The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
भञ्जिनी वेगिनी नागा चपला पेशला सती । रतिः श्रद्धा भोगलोला मदोन्मत्ता मनस्विनी ॥ ९५ ॥
bhañjinī veginī nāgā capalā peśalā satī | ratiḥ śraddhā bhogalolā madonmattā manasvinī || 95 ||
彼女はバンジニー(Bhañjinī・破砕する者)、ヴェギニー(Veginī・迅き者)、ナーガー(Nāgā・蛇のごとき者)、チャパラー(Capalā・落ち着かぬ者)、ペーシャラー(Peśalā・優美なる者)、サティー(Satī・貞淑なる者)。またラティ(Rati・欲)、シュラッダー(Śraddhā・信)、ボーガロラー(Bhogalolā・享楽を求むる者)、マドーンマッター(Madonmattā・慢に酔う者)、マナスヴィニー(Manasvinī・剛き心の者)とも讃えられる。
Narada (in a didactic/technical enumeration within the Third Pada)
Vrata: none
Primary Rasa: adbhuta
Secondary Rasa: bhakti
The verse functions as a concentrated catalogue of epithets describing a feminine power/quality-spectrum—moving from grace and virtue (peśalā, satī, śraddhā) to passion and delusion (rati, bhogalolā, madonmattā)—showing how the same force can elevate or bind depending on orientation.
By naming Śraddhā (faith) alongside restless desire and pride, it implies that devotion stabilizes the mind: when śraddhā and satī-bhāva govern, the capalā (restlessness) and bhogalolā (craving) tendencies are redirected toward dharmic and devotional aims.
This is nighaṇṭu/semantic-style material useful for Vyākaraṇa and mantra-interpretation: it supplies precise sense-fields for key terms (śraddhā, rati, manasvinī, etc.), aiding correct understanding and application in recitation, commentary, and ritual language.