Devi Mahatmya
Lakshmi, empowering wealth creation and happiness.[12]
Artwork depicting the “Goddess Durga Slaying the Buffalo de-
mon Mahishasura” scene of Devi Mahatmya, is found all
over India, Nepal and southeast Asia. Clockwise from top:
9th-century Kashmir, 13th-century Karnataka, 9th century
Prambanan Indonesia, 2nd-century Uttar Pradesh.
The Devi Mahatmya or Devi Mahatmyam (Sanskrit: de- ithet has no precedent in Vedic literature and is first found
vīmāhātmyam, देवीमाहात्म्यम्), or “Glory of the Goddess") in a late insertion to the Mahabharata, where Chaṇḍa and
is a Hindu religious text describing the Goddess as the Chaṇḍī appear as epithets.”[21]
supreme power and creator of the universe.[1][2] It is part
of the Markandeya Purana, and estimated to have been
composed in Sanskrit between 400-600 CE.[3][4][5]
Devi Mahatmyam is also known as the Durgā Sap-
tashatī (दगु ार्सप्तशती) or Caṇḍī Pāṭha (चण्डीपाठः).[6] The
text contains 700 verses arranged into 13 chapters.[7][6]
Along with Devi-Bhagavata Purana and Shakta Upan-
ishads such as the Devi Upanishad, it is one of the most
important texts of Shaktism (goddess) tradition within
Hinduism.[8]
The Devi Mahatmyam describes a storied battle be-
tween good and evil, where the Devi manifesting as
goddess Durga leads the forces of good against the de-
mon Mahishasura—the goddess is very angry and ruth-
less, and the forces of good win.[9][10][11] In peaceful
prosperous times, states the text, the Devi manifests as
The verses of this story also outline a philosophical foun-
dation wherein the ultimate reality (Brahman in Hin-
duism) is female.[13][14][15] The text is one of the earliest
extant complete manuscripts from the Hindu traditions
which describes reverence and worship of the feminine
aspect of God.[5] The Devi Mahatmya is often ranked in
some Hindu traditions to be as important as the Bhagavad
Gita.[16]
The Devi Mahatmya has been particularly popular in east-
ern states of India, such as West Bengal, Bihar, Odisha
and Assam, as well as Nepal.[17] It is recited during
Navratri celebrations, the Durga Puja festival,[18][19] and
in Durga temples across India.[18][20]
1 Etymology
Sanskrit māhātmya-, “magnanimity, highmindedness,
majesty” is a neuter abstract noun of māha-ātman-, or
“great soul.” The title devīmāhātmyam is a tatpurusha
compound, literally translating to “the magnanimity of
the goddess.”
The text is called Saptaśati (literally “seven hundred”), as
it contains 700 shlokas (verses).[7]
Caṇḍī or Caṇḍīka is the name by which the Supreme
Goddess is referred to in Devī Māhātmya. According
to Coburn, "Caṇḍīkā is “the violent and impetuous one,”
from the adjective caṇḍa, “fierce, violent, cruel.” The ep-
2 History
The Goddess in Indian traditions
The Devi-Mahatmya is not the earliest literary fragment
attesting to the existence of devotion to a goddess figure,
but it is surely the earliest in which the object of worship
is conceptualized as Goddess, with a capital G.
—Thomas Coburn[22]
The Devi Mahatmya, states C. Mackenzie Brown, is both
a culmination of centuries of Indian ideas about the di-
vine feminine, as well as a foundation for the literature
and spirituality focussed on the feminine transcendence
in centuries that followed.[23]
1
2 4 CONTENTS

