Sri Matre Namaha
Shiva-kameshvarangastha – The Fifty Fourth name in Lalitha Sahasranamam.
Svasya adhinah vallabho yasya sa
she whose husband is entirely her own.
Who dominates over Her Consort Siva in the creative part of the cyclic motion of time.
This name indicates that though the Devi is Iccha and other qualities she is never subject to Lord Kamesvara who possesses the qualities. The KalikaP says,” there he resides for ever playing with Parvati, the house of Devi is in the center and Siva is subject to it”.
Even the Agama says, “to her, through whom Siva is enabled to bestow happiness and salvation on mankind”. The Skp also says, “O sages, Siva became the cause of the Universe, Devi is his Sakti, without her he is powerless”. The SauLah says, “when Siva is united with Sakti, he is able to create, otherwise he is unable to move”.
Svadhino Vallabho yasya sa
She by whom her husband is subjected
The Asivinis made the husband of Sukanya, the daughter of Sayati, similar to themselves in form and asked her to pick him out. She then prayed to Devi, “O world mother, I am deeply afflicted and approach you for help. Help me in preserving my pativrata dharma. I worship thy feet. Thus praised, Devi Tripurasundari gave her wisdom by means of which Sukanya was able to identify her husband
Her husband (Shiva) belongs to her alone. This confirms our discussion in the previous nama. We have been discussing that Shiva alone created Her to take care of His three acts. For this exclusive purpose, Shiva created Shakthi, the kinetic energy as opposed to the static energy of Shiva. As she is the only creation of Shiva, it is said that Shiva belongs to Her alone. Shiva is the cause of this universe and Shakthi is His power. Without this combination, the universe cannot exist. This is confirmed in SL 1 – Without being united with Shakthi, Shiva cannot even make a single move. Possibly this can also be interpreted as follows: Brahman is omnipresent. Soul is the jiva where karma of living beings is embedded. Neither Brahman nor soul in their individual capacity can create a life. You need Brahman to make the soul function with a gross form and the soul definitely needs the Brahman to get birth. That is why Shankara said in SL 1 that Shiva cannot act alone. In the same way Shakthi also cannot act alone. Since the verses are about Shakthi, generally negative points (not qualities) in such cases are left out. It is poetic way expression. With this verse, the physical description of Lalitha ends. From 53 to 64 it is going to be the description of Srinagara, the place where Lalitha lives. You could have observed in the verses 13-54, the description of Lalitha and some of them are delicate to discuss. Not only in this Sahasranamam, but also in Soundarya Lahari such descriptions are found. Generally a question arises, whether such descriptions are right, beyond a certain level. There could be two possibilities for making such narrations. One is the possibility of the poetic visualization which is generally allowed in poems. We can apply this to SL, composed by Adhi Shanakara. How a great sage like Shankara can make such descriptions? Sankara is no ordinary person about whom we can discuss. He is said to the incarnation of Lord Shiva himself. If this is true his descriptions can be accepted, subject to the question why he should express such things in public. It is difficult to give the right answer. There should be something extremely subtle in such descriptions, which we are not aware of. Take this Sahasranamam composed by vak devis, who are always with Lalitha. Further, this Sahasranamam was recited in the presence of Lalitha herself. If she found something wrong with the verses, she could have burnt these vak devis. She did not do so. So, it is clear that such descriptions are approved by Lalitha herself. Her panchadasi mantra is meditated upon her parts which are considered to be highly secretive. Following could be the reasons for such descriptions in this Sahasranamam and elsewhere. The first point is, in any poetic visualization such narrations are permitted. Poetic skills are expressed through such descriptions. Second thing is to test a devotee whether he gets exited on such descriptions. This is a sort of test before proceeding to higher awareness. Thirdly, such descriptions are a part of maya played by Shakthi. Unless maya goes away from a person, realizing the Brahman is not possible and hence such descriptions fall under the gaze of maya. It could also mean the kundalini energy and its path. But beyond such reasoning that we can think of, we have no authority or right to analyze such narrations. One has to understand that the world of illusion is full of desires and one has to cross such desires to reach higher planes of consciousness only after knowing such realities, as realising the reality alone leads to the Brahman. Before we close our discussion on this subject, we should not forget that the nirguna Brahman is formless and to realize the nirguna Brahman, one has to realize the saguna Brahman (with qualities and form) first. Possibly such narrations could help those not-so-intelligent (those who never heard about the Brahman) people to at least visualize the saguna Brahman, possibly a stepping stone to spirituality.