DOCSLIB.ORG

The Goddess and the Demon : Analysis of Devi

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Goddess and the Demon : Analysis of Devi VEENA DAS The Goddess And The Demon —An Analysis of the Devi Mahatmya The mythologies of a people, being a product of the collective unconscious, are a changing and developing reflection of that people’s interaction with their natural, social, economic and political milieu. Therefore, a study of mythology can yield valuable historical insights. This is a condensed and simplified version of a paper written in honour of Prof . M. THE worship of the goddess in India N. Srinivas. is an early example of the incorporation of It analyses an ancient Hindu text and suggests that one aspect of the greatness of the pre Aryan, non Sanskritic goddess into the goddess or the feminine principle was perceived as her ability to save the gods by the Sanskritic fold. The first extant text in overcoming demons or evil forces whom she absorbed into herself. This sheds light on Sanskrit which developed a the multifaceted image of the ideal woman that was evolved in Hindu culture. comprehensive mythology of the goddess is the Devi Mahatmya* which forms part of the Markandea Purana. The Puranas are post Vedic texts dedicated to various themes, including incarnations of gods and The story of Devi Mahatmya is with a chain of skulls around her neck, and goddesses, and chronologies of kings. “framed” by a discussion between a king her tongue hanging out, dripping blood. Themes of creation, preservation and and a merchant, both of whom have retired The sage relates three separate destruction of the world in endless cycles to a forest due to adversity. The merchant episodes about Mahamaya who, in her predominate. Many minor episodes from is puzzled as to why his mind is still various forms, confronts and defeats a the epics are given fuller shape in the attracted to his wife and son even though number of demons. On the surface, it various Puranas. There are scores of they had deserted him. The king and the appears that the three episodes are Puranas, including some written as merchant encounter a sage who informs unconnected narratives about the them that such contradictions are a result recently as the 17th century AD. relations between gods, goddesses and of the power of Mahamaya, she who is the Pauranika literature is a vast storehouse demons. I hope to show, however, that the great illusion or she who can take many of myths and legends, which have been conclusion of each episode may be viewed forms. On the insistence of the two evolving through centuries and have been as the commencing point of the next one. unhappy persons, the sage then narrates as influential as the Vedas, if not more so, three stories about the great goddess. Thus the sequential order in; which the in shaping Hindu belief and ritual, and is Devi or Mahadevi is the most powerful of stories are presented may be viewed as generally agreed to date from the fifth or the goddesses. As Parvati, consort of Siva, essential to an understanding of the fixth century AD. she is renowned for the austerities she meaning of the myth. Why is there a juxtaposition of three practised to gain his favour. As Durga, she The First Episode stories in this text and is there any logic to killed the demon Mahisasura, and is During one of the periods that fell the sequence in which they are presented? depicted in images and pictures, as a between the dissolution and the creation My analysis addresses itself to this and golden, ten armed goddess destroying evil of the universe, Vishnu* withdrew into related questions. in the form of the demon whom she sleep while resting on his great snake in * Devi Mahatmya—literal meaning, the tramples underfoot and slays. As Kali, she the middle of the primeval waters. From greatness of the goddess is usually depicted in a more terrible form, the ear wax of Vishnu emerged two 28 MANUSHI demons, Madhu and Kaitabha, who Mahisasura. She slowly annihilated them is described as both knowledge and proceeded to attack Brahma, the creator. and was then confronted by the demon delusion, as hunger and thirst on the one Brahma found that he was not powerful king. The battle raged for a long time hand and satiation on the other. enough to defeat the demons. Fearful for because the demon could change his form While the gods were praising the his life, he prayed to the goddess as he pleased. Finally, the goddess bound goddess, Parvati came and asked them Yoganidra, (the sleep of Yoga) to release him with her noose. Thus bound, he half whom they were praising. From the sheath Vishnu. The goddess was pleased by his emerged from his buffalo form and the of Parvati’s body