soundarya_lahari.txt

1
शिवः शक्त्या युक्तो यदि भवति शक्तः प्रभवितुं
न चेदेवं देवो न खलु कुशलः स्पन्दितुमपि।
अतस्त्वामारध्यां हरिहरविरिञ्चादिभिरपि
प्रणन्तुं स्तोतुं वा कथमकृतपुण्यः प्रभवति॥
Śivaḥ śaktyā yukto yadi bhavati śaktaḥ prabhavituṁ
na cedevaṁ devo na khalu kuśalaḥ spanditumapi|
Atastvāmārādhyāṁ hariharaviriñcādibhirapi
praṇantuṁ stotuṁ vā kathamakṛtapuṇyaḥ prabhavati||
 Śivaḥ - tāntric Śiva i.e. God Himself; yadi - if; yuktaḥ - joined with; Śaktyā – Śakti; bhavati – becomes; śaktaḥ - capable of; prabhavituṁ - manifesting; (but)  ced – if; na - He is not; evam - thus (i.e. if He is not united with Śakti); devaḥ - Śiva;  na khalu  api - is certainly not even; kuśalaḥ  - able; spanditum - to vibrate; Atas - For this reason; katham – how; akṛtapuṇyaḥ  - is the one who has not accomplished meritorious acts;  prabhavati - able to; praṇantuṁ  - bow; vā – or; stotuṁ – praise; tvām  - You; ārādhyām  - who are to be worshiped; api – even; by hari -Viṣṇu;  hara - purānic Śiva; viriñca – Brahmā; api – etc.
Meaning of this verse: Śiva becomes inert without Śaktī. When Śiva is not united with Śaktī, He cannot manifest the universe. Because of Her functional nature, Divine Mother becomes supremely important. Even gods and goddesses find it difficult to bow before Her and sing Her praise.
Śiva is Self-illuminating.  Without His existence, the universe will be plunged into darkness. Śiva is present in prakāśa (illuminating) form.  Prakāśa can be explained as visible, shining, universally noted, brightness, lustre, splendour, etc.  Śaktī is His vimarśa form.  Vimarśa can be explained as reasoning, knowledge, consideration, reflecting etc.  In spite of Śiva being the grandeur amongst the cognized existences, He cannot realize His own incomparable splendour without something that is able to reflect His grandeur.  This is like a human not able to see his own form without an object that is capable of reflecting his image.  Śaktī acts like a reflecting mirror where Śiva is able to realise His Reality, like a mirror reflecting the image of a person who stands before it.  Pure consciousness is Śiva and realizing the Pure Consciousness is Śaktī.  If Śiva is not present, the consciousness itself does not exist.  If Śaktī is not present, the presence of consciousness cannot be realised.  In the state of prakāśa ‘I’ and ‘This’ stand united and in the vimarśa aspect ‘This’ is separated from ‘I’.  Therefore prakāśa aspect is ‘I + This’ and vimarśa aspect is ‘This’ alone.  ‘I’ is the origin of the universe and ‘This’ is the expansion of the universe. Śiva is cit and Śaktī is citi.  Cit means foundational consciousness and citi means the consciousness that brings about cognitive operations. Śaktī segregates I and This.  Without Śaktī this vital segregation cannot take place. Śiva causes the initial pulsation for creation that is carried forward by Śaktī.  Muṇḍaka Upaniṣad describes this Supreme Consciousness as ekātmapratyayasāram and the worldly process as Prapañca.
Śaktī pushes forward the throb created by Śiva through different principles or tattva-s (thirty six, where Śiva is tattva one and Śaktī is tattva two) and sustains it through Her māyā or illusion.  Māyā is the sole factor that separates a soul from the Brahman.  She is the manifested conglutination of Śiva and Śaktī and therefore She is both the seed and the sprout.  This also drives home the point that for creation, two objects are required.  For example, a soul alone cannot be born on its own.  It has to come into contact with prakṛti or Nature in order to manifest.  Procreation is not possible without conjugation of masculine and feminine energies. 
Moving on from the perceptible to subtle, a lot more is said about Their subtle conjugation.  They are referred as two bindu-s (dots), white and red, denoting Śiva and Śaktī respectively.  These two bindu-s in mutual conjunction expand and contract.  When they expand, the creation takes place by means of vāc (word) and artha (lit. meaning).  Vāc means the Śabda Brahman and artha means thirty six  tattva-s or principles.  These two bindu-s which enter one another are known as Kāma-Kāmeśvarī.  Śiva, the Supreme is in the form of the first alphabet of Sanskrit A (अ), is the cause of all sounds of Veda-s.  He attains the form of a bindu after having entered His own vimarśa form, Śaktī, in whom the entire universe is dissolved.  Like prakāśa form of bindu entering the vimarśa form of bindu, vimarśa form of bindu also enters prakāśa form of bindu, which is already within it.  As a result of this conjugation, a third bindu called as miśra bindu is born.  Miśra means combined.  Now there are three bindu-s, white, red and miśra.  These three bindu-s form a triangle, red and miśra are below and the white bindu is placed above them causing a perfect triangle.  The miśra bindu has all the tattva-s or principles within itself and is the cause for further creation.  This is the innermost triangle of Sri Chakra.  When these three dots are connected, the three connecting lines represent all the triads such as three guṇa-s, three stages of consciousness, icchā, jñāna and kriyā śaktī-s, etc.  This triangle becomes the cause for creation beginning with Brahmā, Viṣṇu, and Rudra.  These three dots are also referred as sun (top), moon (right) and fire (left).  There is an inverted triangle below the three dots.  The three connecting lines of this lower triangle represent three kūṭa-s of Her Pañcadaśī mantra (nāmā 89).
Śiva and Śaktī together are known as Paramaśiva. Śiva alone has got independent power of autonomy, known as svātantraya śakti, which comprises of cit, ānanda, icchā, jñāna and kriyā śakti-s. These five śakti-s are known as Consciousness, Bliss, will, knowledge and action.  Śiva transfers His exclusive and independent power of autonomy, comprising of these five powers to Śaktī. Śiva always prefers to remain alone in a state of Bliss. He carves out His svātantraya śakti and transfers it to Śaktī. As He has transferred His Power to Her, this verse says that He cannot act without Her. It must be remembered that whatever power She has, they represent the Powers of Śiva only. She acts on behalf of Śiva alone. There is nothing in this universe that is not Śiva. Therefore, unless one understands Śaktī, he or she cannot realize Śiva, the Ultimate. She alone can reveal Śiva, says Lalitā Sahasranāma 727, Śivajñānapradāyinī.
In the process of creation, there are so many energies in action. For example, creation is taken care of by Brahmā, sustenance by Viṣṇu and death is caused by Rudra. These three are only the primary acts of the Divine. There are many other innumerable energies and every such energy is represented by a deity, either a god or a goddess. For example, water is under the control of Varuṇa, fire by Agni, etc.  All these acts are overseen by Śaktī. Without Her command, none of these gods and goddesses becomes active.
She is worshipped in Sri Chakra, where the Divine Couple, Śiva and Śaktī are seated in the central bindu (dot). Before worshipping Them in this bindu, all other gods and goddesses are worshipped in various coverings known as āvaraṇa-s. Only after obtaining the blessings of all other gods and goddesses, the Divine Couple can be worshipped. This concept is symbolically represented through Sri Chakra worship.
Lalitā Sahasranāma adores Her through 1000 nāma-s. This Supreme Sahasranāma was composed by eight Vāc Devi-s and these nāma-s highlight all Her activities. If one needs to understand Her, he or she should first understand the meaning of these nāma-s. For example the first nāma adores as the Supreme Mother and the last nāma reveals Her name as Lalitāmbikā. In between these nāma-s, She is adored for each of Her quality. Nāma 250 adores Her as pañca-brahma-svarūpiṇī. Pañca-brahma refers to Her five primary acts – creation, sustenance, death, annihilation and re-creation.
To sum up, this verse adores the Supreme Mother, who is ever compassionate, carrying out all the activities to sustain the universe. Those who have good karmas accrued over past births alone become capable of seeking Her through various forms of Her worship. When it is not easy for Brahmā, Viṣṇu and Purānic Śiva to worship Her, the kind of good karmas one needs to worship Her through Śrīvidyā Upāsana is subtly explained in this verse.
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2
तनीयांसं पांसुं तव चरण पङ्केरुहभवं
विरिञ्चिः संचिन्वन् विरचयति लोकानविकलम्।
वहत्येनं शौरिः कथमपि सहस्रेण शिरसां
हरः संक्षुद्यैनं भजति भसितोद्धूलनविधिम्॥
tanīyāṁsaṁ pāṁsuṁ tava caraṇa paṅkeruhabhavaṃ
viriñciḥ saṁcinvan viracayati lokānavikalam|
vahatyeanaṁ śauriḥ kathamapi sahasreṇa śirasāṁ
haraḥ saṁkṣudyainaṁ bhajati bhasitoddhūlanavidhim||
This verse further explains the Supremacy of Śaktī in upholding the universe, through various energies. Each of these energies is worshipped as gods and goddesses. For example, fire is worshipped as Agni, water is worshipped as Varuṇa, etc. All these energies function out of fear for Her. Kaṭha Upaniṣad (II.iii.2) says “The Brahman is like a thunderbolt (vajra) about to strike.” She strikes those who are delinquent in performing the prescribed duties. The sun shines fearing Her, the air blows fearing Her. Kaṭha Upaniṣad (II.iii.3) explains this; “From fear of Brahman, fire gives heat. Out of terror, the sun shines. Afraid of It, Indra, Vāyu and Yama rush to perform their respective duties.” Every action that happens in this universe is headed by a god or goddesses and when they do not perform their duties, as prescribed, She wields Her thunderbolt. This establishes Her supremacy.
These gods and goddesses perform their duties out of specific powers given by Her. For example, Varuṇa presides only over water and water bodies and he cannot control Agni or fire. Though She assigns duties to different gods and goddesses, She being omnipresent, omnipotent and omniscient, knows what is happening around Her. Hence, She is feared for. No action in this universe can take place without Her knowledge. This is the exclusive quality of the Brahman.
This verse specifically adores Her feet. Her feet (caraṇa) are compared to a lotus flower. Generally eyes are compared to lotus. Here, Her sacred feet are compared to a lotus, not merely because of the beauty, but also for the rosy complexion of Her feet, which also means presaging good fortune. In Śrī Vidyā cult, great importance is attached to Her sacred feet. She is worshipped in the bindu of Śrīcakrā. Before reaching the central point of Śrīcakrā, which is the bindu, one has to worship different goddesses known as āvaraṇa devi-s. These devi-s’ feet are worshipped before reaching Her, who is worshipped as Parābhaṭṭārikā in the bindu as “śrīlalitā mahātripurasundari-parābhaṭṭārikā śrīpādukāṁ pūjayāmi tarpayāmi namaḥ श्रीललिता महात्रिपुरसुन्दरि-पराभट्टारिका श्रीपादुकां पूजयामि तर्पयामि नमः”
This verse is full of poetic parlance. Śaṁkarācārya while composing this verse probably was having Her direct vision, particularly Her sacred and radiant feet and would have overcome with Bliss. He says that the gods of creation, sustenance and destruction – Brahmā, Viṣṇu (Śauri) and Śiva collect the dust on Her feet. Here dust (pāṃsu) means pollen grains of the flowers She wears. She is fond of kadamba flowers, says Lalitā-Sahasranāma 323. {There are said to be five types of sacred trees and kadamba tree is one among them.  These five sacred trees represent the four components of antaḥkaraṇa viz. mind, intellect, consciousness and ego and the fifth being the heart where the soul is said to reside (Some modern interpretations point out that the soul resides within the pineal gland, the gland of divinity).  The aroma of these flowers is compared to the modifications of the mind.} 
By collecting these dust particles, Brahmā creates fourteen worlds (seven upper and seven lower), Viṣṇu sustains the universe and Śiva causes death and destruction. Dust particles can also be explained as infinite individual souls, the cause for all that exists in the universe. Without soul a body cannot exist. Therefore, it is implied that these three God heads create, sustain and dissolve the beings by collecting the souls from Her feet. Further,  Brahmā, Viṣṇu and Śiva should not be taken as gods but as the symbols of the triads. She is present in all the triads.  There are many triads - past, present and future; Brahma, Viṣṇu and Rudra; creation, sustenance and dissolution; the three letters of ॐ a, u and m; the three types of karma-s prārabdha, sañcita āgāmya or kriyamāṇa; three guṇa-s – sattva, rajas and tams; icchā, jñāna and kriyā śaktī-s, etc. Mārkaṇḍeya Purāṇa (21.36 – 38) says “In You reside the three mātra-s of time (short, long and medium), O Goddess, all that exists and does not exist, the three worlds, the three Veda-s, the three sciences, the three fires, the three lights, three colours, the three qualities, the three sounds and the three āśrama-s, (house holder, anchorite and sannyās) the three times and the three states of life, the three types of pitṛ-s (Vasu, Rudra and Āditya), day-night and the rest.  This trinity of standards in your form Oh! Goddess”
When the third person (nara or a human being), the second person (Śaktī) and the first person (Śiva) are used together, simultaneously there is the absorption of the lower into the higher because it is the higher that contains the truth of the lower.  This means that Śiva aspect prevails in Śaktī aspect and Śaktī aspect prevails in nara aspect.  Thus Śiva aspect prevails all over.  Nara-rūpa (rūpa means form) first rises to Śaktī rūpa and then to Śiva rūpa. Nara rūpa cannot rise to Śiva rūpa, leaving aside the intervening Śaktī rūpa. This is the reason that Śiva always addresses Devi in the second person. This is known as Trika philosophy. Śiva is known as Prakāśa, Śaktī is known as Vimarśa and their sāmarasya (equipoise) is known as identity in difference, the living beings. This is the reason for adoring Her as the Supreme Mother.
All triads (tripura) are derived drom Ādi Śaktī.  Ādi Śaktī is the sum total of all the energy forms, the cause of material creation.  Time to time, this divine energy manifests itself in various forms and shapes that we are able to construe.  The entire universe is filled either with matter or with energy.  In other words, what we call as void is filled with gravitational force or electromagnetic fields.  It has been proved scientifically, that the universe was much smaller than it appears today and will expand further leading to the complete collapse known as annihilation.  The expansion of the universe stops at some point of time and the universe begins its contraction.  When the contraction is complete, the universe reaches its original state of Big Bang. Śaktī as the kinetic energy and as the Supreme administrator causes the conception, expansion and contraction, the three primary acts of Śaktī, hence She is known as Tripura Sundarī).  The kinetic energy is derived from the static energy or the original source of the Big Bang, known as Śiva.
To sum up, through this verse Śaṁkarācārya conveys the importance of triads that hold the universe together. All the triads are presided over by Brahmā, Viṣṇu and Śiva. Śiva does not mean Her consort Paramaśiva, who passed on His unique and independent power of authority to Her. But for Paramaśiva, She Herself cannot exist. Brahmā, Viṣṇu and Śiva contextually mean the three powers of creation, sustenance and dissolution and should not be taken as the Gods described in the Scriptures. However, these Gods control over all the triads and hold the universe as it stands today. Only because of their actions, the balance in the universe is maintained. When imbalance arises due to some destructive forces, the universe is annihilated by Paramaśiva, for which action, She alone stands as a witness. This is discussed in Saundaryalaharī verse 26. Lalitā-Sahasranāma 571 adores Her as Mahā-pralaya-sakṣiṇī महा-प्रलय-सक्षिणी. 
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3
अविद्यानामन्तस्तिमिरमिहिरद्वीपनगरी1
जडानां चैतन्यस्तबकमकरन्दस्रुतिझरी।
दरिद्राणां चिन्तामणिगुणनिका जन्मजलधौ
निमग्नानां दंष्ट्रा सुररिपुवराहस्य भवती2॥
avidyānāmantastimiramihiradvīpanagarī
jaḍānāṁ caitanyastabakamakarandasrutijharī |
daridrāṇāṁ cintāmaṇiguṇanikā janmajaladhau
nimagnānāṁ daṁṣṭrā suraripuvarāhasya bhavatī ||
Variations in texts:
1. nakarī नकरी
2. bhavati भवति
This verse is an extension of the previous verse, as it continues to discuss about the dust particles in Her lotus feet. This verse says that the dust particles remove the darkness of spiritual ignorance. They are compared to the sun which dispels darkness. The fragrance emanating from the dust or the nectar from the pollen grains causes spiritual enlightenment. For the poor, these dusts are like gems. For those who are deeply immersed in the ocean of the material world (saṁsāra or transmigration), She is like the tusk of Varāha, the third incarnation of Viṣṇu.
Śaṁkarācārya says that even the dust in Her feet can offer liberation or mokṣa. For the spiritual aspirants it is easier to visualize Her feet than Her whole form, which is described in detail through 59 verses in the second part of Saundaryalaharī. The aspirant who studies and understands the first part becomes perfectly fit to contemplate on Her entire form in the second part. 
Advaita Vedānta says spiritual ignorance or nescience is known as avidya, caused by illusion known as Māyā. However, there is a difference between avidya and Māyā. Philosophically, avidya or illusion is known as ajñāna, which has two functions. One is concealment, known as āvaraṇa and the other is projection known as vikṣepa, the latter always follows the former. Āvaraṇa or concealment has five types of veils and they are ignorance, ego, attachment, hatred and tenacity. They can be removed only by negations as described in Upaniṣad-s and if one contemplates on Her lotus feet, one gets Her Grace so that he can negate them through his mind. Vikṣepa is the power of projection, projecting the Self as the material world due to the effects of Māyā. Oft cited example is wrongly identifying a rope as a snake in darkness. This is illusionary projection or deceptive projection. When the illusion is removed, truth is realized. In the same way, when one understands that the material world is nothing but the illusionary projection of Brahman, he realises the Self.
Māyā is not something that is considered as evil. Māyā is inherent in creation.  It is also Brahman’s own power. Māyā can be removed only by spiritual knowledge and repeated affirmations.  An aspirant has to negate māyā and only his own intellect can do that. Intellect is not our birth right.  Intellect is to be acquired. One has to learn to negate the illusionary aspect of the Brahman in the form of māyā and go past it to realize Him.  There is no other way the Brahman can be realized except by transcending His own projecting power of Māyā.  When one wants to go past Māyā, the first thing that he should do is to get rid of attachments and bondage. These two make an aspirant to get engrossed in gross forms.  When one is so attached to the gross forms, he gets deluded by the gross forms.  We call them as our father, mother, wife, daughter, son, friend, foe, etc.  They are the results of the projecting power of Māyā.  Their real form, the Self is concealed from us.  If one chooses to ignore the gross shapes and forms and look beyond for the inner Self, he is bound to transcend Māyā and at this stage, he has crossed the greatest hurdle in your spiritual path to become a Yogī.  The final liberation for this Yogī is not far away from this point.
When one contemplates on Her sacred feet, such illusions are removed by Her Grace and the aspirant understands the Truth, which is nothing but Her pervasion throughout the universe. The whole universe, both sentient and insentient, reflects Her form.  This is spiritual knowledge. Even a tiny pollen grain in Her feet is capable of endowing this knowledge to the aspirants. Minimum effort from the aspirant is only to contemplate on Her feet. The pollen grains in Her feet are compared to the sun, which dispels darkness. A perceivable comparison is drawn between Her feet and the sun. Though the sun shines only at Her command, to make the aspirant understand the sanctity and power of Her feet, Śaṁkarācārya uses this comparison. When the spiritual knowledge dawns spiritual ignorance fades away, thereby, making the aspirant to pursue the spiritual path with dedication and sincerity.  
Material world is compared to the ocean, whose fathom is not known. When one gets attached to the material world, which is compared to the ocean, there is no escape for him from the pains and sufferings of transmigration. There is no escape for him from transmigration, as he goes on accumulating his karmas, both good and bad. As long as one has balance in karmic account, transmigration continues. For everyone, life is painful, but the intensity of the pain and suffering differs according to his or her karmic account. Karma ceases to accumulate only if one surrenders to Her through his or her mind.
She is compared to Varāha avatar of Viṣṇu. This comparison can be explained in two ways. Varāha lifts Mother Earth from the depths of ocean. This is an act of compassion. While rescuing the Earth, Varāha also kills a demon by name Hiraṇyākṣa. This is an act of destruction. Those who are immersed in the ocean of saṁsāra, She lifts them up from the depths of their ignorance and make them to pursue the spiritual path. Alternatively, She destroys those who are too deeply indulged in material life causing hindrance to others who follow the path of virtuousness. They are called demons and are invariably destroyed to uphold the universe.  
By worshipping Her lotus feet, She gives what one desires. Those who seek material prosperity, She gives them material wealth. For those who seek liberation, She offers them liberation. Those who seek knowledge, She gives them spiritual knowledge. Those who seek material wealth have to undergo further transmigration. Those who seek liberation, subject to their karmic account, are freed from the pains of further transmigration.
This verse talks about four types of men - those with spiritual knowledge; spiritually ignorant men; poor men seeking material prosperity; and those who are totally immersed in the material world with no intention to get liberation. Since She is the most compassionate Mother, She helps them to attain liberation through different ways. A known comparison is a human mother meeting the demands and tastes of each of her children.  
The next verse also speaks about the Supremacy of Her Sacred Feet.
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4
त्वदन्यः पाणिभ्यामभयवरदो दैवतगणः
त्वमेका नैवासि प्रकटितवराभीत्याभिनया।
भयात्त्रातुं दातुं फलमपि च वाञ्च्छासमधिकं
शरण्ये लोकानां तव हि चरणावेव निपुणौ॥
tvadanyaḥ pāṇibhyāmabhayavarado daivatagaṇaḥ
tvamekā naivāsi prakaṭitavarābhītyābhinayā|
bhayāttrātuṁ dātuṁ phalamapi ca vāñcchāsamadhikaṁ
śaraṇye lokānāṁ tava hi caraṇāveva nipuṇau||
“You are the ultimate recourse of the universe. All other gods and goddesses use their two hands to grant refuge and boons to their devotees by means of two mudrā-s - abhaya and varada. But You do not use Your hands for this. Instead Your sacred feet are capable of offering refuge and boons more than what is prayed for.”
She is the Divine Mother; hence, She is adored as Śrī Mātā (nāma 1) in Lalitā Sahasranāma. The entire verse is explained through different nāma-s of Lalitā Sahasranāma such as Pañcapretasanāsīnā (249), Pañcabrahma svarūpiṇī (250), etc. All this establishes Her Supremacy over others gods and goddesses. She presides over all of them. Each god or goddess presides over a particular activity of the universe. All of them have their places of residences in Śrīcakra. All other gods and goddesses show two mudrā-s. Mudrā is the intertwining of fingers while worshipping through rituals. There are several types of mudrā-s and gods and goddesses generally use the two mudrā-s described above. They are generally known as divine mudrā-s.  One is abhaya mudrā where the right palm is kept erect with fingers facing the sky. This mudrā dispels the fears of devotees. Abhaya means refuge. Fear arises only in the minds of those who do not repose complete faith in Her. Lack of faith in Her leads to spiritual ignorance, which in turn is reflected as the fear for life, otherwise known as death. Spiritually ignorant men think that their body is supreme, as a result of which they get attached to the material world. Material world is nothing but Her own play, projecting the world as real through the power of māyā. Getting attached to the material world leads to saṁsāra or transmigration. Liberation is possible only if one reposes absolute faith in Her and understanding Her real Nature.
The other mudrā gods and goddesses show is varada mudrā. In this mudrā, left palm is kept erect with fingers facing down. Varada means granting boons of devotees. Devotees always ask for Her Grace, which alone is capable of offering spiritual evolution and finally, the emancipation. As discussed earlier, there are two types of devotees. Majority of the devotees ask for material wealth. A few alone ask for Her Grace.
But Parāśaktī, which means the Supreme Power, does not show abhaya mudrā to dispel fears of Her devotees nor does She use varada mudrā to grant boons. These two acts are done by Her sacred feet, about which the previous two verses described.
Śiva is Pure Consciousness and His power is Parāśaktī. Śiva alone has independent Power of Authority. He does not use this Authority Himself. He has transferred this Authority to Parāśaktī and She takes care of all the activities of the universe including creation, sustenance, destruction, concealment and grace. Hence, Her Grace is portrayed through this verse.
In some of the texts, it is said that this verse subtly conveys Bālā mantra - aiṁ - klīṁ - sauḥ. According to some, this verse indirectly conveys kāmakalā bīja klīṁ. She is addressed as “kāmakalā rūpā” in Lalitā Sahasranāma 322. Parāśaktī’s subtler form is kāmakalā which is known only to Śiva. Her subtlest form is kuṇḍalinī.
There is a verse in Śivastotrāvalī which says, “O My Lord! By merely touching Your lotus feet, …..let me enter Your world.”
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5
हरिस्त्वमाराध्य प्रणतजनसौभाग्यजननीं
पुरा नारी भूत्वा पुररिपुमपि क्षोभमनयत्।
स्मरोऽपि त्वां नत्वा रतिनयनलेह्येन वपुषा
सुनीनामप्यन्तः प्रभवति हि मोहाय सहताम्॥
haristvamārādhya praṇatajanasaubhāgyajananīṁ
purā nārī bhūtvā puraripumapi kṣobhamanayat|
smaro'pi tvāṁ natvā ratinayanalehyena vapuṣā
sunīnāmapyantaḥ prabhavati hi mohāya sahatām||
Meaning (not verbatim): “You are the conferrer of happiness, wealth and prosperity to those who worship You. Viṣṇu, only after having worshipped You, attained the form of a woman and disturbed Śiva. Cupid also worshipped You and attained good looks and using the charm of his wife Rati and other beautiful celestial women enticed even saints and sages.”
There are two stories associated with this verse. At the time of churning the ocean by gods and demons, Viṣṇu assumed the form of a beautiful woman called Mohinī (Mohinī means causing concupiscence in living beings) and enticed demons. Śiva, who is beyond all worldly desires was agitated by the beauty of Mohinī (Nārāyaṇīyam-29.8 and 9). It is said that Viṣṇu was able to get this most beautiful form, that is capable of even disturbing Śiva through the blessings of Devi. There is a separate pañcadaśi mantra in the name of Viṣṇu and is different from the regular pañcadaśi mantra which has only three kūṭa-s as against six kūṭa-s of Viṣṇu pañcadaśi mantra. It is also said that Devi personally initiated Viṣṇu into pañcadaśi mantra.
The second story is about Manmatha, the god of love, who is also known as Cupid and Eros. He is also known as Kāma and presides over the law of physical attraction. Manmatha is a great worshipper of Devi and there is another pañcadaśi mantra in his name, which is the regular one.
It is also said that sage Nārada advised Viṣṇu to worship Devi as Viṣṇu was not able to fulfill a promise given to a group of demons. Śiva saved the world by destroying Tripura, a fort of demons constructed using gold, silver and iron in the three spheres of sky, air and earth. This fort is the most powerful one and none can ever destroy it. As the demons were frequently causing trouble, Śiva destroyed this fort and killed the demons. Demons, in order to save their lineage prayed to Viṣṇu to save a few of them from the dreadful wrath of Śiva. Viṣṇu had promised them on this. While Viṣṇu was planning to approach Śiva who was full of rage, sage Nārada advised Viṣṇu to worship Devi. As a result of Devi’s worship, Viṣṇu was able to attain the form of Mohinī and could cause the agitation in Śiva. It is also said that their union resulted in the birth of Lord Iyappa also known as Śāsta. (It is also said that if one is afflicted by the planet Saturn, worshipping Śāsta will obviate the evil effects of the planet.)
By worshipping Devi through pañcadaśi mantra, Manmatha got a boon from Devi that on whomsoever he casts his eyes, they will be induced into passion. When he tried to cast his spell on Śiva, He got furious and burnt him into ashes. Subsequently, due to the grace of Devi, Manmatha was resurrected from the ashes and was made visible only to the eyes of his charming wife Rati (Rati means amorous enjoyment).
This verse conveys more than what is grossly described here. Entire Soundarya laharī is tantra śāstra and hence each verse has both gross and subtle interpretations. The gross interpretation of the verse is that when Gods like Viṣṇu worship Her, it is imperative that one should worship Her to get his or her desire fulfilled. The verse says that the entire world worships Her by holding Her in the highest reverence. She gives more than what is asked for to Her devotees. But the devotion that is spoken of here is not just spending time before Her image. One has to always contemplate Her. Just a few minutes of prayer will always go unanswered. On the other hand, if one always stays attuned with Her, gets his or her wishes fulfilled. Manmatha got his power of enchantment only through Her Grace. The verse asks when they worship Her, why not we?
Subtly, this verse talks about the law of attraction and consequent creation and sustenance and the inherent tussle between the good and the bad. Śiva is cit śakti (Pure Consciousness that is Self-illuminating) and nobody can go anywhere near Him. But it is the desire of Śiva to manifest the universe and this desire has been symbolically said as kāma. Soundarya laharī is about Śakti, the all powerful Universal Mother, the power of Śiva. Śiva is static and Śakti is the dynamic energy. She alone sustains the universe. She creates both good and bad as there is always a need for contrary aspects to undo one’s karma. If everyone ceases to indulge in evil things, then the law of karma has no significance. Everyone will attain liberation and there will be none in the world to live. In such a scenario, She has nothing to do. No annihilation is necessary. Therefore, there is always a need for two opposite forces in creation, sustenance and destruction.
When Śiva burnt Kāma (Manmatha) into ashes, it is only Śakti who resurrected him. Why should She do this? She needs persons like Manmatha to test the true nature of sages and saints. There are sages who have failed in this test. They have succumbed to the beauty of Rati. They have failed in the test held by Her. They have fallen victim to Rati’s seduction. They realise their mistakes and bounce again with more purity by prolonged practice. By succumbing to the play of Manmatha, they would have completely emptied their karmic accounts. Śakti also needs Kāma for the purpose of creation. Without his play, procreation cannot happen. Śāstra-s never disallowed conjugal bliss. Unless there is creation, sustenance and destruction have no relevance. Therefore, the fundamental aspect of creation is represented by Manmatha at Her command. Nothing can happen without Her command. She used different energies to create, sustain and destroy and each energy is known by different names. For example, fire is known as Agni, who is also worshipped. Since Manmatha is not visible to anyone except Rati, he acts subtly in all the beings, by inducing them to indulge in conjugation. God of creation is Brahmā and the cause of creation is Manmatha and both of them function directly under Her control.  
In the same way Viṣṇu, the God for sustenance worships Her. Viṣṇu is known for His compassion and mercy. He upholds dharma and kills notorious evil doers. Whenever there is imbalance between dharma and adharma, He incarnates in human forms and sets examples to uphold dharma. In the process He annihilates demons, who are nothing but the embodiment of evils. They are born as demons because of their horrible karmic account. They become too powerful and celestial intervention is needed to annihilate them. She sends Viṣṇu to annihilate them and He ensures that there prevails the right balance between good and bad.
This verse conveys that one should worship Her in Śrīcakra through pañcadaśi mantra. Mantra repetition leads to proper concentration which is the basic requirement of good meditation. Through proper meditation, one can activate the dormant kuṇḍalinī, which is nothing but Her subtlest form. Through further practice with the help of a Guru, one can take the kuṇḍalinī to the top of the skull, brahmarandra, where Śiva awaits Her. Their union is called Śivaśakti aikya (Lalitā Sahasranāma 999).
There are certain remedial measures prescribed for each verse of Soundarya laharī with certain yantras and certain number of repetitions and offerings. But they appear to be not authentic. 
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6
धनुः पौष्पं मौर्वी मधुकरमयी पञ्च विशिखाः
वसन्तः सामन्तो मलयमरुदायोधनरथः।
तथाप्येकः सर्वं हिमगिरिसुते कामपि कृपां
अपाङ्गात्ते लब्ध्वा जगदिदमनङ्गो विजयते॥
dhanuḥ pauṣpaṁ maurvī madhukaramayī pañca viśikhāḥ
vasantaḥ sāmantou malayamarudāyodhanarathaḥ|
tathāpyekaḥ sarvaṁ himagirisute kāmapi kṛpāṁ
apāṅgātte labdhvā jagadidamanaṅgo vijayate||
Meaning: (not verbatim) “O! Daughter of King of mountains clad with snow! In spite of limbless Manmatha, equipped with (fragile in nature) a bow made up of flowers, its string made up of bees, five flower arrows, spring season as his minister, breeze filled with the fragrance of sandal trees as his chariot, conquers the entire world all alone, just because of Grace from the corner of Your eyes.”
The poetic parlance conceived by Śaṁkarācārya is incomprehensible in this verse and he conveys whatever he wanted to convey in an extremely subtle manner. The verse grossly expresses that concupiscence is far more powerful than the potent weaponries. Manmatha has tender weaponries such as a bow made up of flowers and whose sting is made up of honeybees that come to the flowers in the bow to drink the nectar. He has five flower arrows, which are naturally fragile. Honeybees not only come to the flowers in the bow, but also for the flower arrows. Generally, honeybees come in groups to eat the nectar in a flower.  But, Śaṁkarācārya says that these honeybees come in a line, thereby forming the sting for the flowery bow of Manmatha. Honeybees in a line, forming the sting of the bow refers to the discipline required for the spiritual aspirants. Flower bow and arrows indicate tenderness and bees mean attraction.  Manmatha does not operate in all the seasons to cast his spell but chooses only the spring season, the season of growth, when flowers bloom and whose fragrance is carried by the cool breeze that goes past the sandalwood trees.  Bees become more active because of the pleasant and fragrant breeze. Thus this stanza grossly speaks about the powerful tools at the hands of Manmatha to divert the attention of great sages and saints to the world of physical attraction. Normally, a great sage falls prey to physical attraction only due to the circumstances. The point driven home is that when great sages and saints fall prey to the acts of inducement of Manmatha, nothing needs to be said about those who are attached to the worldly affairs.
Generally, Manmatha is said to have a bow made up of sugarcane. Even many of the forms of Devi are depicted with sugarcane bow and flower arrows. What is the difference between these two weaponries – flower bow and sugarcane bow? The difference lies in the form. Only when sugarcane is crushed, one gets its juice. But in the case of flowers, only honeybees can find and taste the nectar in the flowers, not others. Further, honeybees do not go to sugarcane, though it has more quantity of juice and sweetness than flowers. The five flower arrows refer to pañca tanmātra-s or rudimentary subtle elements sound, touch, sight, taste and smell. Manmatha can operate through these five subtle elements which are extremely powerful and have the capacity to effectively crumble the mind. Therefore, it is imperative that this verse has both gross and subtle interpretations and the subtle interpretation is meant only for the highly realized souls and not for the common man. As far as the common man is concerned, the interpretation is that Manmatha acts only through the blessings of Devi. But subtly, Śaṁkarācārya cautions the highly evolved souls not to fall victim to the acts of Manmatha, as this could pull them down to the material world, causing the painful process of births and deaths.
The first thought that comes to our mind is the choice of flower bow instead of the traditional sugarcane bow. Sugarcane has harder surface and bees cannot penetrate the hard exterior of sugarcane. Bees though highly active in nature due to the enormous amount of glucose they consume in the form of honey in various flowers, yet they do not take anything except the nectar in the pollens of flowers. They stay focused only on the honey in the flowers. They do not have any secondary thoughts. Secondly, sugarcane is the gross form of nectar whereas the honey in the pollen is highly subtle in nature, which is visible only to honeybees. They leave the sugarcanes alone, and go after the invisible nectar. This clearly explains the intention of Śaṁkarācārya that not only this verse, but many other verses of Saundaryalaharī is meant only for the realized souls.  Another possibility is that he could have probably meant to mean that She can be realized subtly like the invisible honey of the pollens and this could be the reason why he has replaced sugarcane bow with flower bow.
A comparison can be drawn to Lalitā Sahasranāma 10, which is manorūpekṣu-kodaṇḍā (ikṣu means sugarcane), which says that She is having a sugarcane bow (kodaṇḍa) in Her hand. There it was explained that sugarcane is the mind and when the sugarcane is crushed, juice is obtained, where juice refers to the Self. In other words, when the mind is crushed, Self is realized. Kāmeśvarā and Kāmeśvarī both have sugarcane bows in their hands. But, Śaṁkarācārya says that there is no necessity to even crush the sugarcane to realize the essence, which is readily available in the pollen grains. Those, who have spiritual knowledge, follow the method that honeybees follow and those who do not equip themselves follow the procedure followed for extracting sugarcane juice. The difference is between rituals and meditation. In meditation, Self is realized not only quickly but also without undergoing physical pains.
Śaṁkarācārya issues a subtle warning to the highly evolved souls saying that concupiscence is not good for ultimate liberation. There were many instances, where great sages and saints were distracted by celestial women. He says that though Manmatha is invisible and operates only with his flimsy weapons and inconspicuous spring season as his minister and invisible and fragrant breeze as his chariot, he can cause irreparable damage to the spiritual life of a sage or saint as Manmatha operates subtly through the five tanmātra-s. Here, Śaṁkarācārya talks about the mind, which is subtle in nature and at the same time, can easily be afflicted with sensory pleasures. Mind always is susceptible to sensory organs and their inputs. In order to subjugate the mind, one has to disconnect his senses from the external world, which is almost impossible. Alternatively, one has to have a strong will to fight against the mind which needs to be pervaded by Her thoughts. When the mind is perpetually connected to Her, inputs from the material world are relegated, as such a person always remain the in the state of bliss. He not only sees Her internally, but also looks at all the objects as Her form. His individual consciousness is now merged with the universal Consciousness.
Manmatha is nothing but a form of māyā created by Her. She only resurrected Manmatha without form, after he was burnt by Śiva. She has decided to use him to test the will power of sages and saints. If one is able to pass this test, She takes him to the next stage says Lalitā Sahasranāma 727, Śivajñānapradāyinī. When She is pleased, She imparts the knowledge of Śiva, the Supreme. When one realizes Śiva, that is the end of his spiritual journey.  He is liberated from transmigration.
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7
क्वणत्काञ्चीदामा करिकलभकुम्भस्तननता
परिक्षीणा मध्ये परिणतशरच्चन्द्रवदना।
धनुर्बाणान् पाशं सृणिमपि दधाना करतलैः
पुरस्तादास्तां नः पुरमथितुराहोपुरुषिका॥
kvaṇatkāñcīdāmā karikalabhakumbhastananatā
parikṣīṇā madhye pariṇataśaraccandravadanā|
dhanurbāṇān pāśaṁ sṛṇimapi dadhānā karatalaiḥ
purastādāstāṁ naḥ puramathiturāhopuruṣikā||
Meaning: Parāśakti’s gross form is described by Śaṁkarācārya in this verse. “O! Parāśakti, the vaunting Power of Śiva, appear before us with the melody arising from your waist girdle made up of tiny bells; with heavy bosoms looking like the head of a young elephant making you slightly flexed forward; with slender waist, with face appearing like the full moon of autumn, holding bow, arrow, noose and goad in your four hands.”
Śaṁkarācārya, through this verse prays to Her to appear in person with the above features. There are many verses describing Her gross form. Śaṁkarācārya is said to be an incarnation of Śiva Himself. Therefore, for those who are still associated with gross form of worship, He describes the gross form of Parāśakti, the Supreme Power of Śiva. She is non-existent without Śiva and without Her, Śiva too becomes inert. One may have power, but one should know how to use the power in the right way. Śiva is the static energy and His power Śakti is the dynamic energy. Though Śiva Śakti are separately described, in reality they are One and not two. Since She takes care of every aspect of the universe, She is fondly called Śrī Mātā (Lalitā Sahasranāma 1).
This verse can be explained from several angles. In fact all these descriptions are there in Lalitā Sahasranāma composed by eight Vāc Devi-s, who always remain with Her. They are Her personal attendants.  Śaṁkarācārya prays for Her divine vision not for him, but for us. As explained earlier, he is said to be an incarnation of Śiva. Whenever gross forms are described, it goes without saying that it is explained based on dualism; dualism because, She is considered as a separate entity from us. As long as worshipper and worshipped are assumed as different, it is related to duality. When worshiper and worshipped become one, it is non-dualism. Former is known as dvaita and the latter is known as advaita. All the Upaniṣad-s are based on advaita (non-dualism) philosophy. When the level of devotion is very deep, divine visions appear in deep meditative states. Such visions are possible in two ways. One is due to Her Grace, which purely depends upon the depth of devotion. Second is repeated contemplation on a particular form. Dhyāna verses rely on the descriptiveness given by great saints and sages.
Further, Saundaryalaharī is said to be a master piece on tantra śāstra, which will have both gross and subtle interpretations. But, generally gross interpretations are made public and subtle interpretations are not made widely public. Even if subtle interpretations are made public, the depth of interpretations does not go deep. There are many verses in Soundarya laharī like this.
These are the forms that we see in sanctum sanctorum of temples. First, Śaṁkarācārya (he is also called as ācārya, which means spiritual guide) talks about the tiny bells in Her girdle. The girdle is a decorative ornament that is worn on the waist of women. Why Śaṁkarācārya has chosen to mention the waistband? He could have chosen many other things that a woman wears. Waistband refers to the navel chakra from where the tejas, known as life force originates. Tejas refers to fire element. Therefore, when Śaṁkarācārya talks about Her waist belt, he subtly conveys the origin of sound from the tiny bells in the waist belt, but also talks about the origin of life in the form of fire in the navel chakra. Lalitā Sahasranāma 38 says: Ratna-kiṅkiṇikā-ramya-raśanā-dāma-bhūṣitā रत्न-किङ्किणिका-रम्य-रशना-दाम-भूषिता meaning She is adorned with girdle studded with mini bells and gems. 
After having described about the origin of fire energy at the navel chakra and the origin of sound from Her waist band, Śaṁkarācārya proceeds to discuss about Her act of sustenance. She has five fold activities relating to the universe – creation, sustenance, dissolution, concealment and finally Grace or liberation. Creation happens due to the fire energy at the navel chakra and whatever is created are to be nourished and this nourishment is subtly conveyed through the description of Her bosoms, which refer to nourishment. She nourishes the entire universe like a mother nourishing her child with her milk. Lalitā Sahasranāma nāma-s 33, 34 and 36 also talk about Her heavy bosoms. It is also said that there is a bend in Her structure due to Her heavy bosoms. This bend is due to Her compassion. She sits on the left lap of Śiva. As She is the universal mother, She bends forwards and looks down at the universe with great compassion and concern. This also subtly conveys the heart chakra, through which universal love is expressed.
Her waist is very slender. Lalitā Sahasranāma 34 and 35 also describe Her waist. Waist refers to creation due to the heat that originates from navel chakra. When it is said that Her waist is thin when compared to Her bosoms, it subtly conveys that She is more concerned with the sustenance of the universe. Every mother is naturally concerned about the wellbeing of her children. Having created, She ensures that all Her creations are properly nourished. After all, She is the most compassionate mother.
Her face appears like autumnal moon. When compared to other seasons, autumn moon is brighter. Hence, Her face is described as autumnal moon (pariṇataśaraccandravadanā). Her face is beautifully described in Śrī Śakti mahimnaḥ (verse 39) by sage Durvāsa thus: “You appear to Your devotees with face enamoured by all the sixteen kalā-s of the moon (moon has sixteen kalā-s and the moon with all the sixteen kalā-s is known as the full moon; kalā means a part) full of bliss (ānandaśakti), smile and curiosity; eyes appearing more beautiful than the fully blossomed lotus petals; and teeth resembling jasmine flowers.” This is the face that Śaṁkarācārya talks about in this verse. Since Her total beauty is reflected in Her face, Her face is the most beautiful part of Her body. After having finished the description of Her gross body, next the weaponries She holds are being discussed.
The verse says that She holds four weaponries in Her four hands (Lalitā Sahasranāma 7 - Caturbāhu-samanvitā चतुर्बाहु-समन्विता which means that She has four hands). These four hands are described in Lalitā Sahasranāma. Nāma 8 says, Rāgasvarūpa-pāśāḍhyā रागस्वरूप-पाशाढ्या Rāga means desire or a wish.  Pāśa is a type of rope used to pull an object.  She pulls all the desires of Her devotees using this rope.  There are three śakti-s (śakti in this context means power) – iccā, jñāna and kriya.  This nāma talks about iccā śakti or the desire.  She never allows Her devotees to sink with desires.  This arm is Her left lower arm. Nāma 9 says, Krodhākāraṅkuśojvalā क्रोधाकारङ्कुशोज्वला She holds an elephant hook in her right upper arm.  Krodha means hatred and akāra means knowledge.  This nāma talks about subtle body.  Knowledge is always subtle.  She uses this elephant hook to destroy the hatred if developed in Her devotees and gives them knowledge.  Nāma 10 says Manorūpekṣu-kodaṇḍā मनोरूपेक्षु-कोदण्डा Mind involves both saṃkalpa and vikalpa.  Saṃkalpa means resolve, process of thought.  Vikalpa means difference of perception.  Both are opposite to each other.  Mind is also subtle like knowledge.  Mind is reflected through the five sensory organs.  It has both saṃkalpa and vikalpa quality as it acts through the impressions received from sense organs that get fine tuned in the form of thought and finally explodes in the form of actions.  Ikṣu means sugar cane and kodaṇḍa means a bow.  She is holding in Her left upper arm a bow of sugar cane.  Why sugarcane bow?  If sugarcane is crushed, sweet and tasty juice is obtained from which sugar is obtained.  It means if one crushes his mind (controlling the mind), he gets the sweet reality of the Brahman.  Nāma 11 says, Pañcatanmātra-sāyakā पञ्चतन्मात्र-सायका Pañca means five and tanmātra-s are sound, touch, sight, taste and smell, the subtle modifications of the five basic elements ākāś, air, fire, water and earth. The earlier nāma spoke about the bow and this nāma talks about Her arrows.  She has five arrows.  These five arrows are made of flowers.  The five flower arrows represent five subtle elements. These five flowers or arrows are described differently in various tantra śāstra-s.  These five flowers are lotus flower, raktakairava flower, kalhara flower, indivara flower and flowers of mango tree.  These five flowers represent excitement, madness, confusion, stimulation and destruction.  The arrows are used in wars targeting the enemies.  Lalitāmbikā targets Her devotees with these arrows to destroy the illusion or māyā as the five subtle elements are associated with māyā.  This is Her right upper hand. 
Sage Durvāsa in his Śrī Śakti mahimnaḥ (verse 50) says that the one who meditates on these weaponries not only becomes famous but also gets rid of māyā and fear from death.
It is important to note in this verse that Śaṁkarācārya prays to the Divine Mother, the embodiment of the pride of Śiva to appear in person not for him, but for us. Since there is no selfish motive in his prayer, he is known as ācārya, the spiritual preceptor. Knowledge alone is not the criteria for being an ācārya; he should also be egoless and should have great concern for his disciples and their upliftment.
Further reading on Śakti: Śakti is the svātantrya śakti of Śiva. It is Śiva’s exclusive and independent Power. There is no other power beyond His Power. A person’s power is inherent in him and in the same way, Śiva’s Power is inherent in Him and His inherent Power is known as Śakti. Śiva is the static energy and Śakti is dynamic energy. Śiva is the masculine energy and Śakti is the feminine energy. There is no significant difference between Śakti and Śiva. They are subjectivity as against objectivity expressed through the rest of the 36 tattva-s of Trika philosophy. They represent universal “I” ness, the ultimate purity. If one really wants to find some difference between the two, it can be said that Śiva is knowledge or jñāna and Śakti is kriyā or action. The union of Śiva and Śakti is generally expressed in the form of Ardhanārīśvara (a form of Śiva with half of the body being His body and His left half is Śakti’s body). The material world is full of kriyā or action, which is nothing but the manifestation of Śakti and a lot is written about worshipping Her in the form different śāstra-s, the predominant being Tantra śāstra-s. Śakti’s manifestation can be understood only through the study of 36 tattvas. Śakti is always identified with Cit or Śiva. 
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8
सुधासिन्धोर्मध्ये सुरविटपिवाटीपरिवृते
मणिद्वीपे नीपोपवनवति चिन्तामणिगृहे।
शिवाकारे मञ्चे परमशिवपर्यङ्कनिलयां
भचन्ति त्वां धन्याः कतिचन चिदानन्दलहरीम्॥
sudhāsindhormadhye suraviṭapivāṭīparivṛte
maṇidvīpe nīpopavanavati cintāmaṇigṛhe|
śivākāre mañce paramaśivaparyaṅkanilayāṁ
bhacanti tvāṁ dhanyāḥ katicana cidānandalaharīm||
Meaning: “The blessed ones meditate on You, full of Consciousness and Bliss and seated on the couch that appears like Śiva and Paramaśiva forming the bed in Your palace Cintāmaṇi surrounded by small sized bushes and celestial tress in the island of Maṇidvīpa situated in the middle of the nectarine ocean.”
In this verse, Śaṁkarācārya describes Her Abode. There is the cosmic ocean full of nectar (ambrosia). In the middle of this nectarine ocean is an island called Maṇidvīpa. The mythical island is called Maṇidvīpa because it is made up of cosmic gems and precious stones. In the middle of this island, is Her Abode gigantically constructed known as Cintāmaṇigṛha. Cintāmaṇi is a precious gem that is capable of fulfilling all the desires of the one who possesses it. Her entire Abode, Cintāmaṇigṛha is built with this gem. It is very rare to find this gem. The only probability is because of Her presence, all the gems have attained the status of cintāmaṇi. Śaṁkarācārya also gives reasons for this. He says that She is full of waves (laharīm) of cit and ānanda śakti-s (cidānanda tvāṁ). Waves arise in the ocean of nectar in the form of consciousness and Bliss. Cit here means the energy of Consciousness of Śiva. Consciousness is the exclusive property of Śiva. What She possesses is the energy of Consciousness of Śiva. In the same way, ānanda or Bliss is also the exclusive property of Śiva. What She possesses is the energy of ānanda, which is known as ānanda śakti. Cit śakti and ānanda śakti-s are inseparable. According to Kashmiri Shivaism, there are thirty six principles, also known as tattva-s. First principle is Śiva, who is full of cit śakti and the second principle is Śakti, who is full of ānanda śakti. When Śiva and Śakti are inseparable, cit śakti and ānanda śakti-s are also inseparable. Cit is the foundational consciousness, which is the unchanging principle of all changes. Ānanda is Bliss. Therefore, when Śaṁkarācārya says, “cidānandalaharī”, he means both Śiva and Śakti together and he does not mention Śakti alone. This can also be construed from the word laharī, meaning large waves. He does not refer to the normal waves that we see in an ocean. He talks about large waves; waves of Bliss emanating from the Divine Couple. This is beautifully expressed in Lalitā Sahasranāma 999 Śiva-śakty-aikya-rūpiṇī शिव-शक्त्यैक्य-रूपिणी, the interpretation of which goes like this:
This is the most revered, admired, perplexed, incomprehensible and secretive form of the Divine Couple, the confluence of Śiva and Śaktī.  The universe is created, sustained, dissolved and re-created by them at their will that is indentured by the law of karma. 
Saundarya Laharī (verse 1) says, “Śiva becomes capable of creating the universe, only when united with Śaktī, otherwise He is incapable of even a stir (known as spanda).”  Śiva is also known as Parabrahman and Śaktī as Parāśaktī.  Parabrahman is the static energy and is niṣkāma (devoid of  desire, disinterested and unselfish) in nature.  The nature of Śiva is explained in Māṇḍūkya Upaniṣad (7), which says, “It is neither consciousness of what is happening within nor the consciousness of what is happening externally.  It is not conscious of all objects and it is not unconscious either.  It is beyond perception of any organ, beyond thought and sound.  In it there is only consciousness of the Self and there is a total cessation of the world as such.  It is the embodiment of peace and all that is good.  It is without a second.” This is the typical explanation of the Brahman that is preternatural and interpenetrating. 
Śaktī is primordial and latent energy of Śiva that alone manifests as the universe, its sustentation and disintegration and recreation. The consciousness referred by Māṇḍūkya Upaniṣad is nothing but the domain of Śaktī. That is why it is said that Śaktī is the primordial and latent energy of Śiva.  She exists along with Śiva and cannot be separated.  If Brahman and consciousness are discriminately differentiated out of nescience, the question of creation and existence does not arise.  In reality, such differential existence does not prevail.  But for easier understanding of the complex issue of creation, Śiva and Śaktī have been perceived as two different aspects of the same entity.  One cannot segregate the heat produced by the fire from the fire itself.  The heat of the fire is primordially present in the fire.  Neither fire, not heat can be of any use unless they subsist together.  This is a typical example showcasing Śiva and Śaktī, the one without the other remain only an inert.
Śiva is Self-illuminating.  Without His existence, the universe will be plunged into darkness. Śiva is present in prakāśa (illuminating) form.  Prakāśa can be explained as visible, shining, universally noted, brightness, lustre, splendour, etc.  Prakāśa also refers to Śiva and the Brahman.  Śaktī is His vimarśa form.  Vimarśa can be explained as reasoning, knowledge, consideration, reflecting etc.  In spite of Śiva being the grandeur amongst the cognized existences, He cannot realise His own incomparable splendour without something that is able to reflect His grandeur.  This is like a human not able to see his own self without an object that is capable of reflecting his image.  Śaktī acts like a reflecting mirror where Śiva is able to realise His Reality, like a mirror reflecting the image of a person who stands before it.  Pure consciousness is Śiva and realising the pure consciousness is Śaktī.  If Śiva is not present, the consciousness itself does not exist.  If Śaktī is not present, the presence of consciousness cannot be realised.  In the state of prakāśa ‘I’ and ‘This’ stand united and in the vimarśa aspect ‘This’ is separated from ‘I’.  Therefore prakāśa aspect is ‘I + This’ and vimarśa aspect is ‘This’ alone.  ‘I’ is the origin of the universe and ‘This’ is the expansion of the universe. Śiva is cit and Śaktī is citi.  Cit means foundational consciousness and citi means the consciousness that brings about cognitive operations. Śaktī segregates I and This.  Without Śaktī this vital segregation cannot take place. Śiva causes the initial pulsation for creation that is carried forward by Śaktī. 
Śaktī pushes forward the throb created by Śiva through different principles or tattva-s (thirty six) and sustains it through Her māyā or illusion.  Māyā is the sole factor that separates a soul from the Brahman.  She is the manifested conglutination of Śiva and Śaktī and therefore She is both the seed and the sprout.  This also drives home the point that for creation, two objects are required.  For example, a soul alone cannot be born on its own.  It has to come into contact with prakṛti or Nature in order to manifest.  Procreation is not possible without conjoining of masculine and feminine energies. 
Moving on from the perceptible to subtle, a lot more is said about Their subtle conjugation.  They are referred as two bindu-s (dots), white and red, denoting Śiva and Śaktī respectively.  These two bindu-s, in mutual conjunction expand and contract.  When they expand, the creation takes place by means of vāc (word) and artha (lit. meaning).  Vāc means the Śabda Brahman and artha means thirty six  tattva-s or principles.  These two bindu-s which enter one another are known as Kāma-Kāmeśvarī.  Śiva, the Supreme is in the form of the first alphabet of Sanskrit A (अ), is the cause of all sounds of Veda-s.  He attains the form of a bindu after having entered His own vimarśa form, Śaktī, in whom the entire universe is dissolved.  Like prakāśa form of bindu entering the vimarśa form of bindu, vimarśa form of bindu also enters prakāśa form of bindu, which is already within it.  As a result of this conjugation, a third bindu called as miśra bindu is born.  Miśra means combined.  Now there are three bindu-s, white, red and miśra.  These three bindu-s form a triangle, red and miśra are below and the white bindu is placed above them causing a perfect triangle.  The miśra bindu has all the tattva-s or principles within itself and is the cause for further creation.  This is the innermost triangle of Śrī Cakra.  When these three dots are connected, the three connecting lines represent all the triads such as three guṇa-s, three stages of consciousness, icchā, jñāna and kriyā śaktīs, etc.  This triangle becomes the cause for creation beginning with Brahma, Viṣṇu, and Rudra.  These three dots are also referred as sun (top), moon (right) and fire (left).  There is an inverted triangle below the three dots.  The three connecting lines of this lower triangle represent three kūṭa-s of Pañcadaśī mantra (nāmā 89). The upper most bindu (of the upper triangle) is the face of Śaktī (the third eye, denoting dissolution, the two lower dots represent Her bosoms (representing nourishment or sustenance) and the inverted triangle below mean Her procreative organ (representing creation).  This is known as kāmakalā and is considered as the most secretive principle of Śiva-Śaktī union.
The explanation provided in Varivasyā Rahasya, the treatise on Pañcadaśī mantra, corroborates with the explanation offered for Kāma Kalā Vilasa, yet another treatise on Śrī vidyā. Varivasyā Rahasya (verses 69 to 72) says, “Śiva and Śaktī embrace each other.  The Brahman (Śiva) with the desire to create glanced on His other half, His consort and assumed the form of a bindu (referring to male procreative fluids), into which Śaktī enters assuming the form of another bindu (representing female procreative fluids).  The mixture formed by their aggregation is known as aham or I, the ego.”  This is the subtle form of the union of Śiva and Śaktī.
One more interpretation is possible for this most secretive nāma of this Sahasranāma.  The scene goes like this.  Śiva is sitting alone meditating, His usual posture.  Śaktī enters the place of Śiva.  Śiva wakes up.  First, Śaktī sits next to Śiva.  Later on She moves to His left lap and finally occupies His entire left side, blessing the universe with their Ardhanārīśvarā form causing creation and sustenance.  When Śaktī moves away from Śiva, He starts His cosmic dance, causing annihilation.  Śaktī witnesses His cosmic dance (nāma 232 and 571).
Saundarya Laharī (verse 34) says, “I consider your pure frame to be Śiva.  Hence the relationship of the principal and the accessory exists in common among you both who as transcendent bliss and consciousness are equipoised.”
This nāma salutes Her undifferentiated form from Śiva, that is inseparable eternally.  Their union is also known as Śiva-Śaktī sāmarasya, the identity of Consciousness, where identical state prevails in which all differentiation has disappeared.”
Śaṁkarācārya talks about ocean of nectar (sudhā sindhu). Nectarine ocean is a cosmic ocean. Nectar is the result of Bliss. Lalitā Sahasranāma 61 explains the same concept as Sudhā-sāgara-madhyasthā सुधा-सागर-मध्यस्था. Sudhā-sāgara and sudhā sindhu both mean a place in sahasrāra or the crown chakra. When kuṇḍalinī reaches this soma cakra, due to the extreme heat, a liquid flows down through the throat (nāma 106).  This liquid is called sudhā as its viscosity and taste resembles nectar.  This liquid is also called amrṭavarśinī. Amrṭam also means nectar.   She being present in the middle of this soma cakra in the midst of ocean of nectar causes this nectar to flow into all the 72,000 (nāḍi-s) nerves of human body.  It is said that, if this nectar flows into our body, it does not cause death to the physical body.  However this is possible only during advanced stage of kuṇḍalinī meditation.  This is said to be the reason for long life of great sages. Sudhā sindu also means the bindu in the centre of Śrī Cakra and this bindu is mentioned in this verse in a very subtle manner.
How Śiva can become the couch for Her? The couch is nothing but the left thigh of Śiva. Dualistically speaking, She is happily sitting on the left lap of Śiva. There is always a controversy while sculpturing Her posture with regard to which foot should be down, either left or right. If She is worshipped as Rājarājesvarī (Lalitā Sahasranāma 684), Her right foot should be down. This is based on the fact that She rules over all the three gods of creation, sustenance and dissolution, Brahmā, Viṣṇu and Rudra. In all other forms, Her left foot should be down, as She keeps Her right foot folded while sitting on the lap of Śiva. In other words, in those temples where She alone is worshipped, Her right foot can be done. In Śiva temples, Her left foot should be down. However, there are other forms too.
Power of Śiva is Śakti. They are not different as Śakti is inherent in Śiva. To understand easily their unified Nature is known as Paramaśiva.  Paramaśiva is incomprehensible and hence cannot even be described. Śakti is present in Paramaśiva only as a trace. Śakti is always associated with “I” consciousness and as “I” is absent in Paramaśiva, She does not have any significant role in Paramaśiva.  He exists in all the 36 tattvas still He is not part of these 36 tattvas.
The verse says, paramaśivaparyaṅkanilayāṁ  (paramaśiva + paryaṅka + nilaya). Paramaśiva is the Supreme Śiva, as discussed earlier; paryaṅka means sofa or cushion or palanquin and nilaya means Abode. This means that She remains with Paramaśiva in Her Abode, Cintāmaṇigṛha. There are two types of Her sitting postures that are narrated in this verse. One is on the left lap of Śiva and other posture is reclining posture with Paramaśiva. The first posture is Cit and the second posture is Bliss. Hence She is addressed by Śaṁkarācārya as cidānandalaharī.
The celestial tress and bushes are the products of māyā. Unless these blocks are removed, one cannot realize Her. These trees and bushes have fragrant trunks, leaves and flowers that induce the mind of an aspirant to get attached to the material world more intently and profoundly. Unless, the aspirant is able to go past these sense afflicting distractions, he cannot go anywhere near Her. She holds Śiva very close to Her. They are inseparable. Only She can reveal Śiva, as She alone is Śiva-jñāna-pradāyinī शिव-ज्ञान-प्रदायिनी. Śiva can give liberation only if She approves the aspirant for liberation.
Now let us interpret this verse based on the above interpretation. “You are in the form of Śiva-Śakti, full of consciousness and bliss, reclining in brahmarandra, the orifice in sahasrāra with Śiva. This subtle form of Yours can be realized only after an aspirant gets rid of māyā.” This can be attained only by meditating on Her.
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9
महीं मूलाधारे कमपि मणिपूरे हुतवहं
स्थितं स्वाधिष्ठाने हृदि मरुतमाकाशमुपरि।
मनोऽपि भ्रूमध्ये सकलमपि भित्त्वा कुलपथं
सहस्रारे पद्मे सह रहसि पत्या विहरसे॥
mahīṁ mūlādhāre kamapi maṇipūre hutavahaṁ
sthitaṁ svādhiṣṭhāne hṛdi marutamākāśamupari|
mano'pi bhrūmadhye sakalamapi bhittvā kulapathaṁ
sahasrāre padme saha rahasi patyā viharase||
Meaning: mahī - earth element; mūlādhāra – base chakra; kamapi (kaṁpāka)  – water element; maṇipūr – navel chakra; hutavahaṁ sthitaṁ - the element of fire present in; svādhiṣṭhāne - svādhiṣṭhāna chakra; hṛdi – the heart chakra; marutam – the element of air; ākāśam – the element of sky; upari – above these chakras (referring to viśuddhi chakra); mano'pi – tattva of mind; bhrūmadhye – in between the eyebrows (third eye or ājñācakra); sakalamapi bhittvā kulapathaṁ - breaking the path of kula (the path of kuṇḍaliṇī); sahasrāre padme – thousand petalled lotus; saha rahasi patyā viharase – remain in solitude with Your consort Śiva.  
“You remain in solitude with Your consort Śiva in the thousand petalled lotus known as sahasrāra (crown chakra), by piercing the earth element at mūlādhāra chakra, water element at maṇipūra chakra, the element of fire in svādhiṣṭhāna chakra, the element of air in the anāhata chakra and the element of ākāśa in viśuddhi chakra, which is placed above these four chakras; the tattva of mind in ājñācakra thus transcending the entire path of kula.”
