ॐ श्रीमाता श्रीमहाराज्ञी श्रीमत्-सिंहासनेश्वरी ।

1. श्रीमाता  – Mother who gives immeasurable wealth who removes all sorrows and gives only happiness; indicates also her role of creation. 
2. श्रीमहाराज्ञी – She who is the empress who takes care of the universe- indicates her role of protection
3. श्रीमत्-सिंहासनेश्वरी – She who sits on the throne of lions-indicates her role of destruction

• श्री is one word that signifies eternality – it does not change. It is composed of three parts – श, र & ई. श is an आनन्द वाचक (words like शान्ति, शुभ) thus get expressed in a similar manner by use of श. र is a तेज वाचक and signifies ज्ञान while ई has शक्ति बीज (referred to as तुरीया अक्षर). श्री also refers to वेद and that which is अमृत (eternal). निर्वचन (or definition) of श्री is given as ‌श्रीयते आश्रीयते इति श्री: which means श्री is the आधार or पोषण शक्ति (one what gives आश्रय to all as a protective force). 
• What is the definition of भगवान् as per धर्म शास्त्र? One from which everything emerges (सृष्टि), one within which everything is sustained (स्थिति) and one into which everything eventually dissolves (लय) – that is भगवान्. श्रीमाता signifies सृष्टि here (since universe emerges from ‘mother’ principle), श्रीमहाराज्ञी signifies स्थिति (since She sits within the Universe as its राज्ञी viz ruler) and श्रीमत्-सिंहासनेश्वरी signifies लय (सिंह has the power to destroy). श्रीमाता also means वेद माता or गायत्री (since universe emerged from the वेद). सिंह also means श्रेष्ठ and She sits in the सिंहासन of all viz our हृदय and rules all of us. 
• She has five आसन (which means place or location of existence). She exists in पञ्च प्रणव (प्राण, अपान, व्यान, समान and उदान), She exists i पञ्च दिक् (four directions and one upward direction), She exists in पञ्च भूत (आकाश, वायु, अग्नि, आप and पृथ्वी), She also exists in पञ्चब्रह्म (ब्रह्मा, विष्णु, रुद्र, महेश्वर and सदाशिव) and She exists in पञ्चकल (निवृत्ति, प्रतिष्ठ, विद्या, शान्ति and शान्त्यातीत – meaning will be explained later). The स्वभाव of the ultimate is सत्-चित्-आनन्द. We have stated earlier that श्री माता is nothing else but आनन्द स्वरूपिणि. It is the most beautiful and real aspect of our identity and one who thus attains alignment with our innermost reality will experience the आनन्द aspect innate within us viz श्री माता within ourselves. 

चिदग्नि-कुण्ड-सम्भूता देवकार्य-समुद्यता ॥ १॥

4. चिदग्नि-कुण्ड-सम्भूता – She who rose from the fire of knowledge and is the ultimate truth

5. देवकार्य-समुद्यता – She who is interested in helping देवता

When one’s उपासना reaches a high level of intensity, then  चिदग्नि is generated and श्रीमाता is kindled within the उपासक. This अग्नि is not the same as ordinary अग्नि but it is beyond पञ्चभूत. And once She is ignited, She manifests to undertake the कार्य of the देवता. 

Let us now take the लीला meaning first. भण्डासुर enters all beings including देवता in the universe and made them without रस. All beings were thus gripped with an intense feeling of absence of रस and were unable to do anything at all. देवता then approached ब्रह्मा but He too was gripped by this absence of रस. All of them then approached शिव. शिव then prepares a योजना-long अग्निकुण्ड and then asks अग्नि to activate the कुण्ड. अग्नि was however very weak himself. शिव then asks अग्नि to set aside and activates अग्नि from within Him. This अग्नि is चिदग्नि which after activation was discharged from His आज्ञा चक्र and lighted up the कुण्ड. Therefore, the अग्नि in this कुण्ड is not a लौकिक अग्नि but an अलौकिक one. Then शिव directed all of them to jump into this अलौकिक चिदग्नि and they immediately entered this अग्नि. Out of this अग्नि then comes out ललिता देवी to undertake the कार्य of the देवता. 

How can She help देवता when all the देवता had been asked to enter चिदग्नि?   Immediately after She comes out, from Her, all देवता come out refreshed with new vigour and energy. Note here that अग्नि does two activities – it lights up (and thus gives access to ज्ञान) and it burns up (and thus destroys अज्ञान). One may thus infer her that the अहंकार of देवता got burned up and ज्ञान got awakened when श्रीमाता is awakened within us. If we therefore take चिदग्नि as परमात्मा, then देवी must be seen as शक्ति within परमात्मा. And what his the देवकार्य being referred to here? By देवकार्य is meant लोक रक्षण in a comprehensive manner. 

There is another way of seeing this. देव: means ईश्वर and देवा: means देवता and if one expresses these words as such, then we may state that She has arisen for fulfilling the कार्य of the ईश्वर (viz सृष्टि, स्थिति and लय). 