there sprang forth an devotional prayer and she released Vishnu. goddess fought with the half revealed auspicious goddess who replied that the Awakened from his slumber, Vishnu form. The lion on which she was riding hymns were being sung to her. This proceeded to fight the two demons in stepped on the buffalo body of the demon goddess who had sprung from the kosha order to save Brahma. A mighty battle and Durga decapitated him with her sword. or sheath of the body, was known as raged between Vishnu and the demons but The army of demons was thus demolished Kaushiki. Parvati then became the dark and the strength of the latter showed no sign and the gods rejoiced over the victory of terrifying Kalika who resides in the of waning. Exhausted by the battle, Vishnu Durga. Himalayas. prayed to Yoganidra to help him. With her The Third Episode The charming Kaushiki was seen by power of delusion, the goddess cast a spell The demons Sumbha and Nisumbha Chanda and Munda, two servants of upon the demons and lured them into took away the sacrificial portions offered Sumbha and Nisumbha. They persuaded believing that they were more powerful to the gods. Deprived of their functions their masters that this beautiful woman than Vishnu. Thus deluded, the demons and expelled from heaven, the gods must be acquired by the demon kings who became impudent enough to offer a boon remembered the invincible goddess. They possessed all the beautiful things in the to Vishnu. Vishnu begged that by their approached the mountain Himavat where world. The demon kings sent a message grace it should be possible for him to kill the goddess resided and began to sing to the goddess that she could select either them. The demons were trapped into her praises. These hymns of praise all of them as a husband. The goddess granting the boon but they added the stress the dual nature of the goddess. She expressed her gratification at the offer but conditional clause that Vishnu would be able to kill them only on dry land. Since there was nothing but water all around, Vishnu finally took the demons on his thighs which were dry and killed them there. The Second Episode The demon king Mahisasura had become extremely powerful and had defeated Indra, the king of the gods. Expelled from their respective domains in heaven, the gods wandered around on the earth like ordinary mortals. In desperation, they prayed to the supreme gods, Vishnu and Brahma, who were enraged and from whose bodies emanated a great brilliance. The tejas (lustre, power) emanating from other gods united with this initial tejas of the two supreme deities and these various lustres then formed the various members of the body of the goddess, Durga. Since the goddess was constituted from the combined lustres of the gods, she was extremely powerful. Then each god generated a weapon from his own customary one, and all these weapons were bestowed upon her. A mighty battle then took place between Durga and the demon warriors of Durga panel in the rock cut temple of Varakaswami in Mahabalipuram NUMBER THIRTY, September-October 1985 29 replied that she had earlier taken a vow significance in each myth is enhanced by first century AD, the female figure was that she would only marry a man who could their significance in the others. Therefore, probably not linked with the theme of defeat her in battle. to grasp this diffused understanding, we Durga slaying Mahisasura until the Gupta The demon kings were enraged and need to look at other myths earlier than or period. sent a group of warriors under the contemporary with the Devi Mahatmya in It was a long process by which leadership of a demon called which the characters of this text occur. Mahisasura acquired the body of a buffalo Dhumralochana whose gaze could reduce Let us begin with the two demons, and came to be represented as the victim anything to smoke, in order to drag the Madhu and Kaitabha, mentioned in the of the goddess Durga. In the Varaha impudent goddess by her hair and bring first episode of the Devi Mahatmya. The Purana, there is an account of the slaying her before them. When Dhumralochana story of the destruction of these two of Mahisa by the goddess and his tried to drag her, Kaushiki burnt him to demons by Shiva is narrated in the parentage is mentioned. He is supposed ashes by uttering the single syllable hum. Mahabharata but was composed before to be the son of the demon Rambha by a As for his army, it was destroyed by her the Devi Mahatmya. There is no mention female buffalo. However, historians lion. of the goddess Yoganidra there. The disagreed as to whether this text predates The next group of demon war-riors was demons, on their own initiative, offer a the Devi Mahatmya or not.
