Pūrvapīṭhikā
How the thousand names came to be given, and the dedication that prepares the reciter.
Before the names themselves, the recension opens with a pūrvapīṭhikā, a frame narrative. King Harihara, having praised the Lord with a thousand names of Rāma, is granted a vision of Kṛṣṇa, who bids him honour Him with this hymn and names its transmitters, Parāśara, Vyāsa, and Śuka, before setting the rule of who may receive it. The frame is followed by the viniyoga and nyāsa below, and then by the dhyāna and the first name.
The introductory verses
1
श्रीमद्रुक्मिमहीपालवंशरक्षामणिः स्थिरः । राजा हरिहरः क्षोणीं रक्षत्यम्बुधिमेखलाम्॥
śrīmadrukmimahīpālavaṃśarakṣāmaṇiḥ sthiraḥ · rājā hariharaḥ kṣōṇīṃ rakṣatyambudhimēkhalām
The steadfast King Harihara, jewel-guardian of the glorious line of King Rukmi, protects the sea-girdled earth.
2
स राजा सर्वतन्त्रज्ञः समभ्यर्च्य वरप्रदम् । देवं श्रियः पतिं स्तुत्या समस्तौद्वेदवेदितम्॥
sa rājā sarvatantrajñaḥ samabhyarchya varapradam · dēvaṃ śriyaḥ patiṃ stutyā samastaudvēdavēditam
That king, knower of all the sacred systems, having duly worshipped the boon-granting Lord, the consort of Śrī known through all the Vedas, praised him with a hymn.
3
तस्य हृष्टाशयः स्तुत्या विष्णुर्गोपांगनावृतः । स पिंछश्यामलं रूपं पिंछोत्तंसमदर्शयत्॥
tasya hṛṣṭāśayaḥ stutyā viṣṇurgōpāṃganāvṛtaḥ · sa piṃChaśyāmalaṃ rūpaṃ piṃChōttaṃsamadarśayat
Gladdened at heart by his praise, Viṣṇu, surrounded by the cowherd women, showed him that dark, peacock-hued form crowned with a peacock feather.
4
स पुनः स्वात्मविन्यस्तचित्तं हरिहरं नृपम् । अभिषिच्य कृपावर्षैरभाषत कृतांजलिम्॥
sa punaḥ svātmavinyastachittaṃ hariharaṃ nṛpam · abhiṣichya kṛpāvarṣairabhāṣata kṛtāṃjalim
Then, bathing in showers of grace the king Harihara, whose mind was set upon his own Self, he spoke to him as he stood with folded palms.
श्रीभगवानुवाच śrī bhagavān uvācha The Blessed Lord said:
5
मामवेहि महाभाग कृष्णं कृत्यविदां वर । पुरःस्थितोऽस्मि त्वद्भक्त्या पूर्णास्सन्तु मनोरथाः॥
māmavēhi mahābhāga kṛṣṇaṃ kṛtyavidāṃ vara · puraḥsthitō'smi tvadbhaktyā pūrṇāssantu manōrathāḥ
Know me, O greatly fortunate one, best of those who know what must be done, to be Kṛṣṇa. By your devotion I stand before you; may your heart’s desires be fulfilled.
6
संरक्षणाय शिष्टानां दुष्टानां शिक्षणाय च । समृद्ध्यै वेदधर्माणां ममांशत्वमिहोदितः॥
saṃrakṣaṇāya śiṣṭānāṃ duṣṭānāṃ śikṣaṇāya cha · samṛddhyai vēdadharmāṇāṃ mamāṃśatvamihōditaḥ
For the protection of the good, for the correction of the wicked, and for the flourishing of the Vedic dharmas, my descent here is declared.
7
राजन्नामसहस्रेण रामो नाम्नां स्तुतस्त्वया । सोऽहं सर्वविदो तस्मात्प्रसन्नोऽस्मि विशेषतः॥
rājannāmasahasrēṇa rāmō nāmnāṃ stutastvayā · sō'haṃ sarvavidō tasmātprasannō'smi viśēṣataḥ
O king, by you Rāma has been praised with a thousand names; and being that very one, I am therefore especially pleased.
8
मामपि त्वं महाभाग मदीयचरितात्मना । सम्प्रीणय सहस्रेण नाम्नां सर्वार्थदायिनाम्॥
māmapi tvaṃ mahābhāga madīyacharitātmanā · samprīṇaya sahasrēṇa nāmnāṃ sarvārthadāyinām
Delight me too, O fortunate one, with a thousand names whose substance is my own deeds, names that grant every desired end.
