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Devi Mahatmya - Wikipedia, the free encyclopedia

The Devi Mahatmyam or Devi Mahatmya (Sanskrit: devmhtmyam, ), or "Glory of the Goddess") is a Hindu religious text describing the victory of the goddess Durga over the demon Mahishasura. As part of theMarkandeya Purana, it is one of the Puranas or secondary Hindu scriptures, and was composed in Sanskrit around c. 400-500 CE, with authorship attributed to the sage (Rishi)Markandeya. Devi Mahatmyam is also known as the Durg Saptashat ( ) or simply Saptashat, Ca ( ) or Ca Pha ( ) - where pha "reading" refers to the act of ritual reading. The text contains 700 (saptashata - "seven hundred") verses, arranged into 13 chapters. By far the most important text of Shaktism,[1] the text has a central place in Shakta ritual. Devi Mahatmyam is seen as an attempt to unify the Vedic male pantheon with the pre-existing mother goddess cult possibly dating to the 9th millennium BCE,[2] and an attempt to define divinity as afemale principle. The text synthesizes a number of pre-existing Mother goddess myths of Aryan and non-Aryan origin into a single narrative.[3] The position of the Goddess as Shakti, power itself, beyond the patriarchal position as consort of an eclipsing male deity, is an important transition in Hindu mythology. Also, there are links to aspects of Samkhya philosophy in the narrative. For ritual reading purposes a number of subsidiary texts are appended before and after. A ritual reading of this text is part of the Navaratricelebrations in honour of the Goddess. In eastern India, the ritual reading (chandipATh) is common at several functions, particularly in death rites. OnMahalaya, the last day of the previous fortnight Pitri Paksha (Pitri Pok k ho), Fortnight of the Forefathers, recitation of Devi Mahatmyam (Chandi Path), and signifies the beginning ofDurga Puja festivities. Bengalis traditionally wake up at 4 in the morning on Mahalaya day to listen to Mahisasura Mardini in the voice of the Birendra Krishna Bhadra and the Pankaj Kumar Mullick on All India Radio, since 1932 as they recite hymns from the scriptures.
Contents [hide] 1 Etymology 2 Significance 3 Place in the Hindu canon 4 Philosophy 5 Significance of Chandi 6 Contents 6.1 First Episode 6.2 Middle Episode 6.3 Final Episode 6.4 Symbolism of the three episodes 6.5 Hymns 7 Angs (Appendages) 7.1 Preceding subsidiary texts 7.2 Succeeding subsidiary texts 8 Mantra 9 In popular tradition 10 See also 11 Notes 12 References 13 Further reading 14 External links

Etymology

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Sanskrit mhtmya- "magnanimity, highmindedness, majesty" is a neuter abstract noun ofmha-tman- "great soul". The title devmhtmyam is a tatpurusha compound, literally translating to "the magnanimity of the goddess". The text is called Saptaati as it contains 700 shlokas. (sapta=7,shata=100) verses. This count includes even one line sentences which are not strictly verses. There is another opinion that the name should be Saptasati as it deals with the story of seven Satis or "pious persons". The seven mothers are Brhmi, Mhewari, Kaumri, Vaisavi, Vrhi, Indri, and Cmuna.[4] Ca or Cak a is the name by which the Supreme Goddess is referred to in Dev Mhtmya. According to Coburn, "Cak is "the violent and impetuous one", from the adjective caa "fierce, violent, cruel". The epithet is unprecedented in Vedic literature and is first found in a late insertion to the Mahabharata, where Cha and Cha appear as epithets."[5]

Significance

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The Devi Mahatmya was considered significant among the Puranas byIndologists. This is indicated by the early dates at which it was translated into European languages. It was translated into English in 1823, followed by an analysis with excerpts in French in 1824. It was translated into Latin in 1831 and Greek in 1853.[6] Devi Mahatmya has been translated into most of the Indian languages. There are also a number of commentaries and ritual manuals. The commentaries and ritual manual followed vary from region to region depending on the tradition.
The oldest surviving manuscript of the Devi Mhtmya, on palm-leaf, in an early Bhujimol script, Bihar or Nepal, 11th century.