Load more

Recommended publications
  • Shankar Ias Academy Test 18 - Geography - Full Test - Answer Key
    SHANKAR IAS ACADEMY TEST 18 - GEOGRAPHY - FULL TEST - ANSWER KEY 1. Ans (a) Explanation: Soil found in Tropical deciduous forest rich in nutrients. 2. Ans (b) Explanation: Sea breeze is caused due to the heating of land and it occurs in the day time 3. Ans (c) Explanation: • Days are hot, and during the hot season, noon temperatures of over 100°F. are quite frequent. When night falls the clear sky which promotes intense heating during the day also causes rapid radiation in the night. Temperatures drop to well below 50°F. and night frosts are not uncommon at this time of the year. This extreme diurnal range of temperature is another characteristic feature of the Sudan type of climate. • The savanna, particularly in Africa, is the home of wild animals. It is known as the ‘big game country. • The leaf and grass-eating animals include the zebra, antelope, giraffe, deer, gazelle, elephant and okapi. • Many are well camouflaged species and their presence amongst the tall greenish-brown grass cannot be easily detected. The giraffe with such a long neck can locate its enemies a great distance away, while the elephant is so huge and strong that few animals will venture to come near it. It is well equipped will tusks and trunk for defence. • The carnivorous animals like the lion, tiger, leopard, hyaena, panther, jaguar, jackal, lynx and puma have powerful jaws and teeth for attacking other animals. 4. Ans (b) Explanation: Rivers of Tamilnadu • The Thamirabarani River (Porunai) is a perennial river that originates from the famous Agastyarkoodam peak of Pothigai hills of the Western Ghats, above Papanasam in the Ambasamudram taluk.
    [Show full text]
  • Devi Mahatmyam Translated by P
    Devi Mahatmyam Translated by P. R. Ramachander * © Under the blessings of the holy mother. * Please contact the author at ramya475@gmail. com Devi Mahatmyam Contents: Devi Mahatmyam I Contents: II Introduction 1 Appendix 1 4 THE ESOTERIC SIGNIFICANCE OF THE DEVI-MAHATMYA 4 Appendix 2 11 DEVI MAHATMYA STOTHRA ASHTAKAM 11 DEVI KAVACHAM 16 (Armour of the Goddess) 16 DEVI KEELAGAM 26 (The nail of the goddess) 26 Sri Devi Mahatmyam 30 Prathama Charitham 30 (First Part) 30 Pradhmao adhyaya: Madhu Kaidaba Vadha Varnanam 30 Chapter 1: Description of Killing of Madhu and Kaidabha. 30 Madhyama Charitham 43 (Middle part) 43 Chapter 2: Killing of the armies of Mahishasura. 43 Chapter 3: Killing of Mahishasura. 53 Chapter 4: The prayer of Sakradi devathas. 59 Uthama Charitha 67 (The holy story) 67 Chapter 5: The argument between devi and the emissary. 67 Chapter 6: The killing of Dhoomra lochana. 79 Chapter 7: Killing of Chanda and Munda 83 Chapter 8: Killing of Raktha Bheeja. 87 Chapter 9: Killing of Nishumbha. 96 Chapter 10: Killing of Shumbha. 102 Chapter 11: Prayer to Narayani. 107 Chapter 12: The greatness of the story of Devi. 116 Chapter 13: The getting of boons by Suradha and Vaisya. 122 II Introduction Introduction This book which relates het story of how the devi (mother Goddess) killed Madhu and Kaidabha as Vishnu Maya (Thamasic-base), killed Mahishasura as Lakshmi (Rajashic form- materialistic) and killed Shumbha and Nishumbha in the form of Goddess Saraswathi (Sathvic -spiritual) is known as Devi Mahatmya in South India, Chandi in West Bengal and as Durga Sapthasathi in the northern parts of the country including Varanasi.
    [Show full text]
  • Wish You All a Very Happy Diwali Page 2
    Hindu Samaj Temple of Minnesota Oct, 2012 President’s Note Dear Community Members, Namaste! Deepavali Greetings to You and Your Family! I am very happy to see that Samarpan, the Hindu Samaj Temple and Cultural Center’s Newslet- ter/magazine is being revived. Samarpan will help facilitate the accomplishment of the Temple and Cultural Center’s stated threefold goals: a) To enhance knowledge of Hindu Religion and Indian Cul- ture. b) To make the practice of Hindu Religion and Culture accessible to all in the community. c) To advance the appreciation of Indian culture in the larger community. We thank the team for taking up this important initiative and wish them and the magazine the Very Best! The coming year promises to be an exciting one for the Temple. We look forward to greater and expand- ed religious and cultural activities and most importantly, the prospect of buying land for building a for- mal Hindu Temple! Yes, we are very close to signing a purchase agreement with Bank to purchase ~8 acres of land in NE Rochester! It has required time, patience and perseverance, but we strongly believe it will be well worth the wait. As soon as we have the made the purchase we will call a meeting of the community to discuss our vision for future and how we can collectively get there. We would greatly welcome your feedback. So stay tuned… Best wishes for the festive season! Sincerely, Suresh Chari President, Hindu Samaj Temple Wish you all a Very Happy Diwali Page 2 Editor’s Note By Rajani Sohni Welcome back to all our readers! After a long hiatus, we are bringing Samarpan back to life.
