The Account of the Lalitā Hymn, the Protective Armor
Kavaca), and the Thousand Names (Sahasranāma
प्रणमामि महादेवीं मातृकां परमेश्वरीम् । कालहृल्लोहोलोल्लोहकलानाशनकारिणीम् ॥ ११ ॥
praṇamāmi mahādevīṃ mātṛkāṃ parameśvarīm | kālahṛlloholollohakalānāśanakāriṇīm || 11 ||
我顶礼大女神——母神(Mātṛkā)、至上自在女主——她摧灭由凶烈真言声“kāla-hṛt、loho、lolloha”所表征的不祥时分与诸般苦恼。
Narada (as a devotional invocation within the instructional flow; traditional Narada Purana dialogue frame with Sanatkumara)
Vrata: none
Primary Rasa: bhakti
Secondary Rasa: vira
It functions as a protective obeisance (praṇāma) to Mātṛkā-Śakti, portraying the Goddess as the remover of time-bound afflictions and inauspicious forces through mantra-power.
Bhakti is expressed through direct surrender—“I bow”—to the Supreme Goddess, trusting her supreme agency to dissolve obstacles and purify the practitioner’s path.
The verse points to the applied science of sacred sound (mantra-prayoga) and the concept of kalā (time/phase), aligning with Vedāṅga-style technical attention to phonetic/mantric efficacy and timing.