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The Consorts of the Trinity

According to the principles of Sāṅkhya cosmology the Divine Feminine (Prakrti) is comprised of
the three "qualities" or "tendencies" (guna) of nature. The 3 Goddesses are the personifications of
the dynamic power of manifestation in its three aspects of existence — Reality (sat = Brahma),
Consciousness (cit = Shiva) and Experience (ananda = Vishnu).
Creation arises from this triple form of Energy — Śakti.
"According to the plan formed in the divine mind, Energy (Śakti) arose from
the radiance of Reality-Consciousness-Experience. From Energy sprang forth
the principal vibration, the point-limit from which the manifest world begins."
(Quoted in Karapatri's Sri Bhagavati tattva," Siddhanta, V, 1944-45. [4851)

Kriya-śakti Jñāna-śakti Iccha-śakti

As Reality — Sat — she As Consciousness — Cit — As Experience or Joy —
manifests as the power-of-co- she is the power-of- Ananda — she is the power-
ordination (sandhini), that is, understanding (samvit), the of-delight (ahlādini-sakti), of
the power of the centripetal power of the revolving enjoyment, the power of the
tendency visible in the Sun. tendency, visible in the Moon centrifugal, disintegrating
She is the Left-handed-One and often pictured as "the tendency, visible in Fire, the
(Vāma), who is the power-of- Elder" (Jyestha). She is the destroyer. She is pictured as
action (kriya), that is, of power of volition, the power the Fierce (Raudri). She is the
causation. She is the power of of the flow of knowledge, power of cognition, of
multiplicity, Lakshmi (the Sarasvati, goddess of learning realization, of transcendent
goddess of hundreds of and consort of Brahma. knowledge, the destroyer of
thousands), the consort of the world of illusion, the
Vishnu. consort of Siva. She is also
called Beyond-Reach (Durga).

"The manifest forms of Existence-Consciousness-Experience, which are

action [kriya-Śakti], knowledge [jñāna Śakti], and desire [iccha-Śakti], are
the beginning of creation. They are the Cosmic Law (dharma) that governs
divinity, a law which is non-different from divinity itself. It is the nature of
the Immensity. The Scripture describes this nature of divinity as
'spontaneous knowledge, strength, and action.' (svabhaviki-jnana-bala-
kriya). The law that rules the nature of divinity is identical with the Divine
Energy. Because of its uncontrollable intensity, it is spoken of as the
Wrathful (Chandi). This Energy takes the form of the Transcendent-power-
of-Time (Maha-Kali), of the Transcendent-power-of-Multiplicity (Maha-
Laksmi), of the Transcendent-power-of-Knowledge (Maha-Sarasvati),
according to the task to be performed. To see in this Supreme Wrath a male
or a female merely depends on the inclination of the worshipper. In male
terms she is known as the transcendent lord of tears, Maha-Rudra, in female
terms as Wrath (Candi) or Beyond-Reach (Durgā)." (Karapatri, Sri
Bhagavati tattva)
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SARASVATI — The Flowing-One

The Śakti of Brahma, represented as both his
daughter and his consort, is the goddess of speech,
the Flowing-One (Saras-vati). She represents the
union of power and intelligence from which
organized creation arises.
Speech is the power through which knowledge
expresses itself in action. Sarasvati is the source
of "Sonic-creation". Creation or rather
"Projection" of the universe occurs in two parallel
processes — creation through sound (nāma) and
the projection of forms (rūpa). She is the goddess
of eloquence, of all forms of knowledge, the
patroness of the arts and of music. She is the
source of all communication through language
and writing. She is the power that resides within
all poetry and writing.
The name Sarasvati is that of a sacred river,
mentioned in the Rig Veda as:— "She who goes
pure from the mountains as far as the sea." This
river dried up about 2000 years ago and the
course can now be seen from space. According to the Mahabharata, the river was dried up by the
curse of the sage Utathya. Saras, which means fluid, refers to anything that flows and as such
applies to speech and thought as well as water. Other names of Sarasvati are Eloquence (Bhārati),
Transcendent Knowledge (Mahā-vidya), Speech (Vāc), Transcendent-Word (Mahā-vāṇi). She is
the Noble-One (Ārya), the Power-of-the-Immense-Being (Brahmi), the Wish-Cow (Kāma-dhenu),
the Womb-of-the-Seed or Womb-of-the-Elements-of-Speech (Bīja-garbha), Divinity-of-Wealth
(Dhaneśvari), etc.
Accoutrements
Pustaka The sacred Scriptures and all forms of book learning and
Book theoretical knowledge. In the modern context it would
include computers and all other forms of visual and
sound media as well.