One of the earliest evidence of reverence for the feminine Mahasaraswati (creator, Sattvic),[33] which as a collective
aspect of God appears in chapter 10.125 of the Rig Veda, are called Tridevi. The nirguna concept (Avyakrita, tran-
also called the Devi Suktam hymn.[24][25][note 1] scendent) is also referred to as Maha-lakshmi.[33] This
Hymns to goddesses are in the ancient Hindu epic Ma- structure is not accidental, but embeds the Samkhya phi-
habharata, particularly in the later (100 to 300 CE) added losophy idea of three Gunas that is central in Hindu scrip-
[33]
Harivamsa section of it. [23]
The archaeological and tex- tures such as the Bhagavad Gita.
tual evidence implies, states Thomas Coburn, that the The Samkhya philosophical premise asserts that all life
Goddess had become as much a part of the Hindu tra- and matter has all three co-existent innate tendencies or
dition, as God, by about the third or fourth century.[27] attributes (Guṇa), whose equilibrium or disequilibrium
drives the nature of a living being or thing.[34][35] Tama-
sic is darkness and destructiveness (represented as Kali
2.1 Date in Devi Mahatmya), Sattvic is light and creative pur-
suit (Sarasvati), and Rajasic is dynamic energy qua en-
Devi Mahatmya is a text extracted from Markandeya ergy without any intent of being creative or destructive
[33]
Purana, and constitutes the latter’s chapters 81 through (Lakshmi). The unmanifest, in this philosophy, has
[28] [9] all these three innate attributes and qualities, as potent
93. The Purana is dated to the ~3rd century CE,
and the Devi Mahatmya was added to the Markandeya principle within, as unrealized power, and this unrealized
Purana either in the 5th or 6th century.[3][4][5] Goddess dwells in every individual, according to Devi
Mahatmya.[32] This acknowledgment of Samkhya dual-
The Dadhimati Mata inscription (608 CE) quotes a por-
istic foundation is then integrated into a monistic (non-
tion from the Devi Mahatmya. Thus, it can be concluded
dualistic, Advaita) spirituality in Devi Mahatmya, just
that the text was composed before the 7th century CE.[29]
like the Upanishads, the Bhagavad Gita, the Bhagavata
It is generally dated between 400-600 CE.[30] Wendy
Purana and other important texts of Hinduism.[36][37]
Doniger O'Flaherty dates the Devi Mahatmya to c. 550
CE, and rest of the Markandeya Purana to c. 250 CE.[31]
4 Contents
3 Philosophy
The Devi Mahatmya text is a devotional text, and its aim,
states Thomas Coburn, is not to analyze divine forms or
abstract ideas, but to praise.[32] This it accomplishes with
a philosophical foundation, wherein the female is the pri-
mordial creator; she is also the Tridevi as the secondary
creator, the sustainer, and destroyer.[32] She is presented, The oldest surviving manuscript of the Devi Māhātmya, on palm-
through a language of praise, as the one who dwells in all leaf, in an early Bhujimol script, Bihar or Nepal, 11th century.
creatures, as the soul, as the power to know, the power to
will and the power to act.[32] She is consciousness of all The Devī Māhātmya consists of chapters 81-93 of the
living beings, she is intelligence, she is matter, and she is Mārkandeya Purana, one of the early Sanskrit Puranas,
all that is form or emotion.[32] which is a set of stories being related by the sage
Who is this Goddess? Markandeya to Jaimini and his students (who are in the
form of birds). The thirteen chapters of Devi Māhātmya
I resemble in form Brahman,
are divided into three charitas or episodes. At the be-
from me emanates the world, ginning of each episode a different presiding goddess is
which has the Spirit of Prakriti and Purusha, invoked, none of whom is mentioned in the text itself.[38]
I am empty and not empty,
I am delight and non-delight, The framing narrative of Devi Mahatmya presents a dis-
I am knowledge and ignorance, possessed king, a merchant betrayed by his family, and
I am Brahman and not Brahman. a sage whose teachings lead them both beyond existen-
tial suffering. The sage instructs by recounting three
—Devi Mahatmya[23] different epic battles between the Devi and various de-
The text includes hymns to saguna (manifest, incarnated) monic adversaries (the three tales being governed by
form of the Goddess, as well as nirguna (unmanifest, the three Tridevi, respectively, Mahakali (Chapter 1),
abstract) form of her.[33] The saguna hymns appear in Mahalakshmi (Chapters 2-4), and Mahasaraswati (Chap-
chapters 1, 4 and 11 of the Devi Mahatmya, while chap- ters 5-13). Most famous is the story of Mahishasura Mar-
ter 5 praises the nirguna concept of Goddess. The sa- dini – Devi as “Slayer of the Buffalo Demon” – one of the
guna forms of her, asserts the text, are Mahakali (de- most ubiquitous images in Hindu art and sculpture, and
stroyer, Tamasic), Mahalakshmi (sustainer, Rajasic) and a tale known almost universally in India. Among the im-
4.3 Final episode 3

portant goddess forms the Devi Mahatmyam introduced cluding that of a buffalo. The male gods, fearing total
into the Sanskritic mainstream are Kali and the Sapta- annihilation endowed Durga with their powers. Riding a
Matrika (“Seven Mothers”).[39] 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.”[41]