    [Show full text]
  • Sapta Matrikas Bharati Pal
    Orissa Review September - 2009 Sapta Matrikas Bharati Pal The Sapta Matrikas or the seven divine mothers, weild the trisula in one of her hands and carry a representing the saktis, or the energies of the kapala in another. All the Matrikas are to be important familiar deities are Brahmani (Saraswati) seated images and should have two of their hands Mahesvari (Raudani) Kaumari (Karttikeyani) held in the Varada and Abhaya poses, while the Vaishnavi (Lakshmi) Varahi, Indrani and other two hands carry weapons appropriate to Chamunda (Chamundi). According to a legend the male counterparts of the female powers. described in the Isanasivagurudevapaddhati, The Varaha Purana states that these the Matrikas were created to help Lord Siva in mother-goddesses are eight in number and his fight against Andhakasura. When the Lord includes among them the goddess Yogesvari. It inflicted wounds on Andhaka, blood began to flow further says that these Matrikas represent eight profusely from his body. Each drop which touched mental qualities which are morally bad. the ground assumed the shape of another Accordingly, Yogesvari represents kama or Andhaka. Thus there were innumerable Asuras desire; Mahesvari, krodh or anger; Vaishnavi, fighting Siva. To stop the flow of the blood, Siva lobha or covetousness; Brahmani; mada or created a goddess called Yogesvari from the pride; Kaumari moha or illusion; Indrani, flames issuing out of his mouth. Brahma, Vishnu, matsarya or fault finding; Yami or Chumunda Maheswara, Kumara, Varaha, Indra and Yama paisunya, that is tale bearing; and Varahi asuya also sent their saktis to follow Yogesvari in or envy. stopping the flow of blood.
    [Show full text]
  • Bhadrakali - Wikipedia, the Free Encyclopedia
    בהאדראקאלי http://www.tripi.co.il/ShowItem.action?item=948 بهادراكالي http://ar.hotels.com/de1685423/%D9%86%D9%8A%D8%A8%D8%A7%D9%84-%D9%83%D8%A 7%D8%AA%D9%85%D8%A7%D9%86%D8%AF%D9%88-%D9%85%D8%B9%D8%A8%D8%AF-%D8 %A8%D9%87%D8%A7%D8%AF%D8%B1%D8%A7%D9%83%D8%A7%D9%84%D9%8A-%D8%A7% D9%84%D9%81%D9%86%D8%A7%D8%AF%D9%82-%D9%82%D8%B1%D8%A8 Bhadrakali - Wikipedia, the free encyclopedia https://en.wikipedia.org/wiki/Bhadrakali Bhadrakali From Wikipedia, the free encyclopedia Bhadrak ālī (Sanskrit: भकाली , Tamil: பரகாள, Telugu: wq, Malayalam: , Kannada: ಭದಾ, Kodava: Bhadrak ālī (Good Kali, Mahamaya Kali) ಭದಾ) (literally " Good Kali, ") [1] is a Hindu goddess popular in Southern India. She is one of the fierce forms of the Great Goddess (Devi) mentioned in the Devi Mahatmyam. Bhadrakali is the popular form of Devi worshipped in Kerala as Sri Bhadrakali and Kariam Kali Murti Devi. In Kerala she is seen as the auspicious and fortunate form of Kali who protects the good. It is believed that Bhadrak āli was a local deity that was assimilated into the mainstream Hinduism, particularly into Shaiva mythology. She is represented with three eyes, and four, twelve or eighteen hands. She carries a number of weapons, with flames flowing from her head, and a small tusk protruding from her mouth. Her worship is also associated with the Bhadrakali worshipped by the Trimurti – the male Tantric tradition of the Matrikas as well as the tradition of the Trinity in the North Indian Basohli style.