Japa-mālā Spiritual practice. Meditation and the recitation of

Rosary mantras.

Vīnā Music, singing, dancing. Inner sound of spiritual

Lute harmony; the vibration of the atoms in motion, creation,
the sound of the spheres, the harmony of all the diffuse
elements of the cosmos.
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LAKṢMĪ — She-of-the-Hundred-Thousands
The Śakti of the all-pervading Preserver, Vishnu, is represented as the power of multiplicity or
goddess of fortune, "She-of-the-Hundred-Thousands" (Laksmi). When she is associated with the
universal principle of beauty she is known as Śrī.
Both "Lakshmi" and "Śrī" are mentioned in the Vedas in the context of "fortune." But Lakshmi as
the Goddess of Fortune is depicted as a major goddess only in the epics. The Taittiriya Samhita
declares that Śrī — Fortune and Hri — Beauty are the two wives of the solar-principle (Aditya).
The Satapatha Brahmana describes Hri — Beauty
as born from the lord-of-progeny (Prajapati).
Beauty is also the mother of Lust (Kama). When the
ocean was churned by the gods and the anti-gods,
Lakshmi arose from the waves, a lotus in her hand.
The Vishnu Purana says that Śrī — Fortune was
first born as a daughter of the Crack-of-the-Ritual-
Fire (Bhrgu) united to the Hymns-of-Praise
(Khyati). Fortune is thus the fruit of the ritual-
sacrifice (yajña).
As the consort of the Highest God Lord Vishnu,
Lakshmi is also the embodiment of compassion
(anugraha-śakti) and tempers His quality of Justice
(nigraha-śakti). As the Goddess of compassion she
further transforms and sanctifies resources into their
use for the benefit of others.
Some of her other names are:— the Powerful-One
(Indira), the Ocean-born (jaladhi-ja), the Fickle-
One (Cancala or Lola), the Mother-of-the-World
(Loka-mātā).
Lakshmi also has a sister — Misfortune (A-laksmi),
fearful and ugly, also known as the Elder-Sister
(Jyeṣṭhā).
Accoutrements
Padma — Lotus
By reproducing from its own matrix rather than the soil the
lotus is a symbol of spontaneous generation (svayambhu).
It grows in mud but rises in immaculate purity to the
surface and opens to the sun - the evolution begins in the
mire of samsara but rises to full enlightenment and purity.
The lotus is the quintessential symbol of purity and
enlightenment. The closed lotus is a symbol of potential
and the open the symbol of actualization.

She is usually depicted seated upon a lotus - representing the enlightened and pure mind. Her two
lower hands are held in the gesture of fearlessness (abhaya) granting freedom for fear and
suffering to all beings, and the gesture of generosity (varada).
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Mahā-Lakshmi as Vīrā.
A rarer form of Lakshmi is known as Vira-Lakshmi or
"Heroic-Lakshmi" — in which she displays all the
qualities necessary for an pro-active social and spiritual
involvement. Envisaged in a cosmic form as the
Transcendent-Fortune (Maha-Laksmi) — the power of
progress, accumulation and advancement she embodies
the characters of all the gods together.
She is seated on the "Lion-Throne" of universal
dominance, in her upper hands she holds the symbols
of Vishnu her consort — the conch and the discuss —
symbols of creation and transformation respectively.
The next two hands down hold the bow and moon-
shaped arrow symbolic of the mind and it's application
single-mindedly to the objective being contemplated.
The two hands below these hold the trident and the
razor. Symbolising control of mind, speech and action
through the trident and the dangerous nature of the
spiritual path — "the razor's edge". The lowest 2
hands are held in the gestures of fearlessness and generosity.