Place in the Hindu canon

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Devi Mhtmyam has been called the Testament of Shakta philosophy [7] It is the base and root of Shakta doctrine.[8] It appears as the centre of the great Shakti tradition.[9] Here, for the first time, "the various mythic, cultic and theological elements relating to diverse female divinities were brought together in what has been called the 'crystallization of the Goddess tradition."[10] The unique feature of Devi Mhtmyam is the oral tradition. Though it is part of the devotional tradition, it is in the rites of the Hindus that it plays an important role. The entire text is considered as one singleMantra and a collection of 700 Mantras. The Devi Mhtmyam is treated in the cultic context as if it were a Vedic hymn or verse with sage(i), meter, pradhnadevata, and viniyoga (for japa). It has been approached, both by Hindus and Western scholars, as scripture in and by itself, where its significance is intrinsic, not derived from its Puranic context.[11] According to Damara Tantra "Like Aswamedha in Yagnas, Hari in Devas, Sapthsati is in hymns." "Like the Vedas; Saptasati is eternal" says Bhuvaneshwari Samhita.[12] There are many commentaries on Devi Mhtmya.
Devi portrayed as Mahishasura
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Mardini , Slayer of the Buffalo Demon a central episode of the Devi Mahatmya

Guptavati by Bhaskararaya Nagesi by Nagoji Bhat Santhanavi

Puspanjali Ramashrami Dhamsoddharam Durgapradeepam are some of them.[13] The significance of Devi Mhtmya has been explained in many Tantric and Puranic texts like Katyayani Tantra, Gataka Tantra, Krodha Tantra, Meru Tantram, Marisa Kalpam, Rudra Yamala, and Chidambara Rahasya.[13] A number of studies of Shaktism appreciate the seminal role of Devi Mhtmya in the development of the Shakta tradition.

Philosophy

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Devi Mahatmya accepts the ancient Vedic tradition in the form of Vk and Tray Vidy and the philosophical doctrine of the codified system of Samkhya (Prakriti manifesting as the three Gunas) and Vednta as Paramavidy, the cause of Mukti. Further it synthesizes the then prevailing local Mother goddess traditions of Aryan and non-Aryan origin.[14] In the first chapter it is said "all lives are conscious, but that knowledge is connected with senses. That goddess Bhagavat, granting all kinds of prosperity, makes even the wise attracted to worldly pleasures and things forcibly with her great power of attraction. This ever-changing world with all its animate and inanimate things, is created by her. As the cause of salvation she turns into supreme spiritual knowledge, and is thus eternal; and again as the cause of bondage to worldly things she turns into things mundane and is the mistress of all, including Gods. She is eternal (and is thus beyond our knowledge) and pervades the world which may accordingly be called her form. Yet for the assistance of the lustrous souls, she appears in different forms."[15]

Significance of Chandi

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The image of Durga as Mahishasuramardini epitomizes the Chandi. To understand the significance of the image we have to understand the significance of the Chandi. The gory scene depicted by the image of Durga, and the blood-curdling descriptions of a warrior Goddess exterminating hordes of evil doers drenching the earth with blood, may be enigmatic and repulsive to some people, especially to those who are outside the Shakta tradition of Hinduism. A mature and realistic understanding of the Divine in the context of the real situations in human life and society is necessary to understand the true significance of Chandi. The basic significance of Chandi may be briefly stated as follows. 1. The main purpose of Chandi is to glorify Shakti. Shakti is the dynamic aspect of the ultimate Reality known as Brahman. Shakti is generally regarded as the feminine principle. The feminine principle has two aspects: a lower, seductive aspect, and a higher, maternal aspect. It is the higher maternal aspect that is glorified in the Chandi, and in the Shakta tradition in general. Sri Ramakrishna used to say: Jini Brahma tini Shakti, tini i Ma He who is Brahman is Shak ti, and He himself is the Mother of the Universe A mother has three main functions: to give birth, to nourish, to care and protect. It is the third aspect that is highlighted in the Chandi. God is not a disinterested spectator of the drama of human life. She is an active participant. She protects people from dangers. Think of the cosmic figure of a Divine Mother towering over millions of people guarding them from dangers, punishing evil doers. Well, you can see this image of the Cosmic Mother in the Chandi. 2. The second purpose of the Chandi is to depict the reality of evil. Vice, wickedness, cruelty, injustice, suffering - all these are as much real as virtue, love, compassion, cooperation etc which humanity has idealized and dreamed
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about from time immemorial. Dharma and Adharma, virtue and vice, are two inseparable aspects of reality, and we have to accept both. We generally tend to associate Godhead only with love and compassion. We forget that Godhead has also an aspect of power, terror and destruction. It was this destructive aspect of Godhead that Sri Krishna showed Arjuna through the Vishwarupa Darshana revelation. What we find in the Chandi is the same terrible aspect, but associated with the Eternal Feminine. Mahishasura, Shumbha, Nishumbha and other characters portrayed in the Chandi are of course mythological, but this does not make them irrelevant in the present-day world. Do we not find similar, or even worse, types of people in modern times? Political leaders who commit mass genocide, terrorists who bomb crowded trains, buses and market places, serial murders, rapists et cetra, about whom we read in newspapers - are these people in any way better than the demons described in the Chandi? As a matter of fact, Chandi assumes greater reality and relevance in the contemporary world than at any other time before. Chandi is not a book of romance. Nor does it promise a utopian world. On the contrary, it wakes us up from our futile dreams and situates us right in the midst of the terrible realities of the present-day world which we very often fail to face. 3. The third message of the Chandi is the empowerment of women. In recent years there is a lot of talk about empowerment of women, especially in rural and tribal areas in India. The Chandi shows to what heights this empowerment can be raised. In all countries in all times, women have been indoctrinated from childhood to believe that they are weak, helpless and totally dependent on men. The Chandi shows how much power women can wield, how they can work independently, and face boldly even the worst challenges of life without unduly depending on men. 4. Lastly, Chandi delivers a message of hope, the assurance of divine help and succour. In spite of all the terrible happenings described in the book, there is absolutely no pessimistic tone or note of despair in the Chandi. Let troubles and difficulties come, let even dire calamities occur; we have nothing to fear, for there is a God, a Mother, who protects us from all dangers or gives us the inner strength to face them. In modern times the Divine Mother, born as Sri Sarada Devi, has given us this assurance: Always remember, there is somebody behind you Place your burden upon me and remain unperturbed. This is also the last message of the Chandi.[16]

