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Line 139: + − − The second section known as the Madhyama-caritra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of heaven and driven away all the Gods including Indra. Then these Gods under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two Gods got angry, and a brilliant light emerged from their faces, the energies of all the others too emerged similarly out of them, merging into one huge mass of brilliant blazing light and power, which took the form of the Goddess Durga. As all the Gods equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The heavenly region was restored to the Gods. The Devi Durga promised to come to the rescue of the Gods whenever they called upon her for help. Thus ends the second section. Line 145:
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Text
=='''Markandeya Purana'''==
=='''Markandeya Purana'''==
The Devi-mahatmya is considered as a part of the '''Markandeya Purana''' (chapters 78 to 90 of Venkatesh Press edition/ chapters 81-93 of K M Banerjea edition of 1862)<ref>Pandurang Vaman Kane (1974), ''History of Dharmasastra'', Vol V (Part I), Bhandarkar Oriental Research Institute: Poona.</ref>. The Critical Edition of the Markandeya Purana in two volumes, edited by M. L. Wadekar was published from Oriental Institute, Vadodara in 2011. It was prepared from twenty four Manuscripts, selected from out of a total of forty nine Manuscripts collated for the purpose.
The Devi-mahatmya is considered as a part of the '''Markandeya Purana''' (chapters 78 to 90 of Venkatesh Press edition/ chapters 81-93 of K M Banerjea edition of 1862)<ref>Pandurang Vaman Kane (1974), ''History of Dharmasastra'', Vol V (Part I), Poona: Bhandarkar Oriental Research Institute.</ref>. The Critical Edition of the Markandeya Purana in two volumes, edited by M. L. Wadekar was published from Oriental Institute, Vadodara in 2011. It was prepared from twenty four Manuscripts, selected from out of a total of forty nine Manuscripts collated for the purpose.
On the basis of subject-matter, the eighteen Maha-puranas are divided as six Sattvika Puranas dealing with Vishnu, six Tamasa Puranas related to Shiva and six Rajasa Puranas concerning Brahma. Markandeya Purana is enumerated as one of the Rajasa Puranas<ref>Uma Shankara Sarma Rsi (2004), ''Samskrta Sahitya ka Itihasa,'' Choukhamba Bharati Academy: Varanasi.</ref>. It is one of the early puranas and may be assigned to a date between the fourth to sixth century AD<ref>Pandurang Vaman Kane (1962), ''History of Dharmasastra'', Vol V (Part II), Bhandarkar Oriental Research Institute: Poona.</ref>.
Figure 1 - Sample page of the Critical Edition<ref>M. L. Wadekar (2011), ''The Critical Edition of the Markandeya Purana in two volumes'', Vadodara: Oriental Institute.</ref>
On the basis of subject-matter, the eighteen Maha-puranas are divided as six Sattvika Puranas dealing with Vishnu, six Tamasa Puranas related to Shiva and six Rajasa Puranas concerning Brahma. Markandeya Purana is enumerated as one of the Rajasa Puranas<ref>Uma Shankara Sarma Rsi (2004), ''Samskrta Sahitya ka Itihasa,'' Varanasi: Choukhamba Bharati Academy.</ref>. It is one of the early puranas and may be assigned to a date between the fourth to sixth century AD<ref>Pandurang Vaman Kane (1962), ''History of Dharmasastra'', Vol V (Part II), Poona: Bhandarkar Oriental Research Institute.</ref>.
=='''Devi-Mahatmya'''==
=='''Devi-Mahatmya'''==
*Shailaputri – The Goddess was born to Himalaya as his daughter after severe penances.
*Shailaputri – The Goddess was born to Himalaya as his daughter after severe penances.
*Brahmacharini – had bestowed Brahma-jnana to Indra as (''brahma chaarayitum shilam asyaah'') it is her nature to help the aspirant towards the Supreme experience. ‘She said “It is Brahman indeed. Attain glory in the victory of Brahman.” From her words only, he learned that it was Brahman.’ (Kena Upanishad 4.1)
*Brahmacharini – had bestowed Brahma-jnana to Indra as (''brahma chaarayitum shilam asyaah'') it is her nature to help the aspirant towards the Supreme experience. ‘She said “It is Brahman indeed. Attain glory in the victory of Brahman.” From her words only, he learned that it was Brahman.’ (Kena Upanishad 4.1)
* Chandraghanta – The sound of the ghanta—bell is the ensemble of sounds of all instruments which is Shabda-brahma or Nada-brahma.
