Kadamba-kusuma-priyā कदम्ब-कुसुम-प्रिया (323)

She is fond of kadamba flowers, amidst the tress of which She lives (nāma 60).  The same nāma appears in Lalitā Triśatī as nāma 11.  Lalitā Triśatī consists of 300 nāma-s.  This 300 is arrived at by multiplying fifteen bīja-s of Pañcadaśī by twenty.  The first bīja in Pañcadaśī is ‘ka’ (क).  The first twenty nāma-s begin with this bīja and the next twenty nāma-s begin with next alphabet of Pañcadaśī ‘e’ (ए).  Triśatī is considered very powerful as it originates from the Pañcadaśī mantra. 

There are said to be five types of sacred trees and kadamba tree is one among them.  These five sacred trees said to represent the four components of antaḥkaraṇa viz. mind, intellect, consciousness and ego and the fifth being the heart where the soul is said to reside (Some modern interpretations point out that the soul resides within the pineal gland, the gland of divinity).  The smell of these flowers is compared to the modifications of the mind. 

Kalyāṇī कल्याणी (324)

She is the embodiment of auspiciousness.  Kalyāṇa means illustrious, noble, generous, virtuous, good etc. Rig-Veda (ऋग्वेद) I.31.9 uses the word Kalyāṇa. The Veda says, “तनूक्र्द बोधि परमतिश्च कारवे तवं कल्याण वसु विश्वमोपिषे tanūkrda bodhi paramatiśca kārave tavaṃ kalyāṇa vasu viśvamopiṣe”, where Kalyāṇa is used to mean worthy.  The same nāma appears in Lalitā Triśatī as nāma 2.  The power of auspiciousness in the form of positive energy can be realised through powerful vibrations.

Jagatī -kandā जगती -कन्दा (325)

She is the cause of the universe. The cause for the origin of the universe is attributed to the Brahman. Her Brahmanic stature is repeatedly emphasized in this Sahasranāma through various attributes. She is ‘prakāśa vimarśa mahā māyā svarūpinī’ by which She creates the universe. 

Karuṇārasa-sāgarā करुणारस-सागरा (326)

The ocean of compassion. Karuṇa means compassion, rasa means essence and sāgara means ocean. Compassion is Her natural quality, because She is the universal mother.  Lalitā Triśatī nāma 9 is ‘karuṇāmrta sāgarā’, which conveys the same meaning. Śaṇkarā, the great saint has given the following interpretation:  “Ocean, without making a move is the cause for rain and the entire universe sustains on this water.  A drop of water gets itself detached from the clouds and enters a different plane (leaving ākāś and reaching earth) merely to sustain this universe.  The water itself does not get any benefit out of its own action.  Such is Her compassion.”  This compassion is called the Supreme because, She does not differentiate. As far as She is concerned, all are equal before Her, yet another reasoning for addressing Her as the universal Mother. 

Kalāvatī कलावती (327)

She has sixty four types of arts or She is the possessor of these sixty four types of arts, which have been already discussed in nāma 236 and the interpretation is reproduced here.  (She is the embodiment of sixty four types of arts.  Kalā means art.  There are sixty four types of arts in tantra śāstra-s.  No concrete evidence is available either to confirm or dispute these sixty four arts (arts can be explained as either science or art or doctrine. They are all in the form of dialogue between Śiva and His consort Pārvatī.   But, these sixty four types of arts originate from aṣṭama siddhi-s (the eight super human powers).  Śiva himself tells Pārvatī about these sixty four arts. 

Saundarya Laharī verse 31 says, “catuḥ-ṣaṣṭyā tantraiḥ sakalm” meaning that the sixty four tantra-s constitute everything.  The sixty four tantra-s originate from the Pañcadaśī mantra and culminate in the Pañcadaśī mantra. This is evident from the fact that the same Saundarya Laharī verse says ‘idam te tantraṃ’ possibly meaning the Pañcadaśī mantra that is declared in the next verse of Saundarya Laharī.  Since there is no differentiation between Her and the Pañcadaśī mantra, She is said to be in the form of all the sixty four types of tantric arts.  These sixty four types of tantric arts are declared to the world by Śiva at the instance of His consort.  The difference between nāma-s 236 and 327 is very subtle.  The former says that She is in the form of these sixty four fine arts and this nāma says that She has these sixty four types of arts.   The difference is between possession and reflection or prākaśa (Self illuminating) and vimarśa (reflecting).

Kalālāpā कलालापा (328)

Her speech itself is an art.  Lalitā Triśatī nāma 156 is also ‘Kalālāpā’. Kalā generally means sixty four types of fine arts.  But, kala refers melodious voice. Ālāpa also means speech. This nāma refers to Her melodious voice as art or Kalā.

Saundarya Laharī (verse 38) mentions eighteen types of arts “as a result of whose conversation, the maturation of the eighteen arts takes place”.  These eighteen arts are interpreted in different ways.  The first one says, that the sixteen bīja-s of ṣodaśī mahā mantra, Devi and one’s guru make the eighteen.    This is called aṣṭādaśaguṇitavidyā अष्टादशगुणितविद्या. Another interpretation refers to eighteen types of vidyā-s - śikṣā, kalpa, vyākaraṇa, nirukta, jyotiṣa, candas, Rig Veda, Yajur Veda, Sāma Veda, Atharva Veda, pūva and uttara mīmāṁsā, nyāya, purāṇa, dharma śāstra, Āyurveda, dhaṇurveda, gāndharva and nīti śāstra.  This means, that from the melodious speech of Devi, the eighteen vidya-s originate and by attaining these vidya-s a person is able to distinguish between good and bad through the means of his mind. 

Kāntā कान्ता (329)

She is beautiful.  Nāma 324 discussed about vibration of Her auspiciousness.  This nāma says that Her beauty is vibrating and radiating.   This is with regard to Her gross form.  This nāma also talks about Her Brahman form. Ka means the Brahman and antā means the ultimate.  Therefore kāntā also means the Supreme Brahman, the Ultimate (refer nāma 325).