A nice exposition of the devotional philosophy is found in the `Sri Lalitasahsranama Stotram'. The Supreme Mother Lalita is adored with the thousand divine Names, Conveying a 'journey of Consciousness' from Sri Mata to 'Sri Lalitambika'. This is a highly occult Shakta Scripture and forms a section, of the 'Brahmanda Purana'; and is regarded as the most sacred text by the followers of `Sri Vidya' cult of the Shakta tradition. Being highly mystic in Svarupa' - primal nature, its grand and subtle 'mantra' is imparted to the initiated only by the Guru. The `bijaksara' is the Panchadashaksari mantra' with fifteen syllabled mantra. This Sahsranama' is a systemised composition of the `Purvabhaga', 'Nyasa', Sahsranama stotra', `Uttarnyasa' and `Uttarbhaga' or prologue, placement of the deities, thousand divine names, post placement ofthe deities and epilogue. The Purvabhaga ' starts with a humble submission from Agastya to the Ashvanana the Lord incarnatae, for the revelation of the manifestation of the Mother-creatrix when she commissioned herself to kill Thandasura' Sage Agastya was very particular to know the description of `Sripuram' and the glory of the `Panchadashakshari mantra'.The sage was also eager to know the mystry of Chakraraj a vidya' of 'Sri Devi', and other allied system of `Homa' and `Homadravya' -Sacrifice and its ingredients. In this sacred search for 'Truth', 'Sri Hayagriva' cautions the sage to have full devotion and concentration, on his words glorifying the Sahsranama'. Certain injunctions were also incorporated by Sri Hayagriva Himself about imparting its sacred knowledge to a Shatha' - deceitful, Dusta-cunning and `Avishvasin' - man without faith. The Sahsranama should be listened to and heard with absolute faith leaving no room for `Avidya-ignorance'. Thakti' and `Kirtan' are the two essentials of realising the Highest Truth of the Mother. The 'Japan' - repetition of the sacred mantra and `Archana' - recitation of the Names, have been t - iipnastsea ana aumorisea. Vagdevivasini ' were bestowed with Grace to listen to the Glory of Sahsranama, as told by Sri Lalita. Herself to them. The 'Nyasa' starts with Vashni-adi-vag devata' as the Rishis of the Lalitasahsranama. The metre, is Anushtup, Sri Lalita Tripura-Sundari is the Devata. Aim Srimadvagbhava Kuta is the `bijam', Klim madhya kuta is the Shakti, Sauh Shaktikuta is the Kilakam. Bijam is seed, Shakti is power and Kilakam is the 'nail' of the Stotram. `Dhyanam' is of the 'Mula Prakrti' - Primordial nature. 'Nyasa' means to invite and place the Devata in its particular position in the devotees own self. Devata assumes the 'Mantra' form as the scripture says: 'Mantra in the Deva'. The ‘Karanyasa and Anganyasa makes the Devata abide in the hands and the parts of the body. The Devatas abide in the heart, head, skull, eyes and function as `Kavacham' - the armour of the body and makes all the directions safe leading to Thu, Bhuva and Svah' from the origin, where the devotee and deity are knit together through `Mantra'. After meditating upon the glory of Sri Lalita, who is of the form of Sindura and Aruna', the formal `Puja' is followed with the `gandham, varieties of flowers, dhupam, dipam, amrtmanaivaidhyam and Sarvopcharas'. These are the physical manifestations of the Divine in the form of `Prithvi - the earthly existence with `gandha' - colours; `Akasa' - space with pushpani flowers; Vayu' - wind with `dhupam or incense, Vahni' fire with burning lamp. Amrtam - ambrosia with naivedhyam presents, offering of fruits, cereals and Sarvatmika'-integrated elements. These, physical constituents in the worship of Lalita are in the form of mystic phonomes of 'Lam, Ham, Yam, Ram, Vam and Sam'. The meaning and subtle nature ofthese phonomes are known to the initiated only.