*Chandraghanta – The sound of the ghanta—bell is the ensemble of sounds of all instruments which is Shabda-brahma or Nada-brahma.
*Kushmanda – Kushma is fearful affliction and anda is stomach. So, Mother bears all the adversities in her stomach to render peace to her devotee. ‘May my glories quell all epidemic calamities, as also the threefold natural calamities.’ (12.8)
*Kushmanda – Kushma is fearful affliction and anda is stomach. So, Mother bears all the adversities in her stomach to render peace to her devotee. ‘May my glories quell all epidemic calamities, as also the threefold natural calamities.’ (12.8)
*Skandamata – The Mother who is also Knowledge Incarnate. ‘And when entreated, she bestows Supreme Knowledge, and when propitiated, she bestows prosperity.’ (12.37)
*Skandamata – The Mother who is also Knowledge Incarnate. ‘And when entreated, she bestows Supreme Knowledge, and when propitiated, she bestows prosperity.’ (12.37)
*Kalaratri – ‘By her, the Mahakali, who takes the form of the great destroyer at the end of time, all this cosmic sphere is pervaded. She indeed takes the form of the great destroyer at the proper time. She, the unborn, indeed becomes this creation, She herself, the eternal being, sustains the beings at another time.’ (12.38-39)
*Kalaratri – ‘By her, the Mahakali, who takes the form of the great destroyer at the end of time, all this cosmic sphere is pervaded. She indeed takes the form of the great destroyer at the proper time. She, the unborn, indeed becomes this creation, She herself, the eternal being, sustains the beings at another time.’ (12.38-39)
*Mahagauri – is Lakshmi along with Narayana.
*Mahagauri – is Lakshmi along with Narayana.
*Siddhidatri – grants success to the aspirant on all fronts<ref>Sri Satyadeva (1365), ''Sadhan Samar'', Part 1,Sadhan Samar Karyalaya: Kolkata.</ref>. ‘She bestows wealth and sons, a righteous mind and prosperous life.’ (12.41)
*Siddhidatri – grants success to the aspirant on all fronts<ref>Sri Satyadeva (1365), ''Sadhan Samar'', Part 1, Kolkata: Sadhan Samar Karyalaya.</ref>. ‘She bestows wealth and sons, a righteous mind and prosperous life.’ (12.41)
Figure 2 - Nava-Durga in Manuscript<ref>Lalchand Research Library Ancient Indian Manuscript Collection, DAV College, Chandigarh – <nowiki>https://dav.splrarebooks.com/</nowiki></ref>
Figure 2 - Nava-Durga in Manuscript<ref>Lalchand Research Library Ancient Indian Manuscript Collection, DAV College, Chandigarh – <nowiki>https://dav.splrarebooks.com/</nowiki></ref>
==='''Structure'''===
==='''Structure'''===
The Devi-mahatmya has thirteen adhyayas or chapters divided into three Charitras or major sections devoted to the exposition of the greatness of the three aspects of the Devi which are as follows:
The Devi-mahatmya has thirteen adhyayas or chapters divided into three Charitras or major sections devoted to the exposition of the greatness of the three aspects of the Devi which are as follows:
===='''Prathama-Charitra''': Maha-Kali. ====
===='''Prathama-Charitra''': Maha-Kali.====
Chapter 1 – where the demons Madhu and Kaitabha are slayed (Madhu-kaitabha-vadha). On a subtler level, Madhu and Kaitabha are the Avarana (Concealing power) and Vikshepa (Projection) aspects of Avidya in Vedanta and also Rajas and Tamas guna according to the Samkhya terminology<ref>Swami Jagadishwarananda (2003), ''Sri Sri Chandi,'' Udbodhan Karyalaya: Kolkata.</ref>.
Chapter 1 – where the demons Madhu and Kaitabha are slayed (Madhu-kaitabha-vadha). On a subtler level, Madhu and Kaitabha represent the Tamasika Ahankara. They are also considered as the Avarana (Concealing power) and Vikshepa (Projection) aspects of Avidya in Vedanta and also Rajas and Tamas guna according to the Samkhya terminology<ref>Swami Jagadishwarananda (2003), ''Sri Sri Chandi,'' Kolkata: Udbodhan Karyalaya.</ref>.