    [Show full text]
  • DAILYBHAJAN Rupang Dehi Lyrics with Meaning in English
    DAILYBHAJAN Rupang Dehi Lyrics with Meaning in English Jaya Tvam Devi Caamunndde Jaya Bhuu-Taapa-Haarinni | Jaya Sarva-Gate Devi Kaalaraatri Namostu Te ||1|| Jayantii Manggalaa Kaalii Bhadrakaalii Kapaalinii | Durgaa Shivaa Kssamaa Dhaatrii Svaahaa Svadhaa Namostu Te ||2|| Madhu-Kaittabha-Vidhvamsi Vidhaatr-Varade Namah | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||3|| Mahissaasura-Nirnaashi Bhaktaanaam Sukhade Namah | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||4|| Dhuumranetra-Vadhe Devi Dharma-Kaama-Artha-Daayini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||5|| Raktabiija-Vadhe Devi Canndda-Munndda-Vinaashini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||6|| Nishumbha-Shumbha-Nirnaashi Trailokya-Shubhade Namah | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||7|| Vandita-Angghri-Yuge Devi Sarva-Saubhaagya-Daayini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||8|| Acintya-Ruupa-Carite Sarva-Shatru-Vinaashini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||9|| Natebhyah Sarvadaa Bhaktyaa Ca-Aparnne Durita-Apahe | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||10|| Stuvadbhayo Bhakti-Puurvam Tvaam Cannddike Vyaadhi-Naashini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||11|| Cannddike Satatam Yuddhe Jayanti Paapa-Naashini | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||12|| Dehi Saubhaagyam-Aarogyam Dehi Devi Param Sukham | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||13|| Vidhehi Devi Kalyaannam Vidhehi Vipulaam Shriyam | Ruupam Dehi Jayam Dehi Yasho Dehi Dvisso Jahi ||14|| Vidhehi Dvissataam Naasham Vidhehi
    [Show full text]
  • The Concept of Mother Goddess in the Art and Literature of Orissa Jayanti Rath
    Orissa Review September - 2009 The Concept of Mother Goddess in the Art and Literature of Orissa Jayanti Rath The concept of Mother Goddess probably accommodates the largest number of paradoxes. She is a virgin and yet she is also the mother, a mother goddess. She is the Saivite Parvati and also a Vaishnavi. She is the purest of the pure. She is blood-thirsty Kali and also the very embodiment of the merciful and beautiful Amba or Lalita. She is invincible; she is the slayer of demons. She is Durga, with many arms. She is Sakti, the divine principle. This multiplicity of paradoxes proves the continuous popularity of the Sakti cult in India over the centuries. The very word Sakti denotes power. She can be seen through the different phenomenan of life. Durga Saptasati says that everyone has inherent power called Sakti, which is a manifestation of Para Sakti, the supreme goddess. In the Sakta scheme of cosmogonical evolution, the unmanifested prakarti alone existed before creation. She wished to create, and having assumed the form of the great mother, created Brahma, Vishnu and Siva. Referring to the Mother Goddess cult of Mohenjodaro, Marshall rightly observed that it was in the later Sakta phase of Saktism gained prominence in the epic the primitive Mother Goddess cult that the Devi became the manifestation of the all-powerful period when gods receded into the background. female principle, viz. the Prakriti or Sakti having In the Mahabharata Aditi is regarded as mother associated with the male principle, the Purusa. of the Adityas. She is also the mother of Vasus She becomes Jagadamba or Jagatmata, the and Rudras.