Parāśakti has three forms – gross, subtle and subtlest. Gross form is Her various forms we worship. Her subtle form is kāmakalā, discussed in Lalitā Sahasranāma 322. This form is known to Her consort Śiva and is considered as Her secretive form. Her subtlest form is kuṇḍalinī that is being discussed in this verse. Kula means the worshippers of Śakti. They are known as śākta-s.
There is a significant difference between this verse and other tantra scriptures. This verse says that water element is maṇipūra chakra; but tantric scriptures say that fire element represents maṇipūra chakra. In the same way, this verse says that svādhiṣṭhāna chakra is the element of fire; but tantric scriptures say that svādhiṣṭhāna chakra is the water element. Every chakra is associated with a bīja. svādhiṣṭhāna is represented by the bīja vaṁ (वं) and maṇipūra is represented by the bīja raṁ (रं). Each element also is represented by a bīja and the bīja for fire is raṁ and water is vaṁ. These bīja-s are placed in the middle of the respective chakras and all tantric scriptures unanimously accept these bīja-s in the first five chakras. But, as far as this verse is concerned, elements for maṇipūra chakra and svādhiṣṭhāna chakra are interchanged. All tantric scriptures go with Lalitā Sahasranāma. Therefore, in order to avoid any confusion, this verse is interpreted here based on Lalitā Sahasranāma and tantric scriptures. This ‘error’ could have happened while rewriting Śaṁkarācārya’s original verse.  
Parāśakti resides in the base chakra known as mūlādhāra, which is situated in the perineum. Perineum is located between the organs of excretion and procreation. It is also said that the position of mūlādhāra is not the perineum in women, but within the external opening of the womb. When She is activated, She ascends through the central canal of the spinal cord, which is also known as meru. Inside the meru there is another subtle nāḍī (nerve) known as vajriṇī or vajrā. Within in vajriṇī there is a subtlest nāḍī known as citriṇi, through which She in the form of kuṇḍalinī ascends to the higher chakras to unite with Her consort Śiva. These three nāḍī-s represent icchā śakti, jñāna śakti and kriya śakti.
Each of the first five chakras or psychic centres is associated with five principal elements – earth, water, fire, air and ākāśa (ether). When we look at the order of these elements, earth is the grossest and ākāśa is the subtlest. When an aspirant meditates on kuṇḍalinī, his awareness moves from gross to subtle and then to the subtlest (ājñācakra).  Taittirīya Upaniṣad says that from ākāśa, air originated; from air, fire originated; from fire, water originated; from water, earth originated. Therefore, it becomes clear from the subtlest element, gross element originated. Beginning with the grossest element earth, other elements are associated with higher chakras ending at throat chakra with the subtlest element ākāśa.
First five lower chakras have one bīja each. Mūlādhāra has laṁ (लं); svādhiṣṭhāna has vaṁ (वं); maṇipūra has raṁ (रं), anāhata has yaṁ (यं), viśuddhi has haṁ (हं); Ājñācakra has two bīja-s ha (ह) and kṣa (क्ष). Sanskrit has 50 letters and all these 50 letters are placed in sahasrāra, which has one thousand petals. Each of these petals has one letter; thus one letter is placed 20 times. There is difference of opinion on the number of letters in Sanskrit. Some are of the opinion that it is 51 and others 50.
When She ascends from mūlādhāra, She has to cross the grossest element earth. When an aspirant has properly awakened kuṇḍalinī, he begins to move away from material attachments. Immediately after awakening from the base chakra, there is a blockage known as granthi, which prevents Her upward movement. Grantha means knots like honeycomb. These knots are formed by intertwining nerves. To reach the next higher chakra svādhiṣṭhāna, this knot is to be pierced. The aspirant has to pierce this knot by practicing certain āsana-s, breathing exercises and awareness. When this knot is loosened, She comfortably crosses this granthi known as Brahmagranthi.
After piercing brahmagranthi, She reaches svādhiṣṭhāna chakra, which is the element of water (according to this verse, it is the element of fire).  This psychic center is situated at the tip of the spinal cord known as coccyx or tail bone. The consciousness of the aspirant now becomes more focused on Her, but not perpetually focused.  Then She moves towards the navel chakra, known as maṇipūra chakra, which is situated in the spine just behind the navel. Element fire is associated with this chakra (according to this verse, the element is water). There is a fire by name jaṭharāgni in this chakra, which digests the food consumed by us. Navel chakra is one of the important chakras as fetus remains connected to the placenta of the mother through umbilical cord. All the chakras open both in front and back of the body. Between maṇipūra chakra and anāhata chakra, there is another knot known as Viṣṇu granthi. This granthi has also to be loosened by āsana-s, breathing exercises and awareness as in the case of Brahmagranthi. Once this granthi is loosened, She reaches the heart chakra. Heart chakra, also known as anāhata chakra and is represented by air element. This psychic center is not placed in the biological heart, but just above the navel chakra in a straight line, next to the biological heart. If this chakra is activated, the aspirant is bound to move from limited love to universal love.
From the heart chakra, She moves to the next higher chakra, the throat chakra known as viśuddhi chakra. This is placed in the area called manubrium, where the two collar bones join together. The back portion of this chakra falls on the nape of the neck. When this chakra is fully activated, the aspirant will be blessed with oratory skills. From viśuddhi, She moves to ājñācakra, known as the third eye.
Ājñācakra is placed just above the central point of the two eyebrows. This chakra is not associated with any of the elements, as all the five elements have been covered by the five lower chakras. Ājñācakra is associated with mind. It is where the command of one’s Guru is received. Divine commune happens through this chakra. If ājñācakra is fully active, it means that the other five lower chakras are also active. From ājñācakra, She moves to the crown chakra known as sahasrāra. Sahasrāra is not a chakra; it is the Abode of Śiva. Her movement from ājñācakra to sahasrāra can happen only due to Her Grace. Breathing, mudras, particular movement of eyeballs and high level of concentration alone can help in making Her ascend towards Śiva. Before reaching sahasrāra, She passes through twelve minor chakras placed above ājñācakra. When She reaches sahasrāra, She conjoins with Śiva, not only Her consort, but also Her Lord. At this point, a nectarine substance flow from the cranium towards the throat. This is the indication of attaining perfection in kuṇḍalinī meditation. This should not be allowed to drift into the body and should be pushed back by using kecarimudra (folding the tongue to touch the upper palate).
Kuṇḍalinī meditation is not that easy, as is being practiced today. Activation of kuṇḍalinī can be done only by a Guru, who himself has attained complete spiritual perfection. He awakens the kuṇḍalinī by passing on his energy into the body of his disciple.  In rare instances, kuṇḍalinī ascends on its own due to one’s good karmas. However, perfection can be attained by breathing, āsana-s, bandha-s. mudras and intent concentration.
Lalitā Sahasranāma 98 Samayācāra-tatparā talks about Kuṇḍalinī worship. The entire Soundarya laharī is based on Samayācāra tantra.
Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra.  This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī.  This nāma means that She likes samayācāra worship.  This worship can be done only mentally.  Initiation from a Guru is the first step in this worship.  This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by guru to the disciple.  The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s.  Guru will guide his disciple at each level and at each cakra.  Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own.  Guru also will not perform this ritual unless the disciple pursues the right path of Self realization.  After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual.  This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of Dasara celebrations) which occurs once in a year. After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra.  There is a prescribed procedure for this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra.  She is in Her subtle form viz. mantra form in this cakra.  From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra.  She has to be mentally worshipped in this cakra.  She is in Her subtler form viz. kāmakalā form at this stage.  After the worship at this cakra, She is adorned with rich clothes and ornaments. We have to remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra.  At this stage, changes occur in the gross body of the sādhaka.  People around him start noticing these changes.  In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne, as discussed in verse 8. In this cakra She is in Her subtlest form viz. Kuṇḍalinī.  Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra.  From this cakra onwards, She becomes very powerful.  It is to be remembered that this is a mental worship that happens within.
Then She is taken to the heart cakra or anāhata cakra, where She is offered betel leaves (karpūra vītikā - Lalitā Sahasranāma 26).  She is then taken to viśuddhi cakra where is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter).  Each such ārati has its own significance.  For example, pañca ārati means the five elements, ‘pūrṇa kumbha ārati’ signifies that everything was created out of totality and everything merges in totality.  From viśuddhi cakra, She is then taken to ājñā cakra, where is offered ‘karpūra ārati.  karpūra ārati means ārati lit with camphor.  Ārati with camphor has a lot of significance (Pure camphor is not easily available nowadays.  If pure camphor is not available, it is better to use a ghee lamp, which does not cause pollution.  The soot coming out of impure camphor affects the purity of the energy level that prevails during rituals.)  She is adorned with garlands of sweet smelling flowers and perfumes.  She is to be visualized as a bride at this stage.  She is then taken to sahasrāra where Śiva is waiting for Her.  When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return. She becomes highly romantic here.  Once She returns from sahasrāra, She is taken back to mūlādhāra cakra. This is known as samayācāra worship.
This verse is one of the master pieces of Śaṁkarācārya. He clearly indicates that mental worship is more powerful than ritualistic worship. After ascension of kuṇḍalinī to higher chakras, the aspirant gradually transforms into a yogin. Yogin (yogi) means the one, whose individual consciousness has merged into the Supreme Consciousness. This completes the merger of jīvātman with Paramātaman. But, he continues to live as a yogin till the traces of his karmas are spent and ultimately dies not to be reborn.
Detailed analysis of each chakra is provided in Lalitā Sahasranāma 475 to 534. Complete discussion about kuṇḍalinī can be read in the label ‘kundalini’
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10
सुधाधारासारैश्चरणयुगलान्तर्विगलितैः
प्रपञ्चं सिञ्चन्ती पुनरपि रसाम्नायमहसः।
अवाप्य स्वां भूमिं भुजगनिभमध्युष्टवलयं
स्वमात्मानं कृत्वा स्वपिषि कुलकुण्डे कुहरिणि॥
sudhādhārāsāraiścaraṇayugalāntarvigalitaiḥ
prapañcaṁ siñcantī punarapi rasāmnāyamahasaḥ|
avāpya svāṁ bhūmiṁ bhujaganibhamadhyuṣṭavalayaṁ
svamātmānaṁ kṛtvā svapiṣi kulakuṇḍe kuhariṇi||
sudhā dhārā sārai – continuous stream of ambrosia; caraṇa yugala antar vigalitai – flowing between Your pair of feet; prapañcaṁ - the universe; siñcana – sprinkling; punar api – again; rasa āmnāya mahasaḥ - knowledge about essence of sacred traditions; avāpya – having reached;  svāṁ bhūmiṁ - Your place; bhujaga nibha – resembling a serpent; adhyuṣṭa – three and a half; valayaṁ - circle; svamātmānaṁ - Your individual form; kṛtvā – having done; svapiṣi – sleeping; kulakuṇḍe kuhariṇi – a small cavity in the base chakra.
“O! Parāśakti! Continuous stream of ambrosia flowing between Your feet sprinkle the universe, as declared in Tantric Scriptures. Having done so, You reach the base chakra and attain the shape of a three and a half coiled serpent and sleep in a tiny cavity there.”  
This verse is yet another supreme master piece of Śaṁkarācārya. The verse has both gross and intrinsic interpretations. Only Śaṁkarācārya could use those words with different possible interpretations, as he was endowed with Parāśakti’s Grace. This verse is to be understood along with the interpretation of the previous verse. Verse 9 said that Parāśakti, by transcending six lower chakras and three knots reached sahasrāra to unite with Her Spouse Śiva. They remain in seclusion at the crown chakra. The present verse (10) talks about Her descent to Her Abode. Tantra śāstra-s say that a yogi after making Her ascend to sahasrāra to remain with Śiva should wait for Her return patiently. The Divine generative fluid secreted during their union is sprinkled on the universe, which causes the manifestation of the universe. After remaining with Śiva in seclusion, She returns back to Her Abode at mūlādhāra cakra. This is gross interpretation.
When kuṇḍaliṇī reaches sahasrāra, due to the heat and pressure in the skull, nectar like substance will be secreted that flows down towards the throat area. This is referred in this verse as sudhā dhārā sārai – continuous stream of ambrosia. The verse says that ambrosia flows down between Her feet. Feet refer to the two nāḍī-s, iḍā and piṇgalā and ambrosial flow happens through the citriṇi nāḍī within in suṣumna. Since iḍā and piṇgalā are placed on the two sides of suṣumna, which is considered as the body of Parāśakti, iḍā and piṇgalā are called pair of feet. Sprinkling of this ambrosia on the universe means entry of this ambrosia in all the 72,000 nāḍī-s of a human body. It is very important to understand the meaning of rasa āmnāya mahasaḥ. Rasa has multiple meanings such as juice, essence, etc and this word has also a very secretive meaning pertaining to Śiva; āmnāya means sacred tradition (Lalitā Sahasranāma 97 – samayāntasthā), which normally refers to tantra. Tantra means a tradition followed by a specific group, which is known as śākta tantra. Mahasa means knowledge. Therefore, rasa āmnāya mahasaḥ can be interpreted as the knowledge about essence of sacred traditions or the essence of knowledge about sacred traditions. The entire knowledge about sacred traditions has been told by Śiva to Parāśakti through a number of tantra śāstra-s. Hence the essence of knowledge about sacred tradition is more appropriate in the present context. Knowing the entire tantra śāstra-s is beyond the reach in a single human life, hence the word essence is used. All the tantra śāstra-s in some way or other follow the principles of śākta tantra. Hence it is described here as the essence of knowledge.  
Ambrosia is secreted during advanced stage of kuṇḍaliṇī meditation. According to śākta tantra, in sahasrāra there is a place known as candramaṇḍala or candraloka, the seat of Sat (existence) and Cit (Consciousness) viz. Śiva. When Parāśakti, in Her subtest kuṇḍaliṇī form conjoins Sat-Cit of Śiva, the third component bliss is realized by the aspirant. Without the presence of Parāśakti in sahasrāra, the aspirant’s spiritual journey is not complete, as Brahman is Sat-Cit-Ānanda and it is Parāśakti who gives Ānanda to the aspirant.  Therefore, when She ascends through the six chakras as discussed in the previous verse and unites with Her Consort at sahasrāra, She causes bliss in the mind of the aspirant. If this union takes place properly due to the efforts of the aspirant, the aspirant slips into the state of samādhi, also known as trance. Śiva is Self-illuminating or prakāśa and Śiva needs Śakti to reflect His Light and She is known as Vimarśa; thus they become inseparable. An improper ascension causes kuṇḍaliṇī syndrome.
Due to the presence of Supreme Śaktī, heat and pressure is felt in the cranium due to which the cerebrospinal fluid known as nectar of candramaṇḍala (brain area) melts and flows down the throat and if swallowed, it enters the 72,000 nāḍī-s, giving a luster to the whole body. Cerebrospinal fluid is again regenerated in the skull. It is also said that the ambrosia thus secreted from sahasrāra should not be allowed to enter into the digestive system and should be pushed back using kechari mudra. This is based on the principle that nectar of the moon should not be offered to the sun; and if offered, it goes waste. Heart chakra represents the sun. There is also a strong possibility that the pineal gland, the gland of divinity, just behind the ājñācakra, could also be one of the causes for the nectar.
Kuṇḍaliṇī does not remain in sahasrāra for long, even if the aspirant wants to. She begins Her descent on Her own and the descent can be made faster through yogic exercises and breathing. When She descends She again crosses the six lower chakras and reaches the base chakra or mūlādhāracakra and attains the shape of a serpent coiled three and a half times. The three coils represent three letters of OM viz. A U M and the half circle refers to the dot known as bindu. Mūlādhāracakra is also known as kula sahasrāra and the crown chakra is known as akula sahasrāra.
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11
चतुर्भिः श्रीकण्ठैः शिवयुवतिभिः पञ्चभिरपि
प्रभिन्नाभिः शंभोर्नवभिरपि मूलप्रकृतिभिः।
चतुश्चत्वारिंशद्वसुदलकलाश्रत्रिवलयत्रिरेखाभिः
सार्धं तव शरणकोणाः परिणताः॥
caturbhiḥ śrīkaṇṭhaiḥ śivayuvatibhiḥ pañcabhirapi
prabhinnābhiḥ śaṁbhornavabhirapi mūlaprakṛtibhiḥ|
catuścatvāriṁśadvasudalakalāśratrivalayatrirekhābhiḥ
sārdhaṁ tava śaraṇakoṇāḥ pariṇatāḥ||
caturbhiḥ śrīkaṇṭhaiḥ - four triangles of Śiva; śivayuvatibhiḥ - triangles of Śakti; pañcabhirapi – five in number; prabhinnābhiḥ- entirely different; śaṁbho – Śiva; navabhirapi mūlaprakṛtibhiḥ - thus making the nine basic triangles; catuścatvāriṁśad – forty four; vasudalakalāśra – eight and sixteen petals; trivalaya – three circles; trirekhābhiḥ - three lines; sārdhaṁ - adding up; tava – Your; śaraṇakoṇāḥ pariṇatāḥ - become Your triangular Abode.
“Four triangles of Śiva, five triangles of Śakti, eight and sixteen petals, three circles and three lines thus making forty four in number form Your Abode.”
This verse explains Śri Cakra.  Śri Cakra is made up of forty four triangles. There are four upward facing triangles known as Śiva chakras and five downward facing triangles known as Śakti chakras and the intersection of these nine triangles form 44 triangles. The inner most triangle is the bindu. When bindu is not considered as a triangle, then there will be only 43 triangles with the bindu in the center.
Encircling these 44 triangles, there are two lotuses. The inner lotus has eight petals and the outer lotus has 16 petals. Outside these lotuses there are three circles and outside these three circles, there are three lines with openings on the four sides. These four openings represent entry and exit points of Śrī Cakra. Realization happens when one enters through these four openings. Creation happens when one exits through these four openings. The former is movement towards Her and the latter is movement away from Her.
One has to enter the Śrī Cakra from the outermost square.  All the three squares put together is known as trailokaya-mohana that deludes the three stages of consciousness.  This is the first enclosure of Śrī Cakra.  This enclosure is ruled by Tripurā Devi.  Each āvaraṇa, known as enclosure is ruled by a presiding deity and has an independent yogini.  Yogini of the first āvaraṇa is known as prakaṭa yogini.  In the outermost walls there are ten goddesses representing ten siddhi-s (super human powers), in the middle wall, there are aṣṭa māta-s (eight devi-s like Brāhmī, Vārāhi, etc).  Their spouses are the aṣṭa Bhairava-s (Asitāñga, Ruru, etc).  In the inner wall there are ten goddesses representing the ten mudra-s (hand gestures - Lalitā Sahasranāma 977) like, yoni mudra (Lalitā Sahasranāma 982), trikhaṇḍā (Lalitā Sahasranāma 983), etc. Therefore, in the first enclosure there are 10 + 8 + 10 = 28 goddesses.  Entry into Śrī Cakra is to be made from the opening just below the apex of the innermost triangle, facing the worshipper.  After worshipping all the twenty eight goddesses and after obtaining permission from them, one has to move to the next enclosure. 
The second enclosure is known as sarvāśa-pari-pūraka that enlivens the spiritual hopes of the practitioner. This enclosure is ruled by Tripureśī and the yogini for this enclosure is Gupta yogini.  The second enclosure is the sixteen petal lotus inside the three circles and no worship takes place in the three circles. Each of the sixteen petals is ruled by a goddess and each petal has one vowel of Sanskrit (Sanskrit has sixteen vowels). After worshipping these sixteen goddesses and after obtaining permission from them, one has to proceed to the next enclosure. 
The third enclosure is known as sarva-saṁkṣobhaṇa that crusades for spiritual aspirations. This is the eight petal lotus.  The presiding deity of this enclosure is Tripurasundarī and the yogini is Guptatara yogini.  There are eight goddesses in each of the petals. After worshipping them and after obtaining permission from them, one has to enter the first set of triangles of Śrī Cakra. 
The fourth enclosure is known as sarva-saubhāgya-dāyaka, which provides all spiritual and material comforts.  It has fourteen triangles and presided over by Tripuravāsinī.  The concerned yogini is Saṁpradāya yogini.  Each petal is ruled by a goddess.  After worshipping them and after obtaining permission from them, one has to proceed to the next enclosure.  
The fifth enclosure is known as sarvārtha-sādhaka, which makes the worshipper spiritually prosper and has ten triangles.  The presiding deity is Tripurāśrī and the concerned yogini is kulottīrṇa-yogini. Each triangle is presided over by a goddess. After worshipping them and after obtaining permission from them one has to proceed to the next covering.
The sixth āvaraṇa has again ten triangles and is known as sarva-rakṣākara cakra, which protects the worshipper from the inflictions of saṃsāra. This enclosure is known as inner ten triangles and the previous triangle is known as exterior ten triangles. This āvaraṇa is presided over by Tripuramālinī and the yogini is Nigarbha Yogini.  Each of the triangles is presided over by a goddess.  After worshipping them and after their permission, one has to proceed to the next enclosure. 
The seventh āvaraṇa is sarva-roga-hara cakra the remover of all mental afflictions. It has eight triangles also known as vasu koṇa representing the eight vasu-s (according to Bṛhadāraṇayaka Upaniṣad (III.ix.) aṣṭa vasu-s or eight Vasu-s are Āpa, the water; Dhruva, the pole-star; Soma, the Moon;  Dhava or Dhara;  Anila, the Wind;   Anala or Pāvaka, the fire;  Pratyusha, the dawn; and Prabhāsa, the light).  The presiding deity is Tripurāsiddhā and the yogini is Rahasya yogini.  Each of the triangles is presided over by a Vāc Devi, the authors of this Sahasranāma.  Vāmakeśvarīmatam (verses 60-63) says that all the Sanskrit alphabets are ruled by these eight Vāc Devi-s.  Apart from what is said in the above scripture, all the triangles and lotus petals are inscribed with Sanskrit alphabets.  This triangle is just outside the inner most triangle (Lalitā Sahasranāma 986). After worshipping these eight goddesses, one proceeds to worship the armouries of Lalitāmbikā.
The eighth enclosure is just outside the central bindu which is the innermost triangle. This is where the spiritual attainments begin and culminate at the bindu within. Outside this triangle, the weaponries of Lalitāmbikā are placed. The weapons are described in Lalitā Sahasranāma 8, 9, 10 and 11. After worshipping Her weaponries, one enters the eighth enclosure, known as sarva siddhi pradhā and is ruled by Tripurāmbā and the concerned yogini is Atirahasya yogini. There are three goddesses who are worshipped at the three corners of the triangle and Lalitāmbikā is worshipped at the central point, the bindu.
Outside this inner most triangle the fifteen tithi nitya devi-s are worshipped.  Each tithi represents one lunar day.  One’s guru lineage is also worshipped in three parallel lines drawn outside the upper portion of the inner most triangle. In this place, one’s guru, guru’s guru and guru’s guru’s guru are worshipped.  Along with them several celebrated gurus are also worshipped.  Worshipping guru is an important aspect of Śrī vidyā cult. 
The ninth enclosure is the bindu.  This is known as ‘sarvānanda-maya cakra’, the ultimate bliss, where self unites with ever existing and omnipresent Self (the Brahman) here. This is presided by Śrī Mahā Tripurasundarī also known through various other names such as Lalitāmbikā, Rājarājeśvarī, Mahā Kāmeśvarī, etc who is the ultimate Goddess of this universe, the Supreme Mother. The concerned yogini is Parāparāti rahasya yogini (Parāparāti rahasya means the supreme secret). Beyond this point, those who are not initiated into ṣodaśī cannot proceed.  Those who are initiated into ṣodaśī are blessed to worship Her again at the bindu with Her ultimate mantra and trikhanda mudra. This cakra or the enclosure or āvaraṇa is the highly secretive in nature, where the conjugation of prakāśa and vimarśa (Śiva and Śaktī) form of creation takes place.  Here Śaktī sits on the left lap of Śiva and They together shower Their grace on those who seek Them.
When a practitioner is afflicted with worldly ties, known as saṃsāra, enters Śrī Cakra, he is gradually endowed with knowledge and by the time he reaches the supreme bindu, he is totally transformed. The bindu stands for both creation and absorption.  A practitioner stands totally absorbed when he enters the bindu from the first āvaraṇa.  If an absorbed practitioner again indulges in saṃsāra, he is re-created making his exit from the bindu to the outermost cakra. 
Totally, one hundred and thirteen goddesses are worshipped in Śrī Cakra. Śrī Cakra is enclosed by Śrī Nagara, where exists twenty five forts.  In between the forts there are huge places where all the other gods and goddesses reside.  The nine coverings of Śrī Cakra are compared to six psychical cakra-s beginning from mūlādhāra to ājñā, sahasrāra, kula sahasrāra and akula sahasrāra. Śrī Cakra is not a mere geometrical representation of creation, sustenance, dissolution, concealing and re-creation; it is the known expression of evolutionary cosmology which is superimposed on a miniscule existence of a human being.  Scriptures point out that human body is just a replica of Śrī Cakra.
Generally, Śrī Cakra is compared to the moon, which has sixteen phases known as kalā with 27 constellations. If we add 16 with 27, the result is 43, which is the number of triangles in Śrī Cakra. Bindu is not included here. Bindu is the central point where Parāśakti happily stands united with Her Consort Śiva. Bindu is the sahasrāra in the human body, where the union between Śiva and Śakti takes place. In Śrī Cakra, this union is macrocosmic in nature and in a human body, when She unites with Śiva, in the form of kuṇḍaliṇī, it is microcosmic in nature.
The number of triangles represent 36 tattva-s and seven dhātu-s (constituents of the body) comprising of chyle, blood, flesh, fat, bone, marrow and procreative fluids. If we add 36 tattva-s and seven dhātu-s, the resultant factor is 43 and this represents the 43 triangles of Śrī Cakra.
With this in mind, one has to meditate on Her at the bindu, the central point of Śrī Cakra.
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12
त्वदीयं सौन्दर्यं तुहिनगिरिकन्ये तुलयितुं
कवीन्द्राः कल्पन्ते कथमपि विरिञ्चिप्रभृतयः।
यदालोकौत्सुक्यादमरललना यान्ति मनसा
तपोभिर्दुष्प्रापामपि गिरिशसायुज्यपदवीम्॥
tvadīyaṁ saundaryaṁ tuhinagirikanye tulayituṁ
kavīndrāḥ kalpante kathamapi viriñciprabhṛtayaḥ|
yadālokautsukyādamaralalanā yānti manasā
tapoubhirduṣprāpāmapi giriśasāyujyapadavīm||
tvadīyaṁ saundaryaṁ - Your beauty; tuhina giri kanye – daughter of snow clad mountain; tulayituṁ - comparing by examination; kavīndrāḥ - the best of poets; kalpante kathamapi – incapable of even after taking great pains; viriñci prabhṛtayaḥ - Brahmā and others; yat-āloka-autsukyād – eager to notice Your beauty; amaralalanā – celestial women; yānti – attain; manasā – mentally; tapoubhir – by way of intent meditation; duṣprāpām api – difficult to attain; giriśa-sāyujya-padavīm – becoming one with Śiva.
“Daughter of snow clad mountain! Brahmā and other best of poets are not able to draw a comparison to Your beauty even after taking strenuous pains. The celestial women, eager to have a glimpse of Your beauty, mentally contemplate You to become one with Śiva, which is difficult even through penance.”
Parāśakti, also known as Pārvatī is the daughter of Kind of Mountains known as Parvatarāja (Parvata means mountain range). Because She was born to Parvatarāja, She is known as Pārvatī (Pārvatī means mountain stream).
Brahmā is the god of creation. He is always busy in compiling Vedas. He is a great scholar and is considered as the best poet. His consort is Saravati, is the goddess of letters.  Even they are not able to draw comparison to Her beauty, as obviously, Her perpetual beauty cannot be compared. Comparison is only between two equals, as no one has the kind of beauty She has. Though Brahmā being the creator, he is not able to draw comparison to Her beauty and Sarasvati, being the goddess of letters is unable to draw a comparison to describe Her beauty. This inexplicable beauty drew Śiva towards Her.
The most beautiful of the celestial damsels, such as Rati, wife of Manmatha and others want to have a glimpse of Her beauty. They could not go anywhere near Her. As they somehow want to have a look at Her and began to think about Her all the time. This perpetual thinking about an object is called meditation. In fact this is the true meditation. Their entire attention was focussed only on Her and they had no other thoughts. As a result of their single pointed focus, they became one with Śiva Himself. In fact, they never thought about Śiva and their entire contemplation was only on Her beauty. Still they became one with Śiva. This goes to prove that Śiva and Śakti are not different.  Śakti is nothing but the independent power of authority of Śiva. Śiva has transferred all His power to Her to create, sustain and dissolve the universe. Therefore, unless She is realized, Śiva can never be realized. This is described in Lalitā Sahasranāma 727, Śiva-jñāna-pradāyinī. Wind can be realized through movements, fire can be realized through heat and Śiva can be realized through Śakti.
There are four types of consciousness.  They are sālokya, sarūpa, samībha and sāyujya.  Beyond this is kaivalya.  Sālokya is the stage where one performs ritual worship, worshipping Her idols or portraits. In sarūpa, the aspirant leaves idol worship and does not differentiate himself from Her.  In samībha he goes near Her and in sāyujya stage he merges with Her and ultimately with Śiva.  These are the stages of one’s consciousness that finally lead to kaivalya.  One has to progress from one stage to another and this progression happens depending upon the level of spirituality.  By being spiritual does not mean one has to be religious.  Spirituality transcends religious affinities, though religion forms the foundation of spirituality.  This verse subtly conveys the stage of sāyujya, as the celestial damsels become one with Śiva. The duration of meditative sessions do not matter. Meditation is a process when one’s awareness is fixed on Her and all other thought processes are totally suspended.
The level of consciousness is the foremost factor in meditation.  Three normal states of consciousness are awakened state, sleep state and deep sleep state. These are the three stages of intensity of sleep. In the first state, the intensity of sleep is totally absent. In the same way, meditation also has different intensities depending upon one’s ability to move his consciousness. The quality of consciousness is the sole factor to determine the quality of meditation.  Meditation will be of no use, unless one establishes a firm contact with pure cosmic energy from where necessary energy is provided to the universe for creation and sustenance.  The cosmic energy is the source of all energies and is derived from Her.  This energy in its miniscule form is known as speech, sound, vision, light, etc.  Whether one likes it or not, this cosmic energy is present in and around a person.  It is omnipresent.  Attempting to understand the original source of this energy is known as the path of spirituality.  To pursue this path, one requires supreme knowledge, which is different from the routine process of learning.  This knowledge cannot be effectively acquired from books or through lectures. This can be attained only by exploring the inner self by inquiring who am I.
Intensive meditative practice enables a person to access the supreme level consciousness.  For example, the level of awareness in the active state and in dream state is both external and internal.  In the state of deep sleep state, the level of awareness is only internalized.  No one knows what is happening around him in deep sleep state.  In the same way, a person in the shallow stage of meditation is aware both externally and internally.  In the deep stage of meditation, he becomes thoughtless and therefore totally fixed internally.  He stands disconnected from external influences and is able to sustain his single pointed focus.  This is where the meditation really advances to the next stage.  This is the fourth level of consciousness, the first three being awake, shallow sleep and deep sleep.  The fourth level of consciousness can be classified into two sub-stages, shallow meditative stage and deep meditative stage.  One can easily differentiate between these two stages. In the first stage (shallow), the preliminary effect of tranquilizing is felt which could last for a few seconds to a few minutes. A feeling of relief is also felt.  At this moment, he does not seem to want anything in life.   A sort of happiness is realized not amounting to bliss.  This is the symptom of upcoming blissful stage.  Having experienced this stage he wants to experience again and again which prompts him to spend more time in enjoying this experience.  Therefore, reaching this stage of meditation is difficult and once this is reached, rest of the meditative process happens automatically leading to the deep meditative stages. 
As one progresses, the quality of meditation also increases finally leading to emancipation or Self-realization. Emancipation is enlightenment, the logical conclusion to meditative process.  The progress in meditation can be monitored with the duration of remaining in intense awareness.  Though this is not possible and also not advisable to make such a calculation, it is possible to mentally calculate the duration of intensive awareness from the level of relaxation and happiness.  From a few seconds in the beginning to a couple minutes now is a good progress.  But this does not mean that one should meditate for only a couple of minutes.  The process is like takeoff of an aircraft to reach higher altitudes and then to descend to land.  In the same way, in meditation the consciousness level starts from the lowest level (routine level of awareness that is witnessed during the awakened stage), reach the highest level, remain there for a few seconds to a few minutes and ultimately come back to the normal stage of awareness.  The quality of the meditation depends upon the time taken to reach the highest level of consciousness and the duration of sustaining at that level.  The human brain is the main factor in managing the different level of consciousness.  Meditation is not without scientific proof, but it does not need any scientific proof, as one undergoes personal experience. There can be no better proof than personal experience. The celestial damsels described in this verse are not merely celestial beauties. They represent each and individual human being and Śaṁkarācārya by drawing comparison to them, laid down rules for intent meditation, through which alone, one can attain liberation. Śaṁkarācārya alone is capable of conveying such subtle conveyances through such types of verses, as he was endowed with the Grace of the Divine Couple.
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13
नरं वर्षीयांसं नयनविरसं नर्मसु जडं
तवापाङ्गालोके पतितमनुधावन्ति शतशः।
गलद्वेणीबन्धाः कुचकलशविस्रस्तसिचया
हठात्त्रुटयत्काञ्चयो विगालितदुकूला युवतयः॥
naraṁ varṣīyāṁsaṁ nayanavirasaṁ narmasu jaḍaṁ
tavāpāṅgāloke patitamanudhāvanti śataśaḥ |
galadveṇībandhāḥ kucakalaśavisrastasicayā
haṭhāttruṭayatkāñcayo vigālitadukūlā yuvatayaḥ ||
naraṁ - man; varṣīyāṁsaṁ - appearing old;  nayana virasaṁ - ugly to look at; narmasu jaḍaṁ - without any pleasure or amusement; tava apāṅgāloke patitam – on whom Your side glance has fallen; anudhāvanti – running after; śataśaḥ - in hundreds; galad veṇī bandhāḥ - loosened hair; kuca kalaśa visrasta sicayā – loosened upper garments exposing bosoms; haṭhāt truṭayat kāñcayo – their waist bands breaking down; vigā lita dukūlā – making their clothes fall down; yuvatayaḥ - young damsels.
“When Your side glance falls on an old man ugly to look at and who has no interest in pleasures, hundreds of young women run after him not realizing that their hair, upper garments and waist bands have loosened and disrobed them.”
The verse talks about the power of Her fraction-of- a-second glance, that too sideways. There is difference between Her direct glance and side glance. Direct glance is capable of offering liberation whereas, Her side glance showers physical, mental and material wealth. This is explained in Lalitā Sahasranāma 590 kaṭākṣa-kiṅkarī-bhūta-kamalā-koṭi-sevitā. This nāma says that when She glances sideways, as mentioned in this verse, millions of Lakṣmī-s (goddess of wealth) attend on Her. Therefore, it is obvious, that Her side glance gives material wealth and pleasures.
According to the gross interpretation of this verse, She glances sideways on an old and ugly looking man who had lost interest in worldly pleasures. Immediately, hundreds of young women run after him, not realising that their robes are falling down exposing their bodies. This means that the old man regains his youthfulness. Though the verse is erotically presented, a person of Śaṁkarācārya’s calibre would not have composed merely for erotic expression.
The old man on whom Her side glance had fallen attains elevated mental state, beyond the materialistic world. He gets transformed into a yogi by spiritual enlightenment happened due to Her glance. The women who are described here are paśu-s. Paśu means unenlightened individual soul. These paśu-s go after an enlightened soul to learn and practice spiritual path with an intent to attain liberation. In their urgency and eagerness to know Her through him, they forget everything about the material world, which is described in this verse as robes. This also conveys that when an aspirant is ready for liberation, She sends a spiritual Guru on Her own to teach the aspirant during his final journey towards liberation. This argument augurs well with the saying that when the time is ripe, one gets a Guru without any efforts from the aspirant’s side. In fact, She is waiting to offer liberation as She is full of compassion and concern for Her children (human beings). She is Śrī Mātā.
By composing this erotic verse, Śaṁkarācārya probably could have sent a clear message to youngsters thus; “Be what you are and do what you like. But spend sometime in thinking about the Divine Mother. She will not only give you material wealth and pleasures, but will also guide you through true spiritual Gurus towards Her. In the midst of your busy routine, please spend sometime in contemplating Her. I am not asking you to visit holy places. I am merely asking you to visualize Her at least for sometime in a day. She will give you the best and She knows what to give you.”
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14
क्षितौ षट्पञ्चाशद्द्विसमधिकपञ्चाशदुदके
हुताशे द्वाषष्टिश्चतुरधिकपञ्चाशदनिले।
दिवि द्विःषट्त्रिंशन्मनसि च चतुःषष्टिरिति ये
मयूखास्तेषामप्युपरि तव पादाम्बुजयुगम्॥
kṣitau ṣaṭpañcāśaddvisamadhikapañcāśadudake
hutāśe dvāṣaṣṭiścaturadhikapañcāśadanile |
divi dviḥṣaṭtriṁśanmanasi ca catuḥṣaṣṭiriti ye
mayūkhāsteṣāmapyupari tava pādāmbujayugam ||
kṣitau – earth; ṣaṭ pañcāśad – six and fifty (fifty six); dvi samadhika pañcāśad -  two above fifty (fifty two); udaka – water; hutāśa – fire; dvā ṣaṣṭika – two and sixty (sixty two); catur adhika pañcāśad – (four above fifty) fifty four; anile – air; divi – ether or ākāśa; dviḥṣaṭ triṁśa – seventy two; manasi – mind; ca – and; catuḥ ṣaṣṭir – sixty four; iti – thus; ye mayūkha -  luster of light; teṣām api – the rays of light; upari – above or upwards; tava – Your; pāda ambuja yugam – pair of lotus feet (ambuja – lotus).
“Fifty four rays of pṛthivī tattva, fifty six rays of water tattva, sixty two rays of fire tattva, fifty four rays of air tattva, seventy rays of ākāśa (ether) tattva, sixty four rays of mind tattva, all originate from Your lotus feet in the middle of sahasrāra.”
This verse is based on psychic chakras of kuṇḍalinī meditation. Each of the tattvas mentioned in this verse is directly related to chakras of kuṇḍalinī meditation. Tattva means principle.
TATTVA
CHAKRAS
NUMBER OF RAYS
Pṛthivī tattva
mūlādhāra  - base
 56
Water tattva
svādhiṣṭhāna - coccyx
 52
Fire tattva
maṇipūraka - navel
 62
Air (vāyu) tattva
anāhata - heart
 54
Ākāśa (ether) tattva
viśuddhi - throat
 72
Mind (manas) tattva
ājñā – forehead
 64
TOTAL RAYS
  360
This verse talks more about subtle form of worship. Parāśakti has three types of worship and they are gross, subtle and subtlest. Gross worship is worshipping Her in different forms. Subtle worship is worshipping Her as kāmakalā (Lalitā Sahasranāma 322). Her subtlest form of worship is worshipping Her kuṇḍalinī form (Lalitā Sahasranāma 110). The five elements of the cosmos in their microcosmic forms represent the five psychic centres of the human body. The mind, the most important and exclusivity of humans form the sixth psychic centre. Above all these psychic centres is sahasrāra and this verse says that Her lotus feet contemplated at the centre of the sahasrāra causes illuminating rays that enter these psychic centres and radiate from them. These rays are known as kalā, which literally means a small part of anything. For example, minutes are the kalā-s of an hour, seconds are the kalā-s of a minute, etc. In the same way, days are the kalā-s of a year.
There are two types of years; one is based on the sun and the other is based on the moon. The calendar based on the sun is called solar year and consists of 365.25 days and the calendar based on moon consists of 354.37 days. Solar calendar is based on the movement of sun through the twelve zodiacal signs. Sun takes 365.25 days to traverse through all the twelve zodiac signs and the moon takes only 354.37 days to traverse through all the twelve zodiacs. Each day of the lunar calendar forms one kalā of the moon and therefore the total kalā-s of a lunar year is 354.37. 360 is arrived at by adding 354.37 + 365.25 / 2 = 359.81 days and rounded off to 360. Each of these 360 days is represented by a kalā of the moon. These 360 rays are spread to six psychic centres as detailed in the chart above. It is also said that the kalā-s radiating from Her feet is 372 and not 360.
The six psychic centres are categorised into three groups known as khaṇḍa-s and each khaṇḍa is presided by sun, moon and fire, the three primary objects that rediffuse the Light of the Śiva. These diffusing objects are in Her body and in Her Pañcdaśī mantra. The Light originates from Śiva and He is known as prakāśa and Śakti reflects His Light and She is known as vimarśa. This is with relation to macrocosmic plane. Whatever happens in the macrocosmic plane also happens in the microcosmic plane. In the macrocosmic plane, the objects of light get their illumination from Her macrocosmic form and in the microcosmic plane, objects of light get their illumination from Her feet contemplated in the centre of the crown chakra, also known as sahasrāra. This light can be seen by an aspirant during his/her intent stages of meditation.
The psychic centres are grouped under three khaṇḍa-s and they are sūrya khaṇḍa, candra (or soma) khaṇḍa and agni khaṇḍa.  The two psychic centres mūlādhāra and svādhiṣṭhāna come under agni khaṇḍa; maṇipūraka and anāhata come under sūrya khaṇḍa; viśuddhi and ājñā come under candra khaṇḍa. Each of these khaṇḍa-s are controlled by a knot known as granthi. mūlādhāra and svādhiṣṭhāna come under Brahma granthi; maṇipūraka and anāhata come under Viṣṇu granthi and viśuddhi and ājñā come under Rudra granthi. Agni, sūrya and candra are placed just above these granthis and redistribute the rays to the two chakras under them. Unless these granthi-s are pierced, one cannot reach sahasrāra.
Mūlādhāra represents pṛthivī tattva; pṛthivī means the earth. Mūlādhāra is the closest point to the earth and this chakra gets 56 of the 360 rays from Her lotus feet. It must always be remembered that She only diffuses the Light of Śiva. Śiva and Śakti in their united form is the cause for creation.  Creation is based on the tattvas. Different philosophies describe different tattvas.  Trika philosophy mentions about 36 tattvas and Sāṃkhya philosophy mentions about 27 tattvas. Tattvas are generally associated with external worship. Internal worship is worshipping Her in Her subtlest kuṇḍalinī form. Whether worship is done externally or internally, 360 rays are arrived at. Since the manifestation happens by both Śiva and Śakti the number of rays amounting to 180 are doubled.
Externally worship is made in six triangles of Śrīcakra and internally, She is worshipped in the six psychic centers. These rays are not just rays, but they represent a tattva in external worship and the petals of each chakra in mental worship. These rays are also mediated in the form of mātṛka-s (alphabets of Sanskrit) in these chakras. Lalitā Sahasranāma 577 is mātṛkā-varna-rūpiṇī.
To sum up, 360 rays originate from Her lotus feet in sahasrāra that get reflected through three khaṇḍa-s, fire, sun and the moon. Rays do not mean just the light, but also the cosmic energy. Without the cosmic energy that is being sent to these chakras, existence itself is not possible. Chakras have also been discussed in verse 9. These three luminaries (fire included) reflect the rays of light received from Her feet to the respective chakras. These luminaries also represent the three nāḍi-s, iḍā, piṅgalā and suṣumna. Both sun and moon or iḍā and piṅgalā unite with fire or suṣumna, which alone is capable of providing the vision of Her illuminating feet.  These luminaries are situated just above the granthi-s, also known as knots. Unless these knots are pierced, the origin of these rays, Her feet cannot be realized. This is with reference to internal worship, also known as chakra meditation. Externally, worship happens in Śrīcakra. When Her radiating feet are seen, one is liberated.
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15
शरज्ज्योत्स्नाशुद्धां शशियुतजटाजुटमकुटां
वरत्रासत्राणस्फटिकघटिकापुस्तककराम्।
सकृन्न त्वा नत्वा कथमिव सतां संनिदधते
मधुक्षीरद्राक्षामधुरिमधुरीणाः फणितयः॥
śarajjyotsnāśuddhāṁ śaśiyutajaṭājuṭamakuṭāṁ
varatrāsatrāṇasphaṭikaghaṭikāpustakakarām |
sakṛnna tvā natvā kathamiva satāṁ saṁnidadhate
madhukṣīradrākṣāmadhurimadhurīṇāḥ phaṇitayaḥ ||
śaraj jyotsnā śuddhāṁ - bright and pure like autumnal moon; śaśi yuta jaṭā juṭa makuṭāṁ - adorning a crown studded with crescent moon on your plaited hair; vara trāsa trāṇa sphaṭika ghaṭikā pustaka karām – with your four hands having vara mudra, abhaya mudra, a rosary of crystal beads and a book; sakṛnna tvā natvā – having prostrated before you only once; katham iva satāṁ - how good men could; saṁ nidadhate – not bringing in; madhu – honey; kṣīra – milk; drākṣā – grapes (probably referring to raisin); madhurima dhurīṇāḥ - more sweeter than; phaṇitayaḥ - flowing of words.
“Parāśakti! You appear splendorous like the spotless autumnal moon. You are adorning a crown on you braided hair with the crescent moon. You grant boons and offer protection with your two hands and in the other two hands you hold a crystal bead and a book. If a sincere devotee prostrates before You only once, why he will not get flow of words sweeter than honey, milk and raisins?”
The grosser meaning of the verse is that the one who worships Her, contemplating the above form, will become an excellent poet. Let us have a look at Her.  She appears splendorous and spotless. A comparison is drawn to the autumnal moon. In the first place, why a comparison is made to the moon? Secondly, why the autumnal moon?  She is compared to the moon on two grounds. Moon is cool and also graciously nurtures. Sun, on the other hand cannot be looked at all as it will blind our biological eyes. Sun does not graciously nurtures like moon. Moon has the power to nourish and grow certain precious herbs. Flowers like lotus bloom only on seeing moon. When compared to the sun, the moon appears beautiful. Sun is usually associated masculine gender and the moon with the feminine gender. Since Parāśakti is the embodiment of Grace, beauty and compassion, She is always compared to the moon. The autumnal moon is also known as the harvest moon. The full moon in autumnal season is closer to the equinox and is capable of growing plants, like the sun; because of this, it is known as harvest moon. As She is revered as the universal mother in Lalitā Sahasranāma, Śaṁkarācārya chooses the autumnal moon to make a comparison to Her, as She carefully nourishes the universe like a mother nourishing her child. In verse seven, he has described Her as śaraccandravadanā  (She has a face resembling like the autumnal moon). These kinds of objective comparisons are necessary to enable us to understand and visualize Her better. Right visualization is important for proper meditation. This is the reason why all the mantra japa-s have dhyāna verses.
Śaṁkarācārya again mentions moon in this verse in another context. She is wearing a crown and in the crown there is aṣṭamīcandra (eighth face of the moon), which appears beautiful with even curves on both sides. Lalitā Sahasranāma 15 says that Her forehead looks like aṣṭamīcandra. Śiva has crescent moon at the top of His head and as She is no way different from Him, the crescent moon of Śiva is seen on Her also.
She is described in this verse with four hands. It is important to recall the conveyance of the verse 4, which said, “You are the ultimate recourse of the universe. All other gods and goddesses use their two hands to grant refuge and boons to their devotees by means of two mudrā-s - abhaya and varada. But You do not use Your hands for this. Instead Your sacred feet are capable of offering refuge and boons more than what is prayed for.” But this verse says that She shows abhaya and varada mudras, which is in contradiction of the verse 4. But, in reality, this is not a contradiction. This speaks of the mind of the aspirant at different points of time. When he sees Her lotus feet, the aspirant feels that he gets everything from Her pinkish lotus feet. In this verse, the aspirant advances further in his spiritual pursuit. He conceives Her in this verse with four hands. There are interpretations which say that this is the form of Sarasvati, the goddess of letters, and that is why She carries a book and a garland of rosary beads in Her hands. Whatever be the arguments, an advanced spiritual aspirant contemplates Her depending on his mental status at the time of contemplation. For example, the dhyāna verse of Her ṣoḍaśī mantra says that She also holds a book, a mālā of crystal beads, abhaya and varada mudras in Her hands. The dhyāna verse of Bālā mantra also describes this on the basis of the dhyāna verse of ṣoḍaśī mantra.
Her abhaya mudra removes mortal fear in the minds of Her devotees and Her vara mudra gives boons to Her devotees. These two mudras or hand gestures do not mean that She protects the aspirant from the fear of death and grants him whatever he wants. A true devotee will only seek final liberation from Her. Such a devotee fully realizes the pains of transmigration. He prays to Her to offer him liberation and till such time he is liberated in this life itself, he prays to Her to protect him from the jaws of death. Once he is liberated in this life, he continues to exist as jīvanmukta and dies after all his karmas are spent.
Mālā of crystal beads and the book refer to the manifestation of the universe. The rosary bead has 51 crystal beads which represent the 51 alphabets of Sanskrit language. This is also described by Vāk Devis in Lalitā Sahasranāma 483 akṣamālādi-dharā. The book that She holds contains different permutations and combinations of the alphabets leading to the manifestation of the universe through sound. These two hands also impart spiritual knowledge to the aspirant, as a result of which he seeks liberation in this life itself. When he gains enough knowledge, the aspirant is also able to compose verses in Her praise. Because he has meditated on the 51 alphabets of Sanskrit in the form of the rosary beads along with the book that contains different combinations of these alphabets, he is blessed with the talent of composing verses singing Her praise. His neologism of words becomes sweeter than the combination of honey, milk and raisin. Thus, the four hands described in this verse together offer liberation to the aspirant.  It is important to know that all the verses of Soundarya laharī should not be taken as a series. Each verse gives different meanings and interpretations and never contradicts any of the other verses as they are not meant to mean that way.
Manifestation of the universe through sound is discussed elaborately in Lalitā Sahasranāma 366 to 371
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16
कवीन्द्राणां चेतःकमलवनबालातपरुचिं
भजन्ते ये सन्तः कतिचिदरुणामेव भवतीम्।
विरिञ्चिप्रेयस्यास्तरुणतरशृङ्गारलहरी
गभीराभिर्वाग्भिर्विदधति सतां रञ्जनममी॥
kavīndrāṇāṁ cetaḥkamalavanabālātaparuciṁ
bhajante ye santaḥ katicidaruṇāmeva bhavatīm |
viriñcipreyasyāstaruṇataraśṛṅgāralaharī
gabhīrābhirvāgbhirvidadhati satāṁ rañjanamamī ||
kavīndrāṇāṁ - of great poets; cetaḥ kamala vana bāla atapa ruciṁ bhajante – those who adore You as the sun at dawn, which makes their minds to blossom forth as if their minds are a group of lotus flowers; ye santaḥ katicid - those great men; aruṇām eva bhavatīm – the Goddess having the radiance of the sun at dawn; viriñci preyasyās – Sarasvatī, who is dear to Brahmā; taruṇa tara śṛṅgāra laharī – waves of passion flowing from youthfulness; gabhīrābhir vāgbhir- majestic words; vidadhati – perform; satāṁ rañjanam amī – happiness to the poets.
“The great poets who adore You as red and radiating like the sun at dawn which makes all the lotus flowers to blossom become capable of delighting the group of learned men with their magnificent words as if they are waves of emotions emanating from the passionate and youthful Sarasvatī, who is dear to Brahmā.”
The verse says that those who contemplate Her in the colour of the sun at dawn become capable of composing excellent literary works. They get the flow of words as if erotic sentiments originating from the passionate and youthful consort of Brahmā. Their literary works bring delight to the learned people. Flow of passion is compared to the flow of words.
Almost all the Scriptures describe Parāśakti as deep red in colour (complexion). Lalitā Sahasranāma dhyāna verses describe Her “aruṇāṁ karuṇā-taraṁgitākṣīṁ”, which means “She is like the rising sun with waves of compassion in Her eyes”. There is another dhyāna verse which says, “sindūrāruṇa-vigrahāṁ” meaning that Her body is red in complexion. There are many such instances in various Scriptures, which unanimously declare Her as red in complexion.  Redness is associated with compassion. This verse says tht the poets get extraordinary powers to compose literary works, on two counts. First, they have to contemplate Her in the colour of rising sun; as a result of their single pointed concentration on Her, due to Her compassion which can also be described as Her Grace, they get the flow of words without any impediments. As a result, their literary works are appreciated by noble and great men. The quality of taste towards different aspects of life differs from person to person. Śaṁkarācārya was very careful in choosing his words, as he perfectly suits the poets described in this verse. He did not say that these works are appreciated by all; but he says that their literary works are appreciated by learned men. He did not speak about all the flowers, but mentions only lotus flowers. Only learned men can understand and appreciate the contextual usage of certain words. Apart from the choice of words, the purported meaning of the words also needs to be appreciated. A poet is more concerned with the appreciation he gets from the critics, than getting monetary benefits. A poet derives immense satisfaction when others appreciate his work. The contextual reference in this verse is the mind of the poet when his literary works are applauded. His mind becomes active like a lotus flower on seeing the dawn of the sun.
The poet gets immense ability to compose awe inspiring works because She bestows Her Grace on him, as he meditates on Her as dark red in complexion. She likes to be meditated with dark red colour, as this colour declares Her compassion. After all She is Śrī Mātā, the universal Mother. When Her Grace is bestowed on him, the poet gets the flow words like waves springing up from the ocean. The flow of words occurring in his mind is compared by Śaṁkarācārya to the erotic flow of youthfulness from goddess Sarasvatī. Once the erotic thoughts begin to flow, it becomes more and more powerful and in the same way, the revelation of composition of words happens in the mind of the poet becomes more intent.
This verse also says that it is not enough to have a poet. The world needs to have high quality audience who are capable of differentiating between an awesome literary work and a mundane literary work. As far as this verse is concerned, the listeners are those, who have acquired literary skills by mastering differnt literary works. In a song (taken here as an example), there are two aspects; one is the lyrics and another is the melody. There are many who listen and appreciate the melody that has not being discussed here. But there are very few who understand the lyrics and appreciate the song. Melody and rhythm can be appreciated by anybody, but to appreciate the lyrics, one needs to have literary knowledge. This verse talks about this kind of knowledgeable audience. They are compared to the lotus flowers that bloom during dawn. A typical example is Lalitā Sahasranāma composed by Vācdevī-s, which does not have any melody, but is full of gross and subtle meanings. Nobody could have thought of better words to elucidate Her greatness. This is because that Vācdevī-s are blessed by Her to compose such a chef-d'oeuvre.
Sarasvatī is the consort of Brahmā. Brahmā and Sarasvatī make the divine couple who preside over knowledge and literary works. The right words manifest in the minds of the poets, like the flow of erotic thoughts in the mind of the consort of Brahmā. If śṛṅgāra is taken to mean mutual enjoyment, then it can be said that the poets and the audience mutually enjoy the literary works. Without the right kind of audience, poet cannot be sure whether his work is good and without a proper poet, audience also cannot enjoy the creative literary works. Therefore, it is mutual dependence between the poet and the audience.
In Vāmakesvarīmatam (I.112 – 113), Śiva tells Devi the following: “One should meditate on Devi, resembling a lotus, like the early morning rays of the sun, like a hibiscus or pomegranate flower, red as ruby……”. When Her Consort Śiva Himself describes Her complexion as deep red, there cannot be any other opinion about Her complexion. Śiva is in crystal complexion and when She sits by His side, Her red gets reflected through His crystal like body, making them appear as the sun at the dawn.
Though mythologically we declare Sarasvatī as the spouse of Brahmā, Vedas describe Her differently. For example Taittirīya Samhitā (Yajur Veda) (I.viii.22.3) says the following:
“pra ṇo devī sarasvatī vājebhirvājinīvatī dhīnāmavitryavatu  प्र णो देवी सरस्वती वाजेभिर्वाजिनीवती धीनामवित्र्यवतु”, which means may the Goddess Sarasvatī full of plentitude with the life force, guardian of thoughts, protect us with care.
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17
सवित्रीभिर्वाचां शशिमणिशिलाभङ्गरुचिभिः
वशिन्याद्याभिस्त्वां सह जननि सञ्चिन्तयति यः।
स कर्ता काव्यानां भवति महतां भङ्गिरुचिभिः
वचोभिर्वाग्देवीवदनकमलामोदमधुरैः॥
savitrībhirvācāṁ śaśimaṇiśilābhaṅgarucibhiḥ
vaśinyādyābhistvāṁ saha janani sañcintayati yaḥ |
sa kartā kāvyānāṁ bhavati mahatāṁ bhaṅgirucibhiḥ
vacobhirvāgdevīvadanakamalāmodamadhuraiḥ ||
savitrībhir vācāṁ - source of speech or formation of words; śaśi maṇi śilābhaṅga rucibhiḥ - the splendorous beauty of the moonstone after cutting it; vaśinya adyābhis – Vaśini and other vāc devi-s (eight in number) worshiped in the seventh āvaraṇa of śrīvidhyā navāvaraṇa pūjā (they are the composers of Lalitā Sahasranāma); tvāṁ - You; saha – in company; janani – Parāśakti, the Supreme Mother; sañcintayati yaḥ - who contemplates You; sa kartā kāvyānāṁ bhavati mahatāṁ - he becomes a composer of excellent poetic works; bhaṅgirucibhiḥ - dressed with splendor; vacobhir – words; vāgdevī vadana kamala āmoda madhuraiḥ - adding luster to the lotus like face of Sarasvatī.
“The one who meditates on You, surrounded by eight vāc devi-s appearing like a cutout moonstone, attain the capacity to compose splendorous poetic works like epics, hymns, etc adding luster to Sarasvati’s lotus like face.”
The verse says that one should meditate on Her along with eight vāc devi-s. They are worshipped in Śricakra navāvaraṇa pūjā in the seventh āvaraṇa. Sanskrit has 51 alphabets consisting of 16 vowels and 36 consonants. Vaśinī vācdevī ppresides over the 16 vowels; Kāmeśvarī vāgdevī presides over ka (क) varga; Modinī vāgdevī presides over ca (च) varga; Vimalā vāgdevī presides over ṭa (ट) varga; Aruṇā vāgdevi presides over ta (त) varga; Jayinī vāgdevī presides over pa (प) varga; Sarveśvarī vāgdevī presides over ya, ra, la and va (य, र, ल and व) and Kaulinī vāgdevī presides over śa, ṣa, sa, ha, ḻa and kṣa (श, ष, स, ह, ळ and क्ष). Each varga referred above has five alphabets. Therefore, vowels – 16; ka, ca, ṭa, ta and pa varga-s x 5 = 25 consonants; last two varga-s 10 alphabets make 51 alphabets of Sanskrit (varga means a set of letters).  There are two nāma-s in Lalitā Sahasranāma that talk about these alphabets and they are 577 mātṛkā-varṇa-rūpinī and 833 pañcāśat-pīṭha-rūpiṇī.  These eight vāgdevī are known as Vaśinyādi vāgdevī-s and they have composed Lalitā Sahasranāma at Her command. These vāgdevī-s are very close to Parāśakti. Hence Śaṁkarācārya says that one should meditate on Her along with these vāgdevī-s. This is based on the fundamental principle that what one constantly thinks, he becomes that. Another fundament point that is often missed out is that She confers only liberation and not material wealth. She will only smile at those who seek material wealth and prosperity and nothing more than that. Hence, one has to contemplate on Her along with vāgdevī-s, who alone provide the capacity to compose.
The verse says that the eight vāgdevī-s appear like a freshly cut moonstone, which is also known as candrakānta. The original candrakānta stone is pure white in colour. If the stone is cut into two pieces or broken, the pure whitish nature of the stone will be clearly visible. It is said that this stone is formed by solidifying of moon’s rays and gets dissolved by moon’s light. This is often used as astrological remedy. The original stone has the capacity to give wealth. Śaṁkarācārya had enormous visualising capacity. He draws comparison of moonstone to vāgdevī-s because the moonstone is capable melting. The melting substance of the moonstone is compared to the formation of alphabets, then words and then sound. This description of vāgdevī-s has its own significance. When She sits near Śiva, Her red complexion gets radiated through the crystal complexion of Śiva and they together appear like the sun at dawn. But, in this verse Her complexion does not get radiated through the moonstone like vāgdevī-s because moonstones are not translucent like the crystal complexion of Śiva. She appears in Her red complexion and vāgdevī-s appear in moonstone-like complexion. The point driven home by Śaṁkarācārya in this verse is that Her bright red colour is marginally diffused by vāgdevī-s, so that She can be meditated with a cool appearance like candrakānta stone. If the meditation of the devotee is powerful enough, he gets power to compose epics and hymns. Words flow to him from vāgdevī-s, like the melting moonstone. Original moonstone melts in no time when it is placed in the moonlight. In the same way, the one who meditates on Her with eight vāgdevī-s get the flow of words to compose epics and hymns.
On seeing those who compose epics and hymns, Sarasvatī’s face becomes more lustrous. First, Sarasvatī is happy due to the Grace of Parāśakti, poets get flow of thoughts and words. Secondly, as She is the presiding goddess for letters, her face becomes more gleaming (gleaming because she also gets shine in her face due to Her radiating light) because more and more epics and hymns are composed. Since she presides over these letters (created by vāgdevī-s), naturally she derives immense happiness that is getting reflected in her face. It is also explained that such compositions have natural fragrance. Goddess Sarasvatī is also described in verse 99.
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18
तनुच्छायाभिस्ते तरुणतरणिश्रीसरणिभिः
दिवं सर्वासुर्वीमरुणिमनिमग्नां स्मरति यः।
भवन्त्यस्य त्रस्यद्वनहरिणशालीननयनाः
सहोर्वश्या वश्याः कति कति न गीर्वाणगणिकाः॥
tanucchāyābhiste taruṇataraṇiśrīsaraṇibhiḥ
divaṁ sarvāsurvīmaruṇimanimagnāṁ smarati yaḥ |
bhavantyasya trasyadvanahariṇaśālīnanayanāḥ
sahorvaśyā vaśyāḥ kati kati na gīrvāṇagaṇikāḥ ||
tanu cchāyābhiste – the radiance of the body appearing as shade; taruṇa taraṇi śrī saraṇibhiḥ - radiant red appearing like the sun at dawn; divaṁ sarvam urvīm aruṇimani magnāṁ - the sky and the earth engulfed in the radiating red; smarati yaḥ - the one who contemplates; bhavantyasya – he who exists; trasyad vana hari ṇa śālīna nayanāḥ - the frightened eyes of young wild deers; sahorvaśyā – celestial damsels like Ūrvaśī; vaśyāḥ - become attracted to; kati kati – how many; na – negation; gīrvāṇa gaṇikāḥ - heavenly damsels.
“Celestial beauties like Ūrvaśī, whose eyes appear like the frightened eyes of young deers in the forest, get attracted to the one who contemplates that the sky and the earth are completely submerged in Your red radiant lustrous bodily form, appearing like the sun at the dawn.”
The message conveyed through this verse is that the one who meditates on Her form as deep red, attains immense energy and he attracts everyone in the world. His meditation on Her with deep red complexion gives the meditator youthful and attractive form that is capable of influencing everyone’s mind towards him. When one is showered with divine energy, which can happen purely out of Her Grace, he becomes vibrant with the power of divine energy endowed on him, which attracts everyone towards him. This is Her play to make spiritual novices pursue the spiritual path that ultimately leads to liberation. He uses these meditators as Gurus and season these novices.  Her red form not only refers to Her compassion but also indicates Her subtlest kuṇḍalinī form. Kuṇḍalinī rests at the mūlādhāra chakra as deep red in colour. This is the reason for contemplating mūlādhāra chakra as deep red.  
