Changes

*Shailaputri – The Goddess who was born to the Himalaya as his daughter after severe penances.

*Shailaputri – The Goddess who was born to the Himalaya as his daughter after severe penances.

*Brahmacharini – This aspect of the Goddess helps the aspirant towards the Supreme experience as is expressed also through the etymology of this word:  

*Brahmacharini – This aspect of the Goddess helps the aspirant towards the Supreme experience as is expressed also through the etymology of this word:  

<blockquote>ब्रह्म चारयितुं शीलमस्या: ''- brahma cārayituṁ śīlamasyāh'' </blockquote>She had bestowed Brahma-jnana to Indra as recorded by the Kenopanishad,<blockquote>सा ब्रह्मेति होवाच ब्रह्मणो वा एतद्विजये महीयध्वमिति ततो हैव विदाञ्चकार ब्रह्मेति ॥ १ ॥<ref>Kenopanishad, [https://sa.wikisource.org/wiki/%E0%A4%95%E0%A5%87%E0%A4%A8%E0%A5%8B%E0%A4%AA%E0%A4%A8%E0%A4%BF%E0%A4%B7%E0%A4%A6%E0%A5%8D Khanda 4]</ref>

<blockquote>ब्रह्म चारयितुं शीलमस्या: ''- brahma cārayituṁ śīlamasyāh'' </blockquote>She had bestowed Brahma-jnana to Indra as recorded in the Kenopanishad,<blockquote>सा ब्रह्मेति होवाच ब्रह्मणो वा एतद्विजये महीयध्वमिति ततो हैव विदाञ्चकार ब्रह्मेति ॥ १ ॥<ref>Kenopanishad, [https://sa.wikisource.org/wiki/%E0%A4%95%E0%A5%87%E0%A4%A8%E0%A5%8B%E0%A4%AA%E0%A4%A8%E0%A4%BF%E0%A4%B7%E0%A4%A6%E0%A5%8D Khanda 4]</ref>

''sā brahmeti hovāca brahmaṇo vā etadvijaye mahīyadhvamiti tato haiva vidāñcakāra brahmeti//''</blockquote>Meaning: She said, “It is Brahman indeed. Attain glory in the victory of Brahman.” From her words only, he learned that it was Brahman.

''sā brahmeti hovāca brahmaṇo vā etadvijaye mahīyadhvamiti tato haiva vidāñcakāra brahmeti//''</blockquote>Meaning: She said, “It is Brahman indeed. Attain glory in the victory of Brahman.” From her words only, he learned that it was Brahman.

*Chandraghanta – Meaning, the sound of the ghanta. Here, bell is the ensemble of sounds of all instruments which is Shabda-brahman or Nada-brahman.

*Chandraghanta – Meaning, the sound of the ghanta. Here, bell is the ensemble of sounds of all instruments which is Shabda-brahman or Nada-brahman.

*Kushmanda – Kushma is fearful affliction and anda is stomach. So, Mother bears all the adversities in her stomach to render peace to her devotee.  

*Kushmanda – Kushma is fearful affliction and anda is stomach. So, Mother bears all the adversities in her stomach to render peace to her devotees. Even the text says:

<blockquote>उपसर्गानशेषांस्तु महामारीसमुद्भवान्। तथा त्रिविधमुत्पातं माहात्म्यं शमयेन्मम॥(12.8)<ref name=":0" />  

<blockquote>उपसर्गानशेषांस्तु महामारीसमुद्भवान्। तथा त्रिविधमुत्पातं माहात्म्यं शमयेन्मम॥(12.8)<ref name=":0" />  

''upasargānaśeṣāṁstu mahāmārīsamudbhavān। tathā trividhamutpātaṁ māhātmyaṁ śamayenmama॥'' </blockquote>Meaning: May my glories quell all epidemic calamities, as also the threefold natural calamities.

''upasargānaśeṣāṁstu mahāmārīsamudbhavān। tathā trividhamutpātaṁ māhātmyaṁ śamayenmama॥'' </blockquote>Meaning: May my glories quell all epidemic calamities, as also the threefold natural calamities.

*Skandamata – The Mother who is also Knowledge Incarnate.  

*Skandamata – The Mother who is also Knowledge Incarnate.