4.3 Final episode

The Goddess Ambika or Durga leading the Eight Matrikas in Bat-

tle 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), Am-
bika. On the right, demons arising from Raktabija’s blood

Kali may be understood to represent or “aspect” the

Vishnu Vanquishing the Demons Madhu and Kaitabha, as the
Goddess looks on. Folio from a Devimahatmya
4.1 First episode
The first story of the Devi Mahatmya depicts Devi in her
universal form as Shakti. 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 Sesha. Two demons, Madhu-
Kaitabh, arise as thoughtforms from Vishnu’s sleeping
body and endeavour to vanquish Brahma who is prepar-
ing to create the next cycle of the Universe. 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.[40]
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 demon-
strates her omnipotence by defeating powerful demons
who terrify the devas, she encounters the fierce Raktabija
(chapter 8). Every drop of blood Raktabija sheds trans-
forms 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 story continues in which Devi, Kali and a group of
Matrikas destroy the demonic brothers Sumbha (chapter
10) and Nisumbha (chapter 9). In the final battle against
Shumbha, Devi absorbs Kali and the matrikas and stands
alone for the final battle.[41]

4.2 Middle episode 4.4 Symbolism of the three episodes

"Durga, the great Warrior Goddess, represents the lethal Devadatta Kali states that the three tales are “allegories
energy of divine anger when turned against evil. The of outer and inner experience”.[42] The evil adversaries
world was under attack by Mahishasura, the most evil de- of the Goddess, states Kali, symbolize the all-too-human
mon in the world, who took many different forms, in- impulses, such as pursuit of power, or possessions, or
4 5 ANGAS (APPENDAGES)
delusions such as arrogance.[42] The Goddess wages war
against this.[42] Like the philosophical and symbolic bat-
tlefield of the Bhagavad Gita, the Devi Mahatmya sym-
bolic killing grounds target human frailties, according to
Kali, and the Goddess targets the demons of ego and dis-
pels our mistaken idea of who we are.[42]
Most hymns, states Thomas Coburn, present the God-
dess’s martial exploits, but these are “surpassed by verses
of another genre, viz., the hymns to the Goddess”.[43] The
hymnic portion of the text balances the verses that present
the spiritual liberation power of the Goddess.[44] These
hymns describe the nature and character of the Goddess
in spiritual terms:
[45]
1. Brahma-stuti (part 1 start),
2. Sakradi-stuti (part 2 end),[46]
3. The “Ya Devi” Hymn (part 3 start),[47]
4. Narayani-stuti (part 3 end).[48]
5 Angas (Appendages)
Durga temple depicting scenes from Devi Mahatmya, in Aihole
temple, is part of a UNESCO world heritage site candidate.[49]
A 17th-century Devimahatmya manuscript.
As an independent text, Devī Māhātmya 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 cen-
tury.” The angas are chiefly concerned with the ritual use
of Devī Māhātmya and based on the assumption that the
text will be recited aloud in the presence of images.[50]
There are two different traditions in the Anga parayana.
One is the trayanga parayana (Kavacha, Argala,Keelaka).
The other is the Navanga parayana (Nyasam, Ava-
hanam, Namani, Argalam, Keelakam, Hrudayam, Dha-
lam, Dhyanam, Kavacham). The navanga format is fol-
lowed in kerala and some other parts in South India.
5.1 Preceding subsidiary texts
• Durga Saptasloki 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 proclaim the relevant discipline (sadhana)
by revealing Amba Studi which consists of the seven
verses indicated.[51]
• Devi-kavacham - 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.[52]
• Argala-stotram - Here Rishi Markandeya is telling
his disciples in 27 inspiring couplets on the great-
ness 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 fit-
ness, fame and victory.[52]
• Keelakam - Here also Rishi Markandeya tells his dis-
ciples in 16 Slokas, the ways and means of remov-
ing obstacles faced by devotees, while reading Devi
Mahatmya.[52]
• Ratri Suktam (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 de-
scribed as the all-pervading Supreme Lord of the
Universe appearing in Omkara. Here Ratri is the
Goddess who fulfills our prayers.[52]
• Kunjika Stotram is also a beautiful hymn written
in the saptashati which is said to be the mix-
ture of the three hymns i.e.,Kavacham,Argala sto-
tram,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 Suktam (Tantrik) - The hymn in the first chap-
ter is the Tantrik Ratri Sukta.[53]
6.1 Place in the Hindu canon 5