उद्यद्भानु-सहस्राभा चतुर्बाहु-समन्विता ।

6. उद्यद्भानु-सहस्राभा – She who glitters like thousand rising suns

7. चतुर्बाहु-समन्विता – She who has four arms

When देवी came out of चिदग्नि, the first sight witnessed by all was a ज्योति which eventually takes a form. It was witnessed as if a thousand (meaning infinite) सूर्य came together in the form of rising सूर्य (bright red in colour). We may express this as अलौकिक तेज. This order is critical – first comes light and then the form since this is stating that निराकार becomes साकार which is the order of सृष्टि also. 

What does four hands mean? श्रीचक्र has a square at the outer side and four hands here mean four sides of the square.  And what do these four represent? These are elaborated in the next स्तोत्र.

रागस्वरूप-पाशाढ्या क्रोधाकाराङ्कुशोज्ज्वला ॥ २॥

8. रागस्वरूप-पाशाढ्या – राग means desire or a wish.  पाश is a type of rope used to pull an object.  She pulls all the desires of Her भक्त using this rope.  There are three शक्ति’s (शक्ति in this context means power) – इच्छा, ज्ञान and क्रिया. This नाम talks about इच्छा शक्ति or the urge for अनुभव (desire).  She never allows Her भक्त to sink into desires.  This arm is Her left upper arm and is represented by अश्वारूढ देवी

9. क्रोधाकाराङ्कुशोज्ज्वला – She holds an elephant hook in her right upper arm. क्रोध means hatred and akāra means ज्ञान.  This नाम talks about स्थूल शरीर.  ज्ञान is always subtle.  She uses this elephant hook to destroy the क्रोध if developed in Her devotees and gives them ज्ञान.  A बीज of काली, क्रोम्  (क्रों) is hidden in this नाम.  काली is the destroyer of all evils.  This right upper arm is represented by सम्पत्करी देवी.

There are four aspects of अनुभव or experience 

1. राग (positive and negative thoughts that engage us deeply) 
2. क्रोध (when we are unable to engage deeply with our aspects of राग)
3. मन (centre of thoughts and feelings)
4. तन्मात्रा (triggers for our senses are five viz शब्द, स्पर्श, रस, रूप and गंध). Note that to enjoy the तन्मात्रा, we need our मन

श्री माता is the चैतन्य who sits in the middle of all and controls these four equipments that facilitate experience. For one whose चैतन्य is working effectively (meaning where one has connect with Her), her Pasha regulates the राग and Her अङ्कुश disciplines our क्रोध. This power of Her that controls राग called as अश्वारूढ देवी and one that regulates क्रोध is called as सम्पत्करी देवी. Other two aspects are taken in the next श्लोक

मनोरूपेक्षु-कोदण्डा पञ्चतन्मात्र-सायका ।

10. मनोरूपेक्षु-कोदण्डा: नाम involves both सङ्कल्प and विकल्प.  सङ्कल्प means resolve, process of thought.  विकल्प means difference of perception.  Both are opposite to each other.  मन is also subtle-like knowledge.  मन is reflected through the five sensory organs. It has both सङ्कल्प and विकल्प quality as it acts through the impressions received from इन्द्रिय that get fine-tuned in the form of thought and finally explodes in the form of क्रिया.  इक्षु means sugarcane and कोदण्ड means a bow.  She is holding in Her left lower arm a bow of sugar cane.  Why sugarcane bow?  If sugarcane is crushed, sweet and tasty juice is obtained from which sugar is manufactured.  It means if one crushes his मन (controlling the मन), he gets the sweet reality of the ब्रह्म.  This arm is represented by मंत्रिणी also known श्यामला देवी.

11. पञ्चतन्मात्र-सायका: पञ्च means five and तन्मात्रा’s are शब्द, स्पर्श, रस, रूप and गंध which are nothing else but the सूक्ष्म modifications of the five basic elements आकाश, वायु, अग्नि, आप and पृथ्वी. The earlier नाम spoke about the कोदण्ड and this नाम   talks about Her arrows. She has five arrows.  These five arrows are made of flowers.  The five flower arrows represent पञ्च तन्मात्रा. These five flowers or arrows are described differently in various तंत्र शास्त्रs.  These five flowers are: 

1. पद्म पुष्प – excitement
2. रक्तकैरव पुष्प – madness
3. कल्हार पुष्प – confusion
4. इंदिवर पुष्प – stimulation
5. पुष्प of mango tree – destruction 

The arrows are used in wars targeting the enemies.  ललिताम्बिका targets Her devotees with these arrows to destroy the माया as the पञ्च तन्मात्रा are associated with माया.  This is Her right lower hand.  वाराही देवी is represented by this hand.