On the grosser side, there are two conveyances in this verse. The one who meditates on Her in deep red form gets vibrating energy called tejas (glow of human body). This tejas is capable of attracting even the most beautiful celestial beauties like Ūrvaśī, Ramba and others.  These celestial damsels, though are attracted towards him, their inner fear of going anywhere near him is expressed through their fearful eyes. Their fearful eyes are compared to the fearful eyes of young deers in the forest who are always scared of any movements of predaceous animals around them. Such fear is reflected in the eyes of these celestial damsels. Though they are passionate, they are scared of going anywhere near him. On one side, their concupiscence and on the other side their fear, both is reflected through their eyes and as a result of which, their eyes appear like the eyes of young deers in the forest. Eyes of deers will always be looking for something and during this time, their eyes appear very wide.
Subtly, this verse is said to convey kāmakalā bīja (īṁ ईं) that is being described in the next verse. It is also said that this verse refers to the second kūṭā known as kāmarāja kūṭā. This kūṭā refers to the portion between Her neck and hip; hence kāmarāja kūṭā is also known as madhya kūṭā or the middle group. This is being discussed in the next verse.
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19
मुखं बिन्दुं कृत्वा कुचयुगमधस्तस्य तदधो
हरार्धं ध्यायेद्यो हरमहिषि ते मन्मथकलाम्।
स सद्यः संक्षोभं नयति वनिता इत्यतिलघु
त्रिलोकिमप्याशु भ्रमयति रवीन्दुस्तनयुगाम्॥
mukhaṁ binduṁ kṛtvā kucayugamadhastasya tadadho
harārdhaṁ dhyāyedyo haramahiṣi te manmathakalām |
sa sadyaḥ saṁkṣobhaṁ nayati vanitā ityatilaghu
trilokimapyāśu bhramayati ravīndustanayugām ||
mukhaṁ binduṁ kṛtvā – visualizing face as bindu;  kucayugam adhastasya – below the bindu, (visualizing) your bosoms; tadadho – below that (bosoms); hara ardhaṁ - half of ‘ha’; dhyāyedyo – contemplating; haramahiṣi te – You, Consort of Śiva; manmatha kalām – the kalā of Cupid; sa sadyaḥ saṁkṣobhaṁ nayati - surely leads to agitation in the mind;  vanitā ityatilaghu – of women easily; trilokimapyāśu – quickly the three worlds; bhramayati – captivation; ravīndustanayugām – having sun and moon as the pair of bosoms.
“The one who meditates on Your Kāmakalā form with Your face as bindu; below Your face, Your two bosoms and still below that, the triangle, the creative aspect of Śiva causes immediate agitation in the minds of women  of three worlds, who have sun and moon as their bosoms towards the aspirant.”
This verse speaks about a meditation of Her kāmakalā form, which is Her subtler form. Her subtlest form is kuṇḍalinī. She is worshipped in different gross forms. Before understanding this verse, one needs to understand Her kāmakalā form, as described in Lalitā Sahasranāma 322 kāmakalārūpā is reproduced below. Kāmakalā is the Sanskrit bīja ईं (īṁ).
“She is in the form of kāmakalā.  This is Her subtler form which is known only to Her spouse Śiva.  The subtlest form is Her kuṇḍalinī form in sahasrāra, where She conjoins Her spouse.  Kuṇḍalinī in lower cakra-s does not become subtlest and it attains the subtlest form only in sahasrāra. Kāma refers to the object of adoration, the object that is desired.  Here, Śiva becomes the most desired of all, as He is the Supreme Reality or Paramārtha.  Śiva being the Supreme Ruler, He is addressed as Kāmeśvara.  By addressing Him thus, He not only becomes the object of desire (Kāma), but also becomes the Supreme Ruler (Īśvara). This how He becomes Kāma + Īśvara = Kāmeśvara. Kalā refers to vimarśa form of Śiva, Mahātripurasundarī. Śiva alone is Self-illuminating and Śaktī illuminates the universe with the brilliance of Śiva. Their conjoined form is Kāmakalā.
Kāmakalā consists of three bindu-s (dots) forming a triangle and below this triangle there is an inverted triangle (hārda-kalā) where the three kūṭa-s of Pañcadasī mantra are placed.  From this lower inverted triangle all triads are born which ultimately leads to the creation of this universe.  The two parallel dots are Her bosoms by which this universe is nurtured and a single dot above these two dots is Her third eye.  Kāma means intent to create and kalā refers to a part of the main object, in this case, Śiva. The conjugation of Kāma and kalā leads to the manifestation of Kāmeśvara and Kāmeśvarī forms.  Śiva and Śaktī unite only in their kāma forms i.e. kāma + īśvarī and kāma + īśvara.  These two, are Their highest forms that cause Creation.  She is known as ‘Mahā-tripura-sundarī’ in the Kāmakalā form and is also known as bindutraya samaṣti rūpa divyākṣara rūpiṇi.  Mahā means supreme, tripura means three cities (could mean entire triads, the cause for creation that are ruled by Her).  The deeper meaning of tripura is Her three actions viz. creation, sustenance and destruction.  Sundarī means beauty.  So ‘Mahā-tripura-sundarī’ means the beautiful and Supreme Mother, who creates, nourishes and dissolves.  These three acts are subtly mentioned in Kāmakalā. 
The three bindu-s are extremely powerful.  They represent sun, moon and fire. Bindu is called the highest light.  The highest form of light naturally should be the origin of light from which all others should have emerged.  Self illuminating light is Śiva and that is why He is called as prakāśa form.  Śaktī reflects and distributes the light received from prakāśa form and that is why She is called as vimarśa form.  Vimarśa can be explained as knowledge with reasoning. The light of Śiva will not be reflected unless Śaktī is by His side.  These three bindu-s are therefore the three different forms of Śaktī and each of which represent three divine energies viz. Vāma, Jyeśta and Raudrī.  These goddesses represent Her three acts of creation, nourishment and absorption.  This is as far as the upper triangle is concerned.  It must be remembered that there is no triangle here but only three bindu-s (Bindu-s are further elaborated in nāma 905).  It is called as a triangle because if these dots are joined by straight lines, a triangle is formed. 
This upper conceived triangle is coupled with the lower hārda-kalā or the lower inverted triangle.  Each of the three lines of the triangle represents the three kūṭa-s of Pañcadasī mantra.  From this lower triangle which is formed out of the three kūṭa-s of the supreme Pañcadasī mantra, all other mantra-s are born leading to the creation of the universe.  Thus the lower triangle is known as the organ of creation from which the universe was created.  In the upper triangle the two lower bindu-s mean the sustenance or nourishment and the upper most triangle is the bindu for destruction.  These bindu-s are also known as sun, moon and fire possibly indicating sustenance (sun-without which the universe cannot function), sustenance (moon – moon is the symbolic representation of love) and fire (one of the qualities of fire is destruction).   This can be in fact compared to the three kūṭa-s of Pañcadasī where the kūṭa-s are also known as agni (fire) kūṭa, Sūrya (sun) kūṭa and Chandra (moon) kūṭa. 
It is not appropriate to provide a detailed interpretation, which should be known only from a learned guru of Śrī Vidya cult.  But those who do not have a guru, but are deeply attached to Śrī Mātā, the Divine Mother MĀ, should not be deprived of the opportunity to know the significance of Kāmakalā. Hence, a moderate interpretation is given here.  The usage of this Kāmakalā in ṣoḍaśī mantra in an appropriate place will provide early siddhi of the mantra.”
This verse talks about two triangles, upper and lower or one above the other. Her face and Her two bosoms form the upper triangle and Her organ of manifesting the universe form the lower triangle. The verse says that Her face is the bindu and below the face is Her two bosoms and below the bosoms is the Yoni from where the universe emerges. The lower triangle is described as the half of Sanskrit ha ह, which refers to इ (i, but pronounced as e). If we look at the formation of इ, it forms a part of ह and hence the verse says hara ardhaṁ - half of ‘ha’.  Kāmakalā is formed by placing a ‘U’ known as ardhacandra (half-moon) on the top of इ and one bidu above the ‘U’. It will look like this  . This is called lower triangle and in this triangle, the three kūṭā-s of Her Pañcadaśī mantra are placed. While facing the triangle, the right side of the triangle is vāgbhava kūṭa (ka e ī la hrīṁ क ए ई ल ह्रीं); upper side of the triangle is kāmarāja kūṭā (ha sa ka ha la hrīṁ ह स क ह ल ह्रीं) and the left side of the triangle is Śakti kūṭā (sa ka la hrīṁ स क ल ह्रीं).  From this inverted triangle, which is known as the Yoni of the universe or Brahmayoni, the entire manifestation happens. This is also explained in Lalitā Sahasranāma 895 yoninilayā. 
The verse begins by saying that one should meditate on Her face, which is known as the bindu and Her two bosoms below Her face. The diagram above will explain this further. When an aspirant is able to meditate on this sutler form of the Divine Mother, as described in this verse, becomes highly energetic and is attracted by damsels in all the three worlds, including celestial damsels. It is also said that the celestial damsels have sun and moon as their bosoms. In spite of having sun and moon as their bosoms, they are still attracted to the one who meditates on Her kāmakalā form.  Kāmakalā is subtly described in this verse as manmatha kalām, which can also said to mean erotism.  There are interpretations which say Her bosoms is described as sun and moon. When an aspirant meditates on Her form described above, women of all the three worlds become passionate towards him. This is because he visualizes Her in the form of Pañcadaśī mantra, which is the source of the universe.
Many things can be discussed on this verse. An aspirant can attain perfection only if he dissociates himself from physical attractions and this verse is one of the tests that one has to pass. This verse can also be explained as the three nāḍī-s discussed in kuṇḍalinī meditation - iḍa, piṅgala (two bosoms) and suśumnā and their convergence is at Her face. Ājñācakra can be explained as the bindu in Her forehead. This also can be explained as tantric initiation of kuṇḍalinī.
The underlying principle in this verse is meditation. She can be attained only through meditation, by using Her Pañcadaśī mantra. A successful aspirant is spiritually born (second birth in this birth itself) from this mantra, which is called as Her yoni, moves up towards Her bosoms and spiritually nourished by Her. She allows him to move up towards Her ājñācakra where She merges this Yogi with Śiva. Spiritual birth can be considered as the second birth in this life itself,  with an exclusive purpose of attaining liberation by merging with Śiva. She alone is capable of doing this, not even Śiva. Hence, Lalitā Sahasranāma 727 addresses Her śivajñānapradāyinī.
If the three worlds are interpreted as the three states of consciousness, active, dream and deep sleep states, then it means that She prevails in all the three states of consciousness or the aspirant stays in the state of Bliss in all these three states of human consciousness.
The interpretation of this verse is based on tantra śāstra-s and too much of disclosure is prohibited by Tantra Scriptures. They say that one should learn all these from a learned Guru. However, close to everything is explained in this interpretation.
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20
किरन्तिमङ्गेभ्यः किरणनिकुर्म्बामृतरसं
हृदि त्वामाधते हिमकरशिलामूर्तिमिव यः।
स सर्पाणां दर्पं शमयति शुकुन्ताधिप इव
ज्वरप्लुष्टान् दृष्ट्या सुखयति सुधाधारसिरया॥
kirantimaṅgebhyaḥ kiraṇanikurmbāmṛtarasaṁ
hṛdi tvāmādhate himakaraśilāmūrtimiva yaḥ |
sa sarpāṇāṁ darpaṁ śamayati śukuntādhipa iva
jvarapluṣṭān dṛṣṭyā sukhayati sudhādhārasirayā ||
kirantim aṅgebhyaḥ - radiating from the body; kiraṇa nikurumhba amṛta rasaṁ - ambrosia formed out of the rays; hṛdi – heart; tvām ādhate – who meditates on You; himakara śilāmūrtim iva – an idol made out of moonstone; yaḥ - the aspirant; sa – he, the aspirant; sarpāṇāṁ darpaṁ śamayati – destroying the ego of snakes; śukunta ādhipa iva – like Garuḍa; jvarapluṣṭān – the one who suffers from fever; dṛṣṭyā – looks; sukhayati – cures; sudhā dhāra sirayā – flow of nectar like a stream.
“The one who meditates on Your form as sculptured in moonstone, visualising the flow of ambrosia like a stream, radiating from the rays emanating from Your body, his mere looks alone will cure the ailments, like the mere sight of the King of Birds Garuḍa destroying the ego of snakes.”
Moonstone is known as candrakānta. “It is cool and cooling ...transparent, very much liked by Śiva, and when worn removes ‘chill poverty’ and baneful astral influences (source: Maṇimāla – Vol II).” Since this stone is the favourite of Śiva, Śaṁkarācārya asks to meditate on Her form, as the one sculptured in candrakānta stone. This stone appears like the crystal complexion of Śiva and is radiating.  Candrakānta stone generates nectar in moon light and the nectar gets solidified when the moon light disappears. It is like Śakti becoming happy on seeing Śiva. When an aspirant meditates Her form made out of candrakānta stone, radiating powerful rays and from these rays visualising the secretion of ambrosia, his mere looks on someone who suffers from fever and other ailments will instantaneously cure. There is a specific reference to fever in this verse because, the candrakānta stone is a coolant. This is based on the fact that on what form one meditates, he/she becomes the subject of meditation. There are three aspects in a perfect meditation – the one who meditates, the form on which on meditates and the process of meditation itself. When all the three become one, objects are dissolved and there exists only the subject. When an aspirant meditates on Her cool form, radiating cool rays and from which ambrosia is secreted, the one who meditates becomes one with Her and attains all Her qualities. When such a person merely glances on someone who suffers from fever (also other ailments), he immediately gets cured. This is compared to the fear caused in the minds of snakes, subduing their ego, on seeing Garuḍa. Snakes have higher degree of ego, not in literal sense, but on poetic parlance. Ego can exist only when the mind exists. Garuḍa is the dreadful enemy of snakes.
It is to be understood that She is lustrous by Herself, not only because of being the Consort of Śiva, but Her very nature is radiating as per Lalitā Sahasranāma 452 tejovati, which says that from Her illumination, other luminaries such as sun derive their light. This verse subtly conveys that Her sincere devotees attain the power to heal ailments. Devotees here refers to those who visualize and contemplate Her in deep meditative stages and not those who are yet to advance to the higher levels of spiritual path. When such devotees become one with Her in deep trance, they attain all Her qualities. In the state of deep trance, there takes place subtle commune between the meditator and Parāśakti (at this point, there exists no dualities, hence there is no subject or object; both become one) where She endows certain powers to the meditator. This is because, his mind at this stage becomes totally inactive, and as result his consciousness is entirely focussed on Her. Thus he becomes one with Her. This happens only in the state of turya and beyond. This is how Vedas were revealed to sages and saints.
This verse also conveys the secretion of ambrosia during kuṇḍalinī meditation at sahasrāra that drips down to the throat where it is processed and sent to the nervous system. This secretion should not be swallowed. When this ambrosia is processed at the throat chakra, the processed ambrosia is sent to the various parts of the body to keep the body in good shape. This ambrosia acts as a vaccine to prevent any types of disease to the body. Such a person, who is known as yogī, can cure majority of the ailments by his mere glance. However, the cure depends upon one’s karmic imprints.  
By reciting this verse, it is said that one can eradicate the evil influence of ill placed Rahu in one’s horoscope. This verse can also give relief to snakebites.
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21
तटिल्लेखातन्वीं तपनशशिवैश्वानरमयीं
निषण्णां षण्णामप्युपरि कमलानां तव कलाम्।
महापद्माटव्यां मृदितमलमायेन मनसा
महान्तः पश्यन्तो दधति परमाह्लादलहरीम्॥
taṭillekhātanvīṁ tapanaśaśivaiśvānaramayīṁ
niṣaṇṇāṁ ṣaṇṇāmapyupari kamalānāṁ tava kalām |
mahāpadmāṭavyāṁ mṛditamalamāyena manasā
mahāntaḥ paśyanto dadhati paramāhlādalaharīm ||
taṭil lekhā tanvīṁ - having a body like lightning streak; tapana śaśi vaiśvānara mayīṁ - having a form of sun, moon and fire; niṣaṇṇāṁ - seated; ṣaṇṇām api upari kamalānāṁ - above the six lotuses; tava kalām – Your kalā; mahā padma aṭavyāṁ - the sahasrāra; mṛdita mala māyena – devoid of impurities of māyā; manasā – with the mind; mahāntaḥ - great yogī-s; paśayanto – seeing; dadhati – experiencing; param āhlāda laharīm – the highest degree of bliss.
“Great yogī-s, with their minds free from impurities of māyā, experience the powerful bliss by having Your vision in the form of streaks of lightning, sun, moon and fire appearing above the six chakras at sahasrāra.”
When the verse talks about six chakras, it also subtly conveys the three granthi-s through the words api upari (knots known as Brahmā, Viṣṇu and Rudra granthi-s). These chakras and granthi-s refer to kuṇḍalinī meditation.  This verse can also be interpreted as follows: When a great yogī by balancing iḍā and piṅgala and thereby activating suṣumna, making his mind devoid of impurities caused by māyā, sees Her radiant form above the six chakras, in sahasrāra, like a streak of lightning as a result of which he experiences an inexplicable bliss. Here sun, moon and fire mean iḍā, piṅgala and suṣumna. Suṣumna can be activated only if iḍā and piṅgala are controlled and balanced. The breaths passing in and out of both the nostrils are to be equalised, known as samanā in Sanskrit. When one nostril is more active than the other it is imbalance. The importance of breath is paramount in kuṇḍalinī meditation.
When Śakti ascends through a tiny nerve in the spine, in the form of kuṇḍalinī to conjoin Her Consort Śiva, at sahasrāra, at the time of their union, flashes of Lighting will be distinctly visible in the forehead area. This Light will not be a static light, like the one that is visible at ājñā chakra. When She conjoins Śiva, it is like the union of two divine Lights, though Śakti on Her own is not Self-illuminating. She is radiant as long as She is with Śiva and the fact that She is always radiant is because of the fact that She always remains with Śiva and never leaves Him even for a millisecond. If She does so, then it is annihilation. At the time of annihilation, Śiva alone remains and She only acts as a witness to the process of annihilation initiated by Śiva. Lalitā Sahasranāma mention about this through two nāma-s 232 maheśvara-mahākalpa-mahāthāṇḍava-sākṣinī  and 571 mahāpralaya sākṣiṇī.
An aspirant who wants to pursue a true spiritual path should get rid off māyā, which is the foundational cause for all the dualities, which in turn gives rise to all the impurities in the mind such as desire, ego, attachment, emotions, etc. Without dissolving dualities, realization will never be complete. The factors that can help in dissolving dualities are compassion and love, becoming devoid of desire which means leading a contended life, unshakable faith in karmic impressions and above all mentally surrendering to Her, who is omnipresent. Many of the devotees fail to become aspirants because of their inability to search Her within. No sacred waters, no places of worship can absolve one from his or her karmic account. Further accrual of karmic account can only be stopped, provided one mentally surrenders to Her. Karma cannot be removed immediately and it has to spent only by experiencing.
Mentally surrendering to Her is neither an easy task nor a difficult task. This surrender cannot happen overnight. Repeated affirmations are necessary to make the mind feel that She is within. When the affirmation is strong enough, one can realize the dawn of love and compassion for others. This is the primary step in the spiritual path. An aspirant can become a yogī only through persistent practice. The path of practice may be different but the foundation for the spirituality is only the mental affirmation. Improper spiritual foundation gives rise to innumerable unprincipled gurus.
The end of the second line of the verse says tava kalām, which literally means Your kalā. Kalā in this place means the Divine Power or the Svātantrya śakti of Śiva, which is nothing but Śakti Herself. Śiva alone has independent power of authority known as Svātantrya śakti, which He hands over to Śakti in its entirety by means of a power of attorney.  She alone can exercise His Power.   Kalā is the expression of Her creative delight (the process of creation) which appears in the form of a streak of lightning. This lightning becomes visible to the yogī because, She in Her subtlest form known as kuṇḍalinī (Her subtle form is kāmakalā - Lalitā Sahasranāma 322 and Saundaryalaharī verse 19) reflects the Light (Prakāśa) of Śiva. Hence She is known as Vimarśa (reflecting the Light of Śiva. Vimarśa means reflection).  There are other explanations saying that the kalā referred here is the kāmakalā, discussed in verse 19.
The verse also says that She is seated through the word niṣaṇṇāṁ. Lalitā Sahasranāma 905 baindavāsanā explains this and the interpretation of this nāma goes like this: Baindava means a bindu or dot and āsana means seat.  This nāma says that She is seated on a bindu.  There are two types of explanations for bindu. 
The central point of Śrī Cakra is called bindu.  It is placed in the midst of the inner most (top most in the case of Meru) triangle.  This bindu is called sarvānandamaya cakra, also known as baindava sthāna.  The presiding deity of this ninth āvaraṇa or covering is Śrī Mahā Tripurasundarī. She is worshipped here with yoni mudra. Those who are initiated into ṣodaśī should worship Her here with trikhaṇḍā mudra.  Lalitāmbikā is worshipped here in Her highest form. She is adored as Parābhaṭṭārikā (bhaṭṭāra means highly noble, worthy of worship) and Mahā-kāmeśvarī.
In kāmakalā there are three bindu-s. They are white, red and multi coloured. The white bindu represents Śiva and the red bindu represents Śaktī.  They expand and contract thereby causing the creation of the universe.  The multicoloured bindu represents the sun.  Kāma refers to the sun and kalā refers to the red and white bindu-s.  All the three put together is called kāmakalā.  The red and white bindu-s are the Divine couple.  Their union happens in equal degree.  As already discussed in various nāma-s, Śiva is prakāśa form and Śaktī is vimarśa form.  When prakāśa and vimarśa unite, the union is known as ahaṃkāra or ego.  The ahaṃkāra consists of many alphabets which subsequently produce sound and its meaning.  Since She is seated on the bindu (red coloured), this nāma calls Her Baindavāsanā, the Creative aspect of the Brahman. 
The three bindu-s can be compared to the three nāḍi-s, iḍā, piṅgala and suṣumna. When the energies transported through these nāḍi-s merge in the bindu in the ājñā cakra, the practitioner transcends individual consciousness and enters universal consciousness. The meeting point of the three nāḍi-s is known as bindu and She is said to be seated here.  A practitioner enters the universal consciousness, when his soul, individual consciousness and mind unite at this bindu point. 
This verse of Soundarya laharī underlines the importance of kuṇḍalinī meditation. 
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22
भवानि त्वं दासे मयि वितर दृष्टिं सकरुणां
इति स्तोतुं वाञ्छन्  कथयति भवानि त्वमिति यः।
तदैव त्वं तस्मै दिशसि निजसायुज्यपदवीं
मुकुन्दब्रह्मेन्द्रस्फुटमकुटनीराजितपदाम्॥
bhavāni tvaṁ dāse mayi vitara dṛṣṭiṁ sakaruṇāṁ
iti stotuṁ vāñchan  kathayati bhavāni tvamiti yaḥ |
tadaiva tvaṁ tasmai diśasi nijasāyujyapadavīṁ
mukundabrahmendrasphuṭamakuṭanīrājitapadām ||
bhavāni tvaṁ - O! You Bhavāni! dāse mayi – me, Your servant; vitara – bestow; dṛṣṭiṁ - glancing; sakaruṇāṁ - compassionate; iti – in this manner; stotuṁ - praying; vāñchan – desirous of; kathayati – reciting; bhavāni tvam – O! Bhavāni; iti yaḥ - whoever thus; tada iva – almost immediately; tvaṁ - You; tasmai – for him; diśasi – bestow; nija sāyujya padavīṁ - innate absorption; mukunda brahma indra sphuṭa - Viṣṇu, Brahmā, Indra, other gods and goddesses; makuṭa nīrājita padām – performing ārati with their illuminated crowns on Your lotus feet.
“O! Bhavāni! The one who addresses You as Bhavāni seeking your compassion to bestow Your glance on him considering him as Your servant, offered liberation by You instantaneously, even before he could complete the word Bhavāni.  The crowns of Viṣṇu, Brahmā, Indra, other gods and goddesses get the reflection of Your lotus feet and appear as if they perform ārati for You.”
This is one of the important verses in Soundarya laharī. The emphasis of this verse is on Her name Bhavāni. Bhava refers to Śiva and ana means infusing life and therefore Bhavāni refers to the Consort of Śiva, who infuses life into the beings. Her creative aspect is referred through the name Bhavāni.  Śrī Rudraṁ (5.1) says “namo bhavāya ca rudrāya ca नमो भवाय च रुद्राय च”. This verse is in Kriṣṇa Yajurveda Taittirīta Samhtā (IV.v.5.1). Bhava means the One who exists all the time and the One who causes creation. Bhava is one of the common names of Śiva and His consort is Bhavāni (like Maheśvarā – Mahesvarī). Since She is so fond of Bhava (Śiva), She becomes immensely pleased when She is addressed as Bhavāni. She showers Her compassion on those devotees who address Her as Bhavāni and offer them instantaneous liberation. The poetic masterpiece used in this verse by Śaṁkarācārya is immeasurable and only he alone can poetise his divine visions. Lalitā Sahasranāma 112 is Bhavanī.
The visualization of Śaṁkarācārya could have been like this. There is a devotee who constantly thinks about Her. His mind is totally pervaded by Her thoughts. He prays to Her daily seeking only Her glance. On a particular day he communicates with Her like this: “O! Divine Mother! I am Your servant! I always contemplate You. I have no other desires. My Mind is entirely pervaded by You. You prevail in me during all the three states of my consciousness, active state, dream state and deep sleep state. Please be compassionate enough to just glance at me, so that I can attain You.” His emotional outburst is so strong with tears rolling down his eyes, he addresses Her as “Bhavānīīīīīīīīīīīī”. Even before he could complete the world Bhavāni, She appears in person before him and absorbs him into Her. There exists only Bhavāni and the devotee is no more there and he has become one with Her. This state of liberation is known as sāyujya, which means total absorption into the Divine Essence.
Absorption means the mental state that is completely filled with God consciousness. Individual consciousness submerged in God consciousness is absorption. The word Bhavānī is used in the above verse is intended by the devotee as an address to Her in the vocative case.  But, as a verb in the first person of the imperative mood, it would mean ‘let me become’. Even before the first two words ‘Bhavānī tvaṃ’ are uttered, She rushes to grant him absorption into Her own Self. She becomes so elated and happy of being addressed as Bhavā’s consort, She does not even wait for the verse to be completed. She acts immediately on listening to those two words Bhavānī tvaṃ, interpreting them as ‘Let me become Thyself’.  This translates into mahā vākyā “Tat Tvam Asi”.  This process is called sāyujya that gives immediate liberation. This way of contemplating Her is more efficacious than japa and homa.  Liberation is of four types: Sālokya, co-existence with the Lord in His world; Sārūpya, attaining the same form as that of the Lord; Sāmīpya, proximity as that of the Lord and Sāyujya, absorption into the Lord Himself. The first one progressively leads to the last one.  But the thought process of identifying the self with the Lord (sāyujya) leads to fast track emancipation and this is what is mentioned in this verse.
The depth of devotion is explicitly explained in this verse. The devotee referred to earlier is totally absorbed in Her thoughts. He perpetually contemplates Her through his mind. This devotee is an ordinary devotee who does not know the intricacies of Her various kinds of worship. He does not know mantras and never recites them. But, he has established a very strong connection with Her through his mind. Whatever he does, he never thinks that he is the doer. His ego has been completely dissolved unto Her. Dissolving ego unto Her means surrendering to Her, which is also known as śaraṇāghati. Śaraṇāghati is surrendering unto Her for protection, protection from transmigration. The verse clearly says that only the depth of love and devotion for Her alone counts and rest of the procedures are only rudimentary in nature.
Viṣṇu, Brahmā, Indra, other gods and goddesses worship Her through various mantras, hymns, etc. But She has not chosen to offer them liberation. She only chooses the person described in this verse, who is totally ignorant of rituals, mantras and japas. He knows only one thing and that is Her. Gods and goddesses worship Her with some materialistic desires such as power, weapons, kingdom, wealth, etc. They have very close access to Her all the time and they participate in the everyday ārati ceremony performed to Her and Śiva. After the completion of ārati ceremony (ārati means ceasing. After performing ārati no more rituals should be performed. It indicates the cessation of all rituals at that time), they place their heads at Her feet as a mark of extremum respect. Due to the natural illumination of Her feet, the gems studded in their crowns appear as if ārati is performed at the time of placing their crowned heads at Her feet. It can also be explained that the devotee wanted only Her sacred feet and glance whereas, She has gone several steps further and offered him total absorption. She is so compassionate. She offers more than what is contemplated for and this verse also highlights this aspect.
There is a figurative description of Bhavāni in Lalitā Sahasranāma second dhyāna verse:
aruṇāṃkaruṇā-taraṃgitākṣīṃ dhṛta-pāśāṅkuśa-puṣpa-bāṇa-cāpām|
aṇimādibirāvṛtām mayūkhai-rahamityeva vibhāvaye bhavānīm||
अरुणां करुणा-तरंगिताक्षीं धृत-पाशांकुश-पुष्प-बाण-चापाम्।
अणिमादिबिरावृताम् मयूखै-रहमित्येव विभावये भवानीम्॥
The meaning for this verse is – I meditate on Bhavānī, the supreme happiness, whose colour is like the sun at dawn i.e. red in colour and from whom rays of light are emanating.  This confirms Her red complexion discussed in the previous verse.  Her compassion for Her devotees comes out of Her eyes like waves of ocean.  In this verse She is described with four hands.  In the rear hands She has two weapons called pāśam (like a rope) and aṅkuśa (a sharp edged metal weapon normally used to control elephants).  In the front hands she holds a bow made out of sugar cane and arrows made out of flowers.  A detailed study of Her weaponries is discussed later in this Sahasranāma. They represent four of Her premier assistants.  She is surrounded by aṣṭama siddhi-s.  Each siddhi is represented by a goddess in Śrī Cakra.  I meditate on Her form called Bhavānī, a state of supreme happiness with beams of light.
There is yet another composition by Śaṁkarācārya titled Bhavānībhujaṅgam (भवानीभुजङ्गम्) which has 17 verses. In the 17th verse (bhavānī bhavānī bhavānī trivāraṁ udāraṁ mudā sarvadā ye japanti....  भवानी भवानी भवानी त्रिवारं उदारं मुदा सर्वदा ये जपन्ति....) he says that those who recite Bhavānī (recitation of three times a day is mentioned as japa in the verse) three times a day with great devotion and happiness will never have sadness, desire, accrual of sins and fear in his life. All the seventeen verses discuss about Her as Bhavānī.
Lalitā Sahasranāma 939 is Paramodārā परमोदारा which means She gives more than what is asked for. Soundarya laharī verse 4 also conveys the same meaning by saying vāñchāsamadhikaṁ meaning She gives more than what is desired.
Chāndogya Upaniṣad (VIII.ii.10) explains the status of this devotee thus: “Whatever kingdom, whatever good things he desires to possess, they appear to him just as his wishes.” A devotee described in this verse will not seek any materialistic wealth but would seek only Her Grace, which alone can give absorption, as this alone stops the pains of transmigration.
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23
त्वया हृत्वा वामं वपुरपरितृप्तेन मनसा
शरीरार्धं शंभोरपरमपि शङ्के हृतमभूत्।
यदेतत्त्वद्रूपं सकलमरुणाभं  त्रिनयनं
कुचाभ्यामानम्रं कुटिलशशिचूडालमकुटम्॥
tvayā hṛtvā vāmaṁ vapuraparitṛptena manasā
śarīrārdhaṁ śaṁbhoraparamapi śaṅke hṛtamabhūt |
yadetattvadrūpaṁ sakalamaruṇābhaṁ  trinayanaṁ
kucābhyāmānamraṁ kuṭilaśaśicūḍālamakuṭam ||
tvayā hṛtvā - conquered by You; vāmaṁ vapur - left side of the body; aparitṛptena manasā  - mentally not satisfied; śarīrārdhaṁ śaṁbhor aparamapi  - the other half of Śiva’s body; śaṅke – apprehensive; hṛtam abhūt – taken away (by You); yad etat tvad rūpaṁ - because of this, Your present form; sakalam aruṇābhaṁ - totally red in colour; tri nayanaṁ - three eyed; kucābhyām ānamraṁ - marginally bent because of the pair of bosoms; kuṭila śaśi cūḍāla makuṭam – wearing a slightly curved crown with crescent moon.
“Not being satisfied in owning the left side of Śiva, I apprehend that You have taken away His right side too, as Your present form is reddish in complexion with three eyes and marginally bent forward due to the heaviness of Your bosoms with a slightly curved diadem with crescent moon in it.”
Śaṁkarācārya makes a reference to Ardhanārīśvara form of Lord Śiva. The love between Śiva and Śakti is portrayed here in poetic parlance. Parāśakti is too fond of Śiva that cannot be expressed through a narration. In His Ardhanārīśvara form, Śiva has already given His left side to Her. She completely taken away His left side of the body, where the biological heart is situated. Assuming for a moment that He appears before us in His Ardhanārīśvara form, the heart that keeps Śiva “alive” belongs to Parāśakti and not that of Śiva. This clearly proves that Śiva is completely pervaded by Her, the Divine Mother.
She is not satisfied by possessing only the left side of Parameśvara and She wants to own His right side too, says Śaṁkarācārya. In other words, She wants to possess the entire body of Paramaśiva. By looking at Her form, Śaṁkarācārya doubts that She has already done so. Śiva is crystal complexioned and Śakti appears in dark red complexion. Red is an indicator of compassions, which is the most predominant character in Her. Every being in the universe is Her child and She nurtures everyone with great love and affection and hence, She is adored as Divine Mother. It is interesting to note that Lalitā Sahasranāma begins (first nāma) by worshipping Her as Śrī Mātā.
This verse can be interpreted like this based on the above narration: Śaṁkarācārya meditates on Paramaśiva. During intent meditation, divine visions often appear. For a great Yogī like Śaṁkarācārya, these visions would be with comprehensive clarity. When he was meditating on Śiva, He appears in His vision as Ardhanārīśvara. His meditation became too intent and during this state, Ardhanārīśvara form disappeared and he could see only Śakti. Śaṁkarācārya was perplexed when He saw the form of Parāśakti. Śaṁkarācārya wanted to re-ascertain that it is only Śakti. He uses his yogic skill and finds out that it only the Divine Mother. His averment is based on three factors:
1. When Śiva and Śakti sit together, their illumination will be like that of the moon, as Śiva’s crystal complexion diffuses the deep red complexion of Śakti. But, Śaṁkarācārya could see only dark red colour.
2. The way in which She sits appears to be feminine. She has crouched forward because of the pair of heavy bosoms. Bosoms represent Her act of nourishing the entire universe.
3. Śaṁkarācārya happened to see a third eye in Her forehead. In Her normal description, She does not have a third eye, which is an exclusivity of Śiva. On observing the third eye, Śaṁkarācārya apprehended that the form is not merely Hers, but Śiva is within this form of Hers. But for the third eye, even Śaṁkarācārya could not have found out that She has not only occupied Śiva’s left side of the body, but His entire body.
4. Another factor that made Śaṁkarācārya realize that She has pervaded Śiva’s body is the diadem. Śiva does not wear a crown, as He has Gaṅgā on the top of His head. He too has Crescent moon, but it is on His plaited hair. The form that Śaṁkarācārya visioned has a curved diadem. This crown is not a full fledged crown. It is only a partial crown with crescent moon on it. She wears a full fledged crown only when She is alone, while performing Her duties assigned to Her by Śiva and at that time She is worshipped as Lalitāmbikā and Rājarājeśvarī (Lalitā Sahasranāma-s 1000 and 684).
Now a doubt may arise whether this verse refers to Lalitā Sahasranāma 999 Śivaśktyaikya rūpiṇī. The answer could be a possible no. If we look at this nāma, it conveys their unity as well as diversity. They are treated as two different persons and later their interdependence is explained. This nāma does not convey their oneness. But nāma 792 sāmarasya parāyaṇā conveys their oneness. Sāmarasya means annihilation of two dimensions, where two separate entities, Śiva and Śakti are dissolved and there remains only one entity and that is Śiva; parāyaṇa means engaged with the chief authority.  This nāma says that She is inherent in Him and not as a separate person or entity and therefore their aikya (union) does not arise at all.  Because of this sāmarasya, Śaṁkarācārya sees only one entity in Her form and not as two entities like She sitting on the lap of Śiva or sitting by His side. In the state of sāmarasya, they are One.
One may get intrigued to know why Her form is visible rather than that of Śiva. Unless She is fully satisfied that one is good enough to attain Śiva, who alone is capable of offering liberation, She will not reveal the true nature of Śiva, says Lalitā Sahasranāma 727 śivajñāna pradāyinī. This nāma says that She alone can impart the knowledge of Śiva. This can also be explained in another way. In every action, there is always cause and effect, in which cause is always is subtle and effect is visible. Without cause, effect cannot be there and without effect cause has no role to play. Śiva is cause, which is always subtle and Śakti is the effect, which is always manifested. Hence Śaṁkarācārya sees Her form instead of Śiva.
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जगत्सूते धाता हरिरवति रुद्रः क्षपयते
तिरस्कुर्वन्नेतत्स्वमपि वपुरीशस्तिरयति।
सदापूर्वः सर्वं तदिदमनुगृह्णाति च शिवः
तवाज्ञामालम्ब्य क्षणचलितयोर्भ्रूलतिकयोः॥
jagatsūte dhātā hariravati rudraḥ kṣapayate
tiraskurvannetatsvamapi vapurīśastirayati |
sadāpūrvaḥ sarvaṁ tadidamanugṛhṇāti ca śivaḥ
tavājñāmālambya kṣaṇacalitayorbhrūlatikayoḥ ||
jagatsūte – creation of the universe; dhātā – Brahmā; harir avati - Viṣṇu sustains; rudraḥ kṣapayate – Rudra annihilates; tiraskurvann etat svam api vapur – absorbing all these three and His own body; īśas tirayati – Īśa conceals; sadā pūrvaḥ śivaḥ - the Lord of eternity, Śiva; sarvaṁ tad idam – these four; anugṛhṇāti ca – blesses again; tava ājñām ālambya – on Your command; kṣaṇa calitayor – momentary movement; bhrū latikayoḥ - creeper like eyebrows.
“Brahmā creates the universe, which is sustained by Viṣṇu and destroyed by Rudra. Īśa absorbs all the three into His Self, who in turn is absorbed by Sadāśiva. Only a momentary movement of Your creeper like eyebrows is construed as Your command to bless them again for recreation.”
She controls all the five acts of Brahman – creation, sustenance, destruction, concealment or annihilation and re-creation or salvation. Lalitā Sahasranāma 250 Pañcabrahma-svarūpiṇī and 274 Pañckṛtya-parāyaṇā elaborately explain the significance of this verse. This verse says that Īśvara (Mahādeva) absorbs Brahmā, Viṣṇu and Rdura, who, in turn gets absorbed into Sadāśiva. This completes the process of annihilation of the universe. Recreation happens when Parāśakti makes a momentary movement of Her beautiful eyebrows signifying Her approval for recreation. On obtaining this approval the process of creation begins all over again with the creation of Brahmā. Re-creation is also known as anugraha or blessings.
Śiva’s exclusive and independent authority (svātantrya śakti as per Trika philosophy) is Śakti. Śiva does not act on His own; but acts only through His Power Śakti. Śiva and His Power are inseparable as is the case with everyone in the world. Therefore, the five acts of Brahman mentioned above are in fact executed by Parāśakti (Supreme Power). Each of these powers is presided over by a God. Brahmā presides over creation; Viṣṇu takes care of sustenance; Rudra is in charge of death (destruction) (in difficult times if Ruram is chanted along with Camakam, one can get over the difficult period with ease); Īśvara (Mahādeva) is in charge of concealment or annihilation and Sadāśiva takes care of re-creation or salvation. This is a cyclic process. All these five acts happen both at the macrocosmic and microcosmic levels. Parāśakti is in charge of all these Divine Acts happening both at the macrocosmic and microcosmic planes. All these five acts are described in Lalitā Sahasranāma 265 to 273 and summarised in nāma 274.
As the intricacies of this verse are already explained in Lalitā Sahasranāma 250, the interpretation of this nāma is reproduced here for the sake of convenience. Further reference can also be made to the above mentioned nāma-s as well.
Pañca-brahma-svarūpiṇī पञ्च-ब्रह्म-स्वरूपिणी
Brahman has five functions to perform.  They are creation, sustenance, destruction, annihilation and salvation.  Each of these activities is governed by different Gods. These different Gods are only manifestations of the Brahman.   Though one talks about various forms of gods, all these refer only to the Brahman, who does not have any form and is omnipresent. In fact these Gods, Goddesses, ministers, yogini-s mean different natural activities that take place in the universe.   That is why Nature is called as Mother Nature and worshipped as a Goddess as acts of the Brahman are unfolded only through Nature and in the arena of Nature. 
The five acts of the Brahman is a cyclic process.  Creation here means the creation of the universe in the broader perspective.  It does not mean the birth of an individual.  Sustenance also means the sustenance of the universe as a whole.  The birth and death of human beings as well as billions of other species is just a trivial part of the activities that happen in the universe.   The first amongst the creations are the five basic elements viz. ākāś, air, fire, water and earth.  Then the modifications of these elements take place gradually, which is called evolution.  Such evolution happens both in macrocosmic and microcosmic planes.  The highest known gross form of evolution is man and the highest form of subtle evolution is his mind. 
The universe thus created is being administered by the Brahman Himself.  In order to maintain a proper balance, creatures are made to shed their physical bodies.  Souls make the physical bodies to function and hence soul is called kinetic energy.  The souls originated from the hiraṇyagarbha or the golden egg. This is so called, as it is born from a golden egg, formed out of the seed deposited in the waters when they were produced as the first creation of the Self-existent. This seed became a golden egg, resplendent as the sun, in which the Self-existent Brahman was born as Brahmā the Creator, who is therefore regarded as a manifestation of the Self-existent. This is held as the fourth act of the Brahman, tirodhāna, or the great dissolution or the act of concealment.  The difference between destruction and annihilation is significant.  Destruction is the death of a single organism and dissolution is the Supreme process of the Brahman, wherein He makes the entire universe to dissolve and merge unto Himself.  At this stage the universe becomes non-existent.  There will be no continents, no mountains, no oceans, none of the basic elements (Pañca bhūta-s) exist.  Such an act of the Brahman is called mahā-pralayā.  This happens when Śiva begins His mahā-pralaya tāṇḍava or the cosmic dance.  When Śiva performs this dance of annihilation, He becomes terribly ferocious.  While He continues His dance, the universe gradually gets dissolved unto Him.  The reverse modifications take place and penultimately there exists only the five basic elements.  Finally these five elements too, dissolve into Śiva.  Except Śiva and Śaktī none exists at this stage. Śaktī is the lone witness to Śiva’s cosmic dance (nāma-s 232 and 571).
Śaktī, is very compassionate.  After all She is the divine Mother.  She has the intent to re-create the universe.  Since Śiva continued to be terribly aggressive, She could not even look at Him.  Now Śiva and Śaktī are not united.  The great dissolution takes place only if Śiva and Śaktī are separate.  When they are together, Śaktī never allows Śiva to carry out the act of annihilation.  When the great dissolution has commenced, Śaktī could only witness such an act and this was discussed in nāma 232.  There is another nāma 571 mahā-prayala-sākṣiṇī to confirm this.  Somehow She wanted Her children to exist.  Towards the end of Śiva’s tāṇḍava, She started dancing (nāṭya) along with Śiva.  But there was no ferocity in Her dance.  On seeing Her dancing, aggressive Śiva started returning to His auspicious form.  Śiva was holding the hiraṇyagarbha or the golden egg where the dissolved universe was concealed.  At the request of Śaktī, the golden egg was given back to Her by Śiva and this is called anugraha or salvation.  Salvation is a stage before the commencement of the next cycle of creation.  Now Śaktī takes over from Śiva and administers the universe with His power of autonomy or svātantrya śaktī. 
Now, it is apparent that act of the Brahman cannot happen without śaktī.  Hence, it is said that without Her involvement no body including Brahma, Viṣṇu, Rrudra, Mahādeva and Sadāśiva can function.  They are called ‘Pañca-Brahman-s’ meaning the five acts of the Brahman.  Since She becomes the cause of these five acts She is called Pañca-brahma-svarūpiṇī.
{Further reading on hiraṇyagarbha: Brahman has four distinctive states.  They are avyakṭā, Iśvarā, hiraṇyagarbha also known as sūtrātma and virāṭ. The first state is avyakṭā, the unmanifest stage (nāma 398). This is also known as turya stage, beyond the three normal stages of consciousness. The next state is Iśvarā (nāma 271). This state is the cause of the universe and is associated with māyā. The third state is hiraṇyagarbha, which binds the universe together.  The final state is virāṭ, transfiguration of the divine happens that is visible to our eyes.  The virāṭ is also known as vaiśvānarā, meaning relating or belonging to all men, omnipresent, known or worshipped, everywhere, universal, general, common, etc.}
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25
त्रयाणां देवानां त्रिगुणजनितानां तव शिवे
भवेत्पूजा पूजा तव चरणयोर्या विरचिता।
तथाहि त्वत्पादोद्वहनमणिपीठस्य निकटे
स्थिता ह्येते शश्वन्मुकुलितकरोत्तंसमकुटाः॥
trayāṇāṁ devānāṁ triguṇajanitānāṁ tava śive
bhavetpūjā pūjā tava caraṇayoryā viracitā |
tathāhi tvatpādodvahanamaṇipīṭhasya nikaṭe
sthitā hyete śaśvanmukulitakarottaṁsamakuṭāḥ ||
trayāṇāṁ devānāṁ - three Gods; triguṇa janitānāṁ - born out of Your three guṇa-s; tava – Yours; śive – the auspicious One; bhavet pūjā – become the worship; pūjā tava caraṇayoryā viracitā – become the worship done at Your sacred feet; tathāhi – thus; tvat pāda udvahana maṇi pīṭhasya nikaṭe – closer to the gem decked foot pedestal of Yours; sthitā hi ete – they permanently wait; śaśvan mukulita kara uttaṁsa makuṭāḥ - always hold their conjoined palms above their crowns.
“O! Auspicious Parāśakti! When Your sacred feet are worshipped, that worship becomes equal to worshiping the three Gods, Brahmā, Viṣṇu and Śiva, the embodiments of Your three guṇa-s, who always stand close to Your gem decked foot pedestal by holding their hands above their heads.”
The Power of Parāśakti is explained through this verse. She is the absolute and independent power of Śiva. Śiva referred in this verse does not mean the Śiva, the Supreme. Śiva is known by the same name for His different independent acts. He is beyond all guṇa-s and Parāśakti enjoys only His Power. The independent and absolute Power of Śiva, the Supreme is known as Parāśakti and this Power of Śiva is known as svātantrya śakti, which can be explained the Free Will of Śiva.
Brahmā, Viṣṇu and Śiva represent three guṇa-s sattva, rajas and tamas. (Many do not agree that Viṣṇu is an embodiment of rajo guṇa. In that case, He cannot look after the entire creation. Rajas means action). There are two nāma-s in Lalitā Sahasranāma (763. triguṇātmikā and 984. triguṇā) which confirm that She is the embodiment of the three guṇa-s.
Guṇa or qualities are of three types, sattvic, rajas and tamas.  Guṇa-s belong to Prakṛti (Nature) and is the cause of opposites. Puruṣa (soul) in association with Prakṛti endowed with three guṇa-s cause creation.  Guṇa-s belong to Her when She acts as Brahman with attributes.  When She is the Brahman without attributes She is nirguṇa (without these guṇa-s, an exclusive quality of Śiva). This also goes to prove that She is in no way different from Śiva.
She is in the form of three guṇa-s or qualities viz sattvic, rajas and tamas.  Sattva guṇa means the quality of purity and knowledge.  The presence of other two guṇa-s is not very prominent in sattva guṇa as this guṇa is endowed with the highest purity.  Rajo guṇa is the activity of passion. Tamo guṇa is inertia or ignorance.  These two guṇa-s have higher traces of other guṇa-s.  Guṇa-s are the inherent qualities of Prakṛti.  Ego and intellect originate from guṇa-s that are present in all the evolutes of Prakṛti at once, but distributed in unequal proportions in each individual.  The predominant guṇa that prevails in an individual is reflected through his thoughts and actions. 
Kṛṣṇa explains guṇa-s in Bhagavad Gīta (IV.6 - 9) “Sattva, rajas and tamas - these three qualities born of prakṛti (Nature) tie down the imperishable soul to the body.  Of these, sattva being immaculate is illuminating and flawless; it binds through identification with joy and wisdom.  The quality of rajas, with is of the nature of passion, as born of avariciousness and attachment.  It binds the soul through attachment to actions and their fruits.  Tamas, the deluder of all those who look upon the body as their own self, are born of ignorance.  It binds the soul through error, sloth and sleep.  Sattva drives one to joy, and rajas to action, while tamas clouding the wisdom incites one to err as well as sleep and sloth.”  Chapter of Bhagavad Gīta XIV extensively deals with guṇa-s.  Kṛṣṇa again says (Bhagavad Gīta XIV.20) “Having transcended the aforesaid guṇa-s, which have caused the body, and freed from birth, death, old age and all kinds of sorrow, this soul attains the supreme bliss.”
This verse says when She is the embodiment of all the guṇa-s and from whom all the three guṇa-s originate. As discussed earlier, each of these guṇa-s is presided over by the three Gods Brahmā, Viṣṇu and Śiva. Therefore it is implied that Brahmā, Viṣṇu and Śiva are only a part of Her Supremacy. When She is sitting on Her throne, Brahmā, Viṣṇu and Śiva stand near the pedestal on which She rests Her lotus feet, with their conjoined palms above their crowns, expressing their reverence. When they originate from Her, what is the purpose of worshipping them? Worshipping Her alone is worthy of worship, the primary cause of the entire creation.
Further reading: When one is initiated into ṣodaśī mantra, they are not supposed to worship the āvaraṇa devatas independently, including their mantra recitations. The only exception is while performing navāvaraṇa pūja, during which all the āvaraṇa devatas are worshipped before worshipping Her in the bindu. Even if they are initiated into other mantras, they should stop the recitation of all other mantras, after obtaining necessary permission from their Gurus. If this is not done, none of the mantras will fructify, including ṣodaśī mantra.
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26
विरिञ्चिः पञ्चत्वं व्रजति हरिराप्नोति विरतिं
विनाशं कीनाशो भजति  धनदो याति निधनम्।
वितन्द्री माहोन्द्री विततिरपि संमीलितदृशा
महासंहारेऽस्मिन् विहरति सति त्वत्पतिरसौ॥
viriñciḥ pañcatvaṁ vrajati harirāpnoti viratiṁ
vināśaṁ kīnāśo bhajati  dhanado yāti nidhanam |
vitandrī māhondrī vitatirapi saṁmīlitadṛśā
mahāsaṁhāre'smin viharati sati tvatpatirasau ||
viriñci – Brahmā; pañcatvaṁ vrajati – ceases to exit; hari āpnoti viratiṁ - Viṣṇu also attains His end; vināśaṁ kīnāśo bhajati – Yama also gets destroyed; dhanado yāti nidhanam – Kubera also meets with his end; vitandrī māhondrī vitatirapi – active Indra with other gods;  saṁmīlitadṛśā  - become functionless with their eyes closed; mahāsaṁhāre asmin – even in that great dissolution; viharati – enjoying with You; sati tvat patir asau – faithful Consort of Śiva.
“O! Faithful Consort of Śiva! At the time of great dissolution, Brahmā, Viṣṇu, Yama, Kubera, Indra and other gods cease to exist. But Your Consort Śiva alone enjoys with You even during the great dissolution.”
Dissolution is an act of the Lord by which everything is annihilated including Brahmā, Viṣṇu, Indra, Yama, etc are absorbed into Śiva. Brahmā and other gods have no work to do when the universe is dissolved. The act of annihilation can be initiated only by Śiva. There are two nāma-s in Lalitā Sahasranāma that discuss about annihilation - nāma-s 232 and 571.
Śiva dances fiercely at the time of great dissolution (mahākalpa is the time between two annihilations) and none was around except Parāśakti, who merely witnesses this terrible act of Śiva. The great dissolution means the universe ceases to exist and nothing remains except Śiva and Śaktī.  The dissolution is called the fourth act of the Brahman, the other three being creation, sustenance and destruction.  The difference between destruction and dissolution is noteworthy.  Destruction is transmigration of a soul.  The soul leaves the body to be born again.  Death is only for the physical body.  Dissolution or annihilation or the deluge means the death of all the physical bodies as well as all the souls.  When dissolution happens, nothing exists.  Everything dissolves into Śiva in the presence of Śaktī, who witnesses the great dissolution.  When annihilation unfolds, the entire universe gets dissolved into Śiva.  This happens exactly in the reverse process of creation.  At the time of creation ākāśa was born out of the Brahman, air was born out of ākāśa, etc.  At the time of annihilation, air gets dissolved into ākāśa and ākāśa gets dissolved into Śiva.  This process is known as involution as opposed to evolution, a process that happens during creation. 
This verse does not talk about the chastity of Parāśakti, as any discussion about Her chastity is absolutely meaningless. Her chastity is beyond comprehension even by the best of yogic minds. Further, they are not two separate entities; they are a single entity. The purpose of the verse is that when the great dissolution is initiated by Śiva, She is majestically present by His side witnessing the unfolding dissolution. This further goes to prove that both Śiva and Śakti are inseparable, as one without the other becomes inert as explained in the first verse of Soundarya Laharī.  
Śiva is full of pure consciousness, known as Cit Śakti and Śakti is full of Bliss known as Ānanda Śakti. These two śakti-s Cit Śakti and Ānanda Śakti are inseparable. One can attain the state of Śiva only after entering into the state of bliss. This theory is substantiated in Lalitā Sahasranāma 727 śiva-jñāna-pradāyini. When one enters the state of Śiva, that state is known as cidānanda (cit and ānanda). Cidānanda is the state of Paramaśiva (the Supreme Lord), who abides in the experience of consciousness and bliss.
This verse reemphasises their inseparable union. It also implies that without worshipping Her, worshipping Śiva will be futile.
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27
जपो जल्पः शिल्पं सकलमपि मुद्राविरचना
गतिः प्रादक्षिण्यक्रमणमशनाद्याहुतिवीधिः।
प्रणामस्संवेशस्सुखमखिलमात्मार्पणदृशा
सपर्यापर्यायस्तव भवतु यन्मे विलसितम्॥
japo jalpaḥ śilpaṁ sakalamapi mudrāviracanā
gatiḥ prādakṣiṇyakramaṇamaśanādyāhutivīdhiḥ |
praṇāmassaṁveśassukhamakhilamātmārpaṇadṛśā
saparyāparyāyastava bhavatu yanme vilasitam ||
japo jalpaḥ - mutterings be japa; śilpaṁ sakalam api – every movement of my hands; mudrā viracanā – locking of hands for mudras; gati – my movements; prādakṣiṇya kramaṇama – circumambulation; aśan ādi āhuti vīdhi – my eating is fire oblations; praṇāma saṁveśa – lying down is prostration; sukham akhilam – all enjoyments; ātma arpaṇa dṛśā – surrendering myself; saparyā paryāya tava bhavatu – be important part of your worship; yat me vilasitam – all my actions.
“Let my speech be your japa, my movement of hands be your mudras*, my locomotion be circumambulation for you, my eating and drinking be fire oblations for you, my lying down be prostrations for you, all my enjoyments be my surrender to You and let these actions of mine become the main part of Your worship.”
This verse talks about samayācāra worship. Śaṁkarācārya says in this verse, “Whatever I speak are your mantra japa-s. The movement of my hands are my mudras for you. Whenever and wherever I walk, they are my circumambulations for you. Whatever I eat and drink are oblations for you. Whenever I lie down, they are my prostrations for you. Whatever I enjoy, such enjoyments are surrendering myself to you. Thus, whatever actions I do, they are meant for you as your worship.”
This type of mental worship is called samayācāra. There are five aspects in samayācāra (dictionary meaning of samayācāra is conventional or established practice) and they are:
1. Considering Śiva and Śakti as a single entity. For example, Śiva is Śiva in His own right and She is also Śivā (Lalitā Sahasranāma 53 is Śiva). If Śiva is Bhairava, then She is Bhairavi. If He is Śaṁkara, then She is Śaṁkari. There are many such instances.
2. Both their forms are the same. In their Kāmeśvara and Kāmeśvari forms, they have the same four weaponries and crescent moon in their crowns. In Ardhanārīśvara form, they both occupy the same body in equal proportion. In reality, both are same (Lalitā Sahasranāma 999)
3. They both live in Meru peak (Lalitā Sahasranāma 775)
4. Both perform the same functions known as pañcakṛtya (Lalitā Sahasranāma 274) and they are sṛṣṭi, sthiti, saṃhāra, tirodhāna and anugraha.
5. Their blessings to the devotees are the same – dharma, artha, kāma and mokṣa, the four puruṣārtha-s (objects of human existence).
Understanding their unity through one’s mind is samayācāra worship where, there is no external worship is involved. The mental worship is explained in Bhāvanopaniṣad through 37 verses.
When one wants to attain Her, his or goal can be achieved only through mental worship. In a true spiritual life, the transition has to happen from external worship to internal worship. The internal worship is done through mind and She can be realized only through the mind. Bliss and ultimate realization can be attained only through a purified mind. This verse explains the true mental state of an advanced aspirant. However, this verse does not speak about the mental state of a yogi. As far as a yogi is concerned, his mind will not even think about these mental worships, as a yogi has already become one with Her. It is sāmarasya (absolute union, as explained in Lalitā Sahasranāma 792) between the yogi and Parāśakti.
The typical mental worship is explained in detail in Lalitā Sahasranāma 98 Samayācāra-tatparā. Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra.  This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī.  This nāma means that She likes samayācāra worship.  This worship can be done only mentally.  Initiation from a Guru is the first step in this worship.  This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by guru to the disciple.  The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s.  Guru will guide his disciple at each level and at each cakra.  Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own.  Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation.  After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual.  This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of Dasara celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra.  There is a prescribed procedure for this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra.  She is in Her subtle form viz. mantra form in this cakra.  From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra.  She has to be mentally worshipped in this cakra.  She is in Her subtler form viz. kāmakalā form at this stage. After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra.  At this stage, changes occur in the gross body of the sādhaka.  People around him start noticing these changes.  In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3.  In this cakra She is in Her subtlest form viz. Kuṇḍalinī.  Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra.  From this cakra onwards, She becomes very powerful.  It is to be remembered that this is a mental worship that happens within.
Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves (karpūra vītikā -  nāma 26).  She is then taken to viśuddhi cakra where She is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter).  Each such ārati has its own significance.  For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati signifies that everything was created out of totality and everything merges in totality.  From viśuddhi cakra, she is then taken to ājñā cakra, where is offered ‘karpūra ārati.  karpūra ārati means ārati lit with camphor.  Ārati with camphor has a lot of significance (Pure camphor is not easily available nowadays.  If pure camphor is not available, it is better to use a ghee lamp, which does not cause pollution.  The soot coming out of impure camphor affects the purity of the energy level that prevails during rituals.)  She is adorned with garlands of sweet smelling flowers and perfumes.  She is to be visualized as a bride at this stage.  She is then taken to sahasrāra where Śiva is waiting for Her.  When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return.  Once She returns from sahasrāra, She is taken back to mūlādhāra cakra. 
This nāma means that She likes this type of worship.  Kuṇḍalinī meditation is highlighted here. Śaktī alone can take one to Śiva, the Supreme Brahman.  The Supreme Brahman is Śiva and Śaktī is māyā.  There is yet another interpretation possible for this nāma.  Kuṇḍalinī represents jīva-ātma or soul.  Soul is a dynamic energy where our karma-s are embedded.  When the soul merges with Paramātma or the Brahman, this is called Śiva-Śaktī union.  The merger of jivātma with Paramātma is discussed in this nāma.  Further it is also emphasized that emancipation can take place only if Kuṇḍalinī reaches sahasrāra.  Repeated practice of this samāyāchara worship is necessary to stay with Her forever. 
*Mudra-s are the configuration of fingers that represent the energy of the deity concerned. They are the secret signs of exchange between the practitioner and the deity and should never be used in public.  Mudra-s are highly powerful.  It is said that if one meditates on the radiance of the sun and of the moon and chants mantra-s, he is empowered by the triple mystery, then the rays of the universal will shine forth and all obstacles of ignorance will instantly dissolve in the ocean of mind.
Āgama śāstra can be broadly classified under three paths, vāma marga, tantra marga and kaula marga.  They advocate three types of sacrifices, rites, worship and knowledge.  There is another way of worship known as pañcaṅga, which consists of nyāsa (attribution of mantra-s in different parts of the body with fingers in order to sanctify the body), mudra, japa, pūja and worship of other gods and goddesses (such as Varuṇa for sanctifying the vessels, etc used in the rites). Mudra-s are also used to accomplish the mystical powers of various bīja-s.  Mudra-s represent the union of Śiva and Śaktī (left hand is Śaktī and right hand is Śiva) and the potential auspicious energy arising out of their union. 
To conclude, this verse says that one can attain Her only if he surrenders to Her. If the surrender is made through a purified mind, the aspirant’s mind will not identify his and his actions as something different from Her. For such an aspirant, She radiates by remaining in his or her body. As far as She is concerned, he or she is not different from Her and he or she also understands this fully.
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28
सुधामप्यास्वाद्य प्रतिभयजरामृत्युहरिणीं
विपद्यन्ते विश्वे विधिशतमखाद्या दिविषदः।
करालं यत्क्ष्वेलं कबलितवतः कालकलना
न शंभोस्तन्मूलं तव जननि ताटङ्कमहिमा॥
sudhāmapyāsvādya pratibhayajarāmṛtyuhariṇīṁ
vipadyante viśve vidhiśatamakhādyā diviṣadaḥ |
karālaṁ yatkṣvelaṁ kabalitavataḥ kālakalanā
na śaṁbhostanmūlaṁ tava janani tāṭaṅkamahimā ||
sudhām api āsvādya – even after consuming the nectar (conferring immortality); pratibhaya jarā mṛtyu hariṇīṁ - immunity from dreadful old age and death; vipadyante – perish at the time of annihilation; viśve vidhi śatamakha ādyā – all including Brahmā, Indra and others; diviṣadaḥ - gods and goddesses; karālaṁ yat kṣvelaṁ - that dreadful poison; kabalitavataḥ - after consuming; kālakalanā na – no destruction;  śaṁbho - Śiva; tanmūlaṁ - the root cause; tava janani tāṭaṅka mahimā – the power of Your ear studs, O! Divine Mother.
“O! Divine Mother! Even after drinking the nectar that confers immunity from the dreadful old age and ultimate death, Brahmā, Indra and other gods and goddesses perish at the time of annihilation. But Śiva, even after consuming that dreadful poison, does not get destroyed and the root cause for this is the power of Your ear ornaments.”
