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Shloka 5

Varaha-Pradurbhava Context: Prahlada’s Bhakti, Narasimha’s Ugra-Form, and Shiva’s Sharabha Intervention

सो ऽपि विष्णोस्तथाभूतं दृष्ट्वा पुत्रं समाहितम् नमो नारायणायेति गोविन्देति मुहुर्मुहुः

so 'pi viṣṇostathābhūtaṃ dṛṣṭvā putraṃ samāhitam namo nārāyaṇāyeti govindeti muhurmuhuḥ

Seeing that son of Viṣṇu thus perfectly composed and inwardly collected, he again and again uttered, “Homage to Nārāyaṇa,” and “Govinda.” Here the mark of true devotion is shown: when the paśu (individual self) becomes steady, praise naturally flows toward the supreme Lord (Pati), realized as the inner ruler even amid divine forms.

सोऽपिhe also
सोऽपि:
विष्णोःof Viṣṇu
विष्णोः:
तथाभूतम्in that state/thus transformed
तथाभूतम्:
दृष्ट्वाhaving seen
दृष्ट्वा:
पुत्रम्the son
पुत्रम्:
समाहितम्composed, concentrated, inwardly collected
समाहितम्:
नमःhomage
नमः:
नारायणायto Nārāyaṇa
नारायणाय:
इतिthus
इति:
गोविन्द इति(saying) “Govinda”
गोविन्द इति:
मुहुः मुहुःagain and again, repeatedly
मुहुः मुहुः:

Suta Goswami (narrating the Purana; internal scene description)

V
Vishnu
N
Narayana
G
Govinda

FAQs

It highlights the inner prerequisite for Linga-upasana: samāhita (collected mind). Repeated remembrance and homage are presented as the natural expression of a stabilized pashu approaching the Lord (Pati), which is the inner spirit behind external worship.

Though the names spoken are of Nārāyaṇa/Govinda, the Linga Purana’s Shaiva frame reads this as recognition of the one supreme Pati who can be praised through different divine names—pointing to non-contradiction in the highest tattva beyond sectarian limitation.

Mantra-japa and smarana (repetitive remembrance) arising from samādhāna (mental steadiness). This aligns with the yogic discipline emphasized in Shaiva practice—steadying the pashu so devotion becomes continuous (muhur muhuḥ).