Having performed the Aghamarṣaṇa rite to purify oneself and donned clean garments, the devotee prepares for worship. Taking water in hand, he purifies it twice with sacred mantras. Focusing the mind, he controls his breath with the Nārāyaṇa mantra, inhaling and exhaling as he meditates upon Hari, the Supreme Lord, present within the water. Then, with the twelve-syllable mantra, he offers arghya—water as a respectful offering. He continues, reciting hundreds of other mantras in proper order, beginning from his seat of yoga, invoking the guardians of the directions, the sages, and the hosts of ancestors. For all humans and all beings, even up to the unmoving ones, he assigns and then withdraws the limbs of the Lord, and, empowered by mantras, enters the place of worship. In every act of worship, the devotee bathes with the root and other mantras, ensuring purity at every step. Nārada then speaks: “O brāhmaṇas, I will explain the method of worship by which one attains all that is desired. First, wash the feet, sip water for inner purification, restrain speech, and perform gestures of protection. Facing east, the devotee prepares a svastika and a lotus or another auspicious diagram. He visualizes the seed-mantra at the center of his navel, smoky and of the fierce wind’s nature. He contemplates the body, recognizing its impurities, and meditates to remove them. Remembering the seed ‘kṣauṃ’ in the lotus of the heart, he sees it as the very source of creation. With flames rising below, above, and all around, he imagines burning away all impurity. Then, as the moon, he visualizes it in the sky, streaming with nectar that purifies and soothes. From the lotus of the heart, rays of light spread out, flooding the entire body through the path of the suṣumṇā and all the subtle channels. Having thus purified himself, the devotee assigns the principle of the mantra, purifies his hands, and performs the āstra gesture, starting with the right thumb. He assigns the root and the twelve limbs of the mantra throughout his body, in pairs of six: heart, head, crest, armor, weapons, and eyes. Touching the abdomen, back, arms, knees, and feet in order, he forms the proper mudrā, remembers Viṣṇu, recites the eight-syllable mantra, and begins the worship. He places the Vardhanī, the vessel of growth, to his left, and the worship materials to his right, purifying them with the weapon-mantra. He prepares arghya, mixing it with fragrant substances and flowers, and sets everything in its proper place. With water empowered by eightfold recitation and the syllable ‘phaṭ’, he sprinkles the items, meditating on Supreme Hari in his hand as pure consciousness and light. He assigns righteousness, knowledge, detachment, and lordliness to the directions of fire and the others, while unrighteousness and the rest are assigned to the limbs, beginning from the east, all seated upon the yogic seat. On this seat, he visualizes the tortoise and Ananta, Yama, the solar circle and others; the pure and beneficent deities at the filaments, and the gracing deities established at the pericarp of the lotus. First, he meditates within his own heart, then invokes and worships the Lord in the maṇḍala. He offers arghya, water for the feet, water for sipping, and madhuparka, repeating these offerings as appropriate. Bathing, garments, sacred thread, ornaments, fragrances, flowers, incense, lamp, and food offerings are all presented with the mantra of Puṇḍarīkākṣa, the Lotus-eyed Lord. He worships the limbs of the Lord, beginning from the east. At the eastern door, he honors the lord of birds; in the south, the discus; in the gentle southwest, the mace; and in the auspicious northwest, the conch and the bow. To the right of the deity, he places the arrow and sword; to the left, the shield, Śrī (prosperity), and Puṣṭi (nourishment), all arranged before the Lord. He offers the garland of forest flowers, Śrīvatsa, Kaustubha gem, and worships the guardians of the directions outside the maṇḍala, each with their respective mantras. At the end, he offers arghya to Viṣṇu Himself. Whether the limbs are worshipped separately or together, he uses the bīja (seed) mantras, then recites, circumambulates, praises, and offers arghya again. In his heart, he meditates on the unity: ‘I am Brahmā, Hari is you.’ At invocation, he respectfully calls, ‘Come,’ and at dismissal, he prays, ‘Forgive me.’ Thus, by worshipping with the eight-syllable and other mantras, he attains liberation. The worship of the single form has been described; now, the worship of the nine manifestations is explained. He places Vāsudeva and the others upon his two thumbs, then upon the index finger and so forth, upon the body, the head, forehead, and face. He worships in the heart, navel, genitals, knees, and feet, beginning from the east, establishing the single seat, the nine manifestations, and their nine seats as before. In the nine petals of the lotus, with the ninth form and the nine manifestations, he worships Vāsudeva in the center. Nārada continues: “I will now explain the procedure for the fire ritual by which all desires may be fulfilled. The site is to be a square, twenty-four plus four fingers in measurement. After marking it out with a cord, one should dig the ground to that extent.” Then, Nārada requests: “Tell me the characteristics of the deities to be worshipped with the mantras beginning with Vāsudeva: Vāsudeva, Saṅkarṣaṇa, Pradyumna, and Aniruddha. Salutations to the Blessed One at the beginning, to the seed syllables a, ā, aṃ, aḥ; to those beginning with Oṃ and ending with Namaḥ; then, salutations to Nārāyaṇa. Oṃ, Tat, Sat, and to Brahman indeed; Oṃ, salutations to Viṣṇu, salutations; Oṃ, Kṣoṃ, Oṃ, salutations to the Blessed Narasiṃha, truly, salutations. Oṃ Bhūḥ, salutations to the Blessed Varāha. The forms are swift, reddish, yellow, dark-blue, black, and red—cloud-colored, fire-colored, honey-gold in hue, beloved, nine leaders. The limbs are established with the vowel seed-syllables, their own names at the end, in due order. The heart and so on should be established, divided by those who know the tantra; the consonant seed-syllables have different characteristics. Those ending with Namaḥ, joined with long vowels, are called limbs; those with short vowels are subsidiary limbs. Those standing at the end of divided names and syllables are considered excellent; combined with long and short vowels, the main and subsidiary limbs are arranged in order. This is the sequence of consonants for the establishment of the heart and so on; divided by their own seed-syllables and their own names, with the main and subsidiary limbs. The heart and so on, joined with the main and subsidiary limbs, from twelve endings and five, having established them, one should recite according to the desired accomplishment. The heart, head, crest, armor, eye, and crown—these are the six limbs of the seed-syllables; the root has twelve limbs.” Thus, the method of worship, the arrangement of mantras, the forms, and the fire ritual are revealed, guiding the devotee step by step on the sacred path to fulfillment and liberation.