The Exposition of Nṛsiṁha Worship-Mantras, Nyāsa, Mudrās, Yantras, Kavaca, and Nṛsiṁha Gāyatrī
बको हरिः सहस्रान्ते मूर्ते एह्येहि शब्दतः । भगवन्नृसिंहपुरुष क्रोधेश्वर रसा सह ॥ १६८ ॥
bako hariḥ sahasrānte mūrte ehyehi śabdataḥ | bhagavannṛsiṃhapuruṣa krodheśvara rasā saha || 168 ||
千の数の終わりに、ハリはバカ(Baka)の姿として顕れ、「来たれ、来たれ!」という発声そのものによって招かれた—「おおバガヴァーンよ、ナーラシンハ・プルシャよ、憤怒の主よ、rasa(生命の精髄・力)とともに来臨したまえ」と。
Narada (within the Narada–Sanatkumara dialogue context)
Vrata: none
Primary Rasa: vira
Secondary Rasa: adbhuta
It highlights the Purāṇic principle that sacred sound (śabda) and disciplined repetition (a counted sahasra) function as a direct invocation of Hari, especially in the fierce protective form of Narasiṃha.
Bhakti is shown as an active calling of the Lord—addressing Him personally (“O Bhagavan…”) and inviting His presence—where “rasa” indicates the lived devotional relish/inner vitality that accompanies true worship, not mere recitation.
The verse emphasizes mantra-prayoga: the efficacy of precise utterance (śabdataḥ) and counted recitation (sahasra), aligning with Śikṣā (phonetics) and Vyākaraṇa (correct form of words) as practical supports for ritual and japa.