Lalitasahasranama - 007 - verses 4-7, names 13-20

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
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From the second line of the third verse, the physical appearance of Lalitha is described from head to foot. The next four shlokas 4-7 of the Lalitasahasranama describe the forehead, eyes and nose of Lalita.

cÉqmÉMüÉzÉÉåMü-mÉѳÉÉaÉ-xÉÉæaÉÎlkÉMü-sÉxÉiMücÉÉ |
MÑüÂÌuÉlSqÉÍhÉ-´ÉåhÉÏ-MülÉiMüÉåOûÏU-qÉÎhQûiÉÉ ||4||

13.    cÉqmÉMüÉzÉÉåMü-mÉѳÉÉaÉ-xÉÉæaÉÎlkÉMü-sÉxÉiMücÉÉ (campakāśoka-punnāga-saugandhika-lasatkacā) She who is fragrant with the champak, ashok, punnag, saugandhika flowers in her shining locks

cÉqmÉMü = fragrant orange-yellow flowers of an evergreen timber tree, AzÉÉåMü = crimson or red flowers that bloom in spring, mÉѳÉÉaÉ = a fragrant white flower used in worship, xÉÉæaÉÎlkÉMü = fragrant flowers, sÉxÉiMücÉÉ = shining locks of hair,

Lalita is described as wearing fragrant flowers in her hair. It is not the flowers that impart fragrance to her hair, but her fragrant luscious hair that impart fragrance to the flowers.

14.    MÑüÂÌuÉlSqÉÍhÉ-´ÉåhÉÏ-MülÉiMüÉåOûÏU-qÉÎhQûiÉÉ (kuruvindamaṇi-śreṇī-kanatkoṭīra-maṇḍitā) She who is decorated with a row of red rubies

MÑüÂÌuÉlSqÉÍhÉ = a rare ruby, ´ÉåhÉÏ = row, MülÉiMüÉåOûÏU = on the crown, qÉÎhQûiÉÉ = she who is decorated,

Lalita is described as wearing rows of rubies on her crown. .

A¹qÉÏcÉlSì-ÌuÉpÉëÉeÉ-SÍsÉMüxjÉsÉ-zÉÉåÍpÉiÉÉ |

qÉÑZÉcÉlSì-MüsɃ¡ûÉpÉ-qÉ×aÉlÉÉÍpÉ-ÌuÉzÉåwÉMüÉ ||5||

15.    A¹qÉÏcÉlSì-ÌuÉpÉëÉeÉ-SÍsÉMüxjÉsÉ-zÉÉåÍpÉiÉÉ (aşṭamīcandra-vibhrāja-dalikasthala-śobhitā) She whose forehead is beautiful like the crescent moon on the eighth day of the new moon

A¹qÉÏ = eighth day of the new moon, cÉlSì = moon, SÍsÉMüxjÉsÉ = forehead, zÉÉåÍpÉiÉÉ = shining locks of hair,
Lalita is described as having a beautiful forehead shaped like the even crescent on the eighth day of the new moon.

16.    qÉÑZÉcÉlSì-MüsɃ¡ûÉpÉ-qÉ×aÉlÉÉÍpÉ-ÌuÉzÉåwÉMüÉ (mukhacandra-kalankābha-mruganābhi-viśeşakā) She whose forehead is beautiful like the crescent moon on the eighth day of the new moon

qÉÑZÉcÉlSì = the face of the moon, MüsɃ¡ûÉpÉ = spot, qÉ×aÉlÉÉÍpÉ = musk, ÌuÉzÉåwÉMüÉ = sporting
Lalita is described as sporting a spot of musk on her forehead that looks like the spot on the face of the moon.

uÉSlÉxqÉU-qÉÉ…¡ûsrÉ-aÉ×WûiÉÉåUhÉ-ÍcÉÎssÉMüÉ |

uÉY§ÉsɤqÉÏ-mÉUÏuÉÉWû-cÉsÉlqÉÏlÉÉpÉ-sÉÉåcÉlÉÉ ||6||

17.    uÉSlÉxqÉU-qÉÉ…¡ûsrÉ-aÉ×WûiÉÉåUhÉ-ÍcÉÎssÉMüÉ (vadanasmara-māngalya-gruhatoraṇa-cillikā) She whose eyebrows are like the decorations on Kamadeva’s palace for auspicious occasions

uÉSlÉxqÉU = of Kamadeva, qÉÉ…¡ûsrÉ aÉ×W = palace for auspicious occasions, ûiÉÉåUhÉ = decorations, ÍcÉÎssÉMüÉ = eyebrows
Lalita is described as having eyebrows that inspired the decorations in Kamadeva’s palace for auspicious occasions.