    [Show full text]
  • Why I Became a Hindu
    Why I became a Hindu Parama Karuna Devi published by Jagannatha Vallabha Vedic Research Center Copyright © 2018 Parama Karuna Devi All rights reserved Title ID: 8916295 ISBN-13: 978-1724611147 ISBN-10: 1724611143 published by: Jagannatha Vallabha Vedic Research Center Website: www.jagannathavallabha.com Anyone wishing to submit questions, observations, objections or further information, useful in improving the contents of this book, is welcome to contact the author: E-mail: [email protected] phone: +91 (India) 94373 00906 Please note: direct contact data such as email and phone numbers may change due to events of force majeure, so please keep an eye on the updated information on the website. Table of contents Preface 7 My work 9 My experience 12 Why Hinduism is better 18 Fundamental teachings of Hinduism 21 A definition of Hinduism 29 The problem of castes 31 The importance of Bhakti 34 The need for a Guru 39 Can someone become a Hindu? 43 Historical examples 45 Hinduism in the world 52 Conversions in modern times 56 Individuals who embraced Hindu beliefs 61 Hindu revival 68 Dayananda Saraswati and Arya Samaj 73 Shraddhananda Swami 75 Sarla Bedi 75 Pandurang Shastri Athavale 75 Chattampi Swamikal 76 Narayana Guru 77 Navajyothi Sree Karunakara Guru 78 Swami Bhoomananda Tirtha 79 Ramakrishna Paramahamsa 79 Sarada Devi 80 Golap Ma 81 Rama Tirtha Swami 81 Niranjanananda Swami 81 Vireshwarananda Swami 82 Rudrananda Swami 82 Swahananda Swami 82 Narayanananda Swami 83 Vivekananda Swami and Ramakrishna Math 83 Sister Nivedita
    [Show full text]
  • Devi: the Great Goddess (Smithsonian Institute)
    Devi: The Great Goddess Detail of "Bhadrakali Appears to Rishi Chyavana." Folio 59 from the Tantric Devi series. India, Punjab Hills, Basohli, ca 1660-70. Opaque watercolor, gold, silver, and beetle-wing cases on paper. Purchase, Freer Gallery of Art, Smithsonian Institution F1997.8 Welcome to Devi: The Great Goddess. This web site has been developed in conjunction with the exhibition of the same name. The exhibition is on view at the Arthur M. Sackler Gallery from March 29, 1999 through September 6, 1999. Like the exhibition, this web site looks at the six aspects of the Indian goddess Devi. The site offers additional information on the contemporary and historical worship of Devi, activities for children and families, and a list of resources on South Asian arts and cultures. You may also want to view another Sackler web site: Puja: Expressions of Hindu Devotion, an on-line guide for educators explores Hindu worship and provides lesson plans and activities for children. This exhibition is made possible by generous grants from Enron/Enron Oil & Gas International, the Rockefeller Foundation, The Starr Foundation, Hughes Network Systems, and the ILA Foundation, Chicago. Related programs are made possible by Victoria P. and Roger W. Sant, the Smithsonian Educational Outreach Fund, and the Hazen Polsky Foundation. http://www.asia.si.edu/devi/index.htm (1 of 2) [7/1/2000 10:06:15 AM] Devi: The Great Goddess | Devi Homepage | Text Only | | Who is Devi | Aspects of Devi | Interpreting Devi | Tantric Devi | For Kids | Resources | | Sackler Homepage | Acknowledgements | The Arthur M. Sackler Gallery and Freer Gallery of Art, Smithsonian Institution, Washington, DC 20560.
    [Show full text]
  • HIGHSCHOOLS in GANJAM DISTRICT, ODISHA, INDIA Block Type of High Sl
    -1- HIGHSCHOOLS IN GANJAM DISTRICT, ODISHA, INDIA Block Type of High Sl. Block G.P. Concerned Village Name of the School Sl. School 1 1 Aska Aska NAC Aska Govt. Girl's High School, Aska Govt. 2 2 Aska Aska NAC Aska Harihar High School, Aska Govt. 3 3 Aska Aska NAC Aska Tech High School, Aska Govt. 4 4 Aska Munigadi G. P. Munigadi U. G. Govt. High School, Munigadi Govt. U.G. 5 5 Aska Mangalpur G. P. Mangalpur Govt. U. G. High School, Mangalpur Govt. U.G. 6 6 Aska Khaira G. P. Babanpur C. S. High School, Babanpur New Govt. 7 7 Aska Debabhumi G. P. Debabhumi G. P. High School, Debabhumi New Govt. 8 8 Aska Gunthapada G. P. Gunthapada Jagadalpur High School, Gunthapada New Govt. 9 9 Aska Jayapur G. P. Jayapur Jayapur High School, Jayapur New Govt. 10 10 Aska Bangarada G. P. Khukundia K & B High School, Khukundia New Govt. 11 11 Aska Nimina G. P. Nimina K. C. Girl's High School, Nimina New Govt. 12 12 Aska Kendupadar G. P. Kendupadar Pragati Bidyalaya, Kendupadar New Govt. 13 13 Aska Baragam Baragam Govt. U.G. High School, Baragam NUG 14 14 Aska Rishipur G.P. Rishipur Govt. U.G. High School, Rishipur NUG 15 15 Aska Aska NAC Aska N. A. C. High School, Aska ULB 16 16 Aska Badakhalli G. P. Badakhalli S. L. N. High School, Badakhalli Aided 17 17 Aska Balisira G. P. Balisira Sidheswar High School, Balisira Aided 18 18 Aska GangapurG. P. K.Ch. Palli Sudarsan High School, K.Ch.
