The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
तपिनी च तथा सर्वेश्वरी चाप्यथ कौलिनी । मुद्राणंतनुरिष्वर्णरूपा चापार्णविग्रहा ॥ ४४ ॥
tapinī ca tathā sarveśvarī cāpyatha kaulinī | mudrāṇaṃtanuriṣvarṇarūpā cāpārṇavigrahā || 44 ||
Sie ist Tapinī; ebenso ist Sie Sarveśvarī und auch Kaulinī. Sie ist die leibhaftige Gestalt der heiligen Mudrās; Sie ist die Form des Herrn, von goldenem Glanz; und Sie, deren Körper der unermessliche Ozean selbst ist.
Sanatkumara (teaching Narada in a technical/mantric context)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
It identifies the one Divine Shakti through multiple functional names—radiance (Tapinī), universal sovereignty (Sarveśvarī), and Kaula power (Kaulinī)—showing that diverse ritual and yogic approaches point to the same supreme Goddess.
By naming the Goddess as the all-sovereign and as the Lord’s own form, it supports devotional contemplation (bhakti) where the devotee worships the Divine as both immanent power and supreme ruler, beyond a single limited image.
The verse foregrounds ritual-technical practice through “mudrā”—a key element in mantra-vidyā and prayoga (procedural application), aligning with Book 1.3’s focus on technical disciplines used in correct recitation and ritual performance.