18.    uÉY§ÉsɤqÉÏ-mÉUÏuÉÉWû-cÉsÉlqÉÏlÉÉpÉ-sÉÉåcÉlÉÉ (vaktralakşmī-parīvāha-calanmīnābha-locanā) She whose eyes move like fish across the face from which beauty flows

uÉY§ÉsɤqÉÏ = beauty, mÉUÏuÉÉW = flows, û cÉsÉ = moving, qÉÏlÉÉpÉ = fish, AÉpÉ = face, sÉÉåcÉlÉ = eyes
Lalita is described as having eyes that move like fish across the pond of her face that has a flow of beauty.
The reference to the fish is for the shape of the eyes, and the motion refers to her omnivision.

lÉuÉcÉqmÉMü-mÉÑwmÉÉpÉ-lÉÉxÉÉShQû-ÌuÉUÉÎeÉiÉÉ |
iÉÉUÉMüÉÎliÉ-ÌiÉUxMüÉËU-lÉÉxÉÉpÉUhÉ-pÉÉxÉÑUÉ ||7||

19.    lÉuÉcÉqmÉMü-mÉÑwmÉÉpÉ-lÉÉxÉÉShQû-ÌuÉUÉÎeÉiÉÉ (navacampaka-puşpābha-nāsādaṇḍa-virājitā) She whose nose is shaped like a newly blossomed Champaka flower

lÉuÉ = new, cÉqmÉMü = fragrant yellow-orange flowers of an evergreen timber tree, ûmÉÑwmÉ = flower, AûÉpÉ = face, lÉÉxÉÉShQ = the line of the nose, ÌuÉUÉÎeÉiÉÉ = face
Lalita is described as having a nose shaped like the newly blossomed champaka flower.  

20.    iÉÉUÉMüÉÎliÉ-ÌiÉUxMüÉËU-lÉÉxÉÉpÉUhÉ-pÉÉxÉÑUÉ (tārākānti-tiraskāri-nāsābharaṇa-bhāsurā) She whose nose-ornament’s brilliance far exceeds that of stars

iÉÉUÉMüÉÎliÉ =  brilliance, ÌiÉUxMüÉËU = far exceeds, lÉÉxÉ = nose, AÉpÉUhÉ = ornament, pÉÉxÉÑUÉ = shining

Lalita is described as having a nose ornament whose brilliance far exceeds that of shining stars   

Lalitasahasranama - 006 - verses 2-3, names 6-12

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
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The second verse has physical indicators of Lalita.

E±°ÉlÉÑ-xÉWûxÉëÉpÉÉ cÉiÉÑoÉÉïWÒû-xÉqÉÎluÉiÉÉ |
UÉaÉxuÉÃmÉ-mÉÉzÉÉžÉ ¢üÉåkÉÉMüÉUɃ¡ÓûzÉÉåeeuÉsÉÉ ||2||
udyadbhānu-sahasrābhā caturbāhu-samanvitā |
rāgasvarūpa-pāśāḍhyā krodhākārānkuśojjvalā ||2||

qÉlÉÉåÂmÉå¤ÉÑ-MüÉåShQûÉ mÉgcÉiÉlqÉɧÉ-xÉÉrÉMüÉ |
ÌlÉeÉÉÂhÉ-mÉëpÉÉmÉÔU-qÉ‹SèoÉë¼ÉhQû-qÉhQûsÉÉ ||3||
manorupekşu-kodaṇḍā pancatanmātra-sāyakā |
nijāruṇa-prabhāpūra-majjadbrahmāṇḍa-maṇḍalā ||3||

6.    E±°ÉlÉÑ-xÉWûxÉëÉpÉÉ (udyadbhānu-sahasrābhā) Brilliance of a thousand rising suns

E±iÉ = rising, pÉÉlÉÑ = sun, xÉWûxÉë = thousand, AûÉpÉÉ = brilliance
Lalita is worshipped in many forms, and the red color is associated with her. The visual of the sky with a thousand rising suns brings up a vivid splash of red.
The Brahmandapurana has described her as having the appearance of the rising sun, and being brilliant.
In the Bhagwad Gita (Ch.11 verse 12) Krishna says that the effulgence of a thousand suns were to blaze forth simultaneously, it would be comparable with the effulgence of the Divine. 

7.    cÉiÉÑoÉÉïWÒû-xÉqÉÎluÉiÉÉ (caturbāhu-samanvitā) With four hands

cÉiÉÑ:= four, oÉÉWÒû= arms, xÉqÉÎluÉiÉÉ = she who has
Lalita is described as having four hands. These four hands are the devis whose names are given in the next four names.