नाम’s 8,9,10 and 11 have secret बीज अक्षर.  For example, eighth नाम has ह्रीम्  बीज  which is known as माया बीज. The eighth नाम  begins with रागस्व which is formed of र+अग+स्व. अग means शिव. The बीज for शिव  is हां. This is to be taken as ह. The next is र and this is to be taken as it is.  स्व means the letter ईंम् with a बिन्दु (dot) on the top.  The बीज   ह्रीं is thus formed by ह + र + ईंम् and pronounced as ह्रीम्. Like this in the other three नाम’s such बीज अक्षर  (द, र, क, ल, य, स, व, आ, ई, ऊ) are hidden. 

निजारुण-प्रभापूर-मज्जद्ब्रह्माण्ड-मण्डला ॥ ३॥

12. निजारुण-प्रभापूर-मज्जद्ब्रह्माण्ड-मण्डला: Her red-rose like complexion radiates the universe with red colour.  From this नाम onwards, the gross description of ललिताम्बिका begins. 

Her red light is lighting up all of ब्रह्माण्ड – all crores of ब्रह्माण्ड are immersed fully into Her red light. From an उपासना lens, one may imagine early morning सूर्य which is bright red in colour and whole of Earth is immersed into it. One may thus imagine Her as the Universal सूर्य within which the whole of universe (and its beings) are immersing themselves into.  

चम्पकाशोक-पुन्नाग-सौगन्धिक-लसत्कचा | कुरुविन्दमणि-श्रेणी-कनत्कोटीर-मण्डिता

13. चम्पकाशोक-पुन्नाग-सौगन्धिक-लसत्कचा: चम्पक, अशोक, पुन्नाग, सौगन्धिक are the four types of fragrant flowers that adorn Her hair.  But Her hair does not get fragrance because of these flowers, whereas these flowers get their fragrance from Her hair.  This way of thinking is significant – Her hair is always sweet smelling.   केश is प्रतीक of वनस्पति and fear of death is removed when one brings Her hair within our उपासना क्रिया. These four sweet smelling flowers mean the four deceptive components of अन्त:करण viz. मन, बुद्धि, चित्त and अहंकार. When they operate for beautifying the चैतन्य शक्ति present within us, we are really living. 

14. कुरुविन्दमणि-श्रेणी-कनत्कोटीर-मण्डिता: कुरुविन्द is a rare type of मणि, which is red in colour.  This particular type of मणि is said to enhance love, wealth and devotion for विष्णु (विष्णु is Her brother).  These मणि adorn Her crown.  कनत् refers to ज्योति. When one does ध्यान of her red ज्योति on Her किरीट, our live will be filled with मंङ्गळ. Note that आदित्य शक्ति is present in Her किरीट.   

अष्टमीचन्द्र-विभ्राज-दलिकस्थल-शोभिता । मुखचन्द्र-कलङ्काभ-मृगनाभि-विशेषका ॥ ५॥

15. अष्टमीचन्द्र-विभ्राज-दलिकस्थल-शोभिता: अलिकस्थल refers to Her forehead which appears like the moon on the eighth day.  Eighth day from the full moon or new moon is called अष्टमी. 

चंद्र looks the same both whether whether the अष्टमी comes in the शुक्ल पक्ष or कृष्ण पक्ष. Intent here is to convey the निर्विकार स्वरूप (the unchanging) aspect that is reflected on Her forehead. There is an expression of पूर्णत्वम् and use of अष्टमी  is to convey this aspect of Her. Note here that देवी is expressed with different names on each of the 15 days of the lunar fortnight; however, on both अष्टमी days, She is referred to as त्वरिता देवी. Her speciality is that She gives फल immediately. 

16. मुखचन्द्र-कलङ्काभ-मृगनाभि-विशेषका – She is wearing a कस्तूरि  (a fragrant paste) तिलक and this is compared to the spot that we see in the चंद्र. 

वदनस्मर-माङ्गल्य-गृहतोरण-चिल्लिका । वक्त्रलक्ष्मी-परीवाह-चलन्मीनाभ-लोचना ॥ ६॥

17. वदनस्मर-माङ्गल्य-गृहतोरण-चिल्लिका: Doing ध्यान on Her वदन (Face) is beneficial and the description of Her face therefore continues.  Her face is compared to the palace of lord मन्मथ (the god of love – cupid) and Her eyebrows are compared to the तोरण adorning his house.  चिल्लिका means eyebrows. It is said that मन्मथ constructed an auspicious palace, copying the face of ललिताम्बिका. स्मर also means सौंदर्य and माङ्गल्य and both are shining on Her face. वदन is also a वाक् स्थान – वाक् बीज is ईंम् and स्मर बीज is क्लीम् and माङ्गल्य बीज is सौ, गृह बीज is श्रीम् and तोरण बीज is ह्रीम्. चिल्लिका also means that which has spread (व्यापन) and therefore, one who is doing ध्यान on Her face ensures that both सौंदर्य and माङ्गल्य is spread out throughout one’s life. 

A brief overview of power of बीज will be useful here:

1. ईंम् – sound (शब्द शक्ति)
2. क्लीम् – magnetism/ gravity (आकर्षण शक्ति)
3. सौ – Energy (विद्युत् शक्ति)
4. श्रीम् – Heat (ऊष्णता शक्ति)
5. ह्रीम् – Light (कान्ति शक्ति)

परा शक्ति (or श्री माता) is the मूल for all these energies and these are located in our आज्ञ चक्र (space between the eyebrows) and one may thus add here that She runs the entire Universe through movement of Her eyebrows. 