Contents

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The Dev Mhtmya consists of chapters 81-93 of the Mrkandeya Purana, one of the early Sanskrit Puranas, which is a set of stories being related by the sage Markandeya to Jaimini and his students (who are in the form of birds). The thirteen chapters of Devi Mhtmya are divided into three charitas or episodes. At the beginning of each episode a different presiding goddess is invoked, none of whom is mentioned in the text itself.[17] The framing narrative of Devi Mahatmya presents a dispossessed king, a merchant betrayed by his family, and a sage whose teachings lead them both beyond existential suffering. The sage instructs by recounting three different epic battles between the Devi and various demonic adversaries (the three tales being governed by, respectively, Mahak ali (Chapter 1),Mahalak shmi (Chapters 2-4) and Mahasaraswati (Chapters 5-13). Most famous is the story ofMahishasura Mardini Devi as "Slayer of the Buffalo Demon" one of the most ubiquitous images in Hindu art and sculpture, and a tale known almost universally in India. Among the important goddess forms the Devi Mahatmyam introduced into the Sanskritic mainstream areKali and the Sapta-Matrik a ("Seven Mothers").[18]

First Episode

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The first story of the Devi Mahatmya depicts Devi in her universal form asShakti. Here Devi is central and key to the creation; she is the power that induces Narayana's deep slumber on the waters of the cosmic ocean prior to the manifestation of the Universe which is a continuous cycle of manifestation, destruction and re-manifestation. Vishnu manifests from all pervading Narayan and goes into deep slumber on Adi Seshu. Two demons arise
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as thoughtforms from Vishnu's sleeping body and endeavour to vanquish Brahma who is preparing to create the next cycle of theUniverse. Brahma sings to the Great Goddess, asking her to withdraw from Vishnu so he may awaken and slay the demons. Devi agrees to withdraw and Vishnu awakens and vanquishes the demons. Here Devi serves as the agent who allows the cosmic order to be restored.[19]

Middle Episode

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"Durga, the great Warrior Goddess, represents the lethal Vishnu killing Madhu-Kaitabh - a folio from Devi Mahatmya energy of divine anger when turned against evil. The world was under attack by Mahishasura, the most evil demon in the world, who took many different forms, including that of a buffalo. The male gods, fearing total annihilation endowed Durga with their powers. Riding a lion into battle, Durga slew the buffalo by cutting off its head and then she destroyed the spirit of the demon as it emerged from the buffalo's severed neck. It is through this act that order was established in the world."[20]