Mother Kali has four hands bearing sword and skull in two left hands and the other two right hands bestow boons and fearlessness on the devotees. Thus, she is both peace and combat simultaneously. She wears a garland of fifty skulls which are actually the fifty alphabets of Sanskrit. So, the skull-garland is the symbol of powerful mantras. She has three eyes i.e. Moon, Sun and Fire, through which she destroys darkness and can perceive the past, present and future. Her red tongue implies the active Rajo-guna and white teeth are the symbol of placid Sattva-guna. So, the act of biting her tongue with her white teeth suggests that the practitioner should keep his Rajo-guna in check with the help of the Sattva-guna<ref>Mahanamavrata Brahmachari (1988), ''Chandi-chinta,'' Sri Mahanamavrata Cultural and Welfare Trust: Kolkata.</ref>.
Mother Kali has four hands bearing sword and skull in two left hands and the other two right hands bestow boons and fearlessness on the devotees. Thus, she is both peace and combat simultaneously. She wears a garland of fifty skulls which are actually the fifty alphabets of Sanskrit. So, the skull-garland is the symbol of powerful mantras. She has three eyes i.e. Moon, Sun and Fire, through which she destroys darkness and can perceive the past, present and future. Her red tongue implies the active Rajo-guna and white teeth are the symbol of placid Sattva-guna. So, the act of biting her tongue with her white teeth suggests that the practitioner should keep his Rajo-guna in check with the help of the Sattva-guna<ref>Mahanamavrata Brahmachari (1988), ''Chandi-chinta,'' Kolkata: Sri Mahanamavrata Cultural and Welfare Trust.</ref>.
===='''Madhyama-Charitra''': Maha-Laksmi: Chapters 2, 3 and 4. ====
===='''Madhyama-Charitra''': Maha-Laksmi: Chapters 2, 3 and 4.====
Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura
Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura
Chapter Three – Mahishasura-vadha – The slaying of Mahishasura, who depicts the self-centred mentality (Rajas guna) of the human being<ref>Sri Satyadeva (1333), ''Sadhan Samar'', Part 2, Sadhan Samar Karyalaya: Kolkata.</ref>.
Chapter Three – Mahishasura-vadha – The slaying of Mahishasura, who depicts the self-centred mentality (Rajasika Ahankara) of the human being<ref>Sri Satyadeva (1333), ''Sadhan Samar'', Part 2, Kolkata: Sadhan Samar Karyalaya.</ref>.
Chapter Four – Shakradi-stuti – Praises by Sakra and others. Maha-lakshmi is worshipped as Durga in autumn (mid September to mid November)<ref>Haridas Bhattacharyya (2001), ''The Cultural Heritage of India'', Volume IV – The Religions, The Ramakrishna Mission Institute of Culture: Calcutta.</ref>.
Chapter Four – Shakradi-stuti – Praises by Sakra and others. Maha-lakshmi is worshipped as Durga in autumn (mid September to mid November)<ref>Haridas Bhattacharyya (2001), ''The Cultural Heritage of India'', Volume IV – The Religions, Calcutta: The Ramakrishna Mission Institute of Culture.</ref>.
===='''Uttama-Charitra:''' Maha-Sarasvati: Chapters 5 to 13.====
===='''Uttama-Charitra:''' Maha-Sarasvati: Chapters 5 to 13.====
Chapter Nine – Nishumbha-vadha – The Slaying of Nishumbha
Chapter Nine – Nishumbha-vadha – The Slaying of Nishumbha
Chapter Ten – Shumbha-vadha – The Slaying of Shumbha (Ego<ref>Sri Satyadeva (1353), ''Sadhan Samar'', Part 3, Sadhan Samar Karyalaya: Kolkata.</ref>)
Chapter Ten – Shumbha-vadha – The Slaying of Shumbha (Sattvika Ahankara<ref>Sri Satyadeva (1353), ''Sadhan Samar'', Part 3, Kolkata: Sadhan Samar Karyalaya.</ref>)
Chapter Eleven – Narayani-stuti – Hymn to Narayani who destroys the demoniac ignorance through her Knowledge.
Chapter Eleven – Narayani-stuti – Hymn to Narayani who destroys the demoniac ignorance through her Knowledge.