PĀRVATĪ, ŚAKTI, KAḶI

The Powers of Procreation, Development, &
Destruction.
Like Śiva, his Śakti is also extremely complex. the Śakti of Śiva is depicted
under three main aspects:— a creative, active aspect called simply "Energy"
(Śakti), an abiding, peaceful, spatial aspect named Pārvatī, the "Daughter-of-
the-Mountain" (i.e., Ether personified), and a destructive time aspect known as
the "Power-of-Time" (Kāḷī).
Pārvatī is a gentle benevolent goddess, daughter of the
axial mountain — the Himalaya, from which the earth
energy radiates into space. The mountain (parvata) or the
Snow-capped-One (Himavat) is a symbol of ether —
Akāśa. The peaks of the mountains are regarded as the
places from which the earth energy flows into the ether. No
dwellings are built on top of mountains and hills and only
places of worship may be built there. The mother of Parvati
is Menaka, who represents intellect (buddhi). Born of Ether
and Intellect, Pārvatī is the omnipresent conscious
substance of the universe. Pārvatī is also the matron of all
the elemental spirits — the bhutas and ganas (categories)
that wander about the earth.
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The Divine nature in Tantra is often conceived of as a playful young boy or girl, aged sixteen, full
of vitality, energy and procreative desire, a playful being for whom the whole world is a toy, a the
whole of life a game. The Divine Playfulness is personified either as Krishna or as a manifestation
of Pārvatī known as Lalitā. She holds the Pāśā, Aṅkuśa and a sugar-cane bow with which she
shoots the five arrows of the sense-objects.
Sometimes the
Goddess is shown
alone in which case
she is depicted as
Maheśvarī — the
feminine counterpart
of Lord Maheśvara.

The agency of Śiva’s procreation is the Goddess known as

Power-of-Lust (Rati) — the wife of Kāma-deva. Without sexual
desire no conception takes place. She appears to be the very
opposite of the power of destruction — Kāḷī, the Power-of-Time.
When Śakti, which is also the power-to-think (vimarśa), unites
with the lord-of-sleep, a state of agitation, or unrest (unmana)
arises, from which projection of the universe springs forth.
When Śakti separates herself and remains aloof from him, a state
of perfect quiescence or harmonization occurs (samana), in
which the world dissolves. The Goddess Rati is the libido —
the ubiquitous force of lust, of enjoyment, but strangely enough
also the power of liberation — for liberation from the bonds of
material nature is not a passive or a neutral state but indeed an
very pro-active struggle.

DURGĀ
One of the most popular forms of the Goddess who is
worshipped alone and has many temples and shrines
dedicated to her is Durgā. Durgā's feminine power
contains the combined energies of all the gods. Each of
her weapons was given to her by the various gods:
Rudra's trident, Vishnu's discus, Indra's thunderbolt,
Brahma's Kamaṇḍalu, etc. etc.

According to a narrative in the Devi Mahatmya, Durgā

appeared as a warrior goddess to fight an asura (an anti-
god) named Mahiṣāsura or ’bufflao-demon’. He had
unleashed a reign of terror on earth, heaven and the
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nether worlds, and he could not be defeated by any man or god, according to a boon given him by
Brahmā. The gods went to entreat the aid of Lord Viṣnu. Hearing of Mahisāsura’s atrocities,
Vishnu, Shiva and all of the gods became very angry and beams of fierce light emerged from their
bodies. The blinding sea of light met at the Ashram of a sage named Katyayan and Durgā emerged
from this coalesced pool of light. The goddess Durga took the name Katyaayani from the priest and
emerged from the sea of light. She introduced herself in the language of the Rig-Veda, saying she
was the form of the supreme Brahman who had created all the gods. Now she had come to fight the
demon to save the gods. They did not create her; it was her divine Līlā she emerged from their
combined energy — she represents the totality of our higher potential for Self-realization.