    [Show full text]
  • Kali Stotram Herself
    “The mind can disentangle itself from worldliness if, through Her grace, She makes it turn toward Kali Stotram Herself. Only then does it become devoted to the lotus feet of the Divine Mother.” Hymns to Goddess Kali ~ Sri Ramakrishna Paramahamsa In India there has been an unbroken tradition of worshiping God in the form of the Divine Mother Kali for many thousands of years. Kali is She from whom all are born and into whom all must eventually return. She is the ultimate power of creation and destruction, and pervades every aspect of the universe. While Her iconography and mythology have deep mystical and symbolic meaning, Her essence is simple: transformation. Loving Her transforms our lives. She annihilates limitations, purifies hearts, fills lives with joy and protects Her children in ways understandable only to those who worship and depend on Her. Kali is the Goddess of the Tantric tradition, which is characterized by dynamic spiritual practices aimed at transforming consciousness. Primary among these is the devotional recitation of mantras and hymns. Chanting gives expression to the heart’s innate longing for the Divine while awakening subtle energies within the body and mind. This collection of rare hymns to Goddess Kali is being made available with the prayer that they will be approached with humility, devotion, and unselfishness. Translated by Swami Bhajanananda Saraswati © 2012 Kali Mandir www.kalimandir.org Gayatri Mantra for Goddess Kali Meditation on Dakshina Kali This meditation mantra is found in Kali Tantra and Tanta Sara. Dhyana mantras are recited to sonically invoke and mentally visualize the subtle forms of deities before meditation and worship.
    [Show full text]
  • Joys of Worshiping Maa Bhavani
    Glory of Maa Commemorating Navaratri 2008 vakratunDa mahaakaaya koTisuuryasamaprabha | nirvighnaM kuru me deva sarvakaaryeshhu sarvadaa || O Lord Ganesha, radiant as millions of Suns, Please, remove obstacles from all my tasks throughout the life 1 Glory of Maa Commemorating Navaratri 2008 “Jai Ambe Maa Bhavani Maha Kali Bhagavati Nava Durga Devi” Written and composed by: Jyotikar Pattni © Copyrights September 2008 2 sarvamangala maangalye sive sarvaarthasaadhike saranye trayambake gouri narayani namo’stu te. “O Narayani, Devi, the three-eyed, the Refuge, the Auspiciousness, the bestower of all wishes, the blessedness that is in all that is blessed. Prostrations be to Thee!” Aum Sharanaagata-deenaarta, Paritraana-paraayaney| Sarvasyaarti-harey Devi, Naaraayanni namohstutey|| 3 “Shiva-Shakti” is the epitome of Vedic Hindu divinity. 1 Devi-Mahatmya is portrayal of Devi Maa glory in majestic Sanskrit poetries depicting the dance of karma from the joys of realising essential spiritual freedom, to the great divine worship of the Divine Mother Goddess and rejoicing the triumph of Devi Maa towards the light of million delights. “Prathama charitra”, “Madhyama charitra”, and “Uttama charitra” are sections of the Devi Purana, of which there are thirteen chapters in total including the recital of the “MAHA-DEVI-shloka”.2 1 The Dasa-Mahavidyas, or Ten Great or Transcendent Wisdoms, is a circle of Ten Goddesses associated with Tantric practice. There are several accounts on how this dynamic circle was formed. In one version, Shiva is living with the Goddess Kali in the Satya Yuga, the first and perfect of the four periods of the world cycle. Eventually, Shiva grows restless and decides he is tired of living with Kali.
    [Show full text]