This verse elucidates the power of Parāśakti. When the cosmic ocean was churned, there appeared a pot full of divine ambrosia which had the potency to stop ageing and give immortality. Everyone wanted to have that ambrosia and due to Viṣṇu’s play all the gods and goddesses had their dosage. Before the appearance of this ambrosia, there appeared dreadful poison that was capable of annihilating the universe. Having known this, Śiva began to consume this dreadful poison. On seeing Śiva drinking this poison, His Cosmic Consort Parāśakti merely kept Her fingers on Śiva’s throat to stop the poison going down into His system and the poison did not go down and stopped at His throat itself. Thus, Śiva’s throat became blue in colour and because of this blue coloured neck, He is also addressed Nīlakaṇṭha. The verse says that Parāśakti could stop the percolation of that dreadful poison by merely holding His throat is because of Her ear ornaments. These kinds of ear ornaments (ear studs) are worn by married women, a sign of auspiciousness. Nothing needs to be said about the power of Her ear ornaments. That is why, Lalitā Sahasranāma 22 says, tāṭaṅka-yugalī-bhūta-tapanoḍupa-maṇḍalā, which means that She is wearing sun and moon as Her ear rings.
Śivānandalaharī (verse 32) conveys the same meaning. This verse wonders “kiṁ te nīlamaṇirvibhūṣaṇa mayaṁ śaṁbho mahātman vada किं ते नीलमणिर्विभूषण मयं शंभो महात्मन् वद”. Śaṁkarācārya asks Śiva, “Is this Your blue sapphire ornament? Answer, O! Brahman.” The same message is conveyed in Kalayāṇavṛṣṭistavaḥ (verse 6), also composed by Śaṁkarācārya.
Śiva and Śakti is not just another couple, not even a divine couple. They are not two, but they are One. They do not even exist in two different bodies, but exist in a single body. They do not even exist in ardhanārīśvara form. In this form, though they exist in a single body, one side is man’s body and another side is a woman’s body. Here also there is discrimination. The reality is that in the body of Śiva, Śakti exists in a subtle manner, very powerful, yet invisible. For Him, She is the soul and for Her, He is the soul. They exist in each other and not in two separate entities. When someone is praying to Her, he also prays to Him and when one prays to Him, he also prays to Her. Worshipping Divine Mother has become popular because Śiva lives in Her as Her Soul. Therefore, indirectly Śiva is worshipped. Only She can reveal Śiva and He can never be approached directly. He is Self-illuminating and His Light will blind human eyes. Even if He appears in person, the whole world would be burnt to ashes.
The conveyance of this verse is that Śiva and Śakti are not different from each other and worshipping any one of them yield the desired results. The best mantra to worship both of them is om hrīṁ namaśivāya ॐ ह्रीं नमशिवाय, which is known as Śaktipañcākṣarī. 
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29
किरीटं वैरिञ्चं परिहर पुरः कैटभभिदः
कठोरे कोटीरे स्खलसि जहि जम्भारिमकुटम्।
प्रणम्रेष्वेतेषु प्रसभमुपयातस्य भवनं
भवस्याभ्युत्थाने तव परिजनोक्तिर्विजयते॥
kirīṭaṁ vairiñcaṁ parihara puraḥ kaiṭabhabhidaḥ
kaṭhore koṭīre skhalasi jahi jambhārimakuṭam |
praṇamreṣveteṣu prasabhamupayātasya bhavanaṁ
bhavasyābhyutthāne tava parijanoktirvijayate ||
kirīṭaṁ vairiñcaṁ - Brahmā’s crown ; parihara puraḥ - clearing what is in front; kaiṭabhabhidaḥ - Viṣṇu’s; kaṭhore koṭīre – hard and rich crown; skhalasi jahi – beware of falling down; jambhāri makuṭam – Indra’s crown; praṇamreṣu eteṣu – these gods prostrating before You; prasabham upayātasya – unannounced visit; bhavanaṁ - Your abode; bhavasya – Śiva; abhyutthāne – politely getting up to welcome; tava – Your; parijanoktir vijayate – the sound of Your attendants.
“While Brahmā, Viṣṇu, Indra and other gods and goddesses are prostrating before you, Śiva arrived suddenly at Your Abode. In order to welcome Him, You rush towards Him and Your attendants caution You to keep away from the crowns of these gods who are prostrating before You, as You could stumble upon the hard crowns worn by them.”
Śaṁkarācārya could have seen this divine vision, hence this verse. All gods and goddesses right from Brahmā, the god in charge of creation, Viṣṇu, the god in charge of sustenance and Indra, the chief of all gods and goddesses attend to Her Royal Assembly and offer their respects to Her daily, by prostrating before Her. She is seated in Her Royal throne made up of glittering gold with precious gems embedded in it. This Royal assembly takes place in Her Abode (Lalitā Sahasranāma 775 meru nilayā) daily. One day, Her consort Śiva made an unannounced visit to Her Abode. In order to welcome Him, She rises from Her throne and moves towards Śiva in a hurry. As Her eyes are fixed on Śiva, Her attendants caution Her about the thick crowns on the ground while rushing towards Śiva. The crowns are on the ground as gods are prostrating before Her with their head on the ground. First, this establishes Her Supremacy and secondly, this verse reflects Her devotion and respect to Her Consort Śiva. This is the grosser meaning of this verse.
The subtle meaning conveyed in this verse is Her Kuṇḍalinī (Lalitā Sahasranāma 110) form, the subtlest of all Her forms. She has three forms and the commonly known form is Her physical form, which is worshiped. Her subtler form is Her kāmakalā form (Lalitā Sahasranāma 322) which consists of three bindu-s (dots) forming an upper triangle and placed above an inverted triangle, on whose three sides, three kūṭa-s Pañcadaśī mantra are placed. This verse talks about Her secretive worship known as samayācāra (Lalitā Sahasranāma 98).
Worshipping Parāśakti in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra.  This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī.  This nāma means that She likes samayācāra worship.  This worship can be done only mentally.  Initiation from a Guru is the first step in this worship.  This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by the guru to his disciple.  The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s.  Guru will guide his disciple at each level and at each cakra.  Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own.  Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation.  After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual.  This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of navarātra celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra.  There is a prescribed procedure for this worship and this verse says that She is fond of this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra.  She is in Her subtle form viz. mantra form in this cakra.  From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra.  She has to be mentally worshipped in this cakra.  She is in Her subtler form viz. kāmakalā form at this stage.  After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra.  At this stage, changes occur in the gross body of the sādhaka.  People around him start noticing these changes.  In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3.  In this cakra She is in Her subtlest form viz. Kuṇḍalinī.  Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra.  From this cakra onwards, She becomes very powerful.  It is to be remembered that this is a mental worship that happens within.
Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves.  She is then taken to viśuddhi cakra where She is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter).  Each such ārati has its own significance.  For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati’ signifies that everything was created out of totality and everything merges in totality.  From viśuddhi cakra, she is then taken to ājñā cakra, where She is offered ‘karpūra ārati’.  Karpūra ārati means ārati lit with camphor.  Ārati with camphor has a lot of significance.  She is adorned with garlands of fragrant flowers and perfumes. She is to be visualized as a bride at this stage. She is then taken to sahasrāra where Śiva is waiting for Her.  When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return.  Once She returns from sahasrāra, She is taken back to mūlādhāra cakra. 
The verse says that She rushes towards Śiva at sahasrāra.  After their union at sahasrāra, the aspirant is liberated. The subtle meaning conveyed here is that Paramātman (Self) is realized suddenly (Śiva entering the Abode of Parāśakti) if the practitioner makes sincere attempts. Crowns, that are described in this verse as obstructions during Her movement towards Śiva are the gratnthi-s (knots) – Brahmā granthi, Viṣṇu granthi and Rudra granthi (which is described as the crown of Indra). These three are the major granthi-s and other minor granthi-s are also there, during his ascension towards sahasrāra.
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30
स्वदेहोद्भूताभिर्घृणिभिरणिमाद्याभिरभितः
निषेव्ये नित्ये त्वामहमिति सदा भावयति यः।
किमाश्चर्यं तस्य त्रिनयनसमृद्धिं तृणयतः
महासंवर्ताग्निर्विरचयति नीराजनविधिम्॥
svadehodbhūtābhirghṛṇibhiraṇimādyābhirabhitaḥ
niṣevye nitye tvāmahamiti sadā bhāvayati yaḥ |
kimāścaryaṁ tasya trinayanasamṛddhiṁ tṛṇayataḥ
mahāsaṁvartāgnirviracayati nīirājanavidhim ||
sva dehodbhūtābhir – originating from Your body; ghṛṇibhi – because of the rays; aṇimādyābhirabhitaḥ -  surrounded on all sides by goddesses like aṇimā, etc; niṣevye nitye – Eternal and worthy of worship; tvām aham iti – who adores You within; sadā bhāvayati yaḥ - the one who contemplates You always; kim āścaryaṁ - what a wonder; tasya trinayana samṛddhiṁ tṛṇayataḥ - for him, who does not even care to attain the state of Śiva; mahā saṁvartāgni – the fire that arises at the time of annihilation; viracayati nīirājana vidhim – performing ārati;
“O! Devi! You are eternal and worthy of worship! There is no wonder in Agni performing camphor ārati to the one who perpetually contemplates Your ever radiating form, surrounded by aṇimā and other goddesses, as he does not even care to attain the state of Śiva.”
First, Śaṁkarācārya discusses about the Glory of Parāśakti and later he discusses about the state of Her true devotee. Parāśakti is always radiating, as Śiva is always within Her. Śiva alone is Self-illuminating and hence, He is adored as Prakāśa (illuminating) and Śakti only reflects His light to the world. She is known as Vimarśa (reflecting). Parāśakti is always radiating, as She is always with Śiva and the Light of Śiva gets reflected to the universe through Her. There are two situations about their union. One, She sits on His left lap and the universe gets illumination from Her as She diffuses the Light of Śiva to the universe. Second, She covers Śiva entirely and as He is within, it appears as if She radiates. They never remain separate. Because of Her closeness to the Lord, She becomes worthy of worship. Further, Śiva cannot act independently and He always needs Her to handle the affairs of the universe. Śiva has only a few functions like creating Śakti, handing over all His Powers to Her, merging those souls considered fit for redemption by Śakti and finally causing annihilation known as pralaya or reabsorption. Except these specific acts, all other acts are executed by Parāśakti. She always occupies Supreme position, as without Her presence, the entire universe comes to a standstill.
Next Śaṁkarācārya talks about Her attendants. She has innumerable attendants in Her Abode, Śrīcakra. Śrīcakra has nine enclosures and in each enclosure, there are several attendants (goddesses) servicing Her. The first enclosure is called bhūpura, also known as trailokyamohanacakra. The first enclosure alone has three walls and the first of these walls is guarded by ten goddesses known as siddhi devi-s. The names are these ten devi-s are: Aṇimā, Laghimā, Mahimā,  Īśitva, Vaśitva, Prākāmya, Bhukti, Icchā, Prāpti and Sarvakāma. Generally, only eight are considered as aṣtamaśiddhi-.s and they are aṇimā, laghimā, parāptiḥ, prākāmyam, mahimā, īśitvaṁ, vaśitvaṁ and kāmāvasāyitā. Bhukti and icchā are two additional siddhi-s mentioned in Śrīcakra navāvaraṇa pūjā. This could mean two things in this verse. (1) If a practitioner contemplates just the outermost goddesses in Śrīcakra, he is held in high esteem and worshipped by even gods like Agni. This is because he is conferred with aṣtamaśiddhi-s by the goddesses in the outermost covering of Śrīcakra. (2) This devotee does not care about āvaraṇa devi-s, who confer various siddhi-s on him (apart from the miniscule aṣtamaśiddhi-.s) and proceeds straight to Parāśakti. He is not even bothered about liberation or merging into Śiva. His devotion has turned into pure love for Her and in appreciation of his unstinted love, She confers Her blessings on him. Her blessings mean ultimate liberation by making him to merge with Śiva. He never asked for liberation and all through his life, he was only contemplating Her in Her full Glory. Emancipation was conferred on him by Her. Emancipation means liberation from transmigration and this is possible only if one unites with Śiva. She made this possible for him, without him asking for it.
Such an aspirant is worshipped by all gods and goddesses. Śaṁkarācārya says that the most powerful Agni (Kālāgni) that is created for the exclusive purpose of annihilation worships him by showing camphor ārati (done at the end of a ritual). He attains such an impeccable status. Worshipping Her through one’s mind is the easiest way to attain Her. Once She is attained, liberation happens automatically.
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31
चतुष्ष्ट्या तन्त्रैः सकलमतिसन्धाय भुवनं
स्थितस्तत्तत्सिद्धिप्रसवपरतन्त्रैः पशुपतिः।
पुनस्त्वन्निर्बन्धादखिलपुरुषार्थैकघटना-
स्वतन्त्रं ते तन्त्रं क्षितितलमवातीतरदिदम्॥
catuṣṣṭyā tantraiḥ sakalamatisandhāya bhuvanaṁ
sthitastattatsiddhiprasavaparatantraiḥ paśupatiḥ |
punastvannirbandhādakhilapuruṣārthaikaghaṭanā-
svatantraṁ te tantraṁ kṣititalamavātītaradidam ||
catuṣṣṭyā tantraiḥ - through sixty four tantra-s; sakalam atisandhāya bhuvanaṁ - betrayed all the worlds; sthitaḥ tat tat siddhi prasava para tantraiḥ - each capable of conferring various psychic powers; paśupatiḥ - Śiva; punaḥ tvan nirbandhāt – subsequently, at Your insistence; akhila puruṣārtha eka ghaṭanā svatantraṁ - capable of conferring all the four human pursuits; te tantraṁ - Your tantra; kṣiti talam – the habitat world (the earth); avātītarat – revealed; idam – this;
“Śiva, by merely revealing sixty four tantra-s that are capable of conferring various psychic powers betrayed the world. But He, due to Your insistence, has subsequently revealed Your tantra, which is capable of conferring all the four human pursuits to the world of humanity.”
Śiva is a Yogic Personality and always remains in meditative mood. He talks only to His Consort, Parāśakti and reveals to Her various methods to attain Him as, in order to attain final liberation, one has to merge with Him. It is only Parāśakti, who reveals Śiva and He cannot be approached directly. The following scene unfolds in Mount Kailaśa (it is only my thought and does not form part of the verse). Śiva is in a relaxed mood and as usual, Parāśakti is sitting close to Him. During this very rare moment, Parāśakti asks a small favour from Him. “O! My Lord! You have revealed sixty four tantra-s to the world that are capable of conferring different superhuman powers. What my devotees are going to do with these siddhi-s? My devotees will never pursue these superhuman powers (it shows Her confidence in Her devotees). They want to attain You and I want to offer them liberation by revealing You to them. Can You kindly do me a favour by revealing a tatnra to my devotees that makes them realize and in turn I will bring them (perfected devotees) up to You for conferring liberation? I will bring before You only the best of my devotees who make themselves fit by practicing the tantra that You may choose to reveal now. I am asking this favour from You for the sake of my devotees. Will You please be kind enough to oblige me, as usual?” Śiva is always pleased with His Consort and agrees to reveal a tantra to attain Her. This is the crux of this verse. It is also equally important to note that liberation can be attained only by worshipping Her. Parāśakti said to Śiva in Mahānirvāṇa Tantra (IV.45), “My Lord! I would like to know the most excellent worship of me leading to unification with You, which You have already described.” Śiva says (IV.9), “Only by worshipping You, individuals can become one with Me.” There is no other evidence required to prove that Śiva can be attained only through the Divine Mother, Parāśakti. Lalitā Sahasranāma 727 is śiva-jñāna-pradāyinī, which means that She alone can impart knowledge of Śiva.
Śiva reveals a Ṣoḍaśī mantra in Mahānirvāṇa Tantra (V.17), which is not known to many. While describing about this mantra Śiva said, “ṣoḍaśīyaṁ samākhyātā sarvatanreṣu gopitā षोडशीयं समाख्याता सर्वतन्रेषु गोपिता” which means “the mantra consisting of sixteen letters will be formed which lies hidden in all the tantra-s and which has been described be me.” This is the mantra revealed by Śiva: hrīṁ śrīṁ krīṁ  parameśvari kālike hrīṁ śrīṁ krīṁ svāhā | ह्रीं श्रीं क्रीं  परमेश्वरि कालिके ह्रीं श्रीं क्रीं स्वाहा।There are many such mantras, though available even today, are nor known and pursued properly. It is also said that by reciting only the first three letters - hrīṁ śrīṁ krīṁ one gets material wealth (Mahānirvāṇa Tantra V.14). The above mantra is capable of giving only the three of the four puruṣārtha-s, where mokṣa is omitted. Śiva is a very clever personality, as after all He is the Supreme Creator. Parāśakti knows that the above mantra or any other mantras revealed by Śiva so far, are not capable of conferring liberation. The one bīja that is capable of conferring mokṣa is parābījā (sauḥ सौः). If we look at any of Śrī Vidyā mantras such as Bālā, Saubhāgya Pañcadaśī and Ṣoḍaśī, they will have parābījā. (sauḥ is made up of three bīja-s and they are “s”, which stands for sat Universal Spirit, “au” which stands for three powers of the Supreme Spirit viz. iccā śakti, jñāna śakti, and kriyā śakti and “ḥ” stands for the Pure Consciousness of Śiva).
Śiva has already revealed sixty four tantra-s (catuṣṣṭyā tantraiḥ) to the world, by way His teachings to Parāśakti. Though the names of all these tantra-s are available, the names of tantra-s vary. It is also believed that total number of original tantra-s were more than sixty four, but only sixty four are available today and the rest were lost with time. These tantra-s, if practiced as revealed in the original Scriptures, are bound to give results much faster. Unfortunately, today there is no proper guidance to teach as per original tantric Scriptures and hence no one derives siddhi-s in the present world.
Worshipping Devi is known as Tantra and the Supreme form of Her worship is Śrī Vidyā, which means auspicious knowledge. It is called auspicious because, all the mantras of Śrī Vidyā confer liberation, provided the procedures are meticulously followed. The basis of Śrī Vidyā is Pañcadaśī Mantra, which is explained in THIS ARTICLE. But Parāśakti pleads with Śiva to reveal a tantra that is capable of conferring all the four puruṣārtha-s – dharma (discharging duty as per precepts of dharma); artha (acquiring material wealth in a proper way); kāma (gratifying desires in the manner prescribed in the above two); and mokṣa (final liberation, emancipation). Hence Śrī Vidyā comes under tantra-s. There are other interpretations about what Śiva has actually revealed to Parāśakti. There are arguments saying that what Śiva had revealed is not Śrī Vidyā tantra but Vāmakeśvara tantra, which also deals with Her worship. The difference between Śrī Vidyā and Vāmakeśvara is where the former takes the worshipper directly to Parāśakti and in the latter, one has to go through mātṛkā devīs and tithi nityā devīs. Therefore, it is always considered that Śrī Vidyā is the best form of worship to attain Her. Worshipping Goddesses is known as Tantra.
Śiva Himself worshipped Her through His own Pañcadaśī Mantra:
ह स क ल ह्रीं। ह स क ह ल ह्रीं। स क ल ह्रीं। ह स क ल ह स क ह ल स क ल ह्रीं ।
ha sa ka la hrīṁ | ha sa ka ha la hrīṁ | sa ka la hrīṁ | ha sa ka la ha sa ka ha la sa ka la hrīṁ  
There is another variation:
क ए ई ल ह्रिं। ह  स क ल ह्रीं। स ह स क ल ह्रीं। क ए ई ल ह स क ह ल स क स क ल ह्रीं ।
ka e ī la hriṁ | ha  sa ka la hrīṁ | sa ha sa ka la hrīṁ | ka e ī la ha sa ka ha la sa ka sa ka la hrīṁ  |
Probably, the purpose of Śiva’s “worship” could have been different, for example, energising Her, transferring His Absolute and Independent Power of Authority (Svātantrya Śakti) to Her, etc. Question is asked by Parāśakti in this verse and the answer is by given in the next verse (32).  When Śiva reveals to Her, Śrī Vidyā Tantra, it overrides all the other sixty four tantra-s as Śrī Vidyā gives emancipation, which other tantra-s do not give that easily. Hence it is often said that Śrī Vidyā is “kevalam mokṣa sādanam” (it is the only way to liberation). However, this verse clearly says that the tantra that is going to be revealed in the next verse confers all the four puruṣārtha-s (caturvidha puruṣārtha siddhyartham). 
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32
शिवशक्तिः कामः क्षितिरथ रविश्शीतकिरणः
स्मरो हंसश्शक्रस्तदनु च परामारहरयः।
अमी हृल्लेखाभिस्तिसृभिरवसानेषु घटिताः
भजन्ते वर्णास्ते तव जननि नामावयवताम्॥
śivaśaktiḥ kāmaḥ kṣitiratha raviśśītakiraṇaḥ
smaro haṁsaśśakrastadanu ca parāmāraharayaḥ |
amī hṛllekhābhistisṛbhiravasāneṣu ghaṭitāḥ
bhajante varṇāste tava janani nāmāvayavatām ||
śivaḥ - Śiva; śaktiḥ - Śakti; kāmaḥ - Manmatha (Cupid); kṣitiḥ - the Earth; atha – then; raviḥ –  Sun; śītakiraṇaḥ - cool rays of Moon; smara - Manmatha (Cupid); haṁsaḥ - swan; śakra – Indra; tad anu ca – once again; parā – Brahmā; māra - Manmatha (Cupid); harayaḥ - Viṣṇu; amī – these (syllables); hṛllekhābhiḥ tisṛbhiḥ - with three hrīṁ-s (ह्रीं); avasāneṣu – at the end; ghaṭitā- connected with; bhajante – worshipping; varṇaḥ te – these syllables of Yours; tava – Yours; janani – Mother; nāma avayavatām – being part of Your names;
Explanatory Notes: This verse reveals very secretively, the fifteen akṣara-s of Her Supreme Pañcadasākṣarī mantra. The akṣara-s are not revealed directly but in the most secretive manner, without divulging the mantra openly. This is done with the purpose that this mantra should reach only those who are fit enough to attain liberation.
This is the Pañcadasākṣarī mantra that is derived from the above verse, which consists of fifteen akṣara-s.
क
ए
ई
ल
ह्रीं
ह
स
क
ह
ल
ह्रीं
स
क
ल
ह्रीं
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
ka
e
ī
la
hrīṁ
ha
sa
Ka
Ha
La
hrīṁ
sa
ka
la
hrīṁ
1. How these akṣara-s are derived from this verse:
क ka from Śiva; ए e from Śakti; ई ī from Manmatha (Cupid); ल la from the Earth; ह ha from the Sun; स sa from the Moon; क ka from Manmatha (Cupid); ह ha from swan; ल la from Indra; स sa from Brahmā; क ka from Manmatha (Cupid); ल la from Viṣṇu; and with three hrīṁ-s (ह्रीं )at the end of each kūṭa-s (1 to 5 is the first kūṭa or group; 6 to 11 is the second group and 12 to 15 is the third group).
2. Meaning of this verse:
“O! Divine Mother! ka, e, ī, la, ha, sa, ka, ha, la, sa, ka, la (क, ए, ई, ल, ह, स, क, ह, ल, स, क, ल) and connected with three hrīṁ-s (ह्रीं) at the end (of each group) these syllables of Yours form part of your Name (this mantra is not different from You).”
Tripuropaniṣad reveals this Pañcadasākṣarī mantra in a different way thus:
कामो योनि: कमला वज्रपाणिर्गुहाहसा मतरिश्वाभ्रामिन्द्रः।
पुनर्गुहासकल मायया च पुरुच्येषा विश्वमातादिविद्या॥
kāmo yoni: kamalā vajrapāṇirguhāhasā matariśvābhrāmindraḥ|
punarguhāsakala māyayā ca purucyeṣā viśvamātādividyā||
3. The Pañcadaśī can be derived from the above verse like this:
Kāmaḥ – क ka; yoniḥ - ए e; kamalā – ई ī; vajrapāṇiḥ - ल la; guhā - ह्रीं hrīṁ; hasā - ha and sa ह and स; matariśva - क ka; abhrām – ह ha; indraḥ - ल la; punarguhā – again ह्रीं hrīṁ; sakala -sa ka and la स क and ल; māyayā ca – and hrīṁ ह्रीं. This is known as Śrī Vidyā, which is not revealed directly.
Sage Durvāsa in his master piece Śrī Śakti mahimnaḥ (verse 17) also reveals this mantra subtly, but in a different way. He uses the following words to reveal Pañcadaśī mantra.
Brahmā - क ka; yoniḥ - ए e: ramā (Ramā or Kamalā also means Lakṣmī - ई ī; sureśvaraḥ - ल la; hṛllekhābhiḥ - hrīṁ ह्रीं; mārtānḍa - ह ha; indu – sa स; manoja - ka क; haṁsaḥ - ह ha; vasudhā - ल la; māyābhiḥ - hrīṁ ह्रीं; Moon - sa स; ambu - क ka; kṣiti - ल la; śaktibhiḥ - hrīṁ ह्रीं.
4. Important aspects of these verses:
Each akṣara (syllable) of Pañcadaśī mantra represents a god or goddess. The gods that are mentioned in the above three verses are Śiva, Śakti, Viṣṇu, Lakṣmī, Brahmā, Indra, Manmatha, Sun, Moon and Mother Earth, who cover the entire ambit of God’s kingdom. This is the reason for saying that when Pañcadaśī mantra or Ṣoḍaśī is practiced, other mantras need not be recited. If other mantras are practiced, they will not fructify and it is equivalent to disregarding Parāśakti as well as Śiva. However, one should be guided by his or her or Guru.
5. Interpretation of the present verse of Soundarya laharī:
Please read this link for detailed explanation of Pañcadaśī Mantra.
Please read this link for Pañcadaśī Mantra Japa.
Apart from what is explained in those links, additional details are given here. It can be seen in those links that each group or khaṇḍa or kūṭa has different syllables. There are three khaṇḍa-s agni, sūrya and soma. The first group is placed between agni and sūrya khaṇḍa-s. The second group is placed between sūrya and soma khaṇḍa-s and the third group is placed above soma khaṇḍa but below candrakalā khaṇḍa (which is related to Ṣoḍaśī mantra bīja śrīṁ श्रीं). Thus, Pañcadaśī Mantra explains Her subtlest form, Kuṇḍalinī. The verse says that there is no difference between this mantra and Her gross forms and that this mantra covers and supersedes all other names and forms of Parāśakti. Mantramātṛkā puṣpamālā stavaḥ is also based on Pañcadaśī Mantra. This is based on the fact that She is the Vimarśa (reflecting the illumination of Śiva) and also holds a Power of Attorney from Him to act on His behalf. Through this Power of Attorney, Śiva, who alone is Prakāśa, Self-illuminating, has transferred His Independent and Absolute Power of Authority, known as His Svātantrya Śakti.  Thus, by worshipping Her, other gods and goddesses need not worshipped, if one’s sole aim is to attain only liberation. 
All the syllables and mantras originate from Her. She is adored as mātṛkā-varna-rupīnī in Lalitā Sahasranāma 577. Mātṛkā covers all the letters of Sanskrit and all mantras are derived from various permutation and combination of these letters. Therefore, She encompasses all the mantras. As She encompasses all the mantras, sound is also produced from Her and this is explained in the following nāma-s of Lalitā Sahasranāma 366, 368, 370 and 371 – parā, paśyantī, madhyamā and vaihari-rūpā.
6. Further reading:
One recitation of Pañcadaśī Mantra is equivalent to three recitations of Pūrṇa Gāyatrī mantra.
Pūrṇa Gāyatrī mantra, which has four pāda-s as against three pāda-s of regular Gāyatrī mantra goes like this:
तत् सवितुर्वरेण्यं
भर्गो देवस्य धीमहि
धियो यो नः प्रचोदयात्
परो रजसे सावदोम्
tat saviturvareṇyaṁ
bhargo devasya dhīmahi
dhiyo yo naḥ pracodayāt
paro rajase sāvadom
If Parāśakti is worshipped, there is no need to worship any other gods. Each god or goddess has his or her mantras and all these mantras originate from various Sanskrit alphabets. As Parāśakti presides over all the alphabets and syllables and naturally She also presides over all mantras. When She is worshipped, it tantamount to worshipping all gods and goddesses. Only those who want material prosperity need to worship other gods and goddesses. When one wants to attain liberation, one has to recite Pañcadaśī Mantra, duly initiated by a Guru and proceed up the spiritual path to become one with Śiva, which She Herself will do it.  
The three kūṭa-s of Pañcadaśī Mantra are to be meditated upon the entire body of Parāśakti. In fact, the three kūṭa-s of Pañcadaśī Mantra originate from Her Divine Yoni and each kūṭa forming one side of the triangle. This is explained in detailed in Saundaryalaharī verse 19 and in Lalitā Sahasranāma 322.
Apart from this, all  triads originate from Her like creation, sustenance and destruction; icchā, jñāna and kriyā śakti-s; active, dream and deep sleep states of consciousness; three guṇa-s – sattva, rajas and tamas, etc.
In Śrī Vidyā Navāvaraṇa Pūjā, all the fifteen lunar days known as tithi-s are worshipped in the form of thiti nityā devi-s. Parāśakti is worshipped as the sixteenth thiti nityā devi during full moon and new moon days. She is in the form Pañcadaśī Mantra during full moon day (pūrṇimā) and in the form of ṣoḍaśī mantra on the new moon day (āmāvāsya). If She is worshipped, evils effects of planets and tithi-s will be totally eradicated. For a true worshipper of Parāśakti, every second is auspicious, as She resides within Him in Her most auspicious form. But the worshipper has to realize Her within
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33
स्मरं योनिं लक्ष्मीं त्रितयमिदमादौ तव मनोः
निधायैके नित्ये निरवधिमहाभोगरसिकाः।
भजन्ति त्वां चिन्तामणिगुणनिबद्धाक्षवलयाः
शिवाग्नौ जुह्वन्तः सुरभिघृतधाराहुतिशतैः॥
smaraṁ yoniṁ lakṣmīṁ tritayamidamādau tava manoḥ
nidhāyaike nitye niravadhimahābhogarasikāḥ |
bhajanti tvāṁ cintāmaṇiguṇanibaddhākṣavalayāḥ
śivāgnau juhvantaḥ surabhighṛtadhārāhutiśataiḥ ||
smaraṁ - kāma bīja; yoniṁ - Bhuvaneśvarī bīja; lakṣmīṁ - Lakṣmī bīja; tritayam idam – these three syllables;  ādau - before;  tava manoḥ - Your mantra (the Pañcadasākṣarī mantra discussed in the previous verse); nidhāya – placed; ike nitye – the Eternal One; niravadhi mahā bhoga rasikāḥ - seekers of endless material pleasures; bhajanti tvāṁ - worshipping You; cintāmaṇi guṇa nibaddha akṣavalayāḥ - rosary made of gems having the quality of cintāmaṇi; śivāgnau – the fire of Śiva; juhvantaḥ - perpetually worshipping; surabhi ghṛta dhāra ahuti śataiḥ - offering continuous oblations with cow’s ghee.
“O! Eternal Parāśakti! Those who want endless material pleasures have to place kāma bīja klīṁ क्लीं; Bhuvaneśvarī bīja hrīṁ ह्रीं; and Lakṣmī bīja śrīṁ श्रीं before Your mantra and worship You with rosary having the qualities of cintāmaṇi and by offering countless oblations with ghee made from cow’s milk into the fire of Śiva.”
This verse says that bīja-s klīṁ क्लीं, hrīṁ ह्रीं and śrīṁ श्रीं be prefixed to Her Pañcadasākṣarī mantra discussed in the previous verse. After prefixing, the mantra appears like this:
Version 1:
क्लीं - क ए ई ल ह्रीं  klīṁ - ka e ī la hrīṁ
ह्रीं - ह स क ह ल ह्रीं  hrīṁ - ha sa ka ha la hrīṁ
श्रीं - स क ल ह्रीं śrīṁ - sa ka la hrīṁ
This mantra is known as Saubhāgya Pañcadasākṣarī mantra.  But this mantra is different from the regular Saubhāgya Pañcadasākṣarī. In regular Saubhāgya Pañcadasākṣarī, aiṁ, klīṁ, sauḥ (ऐं क्लीं सौः), the bīja-s of Bālā mantra are prefixed to each kūṭa respectively. Then the mantra becomes likes this:
Version 2:
ऐं - क ए ई ल ह्रीं  aiṁ - ka e ī la hrīṁ
क्लीं - ह स क ह ल ह्रीं  klīṁ - ha sa ka ha la hrīṁ
सौः - स क ल ह्रीं sauḥ - sa ka la hrīṁ
This verse consists of four parts. 1. The formation of the mantra; 2. Benefits of reciting this mantra; 3. How this mantra is to be recited; and 4. How to get mantra siddhi of this mantra.
1. Formation Of This Mantra:
By prefixing the three syllables derived from the above verse gives rise to Saubhāgya Pañcadaśī. Saubhāgya means good fortune, good luck, etc. How does this mantra differ from the regular Saubhāgya Pañcadaśī is the key question.  The difference between the two versions lie in the fact that in version 1, Pañcadaśī is prefixed by Triśakti mantra (also known as tripuṭa mantra), as explained in this verse.  In version 2, Pañcadaśī is prefixed by Bālā mantra (aiṁ, klīṁ, sauḥ).
Triśakti can be interpreted in two ways. Triśakti means three powers and these are icchā śakti, jñāna śakti and kiryā śakti (powers of will, knowledge and action), three of the five Powers of Divine. The other two are Consciousness and Bliss. The essential nature of Śiva is expressed through these three śakti-s or powers and are represented by these three bīja-s respectively klīṁ क्लीं, hrīṁ ह्रीं and śrīṁ श्रीं. (Actual Triśakti mantra is śrīṁ श्रीं; hrīṁ ह्रीं and klīṁ क्लीं. The actual Triśakti mantra is prefixed to Pañcadaśī in a reverse order. Triśakti could also mean three Devi-s, Kālī, Bhuvaneśvarī and Lakṣmī, who are worshipped in Dasa mahāvidyā).
2. Benefits Of Reciting This Mantra:
Pañcadaśī mantra is capable of offering liberation.  But the Saubhāgya Pañcadaśī mantra as derived from this verse is capable of offering all the material pleasures. When the verse says, niravadhi mahā bhoga rasikāḥ - seekers of endless material pleasures, it means that this mantra japa is capable of giving material wealth. The word mahābhoga used in this verse is important to notice. Mahābhoga (Lalitā Sahasranāma 219) does not mean liberation; it means great material enjoyment such as wealth, comforts, family, helping the needy, etc. Whereas, if one is initiated into the second version of Saubhāgya Pañcadaśī, he or she is sure to attain liberation, in the sense, the process of liberation is set in motion, when the mantra is initiated. Liberation may happen in this birth or in future births; but liberation is assured in one or two births. Liberation is assured because Parābīja sauḥ (सौः) in is capable of offering liberation. Parābīja is also known as hṛdayabīja and Bālā mantra has parābīja sauḥ (aiṁ - klīṁ - sauḥ ऐं – क्लीं - सौः).
3. How This Mantra Is To Be Recited:
The verse specifies certain rules to recite the Saubhāgya Pañcadaśī (version 1, as explained in this verse). One should use his or her rosary to count the mantras. The rosary beads should have the qualities of (cintāmaṇi guṇa) cintāmaṇi (this gem is also known as philosopher’s stone) which is not a stone by itself.  Mantramātṛkāpuṣpamālāstavaḥ (verse 1) makes a reference to a gemstone by name cintāratna, which also fulfils all the desires of the one who properly uses them. It is a stone or a gem processed with alchemy (rasavāda) which is capable of fulfilling all the desires of the one who possesses it. According to this verse, one should recite and count the number of recitations using this rosary.
4. How To Attain Siddhi Of This Mantra:
After having recited certain a number of times, one has to perform puraścaraṇa, to complete the process of initiation. There are two views on performing puraścaraṇa-s. Some are of the view that rituals involving puraścaraṇa should be performed after prescribed number of recitations of a mantra. Few are of the view that at the time of initiation itself, puraścaraṇa is to be performed. However, one has to be guided by his or her Guru.
After completing the prescribed number of recitations, one has to make several oblations of this mantra into the pure fire invoked in the name of Śiva. At the end of puraścaraṇa ritual, one is supposed to get all his desires fulfilled. Generally, when a fire ritual is done, the presiding deity is invoked in the middle of the fire. In the case of Parāśakti, She will be invoked in the middle of the fire. But, this verse says that Śiva is to be invoked in the fire, which clearly explains their inseparableness.
Notes:
Cintāmaṇi can also be interpreted as the supreme knowledge and rosary of cintāmaṇi could then refer to a rosary with fifty one beads, duly consecrated. Rosary should be consecrated before first use.
Śivāgni could also mean the fire of the Soul within, into which oblations are done mentally.
Mahābhoga could also be taken to mean final liberation.
This mantra could refer to Kādividyā as against Hātividyā explained in the previous verse. These two divisions are so called, depending upon Guru’s lineage. Some are of the few that this classification is based on the usage of ka or ha as the first letter of the Pañcadaśī mantra. This is explained in Lalitā Sahasranāma 239.
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34
शरीरं त्वं शम्भोः शशिमिहिरवक्षोरुहयुगं
तवात्मानं  मन्ये भगवति नवात्मानमनघम्।
अतश्शेषश्शेषीत्ययमुभयसाधारणतया
स्थितस्संबन्धो वां समरसपरानन्दपरयोः॥
śarīraṁ tvaṁ śambhoḥ śaśimihiravakṣoruhayugaṁ
tavātmānaṁ  manye bhagavati navātmānamanagham |
ataśśeṣaśśeṣītyayamubhayasādhāraṇatayā
sthitassaṁbandho vāṁ samarasaparānandaparayoḥ ||
śarīraṁ - body; tvaṁ - Your; śambhoḥ - Śiva’s; śaśi – moon;  mihira  - moon; vakṣoruha – bosoms;  yugaṁ - a pair; tavātmānaṁ - Your body; manye – appear; bhagavati – Parāśakti; nava ātmānam anagham – nine sinless characteristics; ata – therefore; śeṣaḥ  ṣeṣi iti– this primary and secondary; ayam – this;  ubhaya sādhāraṇatayā – common to both; sthita – existing; sambandha –relationship; vāṁ - between both of You; samarasa parānanda parayoḥ -  Blissful state of overwhelmed interdependency.  
“O! Parāśakti! Your appear as the body of Śiva, with Your twin bosoms of sun and moon. Therefore, I consider You as the sinless (meaning Pure) Śiva. The nine primary and secondary characteristics are common to both of You and both of You remain in the state of overwhelmed interdependency resulting in Blissful state.”
This verse authentically says that there is no difference between Śiva and Śakti. They are not two different entities or energies, as usually contemplated, but they are one. Śaṁkarācārya, while contemplating on Śiva gets the vision of Parāśakti. If Śiva is pure Light, She reflects His Light. If He is Prakāśa, then She is Vimarśa. Śiva alone has got Absolute Power of Authority, which is also known as His Absolute Freedom of Will or Svātantrya Śakti. Śiva has transferred His Power of Autonomy to Parāśakti and it is only Parāśakti, who causes the manifestation of various shapes and forms. Śiva is Pure Consciousness and He likes to remain as Pure Consciousness all the time. But at the same time, He had the desire to create the universe. In order to do this, He has created Parāśakti and transferred all His Powers to Her. Since there is no difference from between a person and his powers, obviously there can be no difference between Śiva and Śakti. They are one and remain inseparably united. Based on this fact, though Śaṁkarācārya contemplated Śiva, he had the divine vision of Parāśakti. Śaṁkarācārya gives evidence for this strange phenomenon. He saw sun and moon as Her bosoms. This vision does not fit Śiva and fits only Parāśakti. He describes Śiva as sinless, because Śiva is Pure Consciousness, known as Cit, the Absolute foundational consciousness that never changes.
There are nine primary and secondary characteristics that are common to both Śiva and Śakti. Vijñānabhairava explains the nine essential nature of Supreme and they are Śiva, Sadaśiva, Īśvara, Vidyā Māyā, Kalā, Niyati, Puruṣa and Prakṛti. But contextually these nine are not spoken of here. Śiva is also known as Navavyūhā, as His body is made up of the following nine attributes and they are kāla, kula, nāma, jñāna, citta, nād,a bindu, kalā and jīva (काल, कुल, नाम, ज्ञान, चित्त, नाद, बिन्दु, कला and जीव). These nine discuss about, time, nine angles of Śrī Cakra, His different names, knowledge, His manifestation in a human mind, origin and manifestation of sound, a point at sahasrāra where He resides in a human body, fifty one alphabets of Sanskrit known as mātṛkā –s and  all the beings known as jīvātman-s.  These nine may be considered as the primary characteristics. There are nine attributes to Her as well and these nine are represented by the nine triangles of Śrī Cakra. Her nine attributes are known as Vāma, Jyeṣṭha, Raudrī, Ambikā (the four upward triangles in Śrī Cakra known as Śiva Cakra-s), Icchā, Jñāna, Kriyā Śānta and Parā (the four downward triangles known as Śakti Cakra-s). If He has nine attributes, She too has nine attributes. These attributes are not independent, but dependent or interdependent. There are many verses in Soundarya laharī that talk about their unity.
Their interdependence is the cause for Bliss or they remain together in the state of Bliss. The two most important aspects of Brahman, Cit (Consciousness, the power of Self-revelation) and Ānanda (Bliss) are represented by Śiva and Śakti and they together is known as Cidānanda or Consciousness and Bliss. Cidānanda is possible only if they stay united.
There are two nāma-s in Lalitā Sahasranāma 792 and 999 which talk about their union and their interpretations are given below
Nāma 792 sāmarasya- parāyaṇā सामरस्य-परायणा
Parāyaṇa means devoted to or engaged with chief authority.  She is devoted to the principle of equality.  With whom She is equal? Of course, with Śiva.  Without each other, they cannot function.  They have attained each other after performing rigorous penance. 
Śiva is Self-illuminating Brahman and Śaktī is His svabhāva.  Svabhāva means nature, innate or inherent disposition.  The nature of Śiva is reflected through Śaktī.  Śiva can realise His Self only in Śaktī, who acts a mirror to Him.  Śaktī is the power of doership of Śiva.  It is said that the ultimate reality were to be merely Śiva, He would become inert. Brahman cannot become inert.  Though Śiva continues to be inert, Śaktī, the power holder of Śiva acts as the energetic force in creation, sustenance and dissolution of the universe.  Therefore Śiva without Śaktī or Śaktī without Śiva becomes torpid.  They are known as the parent of the universe.
This nāma says that She is equal to Śiva.  If Cit is Śiva, ānanda (bliss) is Śaktī.  Cit- ānandā is Śivaśaktī. 
Nāma 999 Śiva-śakty-aikya-rūpiṇī शिव-शक्त्यैक्य-रूपिणी (in brief):
Śaktī is primordial and latent energy of Śiva that alone manifests as the universe, its sustentation and disintegration and recreation. The consciousness referred by Māṇḍūkya Upaniṣad is nothing but the domain of Śaktī. That is why it is said that Śaktī is the primordial and latent energy of Śiva.  She exists along with Śiva and cannot be separated.  If Brahman and consciousness are discriminately differentiated out of nescience, the question of creation and existence does not arise.  In reality, such differential existence does not prevail.  But for easier understanding of the complex issue of creation, Śiva and Śaktī have been perceived as two different aspects of the same entity.  One cannot segregate the heat produced by the fire from the fire itself.  The heat of the fire is primordially present in the fire.  Neither fire, not heat can be of any use unless they subsist together.  This is a typical example showcasing Śiva and Śaktī, the one without the other remain only an inert.
Śiva is Self-illuminating.  Without His existence, the universe will be plunged into darkness. Śiva is present in prakāśa (illuminating) form.  Prakāśa can be explained as visible, shining, universally noted, brightness, lustre, splendour, etc.  Prakāśa also refers to Śiva and the Brahman.  Śaktī is His vimarśa form.  Vimarśa can be explained as reasoning, knowledge, consideration, reflecting etc.  In spite of Śiva being the grandeur amongst the cognized existences, He cannot realise His own incomparable splendour without something that is able to reflect His grandeur.  This is like a human not able to see his own self without an object that is capable of reflecting his image.  Śaktī acts like a reflecting mirror where Śiva is able to realise His Reality, like a mirror reflecting the image of a person who stands before it.  Pure consciousness is Śiva and realising the pure consciousness is Śaktī.  If Śiva is not present, the consciousness itself does not exist.  If Śaktī is not present, the presence of consciousness cannot be realised.  In the state of prakāśa ‘I’ and ‘This’ stand united and in the vimarśa aspect ‘This’ is separated from ‘I’.  Therefore prakāśa aspect is ‘I + This’ and vimarśa aspect is ‘This’ alone.  ‘I’ is the origin of the universe and ‘This’ is the expansion of the universe. Śiva is cit and Śaktī is citi.  Cit means foundational consciousness and citi means the consciousness that brings about cognitive operations. Śaktī segregates I and This.  Without Śaktī this vital segregation cannot take place. Śiva causes the initial pulsation for creation that is carried forward by Śaktī. 
Śaktī pushes forward the throb created by Śiva through different principles or tattva-s (thirty six) and sustains it through Her māyā or illusion.  Māyā is the sole factor that separates a soul from the Brahman.  She is the manifested conglutination of Śiva and Śaktī and therefore She is both the seed and the sprout.  This also drives home the point that for creation, two objects are required.  For example, a soul alone cannot be born on its own.  It has to come into contact with prakṛti or Nature in order to manifest.  Procreation is not possible without conjoining of masculine and feminine energies. 
Moving on from the perceptible to subtle, a lot more is said about Their subtle conjugation.  They are referred as two bindu-s (dots), white and red, denoting Śiva and Śaktī respectively.  These two bindu-s, in mutual conjunction expand and contract.  When they expand, the creation takes place by means of vāc (word) and artha (lit. meaning).  Vāc means the Śabda Brahman and artha means thirty six  tattva-s or principles.  These two bindu-s which enter one another are known as Kāma-Kāmeśvarī.  Śiva, the Supreme is in the form of the first alphabet of Sanskrit A (अ), is the cause of all sounds of Veda-s.  He attains the form of a bindu after having entered His own vimarśa form, Śaktī, in whom the entire universe is dissolved.  Like prakāśa form of bindu entering the vimarśa form of bindu, vimarśa form of bindu also enters prakāśa form of bindu, which is already within it.  As a result of this conjugation, a third bindu called as miśra bindu is born.  Miśra means combined.  Now there are three bindu-s, white, red and miśra.  These three bindu-s form a triangle, red and miśra are below and the white bindu is placed above them causing a perfect triangle.  The miśra bindu has all the tattva-s or principles within itself and is the cause for further creation.  This is the innermost triangle of Śrī Cakra.  When these three dots are connected, the three connecting lines represent all the triads such as three guṇa-s, three stages of consciousness, icchā, jñāna and kriyā śaktīs, etc.  This triangle becomes the cause for creation beginning with Brahma, Viṣṇu, and Rudra.  These three dots are also referred as sun (top), moon (right) and fire (left).  There is an inverted triangle below the three dots.  The three connecting lines of this lower triangle represent three kūṭa-s of Pañcadaśī mantra (nāmā 89). The upper most bindu (of the upper triangle) is the face of Śaktī (the third eye, denoting dissolution, the two lower dots represent Her bosoms (representing nourishment or sustenance) and the inverted triangle below mean Her procreative organ (representing creation).  This is known as kāmakalā and is considered as the most secretive principle of Śiva-Śaktī union.
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35
मनस्त्वं व्योम त्वं मरुदसि मरुत्सारथिरसि
त्वमापस्त्वं भूमिस्त्वयि परिणतायां न हि परम्।
त्वमेव स्वात्मानं परिणमयितुं विश्ववपुषा
चिदानन्दाकारं शिवयुवति भावेन विभृषे॥
manastvaṁ vyoma tvaṁ marudasi marutsārathirasi
tvamāpastvaṁ bhūmistvayi pariṇatāyāṁ na hi param |
tvameva svātmānaṁ pariṇamayituṁ viśvavapuṣā
cidānandākāraṁ śivayuvati bhāvena vibhṛṣe ||
manas tvaṁ - You are the mind; vyoma tvaṁ - You are the space; marut asi – You are the air; marut sārathiḥ asi – You are the fire; tvam āpaḥ  - You are the water; tvaṁ bhūmiḥ - You are the Earth; tvayi pariṇatāyāṁ na hi param – thus there is nothing beyond Your manifestation; tvam eva svātmānaṁ - only Your own self; pariṇamayituṁ - manifesting Yourself; viśva vapuṣā –  as the universe; cidānanda ākāraṁ - appearance of Consciousness and Bliss; śiva yuvati bhāvena –the role as Śiva’s Consort; vibhṛṣe – assume.
You are the mind, space, air, fire, water, earth and there is nothing beyond these, as You have manifested in the form of the universe. You have assumed the role of Śiva’s Consort and manifest as Consciousness and Bliss.
This verse speaks about five principle elements (pañcabhūta) ākāśa, air, fire, water and earth. Apart from these five principle elements, the verse also makes a reference to mind. In fact, mind comes first; then only five elements are mentioned. Parāśakti manifests as the universe in successive stages, like a seed sprouting into a huge tree in stages. The tree does not appear suddenly, but grows gradually. This is called evolution (Darwin’s theory). It is called evolution in microcosm and creation in macrocosm.  This does not mean that She also undergoes evolution. As part of Brahman, She never undergoes any changes. Everything else around Her undergoes constant changes, but She never changes. Mind, in association with the modifications of pañcabhūta-s, such as organs of perception and action, get attached to the material world, full of māyā. As a result, one is not able to realize Her entire Glory that is full of Consciousness and Bliss. The verse uses the word cidānanda, which is the combination of Cit and Ānanda. Cit is Śiva and Ānanda is Śakti. Therefore, cidānanda refers to the oneness of Śiva and Śakti; they are not two separate entities but One. Śakti is the Power of Śiva and they are interdependent. Expansion is a part of creation and contraction (not with reference to annihilation) is a part of realization. Contraction is the reverse process of creation. In the process of creation, expansion happens through mind and five subtle elements and during contraction, gross elements become subtle and subtle elements rest in the mind and the mind rests in Her Glory. When the mind perpetually rests in Her Glory, the state of mind is known as cidānanda. Turya is the fourth stage of consciousness and turya itself has seven states which are described as the seven stages of ānanda and cidānanda is the penultimate stage. Ānanda is directly related to awareness of the mind and awareness without any distractions is Pure Consciousness, also known as Śiva. But for ānanda, Cit cannot be attained. In other words, without the Grace of Śakti, Śiva cannot be attained.
Śiva is nirguṇa Brahman and is the cause of everything including Śakti. He is Pure Consciousness and is devoid of any qualities, as indicated by nirguṇa. In order to create the universe, guṇa-s are necessary. Śiva thought for a while and created Śakti and transferred His unique Power of Autonomy to Her and ensured that She creates the universe. Since She is indispensable part of Śiva, She is also called as Brahman. Since She creates the universe, She has guṇa-s (Lalitā Sahasranāma 763 and 984). Therefore She is called saguṇa Brahman. When both Śiva and Śakti remain together, it is the state of Cidānanda (Cit + ānanda); generally this state is known as the state of Śiva. When it comes to creation, it is only Śakti, who begins to manifest by creating five basic elements and their modifications and at the end She creates human beings with mind, intellect and ego. For realization, one has to learn to reverse this process and this process is meditation. Hence it is said that mere practice alone is not enough to attain liberation, but knowledge is also required. Without knowing the route, destination cannot be reached. Knowing is knowledge and the destination is Śiva. Only Śakti, who has the complete authority from Śiva alone can create the universe. In other words, creation begins from the state of Cidānanda (Śiva and Śakti), the subtlest of all the tattva-s to the earth, the grossest of all the taatva-s.  Therefore, it is apparent that without Śakti, as Śiva’s Consort, creation is not possible and for the same reason, She is adored as Supreme Mother or Śrī Mātā. This is the grosser interpretation of this verse.
The verse subtly speaks about kuṇḍalinī.  Parāśakti has three forms – gross, subtler and subtlest. She is worshipped through various conceptualized forms such as Durgā,  Kālī, etc. Subtler form is Her kāmakalā form (Lalitā Sahasranāma 322 kāmakalā rūpā) and the subtlest form is Her kuṇḍalinī form (Lalitā Sahasranāma 110 kuṇḍalinī).  The verse begins with a reference to the mind and then proceeds to earth. Mind is ājñā cakra situated in between the eyebrows; out of the pañcabhūta-s, ākaśa is represented by viśuddhi cakra at throat, air is represented by anāhata cakra at heart, fire is represented by maṇipūraka cakra at the navel, water is represented by svādhiṣṭhāna cakra at the end of the spinal cord and earth is represented by mūlādhāra cakra at the perineum. Lalitā Sahasranāma (465 to 534) also discusses about the mystic centres (cakra-s) beginning with viśuddhi cakra, instead of ājñā cakra, as mentioned in this verse.
She is resting like a coiled serpent in the form of kuṇḍalinī at the perineum and through yogic practice, She is awakened and taken to sahasrāra (crown cakra), where Śiva awaits Her. When She reaches sahasrāra, the practitioner experiences Bliss, a part of Cidānanda and ultimately, the practitioner becomes a realized person, always remaining in the state of Bliss, by practicing.  This is with regard to one’s liberation from the pains of transmigration.
She manifests as the universe through a process, which is fully explained in Lalitā Sahasranāma (256 to 274).  There are three known stages of human consciousness, active, dream and deep sleep states. Beyond these three, there are two more states of consciousness,  turya and turyātīta, where realization and merger with Brahman takes place. The universe has two aspects, macrocosm and microcosm. The highest level of macrocosm is Brahman and the lowest level of microcosm is the material world. When Śiva desired to create, pulsation (spanda) happens in Him and Śakti carries forward this initial throb into the manifestation of the universe. She transforms Herself and enters the three states of normal human consciousness – active, dream and deep sleep. She manifests in these three states as viśva, taijasā and prājña (Lalitā Sahasranāma 256 to 261) in the microcosm. These three states are associated with gross, subtle and causal bodies. These three states originated from vaiśvānarā, hiraṇyagarbha and Īśvarā of the macrocosm.
Thus, She assumes the role of Consort of Śiva by having a clear mandate for creation, etc from Śiva. Without Her, manifestation of the universe would not have been possible
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36
तवाज्ञाचक्रस्थं तपनशशिकोटिद्युतिधरं
परं श्ंभुं वन्दे परिमिलितपार्श्वं परचिता।
यमाराध्यन् भक्त्या रविशशिशुचीनामविषये
निरालोकेऽलोके निवसति हि भालोकभुवने॥
tavājñācakrasthaṁ tapanaśaśikoṭidyutidharaṁ
paraṁ śṁbhuṁ vande parimilitapārśvaṁ paracitā |
yamārādhyan bhaktyā raviśaśiśucīnāmaviṣaye
nirāloke'loke nivasati hi bhālokabhuvane ||
tava ājñā cakrasthaṁ - present in Your ājñā cakra; tapana śaśi koṭi dyutidharaṁ - endowed with the brilliance of countless numbers of sun and moon; paraṁ śṁbhuṁ - Supreme Śiva; vande – extolling; parimilita pārśvaṁ - pervaded on all sides; para citā – Supreme Consciousness; yam ārādhyan bhaktyā – the one who worships with devotion; ravi śaśi śucīnām aviṣaye – incapable of causing radiance by sun, moon and fire; nirāloke aloke – devoid of light and is different from the material world; nivasati hi – living; bhāloka bhuvane – Self-illuminating world.
“I extol Supreme Shiva, present in Your ājñā cakra, endowed with the brilliance of countless suns and moons, pervaded by Supreme Consciousness on all sides. The one who lives in a world that is incapable of being reached by sun, moon and fire, which is devoid of light (by these luminaries), which is different from the material world. He lives in Self-illuminating world.”
Beginning from this verse, Śaṁkarācārya talks about psychic cakra-s, which we speak about in kuṇḍalinī meditation. In this verse, he speaks about ājñā cakra. This verse can be considered as an extension of verse 14. This verse says that Śiva is Self-illuminating or Prakāśa. Śaṁkarācārya could not literally explain His Self-illumination. He says His effulgence is brighter than infinite numbers of sun, moon and Agni (fire) put together.
Kaṭha Upaniṣad (II.ii.15) explains this Light. “In the presence of Brahman, the sun does not shine, nor do the moon and stars, nor does lightning, let alone this fire.  When Brahman shines, everything follows.  By Its light, all these are lighted.”  This is the famous dīpa ārādhana mantra:
na tatra sūryo bhāti na candratārakaṃ
nemā vidyuto bhānti kutoyamagniḥ
tameva bhāntamanubhāti sarvaṃ
tasya bhāsā sarvamidaṃ vibhāti|
न तत्र सूर्यो भाति न चन्द्रतारकं
नेमा विद्युतो भान्ति कुतोयमग्निः।
तमेव भान्तमनुभाति सर्वं
तस्य भासा सर्वमिदं विभाति॥
Chāndogya Upaniṣad (VIII.iii.4) says, param joytiḥ upasampadyate which means attaining the highest light.  The Upaniṣad says “Then, this person, who is an embodiment of happiness, emerging from the body and attaining the highest light, assumes his real nature.  This is the Self.”
Śiva is Prakāśa and Śakti is Pratibhā. Prakāśa is Self-illumination and Pratibhā is the revelation of this Light. Prakāśa is Consciousness and Pratibhā is the revelation (Vimarśa) of this Consciousness, the point of creation of this universe. The interdependency of Śiva and Śakti is absolute. Ājñā cakra represents mind. This is the point where one’s Guru communicates to his disciples. This verse says that Śiva is present in ājñā cakra of Parāśakti. It is a known fact that Śiva resides only in sahasrāra. Śiva is present in the ājñā cakra of Parāśakti alone, as She always thinks about Śiva. Her mind is totally pervaded by Śiva. Hence, to this devotee, Śiva appears in full Glory in ājñā cakra of Parāśakti. Since Śiva is full of Supreme Consciousness, His presence in ājñā cakra of Parāśakti is reflected in the form of Pure and illuminating Consciousness, which is pervaded on all sides. Pure form of consciousness has the ability to produce light, because during this stage, one is disconnected from the material world. During this state, when concentration is fixed on ājñā cakra, the pineal gland behind ājñā cakra produces light. This is the Light of the Self.
The devotee referred here does not live in the material world. He lives in the highest realm of spiritual world. In this spiritual world, there is no place for luminaries like sun. moon and fire. These three are known as iḍa, piṅgala and suṣumna nāḍi-s. The devotee has brought his awareness to his ājñā cakra and beyond by working through these three nāḍi-s. He has moved away from the material world to the spiritual world. Sun, moon and fire shine only in the material world. Spiritual world is illuminated by Śiva. Since he is in the spiritual world, luminaries are incapable of lighting his world. Since the spiritual world is illuminated by Parāśakti by deriving Light from Śiva, he sees only the Light of Śiva. This is the point of no return for this devotee. He has been liberated and he lives in the spiritual world awaiting His turn to become one with Śiva. This is the world of Her devotees. There are few others like him to attain liberation. She puts them to final tests to evaluate them. Upon passing out these tests, She takes them to Śiva and make them merge with Him.
Kṛṣṇa explains this world in Bhagavad Gītā (XV.6), “That Supreme Abode of mine is not illuminated by sun, moon or fire and those who reach here, never go back to the material world.”
This verse can be meditated in the following manner: Visualize Parāśakti. Her form (as conceived by you) appears in your meditation, when your individual consciousness moves to higher level of consciousness, turya. When the form appears before you, concentrate on Her ājñā cakra. After few minutes, you are able to see Śiva in His full effulgence and Glory. You will enter into the state of Supreme Bliss. You will regain your normal consciousness after sometime. The Bliss enjoyed by you will make you to resort to this meditation frequently. After few days of meditation, you become one with Śiva and Śakti. You become That and you can now confidently affirm “I am Brahman”, because you have realized the true nature of Brahman, in the form of Light.
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37
विशुद्धौ ते शुद्धस्फटिकविशदं व्योमजनकं
शिवं सेवे देवीमपि शिवसमानव्यवसिताम्।
ययोः कान्त्या यान्त्याश्शशिकिरणसारूप्यसरणेः
विधूतान्तर्ध्वान्ता विलसति चकोरीव जगती॥
viśuddhau te śuddhasphaṭikaviśadaṁ vyomajanakaṁ
śivaṁ seve devīmapi śivasamānavyavasitām |
yayoḥ kāntyā yāntyāśśaśikiraṇasārūpyasaraṇeḥ
vidhūtāntardhvāntā vilasati cakorīva jagatī ||
viśuddhau te – Your viśuddhi cakra; śuddha sphaṭika viśadaṁ - like a pure crystal; vyoma janakaṁ - creator of ākāśa (sky or space); śivaṁ - Śiva; seve devīm api – I worship Parāśakti; śiva samāna vyavasitām – (came to conclusion that She is in) equality with Śiva; yayoḥ - whose (Śiva and Śakti); kāntya – effulgence; yāntyā śaśikiraṇa sārūpya saraṇe - glowing like the radiance of rays of the moon; vidhūta antardhvānta – covered by darkness of ignorance; vilasati – shining; cakor īva – like the female game bird; jagatī - universe.
“I worship Your viśuddhi cakra, which appears like a clear crystal, similar to Śiva, the Creator of ākāśa. I conclude that You too have the same qualities as that of Śiva. By the effulgence radiating from both of You (Śiva-Śakti), which glows like rays of the moon, the universe which remained covered by darkness is illumined, like the game bird rejoicing in the light of the moon.”
Previous verse spoke about ājñācakra, which is related to mind. Viśuddhi cakra that is spoken of in this verse is related to one of the five principle elements, ākāśa. Ājñācakra represents the Divine Will of Śiva to create. When He decided to created, He first created ākāśa. Taittirīya Upaniṣad (II.1) explains this by saying, “from the Self came space (ākāśa) …” From space, other elements (pañcabhūta-s) originated and ultimately beings were created.
(Kuṇḍalinī is directly related to creation. Śiva is always present in sahasrāra. At the time of creation, He comes down to ājñācakra, where He develops His desire to create. Ājñācakra represents mind. When He has decided to create, He first creates space (ākāśa), in viśuddhi cakra, air in heart chakra, fire in navel chakra, water in svādhiṣṭhāna chakra and finally earth, the grossest of all the five elements in the base chakra.)
In the previous verse, Śaṁkarācārya said that he was able to see Śiva in the ājñācakra of Parāśakti. In this verse, he says that he sees both Śiva and Śakti in the viśuddhi cakra (throat chakra) of Parāśakti. Because of the presence of Śiva (He is known as Sadāśiva here) in Her viśuddhi cakra, which normally radiates blue colour, now appears like a crystal, which is the complexion of Śiva. Śiva is devoid of any colours and always appears like a transparent crystal. Generally, if Śakti sits by Śiva’s side or on His left lap, Her bright red complexion gets diffused in His crystal complexion and they both together appear as the bright red sun at the dawn. Once, gods mistook their appearance for rising sun.  (Meditating on Parāśakti at the time of dawn and dusk will yield quick results.) But, Lalitā Sahasranāma (476) says that yogini by name Ḍākinī, who is presiding over viśuddhi cakra has mild red complexion.