9
पराशरेण मुनिना व्यासेनाम्नायर्दशिना । स्वात्मभाजा शुकेनापि सूक्तेऽप्येतद्विभावितम्॥
parāśarēṇa muninā vyāsēnāmnāyardaśinā · svātmabhājā śukēnāpi sūktē'pyētadvibhāvitam
This hymn was brought to light by the sage Parāśara, by Vyāsa the revealer of sacred tradition, and by Śuka too, who partakes of the Self.
10
तं हि त्वमनुसन्धेहि सहस्रशिरसं प्रभुम् । दत्तान्येषु मया न्यस्तं सहस्रं रक्षयिष्यति॥
taṃ hi tvamanusandhēhi sahasraśirasaṃ prabhum · dattānyēṣu mayā nyastaṃ sahasraṃ rakṣayiṣyati
Fix your mind, then, upon that thousand-headed Lord; the thousand names entrusted by me will guard the one who recites them.
11
इदं विश्वहितार्थाय रसनारंगगोचरम् । प्रकाशय त्वं मेदिन्यां परमागमसम्मतम्॥
idaṃ viśvahitārthāya rasanāraṃgagōcharam · prakāśaya tvaṃ mēdinyāṃ paramāgamasammatam
For the welfare of all the world, make this known upon the earth, this hymn fit for the tongue to voice and sanctioned by the highest scripture.
12
इदं शठाय मूर्खाय नास्तिकाय विकीर्णिने । असूयिनेऽहितायापि न प्रकाश्यं कदाचन॥
idaṃ śaṭhāya mūrkhāya nāstikāya vikīrṇinē · asūyinē'hitāyāpi na prakāśyaṃ kadāchana
It must never be disclosed to the deceitful, the foolish, the unbeliever, the dissolute, the envious, or the ill-disposed.
13
विवेकिने विशुद्धाय वेदमार्गानुसारिणे । आस्तिकायात्मनिष्ठाय स्वात्मन्यनुसृतोदयम्॥
vivēkinē viśuddhāya vēdamārgānusāriṇē · āstikāyātmaniṣṭhāya svātmanyanusṛtōdayam
But to the discerning, the pure, the follower of the Vedic path, and the believer settled in the Self, it may be imparted, its dawning traced within one’s own Self.
कृष्णनामसहस्रं वै कृतधीरेतदीरयेत्॥
kṛṣṇanāmasahasraṃ vai kṛtadhīrētadīrayēt
Let the steady-minded one, indeed, recite this thousand names of Kṛṣṇa.
Introductory verses: Viṣṇudharmottara Purāṇa (Parāśara recension). Devanāgarī after sanskritdocuments.org; transliteration and translation added for this edition.
Viniyoga
Every mantra-recitation is prefaced by a viniyoga — a statement naming the seer (Parāśara), the metre (Anuṣṭup), the deity (Śrī Kṛṣṇa Paramātmā), and the seed, power, and pin (bīja, śakti, kīlaka) that hold the mantra together — and dedicating the practice to its purpose.
Oṃ. Of this Śrī Kṛṣṇa Sahasranāma Stotra mantra: Parāśara is the ṛṣi (seer); Anuṣṭup is the metre; Śrī Kṛṣṇa Paramātmā is the deity; śrīkṛṣṇa is the bīja (seed-mantra); śrīvallabha is the śakti (power); śārṅgī is the kīlaka (nail-pin). It is employed in japa for the delight of Śrī Kṛṣṇa.
Aṅga-nyāsa
The nyāsa installs the elements of the mantra on the parts of the body, so that the reciter becomes the seat of the hymn. Each salutation names an element and the place it is touched.
Salutation to the ṛṣi Parāśara (head)
Salutation to the metre Anuṣṭup (mouth)
Salutation to the deity Gopāla Kṛṣṇa (heart)
Salutation to the bīja Śrī Kṛṣṇa (navel centre)
Salutation to the śakti Śrīvallabha (feet)
Salutation to the kīlaka Śārṅgadhara (all limbs)
Kara-nyāsa
The kara-nyāsa places ranges of the names upon the fingers and hands, from the thumbs to the palms — a tactile prelude that gathers the whole garland into the hands before it is spoken.
With body and breath thus prepared, the reciter turns to the dhyāna and then to the names.