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.
Suta Goswami (narrating the Purana; internal scene description)
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).