Because of the presence of Śiva and Śakti together, viśuddhi cakra of Parāśakti radiates like the rays of the moon. There are two important points that are to be noticed here. Śiva by nature is very hot, like fire. Śrī Rudram says kālāgni rudrāya, where kālāgni means the fire that arises from Śiva at the time of annihilation of the universe (fire at the time of annihilation is caused by the collision of the various planets in the universe. When Śiva triggers annihilation, gravitational force is withdrawn, causing collision of the planets).  But, because of the presence of Śakti, who always remains by His side and whose mere presence cools down the nature of Śiva,  Śaṁkarācārya is able to see cool rays emanating from both of them. This is another instance of their interdependence. Without Śiva, there is no Light and without Her, the Power of Śiva’s Light would burn the entire universe. Śiva’s Light is too powerful and fierce and She alone can diffuse that Light by controlling the heat of His kālāgni. Śiva is Prakāśa and She is Vimarśa.
There is one more interpretation possible. At the time of initial creation, only Śiva was there. Śiva is full of Prakāśa or Self-illumination. Since His Light could not be reflected to the universe, Śiva created Parāśakti to reflect His Light to the universe. As soon as Śakti came into existence, the universe was illuminated, as She alone is capable of reflecting His Light. This is with regard to macrocosm. With regard to microcosm, darkness means spiritual ignorance. When Śiva and Śakti are contemplated together, spiritual ignorance of the contemplator is removed, leading to realization of the Self.
The Supreme mantra of all mantras is known as paraprāsāda mantra and this mantra is known as “hamsa” mantra. In this mantra, “ha” refers to Śiva and “sa” refers to Śakti. This is the combination of one’s exhalation and inhalation. It can also be said that paraprāsāda mantra originates from Her viśuddhi cakra, where both Śiva and Śakti are realized.
There is a reference to a type of bird known as cakora birds, which will fly only in the moon light. In the same way, if both Śiva and Śakti are contemplated with a clean mind, devoid of any thought processes, spiritual ignorance is removed due to their Grace, leading to realization. The aspirant becomes identified with Them and this state is known as sārūpya.  {Liberation is of four types: Sālokya, co-existence with the Lord in His world.  Sārūpya, attaining the same form as that of the Lord.  Sāmīpya, proximity as that of the Lord. Sāyujya, absorption into the Lord Himself. The first one progressively leads to the last one.  But the thought process of identifying the self with the Lord (sāyujya) leads to fast track emancipation.}
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38
समुन्मीलत्संवित्कमलमकरन्दैकरसिकं
भजे हंसद्वन्द्वं किमपि महतां मानसचरम्।
यदालापादष्टादशगुणितविद्यापरिणतिः
यदादत्ते दोषाद्गुणमखिलमद्भ्यः पय इव॥
samunmīlatsaṁvitkamalamakarandaikarasikaṁ
bhaje haṁsadvandvaṁ kimapi mahatāṁ mānasacaram |
yadālāpāoādaṣṭādaśaguṇitavidyāpariṇatiḥ
yadādatte doṣādguṇamakhilamadbhyaḥ paya iva ||
samunmīlat saṁvit kamala makaranda eka rasikaṁ - fully blossomed lotus known as knowledge, exclusively delighting in; bhaje haṁsa dvandvaṁ - worship a pair of swans; kim api – to a considerable extent;  mahatāṁ - greatness; mānasacaram – moving (swimming) in the great lake known as mind; yadālāpāt – from their conversation; aṣṭādaśa guṇita vidyā pariṇati – emergence of eighteen types of arts; yat ādatte – differentiate; doṣāt – impurity; guṇam akhilam – all types of qualities; adbhya – from water; paya iva – like milk.
“I worship the pair of swans, who solely delights in the absolute knowledge, like a fully blossomed lotus flower in the great lake known as mind. From the conversation between these two swans, eighteen arts have originated, which are capable of differentiating purities from impurities. This is like swans separating milk from water.”
This verse speaks about anāhatacakra, also known as heart cakra. According to ancient Scriptures, one’s soul resides here (Modern theory postulates that the soul is placed in pineal gland, behind ājñācakra). Anāhatacakra is one of the important points of divinity in human body. Meditating on anāhatacakra is said to fulfil one’s desires; hence it is called Kalpataru (celestial wish grating tree). There is a yogini here rejoicing in drinking nectar that flows down from sahasrāra. Probably, based on these facts and experience, Śaṁkarācārya could have composed this verse. Lalitā Sahasranāma 485 to 494 describe this chakra.
The two swans described here refer to Śiva and Śakti. These two swans swim in the lake called mind (mind of the aspirant). This means that Śiva and Śakti should be meditated in this chakra. When perfection is attained while meditating on this chakra, ājñāchakra, which is the controlling chakra for the mind, gets fully activated. The famous “hamsa mantra” also originates from anāhatacakra. Great yogī-s meditate on Śiva and Śakti in ājñācakra and seek liberation, as this chakra is capable of conferring what is desired. Yogī-s desire only liberation, as they rejoice in the power of Bliss. The turning point in one’s spiritual life will always be the maiden experience of Her Bliss. Śakti is always in the form of Bliss and when She is realized, one begins to experience Bliss, which sets the trend for one’s spiritual life. This is the point of no-return in spirituality. Her realization leads to the realization of Śiva and when both of them are realized in the form of Bliss and Pure Consciousness, one is able to distinguish between good and bad. Such a person will not indulge in mean thoughts and actions.
Parāśakti manifests here as Bliss, which ultimately leads to the realization of Śiva. When both of them are realized, the yogī begins to recite perpetually Paraprāsada-mantra, also known as “hamsa” mantra, synchronising it with his breath. Why a comparison is drawn to a fully blossomed lotus flower here? There are two aspects. One, if the flower is fully blossomed, there is not enough time left for the flower to survive. Either the flower will be picked or it will decay naturally. Blossoming of the flower is compared to acquiring absolute knowledge about Brahman. Knowledge about Brahman alone is absolute. When higher level of spiritual knowledge is gained, a practitioner first becomes a sthitaprajña and later becomes a jīvanmukta, who is ready to merge with Brahman after his death, the concluding part of Self-realization. The second aspect is that unless a flower is fully blossomed, nectar will not secrete. This means spiritual elixir can be secreted only if sahasrāra is fully opened.
Once Brahman is realized, there is no need to seek spiritual knowledge as they are revealed to the yogī automatically. The conversation between Śiva and Śakti always result in various tantra śāstra-s and vidyā-s. Former is the practice that is to be pursued and later is the destination of the path, vidyā-s. In other words, former is practice and later is knowledge. Only practice leads to absolute knowledge and only absolute knowledge leads to realization. Tantras lead to vidyā-s and vidyā-s lead to realization. This verse refers to to eighteen vidyā-s and they are four Vedas (4), the four upa-Vedas (4) (each upa-Veda originated from one Veda. Āyurveda from Rig Veda; Dhanurveda (archery) from Yajur Veda; Gāndharva Veda (music) from Sāmaveda; and Śastra Śāstra (study of arms) from Atharvaveda. There are opinions that Āyurveda is the product of Atharvaveda), six vedāṅga-s (6) (śikṣā  - pronunciation; candas – meter;  vyākaraṇa – grammar;  nirkuta – explanatory notes to difficult Vedic words;  jyotiṣa – astrology; and  kalpa – sūtra works referring to rituals), pūrva mīmāṁsā and uttara mīmāṁsā (2), purāṇa-s (Scriptures), and nīti and dharma śāstra-s (2) (dos and don’ts). However, there are variations to this description.
Beyond all these explanations, this verse subtly conveys “hamsa” mantra, which needs to be aligned with one’s breath. Meditating on this chakra also leads to love and compassion. When this chakra is fully activated, one becomes an embodiment of these two qualities.
This verse also conveys Ajapa Gāyatrī mantra which is as follows:
haṁsa haṁsāya vidmahe | paramahaṁsāya dhīmahi | tanno haṁsaḥ pracodayāt ||
हंस हंसाय विद्महे। परमहंसाय धीमहि। तन्नो हंसः प्रचोदयात्॥
This haṁsa Gāyatrī mantra is to be recited from one dawn to the next dawn (24 hours), aligning with one’s breath, concentrating on each chakra one after another by beginning from the base chakra and ending at the crown chakra. If this mantra is properly aligned with breath, then the counting will be 21600 during this 24 hour period.
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39
तव स्वातिष्ठाने हुतवहमधिष्ठाय निरतं
तमीडे संवर्तं जननी महतीं तां च समयाम्।
यदालोके लोकान् दहति  महति क्रोधकालिते
दयार्द्रा या दृष्टिः  शिशिरमुपचारं रचयति॥
tava svātiṣṭhāne hutavahamadhiṣṭhāya nirataṁ
tamīḍe saṁvartaṁ jananī mahatīṁ tāṁ ca samayām |
yadāloke lokān dahati  mahati krodhakālite
dayārdrā yā dṛṣṭiḥ  śiśiramupacāraṁ racayati ||
tava – Yours; svātiṣṭhāne – in svātiṣṭhāna chakra; hutavaham – agni tattva; adhiṣṭhāya – invocation; nirataṁ - deeply engaged; tamīḍe – indeed I adore; saṁvartaṁ - annihilation of the universe; jananī – O! Parāśakti; mahatīṁ tāṁ ca samayām – the great one, known as Samaya;  yadāloke – whose looks; lokān dahati – burning of the universe; mahati krodhakālite – with great anger; dayārdrā yā dṛṣṭiḥ  - Your compassionate glance; śiśiram upacāraṁ racayati – rendering cooling service.
“O! Parāśakti! I deeply adore Śiva, who causes the fire of annihilation in Your svātiṣṭhāna chakra. I adore You, the great one as Samaya. When His glance burns the universe, Your glance, full of compassiona renders chilliness, as treatment.”
The important point that is underlined in this verse is the inseparbleness of Śiva and Śakti. Śaṁkarācārya does not worship Her alone. He visualises both of them together in different places and in different forms. In this verse, when he looks at Śiva, who appears to him as fire that is capable of annihilating the universe. Śrī Rudram (stanza 2) says that Śiva is kālāgnirudrā, the fire of Śiva that is capable of destroying the universe. He is also known as tripurāntakāya (who has burnt three worlds), trikāgni-kālāya (sustainer of the three types of fires). Beyond all this, He is Prakāśa, the Supreme Light. Hence, it is always said that He can be attained only through Śakti, who facilitates the attainment. She does this by cooling His intent fiery nature. When a sun that is capable of offering light only to this galaxy is so hot, nothing needs to be said about Śiva’s fire, that is capable of annihilating the entire universe, not Milky Way (our solar system) alone.
The verse visualizes Śiva and Śakti in the svātiṣṭhāna chakra, the chakra known for water element. This chakra is also known as sex chakra, where sexural desires are controlled. Though this chakra is said to be water element, the previous chakra maṇipūraka (navel chakra) represents fire element. The fiery effect of maṇipūraka chakra (discussed in the next verse) is still felt in svātiṣṭhāna chakra, which goes to prove the power of His heat. The fire in svātiṣṭhāna chakra is also known as kāmāgni, which kindlles the fire of lust. Meditating on this chakra controls sexual desires. Śaṁkarācārya sees (he does not visualize, but he sees them in forms; this is possible only if the contemplation is of the highest order. Śri Rāmakriṣṇa Pramahaṁsa saw Kālī several times and also shown Her to Vivekānanda. Dharma śāstra-s define the limitations of sexual life and tresspassing these limits could triger spiritual doomsday. Proper mediation on svātiṣṭhāna chakra also gives rise to spiritual knowledege that is capable of destroying bodily needs to needs of the mind, spiritual knowledge. Unless the worldly desires are dispensed with, spiritual knowledge can be complete.
Worshipping Her subtlest form kuṇḍalinī is known as samaya worship and She is adored in this worship as Samaya. Samaya means coming together, union, etc. Lalitā Sahasranāma 98 samayācārā-tatparā refers to this kind of worship. This is internal worship, where She is awakened from mūlādhāra chakra and taken to sahasrāra to conjoin with Śiva. This (kuṇḍalinī meditation) is the best form of worship to have the Grace of both Śiva and Śakti.
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40
तटित्वन्तं शक्त्या तिमिरपरिपन्थिस्फुरणया
स्फुरन्नानारत्नाभरणपरिणद्धेन्द्रधनुषम्।
तव शयामं मेघं कमपि मणिपूरैकशरणं
निषेवे वर्षन्तं हरमिहिरतप्तं त्रिभुवनम्॥
taṭitvantaṁ śaktyā timiraparipanthisphuraṇayā
sphurannānāratnābharaṇapariṇaddhendradhanuṣam |
tava śyāmaṁ meghaṁ kamapi maṇipūraikaśaraṇaṁ
niṣeve varṣantaṁ haramihirataptaṁ tribhuvanam ||
taṭitvantaṁ - accompanying lightning; śaktyā - due to power; timira paripanthi sphuraṇayā - enemy to darkness viz. light; sphurat nānā ratna ābharaṇa pariṇaddha indra dhanuṣam - rainbow formed due to the (rays of) lustrous ornaments made of precious gems; tava śyāmaṁ - Your dark blue; meghaṁ - clouds; kam api - indescribable; maṇipūra eka śaraṇaṁ - Abode as maṇipūraka chakra; niṣeve - worship; varṣantaṁ - causing to rain; hara mihira taptaṁ - heat of Śiva; tri-bhuvanam - three worlds.
"I worship you in navel chakra as the one, appearing dark blue in colour and like a powerful lightning, that dispels darkness. The reflections of Your ornaments appear like a rainbow, cause rain to cool the three worlds, burnt by  Śiva."
Śaṁkarācārya goes with the description of maṇipūraka  chakra with "Ṣaṭcakra Nirūpaṇa" verse 10. The verse says that at the root of the navel, there is a ten petal lotus in the colour of rain laden clouds and within, there are two blue lotuses and one should meditate on this region of fire, shining like the sun at dawn. Lalitā Sahasranāma 101 maṇipūrāntha ruditā says that She appears in the navel chakra and again Lalitā Sahasranāma 495 also says maṇipūrābja-nilayā. Navel chakra is one of the important points both in terms of gross body and energy body. This is mainly because, it holds a central position in the body and also the point through which a fetus was nourished. This chakra is also capable of receiving energy from Guru.
Śaṁkarācārya always worships both Śiva and Śakti together and this verse is not an exception. He contemplates Śiva as dark in complexion, like rain bearing clouds and Śakti as lightning. Generally it is explained that Śiva is the cause of Light, hence He is known as Prakāśa. But, in this verse, He is described as dark in appearance and Śakti as the source of Light. This can be explained from different angles.
Śiva and Śakti  are inseparable and nobody knows who is Śiva and who is Śakti as one's power cannot be differentiated form him.  Śiva's Power is Śakti .
By projecting  Her as Light, Śaṁkarācārya emphasizes Her compassion, as She alone can reveal Śiva who is omnipresent. The Light that is described Her is Her compassion and willingness to offer liberation. To describe His omnipotence, clouds can be taken as an example, because clouds remain diffused throughout the atmosphere.
Śiva by nature is very hot, as He is the source of Light. Since She does not want the world to bear the brunt of His heat, She causes rain from the dark clouds. In other words, She induces  Śiva  to cool the earth by making Him to cause rain as a remedy to His scorching heat.
A jñāni like Śaṁkarācārya fully knows Brahman and does not restrict Brahman in a particular form or shape. Spiritual realization consists of two parts. One, realizing the Self within and two, realizing omnipresence of Brahman. A person is said to be Self-realized only if these two realizations are complete. Śaṁkarācārya not only visualizes Śiva and Śakti  in the navel chakra , but also takes into account the worldly sufferings such as heat, etc and in order to remedy their sufferings from extreme heat, he visualizes that heat is balanced by rain.
There is a reference about a rainbow that is formed out of the effulgence of the ornaments made out of precious gems, worn by Her. This poetic parlance speaks about the rays emanating from the gems, appearing like a rainbow. Why rainbow is drawn as a comparison? It is because the bows of Śiva and Śakti have no strings, in their Kāmeśvara and Kāmeśvarī forms.  Their bows are made of sugarcanes and their bows have no strings signifying infinity, meaning that they cannot be bound.
This verse speaks about dispelling darkness of spiritual ignorance illusion by contemplating on Śiva and Śakti at navel chakra. When this chakra is perfectly activated, many of the worldly desires are dispensed with, leading to the higher level of spirituality.
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तवाधारे मूले सह समयया लास्यपरया
नवात्मानं मन्ये नवरसमहाताण्डवनटम्।
उभाभ्यामेताभ्यामुदयविधिमुद्दिश्य दयया
सनाथाभ्यां जज्ञे जनकजननीमज्जगदिदम्॥
tavādhāre mūle saha samayayā lāsyaparayā
navātmānaṁ manye navarasamahātāṇḍavanaṭam |
ubhābhyāmetābhyāmudayavidhimuddiśya dayayā
sanāthābhyāṁ jajñe janakajananīmajjagadidam ||
tava adhāre mūle – Your mūlādhāra chakra; saha samayayā – along with Samaya; lāsya parayā – overwhelmed with emotional dancing; nava ātmānaṁ - Śiva, expressing nine types of manifestations; manye – meditate; navarasa mahātāṇḍava naṭam – the great dance with nine types of expressions; ubhābhyām etābhyām – these Two; udaya vidhim uddiśya – for re-creating the universe; dayayā sanāthābhyāṁ - coming together due to compassion; jajñe – become; janaka-jananīmat jagat idam – like father and mother of this universe.
“I worship in mūlādhāra chakra, Śiva, who dances with nine types of expressions along with Samaya dancing with overwhelming emotions. When both of You unite out of compassion to create the universe and thus You become father and mother of the universe.”
Once again, Śaṁkarācārya, in his unique style worships both Śiva and Śakti together, as the one without the other cannot function. After worshipping both of them, in all other psychic canters, he finally worships them in the base chakra (mūlādhāra chakra). In this chakra, Śiva is in the form of “svayambhu liṅga” and Parāśakti is in the form of Kuṇḍalinī, who is described in Lalitā Sahasranāma 110 Kuṇḍalinī कुण्डलिनी. The vital energy of prāṇa is called kuṇḍalinī.  This lies in the mūlādhāra cakra in the midst of fire that keeps biological body warm.  Any modification in the intensity of this fire causes sickness.  The sound of the Kuṇḍalinī can be felt by anyone.  If one closes both his ears tightly, he can listen to a hissing sound, the sound of Kuṇḍalinī within.  The base cakra is a triangle where icchā, jñāna and kriyā śakti-s (desire, knowledge and action) form the three sides.  From these three śakti-s (potencies) the sound of OM a, u and m is generated.  Yoga-vāsiṣṭha (the compendium of teachings of sage Vāsiṣṭha to Lord Rāma) in nirvāna prakaraṇa (the last of six chapters) talks about Kuṇḍalinī.  Sage Vāsiṣṭha says to Lord Rāma “Like the coiled body of a serpent when it sleeps…like a plantain flower it is exceedingly delicate within…hissing like an angry female serpent…causing fluctuations in the mind.  All other nādi-s are connected with this.  This becomes purified only by the rays of jñāna or knowledge….thus this Śaktī rejoices in the name of puryaṣṭaka*.  Should the upward and downward actions of this Kuṇḍalinī śakti be arrested by the control of prāṇa and this prāṇa be made to rest in the heart, diseases will never affect those who have such control.” 
*{Further reading on puryaṣṭaka: (as told by sage Vāsiṣṭha to Lord Rama in Yoga-vāsiṣṭha - VI. 5).  Brahman who is without beginning or end and which is the seed of the universe, becoming differentiated is jīva (soul); subjecting itself to the idea of separateness, it becomes ahaṃkāra (ego) with manana (contemplation), it becomes manas (mind); with the certainty of intelligence, it becomes buddhi (intellect); then the five elements (sound, etc) through indriyā-s (sensory organs).  With the thought of the body, it becomes the body itself; with the thought of a vessel, it becomes the vessel.  A form (subtle body), having such a nature is called puryaṣṭaka body or eight constituents of the body.  The eight constituents are mind, ego, intellect, sound, touch, sight, taste and smell, the last five together known as tanmātra-s.}
The verse says that both Śiva and Śakti dance together to create the universe. Dance by Śiva is known a tāṇḍava and dance by Śakti is known as nāṭya. This verse addresses Śiva as Navātman and Śakti as Samaya. Navātman refers to nine types of expressive manifestations of Śiva, as explained in Soundarya laharī verse 34 and they are Śiva, Sadaśiva, Īśvara, Vidyā Māyā, Kalā, Niyati, Puruṣa and Prakṛti. If this is interpreted as vyūha (distribution or arrangement) then it means time (past, present and future), infinite numbers (referring to multitude of beings), names (identification), knowledge, consciousness (comprising mind, intellect, consciousness and ego, known as antaḥkaraṇa), nāda (sound), bindu (six psychic chakras), kalā (atom, the source of creation) and individual souls. In the same way, Parāśakti too has nine different vyūha-s such as, Vāmā, Jyeṣṭhā, Raudrī and Ambikā (representing four triangles of Śrīcakra facing upwards) and three śakti-s viz. icchā, jñāna and kriyā śakti-s, śānta and parā (five triangles of Śrīcakra facing downwards). But both Śiva and Śakti have nine common attributes that are reflected during their cosmic dance and they are love, heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and warmth. Lalitā Sahasranāma 376 śṛṅgāra-rasa-saṁpūrṇā says śṛṅgāra rasa (love) is the cause for other rasa-s.
During creation both Śiva and Śakti dance together wherein śṛṅgāra-rasa is predominant. This is known as Cosmic Union. At the time of annihilation, Śiva alone dances and Śakti only witnesses His fierce mahātāṇḍava (Lalitā Sahasranāma 232 - maheśvara-mahākalpmahātāṇḍava-sākṣiṇi). As result of their Cosmic Union, universe is created. They continue to remain united during sustenance of the universe. When Śiva moves away from Śakti, it triggers annihilation. Annihilation is caused by withdrawal of gravitational force. When both of them are separated, gravitational force is lost. Hence the perpetual union of Śiva and Śakti is paramount in sustaining this universe and this is the reason for worshipping them together as a single entity. Hence they are called father and mother of the universe. Poet Kālidāsa says in his Raghuvaṃśa “jagataḥ pitarau  vande pārvati parameśvarau जगतः पितरौ  वन्दे पार्वति परमेश्वरौ” which means that Pārvati and Parameśvara are parents of the universe.
This verse adores Her as Samaya. In kuṇḍalinī meditation, which is Her most secretive worship, She is adored as Samaya. Lalitā Sahasranāma 98 says Samayācāra-tatparā समयाचार-तत्परा and is explained as follows. This will explain why She is adored as Samaya and why this kind of worship is secretive in nature.
Worshipping Lalitai in the cakra-s of kuṇḍalinī, beginning from mūlādhāra cakra is called samayācāra.  This is explained in Rudrayāmala, an ancient scripture, as told by Śiva Himself to Śaktī.  This nāma means that She likes samayācāra worship.  This worship can be done only mentally.  Initiation from a Guru is the first step in this worship.  This initiation will culminate in pūrṇa abhiṣeka (mantra bath) that will be performed by guru to the disciple.  The initiation by the guru will make the kuṇḍalinī ascend from the perineum to the six cakra-s.  Guru will guide his disciple at each level and at each cakra.  Guru will not perform the mantra bath on the disciple unless he is convinced that the disciple has attained a particular stage from where, the disciple could carryon on his own.  Guru also will not perform this ritual unless the disciple pursues the right path of Self realisation.  After this ritual of mantra bath, there is yet another ritual called mahā veda samskāra, a fire ritual.  This mahā veda saṃskāra will be done only on the day of mahā navami (ninth day of Dasara celebrations) which occurs once in a year. (After completing all such formalities, the sādhaka (practitioner) will have to go to an isolated place and commences his samayācāra meditation, i.e. meditation on the six cakra-s and the sahasrāra.  There is a prescribed procedure for this worship.
Kuṇḍalinī is aroused from the perineum and taken to mūlādhāra cakra.  She is in Her subtle form viz. mantra form in this cakra.  From mūlādhāra cakra, She is taken to the next higher cakra viz. svādhiṣṭhāna cakra.  She has to be mentally worshipped in this cakra.  She is in Her subtler form viz. kāmakalā form at this stage.  After the worship at this cakra, She is adorned with rich clothes and ornaments. Remember that everything associated with Her is red in colour. She is then taken to maṇipūraka cakra.  At this stage, changes occur in the gross body of the sādhaka.  People around him start noticing these changes.  In this cakra, She is offered arghya, pādya, etc (washing Her hands and feet) and She accepts the offerings made by the sādhaka. Then She is made to adorn the throne that has been discussed in nāma 3.  In this cakra She is in Her subtlest form viz. Kuṇḍalinī.  Kuṇḍalinī energy gets the name of Kuṇḍalinī only from the navel cakra.  From this cakra onwards, She becomes very powerful.  It is to be remembered that this is a mental worship that happens within.
Then she is taken to the heart cakra or anāhata cakra, where She is offered betel leaves (karpūra vītikā -  nāma 26).  She is then taken to viśuddhi cakra where is worshiped with ārati. Ārati means offering (showing) various types of lamps lit with pure ghee (clarified butter).  Each such ārati has its own significance.  For example pañca ārati means the five elements, ‘pūrṇa kumbha ārati signifies that everything was created out of totality and everything merges in totality.  From viśuddhi cakra, she is then taken to ājñā cakra, where is offered ‘karpūra ārati.  karpūra ārati means ārati lit with camphor.  Ārati with camphor has a lot of significance (Pure camphor is not easily available nowadays.  If pure camphor is not available, it is better to use a ghee lamp, which does not cause pollution.  The soot coming out of impure camphor affects the purity of the energy level that prevails during rituals.)  She is adorned with garlands of sweet smelling flowers and perfumes.  She is to be visualized as a bride at this stage.  She is then taken to sahasrāra where Śiva is waiting for Her.  When She enters sahasrāra, a veil is placed around them and the sādhaka awaits Her return.  Once She returns from sahasrāra, She is taken back to mūlādhāra cakra. 
This nāma means that She likes this type of worship.  Kuṇḍalinī meditation is highlighted here. Śaktī alone can take one to Śiva, the Supreme Brahman.  The Supreme Brahman is Śiva and Śaktī is māyā.  There is yet another interpretation possible for this nāma.  Kuṇḍalinī represents jīva-ātma or soul.  Soul is a dynamic energy where our karma-s are embedded.  When the soul merges with Paramātma or the Brahman, this is called Śiva-Śaktī union.  The merger of jivātma with Paramātma is discussed in this nāma.  Further it is also emphasized that emancipation can take place only if Kuṇḍalinī reaches sahasrāra.  Repeated practice of this samāyāchara worship is necessary to stay with the Brahman forever. 
As far as this verse is concerned, Śaṁkarācārya visualises both Śiva and Śakti dancing together, causing creation of the universe. It is pertinent to note that in all the six psychic centres, he visualised both of them together.
With this verse, the first part of Soundarya laharī known as Ānandalaharī consisting forty one verses is completed. The second part known as Soundarya laharī consists of fifty nine verses, describes Her beauty and elegance.
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42
Beginning from this verse, Śaṁkarācārya describes Parāśakti’s gross form. For Gods, description begins from feet to head and for Goddesses it begins from head to feet. This portion of this Scripture is known as Soundarya laharī (saundarya means beauty) and verses beginning from one to forty one are known as Ānandalaharī. Soundarya laharī is based on samayācāra worship, where She is adored as Samaya, who has been briefly described in the previous verse.
There are two views on the second section of Soundarya laharī. First section comprising of 41 verses described Her subtle forms. Particularly the last few verses dealt with Her subtlest form kuṇḍalinī. Her relationship with Śiva was also dealt with in detail in the previous section. After having read and understood the previous section, an aspirant gets ready to meditate on Her. In order to effectively contemplate Her, Śaṁkarācārya has conceptualised the second part, which describes Her gross form. Basically, this section will be helpful only to those, who are not able to meditate on Her formless form. There is also another view that this part is meant only for those who have just entered spiritual path, setting aside all the rituals. It is believed that they cannot easily contemplate on Her and in order to help them, Śaṁkarācārya has authored the second part known as Saundaryalaharī. Saundarya means beauty and lahari means large waves. Therefore, Soundarya laharī means waves of beauty. Some of these verses are too secretive and intimate in nature. The previous part is known as Ānandalaharī, the waves of Bliss. Naturally, a question arises, as to how a great saint like Śaṁkarācārya could describe Her feminine beauty in such a depth. It is only the mindset of the aspirants that count and the way they perceive Her. Misperception clearly indicates the immaturity of the aspirant and he has to tread a lot of distance to make an entry into spiritual path. A great saint like him looks at everything as Her Grace. He did not find any difference between wealth, women and logs. For him, everything is Brahman.
गतैर्माणिक्यत्वं गगनमणिभिः सान्द्रघटितं
किरीटं ते हैमं हिमगिरिसुते कीर्तयति यः।
स नीडेयच्छायाच्छुरणशबलं चन्द्रशकलं
धनुः शौनासीरं किमिति न निबध्नाति धिषणाम्॥
gatairmāṇikyatvaṁ gaganamaṇibhiḥ sāndraghaṭitaṁ
kirīṭaṁ te haimaṁ himagirisute kīrtayati yaḥ |
sa nīḍeyacchāyācchuraṇaśabalaṁ candraśakalaṁ
dhanuḥ śaunāsīraṁ kimiti na nibadhnāti dhiṣaṇām ||
gataiḥ māṇikyatvaṁ - attaining the qualities of rubies; gaganamaṇibhiḥ - like twelve suns; sāndra ghaṭitaṁ - closely embedded; kirīṭaṁ te haimaṁ - Your golden crown; himagiri sute – daughter of king of snow clad Mountains; kīrtayati yaḥ sa – the one who praises; nīḍe yat chāyāt cchuraṇa śabalaṁ - reflections of the embedded gems in the crown; candra śakalaṁ - rays of the moon; dhanuḥ śaunāsīraṁ - Indra’s bow; kimiti na nibadhnāti – will he not decide; dhiṣaṇām – intelligence.
“O! Daughter of King of snow clad Mountains! Your golden crown closely embedded with gems, shine like twelve suns, which derive the colour of ruby. Will not the intelligent one, who sings Your praise see this reflection as the rays of moon causing rainbow?”
This verse talks about Her crown, which is fully embedded with precious gems. These gems are closely embedded on gold, leaving no space between them. The rays emanating from these gems appear like twelve suns, known as dvādaśāditya-s (dvādaśa means numeric twelve and āditya means sun). It is believed that there are twelve suns, each shining for a month in rotation.  Astronomically, for every calendar month, a sun presides over. The rays emanating from Her crown appear as if all the twelve suns appear simultaneously, deriving the qualities of the gems embedded in Her crown (referring to multiple colours). It is also said that these twelve suns, unable to have Her glimpse from close quarters, have taken the forms of precious gems and adored Her crown and thus have the benefit of worshipping Her perpetually.  This transformation of suns into gems adoring Her crown is described in this verse. An intelligent poet could interpret this radiance emanating from Her gems studded crown could mistake it as moon rays or as a rainbow. An intelligent poet only looks at Her as an embodiment of compassion and Grace. In spite of the twelve suns adoring Her crown, the great poet, who is totally devoted to Her visualizes moon, which is of cool nature as opposed to the extreme heat of twelve suns.
When Śaṁkarācārya speaks about rainbow, it could mean six psychic chakras and sahasrāra, as the chakras have the colours of the rainbow (VIBGYOR – beginning from sahasrāra to mūladhāra). After having immersed in the bliss caused by the first part, the aspirant’s kuṇḍalinī has ascended to sahasrāra, activating all the chakras below. When he speaks about moon, he could be referring to bindu in sahasrāra, from which nectar drips down into throat during meditation. Śaṁkarācārya could have conceptualized this description for the sake of advanced aspirants.  
An aspirant should contemplate Her gem studded crown as the one that lustrously shines like a rainbow. At the end of this section, the aspirant could easily conceptualize Her.
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43
धुनोतु ध्वान्तं नस्तुलितदलितेन्दीवरवनं
घनस्निग्धश्लक्ष्णं चिकुरनिकुरुम्बं तव शिवे।
यदीयं सौरभ्यं सहजमुपलब्धुं सुमनसो
वसन्त्यस्मिन्मन्ये वलमथनवाटीविटपिनाम्॥
dhunotu dhvāntaṁ nastulitadalitendīvaravanaṁ
ghanasnigdhaślakṣṇaṁ cikuranikurumbaṁ tava śive |
yadīyaṁ saurabhyaṁ sahajamupalabdhuṁ sumanaso
vasantyasminmanye valamathanavāṭīviṭapinām ||
dhunotu – remove; dhvāntaṁ - darkness; naḥ - ours;  tulita dalita indīvara vanaṁ - in the forest of fully blossomed blue lotus flowers (Nymphaea Cyanea); ghana snigdha ślakṣṇaṁ - thick, soft and lustrous; cikura nikurumbaṁ - thick hair; tava śive – O! Consort of Śiva; yadīyaṁ saurabhyaṁ sahajam upalabdhuṁ - the hair having natural fragrance; sumanasa – divine fragrant flowers; vasanty asmin manye – I presume they live there; vala mathana vāṭī viṭapinām – belonging to the divine garden of Indra.
“O! Consort of Śiva! Your dark, thick, naturally fragrant, soft, lustrous hair appear like a forest of fully blossomed blue coloured lotus flowers, removes our darkness of ignorance. I presume that divine flowers in Indra’s garden live in your hair to get their fragrance.”
Parāśakti’s hair is described in this verse, after having described Her crown in the previous verse.  Śaṁkarācārya contemplates Her hair as a thick forest, full of fully blossomed blue colour lotus flowers. He further says that divine flowers reared in Indra’s garden take a sojourn (verse says living there) in Her hair to derive their fragrance.
This is a sterling description on two counts. One, the natural fragrance of Her hair. Even the divine flowers that are reared in Indra’s garden derive their fragrance only from Her hair. Flowers in Indra’s garden are the most fragrant of all the flowers. Even these flowers derive their fragrance only from Her hair. This means that highly fragrant flowers on earth like, jasmine, etc become incomparable. Secondly, he describes Her hair as lustrous blue in colour. Śaṁkarācārya’s description of Her hair is in no way different from Vāk Devi-s description of Her hair. Vāk Devi-s in Lalitā Sahasranāma 185 say, nīlacikurā, meaning that Her hair is in indigo colour.
There are two interpretations possible for indigo (blue) colour of Her hair. In the previous verse, it has been described that Her crown is made up of innumerable precious gems, whose shine cause a rainbow. These gems get reflected in Her naturally shining thick black hair and make the hair appear in indigo colour. Another possible interpretation is given in my Lalitā Sahasranāma book for nāma 185, which is reproduced below.
“Ājñā cakra is associated with indigo colour (nīla).  Nīla-cikura could mean the back head cakra, situated just behind ājñā cakra at the back of the head (just above medulla oblongata) that is fully covered by hair.  Priests have their tuft in the back head cakra. When back head cakra is well developed, one can see anything happening in the world.  It also helps in establishing cosmic commune. This cakra is considered to be highly secretive in nature.  Some are of the opinion that tuft is kept here in order to prevent others from noticing this place.  The area in which this cakra is located protrudes predominantly, when fully activated. Cikura also means a mountain, possibly indicating this protrusion.  This cakra receives cosmic energy.  In other words, by developing nīla-cikura (back head cakra), one can realize Her Self illuminating form, which is indigo in colour.”
Ājñā cakra controls the mind. If ājñā cakra is fully active, it means that mind is under control. Mundane mind is naturally prone to sensory afflictions. When ājñā cakra is activated, mind becomes pure dispelling the darkness of ignorance, leading to maiden experience of bliss and this message is subtly conveyed through this verse.
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44
तनोतु क्षेमं नस्तव  वदनसौन्दर्यलहरी-
परीवाहस्रोतः सरणिरिव सीमन्तसरणिः।
वहन्ती सिन्दूरं प्रबलकबरीभारतिमिर-
द्विषां बृन्दैर्बन्दीकृतमिव नवीनार्ककिरणम्॥
tanotu kṣemaṁ nastava  vadanasaundaryalaharī-
parīvāhasrotaḥ saraṇiriva sīmantasaraṇiḥ |
vahantī sindūraṁ prabalakabarībhāratimira-
dviṣāṁ bṛndairbandīkṛtamiva navīnārkakiraṇam ||
tanotu kṣemaṁ - blessed with liberation; naḥ - ours; tava – Your; vadana saundarya laharī – waves of beauty of Your face; parī vāha srotaḥ saraṇiriva – overflowing like a stream; sīmanta saraṇiḥ - parted hair; vahantī sindūraṁ - wearing vermilion; prabala kabarī bhāra timira dviṣāṁ bṛndaiḥ - darkness of the thick hair; bandī kṛtam iva – like imprisonment; navīna arka kiraṇam – sun at dawn.
“Your thick and dark parting hair appearing like imprisoned enemies; the vermilion adorned on your parted hair appears like the sun at dawn. The centre of the parted portion appears like an overflowing stream, with the waves of beauty of Your face.”
Parāśakti’s hair is being described in this verse. She has the most beautiful face, for which no comparison can be drawn. She has thick and dark hair which is parted in the center causing a line. At the end of this line, which is the top portion of the center of Her forehead, She is adorned with vermilion.  Placing vermilion at the top of the forehead is a symbol of auspiciousness.  When the hair is parted on the top of the head, white colour of the skull becomes visible and the verse says that this parting appears like a stream overflowing with flood water. There has to be an origin for the floods and Śaṁkarācārya says that the flood originates from Her face, which is the ocean of beauty (Soundarya laharī). Lahari means waves and waves appear only in the shore and not in the centre of the ocean. He subtly conveys that the beauty of Her face that is visible to us is only a miniscule of Her glorious beauty and is beyond normal human comprehension. The flood appearing like waves of ocean is caused by the overflowing beauty of Her face. The vermilion placed in the centre has thick and dark hair on both sides. The vermilion in the centre appears like the rising sun (vermillion is red in colour), which dispels darkness. Śaṁkarācārya prays to Her that the auspiciousness of this vermillion should liberate Her devotees from the pains of transmigration. Cycles of births and deaths are always painful.
This verse can be further explained. Darkness of the hair is māyā, which also originates from Her. Māyā is inherent in everyone and can be dispelled only by surrendering to Her. The will to surrender is initiated by the vermillion on Her face. Dark hair is symbolically projected to mean attachment to the material world. Attachment to the material world is caused due to the predominance of non-essential ego. Though essential ego is needed to exist in a body, non-essential ego is to be destroyed, as this alone causes attachment to the material world by afflicting the mind. Mind is afflicted through sensory organs. Liberation can be attained only through a clean mind. A mind is said to be afflicted, when it is pervaded by material desires, attachments, etc. This is known as saṁsāra or mundane existence. In order to get rid of saṁsāra, one has to mentally surrender unto Her, which is the only way to liberation. A doubt may arise as to why Śaṁkarācārya has not described the centre of the parted hair as a river instead of a stream. River refers to macrocosm (Self), whereas a stream refers to microcosm (self). As this Divine vision pertains to un-liberated and mundane human, he had chosen to dwell only on microcosm.
Lalitā Sahasranāma (632) Sindūra-tilakāñcitā also says that She wears vermillion. The first dhyāna verse Lalitā Sahasranāma describes Her form as sindūrāruṇa-vigrahāṃ, which means that Her complexion itself is in the form of vermillion. Vermillion is red in colour; red colour always represents compassion and She is an embodiment of compassion. This is also conveyed through this verse.
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45
अरालैः स्वाभाव्यादलिकलभसश्रीभिरलकैः
परीतं ते वक्त्रं परिहसति पङ्केरुहरुचिम्।
दरस्मेरे यस्मिन् दशनरुचिकिञ्जल्करुचिरे
सुगन्धौ माद्यन्ति स्मरदहनचक्षुर्मधुलिहः॥
arālaiḥ svābhāvyādalikalabhasaśrībhiralakaiḥ
parītaṁ te vaktraṁ parihasati paṅkeruharucim |
darasmere yasmin daśanarucikiñjalkarucire
sugandhau mādyanti smaradahanacakṣurmadhulihaḥ ||
arālaiḥ svābhāvyāt – naturally fragrant; ali kalabha saśrībhiḥ - beautiful like young bees (kalabha specifically refers to an young elephant or young camel and here it is used to mean young bees); alakaiḥ - curls; parītaṁ te vaktraṁ - surrounding Your face; parihasati – laughs at (mockery); paṅkeruha rucim – beautiful like lotus flowers; dara smere – soft smile; yasmin – on Your face; daśana ruci kiñjalka rucire – being lustrous because of Your teeth; sugandhau mādyanti – fragrance that gives joy; smara dahan acakṣur madhulihaḥ - bees resembling the eyes of Śiva, who burnt Manmatha.
“Your face is surrounded by Your curly hair, appearing beautiful like a swarm of young bees, making mockery of the beauty of lotus flowers. Soft smile on Your face, which appears lustrous because of Your gleaming teeth, which are so fragrant, due to which these bees swarm around Your face, like the eyes of Śiva.”
Parāśakti’s face, which is beyond any description, is compared to that of a lotus flower. Even then, this description only mocks at the lotus flowers, as Her face cannot be compared to any visual objects. She has curly hair that fall on Her forehead, which appear like a swarm of young bees, adding beauty to Her face. The verse, by referring to young bees, conveys the softness of Her hair. Bees in general are black in colour and by comparing Her hair to bees, Śaṁkarācārya indirectly refers to the glowing dark colour of Her hair. When She smiles, Her white teeth shines, enhancing the beauty of Her face. The young bees, which hover around Her beautiful face are compared to the eyes of Śiva. The verse says that even Śiva, who burnt Manmatha, is attracted by Her beautiful face.
Lotus has delicious nectar inside the pollen and bees naturally swarm lotus flowers to get the best quality of honey. When they swarm around a lotus, the scenic beauty appears like Her eyes. Bees are compared to eyelashes and the white stem within the lotus petals are compared to Her teeth. All the lotus flowers do not have white stigmas, but only rare species of lotus family. By saying so, Śaṁkarācārya has conveyed that the of beauty of Her face is unique.
Śrī Śakti mahimnaḥ (verse 39) also compares Her face to that of a fully blossomed lotus and Her teeth to that of jasmine flowers. Lalitā Sahasranāma 25 Śuddha-vidhyāṅkurākāra-dhvijapakṅti-dvayojvalā describes Her teeth thus:
Her teeth appear like Śuddha-vidyā, which means Śrī Vidyā.  Śrī Vidyā is considered as the most secret and powerful ritual worship of Lalitāmbikā.  This involves a lot of rituals and each ritual has its own meaning and interpretation.  Śuddha means pure, vidyā means knowledge and Śuddha-vidyā means pure knowledge.  This is considered pure because this upāsana mārg or the cult of Śrī Vidyā worship emphasizes the non-duality, ‘I am That’ concept.
The Ṣodaśī mantra is considered as the seed for Śrī Vidyā.  It has sixteen bīja-s.  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 soul (jīva) and (Brahman) God are considered as different out of ignorance when both remain the same.  Śrī Vidyā worship is to be done in seclusion, understanding the significance and meanings of the procedures.  Then only the worship yields results. 
In the mantra initiation procedures of Devi, there are thirty two types of dīkśa (types of initiation). Yet another interpretation is also possible.  This Sahasranāma starts only with 32 letters out of the 51 alphabets in Sanskrit.  This 32 represents Her teeth.  This could also mean that the initiation into Śrī Vidyā cult is to be done verbally by Guru to his disciple.
{Further reading on Śuddha-vidyā: This is the fifteenth tattva, counting from Śiva.  In this tattva, the consciousness of both “I” and “This” is equally predominant. Though the germinal universe is seen differently, yet identity runs through it as a thread.  There is identity in diversity at this stage.  Kriya is predominant tattva here.  The consciousness of this state is ‘I am, I and also this’.  Vidyā tattva consists of Śuddha-vidyā, sahaja vidyā and kañcuka (limited knowledge). Vidyātattva consists of śuddhavidyā, sahajavidyā and vidyākañcuka. Śuddhavidyā here is the same as sadvidyā (fifth tattva), while sahajavidyā is natural knowledge (not a tattva). Natural knowledge implies the emergence of His Freedom. As sahajavidyā (natural knowledge) is also known as śuddhavidyā (pure knowledge). }
These verses attempt to describe Her beauty, so that, aspirants can comfortably visualize Her form.
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46
लल्लाटं लावण्यद्युतिविमलमाभाति तव यत्
द्वितीयं तन्मन्ये मुकुटघटितं चन्द्रशकलम्।
विपर्यासन्यामादुभयमपि संभूय च मिथः
सुधालेपस्यूतिः परिणमति राकाहिमकरः॥
lallāṭaṁ lāvaṇyadyutivimalamābhāti tava yat
dvitīyaṁ tanmanye mukuṭaghaṭitaṁ candraśakalam |
viparyāsanyāmādubhayamapi saṁbhūya ca mithaḥ
sudhālepasyūtiḥ pariṇamati rākāhimakaraḥ ||
lallāṭaṁ - forehead; lāvaṇya dyuti vimalam ābhāti – spotless, splendorous and illuminating charm; tava yat – belonging to You; dvitīyaṁ - second; tan manye – I believe; mukuṭa ghaṭitaṁ - fastened to the diadem; candra śakalam – crescent moon; viparyā sanyāmāt – upside-down; ubhayam api saṁbhūya ca mithaḥ - joining both the ends together; sudhā lepa syūtiḥ - endowed with ambrosia; pariṇamati – transforming into; rākāhimakaraḥ - like full moon.
“I believe that spotless, splendorous and illuminating charm of Your forehead is another crescent moon fastened to Your diadem upside-down and joining together both the ends (of these two crescent moons), appear like a full moon causing the secretion of ambrosia.”
Meditation on sahasrāra and beyond with Ṣoḍaśi mantra is secretively conveyed through this verse. In the ancient Scripture by name Ṣaṭcakra Nirūpaṇa, (verse 41), sahasrāra is described as appearing like a full moon without any blemishes, perpetually shining and sheds profuse cool nectar (sudhā). This verse refers to two crescent moons and these two moons can be compared to Śiva and Śakti. Śiva always remains in Parābindu at sahasrāra and Śakti in Her subtlest form kuṇḍalinī, ascends to sahasrāra and conjoins Her Consort Lord Śiva. As a result of this union, Ṣaṭcakra Nirūpaṇa, (verse 43) says, nectar like essence drips down signalling the union of Jīvātman with Paramātman. The Bliss arsing out of this union is known as Paramahaṁsaḥ. After this union, a sādhaka (practitioner) becomes a Yogī. His spiritual sādhana comes to end at this stage. There are innumerable explanations on this Divine Union; however, the essence of all interpretations remains the same. (In advance meditation, one can effortlessly experience this flow of nectar, almost daily, within few minutes from the commencement of meditation. In rare cases, even without meditation, the nectar begins to flow, when the divine energy begins to overflow from the body. To reach this stage, all chakras from ājñācakra upwards have to be active incessantly (perpetual meditation). The flow of nectar from sahasrāra is also known as nectar of Mercy, which is explained as the essence of Brahma-mantra, which can be interpreted in two ways. It signifies great mantras like – Om (praṇava), haṁsaḥ (paraprāsāda mantra), sauḥ (parābīja), Ṣoḍaśī, Pañcākṣarī (om namaśivāya) or Aṣṭākṣarī (om namo nārāyaṇāya). Alternatively, Brahma-mantra could mean a mantra initiated by one’s Guru. However, it is important to note that mantra alone is not the cause for Their Mercy. Mantra plays only a secondary role in reaching this stage, the primary role being in the state of sthitaprajña, where mind is totally purged of all impurities. Only in this state of mind, mahāvākya-s (ahaṁ brahmāsmi or I am That) can be efficaciously affirmed. One can afford to commit occasional mistakes while performing a ritual, but one cannot afford to commit to an atom of error while pursuing spiritual path to attain the ultimate Goal. A serious aspirant will have too many doubts, both trivial and serious, while pursuing his spiritual Goal. He should get all his doubts clarified from his Guru and should not proceed with lingering doubts in his mind, as She will be realized only in the mind. If doubts persist, affirmations (mahāvākya-s) will not have any impact on the mind. The role of a learned Guru is extremely important in spiritual practices. Spiritual practice means, attaining Brahman without performing any rituals.
On the grosser side, the verse says that Her forehead appears like an inverted crescent moon. She has already one crescent moon on Her diadem (Both Śiva and Śakti have crescent moon on their diadems). If these two crescent moons are joined together at the two ends of the two moons, they appear like a full moon. Lalitā Sahasranāma 15 Aṣṭamī -candra-vibrāja-dhalika-sthala-śobhitā describes Her forehead as “Her forehead appears like the moon on the eighth day.  Eighth day from the full moon or new moon is called asḥṭamī.  The moon appears beautiful with even curves on both sides on eighth lunar day”.  This interpretation is very significant and this verse is based on this nāma. The two crescent moons referred in this verse are asḥṭamī moons, the moon appearing on eighth lunar day, when two sides are equal. When two asḥṭamī moons, one facing upwards and one facing downwards join together, a full moon is formed. But this is not the luminary moon. This moon is Her face, without any blemishes. Planet moon appears with some dark patches, but Her face does not have any such blemishes.
A Yogī will never have any blemishes, though he may live a normal life.
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47
भ्रुवौ भुग्ने किञ्चिद्भुवनभयभङ्गव्यसनिनि
त्वदीये नेत्राभ्यां मधुकररुचिभ्यां धृतगुणम्।
धनुर्मन्ये सव्येतरकरगृहीतं रतिपतेः
प्रकोष्ठे मुष्टौ च स्थगयति निगुढान्तरमुमे॥
bhruvau bhugne kiñcidbhuvanabhayabhaṅgavyasanini
tvadīye netrābhyāṁ madhukararucibhyāṁ dhṛtaguṇam |
dhanurmanye savyetarakaragṛhītaṁ ratipateḥ
prakoṣṭhe muṣṭau ca sthagayati niguḍhāntaramume ||
bhruvau – eyebrows; bhugne – curved; kiñcid – slightly; bhuvana bhaya bhaṅga vyasanini – taking great pains in dispelling the fear of all beings; tvadīye – Your; netrābhyāṁ - extraordinary eyes; madhukara rucibhyāṁ - splendorous like swarm of bees; dhṛtaguṇam – bow string; dhanuḥ - bow;  manye – believe; savya itara kara gṛhītaṁ - held in the left hand; ratipateḥ - spouse of Rati  (Manmatha); prakoṣṭhe muṣṭau ca – forearm and closed palm; sthagayati – hidden; niguḍhāntaram – middle part; ume – Umā.
“O! Umā! You take great pains in dispelling the fear of all beings. I believe that your extraordinary and splendorous eyes appear like swarm of bees. Your slightly curved eyebrows appear like the bow of Manmatha, who holds his bow in his closed left palm and as a result of which, the middle part of the bow is hidden by his forearm and fists.”
As Universal Mother, She has great concern for the beings of the world. The appropriate usage would be humans, instead of beings, as humans alone are endowed with fully functional mind.  Birth and death are always painful and the more painful part is the middle part between birth and death, which means the present life. Mind, by default is addicted to sensory organs, which have the capacity to confuse and delude the mind and cause desire, attachment, ego, pride, prejudice, anger, enmity, etc. These are the attributes that cause dualities in  mind. When there is pleasure, pain is bound to be there. When there is happiness, sadness is bound to be there. Duality manifests in alternate bouts, like a wheel going up and down. As no one is willing to understand and accept this reality and when life turns against them due to their karmic imprints, they are affected, both mentally and physically. As Universal Mother, She is not able to tolerate the sufferings of these spiritually nascent men and women. Material knowledge is completely different from spiritual knowledge. Material knowledge is huge like an ocean and spiritual knowledge is like a miniscule drop of water. Many pursue only material knowledge, as this can be purchased and pursued easily when compared to spiritual knowledge. Since spiritual knowledge is a miniscule drop of water, it has to be seen and understood with the help of a microscope (Guru, Upaniṣad-s, etc are microscopes). Material knowledge is easy to pursue because, it deals with matter. But, spiritual path is extremely difficult because, it deals with subtleties. As Universal Mother, She is highly concerned with the plight of spiritually ignorant humans as they continue to dwell only in dualities, known as avidyā (lack of knowledge about the Self, the subtlest of all), etc. She tries Her level best to rescue them from the pains of transmigration and that is why She pesters Śiva with so many questions. Śiva understands Her concern for the humanity and hence He patiently explains to Her, various ways and means to attain liberation. The sacred conversation between them is in the form of various Tantric Scriptures, consisting of various mantras, tantras, etc.
She is addressed as Umā in this verse. Umā can be explained in different ways. It means splendour, tranquillity, reputation, etc. Lalitā Sahasranāma 633 is Umā and is explained thus: “Her name is Umā.  She is the wife of Maheśvara and is known as Umā Maheśvara.  She was born to Himavān, the king of mountains and his wife Mena.  She started Her penance at the age of five to attain Maheśvara (Śiva) as Her husband.  
Śiva sūtra (I.13) says Icchā śaktir umā kumārī. Here Umā means splendour of Śiva.  One’s will power in constant commune with Śiva is also known as Umā.  The ever present “I” consciousness of Śiva which is free in knowing and doing all acts is known as Umā. 
Umā is the combination of three letters of OM – U + M + A, the praṇava.  U refers to creation, M refers to destruction and A refers to sustenance.  Therefore Umā also means the three acts of the Brahman.  Liṅga Purāṇa (133.44) says ‘the goddess is the mother of worlds’.  Liṅga Purāṇa further says “The goddess born of Rudra’s body rebuked Dakṣa and was born as Umā, the daughter of Himavān.  She is bowed to, by all the worlds.  Let her try to captivate the mind of Rudra by means of her beauty.  Through their union Lord Skanda will be born.”
The anāhata sound of heart cakra is also known as Umā. 
Umā is also known as Śaktī praṇava (klīṁ is also known as Śaktī praṇava).
Six year old girl is known as Umā. 
Kena Upaniṣad (III.12) says, bahuśobhamānām umāṁ haimavatīṁ which means a woman wearing many ornaments.  She is the combination of self-knowledge, splendour and grandeur.”
Kālikā Purāṇa interprets Umā in a different way. She was observing penance (for not listening to Śiva). Her mother advised Her not to practice austerities. It is explained that U refers to child (She was a child at the time of observing penance) and mā means negation or prohibition and contextually, it is said that Her mother had told Her not to observe penance. Indirectly and subtly this conveys that one should not waste his or her precious time in observing penances and instead contemplate Śiva to attain Him.
On the grosser side, the verse is interpreted as follows. She has beautiful and splendorous eyes which appear like a stream of honeybees. Her eyebrows are compared to the bow of Manmatha. When there is a bow, it has to have a sting. Śaṁkarācārya says that this sting is hidden by the upper arm of Manmatha’s left hand. The stream of bees is compared to the hidden sting of the bow. Sting of the bow is a straight line. Śaṁkarācārya subtly conveys that Her eyes are extended up to Her ears, a sign of beauty and auspiciousness. This verse uses the word “savya” to mean the left hand of Manmatha. Savya not only means left, but also right and thus Śaṁkarācārya says that She is worshipped by followers of dakṣiṇācāra and vāmācāra. This also means that liberation cannot be attained without Her Grace. Manmatha represents love. When devotion turns into love for Her, She begins to shower Her Grace on the aspirant. Love is the highest form of devotion, as love is expressed through mind and not by actions. Similarly, love for Her has to be developed in the mind and not externally, associating with too many rituals.
According to Sāmudrikalakṣaṇa (a treatise on body parts), following types of eyes are auspicious. Wide eyes (LS 936), eyes appearing like bow and arrow (this verse) and eyes appearing like a fish (Mīnalocaṇī) are described as not only beautiful, but also auspicious. All these descriptions perfectly fit Her eyes. There are several narrations about Her eyes both in Soundarya laharī and Lalitā Sahasranāma (18, 362, 561 and 601). Her eyes not only radiate love and compassion, but also material wealth and auspiciousness. She does not bless with Her hands like other gods and goddesses. Her Grace is expressed through Her eyes
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48
अहः सूते सव्यं तव नयनमर्कात्मकतया
त्रियामां वामं ते सृजति रजनीनायकतया।
तृतीया ते दृष्टिर्दरदलितहेमाम्बुजरुचिः
समाधत्ते संध्यां दिवसनिशयोरन्तरचरीम्॥
ahaḥ sūte savyaṁ tava nayanamarkātmakatayā
triyāmāṁ vāmaṁ te sṛjati rajanīnāyakatayā |
tṛtīyā te dṛṣṭirdaradalitahemāmbujaruciḥ
samādhatte saṁdhyāṁ divasaniśayorantaracarīm ||
ahaḥ - day time; sūte – brought forth; savyaṁ tava nayanam – Your right eye; arkātmakatayā – the greatness of the sun; triyāmāṁ - night; vāmaṁ te – Your left eye; sṛjati – create; rajanī nāyakataya – presiding over nights; tṛtīyā te dṛṣṭir – Your third eye; dara dalita hema ambuja ruciḥ - lustrous like a gold lotus flower blossoming; samādhatte – to cause; saṁdhyāṁ - twilight; divasa niśayoḥ arantara carīm – between day and night.
“Your right eye having the greatness of the sun brings daytime and Your left eye (having the greatness of the moon) presides over nights. Your third eye is the cause for twilight, which appears like a lusturous gold lotus flower, blossoming.”
The verse speaks about three time periods, daylight, twilight and night and these time periods work in a cyclic fashion, causing day, dusk, night, dawn, day, etc. Both dawn and dusk last only for a shorter period of time than day or night, indicating shorter duration of dream state in one’s consciousness. These three time periods refer to active state, dream state and deep sleep state, which occur in cycles. Thus the three stages of one’s consciousness are explained in this verse. By referring to the three stages of consciousness, Śaṃkarācārya says that Parāśakti presides not only over three time periods, but also the three stages of normal human consciousness, thereby proving Her omnipresence.
Śiva’s eyes are also compared to sun and moon and His third eye represents Agni (fire). By referring to Her third eye to the blossoming gold lotus flower, Śaṃkarācārya emphasises Her compassionate nature. Śiva’s third eye is dreadful and if He opens His third eye, it causes annihilation by fire. Śiva burnt Manmatha by opening His third eye. The fire that comes out of His third eye is known as kālāgni, the conflagration fire.  If Parāśakti opens Her third eye, it signifies Her Grace and compassion, hence blossoming of a lotus flower is taken as an example. Both Śiva and Śakti have third eye and this verse conveys this. This also goes to prove their similarity not only in the weaponries they hold, but also in their form.
She is worshipped as Saṁdhyā Devi during dawn and dusk. Certain rituals are performed during these times along with Gāyatrī japa and meditation. During these times, cosmic energy is at the highest level and any spiritual practice done during these times (dawn and dusk) will cause increase in spiritual energy of an aspirant.
Sun, moon and agni also refers to three important nāḍi-s of the body known as iḍā, piṅgala and suṣumna. She ascends through suṣumna in Her subtlest form kuṇḍalinī to unite with Śiva at sahasrāra. It can also be said that this verse talks about Her subtlest form, Kuṇḍalinī. Both iḍā and piṅgala nāḍi-s meet suṣumna at ājñā cakra (third eye), where Guru’s commands are received, which makes the aspirant to move to the higher stages of his spiritual life. In this stage, an aspirant is able to transcend normal stages of human consciousness, where all his thought processes are annihilated (by the fire at ājñā cakra) to realize Supreme Consciousness (Śiva) at sahasrāra. In the fourth and fifth stages of consciousness known as turyā and turyātīta, merger with Śiva takes place and where one is liberated and not reborn again. This subtle message is conveyed in this verse.
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49
विशाला कल्याणी स्फुटरुचिरयोध्या कुवलयैः
कृपाधाराधारा किमपि मधुराभोगवतिका।
अवन्ती दृष्टिस्ते बहुनगरविस्तारविजया
ध्रुवं तत्तन्नामव्यवहरणयोग्या विजयते॥
viśālā kalyāṇī sphuṭarucirayodhyā kuvalayaiḥ
kṛpādhārādhārā kimapi madhurābhogavatikā |
avantī dṛṣṭiste bahunagaravistāravijayā
dhruvaṁ tattannāmavyavaharaṇayogyā vijayate ||
viśāla1– wide; kalyāṇi2 – auspiciousness; sphuṭaruci ayodhya3 – fully blossomed, splendorous and irresistible; kuvalayaiḥ - blue water lilies; kṛpā dhārā dhārā4 – continuous flow of compassion; kimapi madhura5 – inexplicable charm; bhogavatikā6 – causing Bliss; avantī7 – protection; dṛṣṭiḥ te – Your eyes; bahu nagara vistāra vijaya8 – many great victorious cities; dhruva – permanently; tat tat nāma vyavaharaṇa yogyā – each of them worthy of being called by their respective names; vijayate – victorious.
“O! Parāśakti! Your wide eyes are full of auspiciousness appearing like fully blossomed beautiful and splendorous blue water lilies. They show continuous flow of compassion and inexplicable charm and causes blissfulness. They offer protection to the universe and appear multitude of victorious cities, each of them worthy of being recognized independently.”  
This verse describes Her eyes. They are wide, auspicious and appear like fully blossomed blue water lily flowers. They are compared to blue water lilies because these flowers are elongated and sharp at the tip. They are dark blue in color and the verse subtly conveys that Her eyes are blue in color, which enhances Her beauty. Typically speaking, such comparisons cannot be made, as She is beyond such objective comparisons. But, great saints like Śaṁkarācārya draw these comparisons to enable everyone to understand Her incomprehensible beauty. This description also explains Śaṁkarācārya’s knowledge. He could have drawn several other flowers as comparison; but he has chosen the most appropriate comparison to narrate the beauty of Her eyes. Śaṁkarācārya had the capacity to visit any place of his choice through astral travel and by doing so he could have decided that blue water lilies are the best comparison to describe Her eyes.
Lalitā Sahasranāma 936 is Viśālākṣī, which is explained thus: “The form of Lalitāmbikā does not have abhaya (a is used here to negate bhaya, which means fear) and varada (granting wishes, conferring a boon, ready to fulfil requests or answer prayers) hands.  Generally, forms of gods and goddesses are described with more than two hands. One hand which is known as varada hasta (hasta means hand) is said to confer boons and another hand known as abhaya hasta  removes fear, and offers peace, safety and security.  But Lalitāmbikā offers these through Her eyes.  Hence Her eyes are praised in many scriptures.”
Her glances are classified under eight categories and they are: (marked as above line numeric like 1,2 etc in the verse above.)
1. Viśālā – causes bliss within as a result of which excitement is experienced, which is known as saṃkśobha (She unfolds within as the Self, causing inner happiness, initial stages of bliss)
2. Kalyāṇi – excitement and as a result of which people are attracted and this is known as ākarṣaṇa (She attracts people who occasionally drift away from virtuousness.)