8.    UÉaÉxuÉÃmÉ-mÉÉzÉÉžÉ (rāgasvarūpa-pāśāḍhyā) Holding the noose of love

UÉaÉ= desires, xuÉÃmÉ = form, mÉÉzÉÉžÉ = noose
Lalita’s upper left hand holds a coral noose with which she can pull the desires of her devotees. This hand is worshipped as Ashwarudha devi who represents icchāśakti (will power) which is at the level of the mind. rāga refers to desires like greed and passion that keep one attached to samsara.  Lalita does not let her devotees be ruined by their desires.

9.    ¢üÉåkÉÉMüÉUɃ¡ÓûzÉÉåeeuÉsÉÉ (krodhākārānkuśojjvalā) With four hands

¢üÉåkÉ = anger, AûÉMüÉUÉ = worldly knowledge, Aƒ¡ÓûzÉ = hook to control elephants, EeeuÉsÉÉ = she who shines
The upper right hand of Lalita is worshipped as Sampatkari devi who represent jnānaśakti (knowledge power). krodha represents the anger that stems from our knowledge of undesirability of things, and this discriminatory power of knowledge controls the mind from running after sensory pleasures.  

10.    qÉlÉÉåÂmÉå¤ÉÑ-MüÉåShQûÉ (manorupekşu-kodaṇḍā) She who wields the sugarcane bow of the mind

qÉlÉ = mind, ÂmÉ = form, ¤ÉÑ = sugarcane, MüÉåShQ = bow
The lower left hand of Lalita is Mantrini or Shyamala devi who holds a sugarcane bow.  

In the second section, Rudra Samhita, of the Shivamahapurana, there is a reference to the birth of Manmatha in Chapter 2.

11.    mÉgcÉiÉlqÉɧÉ-xÉÉrÉMüÉ (pancatanmātra-sāyakā) With four hands

mÉgcÉ = five, iÉlqÉÉ§É = five elements, xÉÉrÉMüÉ = having the arrows
The lower right hand of Lalita holds the five arrows of flowers, and is known as Varahi devi.
The five arrows are kamala (lotus) representing excitement, raktakairava (red oleander) representing madness, kalhara (white and red lily) representing confusion, indivara (blue lotus, also called puşkara) representing stimulation, and sahakara (mango flower) flowers representing destruction. Lalita destroys the illusions of her devotees with these flower arrows.
Refer to the Shivamahapurana, the book Rudra Samhita, the section Sati Khanda, where the birth of Kamadeva, the deity of love, is described by Brahma. This attractive mānasa-putra (mind-born son) of Brahma was born with a sugarcane bow and five flower arrows – harşana (thrilling, excitement), recana (madness), mohana (attractiveness causing confusion), śoşana (stimulation) and marana (representing destruction). These arrows would be used to create moha (desire) in the minds of men and women and perpetuate the process of creation. The sages called him Manmatha (he who will confuse minds).  

The flower arrows of Lalita are to destroy the delusion in her devotees. 
The eminent sage Durvasa was a devout worshipper of Devi. In his Tripura Mahima Stotra, he has written that meditation on the bow, the arrows, the noose and the goad, enables a seeker to stay on the path of spirituality and not get drawn into the illusive samsāra with its worldly attachments.

Refer Yoginihridayam 1-53.
इच्छाशक्तिमयं पाशमङ्कुशं ज्ञानरूपिणम् ।
क्रियाशक्तिमये बाणधनुषी दधदुज्ज्वलम् ॥५३॥
icchāśaktimayam pāśamankuśam jnānarūpiṇam |
kriyāśaktimaye bāṇadhanuş dadhadujjvalam ||53||
The noose that controls desire is icchāśakti, willpower. The goad to control anger is jnānaśakti, the intellect. The bow and arrows represent kriyāśakti, the power of action.

12.    ÌlÉeÉÉÂhÉ-mÉëpÉÉmÉÔU-qÉ‹SèoÉë¼ÉhQû-qÉhQûsÉÉ (nijāruṇa-prabhāpūra-majjadbrahmāṇḍa-maṇḍalā) Bathing the universe with her rosy effulgence

Lalitasahasranama - 005 - verse 1, names 1-5

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
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These posts on Lalitasahasranaam are part of an attempt to understand the worship of Devi. The literal meaning of the 1000 names of Lalita are only an indicator to the power of Devi. There are many levels of understanding – each name of Lalita can be discussed for hours, from the perspective of various schools of thought. I have limited myself to the literal meaning here, with some references to the scriptures.

