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 ||
เมื่อครบปลายจำนวนพัน พระหริผู้ปรากฏในรูป “บกะ” ถูกอัญเชิญด้วยถ้อยคำ “เอหิ เอหิ” คือ “จงมา จงมา”: “ข้าแต่ภควาน! ข้าแต่นรสิงหปุรุษ! ข้าแต่ครोधेशวร! โปรดเสด็จมาพร้อมด้วยรสะ (พลังชีวิต).”
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.