18. वक्त्रलक्ष्मी-परीवाह-चलन्मीनाभ-लोचना: Only one who has चैतन्य can open their eyes – eyes of dead people do not move. She is referred to as मीनाक्षी or मीना-लोचन. Her eyes appear like fishes moving in a pond.  Her face is compared to a pond and Her eyes to fishes.  Fishes move very quickly.  She also moves Her eyes quickly as She has to shower Her grace on the entire universe.  The fish eggs become fertile by mere glance of mother fish.  In the same manner She by Her mere glance nourishes the universe. Movement or प्रवाहम् or नूतनत्वम् signifies eternality. All Her शक्ति (ईंम्, क्लीम्, etc) are expressed as लक्ष्मी which also is expressed as moving.  सत्-चित्-आनन्द state is also the state of eternality. 

नवचम्पक-पुष्पाभ-नासादण्ड-विराजिता । ताराकान्ति-तिरस्कारि-नासाभरण-भासुरा ॥ ७॥

19. नवचम्पक-पुष्पाभ-नासादण्ड-विराजिता: She is wearing a nose ring that outshines the stars.  Her nose ring is like a newly opened fresh bud (चम्पक पुष्प). Nose is the स्थान of प्राण शक्ति and smell (गंध) is the तन्मात्रा associated with the nose (viz वायु लक्षण). When therefore the श्लोक refers to expansion of the पुष्प, it is referring to उच्छ्वासम्– निश्वासम् (inhalation and exhalation) of प्राण within us. प्राण is also referred to as हंस with हं referring to inhalation and स referring to exhalation.

20. ताराकान्ति-तिरस्कारि-नासाभरण-भासुरा: There are three आभरण on Her nose – one of the left, one on the right and one in the middle. The words here state that Her nose rings that are made of rubies and pearls shine brighter than the नक्षत्र (stars). Right side is पगडम् (rubies) while right side is वज्रम् (red coral) while one in the middle is a मोती (pearl). पगडम् signifies सूर्य नाडी, वज्रम् signifies इडा नाडी while the pearl signifies सुषुम्ना नाडी. Right side jewel is also stated to represent मंङ्गळ ग्रह (Mars) while left side jewel is stated to represent शुक्र ग्रह (Venus) and one in the middle representing चंद्र ग्रह (Moon). 

कदम्बमञ्जरी-कॢप्त-कर्णपूर-मनोहरा । ताटङ्क-युगली-भूत-तपनोडुप-मण्डला ॥ ८॥

21. कदम्बमञ्जरी-कॢप्त-कर्णपूर-मनोहरा: She is wearing the petals of कदम्ब पुष्प in Her ears or flowers kept in Her hair flow down to Her ears. These पुष्प are grown outside Her चिन्तामणी गृह (The palace where She lives).  These flowers have divine fragrance, which is derived from Her ear lobes. Ears are the स्थान for वायु तेज and thus represent the दिक्देवता. 

22. ताटङ्क-युगली-भूत-तपनोडुप-मण्डला: She is wearing सूर्य and चंद्र as Her ear rings.  This means She controls all the activities of the universe, as sun and moon are responsible for sustaining life. तपन मंडल is सूर्य मंडल while उडुप मंडल is the चंद्र मंडल. There is a मंत्र which states that both सूर्य and चंद्र adorn Her at three places – eyes, ears and chest. Why so? 

1. Eyes: सूर्य is देवता that makes vision possible. चंद्र is देवता for मन and thereby perceiving the world using the मन. Note we are not referring to the physical Sun and Moon that we witness daily. In fact, सूर्य is the power that is behind the Sun and चंद्र is the power that is behind the moon and this is why the physical Sun is also called as सूर्य and physical satellite orbiting the Earth is called as चंद्र.
2. Ears: सूर्य and चंद्र देवता operate as observers of the Universe as well as within us. Whatever they witness as a साक्षी, they will then go and convey to Her. Hence, सूर्य and चंद्र are referred to as located at Her ears (simply put, all our actions are known to Her and when we do ध्यान on Her ears, we must be conscious of this).
3. Chest: स्तन represents पोषण शक्ति. Owing to सूर्य, food gets created on Earth and चंद्र is the देवता that enables creation of औषधी (this is stated even in the श्रीमद्भगवद्गीता). The बीज क्लीं is symbolizes Her two bosoms, which represent the two semi circles in the क्लीं बीज. Thr  क्लीं  बीज‘s also known as काम बीज.