<blockquote>सा याचिता च विज्ञानं तुष्टा बुद्धिं प्रयच्छति॥ (12.37)<ref name=":0" />  

<blockquote>सा याचिता च विज्ञानं तुष्टा बुद्धिं प्रयच्छति॥ (12.37)<ref name=":0" />  

The figure of 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>.   

The figure of 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>.   

====मध्यमचरित्रम् ॥ Madhyama Charitra (Chapters 2, 3 and 4): Maha-Laksmi====

====मध्यमचरित्रम् ॥ Madhyama Charitra (Chapters 2, 3 and 4): Maha-Laksmi ====

Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura

Chapter Two – Mahishasura-sainya-vadha – Slaughter of the armies of Mahishasura

|Iccha-shakti

|Iccha-shakti

|-

|-

| Madhyama

|Madhyama

|Vishnu

|Vishnu

|Maha-lakshmi (18 arms)

|Maha-lakshmi (18 arms)

|-

|-

|Uttama

|Uttama

|Rudra

| Rudra

|Maha-sarasvati (8 arms)

|Maha-sarasvati (8 arms)

| Anushtup

|Anushtup

|Bhima

|Bhima

|Bhramari

|Bhramari

The first section starts with the story of a king, Suratha by name, and the merchant Samadhi, both of whom had been deprived of their wealth and possessions by their own near and dear ones. They met at the hermitage of the sage Sumedhas, to where they had come, seeking peace. After hearing from each other about the tragedies that had struck them, they approached the sage Sumedhas, with the question as to why they were still mentally attached to their possessions and their relatives even though the latter had deliberately wronged them. In his long reply, the sage described this blind attachment and infatuation as the direct result of the power of moha or maya, the spell cast by the Devi on all the living beings. When their curiosity to know more was aroused, the Sage started describing in detail, the stories related to her.

The first section starts with the story of a king, Suratha by name, and the merchant Samadhi, both of whom had been deprived of their wealth and possessions by their own near and dear ones. They met at the hermitage of the sage Sumedhas, to where they had come, seeking peace. After hearing from each other about the tragedies that had struck them, they approached the sage Sumedhas, with the question as to why they were still mentally attached to their possessions and their relatives even though the latter had deliberately wronged them. In his long reply, the sage described this blind attachment and infatuation as the direct result of the power of moha or maya, the spell cast by the Devi on all the living beings. When their curiosity to know more was aroused, the Sage started describing in detail, the stories related to her.

The first story concerns the Devi as [[Yoga Nidra (योगनिद्रा)|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 (योगनिद्रा)|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-charitra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of Svarga and driven away all the deities including Indra. Then these deities under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two deities 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 deities equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The Svarga was restored to the deities. Devi Durga promised to come to the rescue of the deities whenever they called upon her for help. Thus ends the second section.

The second section known as the Madhyama-charitra contains the story of Mahishasura, the king of the asuras or demons. He had usurped the kingdom of Svarga and driven away all the deities including Indra. Then these deities under the leadership of Brahma came to Vishnu and Shiva and recounted their tale of woe. As the two deities 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 deities equipped her with their respective weapons, she went to Mahishasura, challenged him for fight and ultimately killed him. The Svarga was restored to the deities. Devi Durga promised to come to the rescue of the deities whenever they called upon her for help. Thus ends the second section.

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.

==== देवीमाहात्म्ये स्तुतयः ॥ Stutis in Devi Mahatmya ====

====देवीमाहात्म्ये स्तुतयः ॥ Stutis in Devi Mahatmya====

The work contains four hymns which are exquisitely beautiful and are a signal contribution to the hymnal literature. They are:

The work contains four hymns which are exquisitely beautiful and are a signal contribution to the hymnal literature. They are:

# Brahma’s hymn to Yoga-nidra – Chapter 1, verses 72-87. This hymn is famous as the Vishveshvari-stuti.

#Brahma’s hymn to Yoga-nidra – Chapter 1, verses 72-87. This hymn is famous as the Vishveshvari-stuti.

# Hymn by all deities, led by Indra, expressing their gratefulness after Mahishasura was killed by Durga – Chapter 4, verses 1-27. This hymn is known as Indradi-stuti or Mahisha-hantri-stuti.

#Hymn by all deities, led by Indra, expressing their gratefulness after Mahishasura was killed by Durga – Chapter 4, verses 1-27. This hymn is known as Indradi-stuti or Mahisha-hantri-stuti.