Chapter Twelve – Phala-stuti – Eulogy of the Merits
Chapter Twelve – Phala-stuti – Eulogy of the Merits
Chapter Thirteen – Suratha-vaishya-vara-pradana – The bestowing of boons to Suratha and Vaishya<ref>Swami Jagadiswarananda (1989), ''Devi Mahatmyam,'' Sri Ramakrishna Math: Madras.</ref>.
Chapter Thirteen – Suratha-vaishya-vara-pradana – The bestowing of boons to Suratha and Vaishya<ref>Swami Jagadiswarananda (1989), ''Devi Mahatmyam,'' Madras: Sri Ramakrishna Math.</ref>.
{| class="wikitable"
{| class="wikitable"
|'''CHARITRA'''
|'''CHARITRA'''
(10 arms)
(10 arms)
|Gayatri
|Gayatri
| Nanda
|Nanda
|Rakta-dantika
|Rakta-dantika
|Agni
|Agni
|Iccha-shakti
|Iccha-shakti
|-
|-
|Madhyama
| Madhyama
|Vishnu
|Vishnu
|Maha-lakshmi (18 arms)
|Maha-lakshmi (18 arms)
| Ushnik
|Ushnik
|Shakambhari
|Shakambhari
|Durga
|Durga
|Vayu
|Vayu
| Yajurveda
|Yajurveda
|Kriya-shakti
|Kriya-shakti
|-
|-
|Rudra
|Rudra
|Maha-sarasvati (8 arms)
|Maha-sarasvati (8 arms)
|Anushtup
| Anushtup
|Bhima
|Bhima
|Bhramari
|Bhramari
|Surya
|Surya
|Samaveda
|Samaveda
| Jnana-shakti
|Jnana-shakti
|-
|-
| 700 verses
|700 verses
| Narada
|Narada
|Sri Dakshinamurti
|Sri Dakshinamurti
|Gayatri
|Gayatri
The first story concerns the Devi as Yoga-nidra. At the end of a kalpa (cycle of creation) Narayana was in deep sleep. Using this opportunity, two demons Madhu and Kaitabha—tried to attack and kill Brahma (the creator, seated on the navel-lotus of Narayana). Brahma prayed to Yoga-nidra (an aspect of Kali), to come out of Narayana so that he could wake up. She obliged, appeared before him and then disappeared. Narayana then killed the demons and rescued Brahma. With this ends the Prathama-charitra or the first section.
The first story concerns the Devi as Yoga-nidra. At the end of a kalpa (cycle of creation) Narayana was in deep sleep. Using this opportunity, two demons Madhu and Kaitabha—tried to attack and kill Brahma (the creator, seated on the navel-lotus of Narayana). Brahma prayed to Yoga-nidra (an aspect of Kali), to come out of Narayana so that he could wake up. She obliged, appeared before him and then disappeared. Narayana then killed the demons and rescued Brahma. With this ends the Prathama-charitra or the first section.
The second section known as the Madhyama-caritra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of heaven and driven away all the Gods including Indra. Then these Gods under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two Gods got angry, and a brilliant light emerged from their faces, the energies of all the others too emerged similarly out of them, merging into one huge mass of brilliant blazing light and power, which took the form of the Goddess Durga. As all the Gods equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The heavenly region was restored to the Gods. The Devi Durga promised to come to the rescue of the Gods whenever they called upon her for help. Thus ends the second section.
Even today, places in Uttarakhand bear testimony to this event. Mansuna (in Ukhimath) which was the capital of Raktabija is just opposite to Kalishila, the emergence spot of Kali. The mountain became black due to the anger of Parvati where she became Kali. Mother vanquished the demon between the two places namely, Mansuna and Kotma. The fiery Goddess was still in a hostile state after slaughtering Raktabija. Shiva then decided to lie down beneath as Ruksha Mahadeva at Kotma to calm her down. As Kali placed her feet on Shiva, she bit her tongue in embarrassment and is still worshipped in the temple of Koti Maheshvari. She then proceeded to Kalimath on the banks of Saraswati river in Rudraprayag. A Sri Yantra (silver plate) is covering the point where Maha-kali, Maha-lakshmi and Maha-sarasvati entered the Earth at Kalimath as if in profound meditation.