Final Episode

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Kali may be understood to represent or "aspect" the darker,chthonic, transformative qualities of Devi's power or Shakti. Kali's emergence is chronicled in the third story of the Devi Mahatmya. Kali emerges from Devi's eyebrows as a burst of psychic energy. Kali overpowers and beheads Chanda and Munda, and when she delivers their severed heads to Devi, she is dubbed Chamunda. During a fierce battle in which the Great Goddess demonstrates her omnipotence by defeating powerful demons who terrify the devas, she encounters the fierce Raktabija (chapter 8). Every drop of blood Raktabija sheds transforms into another demon as it touches the earth. A unique strategy has to be devised to vanquish him. A fiery burst of energy emerging from Devi's third eye takes the dark skeletal form of goddess Kali. With her huge mouth and enormous tongue she ferociously laps up Raktabija's blood, thus preventing the uprising of further demons.
The Goddess Ambika or Durga Leading the Eight Matrikasin Battle Against the Demon Raktabija, Folio from a Devi Mahatmya - (top row , from the left) the Matrikas Narashmi, Vaishnavi, Kumari, Maheshvari, Brahmi. (bottom row , from left) Varahi, Aindri, Chamunda or Kali(drinking the demon's blood), Ambika. on the right, demons arising from Raktabija's blood

The story continues in which Devi, Kali and a group of Matrikas destroy the demonic brothersSumbha (chapter 10) and Nisumbha (chapter 9). In the final battle against Shumbha, Deviabsorbs Kali and the matrikas and stands alone for the final battle.[20]

Symbolism of the three episodes

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Coburn says: "The sage's three tales are allegories of outer and inner experience, symbolized by the fierce battles the all-powerful Devi wages against throngs of demonic foes. Her adversaries represent the all-too-human impulses arising from the pursuit of power, possessions and pleasure, and from illusions of self-importance. Like the battlefield of theBhagavad Gita, the Devi Mahatmya's killing grounds represent the field of human consciousness ... The Devi, personified as one supreme Goddess and many goddesses, confronts the demons of ego and dispels our mistaken idea of who we are, for paradoxically it is she who creates the misunderstanding in the first place, and she alone who awakens us to our true being."[21] Chapter 1, Chapter 4, chapter 5, chapter 11 describe the praise given to the
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great Goddess Mahakali yognindra, Goddess Chandi, who slayed Mahishasura, Goddess Adi-Shakti or Parvati, the one who is source of all other Goddesses and power inside all gods and Goddess Durga, who was born from the partial expansion of the GoddessParvati respectively declares that Goddess Adi-shakti is Supreme of all and source of all creation. In chapter 1, Lord Brahma even praises that the great Goddess has created everything including himself.[22]

Hymns

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Coburn has said:

The four Hymns are: 1. Brahma-stuti also known as Tantrik Ratri Suk tam (Chapter 1): In the first episode, when Brahma hymns Yoganidra, requesting her withdrawal from Vishnu so that he can slay Madhu and Kaitaba.[24] 2. Sak radi-stuti (Chapter 4): At the end of second episode, after the Goddess has vanquished demon Mahishasura and his hordes, the Gods with first god Indra, praise her.[25]

3. The "Ya Devi" Hymn also known as Aparajita-stuti or Tantrik Devi Suk tam (Chapter 5): At the beginning of the third episode, when the beleaguered gods recall the Goddess's promise to assist them, they head to Mount Himavan and there offer a hymn to the Goddess.[26] 4. Narayani-stuti (Chapter 11): At the conclusion of the third episode, after the Goddess has disposed of Sumbha and Nisumbha, she is hymned by the Gods.[27]

Mahalakshmi - The presiding Goddess of the Middle episode.

Angs (Appendages)

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As an independent text, Dev Mhtmya has acquired a number of "limbs" or "subsidiary texts" or "appendages" (angas) over the years "fore and aft". According to Coburn "artistic evidence suggests that the angas have been associated with the text since the fourteenth century." The angas are chiefly concerned with the ritual use of Dev Mhtmya and based on the assumption that the text will be recited aloud in the presence of images.[28] There are two different traditions in the Anga parayana. One is the trayanga parayana (Kavacha, Argala,Keelaka). The other is the Navanga parayana (Nyasam, Avahanam, Namani, Argalam, Keelakam, Hrudayam, Dhalam, Dhyanam, Kavacham). The navanga format is followed in kerala and some other parts in South India.