As we worship with our limited Body-Mind-Intellect equipment, the scriptures describe worship at the gross, subtle, subtler and the subtlest levels – sthūla, sūkśma, sūkśmatara and sūkśmatama.

Of the 1000 names in the Lalitasahasranaam

• 12-51 represent the gross form, beginning from nijāruṇa-prabhāpūra-majjadbrahmāṇḍa-maṇḍalā to sarvābharaṇa-bhūşitā,
• 85-89 represent the mantras, the subtle form Sridevi starting from  śrīmadvāgbhava-kuṭaika-svarūpa-mukha-pankajā
• 88-89 represent the subtler form Kamakala described by  and mūlamantrātmikā and mūlakūṭatraya-kalevarā,
• 90-111 represent the subtlest form Kundalini, the 22 names beginning kulāmrutaika-rasikā  to bisatantu-tanīyasī.

As I start with the first verse, I know that the Lalitasahasranama has many beejakshara – a letter or a combination of letters that bestows potent power on someone who chants it with knowledge of the meaning. One such beejakshara is the “shreem”, and it comes thrice in the first line of the Lalitasahasranaaam that describes Lalita as the creator, maintainer and destroyer of the universe. I do not have an understanding of beejakshara, so I will not discuss them in these posts.

Á ´ÉÏqÉÉiÉÉ ´ÉÏqÉWûÉUÉ¥ÉÏ ´ÉÏqÉÎixÉÇWûÉxÉlÉåµÉUÏ |

ÍcÉSÎalÉ-MÑühQû-xÉÇpÉÔiÉÉ SåuÉMüÉrÉï-xÉqÉѱiÉÉ ||1||

om śrīmātā śrīmahārājnī śrīmatsimhāsaneśvārī  |
cidagni-kuṇḍa-sambhūtā devakārya-samudyatā ||1||
 
´ÉÏ = respected, qÉÉiÉÉ= mother, qÉWûÉUÉ¥ÉÏ = queen, ´ÉÏqÉiÉç = respected, ÎxÉÇWûÉxÉlÉ= throne, DµÉUÏ = owner, ÍcÉiÉ= consciousness, AÎalÉ= fire, MÑühQ= receptacle, xÉÇpÉÔiÉÉ = respected, SåuÉ= divine, MüÉrÉï = work, xÉqÉѱiÉÉ = she who facilitates

1.    ´ÉÏqÉÉiÉÉ ( śrīmātā) Respected Mother

The Lalitasahasranama starts with addressing Lalita as the Respected Mother. The role of the mother is an ideal of Indian womanhood. It represents nourishment, caring, compassion, and protection.

A mother figure evokes love, respect, comfort and trust. As the universal mother, she has given birth to the universe and everything in it, and she nurtures and nourishes it. It is to the mother that a child turns for relief, and the mother defends the child against harm. And if the mother is angry, it is for the good of the child. At all times, a mother’s only concern is the well-being of the children. The chanting of the 1000 names begins with remembering Lalita first and foremost as the mother to evoke the warmth that a child feels for the mother. 

Adding the honorific “sri” to the word mother gives Lalita a higher status than a mother. Whereas all mothers are to be respected, she is respected as the mother of the universe.

2.    ´ÉÏqÉWûÉUÉ¥ÉÏ (śrīmahārājnī) Respected Queen

As the Respected Queen, she is recognized as the supreme ruler of the world. As the mother she nurtures, and as the queen she manages. 

This positions her in a dominant role in the universe.  

3.    ´ÉÏqÉÎixÉÇWûÉxÉlÉåµÉUÏ (śrīmatsimhāsaneśvārī)  Respected Owner of the Throne of the Mind

´ÉÏqÉiÉç + ÎxÉÇW +  AûÉxÉlÉ +  DµÉUÏ = honorific + lion + seat + lord  

Lalita is addressed as the Respected Owner of the Throne of the Mind. The honorific glorifies the position. The throne is traditionally shown as a seat on a lion to describe dominance over all. Here the Mother is referred to as sitting on the throne of the mind.
ÎxÉÇW derives from the root ÌWÇûxÉÉ, which means destruction, and
AûÉxÉlÉ derives from the root AûxÉ, which means to drive out.
This refers to the role of the Lalita as the destroyer.
 

4.    ÍcÉSÎalÉMÑühQûxÉÇpÉÔiÉÉ One born of the Fire Altar of the Mind

Born of the Fire Altar of the Mind, she is the remover of darkness. The darkness in the mind represents ignorance. She is the manifested Consciousness that removes ignorance. T

Refer the Bhagwad Gita (Ch.4, verse 37) where Krishna says that the fire of knowledge burns the effect of all action. This is the fire that Lalita represents.  
 