3. Ayodhyā – expanded eyes causing fear and panic, which is known as drāvaṇa (She is a terror to those who are perpetual sinners.)
4. Dhārā – sluggish look causing intoxication known as unmāda (causing bliss in the minds of Her devotees.)
5. Madhurā – melodic look causing attraction, known as vasya (attracting Her devotees towards Her and offers them liberation.)
6. Bhogavatī – romancing glance (She looks at Śiva with this glance).
7. Avanti – tranquilizing look (this is said to cause enmity.)
8. Vijayā – half-closed eyes causing death (māraṇa).
These eight types of glances are described as eight cities, representing eight types of inherent human qualities. There is a reference to this eight cities (referred as puryaṣṭaka – eight body parts) in Vivekacūḍamaṇi (verse 96), which says, “Five organs of action such as speech, five organs of knowledge such as ear, five prāṇa-s, five principle elements such ākāśa along with three constituents of antaḥkaraṇa – mind, intellect and ego. These eight “cities” form the subtle body.” {Puryaṣṭaka is also explained differently thus: (1) five organs of action (karmendriya-s), 2)  five organs of senses (jñānaendriya-s), 3) antaḥkaraṇa (four in numbers - manas, buddhi, cittam and ahaṃkāra or ego), 4) five prāṇa-s (prāṇa, apāṇa, etc), 5) five elements (ākāś, air, etc) 6) desire, 7) ignorance and 8) karma.} 
This is further explained in Lalitā Sahasranāma 662 Aṣṭamūrtiḥ: “She is eight fold.  Both Śiva and Śaktī are eight fold.  Eight forms of Śiva are Bhava, Śarva, Īśāna, Paśupati, Rudra, Ugra, Bhīma and Maha. Śaktī’s eight forms are known through Brāhmī, Māheśvarī, Kaumāri, Vaiśnavī, Vārahī, Māhendri, Cāmundā and Mahālakṣmī.  It is said that a soul is divided into eight categories based on the quality of the soul.  If soul is embedded with more karma-s, it is not considered as pure and the soul with least karmic account is considered as pure.  The purest forms of the souls are not born in the earth, but born as angels or super human forms.  Taking these as the two extremes, the eight forms of the soul are classified as follows. 1. Soul or jīva, 2. Inner self or antarātman, 3. Supreme Self or Paramātman, 4.  Untainted-ātman or nirmalātman, 5. Pure self or śudhātman, 6. Knowledgeable self or jñānātman, 7. Great self or mahātman, 8. Basic self or bhūtātman. 
The five basic elements and sun, moon and soul are considered as the eight types of bodies.  The authors of this Sahasranāma are eight Vāc Devi-s. 
Kṛṣṇa says in Bhagavad Gīta(VII.4 and 5) “Earth, water, fire, air, ether, mind, reason and ego constitute my eightfold. This indeed is My lower nature.”  When Kṛṣṇa says lower nature, naturally there has to be a higher nature which is known as the Supreme Consciousness or the Brahman. 
Based on the principle of omnipresent nature of the Brahman, whatever form of existence is the beingness of the Brahman only.  These eight dimensional forms or attributes merge together to form the Brahman.  It would be wise to say that these eight dimensional forms originated from the Brahman and each of the eight forms of Śiva or Śaktī represents an aspect of the Brahman.  Be it multidimensional or non-dimensional, every part of existence is Her form only, which is in conformity of Her omnipresent nature.” 
As far as this verse is concerned, it says that Parāśakti carries out all the acts of Brahman only through Her eyes. That is why great emphasis has been given to Her eyes in various Scriptures.
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50
कवीनां सन्दर्भस्तबकमकरन्दैकरसिकं
कटाक्षव्याक्षेपभ्रमरकलभौ कर्णयुगलम्।
अमुञ्चन्तौ दृष्ट्वा तव नवरसास्वादतरलौ
असूयासंसर्गादलिकनयनं किंचिदरुणम्॥
kavīnāṁ sandarbhastabakamakarandaikarasikaṁ
kaṭākṣavyākṣepabhramarakalabhau karṇayugalam |
amuñcantau dṛṣṭvā tava navarasāsvādataralau
asūyāsaṁsargādalikanayanaṁ kiṁcidaruṇam ||
kavīnāṁ - poets; sandarbha stabaka makarandaika rasikaṁ - consuming honey dripping from bunch of flowers; kaṭākṣa vyākṣepa bhramara kalabhau – appearing like two baby bees due to Your side glance; karṇayugalam – Your pair of ears; amuñcantau – without getting detached; dṛṣṭvā tava – Your looks; navarasa asvāda taralau – enjoying nine types of expressive emotions; asūyā saṁsargād alika nayanaṁ -Your third eye out of jealousy; kiṁcit aruṇam – slightly becoming red.
“Your pair of eyes, during Your side glance extend up to Your ears appear like baby bees, as if they are consuming honey (honey is compared to the compositions of poets) dripping from the bunch of flowers, representing nine types of expressive emotions (normally expressed by a dancer during performance). On observing the proximity of Your eyes to this situation, Your third eye turns red due to jealousy.”
There are several verses in praise of Her eyes, as She showers Her Grace only through Her eyes. Her mere side glance is capable of conferring Grace, which is an important milestone in the path of devotion.
This verse talks about the beauty of Her eyes. In the previous verse, Her eyes are compared to blue water lilies and this verse reconfirms the elongated shape of Her eyes reaching up to Her ears. When She makes a side glance, Her dark eye balls appear like baby bees. Great hymns are composed in Her praise like Lalitā Sahasranāma, Soundarya laharī, Mūkapañcaśatī (mūka means dumb), etc. Many of these great poetic Scriptures describe more about Her eyes and feet, through which She offers Her Grace. That is why many devotees pray to Her, “please be compassionate to me, open Your eyes and look at me.” Such great poets are able to visualize Her by highest level of contemplation and based upon their experience, they give these narrations.
Her third eye (ājjñā cakra) becomes jealous of Her two normal eyes, as it is not able to be present by the side of Her ears like Her normal eyes and because its position, it is not able to taste the nectar flowing from poetic compositions made in Her praise. Because of jealousy, Her third eyes turns red. This is in sharp contrast to the third eye of Śiva, when turns red is capable of annihilating the universe. When Śiva opens His third eye, it emits Kālāgni, the fire that is capable of annihilating the universe, as mentioned in Śrī Rudram. In accordance with Her compassionate nature, Her third eye is not described as fierce. It is just like Her other two eyes. Śiva’s third eye always remains closed and Her third eye always remains open as it always emits Grace.
The most interesting aspect of this verse is the visualization of Śaṁkarācārya regarding the flow of nectar from the compositions of great poets. It is not the composition of words alone that secrete the nectar. The main reason for the secretion of nectar from these poetic compositions is that the authors have put in their hearts and souls into their compositions. When these types of verses are rendered, at the time of rendition, it activates throat chakra and above resulting in the flow of ambrosia from sahasrāra towards throat chakra. This is taken as an example to describe how sweet these hymns are.
During normal meditation, when one is able to contemplate Her effectively, ambrosia will be secreted from sahasrāra, without even practicing kuṇḍalinī meditation and without any efforts on the part of an aspirant. During the highest stage of devotion, devotion gives way to love for Her. When this love becomes intent, two secretions happen, one internally and one externally. Internal secretion is from the skull that drips into throat area. This is described in Lalitā Sahasranāma 106 Sudhāsārabhi-varṣiṇī. External secretion is from the eyes in the form of tears. These two symptoms can be used to self-evaluate one’s level of devotion.
{Further reading: Lalitā Sahasranāma 106 is explained thus: There is one soma chakra in the middle of sahasrāra.  When Kuṇḍalinī reaches this cakra, out of the heat generated by Her presence, the ambrosia which is stored there gets melted and drips through the throat and enters the entire nervous system. Soma cakra is discussed in nāma 240. Tantric interpretation of this ambrosia differs from this interpretation. Saundarya Laharī (verse 10) says, “You drench the nādi-s (nerves) in the body with the flood of nectar gushing through Your feet.”
The followers of samayācāra, (worshipping Her through the cakra-s of Kuṇḍalinī, beginning from mūlādhāra is called samayācāra. Please refer nāma 98) both the planet moon and cit-candra-mandalā (nāma 240) (cit means foundational consciousness) at sahasrāra represent Śrī Cakra as both have similar qualities. Both shed nectar.  Her lotus feet deemed to shine in the moon region of Śrī Cakra.  Moon is the master of all medicinal herbs that are said to ooze divine water known as nectar.}
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51
शिवे शृङ्गारार्द्रा तदितरजने कुत्सनपरा
सरोषा गङ्गायां गिरिशचरिते विस्मयवती।
हराहिभ्यो भीता सरसिरुहसौभाग्यजननी
सखीषु स्मेरा ते मयि जननि दृष्टिः सक्रुणा॥
śive śṛṅgārārdrā taditarajane kutsanaparā
saroṣā gaṅgāyāṁ giriśacarite vismayavatī |
harāhibhyo bhītā sarasiruhasaubhāgyajananī
sakhīṣu smerā te mayi janani dṛṣṭiḥ sakruṇā ||
śive śṛṅgāra ārdrā – Soft and tender love for Śiva; tat itara jane – none except Him; kutsanaparā – expression of seriousness; saroṣa – full of anger; gaṅgāyāṁ - with Gaṅgā; giriśa carite – adventures of Śiva; vismayavatī – full of amazement; hara ahibha – fear from snakes adorned by Śiva; bhītā – frightened; sarasiruha saubhāgya jananī –resulting in redness like a lotus flower; sakhīṣu smerā – smiling at Her friends; te mayi janani dṛṣṭiḥ sakruṇā – Your compassionate glance at me.
“Your glance at Śiva expresses soft and tender love; Your glance all others except Śiva is full of seriousness; Your glance at Gaṅgā is full of anger; when You listen to the adventures of Śiva, your glance expresses amazement; when You notice snakes on Śiva, You express fear making Your face red like a lotus flower in a pond; when you look at your friends, You smile; when You look at me, Your glance is full of Grace.
This verse is one of the master pieces of Śaṁkarācārya. This verse elucidates eight types of Parāśakti’s expressions. The same Parāśakti under different circumstances express different types of emotions.
1. On seeing Śiva, Her Consort, She expresses tender and soft love.
2. On seeing others except Śiva, She expresses seriousness.
3. On seeing Gaṅgā at the top of Śiva’s head, She expresses anger.
4. On hearing Śiva’s adventures acts, She is amazed.
5. On seeing snakes on Śiva, which He wears as ornaments, She expresses fear.
6. On becoming furious, Her eyes become red, like red lotus flowers in a water body.
7. On seeing Her friends, She sports a smile.
8. On seeing Her devotee, She showers Her Grace.  
This verse is a poetic masterpiece. Her emotions change according to the situations. When She is adored as Brahman, how can there be change of expressions in Her according to different situations? When She is Brahman, how can She show favour to someone and be angry with someone? When we can think in these lines, Śaṁkarācārya surely would have thought about this. This verse describes Brahman with attributes, who is also known as saguṇa Brahman. These expressions are possible, only if one is afflicted with three types of guṇa-s, sattva, rajas and tamas (purity and knowledge, passion and action, ignorance and inertia) commonly known as triguṇa. Lalitā Sahasranāma 984 is triguṇa, which means that She is an embodiment all these three guṇa-s. Ego and intellect originate from these guṇa-s. When Lalitā Sahasranāma says that She is triguṇa, it refers to Brahman with attributes, also known as saguṇa Brahman or Brahman with attributes. Without attributes, also known as guṇa-s, creation cannot happen. Thus, this verse subtly conveys that She is the cause for creation. Since, this verse describes Her as an embodiment of three guṇa-s, She is able to express different emotions. Typically, this verse explains how guṇa-s play vital role in one’s life. Unless these guṇa-s are transcended, liberation is not possible. Kṛṣṇa says (Bhagavad Gīta XIV.20) “Having transcended the aforesaid guṇa-s, which have caused the body, and freed from birth, death, old age and all kinds of sorrow, this soul attains the Supreme Bliss.”
Again, Lalitā Sahasranāma 139 is nirguṇa, which means that She is without guṇa-s, also known as nirguṇa Brahman. This nāma contradicts what is said in nāma 984. By saying so, Lalitā Sahasranāma drives home the point that She is Brahman without attributes. The difference between nirguṇa Brahman and saguṇa Brahman is significant and is explained in great detail in Lalitā Sahasranāma. Former is Pure Brahman, who always stands as a witness doing nothing, whereas the latter is the Power of Brahman. This is known as Śiva and His Power Śakti. This verse describes Her as saguṇa Brahman. Being saguṇa Brahman, She expresses different types of emotions that are commonly seen in all human beings. The underlying idea of this verse is that one should transcend these guṇa-s to reach the logical goal of spiritual path.
When She is with Śiva, She expresses tender love for Him. When Her body is so tender, the love expressed by Her towards Śiva cannot be different. They are inseparable like a word and its meaning. When She looks at others, this expression of love is lost and Her looks become different for different persons. She becomes serious when She deals with all others, except Śiva. Holy rive Ganges is worshipped as a goddess. She is seated on the top of Śiva’s plaited hair. Though there are stories regarding this, the fact is different. Śiva is always in perpetual meditation. Parāśakti is present within Him in Her subtle form Kuṇḍalinī and plays within His head and as a result of this, His head emits fire. In order to balance the intent and unbearable heat, Gaṅgā is present on the top of His head to prevent the heat from spreading. Only from this fire, known as kālāgni, He annihilates the universe. He uses His third eye to emit this fire. One seeing Gaṅgā at the top of His head, Parāśakti becomes upset and looks at Gaṅgā angrily. Several sages and saints used to tell Her adventures of Śiva, particularly His destruction of Tripura (three worlds in the sky, middle and earth; Tripura subtly conveys three guṇa-s, which need to be destroyed to attain Her Grace). When they describe His adventures, She is amazed with His heroic acts. When She is near Śiva, She is frightened by the presence of deadly snakes which Śiva wears as His ornaments. On seeing evil doers (demons), She becomes terribly angry and as a result, Her face becomes red like a lotus flower in a pond. Lotus flower in a pond is specifically mentioned in this verse. Śaṁkarācārya’s knowledge is exemplary. He has not merely mentioned lotus flower, but he says lotus flower in a pond. This is because lotus flower loses its original deep red colour after taking it out from the pond. Apart from this intended meaning, he also emphasises that Her face is as fresh as an un-plucked lotus flower. She has lot of friends, with whom She plays in Her palace known as Cintāmaṇi surrounded by small sized bushes and celestial tress in the island of Maṇidvīpa situated in the middle of the nectarine ocean. And finally Śaṁkarācārya affirms that She is showering Her Grace on him. He never pleaded with Her for Her Grace; he simply affirms that She is showering Her Grace on him. In spirituality, such affirmations are extremely important, rather than simple prayers.  
Thus, in this verse, Śaṁkarācārya describes eight types of normal human emotions which are inherent in human mind. He subtly conveys that these emotions have to be transcended to attain Her. He says that She is not different from us, as She exists within and can be attained with ease by developing love for Her. When we begin to love Her, She begins to shower Her Grace. Her Grace cannot be attained by mere devotion, as devotion is part of dualism or Dvaita philosophy.
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52
गते कर्णाभ्यर्णं गरुत इव पक्ष्माणि दधती
पुरां भेत्तुश्चित्तप्रशमरसविद्रावणफले।
इमे नेत्रे गोत्राधरपतिकुलोत्तंसकलिके
तवाकर्णाकृष्टस्मरशरविलासं कलयतः॥
gate karṇābhyarṇaṁ garuta iva pakṣmāṇi dadhatī
purāṁ bhettuścittapraśamarasavidrāvaṇaphale |
ime netre gotrādharapatikulottaṁsakalike
tavākarṇākṛṣṭasmaraśaravilāsaṁ kalayataḥ ||
gate karṇābhyarṇaṁ - approaching Your ears; garuta iva – like feathers of a bird; pakṣmāṇi – eye lashes; dadhatī – wearing; purāṁ bhettuḥ - destroyer of three worlds, viz. Śiva; citta praśama rasa vidrāvaṇa phale – disturbing mental peace; ime netre – these eyes; gotrā dharapati kulottaṁsa kalike – O! The excellent one in the lineage of Haimavān, the king of snow clad mountains; tava – Yours; ākarṇākṛṣṭa smara śara vilāsaṁ - extended up to Your ears like the shining arrow of Manmatha; kalayata – make.
“O! Parāśakti! The excellent one in the lineage of Haimavān (Her father), the king of snow clad mountains! Your eyes extend up to Your ears and Your eyelashes appear like feathers of a bird. Your eyes disturb tranquillity of Śiva, as they appear (as they are extended up to the ears) like a shining arrow of Manmatha.”
Parāśakti’s eyes are lustrous and beautiful to look at, as they are elongated and almost nearing Her ears. Elongated portion appears like an arrow of Manmatha. Her eye lashes are so soft and appear like feathers of a bird. Such beautiful eyes distract the mind of Śiva. The significant aspect of this verse is about the disturbance in the placid mind of Śiva, the cause of which is Her eyes, which are compared the arrows of Manmatha, the god of love. This verse does not say that Śiva looks into Her eyes nor She looks at Him. Therefore, this verse does not speak about physical attraction to cause any distraction in the mind of Śiva.
The verse mentions about Parāśakti’s lineage, which is widely present in Mount Himalayas, which is full of greenery and streams. There are a number caves in Himalayas in which a number of sages and saints meditate perpetually. Śaṁkarācārya says that She is the most beautiful woman in the entire lineage of Haimavān.
Another point subtly conveyed through this verse is a message for spiritual aspirants. Even the best of sages and saints had been lured by divine damsels and as a result of which they had lost the connection with Divinity, which they could only re-establish after a long time. The acts of Cupid are always very powerful and he has the power to enter into a placid mind and make it susceptible to amorous thoughts and actions. Divine Grace attained by meditating for several years could be lost in no time. Advancing in spiritual path is very difficult and falling from the heights of spiritual path is easy and happens in no time. The verse points out that if normal aspirants are affected by the influence of Manmatha, it is difficult to come over the resultant urge. Mind has to be strong to overcome this influence. Hence, it is said that one should have a strong base while pursuing spiritual path.
Subtle information conveyed is that eyes are the most important organs that play vital role in attracting people. Eyes are also used to pass energy between Guru and his disciple. It is called netradīkṣā, initiation through eyes. Only the best of Gurus can do this. Some Gurus do not establish eye contract with everyone. If they establish eye contact, it means initiation into spiritual path. Initiation into mantra path is different from initiation into spiritual path. The former should lead to the latter to attain perfection in spiritual path.
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53
विभक्तत्रैवर्ण्यं व्यतिकरितलीलाञ्जनतया
विभाति त्वन्नेत्रत्रितयमिदमीशानदयिते।
पुनः स्रष्टुं देवान्  द्रुहिणहरिरुद्रानुपरतान्
रजः सत्वं बिभ्रत्तम इति गुणानां त्रयमिव॥
vibhaktatraivarṇyaṁ vyatikaritalīlāñjanatayā
vibhāti tvannetratritayamidamīśānadayite |
punaḥ sraṣṭuṁ devān  druhiṇaharirudrānuparatān
rajaḥ satvaṁ bibhrattama iti guṇānāṁ trayamiva ||
vibhakta traivarṇyaṁ - three different colours (the colours are red, white and black and this is described in the next verse); vyatikarita līlāñjanatayā – mixing  (applying is implied) beautiful collyrium; vibhāt – splendid; tva netra tritayam idam – these three eyes of Yours (as discussed in verse 50); īśāna dayite – O! Beloved Consort of Śiva; punaḥ - again; sraṣṭuṁ - the act of creation (sraṣṭṛ - a creator); devān – gods and goddesses; druhiṇa hari rudrān uparatān – Brahmā, Viṣṇu and Rudra after their disappearance; rajaḥ satvaṁ bibhrat tama iti guṇānāṁ trayam iva – carrying these three guṇa-s rajas, sattva and tamas.
“O! Beloved Consort of Śiva. Your three splendid eyes shine with three different colours, when well mixed collyrium is applied to Your eyes and these three colours appear like three guṇa-s rajas, sattva and tamas. This appears as if You have decided to re-create three Gods Brahmā, Viṣṇu and Rudra, after annihilation.”
These verses talk about the Grandeur of Parāśakti. We can fully understand Her only through these human-like descriptions.  Śaṁkarācārya using his highest knowledge gives us a broad idea to enable us to contemplate Her. In the previous verse, Her two eyes were discussed and in this verse, all the three eyes are described, but the description in this verse is totally different from verse 50.
In normal human eyes, there will be traces of redness in the white background (this white membrane is known as sclera). Blood vessels run through sclera and depending upon one’s mental status, these blood vessels get enlarged and become visible, causing red tinge. But Her eyes do not turn red because of anger. It turns red because of compassion. The colour of compassions is said to be red and She is described with red complexion as She is an embodiment of compassion.
The first dhyāna verse of Lalitā Sahasranāma is explained thus and this forms the base for this verse.
sindūrāruṇa-vigrahāṃ tri-nayanāṃ māṇikya mauli sphurat 
Sindūrāruṇa-vigrahāṃ - sindūram means the kumkum kept on women’s forehead, which is red in colour.  ārunam means the colour of sun rise, which is also red.  The complexion of Lalitā is red.  Why Her complexion is referred twice - one is the reference to the colour of the kumkum, and another reference is to the colour of sun at the time of its rise? Vāc Devi-s could have felt the need to emphasize the deep red colour of Her complexion and could have thought that one example was not enough and hence two examples could have been cited. vigrahāṃ means Her form.  trinayanāṃ means three eyed.  Third eye mentioned here is not in its literal sense.  It is the eye of jñāna.  If one acquires jñāna, his third eye will be opened on its own.  That is why Gods are described with three eyes.  These three eyes represent the sun, the moon and the agni (fire), possibly indicating ājñā cakra.
Now we have white colour and red colour. The back colour is Her eyes is caused by a special mixture of collyrium* applied to the corners of Her eyes. This collyrium is applied to Her manually as She has no traces of tamo guṇa, which is represented by black colour. Application of collyrium enhances the beauty of the eyes and if the collyrium is prepared at home according to Ayurveda, it is said to cool the eyes. These three colours, white, red and black represent three guṇa-s sattva, rajas and tamas respectively and represent creation, sustenance and destruction and are presided over by three Gods, Brahmā, Viṣṇu and Rudra. They are also annihilated during dissolution. This is described in Saundaryalaharī (verse 20) which says, “O! Faithful Consort of Śiva! At the time of great dissolution, Brahmā, Viṣṇu, Yama, Kubera, Indra and other gods cease to exist. But Your Consort Śiva alone enjoys with You even during the great dissolution.”  She wants to recreate the annihilated universe due to compassion and to take care of the orderly process of creation, sustenance and destruction, She recreates Brahmā, Viṣṇu and Rudra to recommence their respective jobs. As She creates them through Her eyes, this verse explains the origin of their recreation.
{*Further reading – how to make collyrium at home: Take an earthen lamp and will it with castor oil. A think wick should be made using well washed white cotton cloth. Take a copper plate and apply the past by powdering sweet-flag (acorus calamus) and mixing it with pure water. When the paste has dried on its own (should not be exposed to sun light), light the lamp and place the copper plate above the lighted lamp so that soot can form on the side where the paste is applied. After a few hours, there will be a formation of thick black soot in the form of powder. Take this powder with clean hands and mix it with clean castor oil. Collyrium is now ready for use.}
{Further reading on guṇa-s: She is in the form of three guṇa-s or qualities viz sattvic, rajas and tamas.  Sattva guṇa means the quality of purity and knowledge.  The presence of other two guṇa-s is not very prominent in sattva guṇa as this guṇa is endowed with the highest purity.  Rajo guṇa is the activity of passion. Tamo guṇa is inertia or ignorance.  These two guṇa-s have higher trace of other guṇa-s.  Guṇa-s are the inherent qualities of prakṛti.  Ego and intellect originate from guṇa-s that are present in all the evolutes of prakṛti at once, but distributed in unequal proportions in each individual.  The predominant guṇa that prevails in an individual is reflected through his thoughts and actions.}
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54
पवित्रीकर्तुं नः पशुपतिपराधीनहृदये
दयामित्रैर्नेत्रैररुणधवलश्यामरुचिभिः।
नदः शोणो गङ्गा तपनतनयोति ध्रुवममुं
त्रयाणां  तीर्थानामुपनयसि संभेदमनघम्॥
pavitrīkartuṁ naḥ paśupatiparādhīnahṛdaye
dayāmitrairnetrairaruṇadhavalaśyāmarucibhiḥ |
nadaḥ śoṇo gaṅgā tapanatanayoti dhruvamamuṁ
trayāṇāṁ  tīrthānāmupanayasi saṁbhedamanagham ||
pavitrī kartuṁ naḥ - to purify us; paśupati parādhīna hṛdaye – wholeheartedly surrendered to Śiva; dayā mitrai netraiḥ - compassionate eyes; aruṇa dhavala śyāma rucibhiḥ - splendorous with red, white and black; nadaḥ - rivers; śoṇo gaṅgā – Śoṇo, Ganges; tapana tanaya– daughter of sun, known as river Yamuna; iti – thus; dhruvam – surely; amuṁ - this; trayāṇāṁ  tīrthānām – these three rivers; upanayasi saṁbhedam anagham – destroys our sins.
“The one who has wholeheartedly surrendered unto Śiva! The One who has compassionate eyes shining with red, white and black colours! You have given us the holy confluence of three rivers, Sone, Ganges and Yamuna, to wash off our sins.”
It is believed that by taking bath in holy rivers wards off one’s sins. Here Śaṁkarācārya talks about the confluence of three sacred rivers Sone, Ganges and Yamuna and if one takes bath in this sacred confluence, all his sins, it is believed will be washed off. It is said that Parāśakti, who has wholeheartedly surrendered to Śiva, has created this confluence out of compassion for the humanity.  Waters of Sona River is said to be red in colour; waters of Ganges is said to be white in colour and waters of Yamuna is believed to be black in colour. However, śyāma also means dark blue and possibly Śaṁkarācārya should have used the word to mean dark blue waters.
The tinges of these colours were already described in the previous verse and the previous verse said that through these colours, She creates three guṇa-s, which in turn cause creation. In addition to this description, Śaṁkarācārya speaks about Her wholehearted surrender to Śiva. This appears to be out of context. But Śaṁkarācārya is not a person who says something out of context. So, there should be some subtle conveyance through this verse. He subtly conveys the benefit arising out of kuṇḍalinī meditation. The three nāḍi-s iḍā, piṅgala and suṣumna are referred through these three rivers. These three nāḍi-s join together at ājñācakra, also known as third eye. In Her subtlest form kuṇḍalinī, She ascends through suṣumna nāḍi to conjoin Her Consort Śiva at sahasrāra. There are two aspects in this interpretation. An aspirant who could activate ājñācakra is able to ward off his sins. After leaving ājñācakra, She proceeds to sahasrāra to surrender unto Śiva. Whole hearted surrender can be interpreted to mean that there will no two separate entities such as Śiva and Śakti at sahasrāra. They both merge together to become one and there exists only Śiva. This phenomenon is known Śiva-Śakti ikya and is discussed in Lalitā Sahasranāma 999. A yogi who is able to experience Her presence in ājñācakra and the presence of both Śiva and Śakti at sahasrāra will have all his sins annihilated. However, this situation is possible only for those, whose karmic accounts permit this to happen. It can also be said that unless karmic account permits, even ājñācakra will not be activated.
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55
निमेषोन्मेषाभ्यां प्रलयमुदयं याति जगती
तवेत्याहुः सन्तो धरणिधरराजन्यतनये।
त्वदुन्मेषाज्जातं जगदिदमशेषं प्रलयतः
परित्रातुं शङ्के परिहृतनिमेषास्तव दृशः॥
nimeṣonmeṣābhyāṁ pralayamudayaṁ yāti jagatī
tavetyāhuḥ santo dharaṇidhararājanyatanaye |
tvadunmeṣājjātaṁ jagadidamaśeṣaṁ pralayataḥ
paritrātuṁ śaṅke parihṛtanimeṣāstava dṛśaḥ ||
nimeṣa unmeṣābhyāṁ - by winking of Your eyes; pralayam udayaṁ yāti jagatī – universe is annihilated and recreated; tava - Your;  iti āhuḥ santa - thus say wise; dharaṇidhara rājanya tanaye – O! Daughter of King of Mountains; tvat unmeṣāt jātaṁ - arising out of Your eye winks; jagat idam aśeṣaṁ - entire universe; pralayataḥ - from annihilation; paritrātuṁ - to protect; śaṅke – I think; parihṛta nimeṣās – not winking; tava dṛśaḥ - Your eyes.
“O! Daughter of King of Mountains! Wise men say that the universe is annihilated and re-created by winking of Your eyes. But, I think that the entire is universe is protected by You, by not winking Your eyes.”
The underlying concept of this verse is difference in perception. Different people think differently. Some speak out of experience and some speak out of knowledge gained through texts. Out of the two, undoubtedly speaking through one’s experience is superior. Śaṁkarācārya says that he does not think what others say is true as his perception is different from others. When others say that the universe is created and annihilated merely by Her wink, Śaṁkarācārya looks at the same concept differently and with more emphatic positive attitude. Wise men say that She annihilates and re-creates the entire universe by a wink of Her eye. Śaṁkarācārya does not disagree with this, but he says that the universe is sustained by Her by not winking Her eyes. If She winks, either the universe will get annihilated or re-created.  Both interpretations convey the same quality of Parāśakti, but how the quality is interpreted is different.
One’s perception depends upon one’s inherent qualities. In every human being, all the three guṇa-s are not in equal proportions. A person with sattva guṇa will not think about past and future and in this verse past and future is represented by, annihilation and re-creation, one after the other; but will think only about his present status. Śaṁkarācārya thinks about the present and the present stage is that the universe continues to exist.
Another point driven home by this verse is that creation, sustenance and annihilation, the three main acts of Brahman is done by Her and not by Śiva. Śiva is full of Light and hence He is known as Prakāśa; whereas Śakti is Vimarśa who reflects the Light of Śiva. Śiva does not partake in any actions and He always remains as the Self within. He is nirguṇa Brahman, Brahman without attributes. She is saguṇa Brahman, Brahman with attributes.  Without Her, Śiva cannot reflect His Light. Śiva has unique power and He has transferred this power to Śakti, who takes care of the entire universe on His behalf.  When She creates, sustains and annihilates, She performs these acts only on behalf of Śiva. This message is conveyed through this verse.
Lalitā Sahasranāma 281 Unmeṣa-nimiṣotpanna-vipanna-bhuvānavalī also conveys the same meaning and is interpreted thus: Unmeṣa means opening eye lids and nimiṣ means closing of eye lids. The creation and dissolution of the universe happens at the wink of Her eyes.  When She opens Her eyes, universe is created and when She closes Her eyes, universe is dissolved (vipanna).  She does these crucial acts with great ease.  This nāma actually highlights the ease with which the Brahman creates and dissolves this universe. This nāma conveys the subtle nature of the cosmic creation. Kashmiri texts interpret Unmeṣa as the externalising of icchā śakti, the commencement of world process. Unmeṣa also means the unfoldment of spiritual consciousness, which is attained by focussing on the inner consciousness.
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56
तवापर्णे कर्णेजपनयनपैशुन्यचकिताः
निलीयन्ते तोये नियतमनिमेषाः शफरिकाः।
इयं च श्रीर्बद्धच्छदपुटकवाटं कुवलयं
जहाति प्रत्यूषे निशि च विघटत्य प्रविशति॥
tavāparṇe karṇejapanayanapaiśunyacakitāḥ
nilīyante toye niyatamanimeṣāḥ śapharikāḥ |
iyaṁ ca śrīrbaddhacchadapuṭakavāṭaṁ kuvalayaṁ
jahāti pratyūṣe niśi ca vighaṭatya praviśati ||
aparṇa – O! Parāśakti (aparṇa means either Durgā or Pārvatī); tava karṇe japa nayana paiśunya cakitaḥ- afraid of Your eyes that go near Your ears to telltale; nilīyante toye – decided to hide themselves in water; niyatam animeṣāḥ - constantly, without blinking; śapharikāḥ -female fish; iyaṁ ca śrī – even Goddess Lakṣmī; baddha cchada puṭakavāṭaṁ -closing the doors made of petals; kuvalayaṁ - blue lily; jahāti – abandoned; pratyūṣe – during dawn; niśi ca – during night; vighaṭatya praviśati – making forceful entry.
“O! Parāśakti! Female fish, fearing that Your eyes could say some gossip to Your ears, decide to hide themselves in water, without even blinking their eyes. Goddess Lakṣmī who wants to be present near Your eyes during daytime abandons water lilies and makes a forceful entry into blue water lilies only in the night to open them again.”
A masterly visualization by Śaṁkarācārya and he could not have conceived this scene without having Her direct vision. Aparṇa refers to Pārvatī, Consort of Parameśvara. Whatever forms Śiva takes, She also takes the same form. For example, when He is Bhairava, She becomes Bhairavi; when He is Śiva, She is Śakti; when He is Maheśvara, She is Maheśvari, etc. Even in names, they are not separated.
This verse again adores Her eyes. Her eyes reaching near Her ears is already described in verse 52, which said gate ime netre gate karṇābhyarṇaṁ (these eyes approaching Your ears). On seeing Her eyes ending very close to Her ears, female fish are scared that Her eyes could telltale in Her ears and hence keep vigil on Her eyes without even blinking their eyes and continue to remain in waters.  But what is the telltale female fish are afraid of? Female fish think that Her eyes appearing like them could say something bad about them (female fish) into Her ears and on hearing this, if She becomes angry, they fear that they could be destroyed. Fish do not know that She is an embodiment of compassion and because of their ignorance, they could not understand Her compassion and look at Her differently. This is the difference between human mind and other animals. Human mind is Her gift to humanity. She has given a higher level of mind to humanity where mind can be tuned in such a way that they can be made thoughtless in order to contemplate Her to attain liberation. Liberation is possible only through mind.
There is yet another comparison. Water lilies blossom only in the night. Goddess Lakṣmī fearing that Parāśakti could become angry with Her if She (Lakṣmī) is not present in Her (Parāśakti) eyes, leaves Her (Parāśakti) eyes when She (Parāśakti) closes Her eyes in the night to make the water lilies blossom. Seat of Lakṣmī is lotus flower, which is described in this verse as water lilies.
This verse also highlights the point that one need not worship any other gods or goddesses when She is worshiped with Pañcadaśī or Ṣoḍaśī mantras. The point here is that when someone is worshipping the Supreme authority, where is the need for worshipping Her assistants. If one does so, it is a clear exhibition of their lack of faith in Her. Faith is the most important factor in Self-realization.
If one is able to meditate on Her properly and intently, Her vision is possible in mind. Depending upon the level of the meditator, different visions are possible at different levels. Generally, it will be the form with which we contemplate Her. Over a period of time, this vision also fades away leaving only a bright Light for contemplation. Spiritual path has also different stages and if one does not move forward quickly, liberation could be postponed to subsequent births.
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57
दृशा द्राघीयस्या दरदलितनीलोत्पलरुचा
दवीयांसं दीनं स्नपय कृपया मामपि शिवे।
अनेनायं धन्यो भवति न च ते हानिरियता
वने वा हर्म्ये वा समकरनिपातो हिमकरः॥
dṛśā drāghīyasyā daradalitanīlotpalarucā
davīyāṁsaṁ dīnaṁ snapaya kṛpayā māmapi śive |
anenāyaṁ dhanyo bhavati na ca te hāniriyatā
vane vā harmye vā samakaranipāto himakaraḥ ||
dṛśa – look; drāghīyasya – lengthy; daradalita nīlotpala rucā – having the beauty of fully blossomed blue water lilies; davīyāṁsaṁ - farther away; dīnaṁ - miserable; snapaya kṛpaya – bathing with compassion; māmapi śive – me too; O! Parāśakti! anena - because of this; ayaṁ dhanya bhavati – I am fortunate; na ca te hāni iyatā – it is no loss for You; vane vā – on the forest; harmye vā – on the palace; sama kara nipāta – fall of his rays equally; himakaraḥ - moon.
“O! Auspicious Parāśakti! Please look at me, who am far away from You and in a miserable condition. Shower Your compassion on me through Your beautiful and lengthy eyes appearing like fully blossomed water lilies. By doing so, it is no loss for you like moon shedding his rays both in a forest and in a mansion.”
It is a prayer from Śaṁkarācārya. He says that he is not able to go anywhere near Her, as She is always surrounded by gods like Brahmā, Indra and others. Earlier verses said that they also vie with each other to reach as close to Her as possible. He seeks Her Grace from a faraway place by drawing comparison to moon’s rays which falls on all the places equally. Śaṁkarācārya seeks Her Grace from a distance, as he knows that She is omnipresent. This is the meaning of this verse.
But, the message conveyed through this verse is subtle and different. When She is omnipresent, what is the need for going anywhere near Her? When She is able to look at the entire universe from the place where She sits, what is the need for going near Her and being one amongst the crowd? Suppose one visit a temple and waits in a queue for hours to have darśan of the presiding deity of the temple, he would have both mentally and physically exhausted by the time he nears the sanctum sanctorum.  Power of divine thought and feeling also would have faded away with impatient waiting time. Śaṁkarācārya, who is fully aware of this, seeks Her Grace from the place he stands. He knows that Her eyes can shower Grace in any nook and corner of the universe.  
Secondly, worshipping in a particular form falls under duality in spiritual path, which always begins with duality.  Her Grace and subsequent liberation is possible only in non-dualistic practice. By continuing to worship Her as someone different from us, one merely expresses lack of spiritual knowledge, which is considered as the supreme knowledge. Only spiritual knowledge leads to realisation of mahāvākya-s such as “I am That” or “Ahaṁ Brahmāsmi”. These mahāvākya-s are revealed through Upaniṣad-s, Bhagavad Gītā, Brahmasūtra, etc, which are the essence of highest spiritual knowledge. Without trying to realize Her within, if one wastes his or her precious human birth only in dualistic worship, there is no salvation for him or her. What is present within us is present everywhere. Only because of this uniqueness, She is adored as omnipresent. It is unique because, Brahman alone is omnipresent.
Another interesting aspect of this verse is that Śaṁkarācārya had taken moon for comparison and not sun. Parāśakti is always compared to moon as She represents all the sixteen kalā-s (rays) of the moon and each of these kalā-s form one lunar day. She is present in the form of Pañcadaśī mantra on full moon days and in the form of Ṣoḍaśī mantra on new moon days. Secondly, sun is hot and She is always compassionate and hence, moon is taken as comparison and not the sun. Compassion and heat cannot go together. When moon shines, its rays fall on all objects without discrimination of being good or bad, big or small. In the same way, for Her everyone is equal. However, Her Grace depends upon how powerful we are able to think about Her. It is not the worship that gives Her Grace, but true love for Her instantaneously gives Her Grace. She knows the difference between worship and contemplation or meditation, as She is the cause for this duality in the form of māyā. Though proper worship leads to proper contemplation, they are almost like North Pole and South Pole.
Śaṁkarācārya could have thought this way while composing this verse. “I am still noticing people going around and wasting their precious time. They are not making any efforts to realize the Omnipresent Brahman. I have revealed this through several of my verses and hymns. Either they don’t understand what I preach or they are not simply concerned to follow what I preach. This time, let me make myself as an example. I wish everyone understands at least this time, Her omnipresent nature and seek Her within to attain liberation.  My only wish is that everyone should get liberated from the pains of transmigration.” (Śaṁkarācārya has expressed this thought through Brahma Sūtra, Vivekacūḍāmaṇi and his commentaries on Upaniṣad-s. The same message is conveyed by Kṛṣṇa in Bhagavad Gītā.)
The message conveyed through this verse is that Her Grace is possible to attain, provided it is sought in an appropriate manner. Appropriate manner can be explained as sādhana or practice. It is important to visualize Her in mind. Unless the mind is cleansed of mundane thoughts, contemplating Her effectively is not possible. When contemplation is too intent, it is possible that Her eyes become visible during meditation. Particularly, in the initial stages of good meditation, this happens more frequently, which is a clear sign of perfect meditation. No special efforts are necessary to see Her eyes in the mind and this vision purely depends upon one’s level of contemplation.
With this verse, adoring Her compassionate and Gracious eyes is concluded.
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58
अरालं ते पालीयुगलमगराजन्यतनये
न केषामाधते  कुसुमशरकोदण्डकुतुकम्।
तिरश्चीनो यत्र श्रवणपथमुल्ल्ङ्घ्य विलासन्
अपाङ्गव्यासङ्गो दिशति शरसन्धानधिषणाम्॥
arālaṁ te pālīyugalamagarājanyatanaye
na keṣāmādhate  kusumaśarakodaṇḍakutukam |
tiraścīno yatra śravaṇapathamullṅghya vilāsan
apāṅgavyāsaṅgo diśati śarasandhānadhiṣaṇām ||
arālaṁ - curved; te – Your; pālī yugalam – space between eyes and the lower lobe of the ears; agarāja nyatanaye – O! Daughter of King of Mountains; na keṣām ādhate – will it not cause in everyone; kusuma śara kodaṇḍa kutukam – beauty of Manmatha’s bow; tiraścīnaḥ yatra – wherein placed horizontally; śravaṇapatham ullṅghya – beyond ears; vilāsan – gleaming; apāṅga vyāsaṅga – seeing with outer corner of the eyes (side glance); diśati – giving; śara sandhāna dhiṣaṇām – appearing like fixing an arrow.
“O! Daughter of King of Mountains! Curved space between Your eyes and outer ear lobes (probably referring to the place where sphenoid bone is placed) cause curiousness in everyone as they mistake it for Manmatha’s bow. When You see through the outer corner of Your eyes, it causes radiance and appears like fixing an (flower) arrow to the bow.”
This verse describes the place between outer corner of Her eyes and earlobes. This place appears curved and hence compared to the bow of Manmatha. A comparison is drawn to Manmatha’s bow because, it is made of soft flowers and when the bow is in the hands of Manmatha, who is a symbol of handsomeness, enhances the beauty of the bow. Everyone mistakes the place between Her eyes and ears as Manmatha’s bow. When there is a bow, there has to be an arrow. Here, Her side-glance is described as flower arrow.
It is also said that when She glances sideward, Her looks cause mental disturbance in the mind of Śiva, who had burnt Manmatha to ashes. Couple of points can be argued on this. One, it talks about love between Śiva and Śakti and therefore subtly conveys creative aspect of Divine.  The possible second argument is that love forms part of life, where love does not merely get restricted to amorous feelings. Going by the saying that Love is God where love can be interpreted to mean love and compassion for others. When anger and hatred sprout in one’s mind, the mind becomes fully corrupted and Divine manifestation is not possible in afflicted minds. Positive thoughts lead to positive mental attitude, which includes love and compassion for others. Only in this state of mind, She begins to manifest.
Here is a quick meditation involving eyes and ears. By focussing both the eyes on the ears, one can feel the vibrations in ājñā cakra and these vibrations attain potency after a few minutes. If the attention is paid on this vibration, one can enter into bouts of trances lasting for a few seconds to a minute or two.
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59
स्फुरद्गण्डाभोगप्रतिफलितताटङ्कयुगलं
चतुश्चक्रं मन्ये तव मुखमिदं मन्मथरथम्।
यमारुह्या द्रुह्यत्यवनिरथमर्केन्दुचरणं
महावीरो मारः प्रमथपतये सज्जितवते॥
sphuradgaṇḍābhogapratiphalitatāṭaṅkayugalaṁ
catuścakraṁ manye tava mukhamidaṁ manmatharatham |
yamāruhyā druhyatyavanirathamarkenducaraṇaṁ
mahāvīro māraḥ pramathapataye sajjitavate ||
sphurad gaṇḍābhoga – lustrous cheeks; pratiphalita tāṭaṅka yugalaṁ - a pair of reflective ear rings; catuś cakraṁ - four wheels; manya – appearing as; tava mukham idaṁ - this face of Yours; manmatha ratham – Manmatha’s chariot; yam āruhya – mounting on that chariot; druhyati – fighting; avaniratham - earth as chariot; arkendu caraṇaṁ - having sun and moon as wheels; mahāvīro māraḥ - the great hero Manmatha; pramatha pataye – Śiva.
“Your face with a pair of ear rings that reflect on Your lustrous cheeks appear to me as the chariot of Manmatha with four wheels. Manmatha sitting on this chariot fights against Śiva, who uses earth as His chariot and sun and moon as its wheels.”
Parāśakti is wearing a pair of earrings, which are glittering in nature. These reflective earrings get reflected in Her shining cheeks and appear as additional pair of earrings (two original earrings and two reflective images on Her cheeks). These ear rings are compared to the four wheels of chariot of Manmatha. Parāśakti is always fond of Manmatha; hence She resurrected him without a form, after he was burnt by Śiva. The verse says that Manmatha after mounting on the seat of this chariot of four wheels decides to fight against Śiva, who appears to have ascended on earth the earth using it as a chariot and using sun and moon as its wheels. This is the gross interpretation of this verse.
Manmatha represents amorous thoughts and actions. By attempting to induce Śiva. He got himself burnt. Śiva is a perfect Yogi and is always associated with purity of thoughts and actions. Śiva is the source of Light to this universe and hence He is known as Prakāśa. There cannot be any trace of darkness in this Light. He is beyond three guṇa-s. He is neither, sattva, nor rajo nor tamo guṇa. When there is no guṇa, it means purity. Manmatha wanted to somehow induce Śiva and he has not learnt from his past mistakes. His only hope was Her compassion towards him, because he used to worship Her with his own Pañcadaśī mantra, that is being widely practiced today. Ultimately, it turned out to be a romantic skirmish between Śiva and Śakti. The face of Parāśakti was so beautiful, finally Śiva also succumbed to Her beauty, as explained in Soundarya laharī (verse 5) “...Viṣṇu, only after having worshipped You, attained the form of a woman and disturbed Śiva. Cupid also worshipped You and attained good looks and using the charm of his wife Rati and other beautiful celestial women enticed even saints and sages.”
The verse speaks about creative aspect of Brahman. Creation can happen only if Śiva and Śakti exist in unison.
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60
  सरस्वत्याः सूक्तिरमृतलहरीकौशलहरीः
पिबन्त्याः शर्वाणि श्रवणचुलुकाभ्यामविरलम्।
चमत्कारश्लाघाचलितशिरसः कुण्डलगणो
झणत्कारैस्तारैः प्रतिवचनमाचष्ट इव ते॥
sarasvatyāḥ sūktiramṛtalaharīkauśalaharīḥ
pibantyāḥ śarvāṇi śravaṇaculukābhyāmaviralam |
camatkāraślāghācalitaśirasaḥ kuṇḍalagaṇo
jhaṇatkāraistāraiḥ prativacanamācaṣṭa iva te ||
sarasvatyā - Goddess Sarasvatī; sūkti – wise saying;  amṛta laharī – flow of nectar; kauśala harī – take away the goodness; pibantyāḥ - drinking; śarvāṇi – Śiva’s Consort; śravaṇa culukābhyām – You ears, appearing like hands hollowed to hold water; aviralam – contagiously; camatkāra ślāghā calita śirasaḥ - nodding in approval;  kuṇḍala gaṇa – pair of ear studs; jhaṇatkāraiḥ tāraiḥ - loud jingling;  prativacanam ācaṣṭa iva te – You reply in approval.
“O! Śiva’s Consort! The wise saying of Goddess Sarasvatī contagiously flow like nectar into Your ears, which appear like hollowed palms holding water. When You nod in approval, your ear studs make jingling sound, which resembles Your utterances in approval.”
Goddess Sarasvatī presides over knowledge and She elucidates sacred sayings in the Royal Court of Parāśakti. Royal Court is implied here, as Parāśakti does not need any sacred sayings, as knowledge itself originates from Her. Obviously, this scene refers to Her Royal Court, where She is seated as Rājarāhesvarī (Lalitā Sahasranāma 684). When all gods and goddesses have assembled, Goddess Sarasvatī could be imparting highest knowledge contagiously and continuously. Highest knowledge means ways and means to know Brahman. (Not all gods and goddesses are realized souls). This knowledge impartation is compared to uninterrupted flow of nectar. When honey is poured from one vessel to another, it flows without break and similarly, the highest knowledge is offered in Her court without any interruption.  While approving and appreciating the wise sayings of Sarasvatī, Parāśakti nods Her head. When She nods Her head, the ear studs worn by Her make loud jingling sound, which is comprehended as Her saying ‘good’ or ‘very good’, etc.
Some scholars are of the opinion, that it is only Parāśakti who speaks and not Sarasvatī. This seems to be irrational, as Sarasvatī obviously cannot nod to what Parāśakti says. This is in accordance with Lalitā Sahasranāma 614 sacāmara-ramā-vāṇī-savyadakṣiṇa-sevitā, which says, that Goddess Lakṣmī (Ramā) and Goddess Sarasvatī (Vāṇī) stand by Her side and fan Her.  This concept is also endorsed in Saundarya Laharī verse 99, Lalitā Triśatī nāma-s 63 and 194.
These types of verses are useful in contemplating Her with a form.
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61
  असौ नासावंशस्तुहिनगिरिवंशध्वजपटि
त्वदीयो नेदीयः फलतु फलमस्माकमुचितम्।
वहत्यन्तर्मुत्ताः शिशिरकरनिश्वासगलितं
समृद्ध्या यत्तासां बहिरपि च मुक्तामणिधरः॥
asau nāsāvaṁśastuhinagirivaṁśadhvajapaṭi
tvadīyo nedīyaḥ phalatu phalamasmākamucitam |
vahatyantarmukttāḥ śiśirakaraniśvāsagalitaṁ
samṛddhyā yattāsāṁ bahirapi ca muktāmaṇidharaḥ ||
asau – here; nāsā vaṁśa – bamboo like nose; tuhina giri vaṁśa dhvajapaṭi – flag (belonging to a Kingdom/Nation) belonging to the King of Himalayas;  tvadīya – Yours; nedīyaḥ - quickly; phalatu – reward; phalam asmākam ucitam – consequent effects on us; vahati antar mukttāḥ - carrying a pearl within;  śiśirakara niśvāsa galitaṁ - pushed out by the cool breath using candranāḍī (during exhalation through left nostril); samṛddhya – abundantly endowed; yat tāsāṁ - out of this; bahir api ca – outside too; muktāmaṇi dharaḥ - wearing a pearl.
“O! The most revered in the Himalayan Kingdom! Your bamboo like nose, quickly reward our desires and consequent effect on us. Pearls formed within your nose are pushed while you breathe out through your left nostril (and adore your nose as a nose ring).
This verse is purely a poetic visualization of Parāśakti by Śaṁkarācārya. There are subtle conveyances in this verse. One is that Her nose is compared to a bamboo stick. Bamboo is drawn as a comparison due to several factors. It is believed that rain drops falling on bamboo become pearls. When this bamboo stick is blown, it is said that the pearls fall down from the other end. It is also conveyed that Her nose becomes broader towards the end like a bamboo shoot. Whether it is a bamboo shoot or an oyster, pearl is always formed inside, invisible to the naked eyes, emphasising the fact that She should be realized within the body. Secondly, air can be blown through a bamboo shoot after making some modifications. The movement of air through bamboo and Her nose are compared.  Flutes are made out of bamboo shoots and they are capable of producing cool (pleasant) melodies. Why Śaṁkarācārya had chosen bamboo as an example? Bamboo trees do not produce fruits and contextually, fruits mean material desires. Just like a bamboo tree, Śaṁkarācārya had no material desires and because of this, She literally poured Her Grace on him. Material desires always pull down spiritual aspirations.
There are two subtle nādī-s through which inhalations and exhalations happen. One is known as iḍā or candranāḍī (left nostril) and the other is piṅgala or sūryanāḍī (right nostril). These two nādī-s keep the body temperature constant, irrespective of the climate. Piṅgala nādī belongs to the sun and makes the body to warm up.  Iḍā nāḍī belongs to the moon and cools down the body. By nature, breathing switches from one nostril to another nostril alternatively to maintain constant body temperature. A yogi could make his prāṇa enter through the central canal of the spinal cord (known as citriṇī), which ultimately ends at brahmarandra, (known as orifice of Brahman, also known as Brahma nāḍī) which leads him to the perpetual state of Bliss and ultimate liberation. By referring to candranāḍī, probably Śaṁkarācārya could be referring to liberation, as candranāḍī represents Her and sūryanāḍī refers to Śiva.  Iḍā and piṅgala conjoin near shoulder joints and if one practices kuṇḍalinī meditation, he could feel stiffness, if a proper posture is not practiced. Keeping both the upper arms away from the body (body to elbow should be at least 4”) is important during this meditation.
When Parāśakti exhales, the air that comes out is cool and as a result of this, pearls are formed inside Her nostrils which fall down due to the force of air breathed out and these pears adore Her nose externally forming a nose ring. But these pearls are different from ordinary pearls. These pearls are shining like stars and adore Her nose. Lalitā Sahasranāma (20) says, tārākānthi-tiraskāri-nāsabharaṇa-bhāsurā, which is explained thus: “She is wearing a nose stud that outshines the stars.  Her nose stud is made up of rubies and pearls.  Tārā means stars.   Tārā also means two goddesses Maṅgalā and Śuklā. Śuklā has later come to be known as Śukrā. Possibly these Maṅgalā and Śukrā could mean the two planets Mars and Venus.  Each planet governs certain precious stones.  Planet Mars rules ruby that is red in colour and Venus rules diamond (Mani Mālā II.79).  It can also be said that these two planets adorn Her nose.  This also indicates that worshipping Her wards off the evil effects of planets.”
By drawing a comparison to a national flag, Śaṁkarācārya establishes Her supremacy in Her Kingdom, Mount Himalayas, where Meru is situated. Meru means mountain. She lives with Her Consort on the top of Mount Himalayas, which is known as Mount Kailāsa.
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62
 प्रकृत्या रक्तायास्तव सुदति दन्तच्छदरुचेः
प्रवक्ष्ये सादृश्यं जनयतु फलं विद्रुमलता।
न बिम्बं तद्बिम्बप्रतिफलनरागादरुणितं
तुलामध्यारोढुं कथमिव विलज्जेत कलया॥
prakṛtyā raktāyāstava sudati dantacchadaruceḥ
pravakṣye sādṛśyaṁ janayatu phalaṁ vidrumalatā |
na bimbaṁ tadbimbapratiphalanarāgādaruṇitaṁ
tulāmadhyāroḍhuṁ kathamiva vilajjeta kalayā ||
prakṛtya āraktāya – natural red; tava sudati – Your beautiful white teeth; danta cchada ruceḥ - parting of (Your) beautiful lips; pravakṣye sādṛśyaṁ - identify the similarity; janayatu phalaṁ - giving benefits; vidrumalatā – coral creeper; na bimbaṁ - not the bimba fruit ( Cephalandra Indica); tat bimba pratiphalana rāgāt aruṇitaṁ - that bimba fruit reflecting the redness of Your lips; tulām adhyāroḍhuṁ - attaining the state of equality; katham iva – nevertheless; (na) vilajjeta kalayā – not embarrassed; kalayā – even by a bit.
“O! Devi, the One with beautiful white teeth! I want to establish similarity between Your beautiful parting lips that are red in colour with something else (that is known to common man). I want to give benefit to the coral creeper and not to the bimba fruit, as bimba fruit simply reflect the redness of Your lips. Will not the bimba fruit be embarrassed at least by a bit, when this comparison is made?”
Śaṁkarācārya had the Divine vision of Parāśakti. When one is able to visualize a form with great concentration, such visions are possible. As Śaṁkarācārya was contemplating Her form all the time, he could easily enter into trance and experience Her vision. Though contemplation is necessary, one has to mandatorily enter into the state of trance, to have such Divine visions. How to enter into trance has already been explained in the article HOW TO ATTAIN DIVINE GRACE. Trance is the result of living in the state of Bliss. Only a purified mind is all that is needed to enter into the state of Bliss. Therefore, whatever Śaṁkarācārya says in Saundaryalaharī is not his imagination, but due to the divine visions he had. Imagination has limitations and minute details cannot be ideated so meticulously. From the way he describes Her, clearly proves that he was able to “see” Her, whenever he wanted to have Her darśan. This verse goes to prove that he composed this verse by sitting before Her (in his mind). A close similarity can be drawn between the origin of Vedas and many of Śaṁkarācārya’s compositions. Both were composed only mentally, by connecting to Divinity.
This verse says that Parāśakti has beautiful white teeth. The beauty of Her white teeth is seen through Her parted lips, that are dark red in complexion. Her lips are always parted because, She always smiles at Her devotees. Śaṁkarācārya wanted to compare at least to a certain extent, the deep red complexion of Her lips to some of the objects known to common man like us. He thought about two things; coral creeper and bimba fruit (also known as kanduri-ki-bel). Coral creeper does not yield fruits and hence, it cannot be compared. The only alternative is bimba fruit. However, he is not satisfied with this comparison, as he feels that bimba fruit merely reflects the redness of Her lips and these fruits do not have natural redness. Unimaginable poetic parlance! As bimba fruits know that they do not have natural redness and when they are compared to the lips of our own and ever Gracious Parāśakti, bimba fruits feel embarrassed for comparing them to the gracious lips of Lalitāmbikā.
If someone contemplates on the narration of this verse, he or she is bound to have Her Grace.
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63
  स्मितज्योत्स्नाजालं तव वदनचन्द्रस्य पिबदां
चकोराणामासीदतिरसतया चञ्चुजडिमा।
अतस्ते शीतांशोरमृतलहरीमाम्लरुचयः
पिबन्ति स्वच्छन्दं निशि निशि भृशं काञ्चिकधिया ॥
smitajyotsnājālaṁ tava vadanacandrasya pibadāṁ
cakorāṇāmāsīdatirasatayā cañcujaḍimā |
ataste śītāṁśoramṛtalaharīmāmlarucayaḥ
pibanti svacchandaṁ niśi niśi bhṛśaṁ kāñcikadhiyā ||
 smita jyotsnā jālaṁ  – Your smile appearing like a splendorous moonlight night; tava vadana candrasya – on Your face appearing like the moon; pibadāṁ - drinking; cakorāṇām – Cakora birds, Greek partridges  (which survive only on moonlight); āsīt – had; ati rasatayā – repletion (eating until no more can be consumed); cañcu jaḍimā – tongue losing its sense; ataḥ te – hence they (the birds); śītāṁśoḥ amṛta laharīm – waves of nectar from the moon;  āmla rucayaḥ - sour taste (like tamarind); pibanti – drinking; svacchandaṁ - following their own will; niśi niśi – every night; bhṛśaṁ - without hesitation; kāñcika dhiyā – considering it sour gruel.
“Cakora birds, (Greek partridges) considering Your beautiful face and its smile as the moon, drank repletely the nectar of Your smile and as a result of this repletion, their tongues have lost their taste buds. In order to set this right, they go in search of real moonlight considering its rays as sour gruel.”
Cakora birds live only on moonlight. They are able to generate a sort of nectar from the moonlight and survive. They have a strange capacity. When they see a poisoned food, their eyes turn red. The habitation of these birds is mountains of South Europe. They mistook Parāśakti’s face and the beautiful smile as the moon and as a result, they have generated more than normal nectar. This nectar was much more delicious than the nectar they tasted until now. As the nectar generated from the face of Parāśakti was much more delicious, they drank the nectar more than they can (repletion) and as result of which, their tongues have lost the sensitivity of taste buds. As a curative measure, they now go the real moonlight to drink its nectar considering the nectar generated out of the moonlight as sour gruel (which tastes like tamarind) every night. For having tasted the Divine Nectar for a day, they drink the nectar of the moon every day.
This is a typical example of Divine Grace. When an aspirant, with absolute faith (like the birds which faithfully believed that Parāśakti’s face is moon) contemplates on Her, She on Her own showers Her Grace on the aspirant. Descent of Divine Grace is very important during higher levels of spiritual sādhana. During higher levels of spiritual sādhana, the state of thoughtfulness during meditation, when the aspirant sitting in a secluded place looks for Her within, disconnecting his consciousness from the external world completely. When Her Grace descends, the aspirant enters into the state of Bliss, which is the prelude to realization. Realization can happen only in the state of Bliss. Perfect result of spiritual practice will be like this; sādhana à Grace à Realization à liberation à state of sthitaprajña  à death à becoming one with Brahman.
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64
 अविश्रान्तं पत्युर्गुणगणकथाम्रेडनजपा
जपापुष्पच्छाया तव जननि जिह्वा जयति सा।
यदग्रासीनायाः स्फटिकदृषदच्छच्छविमयी
सरस्वत्या मूर्तिः परिणमति माणिक्यवपुषा॥
aviśrāntaṁ patyurguṇagaṇakathāmreḍanajapā
japāpuṣpacchāyā tava janani jihvā jayati sā |
yadagrāsīnāyāḥ sphaṭikadṛṣadacchacchavimayī
sarasvatyā mūrtiḥ pariṇamati māṇikyavapuṣā ||
aviśrāntaṁ - continuously, without interruption; patyuḥ - Your Consort (Śiva); guṇa gaṇa kathā amreḍana japā – repeatedly dwelling (reciting, explaining) on His Grandeur; japāpuṣpa cchāyā – in the colour of hibiscus flower (which is red in colour); tava – Your*; janani – O! Divine Mother; jihvā jayati sā – *(Your) tongue conquers; yat agra āsīnāyāḥ - who inhabits at the tip of (Your) tongue; sphaṭika dṛṣadacchaccha vimayī – having a complexion like that of a crystal; sarasvatyā mūrtiḥ – form (body) of goddess Sarasvatī; pariṇamati māṇikya vapuṣā – turning into the colour of ruby (gem).
“O! Divine Mother! Your tongue has turned into deep red like a hibiscus flower, as You are repeatedly talking about the Grandeur of Your Consort Śiva! Goddess Sarasvatī having a crystal like complexion and residing in the tip of Your tongue turns red like that of a ruby (due to the redness of Your tongue).”
This verse is in praise of the tongue of Parāśakti. By nature, tongue of everyone is red in color. But the tongue of Parāśakti, by nature is red in color. She constantly talks about the Grandeur of Śiva to everyone. How Her tongue turns deep red, like hibiscus flower, when She speaks about Her Consort Śiva? The only possible interpretation is that Her tongue too can blush! Śaṁkarācārya could have thought only this way, as there is no other possibility of Her tongue becoming so red in colour. There is one possibility as explained in Lalitā Sahasranāma 559, tāmbhūla-pūrita-mukhī, which says, that the betel leaves turn Her lips into red colour. But this is absolutely ruled out, as She will never talk about the Glories of Her Consort with betel leaves in Her mouth, which is not considered as an act of etiquette. Her tongue blushes when She talks about Her Consort Śiva, an idea only Śaṁkarācārya can conceptualize.
It is said that goddess Sarasvatī lives in the tongue of Parāśakti. Sarasvatī is pure crystal in complexion, like her twin brother Śiva (According to ancient mythology, Brahmā and Lakṣmī, Viṣṇu and Umā, Śiva and Sarasvatī are twins). The complexion of Sarasvatī turns into deep red like a ruby stone. Reference to ruby is very interesting. Śaṁkarācārya could have used any other comparison to explain this red colour of Sarasvatī; but he had chosen ruby stone because, ruby stone is transparent and reflects the colour of the tongue of Parāśakti. The crystal complexion of Sarasvatī appears deep red in colour simply because of the radiance of Her deep red tongue.