पद्मराग-शिलादर्श-परिभावि-कपोलभूः । नवविद्रुम-बिम्बश्री-न्यक्कारि-रदनच्छदा ॥ ९॥ or दशनच्छदा

23. पद्मराग-शिलादर्श-परिभावि-कपोलभूः Her cheeks are shining, soft and reflecting.  पद्मराग is a type of ruby, red in colour. Ruby is of four types: विप्र, कुरुविन्द, सौगन्धिक and मनस-खन्ड, out of which विप्र is superior. Wearing afflicted rubies cause irreparable damages in one’s life.   Her cheeks are reflecting red colour as Her complexion itself is red.  The other ornaments that have been described above are also red in colour.  The सूर्य and the चंद्र in Her ear lobes make Her cheeks shining red.  Everything associated with Her is red. 

24. नवविद्रुम-बिम्बश्री-न्यक्कारि-रदनच्छदा: Lower lip is called as अधर while upper lip is referred to as ओष्ठ. Her lips outshine fresh coral and the बिम्ब fruit.  बिम्ब fruit is normally compared to beautiful lips.  Both are red in colour. An उपासक is thus being made to understand that one must imagine all parts of Her as red including both upper and lower lip. 

शुद्ध-विद्याङ्कुराकार-द्विजपङ्क्ति-द्वयोज्ज्वला । कर्पूर-वीटिकामोद-समाकर्षि-दिगन्तरा ॥ १०॥

25. शुद्ध-विद्याङ्कुराकार-द्विजपङ्क्ति-द्वयोज्ज्वला: Her teeth (referred to as द्विज here) appear like शुद्ध विद्या, which means श्री विद्या.  श्री विद्या is considered as the most secret and powerful ritual worship of ललिताम्बिका.  This involves a lot of rituals and each ritual has its own meaning and interpretation. शुद्ध means pure, विद्या means ज्ञान and शुद्ध विद्या, means pure ज्ञान.  This is considered pure because this उपासना path or the श्रीविद्या परम्परा emphasizes the non-duality, ‘I am That’ concept.

Her smile may thus be seen as an expression of ब्रह्म विद्या. Why so? There are two expressions in आध्यात्म – इदम् and अहं. इदम् refers to anything that can be pointed out and thus all aspects of ज्ञान that fall in the domain of प्रकृति is इदम् (since it can be studied, analyzed, pointed out and understood). अहं refers to the subject – it cannot be pointed out but it is merely experienced. And one therefore points to their body and say this is अहं, then it means that body is also part of प्रकृति viz इदम् (it is अहंकार and not अहं). Her teeth are said to be akin to शुद्ध विद्या and one may therefore liken Her smile as an expression of ब्रह्म विद्या whose focus is only one viz to to realize our eternal identify of अहं. 

The षोडषी मंत्र  is considered as the seed for श्री विद्या.  It has sixteen बीजs.  When a seed grows into a sprout, it has two leaves. Therefore 16 x 2 gives 32, the number of teeth in human beings.   Even though teeth have two rows placed in upper and lower jaws, the jaws are attached to each other internally.  In the same way आत्मा (जीव) and (ब्रह्म) God are considered as different out of ignorance when both remain the same. This सहस्रनाम starts only with 32 letters out of the 50 alphabets in Sanskrit. This 32 represents Her teeth (Her दंत may thus be seen as an expression of अक्षर तेज).  This could also mean that the initiation into श्री विद्या परम्परा is to be done verbally by गुरु to his disciple. One may add here that when the 16 ब्राह्मण wearing white dress sit on both sides facing each other chanting the वेद, we may do भावना of Her teeth from which वेद has emerging.

दत्तात्रेय संहिता has given a list of 32 विद्या within the corpus of 18000 श्लोक within it. There is another शास्त्र named as वसिष्ठश्री विद्या आगम which has listed 16 विद्या namely – शुद्ध विद्या, बाला विद्या, मातङ्गी विद्या, गुरु पादुका विद्या, गणपति विद्या, सौभाग्य विद्या, वाराही विद्या, तिरस्करिणी विद्या, लोपाम्बा विद्या, लोपामुद्रा विद्या, तुरीयाम्बा विद्या, प्रासाद विद्या, षोडषी विद्या, परा षोडषी  विद्या and महापादुका विद्या. Each of these sixteen have a शिव part and शक्ति part thus adding up to 32. 

26. कर्पूर-वीटिकामोद-समाकर्षि-दिगन्तरा: कर्पूरवीटिकाis a combination of fragrant ingredients, used to chew along with the ताम्बूल.  The ingredients used are – saffron, cardamom, clove, camphor, कस्तूरि, nutmeg and mace or जातिपत्री (arillus of the nut also known as myristica officinalis).  The ingredients are finely powdered and mixed with powdered sugar candy.  This कर्पूर-वीटिका powder when used with ताम्बूल for chewing gives परिमळ and delicious taste).  When She chews this, it provides fragrance to the entire universe. 

There is a word used here as आमोद (which means आनन्द) that gives satisfaction to all. Her परिमळ has spread all over and gives happiness to all. This, a भक्त who acquires शुद्धविद्या acquires fame that spreads all around and agreed as valid by all (unlike some kinds of fame which will not be accepted by all). 