5.    SåuÉMüÉrÉïxÉqÉѱiÉÉ Facilitator of Divine Activity

As the Facilitator of Divine Activity, she is acknowledged as working for positive forces in the universe.   

Lalitasahasranama - 004 - The Glory of Lalita Devi

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
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After Lalitadevi killed Bhandasura, her grandeur was praised by Brahma, Vishnu, Indra and other celestials. They requested her to revive Manmatha, who had been turned to ash by Shiva’s third eye, when trying to influence Shiva to have a son who was prophesied to kill Bhandasura’s elder brother Tarakasura. Lalitadevi smiled compassionately and looked at Kameshwara, and Manmatha was born again. Manmatha, along with his consort Ratidevi, praised Lalitadevi who told him to fearlessly go and cast the arrow of his magic on Shiva so he could marry Uma Parvati. Devi also blessed Manmatha that from now on, he would dwell in everyone’s body and allow them to enjoy sensuous pleasures.  

Shiva, struck by Kamadev Manmatha’s arrow went in search of Parvati, who had been performing penance to attain Shiva. The marriage of Shiva and Parvati resulted in the birth of Kumaraswamy who became an army commander and killed Tarakasura. Kumar, or Kartikeya, married Devasenadevi, the daughter of Indra.

The cosmic architect Vishwakarma and the architect of the demons Maya combined efforts to construct 16 palaces in 16 kshetra (sacred sites) for the residence of Lalita and Kameshwara. These are called Shripura. A Shripura has 7 walled squares with the same center, each separated from the inner and the outer square by 7 yojana ( a yojana = about 9 miles) –

the kalayasa (iron) wall with a perimeter of 16000 yojana,

a kansya (bronze) wall with the throne kalacakra on which sit Mahakala and Mahakali,

a tamra (copper) wall where there is a kalpavriksa (wish-granting tree) protected by Vasanta with his consorts Madhushri and Madhavashri

an aarkut (brass) wall with the forests of haricandanavriksha (yellow sandalwood trees) guarded by Varsharitu (monsoon) and his consorts Nabhashri and Nabhasyashri.

a pancaloha (five metal) wall with a garden of mandara trees protected by Sharadrutu (Winter) with his consorts Ishashri and Urjashri.

a raupya (silver) wall that houses the parijata forest, protected by Hemantrutu and his consorts Sahashri and Sahasyashri.

a hema (gold) wall that houses the kadamba forest with Shishira (Winter) as protector with his consorts Tavashri and Tavasyashri. Mantrinidevi resides here, except when she is on duty to protect Lalita which is when she resides close to Lalitadevi in a forest of lotuses.

Lalitasahasranama - 003 - Lalita kills Bhandasura

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
-------------------------------------------The emergence of Lalita Devi is described in great detail in the 6^th chapter of Lalitopakhyana in the Brahmandapurana.

Lalita came out of the cidāgni kuṇḍa, seated on a chariot called the cakra rāja ratha which is so described in the Lalitopakhyana : made of tejas (light), a form of Meru (Mount Kailash), the seat at the top being the bindu pitha (the central seat), a width of 4 yojana (1 yojana = about 9 miles), a height of 10 yojana, 9 landings or support columns, 4 wheels, 4 horses, and a flag.

The manifested Lalita Parameshwari created a male from Herself, Kameshwara. With her icchāśakti (willpower), she created four weapons and held them in her hands - ikşu dhanuşa (sugarcane bow) in the upper right arm, five puşpa bāna (five flower arrows) in her lower right arm, pāśa (noose) in her lower left hand, and ankuşa (hook, as used by an elephant driver) in her lower right hand. She shone with crimson color, like a thousand morning suns. Her beauty was complete in all aspects. She looked like she was sixteen years old, and she would always appear so.

She extended herself in male and female forms and continued the process of creation. From her left eye that was of the nature of the moon, came Brahma and Lakshmi. And from the right eye that was of the nature of the sun, came Vishnu and Parvati. From the third eye that was of the nature of fire, came Rudra and Sarasvati. Lalita devi directed the couples: Shiva-Parvati, Vishnu-Lakshmi and Brahma-Saraswati to continue with the process of creation.
Lalita continued the creation process herself: darkness from her hair, sun/moon/fire from her eyes, stars from the ornament on her forehead, nine planets from the chain above her forehead, the penal code from her eyebrows, the Vedas from her breath, poetry and plays from her speech, Vedanga from her chin, various scriptures from the three lines on her neck, mountains from her breasts, bliss from her mind, the ten incarnations of Vishnu from her fingernails, the Sandhyas from her palms, and then as narrated in the Purusha Suktam, she created other things. Baladevi from her heart, Shyamaladevi from her intellect, Varahidevi from her ego, Vighneshwara from her smile, Sampatkaridevi from her elephant hook, Ashwarudhadevi from her noose, Nakuleshwaridevi from her cheeks, Gayatridevi from her kundalini shakti, 8 devata or demigods from the eight wheels of her chariot, and in the 9^th landing she was seated in the bindu pitha.