Either the Ratri Suktam (Vedic) or Ratri Suktam (Tantrik) 6.1 Place in the Hindu canon
is read depending upon whether the ritual is Vaidic or
Tantrik.
One of the texts recited by some traditions is the Devī-
Atharva-Śirṣa-Upaniṣad (Devi Upaniṣad).

5.2 Succeeding subsidiary texts

• Pradhana Rahasyam - “Deals with the process of
creation. It is the secret about mula Prakrti who is
the cause of creation.”[54]
• Vaikritika Rahasyam - “Describes how the God-
head beyond change subjected itself to change, how
the mula prakrti (productive) ,became vikriti (pro-
duced); hence the name Vaikritika Rahasyam.”[54]
• Murti Rahasyam - “The incarnations, the Avatar
murtis of the Goddess are mentioned.”[54]
• Devi Suktam (Rig Vedoktam) - (According to Rig
Veda): “The 8 Slokas composed by Vak, the daugh-
ter of Maharshi Ambharin, are from the Rig Veda,
10th Mandala, 10th Anuvaka, 125th Sukta. These
Slokas express the truth realised by Vak, who iden-
tifies herself as Brahma Sakti, and expresses her-
self as 11 Rudras, 8 Vasus, 12 Adityas and all the
Devas,— Indra, Agni and Asvini Kumaras—who
are sustained by Her and She is the source, substra-
tum and support of the whole world. She is verily
Brahmasvarupini (embodiment of Brahman).”[52]
• Devi Suktam (Tantrik) - The hymn in chapter 5 is Devi portrayed as Mahishasura Mardini, Slayer of the Buffalo
Tantrik Devi Suktam.[53] Demon — a central episode of the Devi Mahatmya

The number and order of these depend on the Devi Māhātmyam has been called the Testament of
Sampradaya (tradition).[55][56] Shakta philosophy.[58] It is the base and root of Shakta
[59]
Either the Devi Suktam (Vedic) or Devi Suktam (Tantrik) doctrine. It appears as the centre of the great Shakti
[60]
is read depending upon whether the ritual is Vedic or tradition of Hinduism.
Tantrik. It is in Devi Mahatmya, states C Mackenzie Brown, that
At the end of a traditional recitation of the text, a prayer “the various mythic, cultic and theological elements re-
craving pardon from the Goddess known as Aparadha lating to diverse female divinities were brought together
Kshmapana Stotram is recited. in what has been called the 'crystallization of the Goddess
tradition.”[61]
The unique feature of Devi Māhātmyam is the oral tra-
6 Significance dition. Though it is part of the devotional tradition, it is
in the rites of the Hindus that it plays an important role.
The Devi Mahatmya was considered significant among The entire text is considered as one single Mantra and a
the Puranas by Indologists. This is indicated by the early collection of 700 Mantras.
dates when it was translated into European languages. It The Devi Māhātmyam is treated in the cultic context as
was translated into English in 1823, followed by an analy- if it were a Vedic hymn or verse with sage (ṛṣi), meter,
sis with excerpts in French in 1824. It was translated into pradhnadevata, and viniyoga (for japa). It has been ap-
Latin in 1831 and Greek in 1853.[57] proached, by Hindus and Western scholars, as scripture
Devi Mahatmya has been translated into most of the In- in and by itself, where its significance
[62]
is intrinsic, not de-
dian languages. There are also a number of commentaries rived from its Puranic context.
and ritual manuals. The commentaries and ritual manual According to Damara Tantra “Like Aswamedha in Yag-
followed vary from region to region depending on the tra- nas, Hari in Devas, Sapthsati is in hymns.” “Like
dition. the Vedas; Saptasati is eternal” says Bhuvaneshwari
6 10 REFERENCES