Even today, places in Uttarakhand bear testimony to this event. Mansuna (in Ukhimath) which was the capital of Raktabija (8.40) is just opposite to Kalishila, the emergence spot of Kali. The mountain became black due to the anger of Parvati where she became Kali (7.5-6). Mother vanquished the demon (8.62) between the two places namely, Mansuna and Kotma. The fiery Goddess was still in a hostile state after slaughtering Raktabija. Shiva then decided to lie down beneath as Ruksha Mahadeva at Kotma to calm her down. As Kali placed her feet on Shiva, she bit her tongue in embarrassment and is still worshipped in the temple of Koti Maheshvari. She then proceeded to Kalimath on the banks of Saraswati river in Rudraprayag. A Sri Yantra (silver plate) is covering the point where Maha-kali, Maha-lakshmi and Maha-sarasvati entered the Earth (12.32) at Kalimath as if in profound meditation.
After listening to these exploits of the Devi and learning from the Sage Sumedhas the methods of worshipping her to get her grace, Suratha and Samadhi practiced severe austerities for three years. They got her vision and obtained, through her grace, what they wanted. Suratha got back his kingdom whereas Samadhi succeeded in attaining Supreme Knowledge for which alone he had hankered.
After listening to these exploits of the Devi and learning from the Sage Sumedhas the methods of worshipping her to get her grace, Suratha and Samadhi practiced severe austerities for three years. They got her vision and obtained, through her grace, what they wanted. Suratha got back his kingdom whereas Samadhi succeeded in attaining Supreme Knowledge for which alone he had hankered.
*Pranayama (breath-control),
*Pranayama (breath-control),
*Sankalpa (religious resolve stating the details of the ritual),
*Sankalpa (religious resolve stating the details of the ritual),
* Dipa-sthapana (lighting a lamp and offering a simple worship to it, considering as a representation of the Devi),
*Dipa-sthapana (lighting a lamp and offering a simple worship to it, considering as a representation of the Devi),
*Worship of the Devi-mahatmya book used for the ceremonial chanting,
*Worship of the Devi-mahatmya book used for the ceremonial chanting,
*Repetition of the Shapoddhara-mantra to ward off the effects of the curses of the sages of yore, if any, and then the actual recital.
* Repetition of the Shapoddhara-mantra to ward off the effects of the curses of the sages of yore, if any, and then the actual recital.
The recital should include:
The recital should include:
*Kavacha-stotra (the verses which protect like an armour) written by the Brahmin Harihara,
* Kavacha-stotra (the verses which protect like an armour) written by the Brahmin Harihara,
*Argala-stotra – This hymn opens the gate of success as if by opening the bolt fastening the door by destroying all the obstructions in the form of sins. So, after the chanting of this hymn, external objects will be unable to mentally disturb the reciter. This hymn has the famous line – ''rupam dehi jayam dehi yasho dehi dvisho jahi'' – meaning that may the Mother bestow upon us grace, victory against all odds, unblemished glory and destroy all adversaries,
*Argala-stotra – This hymn opens the gate of success as if by opening the bolt fastening the door by destroying all the obstructions in the form of sins. So, after the chanting of this hymn, external objects will be unable to mentally disturb the reciter. This hymn has the famous line – ''rupam dehi jayam dehi yasho dehi dvisho jahi'' – meaning that may the Mother bestow upon us grace, victory against all odds, unblemished glory and destroy all adversaries,
*Kilaka-stotra – This hymn wards off all the obstacles to ensure success (in dharma, artha, kama and moksha) of the chanter<ref>Girijesa Kumara Dixita (2003), ''Durga-Saptashati,'' Sampurnananda Sanskrit University: Varanasi.</ref>,
*Kilaka-stotra – This hymn wards off all the obstacles to ensure success (in dharma, artha, kama and moksha) of the chanter<ref>Girijesa Kumara Dixita (2003), ''Durga-Saptashati,'' Varanasi: Sampurnananda Sanskrit University.</ref>,
*repetition of the well known Navarna-mantra,
* repetition of the well known Navarna-mantra,
* recital of the Ratri-sukta (Rishi – Ratri Bhaaradvaaji, Devata (Subject Matter) – Ratri, Chanda (Metre) - Gayatri),
*recital of the Ratri-sukta (Rishi – Ratri Bhaaradvaaji, Devata (Subject Matter) – Ratri, Chanda (Metre) - Gayatri),
*the entire text of the Devi-mahatmya,
* the entire text of the Devi-mahatmya,
* the Devi-sukta (Rishi – Vaak Ambhrini, Devata – Atma, Chanda – Trishtup and Jagati)
*the Devi-sukta (Rishi – Vaak Ambhrini, Devata – Atma, Chanda – Trishtup and Jagati)
*the Rahasya-traya (Pradhanika, Vaikrtika and Murti Rahasyas),
*the Rahasya-traya (Pradhanika, Vaikrtika and Murti Rahasyas),
* Shapoddhara-mantra and
*Shapoddhara-mantra and
*Kshama-prarthana (recital of the Aparadha-kshamapana-stotra – hymn for forgiveness for omissions and wrong reading).
