क्र.सं. 1/127°. Name: गोपालसहस्रनाम स्तोत्रं सटीकम् (संमोहन तन्त्रे) । पत्र संः 1-4', टी काL. श्लोक सं... अक्षर संख्या (पंक्तौ) 49, पंक्ति सं (पृष्ठे) 13. आकार:- 13" x 6".7". लिपिः-दे. ना./आधार: - का / वि. विवरणम् ---पू. / No. 17662 आ. 3207.
The exact date of composition of GSN cannot be ascertained with certainty. From the internal evidence furnished in Vs. 140, and at other places, we might take it for granted that most probably, it might belong to the period when the Bhakti school of Vaishnavism reached its zenith. Obviously the poem is meant to be recited by the devotees of Lord कृष्ण in general and the Vaishnavites in particular. This is known from the stanzas occurring in the फलश्रुति (verses 2.4, 8, 10, 14 and 16). Since it is stated in the 16th verse that the Vaishnava devotee who recites the poem will reach the Eternal abode of Lord विष्णु, there seems to be the affiliation of GSN to the Bhakti-school of Vaishnavism.
As a matter of fact. the poem is influenced by the Vedas, Purānas, Tantras, the Rāmāyana, the Pāncarātra canon and other devotional lyrics. The पुरुषसूक्तम्(RV X.90. 1) is cited in verse No. 132. The ten incarnations of विष्णु have been concisely summed up in the poem, but Lord कृष्ण is the actor par excellence. When the author of the poem presents an outline of the life and exploits of the Universal God (कृष्णः ), he, of course, draws his materials from the Purānas, besides referring to their allusions. Apart from the influence exerted by the विष्णुपुराण and the भागवतपुराण, certain episodes narrated in the ब्रह्मवैवर्तपुराण have been made use of in GSN. The 21st verse in the फलश्रुति declares that a votary of Vaishnavism obtains the fruits of मोहनम्, स्तंभनम्, मारणम्, उच्चाटनम् and so on, which are typical Tāntraic concepts. The line- कम्बुग्रीवो विशालाक्षो लक्ष्मीवान् शुभलक्षणः --is a direct borrowing from the संक्षेपरामायणम. That the Omnipotent, Omnipresent Lord has assumed five forms- पर, व्यूह , विभव, हार्द and अर्चा and that He is adored by His devotees in the forms of वासुदेव, संकर्षण and the rest, as has been