निज-सल्लाप-माधुर्य-विनिर्भर्त्सित-कच्छपी । or निज-संलाप | मन्दस्मित-प्रभापूर-मज्जत्कामेश-मानसा ॥ ११॥

27. निज-सल्लाप-माधुर्य-विनिर्भर्त्सित-कच्छपी: सरस्वती वीणा is called कच्छपी.  It produces a superb melody, in the hands of सरस्वती देवी, the goddess for fine arts.  The वाक् of ललिता  (tune as well as अक्षर शक्ति) is more melodious than सरस्वती’s वीणा. One may thus say that Her सौंदर्य is a अलौकिक. 

28. मन्दस्मित-प्रभापूर-मज्जत्कामेश-मानसा: स्मित  means smile and मन्दस्मित  means a special benevolent smile.  कामेश्वर is शिव. When शिव saw Her mild smile, His मन got drowned fully into Her. Such श्लोक are referred as समयाचार where समत्वम् is समय (meaning that while श्लोक may be seen as referring to Her only, शिव is also remembered in the same श्लोक). Seeing शिव and शक्ति as one is समत्वम् and such an expression that is aligned to सम्प्रदाय is समयाचार or प्रतिबिम्ब.

Just as presence of दीप may be referred when one sees ज्योति, when one sees शक्ति, one needs to infer the presence of मूल of such a शक्ति viz परमात्मा. When one sees both together, such a दृष्टि is referred to as समयाचार. 

Last point here: When do we give out a smile, that too a mild smile? When ज्ञान of something is attained, such a smile is given out by one who knows. And where there is ज्ञान, आनन्द follows immediately. Thereby, Her smile shows आनन्द that comes from ज्ञान (in Her case, it is ब्रह्म ज्ञान). 

अनाकलित-सादृश्य-चिबुकश्री-विराजिता । or चुबुकश्री | कामेश-बद्ध-माङ्गल्य-सूत्र-शोभित-कन्धरा ॥ १२॥

29. अनाकलित-सादृश्य-चिबुकश्री-विराजिता: She has a chin is one which shines and which cannot be compared with anything else. सौंदर्यलहरी (verse 67) says “Your incomparable chin that is touched by the forepart of the hand of शिव is raised frequently out of His eagerness to drink the nectar of your lower lip.”

30. कामेश-बद्ध-माङ्गल्य-सूत्र-शोभित-कन्धरा: समयाचार comes again here. Her neck is adorned with the माङ्गल्य सूत्र  (married women wear this) tied by कामेश्वर. The सौ माङ्गल्य बीज अक्षर is hidden within this श्लोक and those who are getting married are urged to chant this श्लोक for a happy marriage. As per सामुद्रिका शास्त्र , (interpretation of features of the body) three fine lines in the forehead, eyes or hip indicate prosperity.  

कनकाङ्गद-केयूर-कमनीय-भुजान्विता । रत्नग्रैवेय-चिन्ताक-लोल-मुक्ता-फलान्विता ॥ १३॥

31. कनकाङ्गद-केयूर-कमनीय-भुजान्विता: अङ्गद means आभरण worn on hands. केयूर is the आभरण worn on shoulders. Her shoulders are beautiful to watch (or are shining with आभरण). One must note that wherever there is a reference to आभरण, it signals presence of hidden मंत्र within the श्लोक. 

32. रत्नग्रैवेय-चिन्ताक-लोल-मुक्ता-फलान्विता: ग्रीव means कण्ठं and आभरण worn here are made of various रत्न (gems) – चिन्ताक, लोल and मुक्ता). What is the significance of कण्ठं? Whenever does one जप or chants a मंत्र, sound comes from कण्ठं. Thus, one may say that मंत्र is the रत्न that is hanging on the कण्ठं. Next, when one does जप from their कण्ठं, they also do चिन्तन (or contemplate) of the मंत्र. Third, they must chant such a जप in a लोल manner (with joy and immersed into it). And if one chants a मंत्र in this manner, She will grant मुक्ति (or मोक्ष) to shall a person. Note again that whenever there is a reference to आभरण, this is a reference to मंत्र.

कामेश्वर-प्रेमरत्न-मणि-प्रतिपण-स्तनी । नाभ्यालवाल-रोमालि-लता-फल-कुचद्वयी ॥ १४॥

33. कामेश्वर-प्रेमरत्न-मणि-प्रतिपण-स्तनी: स्तन is a मातृ स्थान or पोषण स्थान. But for a mother to reach a state to give milk to a child, she seeks love of her partner who too shares his love with her – when love happens from both sides, she develops ability to bear a child and give it पोषण. श्रीमाता too takes care of the Universe since She along with Him came together in love and thus develop capability to nurture the universe. Two स्तन again are compared with सूर्य and चंद्र. She also feeds देवता – how so? मधु in the form of स्वाहा – स्वधा is given to देवता by Her. सूर्य gives the मधु to all देवता. Similarly, चंद्र also accepts the मधु and then passes on the मधु to देवता in शुक्ल पक्ष and पितृ in the कृष्ण पक्ष. 