Then she requested her consort, Kameshwara to create the Shiva chakra. He made a humming sound from which 23 Shiva Chakra devata were manifest. Lalitadevi gave Shyamaladevi her finger ring, declaring her the prime minister which is why she is also known as Mantrinidevi. Next she made Varahidevi the chief of the army which is why Varahidevi is also known as Dandanathadevi. Lalitadevi created two chariots from her chariot and gave each devi a chariot. Mantrinidevi’s chariot known as geyacakraratha made musical sounds whenever it moved. And Dandanathadevi’s chariot is called kiricakraratha.

Then humming with rage, Lalitadevi created 64 million yogini, 64 million bhairav and innumerable saktisena (armies), and then she proceeded to wage battle with Bhandasura.  

From Lalitadevi’s spear, Sampatkaridevi, seated on an elephant called ranakolahalam (battle uproar) emerged with millions upon millions of elephants. From Lalitadevi’s pasam arose Ashwarudhadevi seated on a horse aparajitam (unconquered) along with a big army of horses that moved in front of Lalitadevi. The army commander Dandanathadevi descended from her chariot and sat on a lion named vajraghosham (clap of thunder), playing the drums to start marching. All her soldiers started singing her praises. Later, Mantrinidevi played the marching drums, with sensuous soldiers who played the veena and sang. Mantrinidevi was in her chariot the geyacakraratha. From the bird in her hands, the demigod Dhanurveda emerged and offered her a bow and an inexhaustible quiver of arrow.

Meanwhile Bhandasura called his brothers Vishukra and Vishanga to discuss matters. Vishukra maintained that most celestials had burned themselves in the firepit, and now an army of women was marching towards them. They should immediately fight this army. Vishanga said that they must first estimate the might of the army, and also find out more about the lady who led this army – who she was and what did she want from them. But Bhandasura, in his arrogance, ignored this advice and asked his army commander to protect the fort. He ordered the priests to perform abhicara homa (dark powers), and ordered that Lalita be dragged by the hair and brought to him. His asura army played the war drums, and send their first batch with Durmata as the commander, seated on a camel. Samptakaridevi faced him. Durmata was able to destroy one gem from her crown. Enraged, Sampatkaridevi shot arrows piercing his heart.

Now Durmata’s elder brother Kurunda, filled with vengeance, led the army and attacked Sampatkaridevi. Kurunda was expert in māyā. Ashwarudhadevi requested Sampatkaridevi to allow her to face him, and killed him with her spear.

Bhandasura became furious and sent a much larger army  with 5 commanders who materialized into the serpent Ranashambari who became millions of serpents that attacked the armies of Lalita. As the serpents were killed, they were born again, and attacked the shakti sena again. Nakulidevi mounted on an eagle came to the battlefield and 320 million mongoose emerged from her who ate the newborn serpents. And her eagle killed Ranashambari. Now the five commanders faced her, while she made aerial strikes on their army, and chopped off the heads of the five commanders.

Bhandasura now sent a large army with seven commanders who were the demoness Kikasa’s sons, all of whom had been blessed that in times of war, the sun would reside in their eyes. Their appearance on the battlefield blinded the armies of Lalita. Dandanathadevi’s bodyguard Tiraskarinikadevi mounted a plane named Tamoliptam, and at Dandanathadevi’s orders, she shot a weapon called Andhanastra that forced the seven commanders to close their eyes. From behind Tiraskarinikadevi, the celestials killed the seven commanders.

Now, Bhandasura conferred with his brothers again. They decided that Vishaga would attack from the rear like a coward, and attack Lalitadevi directly. So noiselessly, without drums, Vishanga approached the army from the rear and got so close that he could see the Shrichakraratha. He attacked Lalita, and the fan from her hand fell to the ground. Some of the celestials asked Lalita’s permission to help her. Vahinivasini and Jwalamalini devis glowed like fireballs that made visible the demons hiding behind the shaktisena. The enraged 16 nityadevi attacked the army and all of Bhandasura’s commanders died. Lalitadevi was pleased by the valor of the nityadevi but Mantrinidevi and Dandanathadevi regretted the incident, and that their security arrangements had been breached. Lalitadevi asked Jwalamalinidevi to build a wall of fire around her army.