# Hymn by all the deities, on the bank of the river [[Ganga (गङ्गा)|Ganga]] in the Himalayas – Chapter 5, verses 8-82. This hymn is called Aparajita-stotra.

#Hymn by all the deities, on the bank of the river [[Ganga (गङ्गा)|Ganga]] in the Himalayas – Chapter 5, verses 8-82. This hymn is called Aparajita-stotra.

# Hymn by all the deities, after Shumbha and Nishumbha were killed – Chapter 11, verses 1-35. This hymn is the famous Narayani-stuti.

#Hymn by all the deities, after Shumbha and Nishumbha were killed – Chapter 11, verses 1-35. This hymn is the famous Narayani-stuti.

===वैधिकप्रयोगः ॥ Ritual Usage===

===वैधिकप्रयोगः ॥ Ritual Usage===

*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 [[Pataka (पातकम्)|papa]]. So, after the chanting of this hymn, external objects will be unable to mentally disturb the reciter. This hymn has the famous line –  

* 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 [[Pataka (पातकम्)|papa]]. So, after the chanting of this hymn, external objects will be unable to mentally disturb the reciter. This hymn<ref name=":0" /> has the famous line –

<blockquote>रूपं देहि जयं देहि यशो देहि द्विषो जहि॥  

<blockquote>रूपं देहि जयं देहि यशो देहि द्विषो जहि॥  

''rūpaṁ dehi jayaṁ dehi yaśo dehi dviṣo jahi॥''</blockquote>Meaning: May the Mother bestow upon us grace, victory against all odds, unblemished glory and destroy all adversaries,

''rūpaṁ dehi jayaṁ dehi yaśo dehi dviṣo jahi॥''</blockquote>Meaning: 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,'' Varanasi: Sampurnananda Sanskrit University.</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 Navaarna-mantra

*repetition of the well known Navaarna-mantra

*recital of the Ratri-sukta (Rishi – Ratri Bhaaradvaajii, Devata (Subject Matter) – Ratri, Chanda (Metre) - Gayatri)

*recital of the Ratri-sukta (Rishi – Ratri Bhaaradvaajii, 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 – Vak Ambhrini, Devata – Atma, Chanda – Trishtup and Jagati)

*the Devi-sukta (Rishi – Vak 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, Bangalore: Ramakrishna Math.</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 on such occasions. 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>.  

==मूर्तिविवरणम् ॥ Iconography==

==मूर्तिविवरणम् ॥ Iconography ==

The study of early relief of the deity indicates the developmental aspect of the iconic-motif. In Orissa, we find reflection of evolution of all types of Durga and Mahishamardini icons in sculptural representations. We find her images having two to twenty arms with various ayudhas (weapons) ranging from very early time to modern period in Orissa. From sixth to seventh century onwards, we find her representation in most Shiva and Shakta temples. The standing posture of the Goddess corresponds to her Devi Mahatmya description. We find different representations of the fighting scene in the Mahabalipuram and Ellora panels.  

The study of early relief of the deity indicates the developmental aspect of the iconic-motif. In Orissa, we find reflection of evolution of all types of Durga and Mahishamardini icons in sculptural representations. We find her images having two to twenty arms with various ayudhas (weapons) ranging from very early time to modern period in Orissa. From sixth to seventh century onwards, we find her representation in most Shiva and Shakta temples. The standing posture of the Goddess corresponds to her Devi Mahatmya description. We find different representations of the fighting scene in the Mahabalipuram and Ellora panels.  

A four armed brass image containing an inscription of the time of Meruvarman ruler of Chamba (8 Century A.D.) is excellent in composition.

A four armed brass image containing an inscription of the time of Meruvarman ruler of Chamba (8 Century A.D.) is excellent in composition.

===षड्भुजा ॥ Six-armed===

=== षड्भुजा ॥ Six-armed===

Rajshahi Varendra Research Society has a six-armed Durga statue.

Rajshahi Varendra Research Society has a six-armed Durga statue.

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>.  

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>.  

==सप्तश्लोकी चण्डी ॥ Sapta-Shloki Chandi==

==सप्तश्लोकी चण्डी ॥ Sapta-Shloki Chandi ==

The essence of the Durga Saptashati (700 verses) can be condensed in the following seven verses of the Devi Mahatmya<ref name=":0" /> itself.

The essence of the Durga Saptashati (700 verses) can be condensed in the following seven verses of the Devi Mahatmya<ref name=":0" /> itself.

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.  

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 />