The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
कामा बुद्धिरहंकारशब्दस्पर्शस्वरूपिणी । रूपरूपा रसाह्वा च गंधवित्तधृतिस्तथा ॥ ५१ ॥
kāmā buddhirahaṃkāraśabdasparśasvarūpiṇī | rūparūpā rasāhvā ca gaṃdhavittadhṛtistathā || 51 ||
Ia mengambil rupa kāma (keinginan), buddhi (akal budi) dan ahaṅkāra (keakuan); serta menjadi inti sari bunyi dan sentuhan. Ia juga menjadi rupa (bentuk yang terlihat), disebut rasa (cita rasa), dan demikian pula menjadi bau, kesedaran/pengetahuan batin, serta dhṛti (keteguhan yang menahan).
Sanatkumara (teaching Narada in dialogue form)
Vrata: none
Primary Rasa: shanta
Secondary Rasa: none
It maps how the one inner principle manifests as both mental powers (desire, intellect, ego, cognition, steadfastness) and sensory essences (sound, touch, form, taste, smell), helping the seeker discern what is mutable and therefore to be transcended in pursuit of moksha.
By identifying the mind–sense complex that disperses attention, it implicitly supports bhakti-sadhana: restraining desire and ego while redirecting cognition and steadiness (dhriti) toward single-pointed remembrance and worship of the Lord.
It aligns with Vedanga-style technical analysis of faculties and sense-objects used in disciplined practice—useful for mantra-application and ritual focus (śikṣā/prayoga), where control of speech-sound (śabda), attention (vitti), and steadiness (dhṛti) are essential.