीलोत्पलजिताक्षी:
विशेषण (Adjectival qualifier of implied subject)
TypeAdjective
Rootनील + उत्पल + जित + अक्षि (प्रातिपदिक; कृदन्त: जित < √जि)
Formस्त्रीलिङ्ग (Feminine), प्रथमा (Nominative/1st), एकवचन (Singular); बहुव्रीहिः—'नीलोत्पलम् इव जितानि अक्षी यस्याः सा'
and
:
समुच्चय (Connector/समुच्चय)
TypeIndeclinable
Rootच (अव्यय)
Formसमुच्चयबोधक अव्यय (conjunction)
सद्रत्नकवरान्विताendowed with fine jewel-ornaments
सद्रत्नकवरान्विता:
विशेषण
TypeAdjective
Rootसत् + रत्न + कवरा + अन्वित (प्रातिपदिक; कृदन्त: अन्वित < √अन्वि/√इ)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; तत्पुरुषसमासः—'सद्रत्नकवरैः अन्विता' (endowed with excellent jewel-ornaments)
प्रेमपर्यकनिलयाresting on the couch of love
प्रेमपर्यकनिलया:
विशेषण
TypeAdjective
Rootप्रेम + पर्यक + निलय (प्रातिपदिक)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; तत्पुरुषः—'प्रेमपर्यके निलयः/निलया' (having abode on the couch of love)
तेजोमंडलमध्यगाsituated in the midst of a halo of radiance
तेजोमंडलमध्यगा:
विशेषण
TypeAdjective
Rootतेजस् + मण्डल + मध्य + ग (प्रातिपदिक; कृदन्त: ग < √गम्)
Formस्त्रीलिङ्ग, प्रथमा, एकवचन; तत्पुरुषः—'तेजोमण्डलस्य मध्ये गता'

Narada

Vrata: none

Primary Rasa: bhakti

Secondary Rasa: adbhuta

FAQs

It depicts a divine, sattvic vision: the deity’s beauty (lotus-like eyes), auspicious adornment (gems), and intrinsic radiance (tejas-maṇḍala) indicate spiritual splendor perceived through devotion and purity of mind.

By portraying the deity as approachable and lovingly enthroned (prema-paryaka), the verse emphasizes that loving devotion is a primary means to experience the divine presence as living, luminous reality.

The verse mainly showcases poetic construction and compound-formation (samāsa) relevant to Vyākaraṇa (grammar), using descriptive epithets and tightly packed compounds like nīlotpala-jitākṣī and tejo-maṇḍala-madhyagā.