कामेश्वर means परा ब्रह्म. रत्न is one which exhibits प्रकाश viz मंत्र and the मंत्र which signifies परा ब्रह्म is ॐ which in turn has been doubled into two बीज अक्षर viz ह्रीम् and श्रीम् (both are शक्ति प्रणव). 

34. नाभ्यालवाल-रोमालि-लता-फल-कुचद्वयी: नाभि refers to अन्तरिक्ष. रोम means rays of light. आलवाल is the stage of sapling from where the लता becomes long or grows. This श्लोक is stating that from अन्तरिक्ष, various rays of light emerges, and two fruits come from those rays in the form of सूर्य and चंद्र which again nourish us from Her bosom. the significance of this नाम on the navel and heart चक्र. Doing ध्यान on the heart चक्र by upwardly moving the कुण्डलिनी from navel चक्र, gives fruits of ध्यान.

लक्ष्यरोम-लताधारता-समुन्नेय-मध्यमा । स्तनभार-दलन्मध्य-पट्टबन्ध-वलित्रया ॥ १५॥

35. लक्ष्यरोम-लताधारता-समुन्नेय-मध्यमा: This shloka is conveying that Her waist is very narrow. From an आध्यात्म lens, we can say that while we are able to see the लता (described in the previous नाम), we are unable to see the आलवाल (source of नाभि) viz the state of sapling. So from a poetic lens, one may describe the idea of beauty as suggesting that the waist is narrow, वशिन्य  वाक् देवता  are actually stating that source of सूर्य and चंद्र cannot be seen (though we know that we are being given nuture by those two) – this is the beauty of this verse. 

36. स्तनभार-दलन्मध्य-पट्टबन्ध-वलित्रया: Her bosom is heavy owing to which Her narrow waist is unable to bear the weight and the top portion of the body bends slightly which led to the formation of three lines on Her stomach. सामुद्रिका शास्त्र recognizes three lines on the forehead (ललाट), on the neck (कण्ठं) and stomach as marks of beauty (सौभाग्य लक्षणम्). How does one then understand the significance of this nama? ह्रीम् is being referred to here which has three parts – ह, र and ईंम् (this is why three lines are drawn by people from certain सम्प्रदाय on the forehead, chest and on the stomach). 

अरुणारुण-कौसुम्भ-वस्त्र-भास्वत्-कटीतटी । रत्न-किङ्किणिका-रम्य-रशना-दाम-भूषिता ॥ १६॥

37. अरुणारुण-कौसुम्भ-वस्त्र-भास्वत्-कटीतटी: The mid-region (or pelvic region) is the पृथ्वी स्थान (birth happens from this region). This portion is covered by a red cloth studded with mini-bells and gems. Golden yellow and red have come together as a cloth covering this region. देवी’s पञ्चदशी मंत्र consists of three parts or कूटs. वाग्भव कूट was discussed from नाम 13 to 29.  मध्य कूट was discussed from 30 to 38 and शक्ति  कूट will be discussed from 39 to 47. देवी’s face is वाग्भव कूट, from face to hip is मध्य कूट (also known as कामराज कूट) and शक्ति  कूट  is hip downwards.

38. रत्न-किङ्किणिका-रम्य-रशना-दाम-भूषिता: She is adorned with girdle studded with mini bells and gems which makes sound even while She is in a sitting position. When ध्यान reaches मणिपूर चक्र, the सूक्ष्म शब्द become audible to the भक्त and this sound is what is being referred to here. As stated of course, any mention of रत्न in the श्लोक means reference is being made to मंत्र here also. 

कामेश-ज्ञात-सौभाग्य-मार्दवोरु-द्वयान्विता । माणिक्य-मुकुटाकार-जानुद्वय-विराजिता ॥ १७॥

39. कामेश-ज्ञात-सौभाग्य-मार्दवोरु-द्वयान्विता: The beauty of Her thighs is known only to Her consort and Creator कामेश.  This indirectly refers to the secretive nature of शक्ति कूट of पञ्चदशी  that begins from this नाम. This too is a नाम indicating समयाचार and one must do भावना of शक्ति sitting on lap of शिव while chanting this श्लोक. From here, reference is to मंत्र called as गुरु पादुका मंत्र. These मंत्र cannot be learnt easily and is taught only to a भक्त who has reached a certain level of सिद्धि. Just as the softness of the thighs of देवी can only be known to शिव since She is sitting on His lap, reference here is to the महा पादुका स्वरूपिणि that is known only to a गुरु (who is शिव Himself). 

40. माणिक्य-मुकुटाकार-जानुद्वय-विराजिता: Each of Her knees is like a single piece of ruby (again red colour) appearing like a crown. 

इन्द्रगोप-परिक्षिप्त-स्मरतूणाभ-जङ्घिका । गूढगुल्फा कूर्मपृष्ठ-जयिष्णु-प्रपदान्विता ॥ १८॥

41. इन्द्रगोप-परिक्षिप्त-स्मरतूणाभ-जङ्घिका: Her calf muscles look like the quiver of मन्मथ, the god of love.  सौंदर्य लहरी (verse 83) says “In order to win the heart of your Lord शिव, the five arrowed cupid God of love has made your legs into an arrow case with ten arrows (toe-nails).”