Preceding subsidiary texts

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Durga Saptaslok i also known as "Amba Stuti" - They are introduced as one-verse query from Siva who asks about the means of achieving what is desired, and a one verse response from the Goddess who says she will
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proclaim the relevant discipline (sadhana) by revealing Amba Studi which consists of the seven verses indicated.[29] Devi-k avacham - The Devi Kavacham consisting of 61 Slokas is in Markandeya Purana. This Kavacham (armour) protects the reader in all parts of his body, in all places and in all difficulties.[30] Argala-stotram - Here Rishi Markandeya is telling his disciples in 27 inspiring couplets on the greatness of Devi. She has been described in all aspects and names and at the end of each Sloka, prayer is offered to Devi for material prosperity, physical fitness, fame and victory.[30] Keelak am - Here also Rishi Markandeya tells his disciples in 16 Slokas, the ways and means of removing obstacles faced by devotees, while reading Devi Mahatmya.[30] Ratri Suk tam (Vedic) - Ratri Suktam (8 Slokas) has been taken from Rig Veda, 10th Mandala, 10th Anuvaka, 127 th Sukta,which shows that Devi was worshipped from time immemorial. Devi is described as the all-pervading Supreme Lord of the Universe appearing in Omkara. Here Ratri is the Goddess who fulfills our prayers.[30] Kunjik a Stotram is also a beautiful hymn written in the saptashati which is said to be the mixture of the three hymns i.e.,Kavacham,Argala stotram,Keelakam and also Rahasya parvam (Murthy Rahasyam and Vaikrutika Rahasyam).It is said that Lord Shiva had recited this shloka to Parvathi at her attainment of BramhaGyaan. This shloka plays an importantrole in Devi Saptashati. It is at the ending of the book. Ratri Suk tam (Tantrik) - The hymn in the first chapter is the Tantrik Ratri Sukta.[31] Either the Ratri Suk tam (Vedic) or Ratri Suk tam (Tantrik) is read depending upon whether the ritual is Vaidic or Tantrik. One of the texts recited by some traditions is the Dev-Atharva-ira-Upaniad (Devi Upaniad).

Succeeding subsidiary texts

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Pradhana Rahasyam - "Deals with the process of creation. It is the secret about mulaPrakrti who is the cause of creation."[32] Vaik ritik a Rahasyam - "Describes how the Godhead beyond change subjected itself to change, how the mula prakrti (productive) ,became vikriti (produced); hence the name Vaikritika Rahasyam."[32] Murti Rahasyam - "The incarnations, the Avatar murtis of the Goddess are mentioned."[32] Devi Suk tam (Rig Vedoktam) - (According to Rig Veda): "The 8 Slokas composed by Vak, the daughter of Maharshi Ambharin, are from the Rig Veda, 10th Mandala, 10th Anuvaka, 125th Sukta. These Slokas express the truth realised by Vak, who identifies herself as Brahma Sakti, and expresses herself as 11 Rudras, 8 Vasus, 12 Adityas and all the Devas, Indra, Agni and Asvini Kumaraswho are sustained by Her and She is the source, substratum and support of the whole world. She is verily Brahmasvarupini (embodiment of Brahman)."[30] Devi Suk tam (Tantrik) - The hymn in chapter 5 is Tantrik Devi Suktam.[31] The number and order of these depend on the Sampradaya (tradition).[33][34] Either the Devi Suktam (Vedic) or Devi Suktam (Tantrik) is read depending upon whether the ritual is Vedic or Tantrik. At the end of a traditional recitation of the text, a prayer craving pardon from the Goddess known as Aparadha Kshmapana Stotram is recited.

Mantra

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Bhskararya in his commentary "Guptavati" has noted that, among the mantras related to the worship of Brahman vis a vis Sakthi with attributes, the Navrna mantra and Saptasati are preeminent. Saptasati here is understood as constituting one very long mantra. Navrna mantra has been explained in Dev-Atharva-ira-Upaniad (Devi Upaniad).[35]

In popular tradition
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The recitation of Devi Mahatmya is done during the Sharad Navaratri (Oct. - Nov.) inIndia, other countries in Indian Subcontinentand all over the world where Hindus are settled. The text is also recited during the Vasantha Navaratri (March - April) inUttarakhand, Jammu, Himachal Pradesh and other states of north India.[1] [2] . It is also chanted during special occasions like temple kumbabhishekam and as a general parihara. Devi Mahatmya is the ritual text for performingChandi Homam . This is one of the most popular Yagnas conducted throughout India. This is performed for the general welfare of people.[3]
Recitation of Durga Mahatmya on Mahalayamarks the formal beginning of the Durga Pujafestival

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