* Kshama-prarthana (recital of the Aparadha-kshamapana-stotra – hymn for forgiveness for omissions and wrong reading).
There are several modes of chanting for specific purposes like freedom from diseases, attaining wealth or position and so on. Recitations called '''Shata-chandi''' (ten brahmins reciting it for four days—once on the first day, twice on the second day, thrice on the third day and four times on the fourth day) and '''Sahasra-chandi''' (with one hundred Brahmins, the procedure being similar) are forms of congregational worship and are done for the welfare of the society. A thousand Brahmins are to be fed and one hundred cows are to be donated. In all these rites, homa (offering of oblations into a duly consecrated fire) is also done<ref>Swami Harshananda (2008), ''A Concise Encyclopaedia of HINDUISM'', Volume I, Ramakrishna Math: Bangalore.</ref>.
There are several modes of chanting for specific purposes like freedom from diseases, attaining wealth or position and so on. Recitations called '''Shata-chandi''' (ten brahmins reciting it for four days—once on the first day, twice on the second day, thrice on the third day and four times on the fourth day) and '''Sahasra-chandi''' (with one hundred Brahmins, the procedure being similar) are forms of congregational worship and are done for the welfare of the society. A thousand Brahmins are to be fed and one hundred cows are to be donated. In all these rites, homa (offering of oblations into a duly consecrated fire) is also done<ref>Swami Harshananda (2008), ''A Concise Encyclopaedia of HINDUISM'', Volume I, Bangalore: Ramakrishna Math.</ref>.
=='''Iconography'''==
=='''Iconography'''==
==='''Twelve-armed'''===
==='''Twelve-armed'''===
A metallic Devi statue at Keshapur in Dinajpur has twelve arms. Udayagiri caves have twelve-armed Mahisha-mardini since fourth century. We find similar representation of twelve armed deity in an earlier relief carved on the facade of Chandragupta Cave at Udayagiri (Bhilsa, Madhya Pradesh)<ref>C.B. Patel (2008), ''Mahisamardini Durga-Antiquity and Iconography,'' Orissa Review: Orissa.</ref>.
A metallic Devi statue at Keshapur in Dinajpur has twelve arms. Udayagiri caves have twelve-armed Mahisha-mardini since fourth century. We find similar representation of twelve armed deity in an earlier relief carved on the facade of Chandragupta Cave at Udayagiri (Bhilsa, Madhya Pradesh)<ref>C.B. Patel (2008), ''Mahisamardini Durga-Antiquity and Iconography,'' Orissa: Orissa Review.</ref>.
=='''Sapta-Shloki Chandi'''==
=='''Sapta-Shloki Chandi'''==
sarvābādhāpraśamanaṁ trailokyasyākhileśvari । evameva tvayā kāryamasmadvairivināśanam ॥</blockquote>O Queen of all, in this same manner, you must destroy all our enemies and all the afflictions of the three worlds.
sarvābādhāpraśamanaṁ trailokyasyākhileśvari । evameva tvayā kāryamasmadvairivināśanam ॥</blockquote>O Queen of all, in this same manner, you must destroy all our enemies and all the afflictions of the three worlds.
The Devi-mahatmya is chanted on sacred occasions, especially during the Durga Puja (Navaratri). The poems which describe the deity as the child of the worshipper, as in the agamani (welcome) and vijaya (farewell) songs of the Goddess Durga have indeed a peculiar spiritual appeal of their own.
The Devi-mahatmya is chanted on sacred occasions, especially during the Durga Puja (Navaratri). The poems which describe the deity as the child of the worshipper, as in the agamani (welcome) and vijaya (farewell) songs of the Goddess Durga have indeed a peculiar spiritual appeal of their own and continue to inspire generations.
=='''References'''==
=='''References'''==
<references />
<references />