The verse also subtly conveys that those who worship Her, need not worship any other gods or goddesses.
(Further reading:  In terms of complexion both Śiva and Śaktiappear as red.  Lalitai is red in complexion.  Śiva is pure white like a spatika (crystal).  The specialty of spatika is that it gets reflected with the colour of the properties nearby. When Lalitai sits by the side of Śiva or on the lap of Śiva, His translucent crystal complexion also appears as red.  The gods and goddesses, who witness this glorious scene compare this to the rising sun.  This scene could lead to an inference that Śaktī is more potent than Śiva as Śiva only reflects the colour of Śaktī.  Both of them hold the same four weaponries.)
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65
 रणे जित्वा दैत्यानपहृतशिरस्त्रैः कवचिभिः
निवृत्तैश्चण्डांशत्रिपुरहरनिर्माल्यविमुखैः।
विशाखेन्द्रोपेन्द्रैः शशिविशदकर्पूरशकलाः
विलीयन्ते मातस्तव वदनताम्बूलकबलाः॥
raṇe jitvā daityānapahṛtaśirastraiḥ kavacibhiḥ
nivṛttaiścaṇḍāṁśatripuraharanirmālyavimukhaiḥ |
viśākhendropendraiḥ śaśiviśadakarpūraśakalāḥ
vilīyante mātastava vadanatāmbūlakabalāḥ ||
raṇe jitvā daityā - victorious in war with demons; apahṛta śirastraiḥ - having taken their head gears; kavacibhiḥ - remaining only with armours on their chests; nivṛttaiḥ - returning (from wars); caṇḍa aṁśa – that portion meant for Caṇḍikeśvara; tripura hara nirmālya vimukhaiḥ - ignoring the remains of Śiva’s food (which is meant for Caṇḍikeśvara); viśākha indra upendraiḥ - Skanda (son of Śiva), Indra, Viṣṇu; śaśi viśada karpūra śakalāḥ - camphor, (edible camphor) as pure white as moon; vilīyante – melting away (due to proper chewing);  mātaḥ - O! Divine Mother! tava – Yours; vadana tāmbūla kabalāḥ - mouth full of betel leaves.
“O! Divine Mother! Skanda, Indra, Viṣṇu, etc after winning their war against demons, come to you with their head gears removed, but still wearing armours on their chests, ignoring the remains of food of Śiva, meant for Caṇḍikeśvara, directly go to you to have a portion of the betel leaves mixed with pure edible camphor in your mouth.”
This verse re-emphasizes the Supremacy of Parāśakti. Skanda is said to be the mythical son of Śiva and Pārvati. He, along with Indra and Viṣṇu is known for annihilating demons, who cause imbalance in the world of dharma. Demons are repeated offenders and sinners, who are unwilling to correct themselves. They need to be annihilated in order to maintain proper dharma in the world.  Skanda, Indra and Viṣṇu after annihilating the demons, as directed by Her, report to Her, straight from the battle field with their protective coverings. They do not have time to remove their protective coverings, as they have to report to Her immediately. But when they stand before Her, they remove their head gears, as a mark of respect. She commands such a respect.
There is reference about Caṇḍikeśvara in this verse, who is seen in Śiva temples. Those who visit Śiva temples have to report to him saying that they are not taking away any belongings of Śiva. He is a bodyguard of Śiva and there is a story about this. When Caṇḍikeśvara was very young, he used to be an ardent devotee of Śiva. When his father prevented him in worshipping Śiva, he killed his father and at this time, at the plea of his mother, Śiva resurrected his father and took Caṇḍikeśvara with Him and appointed him as His guard. Caṇḍikeśvara only eats the leftovers of Śiva and it is exclusively meant for Him. Skanda, Indra and Viṣṇu, though noticed this leftover, were not inclined to take the leftovers of Śiva and instead went to Parāśakti, not only to report to Her, but also waiting for leftovers of Her tāmbhūla (chewing of betel leaves along with karpūra vīṭikā - Lalitā Sahasranāma 26, which includes edible camphor, which is white in colour). It is said that the leftovers of Her tāmbhūla is capable of giving immense knowledge.
This verse talks about Her Grace.
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66
 विपञ्चया गायन्ती विविधमपदानं पशुपतेः
त्वयारब्धे वक्तुं चलितशिरसा साधुवचने।
तदीयैर्माधुर्यैरपलपिततन्त्रीकलरवां
निजां वीणां वाणी निचुलयति चोलेन निभृतम्॥
vipañcayā gāyantī vividhamapadānaṁ paśupateḥ
tvayārabdhe vaktuṁ calitaśirasā sādhuvacane |
tadīyairmādhuryairapalapitatantrīkalaravāṁ
nijāṁ vīṇāṁ vāṇī niculayati colena nibhṛtam ||
vipañcayā gāyantī –playing her (Sarasvatī) vīṇā and singing along with its melody; vividham apadānaṁ paśupateḥ - various glories of Śiva; tvaya – by you; ārabdha – commenced; vaktuṁ - mind set to speak; calita śirasa –nodding the head (in approval); sādhu vacane – appreciative voice; tadīyaiḥ mādhuryaḥ - due to the sweetness of the voice; apalapita tantrī kalaravāṁ - ridiculing the soft melody of her vīṇā; nijāṁ vīṇāṁ - her (Sarasvatī’s) vīṇā; vāṇī – Sarasvatī; niculayati colena nibhṛtam – covers her vīṇā silently.
“Goddess Sarasvatī plays on her vīṇā (an Indian classical instrument with strings, known as Indian lute) various glories of Śiva. While listening to this pleasing musical melody, You nod Your head in approval (approving the glories of Śiva) and begin to appreciate by saying (such as good, very good, excellent, etc). On hearing Your melodious voice, Sarasvatī was highly embarrassed, as Your sweet voice ridicules her vīṇā as well as her singing. Feeling ashamed, she quietly puts back the cover for her vīṇā.”
This verse is in praise of Her voice. Sarasvatī is the goddess, who presides over knowledge and arts, which includes music. Being the goddess of music, Sarasvatī sings various glories of Śiva and while singing, she also plays her vīṇā. Parāśakti is carefully listening to her music and being happy with the songs and melody, She nods Her head in approval. At some point of time, She openly appreciated both the meaning and the melody of Sarasvatī’s songs by not only nodding Her head in approval, but also saying good, excellent, etc. When Sarasvatī heard Her voice, she felt ashamed, as Her voice was much more melodious and sweeter than her singing and the melody of her vīṇā. Unable to bear this humiliation, she stood up and covered her vīṇā.
Lalitā Sahasranāma 27 is Nija-sallāpa-mādurya-vinirbhartsita-kacchpī and is explained thus: “Sarasvatī’s vīṇā is called kachapi.  It produces a superb melody, in the hands of Sarasvatī Devi, the goddess for fine arts.  The voice of Lalitai is more melodious than Sarasvatī’s vīṇā.
Another important aspect of this verse, which is subtly conveyed, is that one need not worship any other gods or goddesses, if one wholeheartedly worships Parāśakti, who encompasses every aspect of creation. Similarly, one can perform any pūjā in Śrī Cakra.
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67
 कराग्रेण स्पृष्टं तुहिनगिरिणा वत्सलतया
गिरिशेनोदस्तं मुहुरधरपानाकुलतया।
करग्राह्यं शंभोर्मुखमुकुरवृन्तं गिरिसुते
कथंकारं ब्रूमस्तव चुबुकमौपम्यरहितम्॥
karāgreṇa spṛṣṭaṁ tuhinagiriṇā vatsalatayā
giriśenodastaṁ muhuradharapānākulatayā |
karagrāhyaṁ śaṁbhormukhamukuravṛntaṁ girisute
kathaṁkāraṁ brūmastava cubukamaupamyarahitam ||
karāgreṇa spṛṣṭaṁ tuhinagiriṇā  - touching Her with tip of his fingers by Himavān (Her father); vatsalatayā – affectionately;  giriśenodastaṁ - lifted by Śiva; muhur – repeatedly; adharapāna – kissing;  ākulatayā – intensity of desire (with agitated mind); karagrāhyaṁ - held in His (Śiva) hand; śaṁbhoḥ - Śiva;  mukha mukura vṛntaṁ - handle for Your mirror like face; girisute – O! Parāśakti; kathaṁkāraṁ brūmaḥ - how can this spoken of; tava cubukam – Your chin; aupamya rahitam – without comparison.
“Himavān, Your father lifts You chin affectionately. Śiva repeatedly lifts Your chin with intent to kiss your lips and His hands appear like a handle to Your mirror like face. This scene is without comparison.”
This verse speaks about Parāśakti’s chin. Himavān, Her father touches Her chin with great affection. But, Śiva, Her Consort, repeatedly lifts up Her chin with an intention to kiss Her lips. When Śiva lifts Her chin, His arm appears like a handle to a mirror, where Her face is compared to a mirror. Her mirror like face is bright and shining and Śiva’s hand touching Her chin appears like a handle to the mirror. Śaṁkarācārya says that there is no comparison to this scene.
Lalitā Sahasranāma 29 is anākalita-sādṛśya-cibuka-śrī-virājitā and is explained thus: “She has the most beautiful chin”.
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68
 भुजाश्लेषान्नित्यं पुरदमयितुः कण्टकवती
तव ग्रीवा धत्ते मुखकमलनालश्रियमियम्।
स्वतः श्वेता कालागरुबहुलजम्बालमलिना
मृणालीलालित्यं वहति यदधो हारलतिका॥
bhujāśleṣānnityaṁ puradamayituḥ kaṇṭakavatī
tava grīvā dhatte mukhakamalanālaśriyamiyam |
svataḥ śvetā kālāgarubahulajambālamalinā
mṛṇālīlālityaṁ vahati yadadho hāralatikā ||
bhuja aśleṣa nityaṁ - always embracing by hands; pura damayituḥ - the burner of tripura (three worlds), Śiva; kaṇṭakavata – goose bumps; tava grīvā iyam dhatte – Your neck shows; mukha kamala nāla śriyam – the auspiciousness of (Your) face (neck) appearing like lotus stalk; svataḥ śvetā – naturally bright white; kālāgaru bahula jambāla malinā – darkened by the application of fragrant paste (it is the paste made from agaru, which is black in colour); mṛṇālī lālityaṁ -beautiful like lotus stalk; vaha iti – causing this; yat adhas – below that (neck); hāra latika – garland of pearls.
“Śiva always embraces you by keeping His hands on the nape of Your neck. When He does this, You develop goose bumps and this gives an impression that Your neck appears like a lotus stalk with bristles. Pure white pearl necklace below Your auspicious face, appear dark in colour due to black paste of agaru, which also appears like a lotus stalk.”
There are four types of visualization for Śiva and Śakti. One, they are in two different places. For example, when Śiva dances during cosmic annihilation, She witnesses His Cosmic dance from a distance, says Lalitā Sahasranāma 232, maheśvara-mahākalpa-mahātāṇḍava-sākṣiṇī. Their next posture is sitting on Royal Throne, where She sits by His side. The third posture is that She is sitting on the left lap of Śiva. Their last posture is ardhanārīśvara form, where She occupies Śiva’s left side. Śaṃkarācārya visualizes in this verse, a posture beyond their commonly known postures.
This verse says that Śiva is sitting by Her side, putting His hand around her neck. Because of this, She gets goose bumps and when the goose bumps appear in Her neck, Śaṃkarācārya sees Her neck as the stalk of lotus. Lotus stalk though soft, has minute bristles in it. If Her neck is the stalk of the lotus flower, Her face becomes the lotus flower itself. How does Her face look like? It is like a lotus flower and as white as a pure pearl necklace that She is wearing. But the pure white pearl necklace that She is wearing, has become dark in colour due to the frequent application of black coloured fragrant paste made out of arugu (bark of a tree). This half-white pearl necklace is also compared to the black roots of lotus stalk.
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69
 गले रेखास्तिस्रो गतिगमकगीतैकनिपुणे
विवाहव्यानद्धप्रगुणगुणसंख्याप्रतिभुवः।
विराजन्ते नानाविधमधुररागाकरभुवां
त्रयाणां ग्रामाणां स्थितिनियमसीमान इव ते॥
gale rekhāstisro gatigamakagītaikanipuṇe
vivāhavyānaddhapraguṇaguṇasaṁkhyāpratibhuvaḥ |
virājante nānāvidhamadhurarāgākarabhuvāṁ
trayāṇāṁ grāmāṇāṁ sthitiniyamasīmāna iva te ||
gale –neck; rekhāstisro –three lines; gati gamaka gītaika nipuṇe – expert in singing with gati and gamaka (both associated with the way in which vocal music is rendered); vivāha vyānaddha praguṇa guṇa saṁkhyā pratibhuvaḥ - reminding the auspicious thread made of three strings, tied during marriage (māṅgalyasūtra); virājante – embellishing;  nānāvidha madhura rāgākara bhuvāṁ - the source of multitude of pleasing melodies; trayāṇāṁ grāmāṇāṁ - three musical notes (ṣaḍja, gāndhāra and madhyama); sthiti niyama sīmāna iva – boundaries delimiting musical notes; te – Your;
“You neck (containing vocal cord), which has the expertise of singing melodious tunes, has three lines. They remind us about the auspicious thread (māṅgalyasūtra) tied in your neck by Śiva, which is made of three intertwined (yellow) threads. The three lines also appear like boundaries delimiting musical notes.”
Śaṁkarācārya describes Her neck. He says that there are lines in Her neck.  Three lines around the neck is described as the sign of auspiciousness in sāmudrikalakṣaṇa (study of body parts and its effects). On seeing these three lines, Śaṁkarācārya could immediately recollect about tying of māṅgalyasūtra on Her neck by Śiva during their marriage. Māṅgalyasūtra is made of three intertwined yellow colour threads and after intertwining, the thread that is to be tied becomes thick and in the centre of this thick thread , māṅgalya is fixed and the loose ends are kept open. Māṅgalya is explained as an object of auspiciousness that conveys happiness. An ordinary poet could have stopped at this point. But Śaṁkarācārya goes further and says that these lines not only reminds him about māṅgalyasūtra, but also reminds him about the boundary lines between musical notes. There are seven basic musical notes known as saptasvara (seven musical notes/sound) and these notes are sa, ṛ, gā, ma, pa, dha and ni and these notes are known as ṣaḍja, ṛṣabha, gāndhāra, madhyama, pañcama, dhaivata and niṣāda. Out of these seven only three, which are mentioned in this verse are known as grāma. Since Śaṁkarācārya was expert in anything, including music, he chose only the three grāma-s to describe the three lines in Her neck. This also indirectly explains the qualities of a great Guru. A Guru should know almost everything, not merely mantras and rituals. From these lines, which are compared to grāma, all other musical notes originate. Therefore, he also establishes that everything originates from Her.
Further reading: According to Hindu Scriptures, a marriage has many ceremonies, out of which most important ceremonies are:
1. Kanyādāna, where the girl is given as a gift to groom’s family. This is only a gift and no monetary or material transactions are involved. Bride’s father is the one, who gives the gift to the groom.
2. Saptapadī, where the groom holding the big toe of the right foot of the bride and makes her to walk seven steps. While holding her big toe, groom’s right hand thumb should be facing upwards.
There are other rituals too, but tying māṅgalyasūtra is not mentioned in the ancient texts. It is important that kanyādāna should be performed during auspicious muhūrta. Someone could say that saptapadī should also be done during muhūrta. Muhūrta is 1/30 of 24 hours, which means 48 minutes, which represent time duration of two stars (nakṣatra-s). There are 30 muhūrta-s in a day and each muhūrta also has a name.
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70
मृणालीमृद्वीनां तव भुजलतानां चतसृणां
चतुर्भिः सौन्दर्यं सरसिजभवः स्तौति वदनैः।
नखेभ्यः संत्रस्यन् प्रथममथनादन्धकरिपोः
चतुर्णां शीर्षाणां सममभयहस्तार्पणधिया॥
mṛṇālīmṛdvīnāṁ tava bhujalatānāṁ catasṛṇāṁ
caturbhiḥ saundaryaṁ sarasijabhavaḥ stauti vadanaiḥ |
nakhebhyaḥ saṁtrasyan prathamamathanādandhakaripoḥ
caturṇāṁ śīrṣāṇāṁ samamabhayahastārpaṇadhiyā ||
mṛṇālī mṛdvīnāṁ - soft like stalk of lotus; tava – Your; catasṛṇāṁ - four fold; caturbhiḥ - four; saundaryaṁ - beauty; sarasija bhavaḥ - Brahmā (god of creation); stauti – praising ; vadanaiḥ - faces; nakhebhyaḥ - finger nails; saṁtrasyan  - fearing; prathama mathanāt – because of the previous incident;  andhaka ripoḥ - Śiva’s; caturṇāṁ śīrṣāṇāṁ - existing four heads; samam- similarly; abhaya hasta arpaṇa dhiyā – saving, by extending Your hand.
“Your four hands are very soft like lotus stalk. Once upon a time, Śiva nipped off Brahmā’s head using His finger nails. Scared of this and in order to retain his existing four heads, Brahmā came to You and praised Your four soft hands seeking Your protection.”
On the grosser side, Śiva cut the fourth head of Brahmā and there are several stories associated with this incident. Fearing that Śiva could cut off his remaining four heads, he goes to Parāśakti and sings Her praise, seeking Her protection. Brahmā went to Her thinking that he can be saved by Her hand with abhaya mudra. In order to save himself, Brahmā has totally forgotten that She does not show abhaya mudra and Her feet are capable of protecting from miseries (Soundarya laharī verse 4). He himself worshiped Her feet, which is explained in Soundarya laharī verse 3 and 22). However, dhyāna verse of Mahāṣoḍaśī mantra says, “pāṇibhyāṁ varadā abhayaṁ ca dadhatīṁ brahmādisevyāṁ parāṁ” which means, She also has abhaya and varada mudras, but this is applicable only in that particular form of manifestation. In fact, Mahāṣoḍaśī mantra is meant only for those, who are about to be liberated. But, Brahmā is a liberated god head, who takes care of the entire creation and works under Her command. When Brahmā goes to Her seeking protection, it clearly speaks about Her Supremacy.
Brahmā originally had five heads. There are various interpretations about his fifth head. One of his heads was cut off by Śiva for having told a lie. There is another version saying that the fifth head was burnt by Śiva’s third eye for having disrespected Him. According to another version, fifth head of Brahmā was cut off by Kālabhairava, a form of Śiva. Another version says that Brahmā has fallen in love with Sarasvatī, his consort and spent most of his time with her. There are different versions about the origin of Sarasvatī. Some texts say that Sarasvatī is Brahmā’s daughter and Brahmā created her using his mind power. When Brahmā fall in love with Sarasvatī, Śiva became furious and chopped off his fifth head. There are other interpretations too.
This verse clearly establishes Her Supremacy and even god heads like Brahmā have to surrender to Her. She is the ultimate saviour.
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71
 नखानामुद्योतैर्ननवनलिनरागं विहसतां
कराणां ते कान्तिं कथय कथयामः कथमुमे।
कयाचिद्वा साम्यं भजतु कलया हन्त कमलं
यदि क्रीडल्लक्ष्मीचरणतललाक्षारसचणम्॥
nakhānāmudyotairnanavanalinarāgaṁ vihasatāṁ
karāṇāṁ te kāntiṁ kathaya kathayāmaḥ kathamume |
kayācidvā sāmyaṁ bhajatu kalayā hanta kamalaṁ
yadi krīḍallakṣmīcaraṇatalalākṣārasacaṇam ||
nakhānām udyotaiḥ - splendour of Your nails; nava nalina rāgaṁ - just blossomed lotus flower; vihasatāṁ - mocking laughter; karāṇāṁ te – Your hands; kāntiṁ - Your splendour; kathaya kathayāmaḥ - how can it be explained; katham – narrate; ume – Umā; kayā cid vā – somehow; sāmyaṁ - equality; bhajatu kalayā hanta – possibly can attain; kamalaṁ - lotus; yadi krīḍat lakṣmī caraṇa tala lākṣārasa caṇam - henna shining in the feet of Lakṣmī residing in the lotus flowers.
“O! Umā! The nails in Your hands (finger nails) make lotus flowers to blossom. Splendour of Your nails, make mockery of the radiance of just blossomed lotus flowers. Please tell me, how can I describe such beautiful hands of Yours? These lotus flowers got their radiance from the feet of Lakṣmī, who resides within lotus flowers and who sports henna in her feet. Even then, there cannot be any equality to Your splendour.”
This verse talks about Parāśakti’s hands. Śaṁkarācārya could not find appropriate words to describe Her splendorous hands. It seems to be a tough job for him as if he is explaining Brahman, who cannot be described through words; but there is no other go except to draw comparisons to explain Him.  For example, Brahman is more radiant than millions of suns put together, etc. Similarly, Śaṁkarācārya finds it difficult to describe Her hands. If this is the case with hands, how can Her full form be described? This is beyond human comprehension. That is why, Śaṁkarācārya made an attempt to describe Her through 100 verses of Saundaryalaharī.
Śaṁkarācārya thought about closest possible similarity to describe Her hands. He says that goddess Lakṣmī, Consort of Viṣṇu resides in lotus flowers. She has applied henna paste in her feet, which turned her feet deep red in colour and the lotus flowers derive their luster only from the feet of Lakṣmī and even then this comparison is not even the closest possible comparison to describe Parāśakti’s hands.
This verse can be contemplated like this. Parāśakti’s nails are deep red in colour. The bright red radiance of Her nails get reflected in Her shining hands. If this can be compared to the just blossomed red lotus flower, people will laugh out loud for making this irrelevant comparison. But, there is no other way to describe Her radiant hands. So, Her hands cannot be compared to anything that is known to us. This is like making futile attempts to describe Brahman.
Umā is the name given to Her by Her mother. When She was too young, She used to practice austerities in order to attain Śiva as Her Consort. Her mother at that time used to tell Her not to practice austerities at such a tender age. Umā is explained like this. U stands for O! Child! and mā stands for ‘do not practice austerities’. “O! Child! Do not practice austerities” is later known as Umā. 
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72
Twelve verses from verse 72 to 83 involve physical description of Parāśakti. It is always believed that Śaṁkarācārya was an incarnation of Śiva and thus every aspect of Her is known to Śaṁkarācārya. I consider that such narrations should not be discussed in a public domain and hence, interpretations of these verses have been left out. Kāñci Paramācārya has chosen not to interpret many verses of Saundaryalaharī saying that one should be extremely careful in worshipping Divine Mother.
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84
Verse 84
श्रुतीनां मूर्धानो दधति तव यौ शेखरतया
ममाप्येतौ मातः शिरसि दयया धेहि चरणौ।
ययोः पाद्यं पाथः पशुपतिजटाजूटतटिनी
ययोर्लाक्षालक्ष्मीररुणहरिचूडामणिरुचिः॥
śrutīnāṁ mūrdhāno dadhati tava yau śekharatayā
mamāpyetau mātaḥ śirasi dayayā dhehi caraṇau |
yayoḥ pādyaṁ pāthaḥ paśupatijaṭājūṭataṭinī
yayorlākṣālakṣmīraruṇaharicūḍāmaṇiruciḥ ||
tava – Yours; yau caraṇau – those feet; śrutīnāṁ mūrdhāna – crown of Vedas viz. Upaniṣad-s; dadhati –wearing; śekharatayā - wearing as crown; etau – Your feet; mama śirasi api dayayā dhehi – place (Your feet) on my head out of compassion;  yayoḥ pādyaṁ pāthaḥ - (which is like) washing Your sacred feet; paśupati jaṭā jūṭa taṭinī – is that the river (Ganges) who resides in the matted hair of Śiva; yayo – those feet of Yours; lākṣā lakṣmīḥ - splendorous henna (which turns the feet into deep red); aruṇa hari cūḍāmaṇi ruciḥ - (is that due to) the brilliance of cūḍāmaṇi gem of Viṣṇu’s crown?
“O! Parāśakti! Out of compassion for me, please keep Your feet on my head too. Your feet are considered as crown which Upaniṣad-s adorn. Your feet are cleansed by waters of Ganges, who resides at the top of Śiva’s matted hair. I also think that the redness of Your feet (due to the application of henna) is due to cūḍāmaṇi gem of Viṣṇu’s crown.”
The verse says that She is worshiped by everyone including Śiva and Viṣṇu. This is conveyed in this verse in the most subtle manner. She is not being just worshiped by Śiva and Viṣṇu, but also prostrate before Her, keeping their heads very close to Her feet. Śaṁkarācārya subtly conveys this by saying that waters of Ganges in Śiva’s matted hair cleanse Her feet (offering water to the feet of gods and goddesses is part of rituals and this is known as pādaprakṣālana). This is possible only if Śiva bends down before Her to pay His respects to Her. When He bends, waters from Ganges fall on Her feet in order to wash Her feet. This does not mean that Ganges cleanses Her feet. In order to pay Her respects to Her, Gaṅgā also moves slightly forward and while doing so, Ganges stealthily falls at Her feet to cleanse herself (Gaṅgā). She has attained impurity because everyone washer their sins by taking bath in river Ganges. A question may arise that when she is residing on Śiva’s head, where is the need for Gaṅgā to get cleansed by Parāśakti. Śiva does not attend to these minuscule activities and it is only Her, who alone can make a person eligible to merge with Śiva. This aspect is also subtly conveyed here.
Her feet appear deep red in complexion. This is Her natural complexion as described in dhyāna verses of Lalitā Sahasranāma (Sindūrāruṇa-vigrahāṃ and aruṇāṃkaruṇā-taraṃgitākṣīṃ); and Mahāṣoḍaśī mantra japa (sindūrāruṇa vigrahāṁ).  Her feet are not just red in colour, but they are radiating too. Śaṁkarācārya wonders whether this is due to the cūḍāmaṇi gem embedded in Viṣṇu’s crown. When Viṣṇu brings His head down in order to pay His respects, Her feet become more splendorous with deep red colour. Some Scriptures say that Viṣṇu is Her elder brother.
Śaṁkarācārya does not want anything from Her. After personally seeing that both Śiva and Viṣṇu place their heads on Her feet in order to pay their respects, he only pleads with Her to keep Her feet on his head, so that he attains eternal liberation.
Crown of Vedas is various Upaniṣad-s, as Upaniṣad-s prescribe ways and means to attain Brahman, who is elucidated through Vedas. In other words, the subtle conveyance Vedas are in the form of various Upaniṣad-s. Vedas also elucidate Brahman through various conveyances; but they are interpreted on the grosser side. Since Upaniṣad-s are easier to understand, when compared to Vedas. Hence, Upaniṣad-s are revered as the crown of Vedas. The meaning is also conveyed in Mūkapañcaśatī (pādāravindaśtakam – verse 24). He says, “Your sacred feet are the ultimate end of essence of Vedas (Upaniṣad-s)”. When one understands the conveyances of Upaniṣad-s, he needs nothing more to attain liberation.
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85
 नमोवाकं ब्रूमो नयनरमणीयाय पदयोः
तवास्मै द्वन्द्वाया स्फुटरूचिरसालक्तकवते।
असूयत्यत्यन्तं यदभिहननाय स्पृहयते
पशूनामीशानः प्रमदवनकङ्केलितरवे॥
namovākaṁ brūmo nayanaramaṇīyāya padayoḥ
tavāsmai dvandvāyā sphuṭarūcirasālaktakavate |
asūyatyatyantaṁ yadabhihananāya spṛhayate
paśūnāmīśānaḥ pramadavanakaṅkelitarave ||
namovākaṁ brūmo – expressing the words of obeisance; nayana ramaṇīyāya – delightful to eyes; padayoḥ tavāsmai dvandvāyā – These two feet of Yours; sphuṭa rūci rasālakta kavate – due to the brilliance of henna applied on them (feet); asūyati atyantaṁ - highly jealous; yat abhihananāya – kicked with Thy feet; spṛhayate – desirous of (longing for); paśūnām īśānaḥ - Lord of all beings, Your Consort Śiva; pramadavana – delightful garden; kaṅkeli – ashoka tree; tarave – O! The Incomparable One!
“I pray aloud (with verses, hymns and nāma-s, as they are generally recited aloud) to Your beautiful pair of feet, which shine with henna applied around Your feet. The ashoka tree in Your joyous garden is being kicked by You. On seeing this, Your Consort Śiva becomes jealous of this ashoka tree.”
There are two separate aspects in this verse. First aspect is worshipping Her sacred feet by Śaṁkarācārya (or by us). It is important to note in this verse that Her feet are praised with vocal prayers. This goes to prove that mantras should be recited mentally and hymns, verses and nāma-s are to be recited aloud. This also confirms that Her feet alone is capable of granting all our spiritual desires. Falling at Her feet towards total surrender is known as caraṇagata. Caraṇagata means falling at one’s feet, which is different from śaraṇāgati or total surrender. Caraṇagata is surrender through body and śaraṇāgati is surrender through mind. What Śaṁkarācārya refers here is Caraṇagata, falling at Her splendorous pinkish feet. Thus, in the first part of this verse, Ācārya speaks about prostration at Her feet. This also means that Ācārya sees Her in Her bodily form. As his contemplation and visualization were so powerful, he could see Her with his biological eyes. Ramakrishna Paramahaṁsa also had this experience.
It is believed that ashoka trees blossom when kicked by auspicious women. Auspicious women can be explained as those, who perpetually remain immersed in Her thoughts (this also applies to men). Parāśakti, being the most auspicious woman (because of Her Śrī Mātā stature) kicks the ashoka trees that are grown in Her garden (where She plays with Her friends). Śiva is jealous of this ashoka tree as He thinks that Her gentle kicks belong only to Him. But this cannot be the intended meaning of this verse.
Let us take ashoka tree as part of the material world as reference to paśu is made in this verse. Paśu contextually means individual souls, devoid of spiritual aspirations. The sustenance aspect of the universe is taken care by Śakti, who is the kinetic energy of Śiva. Pleasure referred in this verse as joyous garden is the material world that is full of activities. By first worshipping Her feet and later talking about kicking ashoka tree and Śiva’s jealous clearly indicates that Śiva is happy with the manner in which She handles creation and sustenance, which are subtly conveyed through ashoka tree and their blossoming. Śiva is always the static energy and Śakti is the kinetic energy. This is what is conveyed through this verse in a subtle manner. Śiva’s jealousy is due to the fact that He is not able to create and sustain the paśu-s all by Himself. He knows that He can’t do that. If He stops meditating even for a fraction of second, annihilations will be initiated. Śakti represents the Power of Śiva.
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86
 मृषा कृत्वा गोत्रस्खलनमथ वैलक्ष्यनिमितं
ललाटे भर्तारं चरणकमले ताडयति ते।
चिरादन्तःशल्यं दहनकृतमुन्मूलितवता
तुलाकोटिक्वाणैः किलिकिलितमीशानरिपुणा॥
mṛṣā kṛtvā gotraskhalanamatha vailakṣyanimitaṁ
lalāṭe bhartāraṁ caraṇakamale tāḍayati te |
cirādantaḥśalyaṁ dahanakṛtamunmūlitavatā
tulākoṭikvāṇaiḥ kilikilitamīśānaripuṇā ||
mṛṣā kṛtvā gotra skhalanam atha – all of a sudden, by mistake (wantonly) calling another woman with her family (lineage) name; vailakṣya nimitaṁ - (hanging down His head) due to embarrassment;  lalāṭe bhartāraṁ caraṇakamale te – kicked Your Consort’s forehead with Your lotus feet; cirāt antaḥ śalyaṁ - long time acrimony; dahanakṛtam unmūlitavatā – totally burnt (by Śiva); tulā koṭi kvāṇaiḥ; jingling sounds of tiny bells in Her anklets; kilikilitam– sounds expressing happiness; īśāna ripuṇā – Śiva’s enemy.
“Śiva intentionally called Parāśakti by some other woman’s name. In anger, Parāśakti kicked on Śiva’s third eye, and Śiva hanged His head due to embarrassment. Manamtha who watched this scene made joyful sounds (giggling) which are like the jingling sounds from the tiny bells in Her anklets.”
This verse should be read along with the previous verse. In the previous verse, it is said that on seeing Her kicking ashoka tree in Her garden, Śiva became jealous of ashoka tree and wanted to have a kick from Her lotus feet. This is being explained in this verse. Parāśakti is very fond of Śiva, says Lalitā Sahasranāma 409, Śivapriyā. In fact, She is in no way different from Śiva. She is not a separate entity and She is one with Śiva all the time. If they are separated for a fraction of a second, the annihilation of the universe will get triggered. That is why, Lalitā Sahasranāma 999 said Śivaśaktyaikyarūpiṇī, categorically says that She is not different from Śiva.
The same concept is expressed in Soundarya laharī (verse 34) “O! Parāśakti! Your appear as the body of Śiva. I consider You as the sinless (meaning Pure) Śiva. The nine primary and secondary characteristics are common to both of You and both of You remain in the state of overwhelmed interdependency resulting in Blissful state.”
The present verse is an exemplary thought process of Śaṁkarācārya. This is called True Love for the Divine. There is no point in worshiping Her, keeping Her in a pedestal. This is dualism. In dualism, true blissful state and liberation can never be attained. Since Śaṁkarācārya (some Scriptures say that he is one of the incarnations Śiva) of was literally playing with Her, he could think of such wonderful descriptions. When we get such thoughts, we may consider these thoughts as Divine curse. No, such thoughts are not Divine curses; they are the reflection of our closeness to Divine, be it Śakti or Śiva. These kinds of worships are for Saguṇa Brahman (Brahman with forms and attributes). When these forms disappear without any efforts from our side, we move on from Saguṇa Brahman to Nirguṇa Brahman, where our merger with Brahman takes place, either in this birth or at least in the next birth. In the next birth, we always continue our spiritual journey, from where we have left in this birth.  
Relationship between Śiva and Śakti is often depicted in romantic way. This is more predominant in Tantra Scriptures. Soundarya laharī is one of the prominent Tantric Scriptures; hence these types of descriptions remain scattered throughout this epic, more profound in the second part known as Soundarya laharī. This has already been explained.
Śiva was very jealous of the ashoka tree and He was carefully planning to get a kick from Her soft pinkish feet. He thought about some idea. Ideas are in plenty with Śiva, as He only revealed 64 tantra-s to the world through Her. Śiva wantonly called Her using some other name. She was very upset and became furious instantaneously. In the height of anger, She kicked on the third eye of Śiva. When She kicked on His face, Her anklets produced mild jingling sounds, as Her anklets have many minute bells. This jingling sound is compared to the giggling sound of Manmatha, who was burnt by Śiva, when he tried to play his trick on Śiva. It is only Parāśakti, who resurrected him and gave him a bodiless form. So, when Śiva was hit by Her, Manmatha, who was nursing vengeance against Śiva became happy. But he could not express his happiness openly as he knew that he will surely lose even the bodiless form. Hence, he only giggled, which only synchronised with the jingling sound of Her anklets.
This verse exhibits the poetic rhetoricalness of Śaṁkarācārya and should not be taken literally.
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87
 हिमानीहन्तव्यं हिमगिरिनिवासैकचतुरौ
निशायां निद्राणं निशि चरमभागे च विशदौ।
वरं लक्ष्मीपात्रं श्रियमतिसृजन्तौ समयिनां
सरोजं त्वत्पादौ जननि जयतश्चित्रमिह किम्॥
himānīhantavyaṁ himagirinivāsaikacaturau
niśāyāṁ nidrāṇaṁ niśi caramabhāge ca viśadau |
varaṁ lakṣmīpātraṁ śriyamatisṛjantau samayināṁ
sarojaṁ tvatpādau janani jayataścitramiha kim ||
himānī hantavyaṁ - destruction (melting) of mass of snow; himagiri nivāsaika caturau – dwelling on the peak of snow clad mountains; niśāyāṁ nidrāṇaṁ - closed during nights; niśi caramabhāge ca viśadau – blossoming both during days and nights; varaṁ lakṣmī pātraṁ - the seat for Lakṣmī; śriyam – prosperity; atisṛjantau samayināṁ - bestowing on those who follow the path of samayācāra (orthodox worship); sarojaṁ tvatpādau – Your lotus like feet; janani – O! Parāśakti; jayataḥ citram iha kim – is there any doubt about this? (victory for Your feet over lotus flowers).
“O! Parāśakti! Your lotus feet remain fully blossomed both during day and night and are capable of showering Grace on those, who worship You by practicing samayācāra. But, lotus flowers, which are the seat of Lakṣmī wither in snow and shrunk during nights. Therefore, Your feet have established their supremacy.”
Śaṁkarācārya says in this verse that samayācāra is better than vāmācāra (left hand practice predominantly advocated in certain Tantra śāstra-s, involving five M-s). This is the most significant aspect of this verse. By worshipping Her through samayācāra (righteous path), a true devotee gets Her perpetual Grace. It is indirectly said that those who follow vāmācāra will not get Her perpetual Grace. If at all, those who practice vāmācāra enters into the state of bliss (not Bliss), it is only temporary.
Samayācāra can be explained as internal worship, as against vāmācāra, which is purely based on left hand worship. Samayācāra can also be explained as the righteous path as against vāmācāra, which can be practiced only after years of practice and this is often misunderstood and misinterpreted. Kulārṇava Tantra is the main authority on this type of worship, which involves elaborate rituals. The effect of the rituals, it is said, is to purify one’s mind and consciousness. Hence it is called “citta-śodhana-sādhana”. Perfect practice leads to awakening and unification of three śakti-s, icchā, jjñāna and kriyā. Generally, these śakti-s are awakened by one’s guru who would have attained mastery over his senses. Such practices are followed close to full moon days. There is always a unison of physical body, subtle body (emotions arising in the mind) and spiritual body (soul). When this conglutination is in perfect conjunction, it causes bliss. But, this is not advised as it is not ethical and is to be frowned upon (According to me, this is to be totally condemned, as such initiations accrue more sins and consequent karmas).  Literally speaking, vāmācāra involves purely ritualistic worship. But, opposite is the case with samayācāra, which is explained in detail in Lalitā Sahasranāma 98.  Samayācāra is purely a mental worship, which yields quicker and better results.
The subtle message conveyed through this verse is about the supremacy of mental worship (samayācāra), which will have Her Grace perpetually as opposed to ritual worship, as described in vāmācāra. In samayācāra also, wide ranges of ritual worships are there, which ultimately cleanses one’s mind leading to superior form of mental worship, as explained in Lalitā Sahasranāma 98. As we know that meditating Her pinkish feet triggers instant experience of powerful Bliss, which is capable of making us enter into nirvikalpasamādhi.
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88
 पदं ते कीर्तीनां प्रपदमपदं देवि विपदां
कथं नीतं सद्भिः कठिनकमठीकर्परतुलाम् ।
कथं वा बाहुभ्यामुपयमनकाले पुरभिदा
यदादाय न्यस्तं दृषदि दयमानेन मनसा॥
padaṁ te kīrtīnāṁ prapadamapadaṁ devi vipadāṁ
kathaṁ nītaṁ sadbhiḥ kaṭhinakamaṭhīkarparatulām |
kathaṁ vā bāhubhyāmupayamanakāle purabhidā
yadādāya nyastaṁ dṛaṣadi dayamānena manasā ||
padaṁ te kīrtīnāṁ prapadam – Your feet are known for their inexplicable grandeur; padaṁ devi vipadāṁ - O! Devi! (Your feet are) beyond the reach of any possible misfortunes; kathaṁ nītaṁ sadbhiḥ - how then the great poets; kaṭhina kamaṭhī karpara tulām – compared them (Your feet) to the hard shell of tortoise; kathaṁ vā bāhubhyām upayamana kāle – how did He (Śiva) with His two hands, during marriage ceremonies; purabhidā – Śiva; yat ādāya nyastaṁ - dṛaṣadi – a rock stone (used for mashing, etc); how did He place (Your foot); dayamānena manasā – with soft mind (with compassion).
“Your feet are known for their grandeur and they remove all misfortunes (by contemplating on them). I wonder, how great poets have compared Your feet to the shell of tortoise. Śiva took great care in lifting Your feet with His two hands and placing them on the rock stone during Your marriage with Him.”
It is believed that this verse does not find a place in the original composition of Śaṁkarācārya.
This verse conveys several things. First, it says that by attaining Her feet, no misfortune can ever happen to the devotee. Hence, the verse indirectly asks us to worship Her feet. For the purpose of contemplation, the softness of Her feet is described. Śaṁkarācārya also wonders how such tender feet can be compared to the hard shell of tortoise by other poets. Lalitā Sahasranāma 43 is Kūrma-pṛṣṭha-jayiṣṇu-prapadānvitā (the arch of Her feet is far more beautiful and curvier than tortoise’s shell).  Śaṁkarācārya also wonders how Śiva, by using His two hands, very carefully held Her soft feet and kept them on the mashing stone during marriage ceremony. Śiva used extreme care while placing Her feet on the stone, fearing that Her feet could get hurt if they are placed on the stone in a normal way. He is so concerned about Her.
Tortoise is often compared to a strong mind. Kṛṣṇa says in Bhagavad Gītā (II.58) says, “A yogi withdraws all his sensory afflictions, like a tortoise withdrawing all its limbs, his mind is said to be stable.” Possibly, those poets could have thought about this, when they say that Her feet are like tortoise shell.
During marriage ceremonies, there is one specific ritual called “aśmārohaṇam” (अश्मारोहणम्), which literally means ascending on a stone. A mashing stone is kept on the northern side of the fire pit, known as homakuṇḍa. During this ceremony, the groom by holding brides right palm, lifts her right foot with his left hand and by holding her big toe and place it on the stone. They go back to the fire and make oblations and this process is repeated three times. There are mantras associated with this ritual. The meaning of the mantra is “mount on this stone. During rough times, let your mind be as strong as this stone.” After this, silver rings are fixed on her second toes by the groom. Śaṁkarācārya says in this verse that Śiva takes Her foot in His left hand with great care, so that it is not hurt by the stone. Incomparable compassion and concern for His Consort! Śiva and Pārvatī, as father and mother of the universe set examples for every aspect of marital life. Poet Kālidāsa says in his Raghuvaṃśa “jagataḥ pitarau  vande pārvati parameśvarau (जगतः पितरौ  वन्दे पार्वति परमेश्वरौ).”
There are several references to this Celestial Marriage. Liṅgapurāṇa (chapter 133) elaborately describes the list of attendees. It is Viṣṇu, who made the kanyādāna (giving a girl in marriage). During this time, divine drums were sounded, divine damsels danced, all the four Vedas were recited, and all gods and goddesses chanted Their praise.
With regard to the comparison of Her feet with the hard shell of tortoise, it is often done, because there is nothing else that can be compared to the shape of Her feet. This is described in Sampuṭīkaraṇa, an ancient Scripture on body parts
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89
  नखैर्नाकस्त्रीणां करकमलसङ्कोचशशिभिः
तरूणां दिव्यानां हसत इव ते चण्डि चरणौ।
फलानि स्वःस्थेभ्यः किसलयकराग्रेण ददतां
दरिद्रेभ्यो भद्रां श्रियमनिशमह्नाय ददतौ॥
nakhairnākastrīṇāṁ karakamalasaṅkocaśaśibhiḥ
tarūṇāṁ divyānāṁ hasata iva te caṇḍi caraṇau |
phalāni svaḥsthebhyaḥ kisalayakarāgreṇa dadatāṁ
daridrebhyo bhadrāṁ śriyamaniśamahnāya dadatau ||
te nakhaiḥ śaśibhiḥ - Your moon shaped toe nails (nakha means both finger nails and toe nails and contextually this refers to Her toe nails); kara kamala saṅkoca – put to shame (Your) lotus like arms; nāka strīṇāṁ - divine damsels; divyānāṁ tarūṇāṁ hasata iva – making mockery of celestial tress; te caṇḍi caraṇau – O! Caṇḍi! Your feet; phalāni svaḥ thebhyaḥ - bestow benefits to gods and goddesses; kisalaya kara agreṇa – tender shoot like finger tips; dadatāṁ daridrebhyaḥ bhadrāṁ śriyam – bestow abundant wealth to the poor; aniśam – perpetually; ahnāya dadatau – give immediately.
“O! Caṇḍi! Celestial trees are capable of granting boons only to gods and goddesses, but Your feet are capable of conferring richness, both to gods as well as to poor humans, the moment they ask for it. Your feet with moon shaped toe nails put to shame, lotus like arms of heavenly damsels.”
The verse says that the heavenly trees give wealth to gods and goddesses in higher spiritual planes, whereas Her feet with moonlike toe nails, which put to shame the beautiful arms of divine damsels, give wealth to well deserving humans, the moment they ask for it. She is addressed in this verse as Caṇḍi.
Before understanding Caṇḍi, we have to know the subtle conveyance of this verse. Apart from what is conveyed above, the subtle conveyance is that She is always ready to grant all that is aspired for, by Her devotees. Devotees are those who perpetually stay connected with Her through contemplation. Their state is known sthitaprajña, which means calm and contended. For a sthitaprajña, there will be no material requirements and what he will ask for is only Her Grace. Gods and goddesses are not spiritually evolved like sthitaprajña-s. There are many stories about Indra and others, who got affected by their acts of impropriety.
Spiritual path should be pursed with great care as any slippage could cause irreparable damage. One has to be under the care and guidance of a Guru till he or she reaches the end point of spiritual journey. Steadfast mind is the only crucial factor in Self-realization. When the mind of a disciple oscillates, Guru guides him appropriately. Hence, a lot of importance is given to Guru in spiritual pursuits. All Upaniṣad-s were revealed only through questions and answers. There are Upaniṣad-s, wherein Indra and other gods sought the help of sages and saints. Why celestial trees grant the wishes of gods and goddesses, because they seek only material wealth and they do not seek liberation. Even if liberation is asked from these trees, obviously they cannot grant, as liberation can be given only by Her and this subtle message is conveyed through this verse. The verse asks us to surrender to Her feet, which are capable of bestowing salvation. Poor humans are those who are devoid of highest spiritual knowledge. Poor humans does not mean here, the material aspect.
Soundarya laharī (verse 2) has already described Her feet thus. “By collecting dust particles from Your feet, Brahmā creates fourteen worlds (seven upper and seven lower), Viṣṇu sustains the universe and Śiva causes death and destruction”. Dust particles can also be explained as infinite individual souls, the cause for all that exists in the universe. Without soul a body cannot exist. Therefore, it is implied that these three God heads create, sustain and dissolve the beings by collecting the souls from Her feet. Śaṁkarācārya in the next verse of Soundarya laharī says that these dusts are capable of offering liberation or mokṣa. These references underline Supremacy of Her feet. There are many such verses in Soundarya laharī. Similarly in verse 88, Śaṁkarācārya said, “Your feet are known for their grandeur and they remove all misfortunes (by contemplating on them). I wonder, how great poets have compared Your feet to the shell of tortoise. Śiva took great care in lifting Your feet with His two hands and placing them on the rock stone during Your marriage with Him.” Śaṁkarācārya repeatedly speaks about Her feet because, they alone are capable of offering liberation.
She is referred in this verse as Caṇḍi. This also goes to prove that She alone assumes different forms depending upon the situations. She is praised as Caṇḍi in Mārkaṇḍeya Purāṇa through seven hundred verses, which is known as Devī Māhātmya. Certain procedures are prescribed for its recitation and after a particular number of recitations, Caṇḍi homa is performed. Devī Māhātmya can be interpreted grossly and subtly. For example, it is said that the fight between gods and demons lasted for full one hundred years. On the grosser side, it can be explained that there was a war between gods and demons in various shapes and forms. On the subtler side, it can be interpreted that it takes a long time to drive away mundane thought process from the mind. Hundred years does not literally mean hundred years. It is an indicator of long time that is required to annihilate the mind. Ultimately, She destroys all demons and on the subtler side, it can be explained that ultimately one is able to conquer his mind and gets liberated. The full benefits of recitation of these 700 verses will accrue only if one understands the subtle meaning.  It is important that one should understand the meaning of any verse or hymn, otherwise, full benefits of such recitations may not accrue.  Bhagavad Gītā also has seven hundred verses. Mārkaṇḍeya Purāṇa (chapter 79) says, “All the gods gave forth their special energies, which combined and formed the Goddess Caṇḍi.”
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90
 ददाने दीनेभ्यः श्रियमनिशमाशानुसदृशीं
अमन्दं सौन्दर्यप्रकरमकरन्दं विकिरति।
तवास्मिन् मन्दारस्तबकसुभगे यातु चरणे
निमज्जन्मज्जीवः करणचरणः षट्चरणताम्॥
dadāne dīnebhyaḥ śriyamaniśamāśānusadṛśīṁ
amandaṁ saundaryaprakaramakarandaṁ vikirati |
tavāsmin mandārastabakasubhage yātu caraṇe
nimajjanmajjīvaḥ karaṇacaraṇaḥ ṣaṭcaraṇatām ||
dīnebhyaḥ - for the sake of impoverished; āśānu sadṛśīṁ - according to their rightful hopes; śriyam aniśam – perpetual wealth; amandaṁ - intensely; saundarya prakara makarandaṁ - plentiful nectar of beautiful flowers; vikirati – scattered everywhere; asmin tava caraṇe – Your feet; mandāra stabaka subhage – beautiful cluster of mandāra flowers (celestial flowers); nimajjan majjīvaḥ - let my soul immerse; karaṇa caraṇaḥ - antaḥkaraṇa as feet; ṣaṭ caraṇatām – being a bee with six feet; yātu – to become.
“Your feet are capable of fulfilling the rightful needs of poor perpetually. From Your feet flows the Divine nectar, just like plenty of nectar secreted from the bunch of celestial flowers.  Let me become a six footed bee and surrender unto Your feet with my sensory organs and antaḥkaraṇa.”
This verse conveys two subtle messages. One has to surrender unto Her totally. Total surrender is conveyed through surrendering through sensory organs (both organs of perception and organs of action) and antaḥkaraṇa (mind, intellect, consciousness and ego). Surrendering through organs of action and perception is conveyed through caraṇa and surrendering through antaḥkaraṇa is conveyed through karaṇa. It is said that from Her feet secretes Divine nectar, which is nothing but Divine Bliss. This nectar is compared to the nectar of celestial mandāra flowers. The reason for comparing Her feet to celestial flowers is to indicate the permeating fragrance from Her feet into the universe. Śaṃkarācārya wants to become a six footed bee and remain in Her feet always.
There are a few things that are expressed by Śaṃkarācārya in a sequential order. First, one has to surrender unto Her. In order to surrender to Her, the concept of surrender is to be understood. He subtly conveys about two types of surrender, which is to be done one after another. First, one has to surrender ritually. There are certain procedures, through which one surrenders unto Her. Normally, these types of surrenders are done through one’s Guru, who acts as a medium between the Divine and the devotee. This is the first step, which lays a strong foundation to surrender through antaḥkaraṇa. The second part of surrender is through antaḥkaraṇa, which refers to four inner psychic and subtle organs - mind, intellect, consciousness and ego. Kṛṣṇa explains śaraṇāgati in at the end of Bhagavad Gītā (XVIII. 64 – 66)*. Surrendering through antaḥkaraṇa means surrendering through one’s mind and intellect, shedding his or her non-essential ego by uniting individual consciousness with Supreme Consciousness (he becomes a yogi).
The second part explains śaraṇāgati and its consequential result, the Bliss. This resultant Bliss cannot be experienced through continued association with the material world and hence Śaṁkarācārya chooses celestial flowers to draw comparison to the unfoldment of Bliss in the mind of that yogi. When this Bliss is experienced, one cannot move away from this experience, which is addictive in nature.  He will continue to exist in the same state till his death. Hence bees are drawn as comparison. When bees taste the finest nectar, they eat beyond their capacity. As result, either they perish or unable to move away from that flower and swoons. Once Her nectarous feet is tasted, we cannot move away from Her feet and this state is compared to the state of bees due to their perpetual presence in the nectar secreted from Her feet. This is called Bliss. What will happen to that yogi who perpetually dwells in Her Bliss. Vivekacūḍāmaṇī (verse 271 and 277) explains this state. “Desire to run after the society, passion for too much study of scriptures, desire to keep the body in good shape, go away. His mind dies, being constantly fixed on his own Self (the Self within).” What is the final result of śaraṇāgati? There cannot be any final result for śaraṇāgati, as after one surrenders through his mind, ne should not look for results. If one asks for the result of śaraṇāgati, it clearly means that his surrender is not complete. Mind continues to exist for the one who has surrendered. But this mind is pure and devoid of any thought processes. He simply cannot think because he is now Brahman.  Vivekacūḍāmaṇī (488) explains his state. “Blessed I am; I have attained the consummation of my life and I am now free from the clutches of transmigration; I am the Essence of Eternal Bliss, I am Infinite...”
Only Her feet are capable of offering this Bliss. If Her feet alone are capable of offering Bliss, it is worthwhile in contemplating what Her Grace can offer to us.
{*Further reading on śaraṇāgati: Reproduced from my book “Essence of Bhagavad Gītā” (chapter XVIII. 64 – 66)
“Listen to My supremely secret words again, the most secretive of all.  You are extremely dear to Me, and I shall only say what is beneficial for you.  Fix your mind on Me, worship Me and bow down to Me. By doing so you will come to Me alone.  I promise you.  Resigning all dharma, take refuge in Me alone.  I shall absolve you of all your sins. Do not worry.”
This is almost the concluding statement of Kṛṣṇa in Bhagavad Gītā. After having explained to Arjuna, the elaborate steps to attain liberation, Kṛṣṇa conclusively says that surrender unto Him is the best choice for liberation.  Kṛṣṇa gives importance to friendship by saying to Arjuna that he is very dear to Him.  Both Kṛṣṇa and Arjuna, studied, played and grew together.  Though, Kṛṣṇa was moving with many others, He had a special interest in Arjuna, not just because he was a noted warrior, but also because of his ability to understand.  Added to these qualities, Arjuna never deviated from the scriptural dictums and always followed the path of virtuousness.  It is like the Lord extending His hands to those who are spiritually well advanced.  This does not mean that the Lord follows the path of partiality.  The Lord takes a special interest on those, who truly seeks Him without the handful of prayers and favours.  Such yogis are taken over by the Lord Himself, who ultimately leads them to liberation. Even then, the Lord does not dissolve their karmas. He only tells them the ways and means to dissolve their karmas quickly.  Karmas can be dissolved only by one’s experience in this world and not otherwise. 
The entire Bhagavad Gita is the Lord’s message to these yogis and not just Arjuna alone.  Subsequently, He says that Gita should not be imparted to those who are not interested in pursuing the path of righteousness. When the world is totally immersed in darkness of ignorance, the Lord incarnates and sets the world in the right path; as otherwise, the world would sink deeper and deeper without any plausible redemption. All those, who follow the path of virtuousness, will also get sunk along with the demons.  If virtuous men are punished, then the sayings of the Scriptures would be falsified. In order to avert the complete catastrophe, the Lord takes avatars and infuses confidence in the hearts of those virtuous men  Kṛṣṇa avatar is purely towards this goal only and obviously, the goal has been totally achieved by the Lord. Towards the closing chapters of Gita, Kṛṣṇa becomes too compassionate.  He says to Arjuna and through him to the entire humanity, “You have suffered enough.  I do not want you to suffer any longer.  I am your Lord.  Surrender unto Me by thinking about Me all the time.  I will give you liberation. You have come very close to Me.  Just a few steps, you will attain Me. Please do not go back.” Even after these compassionate words, one is unwilling to surrender his ego to Him, then, nobody can save him.  He will continue to undergo the pains of birth and death repeatedly. 
When a person had fallen into a deep pit, one can throw a rope to save him.  If he is not willing to take that rope and claim up, what can one think about him?  This is the kind of situation, the humanity is in. The Lord says I am giving you the rope to claim up and even promises that he would be taken to safety. Even then, the fallen person is not acting it means that he is resigned to his fate.  The Lord says that one should set aside his ego and surrender to Him through one’s mind.  He does not even want a person to suffer physically. Just developing the quality of renunciation, through his mind, is more than enough to attain liberation. Sacrifice is the sole essence of Gita.  One can perform any actions without intent on the fruits of actions.  Nothing is barred and the only requirement is to stay connected consciously with the Lord all the time.  If one takes refuge in the Lord, the Lord will take care of his liberation.  He will find the ways and means to absolve all his sins, purify him and ultimately makes him one with Himself.  After all, the Lord is the embodiment of compassion and love. 
Kṛṣṇa once again tells Arjuna not to worry and asks him to surrender in entirety to Him. The Lord also gives a promise that he will be absolved of all his sins and liberated.  He says, “Do not get repeatedly entangled with duties that may be either right or wrong.  I am above all the scriptural dictums. When you aim to attain Me, dharmas have no significance. Get out of your ego and come to Me is all that I need from you.”
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91
 पदन्यासक्रीडापरिचयमिवारब्धुमनसः
स्खलन्तस्ते खेलं भवनकलहंसा न जहति।
अतस्तेषां शिक्षां सुभगमणिमञ्जीररणित-
च्छलादाचक्षाणं चरणकमलं चारुचरिते॥
padanyāsakrīḍāparicayamivārabdhumanasaḥ
skhalantaste khelaṁ bhavanakalahaṁsā na jahati |
atasteṣāṁ śikṣāṁ subhagamaṇimañjīraraṇita-
cchalādācakṣāṇaṁ caraṇakamalaṁ cārucarite ||
pada nyāsa krīḍā paricayam – practicing your gait of walking like a sport; iva arabdhu manasaḥ - beginning to practice this (Her walking); skhalantaḥ te khelaṁ - unable to practice Your gait; bhavana kala haṁsaḥ - tender swans in Your Abode; na jahati – do not discontinue; ataḥ - therefore;  teṣāṁ śikṣāṁ - those instructions; subhaga maṇi mañjīra raṇita cchalāt – in the guise of auspicious tinkling sound of Her gem studded anklets; ācakṣāṇaṁ iva – seem to declare;  caraṇa kamalaṁ - Your lotus feet; cārucarite – Goddess of graceful gait.
“O! Parāśakti (the Goddess of graceful gait), those tender swans in Your palace (Mahākailāsā) never discontinue their practice to walk like You in order to correct their unimpressive method of walking. The tinkling sound from gem studded anklets seems to be giving instructions to those swans (how to walk like You).”
While meditating on Her, it would be better if we meditate on Her feet, as they can be to a certain extent visualized with ease. Hence, great importance is attached to Her feet, which are often compared to lotus flowers for their softness, complexion and beauty. There are several verses in Soundarya laharī that describe Her lotus feet. There are nāma-s in Lalitā Sahasranāma describing Her walking gait such as nāma 46 is siñjāna-maṇi-mañjīra-maṇḍita-srīpadāmbujā and nāma 47 Marālī-manda-gamanā.
The swans which try to learn Her walking gait are in Mahākailāsā (Lalitā Sahasranāma 578) and not in Cintāmaṇigṛha (Lalitā Sahasranāma 57). Why these swans are reared in Mahākailāsā and not in Cintāmaṇigṛha. In Mahākailāsā, She spends time all alone with Śiva. In Cintāmaṇigṛha She is seated as Rājarājeśvarī, overseeing every aspect of creation and sustenance, which is further discussed at the end of this verse. As Rājarājeśvarī (Lalitā Sahasranāma 684), She does not have time for Herself. But in Mahākailāsā, She is Mahākāmeśa Mahiṣī (Lalitā Sahasranāma 233), the Consort of Śiva. In fact, in Mahākailāsā apart from playing with Śiva, She also plays with these swans known as kalahaṁsa. They are special species of female swans. Kalahaṁsa also refers to Brahman or Paramaśiva. The verse goes to say that in spite of their regular practice, they are unable to catch with Her.
There are two subtle conveyances in this verse.
1. Mahā-kailāsa is the abode of Śiva. This is far away from the existing Kailāsa mountains.  In fact, mahā-kailāsa is beyond human comprehension.  Śiva has various forms and mahā-kailāsa is the abode of Paramaśiva.  Since Lalitāmbikā is always present with Śiva, mahā-kailāsa is referred to as the abode of Lalithāi as well.  The orifice (bindu) in sahasrāra is known as mahā-kailāsa.  Sahasrāra is beyond the six-cakra-s (mūlādhāra to ājñā) in the human body.  Śiva is visualised here in the form of a bindu (dot). Since She conjoins Śiva here in Her subtlest form, it is also referred as Her abode. The swans refer to haṁsa mantra (ajapa – no japa stage). Generally haṁsa-s are referred to mind. The swans in Mahā-kailāsa represent purified mind and hence they are known as kalahaṁsa-s. Kalahaṁsa means Brahman without any attributes or Nirguṇa Brahman. When She is in Cintāmaṇigṛha, She becomes Saguṇa Brahman or Brahman with attributes. When this verse talks about kalahaṁsa-s, naturally the verse describes Her as Mahākāmeśa Mahiṣī.
2. Let us look at this verse again:
padanyāsakrīḍāparicayamivārabdhumanasaḥ
skhalantaste khelaṁ bhavanakalahaṁsā na jahati |
atasteṣāṁ śikṣāṁ subhagamaṇimañjīraraṇita-
cchalādācakṣāṇaṁ caraṇakamalaṁ cārucarite ||
Words in red can be compiled this way.
1. pada; 2. nyāsa; 3. krīḍa; 4. Paricaya; 5. Bhavana; 6. kalahaṁsa.
All these six words are interpreted by Kāmeśvara Sūri on the lines of Āgama.
1. pada refers to the fourteen worlds; 2. Nyāsa refers to creation; 3. krīḍa refers to sustenance; 4. Paricaya refers to dissolution; 5. Bhavana refers to Śri Cakra; 6. kalahaṁsa refers to several śakti-s in Śri Cakra.
If we arrange these words, it gives to the following revelation.
Lalitāmbikā rules the entire universe (fourteen worlds) by taking care of creation, sustenance and dissolution by being seated in Śri Cakra and acting through different āvaraṇa devi-s. This clearly establishes Her Supremacy, even in Āgama-s.
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92
 गतास्ते मञ्चत्वं द्रुहिणहरिरुद्रेश्वरभृतः
शिवः स्वच्छच्छायाघटितकपटप्रच्छदपटः।
त्वदीयानां भासां प्रतिफलनरागारूणतया
शरीरी शृङ्गारो रस इव दृशां दोग्धि कुतुकम्॥
gatāste mañcatvaṁ druhiṇaharirudreśvarabhṛtaḥ
śivaḥ svacchacchāyāghaṭitakapaṭapracchadapaṭaḥ |
tvadīyānāṁ bhāsāṁ pratiphalanarāgārūṇatayā
śarīrī śṛṅgāro rasa iva dṛśāṁ dogdhi kutukam ||
gatāḥ te mañcatvaṁ - (they) have taken the position of legs of your throne; druhiṇa hari rudra īśvara bhṛtaḥ - Brahmā, Viṣṇu, Rudra, Īśvara as Your servants; śivaḥ - Śiva; svaccha chāyā ghaṭita kapaṭa pracchada paṭaḥ - who is like crystal, formed the seat;  tvadīyānāṁ bhāsāṁ - Your splendour; pratiphalana rāga arūṇatayā – reflecting (Your) colour of dawn; śarīrī śṛṅgāra rasa iva – becoming embodiment of romantic emotions; dṛśāṁ -  (Your) eyes; dogdhi kutukam – cause happiness.