At dawn, the daughter of Lalitadevi, who appears to be eternally 9 years old, requested her mother’s permission to go to fight. She fought the whole day, and killed the 30 sons of Bhandasura who had led his armies that day. Lalita was very happy with her child’s achievements.

Bhandasura sent his brother Vishukra to the warfront. He drew a mystic symbol and threw it forcefully on the wall around Lalita’s armies. It fell in the firewall at some point and impacted the minds of Lalita’s armies, creating ignorance. People wondered if the war was required, why they were fighting for Lailta, etc till the news of this was brought to Lalita. She smiled and produced
Ganapati from her smile. He saw the mystic symbol – the vigna yantra sila, and smashed it with his tusk.

On the third day, Vishukra came back with his brother Vishanga and his son-in-law. Dandanathadevi, seated on her kiricakraratha, swirled her halayuddha rapidly. Behind her, Mantrinidevi, seated on her geyacakraratha, armed with bow and arrows, attacked Vishanga. Ashwarudhadevi and Sampatkaridevi attacked the son-in-law of Vishukra.

Vishukra noticed that Bhandasura’s armies were slackening, and he discharged the trusastram (weapon that produces thirst). In response, Dandanathadevi invited the celestial Madyasamudra  to shower rains of liquor on Devi’s army to quench their thirst. Rejuvenated, Lalitadevi’s armies vanquished their enemies. Mantrinidevi killed Vishukra with the weapon brahmashironamakastra, while Dandanathadevi killed Vishunga with the halayudha. The Lalitopakhyana differs here from the Lalitasahasranaam that says Varahidevi killed Vishukra and Mantrini killed Vishanga.

Now, Bhandasura came to battle, his chariot Abhilamu (dreadful) driven by 1000 lions, and armed with his sword Yatana (torture). Lalitadevi moved her sricakrarajaratha towards the front, and behind her, came Mantrinidevi in the geyacakraratha followed by Dandanathadevi in kiricakraratha.

Bhandasura used his powers to regenerate the demons from the past – Raktabeeja (who would multiply if a drop of his blood fell on the ground), Madhukaitabha  and others. Lalitadevi laughed in violent frenzy and generated Durga and other deities to slay these demons. She discharged the Narayanastra and Pashupatastra to annihilate the armies of Bhandasura and discharged the Mahakamesvarastra to kill Bhandasura and burn his town Shunyaka.

Lalitasahasranama - 002 - The Emergence of Lalita

There are many levels of understanding – each name of Lalita can be discussed at various levels for hours, I have limited myself to the literal meaning here.
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Rati continued to pray to the Divine Mother to manifest as Lalitadevi to bring Rati’s husband Manmatha, or Kamadeva, to life.

Meanwhile, Chitrakarma, one of the commandants of Shiva’s forces, made a little doll out of Manmatha’s ashes. And he was pleasantly surprised when the doll sprang to life in Shiva’s proximity. Chitrakarma asked his new son to perform penance to please Shiva, who appeared to the young man, years later. The young man asked that whoever he battles, should lose half his strength and skill and that should get added to his own. Shiva not only granted him the boon but also gave him the kingdom to rule for 60,000 years.

Brahma was furious to hear this and swore “bhanda”, and the young man from then on was known as Bhandasura. Meanwhile two more asuras had emerged out of the ashes of Manmatha – Vishukra and Vishanga. Many more asuras sprang from the ashes, and they all joined Bhandasura’s army. Shukracharya became the preceptor to the asuras, and he invited his friend Maya to build a city for Bhandasura known as Shunyaka Patana. Under the guidance of Shukracharya, the Asuras lived a vedic education and worship was life was followed.

As time went by, the kingdom became more powerful, and Bhandasura became more arrogant. He issued instructions to his people to consider the celestials as the enemy who is waiting for Manmatha to be born again and create the desire for procreation and increase their numbers. He asked his people to assume the form of vayu or air and enter the celestials and dry up their bodily fluids, then do the same on earth to humans. As this plan took shape, the hordes of Bhandasura dried up the body fluids and mental faculties. Everyone lost their looks and the desire to love one another.

The water element plays a crucial role in life. rasa, the fluid principle, is a form of the Supreme Consciousness. śukla (sperm) and śoṇita (ovum) are together known as vīrya. It is vīrya that gives the attributes of kānti (radiance), ullāsa (happiness), dharma (righteousness), dayā (compassion), prīti (love), buddhi (intellectual capability), vikāsa (development), parākrama (valor), śāstra vijnāna (scientific knowledge), kalā āsakti (interest in arts), saundarya draşti (proper concept of beauty). In plants too, we know the importance of rasa that sustains them, and without which the logs can catch fire. rasa is prāṇa. And, Bhandasura’s plan had drained his enemies. Vasanta, the deity that represents spring, observed the changes and told Rati that the universe now was waiting on Lalita. Rati started praying to the divine Mother in earnest.