42. गूढगुल्फा

43. कूर्मपृष्ठ-जयिष्णु-प्रपदान्विता: The arch of her feet is more beautiful and curvier than tortoise’s shell.  But शंकर expresses his anger for comparing Her feet to that of tortoise shell, which is hard.  सौंदर्य लहरी (verse 88) says “The toes of your feet is the one that sustains this universe (he is not even comparing the entire feet, he says only about the toes).  Lord शिव knows the softness of your feet that is why He held your feet with great care during your marriage ceremony.  How dare they (possibly वाक्देवीs) compare such soft feet to that of tortoise shell?”  This also confirms that सहस्रनाम is much older than सौंदर्य लहरी. There is another way to see this नाम. 

गूढ stands for unseen while गुल्फा stands for end of a saree. जयिष्णु means “better than”, पद means अक्षर while प्रपद means great words (or महावाक्य). The पादुका मंत्र is the महावाक्य that remains unknown to all until the last stage of realization when it becomes revealed. 

नख-दीधिति-संछन्न-नमज्जन-तमोगुणा । पदद्वय-प्रभाजाल-पराकृत-सरोरुहा ॥ १९॥

44. नख-दीधिति-संछन्न-नमज्जन-तमोगुणा: The rays of Her nails remove the ignorance of those who bow before Her.  When देव and असुर (pay their reverence to Her by bowing, the rays of the gems emanating from their crowns are in no comparison to the rays emanating from the nails of Her feet.  The rays that come out of Her nails destroy the तमस् गुण (inertia) and ignorance of those who worship Her.  

It is also said that She does not bless with Her hands, but with Her feet.  She does not have अभय and वरद hands.  Normally one can notice that most of the देवता have four hands, out of which one is meant for blessings and another for giving boons.  ललिता does not have these two hands as She has four powerful goddesses in Her four hands.  The two acts of blessings and granting boons are done by Her lotus feet

आदि कूर्म is the best कूर्म which remains in water and lifts the mountain (note सागर मंथन story). पद means लोक and आदि कूर्म lifts the लोक from inside the water. However, Her feet have the capability to protect of both the कूर्म and all the लोक above the कूर्म. 

Her nails are white and they look as if ten चंद्र have been fixed there. While nails are white, the feet below Her mails are red. One who thus bends their head down (head representing अज्ञान or तमस्) gain ज्ञान once fully surrenders themselves at Her feet. 

45. पदद्वय-प्रभाजाल-पराकृत-सरोरुहा: The light emanating from Her two feet are more beautiful than पद्म. सरस् means that which flows continuously and संसार is a सरस्. That which is born from संसार is अज्ञान. That which can get rid of अज्ञान are the two feet of Her (meaning पादुका मंत्र). 

सिञ्जान-मणिमञ्जीर-मण्डित-श्री-पदाम्बुजा । or शिञ्जान | मराली-मन्दगमना महालावण्य-शेवधिः ॥ २०॥

46. सिञ्जान-मणिमञ्जीर-मण्डित-श्री-पदाम्बुजा: She is wearing anklets made out of precious gems that shine. The sounds that emanate out of Her feet are वेद ध्वनि. Since the words श्री have been used before Her feet, some commentators have stated that two feet represent two branches of श्री विद्या school viz हादि विद्या and कादि विद्या.

It is to be noted that five नामs 42 to 46 describe only about Her feet.  When Her feet alone are described in such a detailed manner, it is beyond human comprehension to think about Her powerful form.  This is made so by वाक् देवी’s, to impress about Her प्रकाश विमर्शमहामाया स्वरूपिणि  form. 

47. मराली-मन्दगमना: Her walking gait is like a female swan (मराली).  When She comes out of the कुण्ड (नाम 4) and walking towards numerous देव and देवी, Her gait is described like this. How can this नाम help a भक्त? The word for crane is हंस and हंस operates in all beings with हं being inhalation and स being exhalation. Thus, slow walk of श्रीमाता is the slow movement of प्राण शक्ति within all living beings. When breathing is slow, it means our मन is subdued and that is the only time one may be able to access Her present within us. Only the highest उपासक can therefore recognize Her slow movement within us during जप, उपासना and ध्यान. The ninth रस is शान्ति रस and She can be recognized when one is experiencing the ninth रस.

48. महालावण्य-शेवधिः She is the treasure house of beauty. But why has लावण्य being specifically referred to here? When Sri Ramakrishna Paramahamsa was asked about which form of देवी is most beautiful, He too replied that while all are beautiful, श्री ललिता देवी is indeed the most beautiful form of Her. Let us now take the word शेवधिः – there are two words to describe this single word – निधि and परमावधि. Former means one that cannot be split into parts while latter means one that can be improved upon or exceeded. That लावण्य that is लोकातीत is ललिता – it is eternal and the highest.