Varaha-Pradurbhava Context: Prahlada’s Bhakti, Narasimha’s Ugra-Form, and Shiva’s Sharabha Intervention
स्तोष्यामस्त्वां कथं भासि देवदेव मृगाधिप स्तुतो ऽपि विविधैः स्तुत्यैर् भावैर्नानाविधैः प्रभुः
stoṣyāmastvāṃ kathaṃ bhāsi devadeva mṛgādhipa stuto 'pi vividhaiḥ stutyair bhāvairnānāvidhaiḥ prabhuḥ
ಹೇ ದೇವದೇವ, ಹೇ ಮೃಗಾಧಿಪ, ಹೇ ಪಶುಪತೇ! ನಾವು ನಿನ್ನನ್ನು ಹೇಗೆ ಸ್ತುತಿಸೋಣ? ನೀನು ಅಪಾರ ಪ್ರಕಾಶದಿಂದ ವಿರಾಜಮಾನನಾಗಿದ್ದೀಯ. ಅನೇಕ ಸ್ತೋತ್ರಗಳಿಂದಲೂ ನಾನಾವಿಧ ಭಕ್ತಿಭಾವಗಳಿಂದಲೂ ಸ್ತುತಿಸಲ್ಪಟ್ಟರೂ, ಪ್ರಭು, ನೀನು ವಾಣಿ-ಮನಸ್ಸಿಗೆ ಅತೀತ, ಅವರ್ಣನೀಯ ಮತ್ತು ಅಕ್ಷಯನು।
Devotees/Devas offering a stuti within Suta’s narration (contextual hymn addressed to Shiva as Pashupati)
It establishes that Shiva (the Linga’s indwelling Pati) is ultimately beyond complete verbal description; Linga-puja is therefore not mere recitation, but surrender through bhava (devotional inner state) and reverent approach to the transcendent Lord.
Shiva is addressed as Devadeva and Paśupati—supreme Pati—who “shines” beyond measure; even diverse hymns and moods cannot exhaust Him, indicating His transcendence over mind and speech while remaining accessible through devotion.
Bhava-centered upasana: offering stuti with varied devotional dispositions (nānāvidha-bhāva). This aligns with Pashupata-oriented practice where the pashu approaches Pati through disciplined devotion that loosens pasha (bondage).