Meanwhile the weakened population went to Vishnu asking for solace. Vishnu explained to them that this was all Bhandasura’s doing. Vishnu, Brahma and Rudra live in the causal plane, as kāraṇa puruşa, as causal beings for the manifest creation. Living in creation, they were themselves subject to the actions of Bhandasura. But Mahashambhu and Parashakti who live beyond the manifested universe, were untouched by this. Vishnu led everyone to the periphery of the universe. It took a year for everyone to breach through a wall, and see beyond - the cinmaya ākāśa which is nirālamba (independent) and nirājnāna (untainted) beyond the five elements including space. Standing in the cinmaya ākāśa, they sang the praise of Mahashambhu who is of the form of cidākāśa.

Mahashambhu and Parakshakti appeared, and blessed them.

Mahashambhu was dark as clouds, holding a śūla (spear) in one hand and kapāla (skull) in the other. Parashakti was shining and cool like the moon, holding a mālā (necklace of beads) in one hand and a pustaka (book) in the other. Mahashambhu spoke in a thunderous voice, and explained that there were three types of pralaya - periods of dissolution when the three guṇa – sattva (purity), tamasa (inertia) and rajasa (action) – are in balance. The rescuer of the world from avāntara pralaya (intermediate dissolution) was Mahashambhu himself, the rescuer of the world from mahā pralaya (final dissolution) is Vishnu, and the rescuer of the world from kāma pralaya (dissolution of universal will) is Lalita.

There are fourteen worlds, of which the upper seven are - bhūloka, bhuvarloka, suvarloka, maharloka, janaloka, tapoloka and satyaloka. The first three form one group that is mentioned in the gayatrī mantra for Surya. The remaining four belong to higher planes. A night of Brahma is the period of dissolution for the first three worlds, avāntara pralaya (intermediate dissolution). When the 100 years of Brahma’s life, all the other worlds will perish as well in the mahā pralaya (final dissolution). For kāmapralaya, Mahashambhu explained that they needed to pray to Lalita devi. All those who had gathered there asked Mahashambhu for the method of appeasing Mahashakti.

Mahashambhu said he would be the hota, the priest who performs offerings for a yaga (yajna, or fire sacrifice). And his cidāgni would be the fire. The pit created by the drying of the last of the seven seas would be used as the fire pit. And the six great oceans would serve as the six drops of ghee to be used as offering.

The five sraşṭi, creation, would be the sacrifical offering : mānasa sraşṭi – mind-born creation, jarāyavee sraşṭi – womb creation, aṇḍā sraşṭi – creation through eggs, swedaja sraşṭi – creation through sweat, and udbhijja sraşṭi – creation through sprouts.
Five substances would be used – bhūmi (land), parvata (mountain), jala (water), vāyu (air), and ākāśa (space). Since Mahashambhu’s cidāgni was to be used, no fire was needed for this yaga.

At the end of this yaga, everyone had to jump into the homa kuṇda (firepit) with great devotion. Then Lalita Parmeshwari would manifest, seated in a chariot called cakra rāja ratha. She would then create Parabrahma as Kameshwara, as her consort. This couple would re-create the entire universe, in a form even more beautiful than the previous one. Lalita would bring Manmatha back to life.

She would create four weapons: ikşu dhanuşa (sugarcane bow), five puşpa bāna (five flower arrows), pāśa (noose), and ankuşa (hook, as used by an elephant driver). With these four weapons, she will kill Bhandasura. She will bring Manmatha back to life, and give new bodies to all who had jumped into the sacrificial fire.

Mahashambhu and Parashakti started chanting the Lalita Mahamantra, and entered the Universe in the form of seven-layered vāyu (air). Parashakti assumed the form of kriyā śakti (energy of action), with whose help Mahashambhu as vāyu blew dry the seventh sea. And in this fire pit, he kindled the cidāgni with his third eye, the fire raging through the fourteen worlds from Patala to Brahmaloka. 

Using the clouds Pushkala and Aavartaka (clouds appearing during pralaya) as the two spoons to offer ghee, he offered the six oceans as ghee and then the five substances. He then offered the celestials to the sacred fire. Then assuming his real form, Mahashambhu chanted 8 mantra and performed 8 homa.

At the end of the homa, Lalita emerged from the fire altar.