Shloka 5

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

Devanagari script

सो ऽपि विष्णोस्तथाभूतं दृष्ट्वा पुत्रं समाहितम् नमो नारायणायेति गोविन्देति मुहुर्मुहुः

Transliteration

so 'pi viṣṇostathābhūtaṃ dṛṣṭvā putraṃ samāhitam namo nārāyaṇāyeti govindeti muhurmuhuḥ

Translation

ヴィシュヌの子がそのように完全に静まり、内に収斂しているのを見て、彼は幾度も幾度も「ナモー・ナーラーヤナーヤ」「ゴーヴィンダ」と唱えた。ここに真のバクティの徴が示される。すなわち、パシュ（個我）が安定すると、讃嘆は自ずと至上の主パティへと流れ、神々の姿のただ中にあっても内なる統御者として悟られるのである。

Word by Word

• सोऽपि: he also

• विष्णोः: of Viṣṇu

• तथाभूतम्: in that state/thus transformed

• दृष्ट्वा: having seen

• पुत्रम्: the son

• समाहितम्: composed, concentrated, inwardly collected

• नमः: homage

• नारायणाय: to Nārāyaṇa

• इति: thus

• गोविन्द इति: (saying) “Govinda”

• मुहुः मुहुः: again and again, repeatedly

Speaker

Suta Goswami (narrating the Purana; internal scene description)

Characters & Entities

• Vishnu
• Narayana
• Govinda

FAQs

What is the importance of this verse in the context of Linga worship?

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.

How does this verse describe the nature of Shiva (Shiva-tattva)?

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.

What ritualistic or Yogic practice is highlighted here?

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).