“Brahmā, Viṣṇu, Rudra and Īśvara form four legs of your throne and Śiva who is like pure crystal form the seat for You to sit and He reflects Your deep red complexion. This vision cases romantic ideas (in your mind) and makes You happy.”
Gross meaning of this verse is that She sits on Brahmā, Viṣṇu, Rudra, Īśvara and Śiva who take care of the five primary activities of Brahman, which is explained below. She is overall in charge of these five aspects of Brahman, which is discussed in Lalitā Sahasranāma 250 Pañca-brahma-svarūpiṇī.
There are three aspects in this verse. The first part can be interpreted on the basis of Lalitā Sahasranāma 249, Pañca-pretāsanāsīnā, which is explained like this: She is sitting on a throne held by five corpses.  These five corpses are Brahma, Viṣṇu, Rudra, Mahādeva and Sadāśiva.  Brahma looks after creation, Viṣṇu looks after sustenance, Rudra causes death, Mahādeva conceals the dissolved universe (tirodhāna) and Sadāśiva again re-creates the universe (anugraha).  It is said that these five Lords cannot function without their Śaktī-s or consorts.  Commentators refer to the consorts of these five Gods and without them it is said that these Gods cannot perform their duties. This nāma should also be read with another Lalitā Sahasranāma 947, Pañca-preta-mañcādhi-śāyinī, which is explained from the philosophical point of view thus: The other way of looking at this nāma is to resolve on the basis that without kinetic energy, the predominant static energy does not become functional. In other words, Śiva cannot become functional head of the universe, unless ably aided by His consort Lalitāmbikā, the able dynamic energy, the energy created by Śiva Himself.  Tantra loka (IV.6) says, “Only by the union with Śaktī, subtle Śiva is known.  She is the ultimate unified Śaktī, the Parameśvarī, the very Self of Brahma, Viṣṇu, and Īśā.”  The functional heads become ineffective (dead) without the presence of divine energy infused into them by Her. The five cadavers refer to a stage where the superior functional heads turn into corpses in the absence of energy infused by Her, which decisively and authoritatively confirms Her Bramanic status. 
Now, the second part of the verse conveys two aspects. One is about the complexion of Śiva and Śakti and another is about śṛṅgārarasa. When we refer Śiva in this verse, it refers to Paramaśiva, in whom She is inherent.
Complexion of Paramaśiva and Parāśakti is discussed in Lalitā Sahasranāma 796, Kāmarūpiṇī. Kāma means Śiva.  She is in the form of Śiva.  They are not different.  They have everything in common, except the complexion.  Śiva is crystal white and She is dark red.  Both of them sitting together appear like rising sun (Her red complexion is transfused with the colourless and translucent complexion of Śiva appearing like the rising sun. The dark red colour gets diffused making it appear as orange colour).
Śṛṅgārarasa used in this verse is interpreted in Lalitā Sahasranāma 376 is Śṛṅgāra-rasa- saṁpūrṇā which says that Lalitāmbikā is an embodiment of extracts (rasa) of finer things in life.  There are said to be eight to ten types of rasa-s, though only nine types of rasa-s are generally mentioned.  These ten rasa-s are love (śṛṅgāra), heroism, disgust, anger, mirth, fear, pity, amazement, tranquillity and warmth.  Saundarya Laharī (verse 51) refers to eight types of rasa-s that She exhibits at different times.  She exhibits the essence of love with Śiva, heroism while destroying evils, disgust while dealing with ignorant, fear on seeing the snakes on the person of Śiva, anger with goddess Gaṅgā (as Śiva holds her in His hair), amazement on seeing Śiva’s third eye, warmth while being with Her true devotees and lāsya rasa (expressing emotions as if dancing) while looking at Her attendants.   This nāma talks about the essence of love that She exhibits while being with Śiva, all alone.  The love between Śiva and Śaktī is beautifully described in various scriptures.  The essence of love or śṛṅgāra-rasa is the cause for other rasa-s.  Though these narrations go well while visualizing Her form, Her Absolute form is beyond all these qualities and attributes.
As we move towards the end of Soundarya laharī, She is described either as Brahman or as the functional head of Paramaśiva.
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93
अराला केशेषु प्रकृतिसरला मन्दहसिते
शिरीषाभा चित्ते दृषदुपलशोभा कुचतटे।
भृशं तन्वी मध्ये पृथुरुरसिजारोहविषये
जगत्त्रातुं शम्भोर्जयति करुणा काचिदरुणा॥
arālā keśeṣu prakṛtisaralā mandahasite
śirīṣābhā citte dṛṣadupalaśobhā kucataṭe |
bhṛśaṁ tanvī madhye pṛthururasijārohaviṣaye
jagattrātuṁ śambhorjayati karuṇā kācidaruṇā ||
arālā keśeṣu – curly hair; prakṛti saralā – naturally beautiful; manda hasite – with smile; śirīṣābhā cite – mind like the flowers of fever tree; dṛṣat upala śobhā kuca taṭe – bosoms as hard as grinding stone (mash stone); bhṛśaṁ tanvī madhye – extremely slender waist; pṛthurḥ urasija āroha viṣaye – broad and expansive bosoms and derriere; jagat trātuṁ - to sustain the universe; śambhoḥ jayati karuṇā – the supreme compassion of Śiva; kācit aruṇā – indescribable redness.
“O! Parāśakti! You have naturally beautiful and curly hair and natural mile. Your mind is like the flowers fever tree. Your hard bosoms are broad and expansive and so is Your derriere, whose complexion are in describable redness They are due to the supreme compassion of Śiva to sustain this universe.”
As we are moving towards end of Soundarya laharī, emphasis is given to Śiva in this verse. This verse also goes to prove that Śiva is Supreme. He is Prakāśa, the Self-illuminating Light of the universe and His Light is made realizable by His Power known as Śakti, who is known as Vimarśa, the svabhāva of Śiva. Svabhāva can be explained in two ways. Contextually it means the inherent nature of Śiva. That is why, Lalitā Sahasranāma (53) adores Her as Śiva which is explained thus:
“There is no difference between Śiva and Śaktī; hence she is called as Śiva.  Śiva also means auspiciousness.  She is the embodiment of auspiciousness.  She is the icchā form of Śiva.  There are three types of śakti-s – icchā (desire), jñāna (knowledge) and kriyā (action).  Since Śiva is the Brahman and as such He does not have any desires.  But His icchā form is reflected in the form Lalitai.  Here desire means desire to self-realization. “Yatā Shivā –tatā Devi; Yatā Devi- tatā Shivā” is the saying.  Wherever Śiva is, there will be Śaktī and wherever Śaktī is, there will be Śiva.  That is why it is said there is no difference between Śiva and Śaktī. Elsewhere it is said that Pārvatī and Parameśvara cannot be separated from each other. This is compared to a word, which cannot be separated from its meaning.  They are considered as father and mother of the universe.  Scriptures say that there is no difference between Umā (Śaktī) and Śankarā (Śiva).  Śankarī is the consort of Śiva and is known as Śiva - Śankarī. There are two important points mentioned here.  One is that, Lalitai is in no way different from Śiva.  Both Śiva and Śaktī are in a single form only.  Only out of ignorance, we worship them as two separate individuals.  Secondly, assuming that we continue to worship Her individual form that has been described in the previous verses, still we get all auspicious things.”
Lalitā Sahasranāma 999 Śiva-śakty-aikya-rūpiṇī talks about their unified existence.
The alternate explanation of svabhāva is about the doctrine that the universe was produced and is sustained by the natural and necessary action of substances according to their inherent properties. In other words, this could mean Prakṛti, the original source of creation. She is only the source and not the cause of creation. Cause of creation is Śiva. Hence, this verse praises Him and says that Śiva has created the universe through Her out of compassion for the beings. Hence is She is worshiped as Divine Mother or Supreme Mother. When we contemplate Her in a placid mind, She will certainly manifest.
The description of Her body parts conveys Śiva’s compassion and Her motherly qualities. The last line of the verse conveys the nature of Śiva’s compassion. Compassion is always described as red. This is explained in the second dhyāna verse of Lalitā Sahasranāma, which says, “aruṇāṃkaruṇā-taraṃgitākṣīṃ” (aruṇām – like rising sun, the colour of the sun at dawn which is red; karuṇa – compassion; tarangitākṣīm – waves from Her eyes;  Waves of compassion emanating from Her eyes, like waves continuously.”
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94
 कलङ्कः कस्तूरी रजनिकरबिम्बं जलमयं
कलाभिः कर्पूरैर्मकतकरण्डं निबिडितम्।
अतस्त्वद्भोगेन प्रतिदिनमिदं रिक्तकुहरं
विधिर्भूयो भूयो निबिडयति नूनं तव कृते॥
kalaṅkaḥ kastūrī rajanikarabimbaṁ jalamayaṁ
kalābhiḥ karpūrairmakatakaraṇḍaṁ nibiḍitam |
atastvadbhogena pratidinamidaṁ riktakuharaṁ
vidhirbhūyo bhūyo nibiḍayati nūnaṁ tava kṛte ||
kalaṅkaḥ - dark spot (in the moon); kastūrī – musk; rajani kara bimbaṁ - rays of the moon in the night; jalamayaṁ - watery; kalābhiḥ karpūraiḥ makata karaṇḍaṁ - (rays of the moon are) edible camphor in an emerald cup; nibiḍitam – full to the brim; ataḥ tvat bhogena – therefore, for Your enjoyment; pratidinam idaṁ - like this every day; rikta kuharaṁ - becoming emptied; vidhiḥ - Brahmā; bhūyaḥ bhūyaḥ - again and again (repeatedly); nibiḍayati nūnaṁ - surely fills it up; tava kṛte – for Your sake.
“The dark portion that is visible to us is musk. The moon’s watery orbit is the emerald cup. Rays of the moon are the edible camphor in the emerald cup that is filled to its brim. When the cup becomes empty by Your usage, Brahmā repeatedly fills the cup for Your sake.”
There are two types of interpretations possible for this verse. Moon’s disc is compared to a emerald cup, which is filled with the water sourced from the moon. This water is mixed with edible camphor and Parāśakti takes bath in that cup. As and when the cup is emptied, Brahmā fills the cup with water and adds musk and camphor. The moon shines only in the night and by referring to Her bath during the presence of moon, it means that She should be worshiped in the night. Brahmā filling up water for Her next bath means, dawn of the day.
But there appears to be a more pronounced subtle meaning. During full moon days (paurṇamāsa), moon is opposite to the sun with all the kalā-s. Kalā means a digit of the moon. Moon has sixteen digits and each of these digits have a specific name ruled by sixteen devi-s. However, these devi-s do not represent fifteen tithi nityā devī-s discussed in the eighth āvaraṇa, who are worshiped outside the innermost triangle of Śri Cakra. These sixteen kalā are invoked while consecrating viśeṣārgya at the commencement of navāvarṇa pūjā. These sixteen kalā devi-s are Amṛitā, Mānadā, Pūṣā,Tuṣiṭi, Puṣṭi, Rati, Dhṛiti, Śaśinī,  Candrikā, Kānti, Jyotsnā, Śrī, Prīti, Aṅgadā, Pūrṇā and Pūrṇāmṛitā. These sixteen kalā devi-s represent sixteen vowels of Sanskrit. (Further reading: Eighth āvaraṇa)
She is seated in the middle of the moon and Lalitā Sahasranāma 240 says, Candra-maṇḍala-madhyagā, which means that She is in the middle of lunar orbit. But the subtle conveyance of this nāma is different and is given below*. At the time of amāvāsyā (new moon day), She becomes one with the sun. Lalitā Sahasranāma 275 says Bhānu-maṇḍala-madhyastā, which means that She in the middle of the orbit of the sun. She is not alone here; She is with Śiva, where the union between Śiva and Śakti takes place (Lalitā Sahasranāma 999 Śiva-śakty-aikya-rūpiṇī). Chāndogya Upaniṣad (I.vi.6) says, that the Self effulgent Brahman resides in the midst of the sun. A question may arise as to why this cannot be explained as Parāśakti. This argument can be negated on two counts.  Upaniṣad while describing this uses two words that describe masculinity. The first word is puruṣaḥ and the other word is śmaśru. Puruṣa generally means a man and to substantiate this, the Upaniṣad uses another word śmaśru, which means beard. Both of them refer masculine characteristics. Further, Śivasahasranāma 64 says, ‘sūryāya namaḥ’ which means that He is in the form of the sun. Śivānandalaharī (verse 58) describes Śiva as ‘koṭisūryaprabhaḥ’, which means that He shines infinite times powerful than the sun. Kaṭha Upaniṣad (II.ii.15) explains this further. The verse says,
 na tatra sūryo bhāti na candratārakaṃ
nemā vidyuto bhānti kutoyamagniḥ
tameva bhāntamanubhāti sarvaṃ
tasya bhāsā sarvamidaṃ vibhāti|”
”न तत्र सूर्यो भाति न चन्द्रतारकं
नेमा विद्युतो भान्ति कुतोयमग्निः।
तमेव भान्तमनुभाति सर्वं
तस्य भासा सर्वमिदं विभाति॥
 This means, “in the presence of Brahman, the sun does not shine, nor do the moon and stars, nor does lightning, let alone this fire.  When Brahman shines, everything follows.  By Its light, all these are lighted.” Going by these citations, it can be conclusively proved that Śiva is the sun; sun is only a miniscule of Śiva. Hence Śiva Sūtra-s describe Śiva as Prakāśa (the Supreme Light with which everything else is known).
When She is with Śiva during new moon day, She is infused with energy by Śiva. Śakti is not a separate entity but the Supreme Power of Śiva (svātantrya śakti). After emerging from this holy union, every kalā is added during śuklapakṣa (waxing moon) and on the full moon day, She is complete with all the sixteen kalā-s. It is also said that during the waxing period of the moon, all gods and goddesses worship Her. It is also said that if She is worshiped during the waxing period of the moon, all types of auspiciousness will be showered on the worshipers. This subtly conveys that worshiping Her during śuklapakṣa gives more benefits. This is more or less in agreement with Lalitā Sahasranāma 610, Pratipan-mukhya-rākānta-tithi-maṇḍala-pujitā**.  Therefore, it is said that during waning period of the moon, She sheds one kalā everyday and by the time She unites with Śiva, She is without any of Her sixteen kalā-s. Therefore, a devotee should mentally worship Her during this period instead of performing external worship. After shedding all the kalā-s, She unites with Śiva on new moon day (amāvāsyā) and goes to back to Her Royal Court as Rājarājārcitā (Lalitā Sahasranāma 305) and Rājarājeśvarī (Lalitā Sahasranāma 684), fully energised, as Her source of energy is only Śiva.
Therefore, according to this verse one has to worship Her with all the rituals during waning period and meditate on Her during waxing period of the moon. Further, out of the sixteen kalā-s discussed above, Pūrṇāmṛitā is considered as the invisible kalā. The first fifteen kalā-s form Pañcadaśī mantra and when the sixteenth kalā is also added, all the sixteen kalā-s  form the Ṣoḍaśī mantra. Therefore, it would be wise to recite Pañcadaśī mantra during full moon days and recite Ṣoḍaśī mantra during new moon days.
* Candra-maṇḍala refers to the sahasrāra.  She is in the middle of the sahasrāra.  In the middle of the crown cakra there is an orifice called bindu.  She is in the form of this bindu.  In fact, in ritual worship of Śrī Cakra, this bindu is the focal point where She is worshipped.  The Candra-maṇḍala itself is Śrī Cakra.  The moon has sixteen kalā-s and on the full moon day, She is said to be in the form of moon with all the sixteen kalā-s.   Reciting Lalitā Sahasranāma on full moon days will bring in all auspiciousness.   Śiva is said to reside in the head of agni (fire) and Śaktī is said to reside in the head of the moon and together they sustain this universe (it means that the universe is being sustained by fire and moon referring to Śiva and Śaktī.) This leads to the conclusion that Candra-maṇḍala is Śrī Cakra Itself. 
** Pratipad means the first lunar day and rākā means the full moon.  In Śrī Cakra, She is surrounded by fifteen tithi nitya devi-s, five on each side of the inner most triangle.  The bindu, the central point of Śrī Cakra, where Śaktī is sitting on the lap of Śiva is covered by this inner most triangle.   Each of the lunar day is represented by one tithi nitya devi.  In Śrī vidyā cult, all these deities are worshipped during ritual worship of Śrī Cakra.  Lalitāmbikā is worshipped as mahā-nitya.  This interpretation is as per tantra śāstrā-s.   Tithi maṇḍala is also referred to in Veda-s, which mentions fifteen names representing fifteen lunar days or tithi-s of waxing moon.  In addition to the names of the fifteen deities, Veda-s also refer to one more deity by name Sadā (meaning perpetually) which is known as the 16th kalā of moon.  Moon has sixteen kalā-s. Each kalā is represented by a goddess beginning with Amṛtā and ending with Pūrṇāmṛtā and their names are prefixed with each vowel (there are sixteen vowels in Sanskrit).
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95
पुरारातेरन्तःपुरमसि ततस्त्वच्चरणयोः
सपर्यामर्यादा तरलकरणानामसुलभा।
तथा ह्योते नीताः शतमखमुखाः सिद्धिमतुलां
तव द्वारोपान्तस्थितिभिरणिमाद्याभिरमराः॥
purārāterantaḥpuramasi tatastvaccaraṇayoḥ
saparyāmaryādā taralakaraṇānāmasulabhā |
tathā hyote nītāḥ śatamakhamukhāḥ siddhimatulāṁ
tava dvāropāntasthitibhiraṇimādyābhiramarāḥ ||
purārāteḥ antaḥ puram asi – You, the Consort of Śiva, living in the interior of the palace of Śiva, the destroyer of (three) cities; tataḥ - therefore; tvat caraṇayoḥ - Your feet; saparyā maryādā – (having) the right of worshiping; tarala karaṇānām – those with unsteady sensory faculties; asulabhā – difficult to attain; tathāhi – justifiably (in this manner); śatamakha mukhāḥ ete amarāḥ - chief of gods like Indra (who performed more than hundred sacrifices); siddhim atulāṁ - unparalleled supernatural powers; tava – Yours; dvāropānta sthitibhiḥ; remaining as gatekeepers (of Your Abode); aṇimādyābhiḥ nītāḥ - remaining with Aṇimā and other siddhi devi-s.
“You, the Consort of Śiva, who destroyed cities, live in an interior place (reserved for women only) of Śiva’s palace. Therefore, those have not controlled their sensory organs cannot worship Your lotus feet. Hence, Indra and other gods (though they have attained all supernatural powers) guard Your gates as gatekeepers along with Aṇimā and other sidddhi devi-s (who control supernatural powers).”
The verse says that those who do not excise control over their senses do not become eligible to worship Her feet. Indriya-s are called senses comprising five organs of perception and five organs of action. Indriya also means the mighty force of Indra, the chief of all gods and goddesses. Even for worshiping Her sacred feet, one needs to dissociate his mind with indirya-s, what is needed to worship Her full form is left to our imagination. Mind is the factor that controls indriya-s and liberation also happens only through mind. Hence mind is to be purified before entering the final stages of spiritual pursuit. The first symptom of purification is visible in the form of experiencing Bliss. Indra and other gods could not control their senses and hence they are stopped at the gates of Her Abode by siddhi devi-s. As we know, siddhi devi-s guard Her palace by remaining in the outermost wall (of the first āvaraṇa) of Śri Cakra. Since Indra and other gods do not have control over their senses, śakti-s of the first āvaraṇa stop Indra and other gods at the outer gates of Śri Cakra. Aṇimā and other siddhi devi-s guard the four gates of Śri Cakra and this has already been explained in the articles Journey to Śri Cakra Part 8 and Journey to Śri Cakra Part 9. They evaluate a person’s depth of devotion and love for Her and based upon their merits, siddhi devi-s allow them to enter into Śri Cakra.
When a person meditates on Her, depending upon the intensity and sincerity of meditation, supernatural powers are conferred on the aspirant (aspirant here means the one who aspires for liberation; till he reaches the state of jīvanmukta, he continues to remain only as an aspirant). When true seekers get these siddhi-s (aṣṭama-siddhi-s), many of them get themselves entangled with these aṣṭama-siddhi-s and do not continue their efforts to attain liberation, as is the case with Indra and other gods. After attaining supernatural powers from Her, (She is adored as Siddheśvarī and Siddhamātā in Lalitā Sahasranāma 471 and 473) they forget Her and with the help of these powers and get engrossed in sensory pleasures. Such types of devotees are not allowed inside Śri Cakra by Aṇimā and other śakti-s who guard the extreme outer wall of the first āvaraṇa of Śri Cakra. This means that such persons who are afflicted with sensory pleasures are not even allowed to enter into the first compound of Śri Cakra. The subtle conveyance is that they are not allowed to worship Lalitāmbikā and even if they worship Her, She will not even take notice of their worship and their worship become futile. Sage Patañjali says in his Yoga Sūtra (IV.1) clearly explains this. He says, “Success in samādhi or success in liberation or attainment is due to birth, food, mantra and self-control.
There is also another subtle conveyance in this verse and this can be interpreted on the lines of Lalitā Sahasranāma 870 and 871, which is summarised below.
Kṛṣṇa explains the concept of looking within exhaustively in Bhagavad Gīta Chapter VI consisting of 47 verses and a gist of which is reproduced here as explained by Swami Chinmayananda. Karma yoga practiced without regard to the fruits of actions, form an external aid to better meditation. The process by which lower is brought under the direct management and discipline of the higher are all together called spiritual techniques. No Guru can take the responsibility; no scripture can promise this redemption; no altar can, with its divine blessing make the lower the higher.  The lower mist necessarily be trained slowly and steadily to accept and under the influence of the discipline of the higher. When a seeker has come in his life to the state explained as yogārūdāḥ, and when in that state of equipoise, the mind is held steadfast in the contemplation of the Supreme, the self-controlled one, in all serenity is capable of maintaining his consistency on meditation in all circumstances, favourable and adverse, at all levels of his personality.  In the right understanding of his own self and the resulting realisation of his own Self, he becomes Self everywhere.  To him, who has realised himself to be Self which is all-pervading, the entire universe becomes his own Self, and therefore, his relationship with every other part of the universe is equal and the same.  For this the seeker should try to withdraw himself from his mental and physical preoccupations.
Kaṭha Upaniṣad (II.i.2) also explains this. “Immature people run after external objects and they invariably get caught in the widespread net of death.  Wise people, however, know where true immortality is.  That is why they reject everything in this world, knowing that these things are short lived.” She is very difficult to attain for those who are not able to look within.  Mind is the prime factor to look within.  Unless senses are controlled, it is difficult to control the mind. This nāma says that She cannot be attained only by external means
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96
 कलत्रं वैधात्रं कतिकति भजन्ते न कवयः
श्रियो देव्याः को वा न भवति पतिः कैरपि धनैः।
महादेवं हित्वा तव सति सतीनामचरमे
कुचाभ्यामासङ्गः कुरवकतरोरप्यसुलभः॥
kalatraṁ vaidhātraṁ katikati bhajante na kavayaḥ
śriyo devyāḥ ko vā na bhavati patiḥ kairapi dhanaiḥ |
mahādevaṁ hitvā tava sati satīnāmacarame
kucābhyāmāsaṅgaḥ kuravakatarorapyasulabhaḥ ||
kalatraṁ vaidhātraṁ - wife of Brahmā (goddess Sarasvatī); katikati  kavayaḥ - innumerable poets; bhajante na – not adored; śriyo devyāḥ - goddess Lakṣmī; ko vā na bhavati patiḥ - who have not attained Her (Lakṣmī); kairapi dhanaiḥ - with a little wealth; mahādevaṁ hitvā – except Śiva; tava – Your (Parāśakti); sati (satī ) – faithful wife; satīnāma carame – foremost amongst chaste women; kucābhyām āsaṅgaḥ - contacting with your bosoms; kuravaka taroḥ api asulabhaḥ - difficult even for henna tree (lawsonia inermis ).
“Innumerable poets have attained goddess Sarasvatī. Similarly those with a little wealth court goddess Lakṣmī. But You, foremost amongst the chaste women cannot be touched, even by henna tree.”
This verse does not undermine the other two goddesses Sarasvatī, the goddess of knowledge and Lakṣmī, the goddess of wealth. Śaṁkarācārya says that anyone can get the grace of these two goddesses, by proper learning and hard work. But attaining the Grace of Parāśakti is difficult for all of us, except Śiva, who alone can be close to Her. She never allows anyone near Her, except Her Consort Śiva. Śiva is not only Her Consort, but also Her Creator.
A person who studies well and is capable of composing verses is said to have the grace of goddesses Sarasvatī, which is also known as Sarasvatī kaṭākṣa (kaṭākṣa - grace through side glance). Similar is the case with Lakṣmī. Those who earn wealth through proper means is said to have attained Lakṣmī kaṭākṣa. The verse says that those who have attained the grace of Sarasvatī and Lakṣmī said to have courted with them in the sense that these fortunate ones are blessed by them. This is said so because knowledge itself is considered as Sarasvatī and wealth is considered as Lakṣmī. For a wealthy person, Lakṣmī is at his home and this blessing by Lakṣmī is called as courting and attaining, by Śaṁkarācārya.
When Sarasvatī and Lakṣmī are considered so, why such a reference is not made to Parāśakti? The first thing that comes to our mind is Kaṭākṣa-kiṅkarī-bhūta-kamalā-koṭi-sevitā (Lalitā Sahasranāma 590, which is explained thus: “By Her mere glance She is attended by millions of Lakṣmī-s, the Goddess of wealth. If Lakṣmī glances at a person his richness grows. This nāma says that Lalitāmbikā is attended to by countless number of Lakṣmī-s, signifying Her incomprehensible nature of wealth and prosperity.” This means that Parāśakti is the source of both Sarasvatī and Lakṣmī and if Parāśakti worshiped, there is no need worship other goddesses.
Secondly, Parāśakti is “mokṣadhārini”, which means She is capable of giving Liberation, which is the ultimate aim of anyone in this life. Mokṣa is the last of the four puruṣārtha-s and this is explained in Lalitā Sahasranāma 291, Puruṣārtha-pradā which says, “Puruṣārtha is the fourfold values of human life.  They are dharma (righteousness or virtues), artha (wish or purpose), kāma (desires and pleasures) and mokṣa (the liberation).  It is clear that the ancient scriptures do not prohibit these great human values.  What they say is not to get attached to them.  On many occasions this concept is misquoted.  She is the giver of this puruṣārtha.  There is another interpretation. Puruṣā means Śiva (Śaktī is prakṛti), artha means salvation and prada means giver.  Śiva gives salvation through Śaktī.  The importance of Śaktī is emphasized or probably the interdependence of Śiva and Śaktī is cited through this nāma.”
Even while worshiping Her, no one even touches Her lotus feet. Even gods like Brahmā, etc only wear the dust that is under Her feet for performing their duties perfectly. This is explained in Soundarya laharī (verse 2). “By collecting these dust particles, Brahmā creates fourteen worlds (seven upper and seven lower), Viṣṇu sustains the universe and Śiva causes death and destruction. Dust particles can also be explained as infinite individual souls, the cause for all that exists in the universe. Without soul a body cannot exist. Therefore, it is implied that these three God heads create, sustain and dissolve the beings by collecting the souls from Her feet.”
Since, we have virtually reached the end Soundarya laharī, more information is required at this point to enumerate Her role in liberation. Śiva’s power is incomparable and is supreme. But Śiva does not act on His own. In order to effectively coordinate different activities of the universe, Śiva carved out His Powers and created a separate abstraction, called Śakti. Therefore, Śakti is not a different entity in existence, but the Supreme Power of Śiva. The independent power of Śiva is known as Svātantrya Śakti, also known as Parāśakti. Parāśakti means Supreme Power. How Śiva carved out His Power and transferred to Her is the question now. Śiva has five energies - cit śakti (Consciousness), ānanda śakti (Bliss), icchā śakti (Divine Will), jñāna śakti (Divine knowledge) and kriya śakti (Divine action). Śiva transferred all these five śakti-s to Her and when She holds all the independent and exclusive powers of Śiva, She is known as Parāśakti, also known as Pratibhā (creative activity of Consciousness) Another question that needs to be answered at this point is, why we should worship Her, when Śiva is Her Creator, the Ultimate Reality, from whom the whole universe originated. Śiva is Prakāśa (Supreme Consciousness), the Supreme Light and She is Vimarśa (awareness of Prakāśa) and only through Her, everything else is made known. Thus, Śiva and Śakti are inseparable in worldly process. But, cessation of transmigration happens only if one merges with Śiva and Śakti plays a crucial role in liberating person. When Her worship transforms into Love for Her, She imparts knowledge about Śiva to that yogi (Lalitā Sahasranāma 727 - Śiva-jñāna-pradāyinī) and makes this yogi to merge with Śiva.
Hence, Śaṁkarācārya has chosen to describe Her as the One, who cannot be attained that easily, mainly because of two reasons. First, She is the Power of Śiva and secondly, She is Kaivalyapada-dāyinī (Lalitā Sahasranāma 625).
Further reading: Kaivalya is the final stage of life of a living being.  Nobody is there with that being during that time.  He is all alone without any help around and he has to achieve on his own.  This is the final stage of one’s evolution.  The soul is about to leave its present body and getting ready to merge with the Brahman.  Kaivalya is liberation or salvation and hence it is called the final stage.  This final stage can be reached in two ways.  One is the mundane stage associated with desires and attachments where soul gets ready for rebirth.  The other stage is the stage of samādi, where the soul gets ready for its union with the Brahman not to be born again.  This is kaivalya.  Lalitāmbikā is the giver of this stage.
Pada means four types of consciousness.  They are sālokya, sarūpa, samībha and sāyujya.  Beyond this is kaivalya.  Sālokya is the stage where one performs ritual worship, worshipping idols or portraits of gods.  In sarūpa he leaves idol worship and does not differentiate himself from god.  In samībha he goes near the god and in sāyujya stage he merges with god.  These are the stages of one’s consciousness that finally lead to kaivalya.  One has to progress from one stage to another and this progression happens depending upon the level of spirituality.  By being spiritual does not mean one has to be religious.  Spirituality transcends religious affinities, though religion forms the foundation of spirituality.   
To attain kaivalya stage one has to progress from ritual worship to mental worship (meditation).  By making sufficient progress in meditation, one has to search for the Brahman within.  Once the Brahman is located and realized within, the practitioner moves to the stage of kaivalya, by detaching himself from worldly affinities by staying connected with his Creator.  His soul is now under preparation to merge with Him, for final liberation. Finally, he gets liberated with no further transmigration for that soul.
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97
 गिरामाहुर्देवीं द्रुहिणगृहिणीमागमविदो
हरेः पत्नीं पद्मं हरसहचरीमद्रितनयाम्।
तुरिया कापि त्वं दुरधिगम निस्सीममहिमा
महामाया विश्वं भ्रमयसि परब्रह्ममहिषि॥
girāmāhurdevīṁ druhiṇagṛhiṇīmāgamavido
hareḥ patnīṁ padmaṁ harasahacarīmadritanayām |
turiyā kāpi tvaṁ duradhigama nissīmamahimā
mahāmāyā viśvaṁ bhramayasi parabrahmamahiṣi ||
girām devīṁ - the goddess of speech, Sarasvatī; druhiṇa gṛhiṇīm – consort of Brahmā (Sarasvatī); āhuḥ - describe You; āgama vidaḥ - knowers of āgama śāstra-s; hareḥ patnīṁ padmaṁ - consort of Hari (Viṣṇu) Lakṣmī; hara saha carīm – Consort of Śiva; adritanayām – daughter of Mountain (Himavat), Pārvatī; turiyā kāpi – the fourth stage of consciousness; tvaṁ - Your; duradhigama niḥsīma mahimā – inscrutable and infinite Glory; mahāmāyā - the great Divine Power of illusion (mahāmāyā is of two types, which is discussed in the interpretation below); viśvaṁ bhramayasi – causing perplexity in the universe; parabrahma mahiṣi – the Consort of Supreme Brahman (Paramaśiva).
“Wise and learned men describe You as Sarasvatī, the Consort of Brahmā and Lakṣmī, the Consort of Viṣṇu and also as the daughter of Himavān, the Consort of Śiva. But, You are the great Divine Power with inscrutable and infinite Glory, the Consort of Supreme Brahman Paramaśiva. You are the fourth stage of Consciousness”
This is one of the bejewelled verses of Saundaryalaharī, which describes the Powers of Śiva and Śakti. It is necessary to understand two words in this verse before we understand the grandeur of this verse.
Parabrahman: Though Vedānta describes Parabrahman without any name, for the sake of realizing His Glory and Grandeur, He is described here as Paramaśiva. Paramaśiva is explained in this article.
Mahāmāyā (Reproduced from Lalitā Sahasranāma 215): Māyā means illusion.  She is known as mahā-māyā svarūpinī.  The entire universe functions on the basis of māyā or illusion.  If She does not cast Her effect of māyā on this world, there will no activity at all.  Her spell of māyā makes us to seek the Brahman, Heranother form, Prākaśa Vimarśa Mahā-māyā svarūpinī.  Even the sages and saints are no exception to Her spell of māyā.  The intensity of māyā is felt depending upon one’s karma.  In advaita philosophy (non-dualism) to some thinkers the terms māyā and avidyā mean the same thing. But some advaitins differentiate them and say that māyā is an auxiliary to Īśvarā and avidyā is an auxiliary to soul. The main function of māyā is projection, projecting the Brahman in various shapes and forms.  But avidyā can both obscure and project, but covering is the main function of avidyā. According to some, the substrate of avidyā is soul and according to some others, avidyā resides in the Brahman. The root of māyā is mā which means ‘to measure’. The infinite Brahman appears as if measured due to the effect of māyā. The root mā also means, leading to the ideal of illusionary appearance.  The word māyā can be split into mā + yā.  Then it means that which is not, but appears to be. Māyā is regarded as Śaktī, the attribute of the Brahman.  Brahman is essentially without attributes and is known as nirguṇa Brahman.  But viewed in relation to māyā, it is saguṇa Brahman or with attributes.  Just as a magician conjures up many things by his magical power which he really does not possess, so Brahman with māyā śaktī projects the appearance of the world.  As things conjured up by the magician are false, so the projected world is ultimately false.  The phenomenal world is mere illusion or māyā.  It is in reality non-existent. It appears to exist only because of the external objects that are related in the self, behind the mind.  It is nothing but a mere illusory projection of ātman.
According to Trika Philosophy, Mahāmāyā is of two kinds. One is aparā and another is parā. Aparā Mahāmāyā is the state of the aspirant, whose awareness is pure. This aspirant is free from karma and māyā, but he is not free from ego, hence the one who attains this state is called vijñānakalā, the state of no-bliss. Typically speaking, this is the first step towards Self-realization and the one who reaches this state never falls from his existing spiritual level. From this state, the aspirant moves forward to his ultimate goal of liberation on his own. He does not need a preceptor. This is the state of Śuddha Vidyā, where I and This (more emphasis on This than I) are still present because of the presence of ego. If ego is dissolved, he will not take notice of This as there cannot be any difference between Brahman and him (the principle of ahaṁ brahmāsmi).  Therefore, this is the stage of transition of the aspirant into that of a yogi (yoking of the self with the Self). Another is Parā Mahāmāyā, where aspirants are realised souls, but still consider the material world different from them. In Aparā Mahāmāyā, only Prakāśa (Śiva) is present without Vimarśa (Śakti). Aparā Mahāmāyā is above māyā and Parā Mahāmāyā is the lowest strata in Suddhavidyā and below this is māyā (illusion and duality). If one falls from Suddha Vidyā, he again enters to the unfathomable pit of māyā. It is also important to understand that all types of māyā are only the Absolute Power of Authority of Śiva, which is also known as His svātantrya śakti. This svātantrya śakti of Śiva is known as Śakti and She is not a separate entity and is part of Śiva. With this brief introduction, we now enter into the discussion part of this verse.
This verse says that She is not just Sarasvatī, Lakṣimī and Pārvatī; but She is the Consort of Parabrahman, Paramaśiva, hence She is adored as Parabrahmamahiṣi. The moment we hear about parabrahmamahiṣi, our thoughts go to Lalitā Sahasranāma 233, mahākāmeśamahiṣī and the next nāma Mahātripurasundarī. Kāñcī Paramācārya has given a detailed interpretation for this verse. In the first place, he says that She is Mahiṣi and not Mahārājñī (Lalitā Sahasranāma 2). He explains the difference between Mahiṣi and Mahārājñī, He says, “Mahiṣi means the chief queen of the king; but Mahārājñī means a queen who rules in her own right. In this verse, She is not addressed Mahārājñī, but as Mahiṣi, which clearly explains that She is the Consort of Paramaśiva and not a Supreme Queen who has absolute power of authority. Therefore, it is authoritatively concluded that She is not the ultimate authority, but Paramaśiva is the ultimate authority of the universe. Yet, She alone is powerful as She is the Svātantrya Śakti of Śiva and nobody has this kind of power of authority except Parabrahmamahiṣi.
Next question that arises in our minds is whether Sarasvatī, Lakṣimī and Pārvatī come under Her control? This can be explained in two different angles. As long as we distinguish between different forms of gods and goddesses, we follow only Dvailta philosophy (dualism). From moving to Advaita from Dvaita probably could take several births. Entering into the path of Advaita is the beginning point of spiritual life. All kinds of external worships fall under Dvaita only. As long as we consider Her different from us, it is only dualistic worship. Non-dualistic contemplation can happen only in the mind. When She is known as Parāśakti, She encompasses every aspect of Brahman.
The other interpretation is based on Lalitā Sahasranāma 614, Sacāmara-ramā-vāṇī-savyadakṣiṇa-sevitā, which says, “Goddess Lakṣmī (Ramā) and Goddess Sarasvatī (Vāṇī) stand by Her side and fan Her.  This nāma means that those who contemplate Her get wealth and intelligence without even asking for them.” This can be further explained that every creation comes under Her direct control and supervision. This verse does not in any way undermine other deities, but explicitly says that She alone is the Supreme Authority, simply because, She holds the unique and Absolute Power of Śiva and the entire creation begins from this Power, known as Mahāmāyā or Parāśakti.
The next question that arises in our mind is as to why Śaṁkarācārya chose this specific verse to demystify Parabrahman (who is named as Paramaśiva for the purpose of understanding) and Mahāmāyā in this verse? In the initial verses of Saundaryalaharī, he described about Her various attributes, which enabled us to contemplate Her form well. During the first part of Saundaryalaharī, he described Her gross form and in the next part Ānandalaharī, Śaṁkarācārya dwelt on Ānanda or Bliss, which is Her essential nature. When Śiva is Cit, She is Ānanda, and they are together known as Cidānanda (ultimate reality of both Consciousness and Bliss existing together), which can be compared to Śiva-śakty-aikya-rūpiṇī (Lalitā Sahasranāma 999). Though Cidānanda can be explained differently, the subtle meaning is that Ānanda does not exist as a separate entity, but exists inherently in Cit (Consciousness or Śiva). This is known as Paramaśiva. The subtle conveyance of this verse is, as we progress in our spiritual path, we have to move away from Mahāmāyā to Paramaśiva. Parāśakti can only pave way for liberation, by showering Her Grace on us (Śaktipāta), but the final liberation can be given only by Śiva.  When Śakti dissolves into obliviousness, Śiva is realized. In other words, duality of worldly process (māyā) is dissolved, Brahman is realized.
There is yet another conveyance in this verse about the fourth stage of consciousness. There are three states of consciousness, jāgrat, (normal active stage, or stage of awakening) svapna (dream stage) and suṣupti (deep sleep state). Beyond these three normal and mundane levels of consciousness, there are two other stages known as turya and turyātīta. Turya is the fourth stage of consciousness, which is used in this verse.  It cannot be experienced automatically.  This stage can be attained only through meditation.  This stage is not related to any of the three mundane stages.  In the waking stage we are associated with consciousness.  In the dream stage our mind is associated with our consciousness.  In the third stage of dream-less sleep, consciousness has no part to play as the mind at this stage is at rest.  But in turya stage, one has to tune his mind to become unaware of consciousness.  This can be attained only by practice.  In this stage one is neither the Brahman nor his own self.  If one is able to advance to the next stage of turyātīta, he merges with the Brahman.  If he falls from turya stage, he is again bound by worldly actions and the associated miseries.  She exists in the form of turya stage.  This state of consciousness is witnessing the consciousness of the other three stages (in the deep sleep, consciousness is inactive). The consciousnesses in the other three stages are subjected to modifications.  In this stage, the consciousness alone remains looking up for something Superior that has not been experienced by it so far.  Therefore the normal consciousness ceases to exist in this stage.  Only when we talk about consciousness, we talk about subject and object.  There is no subject and no object and in fact nothing exists.  This stage of ‘nothing exists’ leads to the transformation of awareness.  This can possibly be interpreted as a seed ready to sprout.  The transformed consciousness leads to the single pointed or focused consciousness to know about the Brahman or even ready to merge with it.
Kāñci Paramacāya (Voice of God) in his discourse on this verse said, “Nirguṇa Brahman has no connection with Māyā. In order to take people practicing devotion according to Śākta doctrine, Śaṁkarācārya makes Parabrahman and Mahāmāyā as Divine Couple.” This means that only Brahman exists everywhere and He alone is to be realized. Following Śākta doctrine is only to understand the Supreme Power of Brahman, which is projected as Parāśakti. The idea is that one has to first understand Absolute Power of Brahman, which is termed as Parāśakti. When His Power Parāśakti is realized, it is comparatively easier for all of us to realize Brahman. Kṛṣṇa says in Bhagavad Gītā (VII.25), “Veiled by My Yogamāyā, I am not manifest to all....” which goes to prove that Mahāmāyā is nothing but the Divine Potency or Divine Power of illusion. By His own power, Brahman veils Himself through the effects of Mahāmāyā, making His realization difficult. In the process, we continue with all dualities, ego, pride, arrogance, etc. Those with these inferior qualities continue to remain as transmigratory objects without any hopes for liberation.
Towards the end of Saundaryalaharī, Śaṁkarācārya clearly explains the path of liberation to us. It is up to us assimilate his teachings and move forward towards the goal of Emancipation.
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98
 कदा काले मातः कथय कलितालक्तकरसं
पिपेयं विद्यार्थीं तव चरणनिर्णेजनजलम्।
प्रकृत्या मूकानामपि च कविताकारणतया
कदा धत्ते वाणीमुखकमलताम्बूलरसताम् ॥
kadā kāle mātaḥ kathaya kalitālaktakarasaṁ
pipeyaṁ vidyārthīṁ tava caraṇanirṇejanajalam |
prakṛtyā mūkānāmapi ca kavitākāraṇatayā
kadā dhatte vāṇīmukhakamalatāmbūlarasatām ||
kadā kāle mātaḥ - when, O! Mother; kalita ālaktaka rasaṁ - mixed with the essence of henna; pipeyaṁ vidyārthīṁ - how will (I, the seeker of knowledge) drink; tava caraṇa nirṇejana jalam – the water that offers ablution to Your feet; prakṛtyā mūkānāmapi ca – the one born as a dumb; kavitā kāraṇatayā – cause of composing verses; kadā dhatte – when will I enjoy; vāṇīmukha kamala tāmbūla rasatām – the flavour betel essence from of Sarasvatī’s lotus mouth.
 “O! Divine Mother! I am a spiritual seeker. When I will be able to drink water mixed with henna that is used for washing Your sacred feet, which will make even a born dumb to become a composer of verses? When I will be able to taste the flavour of the essence of betel from Sarasvatī’s mouth?”
This verse can be interpreted in two ways – gross and subtle. Śaṁkarācārya prays to Parāśakti that he needs Her Grace to attain spiritual knowledge. He is already a realized person and in spite of this, he, with all humility seeks Her Grace, that too only for drinking water that is used to for cleaning Her feet. Cleansing Her feet does not mean that Her feet has impurities and needs to be cleansed. Washing Her feet is a sacred ritual, performed during worship. This is done out of love, devotion, reverence and for our satisfaction and happiness. The water that is used for ablution turns into red after running over Her feet and this appears as if henna extract is mixed with this water. The water has attained redness merely because of flowing over Her feet. Several reasons could be attributed to this. One, the water turns red by reflecting Her complexion, which is red. Red always means compassion. Or, water while flowing over Her feet gets blessed by the henna pasted applied on Her feet and this blessing is passed on to this water, which turns red. The important aspect is that Śaṁkarācārya merely asks for a drop of water that has cleansed Her feet and nothing more than this. This clearly explains His humility and humbleness. Self-realized persons never rodomontade, as they do not have ego.
Subtle interpretation refers to samayācāra worship, also known as kaula worship, which is explained in detail in Lalitā Sahasranāma 98 Samayācāra-tatparā. This is about worshiping Her subtlest form Kuṇḍalinī. In maṇipūraka cakra, She is offered arghya and pādya and subtle reference is made to this contemplation. Śaṁkarācārya composed several verses on Her subtlest form Kuṇḍalinī. In the first verse in Bhavānībhjaṅgam (भवानीभ्जङ्गम्), he adores Her Kuṇḍalinī form like this.
  षडाधारेपङ्केरुहान्तर्विराजत्
सुषुम्नातरालेऽतितेजोलसन्तीम्।
सुधामण्डलं द्रावयन्तीं पिबन्तीं
सुधमूर्तिमीडे चिदानन्दरूपाम्॥
ṣaḍādhārepaṅkeruhāntarvirājat
suṣumnātarāle'titejolasantīm |
sudhāmaṇḍalaṁ drāvayantīṁ pibantīṁ
sudhamūrtimīḍe cidānandarūpām ||
In this verse he praises Her as the One, who shines in six chakras in the spinal cord. He also says that on reaching sahasrāra (crown chakra) She makes sudhā (nectar) to flow from sahasrāra down the throat. This is also mentioned in Lalitā Sahasranāma-s Sahasrārambujārūḍhā (105) and Sudhāsārabhi-varṣiṇī (106). The followers of samayācāra, (worshipping Her through the cakra-s of Kuṇḍalinī, beginning from mūlādhāra is called samayācāra) Both the planet moon and cit-candra-mandalā (cit means foundational consciousness) at sahasrāra represent Śrī Cakra as both have similar qualities. Both shed nectar.  Her lotus feet deemed to shine in the moon region of śrī Cakra.  Moon is the master of all medicinal herbs that are said to ooze divine water known as nectar.   
With regard to gross interpretation, Śaṁkarācārya says that by merely drinking the water that was used for washing (ablution) Her feet, even a dumb can compose and sing verses in Her praise. There is a true incident that happened (in the year 398 BC) to Mūkakavi (great poet Mūka; mūka means dumb and kavi means a poet). He was a great devotee of Kāmākṣī of Kāñcīpuram. He used to visit Her daily and on one fine day She gave darśan to him and blessed Him with speech. He subsequently became pontiff of Kāñcī mutt. He composed 500 verses in Her praise. In one of the verses (stuti śatakam – verse 11), he says, “She is capable of endowing anyone with divine speech, whose flow is incomparable even to the flow of river Ganges.” With all humility Śaṁkarācārya says that he is still a seeker and wants to get Her Grace to attain liberation. However, it is said that he was an incarnation of Śiva Himself.
Two things are interesting to note in this verse. While washing Her feet, he says that the water that cleanses Her feet turns red. The water turns red on account two reasons. One, Her complexion gets reflected in the water. Secondly, when water passes through Her feet, it attains the colour of henna applied to Her feet. He also conveys that speech too has red colour. That is why he refers to chewing of betel leaves by goddess Sarasvatī. While chewing betel leaves, the mouth turns red.
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99
सरस्वत्या लक्ष्म्या विधिहरिसपत्नो विहरते
रतेः पतिव्रत्यं शिथिलयति रम्येण वपुषा।
चिरं जीवन्नेव क्षपितपशुपाशव्यतिकरः
परानन्दभिख्यं रसयति रसं त्वद्भजनवान्॥
sarasvatyā lakṣmyā vidhiharisapatno viharate
rateḥ pativratyaṁ śithilayati ramyeṇa vapuṣā |
ciraṁ jīvanneeva kṣapitapaśupāśavyatikaraḥ
parānandabhikhyaṁ rasayati rasaṁ tvadbhajanavān ||
tvat bhajanavān – Your devotee; sarasvatyā lakṣmyā – in the company of Sarasvatī and Lakṣmī; vidhihari sapatnaḥ; their Consorts Brahmā and Viṣṇu; viharate – take away (for courting); ramyeṇa vapuṣa – (by means of his) handsome body; rateḥ pativratyaṁ śithilayati – destroys the chastity of Rati; ciraṁ jīvanneeva – by remaining as an immortal; kṣapita paśupāśa vyatikaraḥ - freed his soul from the bondage of ignorance; parānanda abhikhyaṁ - splendour of the Supreme Bliss; rasayati rasaṁ - enjoys the essence.
 “Your devotee becomes enemy to Brahmā and Viṣṇu, as he takes away their Consorts Sarasvatī and Lakṣmī. By means of his handsome body, he also takes away Rati (the divine damsel). By attaining immortality, he has freed his soul from the bondage of ignorance and perpetually enjoys the essence of Supreme Bliss.”
This verse has only subtle meaning and if this is interpreted on the grosser side, it is absolutely wrong. The man that is referred here is the one who has excelled in samayācāra worship. When he has already merged his individual consciousness with Supreme Consciousness (Śiva), he needs nothing in this material world. By worshiping Her, he has attained everything – supreme spiritual knowledge, enough material wealth and physical fitness. By referring to Sarasvatī and Lakṣmī, Śaṁkarācārya conveys that such a devotee has attained everything that is possible in his living. By referring to Rati, he says that this yogi’s body automatically attains eternal youthfulness. By uniting his jīvātman (the self) with Paramātman (the Self), he becomes a jīvanmukta (liberated while living). He enjoys every minute of his jīvanmukta state, as he always remains in the state of Supreme Bliss. He perpetually remains in the state of Supreme Bliss. Śaṁkarācārya uses the word “parānanda” (the state of spiritual ecstasy or Supreme Bliss).
Jīvanmukta, though liberated completely in this life, continues to exist with his body to exhaust the remnants of his karmic impressions. During this life, he has been rewarded by Her as he had pursued four puruṣārtha-s (puruṣārtha means object of human life), dharma, artha, kāma and mokṣa, in the most rightful manner. Dharma is a way of living without hurting others and following dictums of śāstra-s. It is a way of discharging one’s duty, without hurting others either physically or mentally. Artha is the right way of earning material wealth. He is able to earn wealth better than others, as he has Her Grace. By earning wealth, he gives away his wealth to others, after decently maintaining his family. In other words, he distributes his excess, after saving for his family’s future, for the purpose of charity. This is because, as far as he is concerned, everything is Brahman to him. He cannot see others suffering. He has highest level of philanthropic attitude (Recently Bill Gates, Warren Buffet, etc are living examples). Instead of multiplying his wealth beyond a point, he shares his excessive wealth with needy and derives inexplicable happiness. Kāma means all types of his desires. Desire for spiritual pursuit, desire for maintaining harmony, desire for both mental and physical happiness, etc are classified under kāma.  When he has attained everything, he needs nothing to attain. After having fully lived his life, he aspires for mokṣa, the liberation.
This sincere devotee has evolved to this stage by his sheer spiritual practices and deep love for Her. He fully understands that he can be liberated from the pains of transmigration only by the Divine Mother, who is always compassionate. He has moved faster from the mundane stage of his existence to this Blissful state. He fully understands the sayings of Adhyātmarāmāyaṇa (Bālakāṇḍa – verse 51), “Knowing this (you are That or you are Brahman), my devotees attain Me. Those who are devoid of devotion to Me, roll in the abyss of śāstra-s. Theirs is neither knowledge nor emancipation, even through hundreds of transmigration.” (For a Self-realized person, dictums of śāstra-s and procedures do not matter as he is fully aware that reality is Brahman alone.)
How liberation happens? Kaivalya is the final stage of life, of a living being.  Nobody is there with that being during that time.  He is all alone without any help around and he has to achieve on his own.  This is the final stage of one’s evolution.  The soul is about to leave its present body and getting ready to merge with the Brahman.  Kaivalya is liberation or salvation and hence it is called the final stage.  This final stage can be reached in two ways.  One is the mundane stage associated with desires and attachments where soul gets ready for rebirth.  The other stage is the stage of samādhi, where the soul gets ready for its union with the Brahman not to be born again.  This is kaivalya.  Parāśakti is the giver of this stage. There are four types of consciousness.  They are sālokya, sarūpa, samībha and sāyujya.  Beyond this is kaivalya.  Sālokya is the stage where one performs ritual worship, worshipping idols or portraits of gods.  In sarūpa he leaves idol worship and does not differentiate himself from god.  In samībha he goes near the god and in sāyujya stage he merges with god.  These are the stages of one’s consciousness that finally lead to kaivalya.  One has to progress from one stage to another and this progression happens depending upon the level of spirituality.  By being spiritual does not mean that one has to be religious.  Spirituality transcends religious affinities, though religion forms the foundation of spirituality.  To attain kaivalya stage one has to progress from ritual worship to mental worship (meditation).  By making sufficient progress in meditation, one has to search for the Brahman within.  Once the Brahman is located and realized within, the practitioner moves to the stage of kaivalya, by detaching himself from worldly affinities by staying connected with his Creator.  His soul is now under preparation to merge with Him, for final liberation. Finally, he gets liberated with no further transmigration for that soul. 
Similar message is conveyed through Saundaryalaharī (verse 22). “O! Bhavāni! The one who addresses You as Bhavāni seeking your compassion to bestow Your glance on him considering him as Your servant, offered liberation by You instantaneously, even before he could complete the word Bhavāni...”
In a nutshell, this verse (99) conveys the benefits of worshiping Divine Mother. In the highest level of devotion, the difference between Her and yogi is annihilated and they both become one, the state of kaivalya. Just before entering into the state of kaivalya, devotion for Her transforms into love for Her. When the love for Her is intensified, the yogi loses all worldly interests and perpetually stays with Her waiting for Her approval to get liberated.
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100
प्रदीपज्वालाभिर्दिवसकरनीराजनविधिः
सुधासुतेश्चन्द्रोपलजललवैरर्घ्यरचना।
स्वकीयैरम्भोभिः सलिलनिधिसौहित्यकरणं
त्वदीयाभिर्वाग्भिस्तव जननि वाचां स्तुतिरियम्॥
pradīpajvālābhirdivasakaranīrājanavidhiḥ
sudhāsuteścandropalajalalavairarghyaracanā |
svakīyairambhobhiḥ salilanidhisauhityakaraṇaṁ
tvadīyābhirvāgbhistava janani vācāṁ stutiriyam ||
pradīpa jvālābhiḥ - with the flames of a lamp; divasakara nīrājana vidhiḥ - offering dīpārādhana to the sun; sudhā suteḥ - generation of nectar of the moon; candropala jalalavaiḥ - droplets of water oozing out of the moonstone; arghya racanā – offering arghya; svakīyaiḥ ambhobhiḥ - its own water; salilanidhi sauhitya karaṇaṁ - satisfying ocean with water oblations; tvadīyābhiḥ vāgbhiḥ - Your own words; tava – Yours;  janani – O! Divine Mother; vācāṁ stutiriyam – words of praise.
“O! Divine Mother! These words of praise (entire Saundaryalaharī) appear like offering dīpārādhana to the sun, offering oblations to the moon from the water secreted from moon stone and offering oblations to the ocean with water. All these words (of Saundaryalaharī) are only Your own words.”
This is the last verse of Saundaryalaharī, one of the greatest hymns on Parāśakti ever composed. This would not have been possible without Her Grace. In fact, it is widely believed that Śaṁkarācārya composed these verses in Her direct presence, as otherwise, no one could have described Her qualities so elegantly and meticulously.
The grosser meaning of the verse elucidates the humility of Śaṁkarācārya, the most learned man of the recent times. He not only wrote interpretations to several great holy texts such as Brahma Sūtra and Upaniṣad-s, but also composed several hymns in Her praise. Beyond all these, he established Advaita philosophy and proved beyond doubt, its importance if realizing Brahman. It is a fact that a Self-realized person will never boast of his spiritual status or make others know his spiritual attainment, as there is no necessity for him to do so. On the contrary, those who boast themselves of spiritual realization are not realized persons at all. In the highest stages of spiritual path, ego is completely dissolved. It is only because of the ego, a person identifies himself as different from Her. In spite of being a Self-realized sage, Śaṁkarācārya, with all humility, says to Parāśakti, that it is only Her own words that are used in composing this hymn. Śaṁkarācārya subtly conveys that speech originates from Her. This is confirmed in Lalitā Sahasranāma 640, Vāgadhīśvarī (She is the ruler of speech). Her Absolute form is also called parāvāc form. This parāvāc is primeval stage. The sound in this stage can be called as a seed that has not yet germinated. When the seed begins its germination, the stage is called paśyantī.  At this stage the seed has the desire to grow. The stem becomes visible and the seed is set to commence its journey of growth. Though it is known for certain that there is going to be a tree at a future date, one does not know how the tree would be, big or small, fruit bearing or barren etc. When the sapling grows to a certain height, one is able to see its leaves, he will be able to identify what type of tree that would be. This stage is called madhyamā. The sapling further grows to become a tree, when one is able to see its flowers and fruits. He is able to recognize the nature of this seed totally now. The complete form of the tree is known at this stage. This is called vaikharī stage. These three stages originated from the form of the Absolute, the seed in this example. Absolute form is called as parāvāc. Parā mean the highest form or the supreme form and vāc means sound. Parāvāc means the supreme form of sound. From this parā form or the seed form sound germinates, grows and yields words.  The result is a full word with meaning. In a human being this parāvāc is said to be in the form of kuṇḍalinī energy posited in mūlādāra cakra or base cakra. From the base cakra, the seed of the sound begins its ascent, reaches manipūraka cakra or navel cakra in the form of paśyantī, moves to anāhat cakra or heart cakra in the form madhyamā and reaches viśuddhi throat cakra as vaikharī where the final cleansing takes place. From the throat cakra the physical form of words are delivered. The vibration of kuṇḍalinī energy is the seed of the sound. When a desire of speech arises, it manifests as Śabda Brahman at mūlādhāra and moves up to take a physical form and delivered through throat cakra in the form of vaikharī. Śabda Brahman is the Brahman in the form of sound. Like universe manifesting from the Brahman, words originate from Śabda Brahman. In reality, these two Brahman are not different. Thus it is proved beyond any doubt that She is the supreme ruler for words.
In addition to these authentic sources, there are several nāma-s in Lalitā Sahasranāma which authentically proves that She is the source of vāc (speech). For example, 350, Vāgvādinī (She prompts speech or She is in the form of speech itself.  Goddess Sarasvatī is referred to as the goddess of speech.  This nāma could mean that Sarasvatī acquired the control of speech from Her. Nāma 704 is Sarasvatī, which means She is the Goddess of knowledge. What She does as Sarasvatī? Brahman is the embodiment of knowledge. Due to the effect of māyā people are bound by dyads. Sarasvatī is the form that is capable of dispelling the ignorance, the impediment in realizing the Brahman. Bhagavad Gīta (V.15) explains this reality by saying “Knowledge is enveloped in ignorance”. The entire universe is Her manifestation. To understand this, knowledge is required. She is the store house of knowledge  and She gives knowledge to those who seek this supreme knowledge. She gives knowledge only to those who are worthy of it. From the sinners, the highest form of knowledge is concealed by ignorance. Real knowledge is of no use for those who do not seek it. The next question is what is real knowledge?
Essence of Advaita is real knowledge. Seeking Her within is real knowledge. Worshiping Her as someone different from us is due to spiritual ignorance and is not the real knowledge that is spoken of in Advaita. . It is duality or dvaita. Dyads and triads do not lead to liberation. They are like a rope appearing as a snake in the darkness. When a rope appears likes a snake, there are two things happen one after another. One is the suppression of reality and secondly it is the deceptive projection. What is not there is wrongly projected, as if it is there. The individual soul has the Supreme Self within. Supreme Self is called as individual soul, because the Prakāśa of Śiva is veiled by Her in the form of māyā. The soul is within and when we need to remove this māyā, we have to look within. When we begin to look within, we first understand and realize Her. Out of compassion and in appreciation of our sincere efforts to know the Self, She removes the veil of māyā and once the veil of māyā is removed, there we realize Prakāśa of Śiva, the Supreme Self. She is in the form of māyā and only if She is properly understood and realized, Supreme Self cannot be realized. She alone can make Self-realization possible. We cannot overlook Her and go to Śiva directly. None of the Scriptures talk about Śiva and Śakti as two different entities. They are One. How can light be differentiated from its shine and splendour? After getting satisfied with his or her sincerity and perseverance, She imparts to that yogi, knowledge about Śiva (Lalitā Sahasranāma 727, Śiva-jñāna-pradāyinī). Why She should do all these for us? Because She is Śrī Mātā, the Universal Mother or Mā. (She is addressed as mātā as She is the Creator, sustainer and also the dissolver.  The universe was created out of Her.  The universe acts as per Her instructions.  When the dissolution takes place, the universe merges back into Her.  The cycle of saṃsāra, the world which has phenomenal existence and also meaning transmigration repeats itself by birth, sustenance and death.  Saṃsāra is called as an ocean).
Her compassion is without partiality. She looks only into a devotee’s mind and nothing else. She evaluates a devotee on the basis of Love for Her. Lalitā Sahasranāma 992, Avyāja-karuṇā-murtiḥ talks about Her impartial compassion. The next question that arises to our mind is to know the purpose of Her compassion. This is explained in the next nāma (993), which says, Ajñāna-dhvānta-dīpikā, which means that She removes darkness of spiritual ignorance. Ajñāna means ignorance, particularly spiritual ignorance and can be removed by knowledge.  Super imposition is the effect of ajñāna.  The world is superimposed on the Brahman and this is due to ignorance.  It disappears with the knowledge of ultimate Reality}.One should have been extremely blessed to contemplate Her in this birth. When Her Grace (Śaktipāta – Descent of Her Grace) is showered on a person, he or she gets ready for liberation in this birth itself.
As far as this 100th verse is concerned, Śaṁkarācārya says that paying tribute to Her through words is offering water oblations to the ocean, offering oblations of water secreted from moonstone to the moon and offering dīpārādhana to the sun. Though they have no significance, still we do these rituals for our satisfaction. The only way to attain Her is through spiritual knowledge. One can begin her or his spiritual journey by performing pūja-s and after attaining perfection, she or he moves on to mantra japa and after becoming conversant with mantra, she or he is able to contemplate on Her. At this stage, pūja-s and mantra japa-s stop on their own and the devotion transforms into Love for Her and when the Love for Her is Absolute, She is greatly satisfied and initiates further steps for this yogi’s liberation. From a human Guru, She takes over as this yogi’s Guru (Lalitā Sahasranāma 603, Gurumūrtiḥ) and guides this yogi for his merger unto Śiva.
Saundaryalaharī (comprising of 100 verses; many texts refer to 103 verses and the last three verses – not included in this series – are said to be subsequent additions and not composed by Śaṁkarācārya) is submitted at Her Lotus feet with the following verse from Paramārthasāra (verse 62). “As a seed scorched by fire becomes incapable of germination. Similarly, karmas are burnt in the flame or real knowledge and incapable of causing rebirth.”
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