Mahiṣāsura or the buffalo-demon represents the gross negative aspect of Tamas which obstructs and
thwarts spiritual progress. As the personification of the Tamasic ahaṅkāra — he constantly and
adroitly changes shape whenever he is confronted by Durgā. We have the incredible capacity for
self-delusion and whenever we are confronted we always manage to worm our way out and
somehow or other justify our actions both to ourselves and to others. But finally, once we have
exhausted all our excuses and self-delusions we are finally vanquished by our higher nature and
experience the bliss of Ātma-bodha — self-realization.

The Names of the Goddess

As the gentle companion of Siva's pleasure games the
Goddess is mainly known as the Daughter-of-the-
Mountain (Pārvati) or the Mountain-born (Adri-ja or
Giri-ja), the Daughter-of-the-Snow-capped-One (Haima-
vati). She is also the Earth-born (Ku-ja), the Fair-One
(Gauri), the World's-Most-Fair (Jagad-Gauri), the Peace-
of-the-Night (Umā). Auspicious (Śivā), she is the Mother
(Ambikā), the Mother-of-the-World (Jagan-mātā), the
Giver-of-Existence (Bhavāni). She is the Youngest
(Avara), the Virgin (Kanyā), the Virgin-Girl (Kanya-
kumāri). She is the Sustainer-of-the-World (jagad-
dhātri), the Auspicious-Power-of-Time (Bhadra-Kāli),
the Giver-of-Food-and-Plenty (Annapūrṇā), the Shining-
One (Devi), the Consort-of-the-Great-Lord (Mahā-devi).
As the embodiment of lust she is Wanton-eyed
(Kamaksi), Her-very-Name-is-Lust (Kāmākhya). She is
the Rubbing-or Squeezing-One (Mrda, Mrdani), Noble
(Arya), Rich (Rddhi), Pearl-eared (Karna-moti),
Recognizable-from-her-Lotus (Padma-lancana); she is
Always-Auspicious (Sarva-mangala). Like-a-Bee
(Bhramari), she is Siva's- Messenger (Siva-duti).
She is the Goddess Beyond-Reach (Durga), the Endless
(Ananta), the Everlasting (Nitya). Fearful, she is Tawny-Dark (Pingala), Spotted (Karburi), Naked
(Kotari), Violent (Candi), Dark (Syama), Terrible (Bhairavi). She is the Fearful-Goddess (Bhima-
devi), the Power-of-the-Antigods (Mahasuri), the Fierce (Rajasi), Red-toothed (Rakta-danti); she
is the Mother-of-the-God-of-War (Skanda-mata), the Victorious (Vijaya).
The Candi Mahatmya, one of the hymns of praise dedicated to her, depicts her as Ten-armed
(Dasa-bhuja), Riding-on-a-Lion (Simha-vahani or Simharathi). She is the "Destroyer of the
Buffalo-Demon" (Mahisha-mardini), the Disheveled (Mukta-kesini).
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Being addicted to austerities, she is the Leafless (Aparna), the Widow (Kātyāyani), Grass-robed
(Śākambhari).
From Siva she obtains names which are the feminine form of his, such as the Tawny-One
(Babhravi), the All-Powerful (Bhagavati), the Ruler (Isani), Divinity (Isvari), Dwelling-in-the-
Kalinjar-Mountain (Kalanjari), Adorned-with-Skulls (Kapalini). She is the Sentiment-of-Love
(Kaushiki), the Savage-Girl (Kirati), the Great-Goddess (Mahesvari), the Goddess-of-Tears
(Rudrani), Universal (Sarvani), Auspicious (Siva), Three-eyed (Tryambaki).

Mahākāli