Samhita.[63] 9 Notes
There are many commentaries on Devi Māhātmya.
[1] Devi Suktam hymn (abridged):[26]
• Guptavati by Bhaskararaya
I am the Queen, the gatherer-up of treasures, most
• Nagesi by Nagoji Bhat thoughtful, first of those who merit worship.
Thus gods have established me in many places with many
• Santhanavi homes to enter and abide in.
Through me alone all eat the food that feeds them, – each
• Puspanjali
man who sees, breathes, hears the word outspoken.
• Ramashrami They know it not, yet I reside in the essence of the Uni-
verse. Hear, one and all, the truth as I declare it.
• Dhamsoddharam I, verily, myself announce and utter the word that gods and
men alike shall welcome.
• Durgapradeepam are some of them.[64] I make the man I love exceeding mighty, make him nour-
ished, a sage, and one who knows Brahman.
The significance of Devi Māhātmya has been explained I bend the bow for Rudra [Shiva], that his arrow may
in many Tantric and Puranic texts like Katyayani Tantra, strike, and slay the hater of devotion.
Gataka Tantra, Krodha Tantra, Meru Tantram, Marisa I rouse and order battle for the people, I created Earth and
Heaven and reside as their Inner Controller.
Kalpam, Rudra Yamala, and Chidambara Rahasya.[64] A
On the world’s summit I bring forth sky the Father: my
number of studies of Shaktism appreciate the seminal
home is in the waters, in the ocean as Mother.
role of Devi Māhātmya in the development of the Shakta Thence I pervade all existing creatures, as their Inner
tradition. Supreme Self, and manifest them with my body.
I created all worlds at my will, without any higher being,
and permeate and dwell within them.
7 In popular tradition The eternal and infinite consciousness is I, it is my great-
ness dwelling in everything.
–Devi Sukta, Rigveda 10.125.3 – 10.125.8,[24][25][26]

10 References
[1] June McDaniel 2004, pp. 215-216.

[2] David Kinsley 1988, pp. 101-102.

[3] Cheever Mackenzie Brown 1998, p. 77 note 28.

[4] Coburn 1991, pp. 13.

Recitation of Durga Mahatmya on Mahalaya marks the formal
beginning of the Durga Puja festival [5] Coburn 2002, p. 1.

[6] Tracy Pintchman 2014, p. 86.

The recitation of Devi Mahatmya is done during the
Sharad Navaratri (Oct. - Nov.) in India. It is recited dur- [7] Coburn 1991, pp. 27-31.
ing Navratri celebrations, the Durga Puja festival and in
Durga temples of India.[18] The text is also recited during [8] Constance Jones; James Ryan (2014). Encyclopedia of
the Vasantha Navaratri (March - April) in Uttarakhand, Hinduism. Infobase Publishing. p. 399. ISBN 978-
0816054589.
Jammu, Himachal Pradesh and other states of north In-
dia. It is also chanted during special occasions like temple [9] Rocher 1986, pp. 191-192.
kumbabhishekam and as a general parihara.
[10] Tracy Pintchman 2014, p. 20.

[11] June McDaniel 2004, pp. 215-216, 219-220.

8 See also
[12] June McDaniel 2004, pp. 216-217.
• Brahmavaivarta Purana [13] Coburn 2002, p. 1, 53-56, 280.

• Chandi di Var [14] Lochtefeld 2002, p. 426.

• Devi Upanishad [15] David Kinsley 1988, pp. 101-105.

• Mother Goddess [16] Rocher 1986, p. 193.

10.1 Bibliography
[17] Dutt 1896, p. 4.
[18] Dalal 2014, p. 118.
[19] Gavin Flood (1996). An Introduction to Hinduism. Cam-
bridge University Press. p. 181. ISBN 978-0-521-43878-
0.
[20] David Kinsley 1997, pp. 30-35.
[21] Coburn, Thomas B., Devī Māhātmya. p 95
[22] Coburn 1991, p. 16.
[23] NB Saxena (2012). The Oxford Handbook of Feminist
Theology (Editors: Mary McClintock Fulkerson, Sheila
Briggs). Oxford University Press. p. 139. ISBN 978-
0-19-927388-1.
[24] June McDaniel 2004, p. 90.
[25] Cheever Mackenzie Brown 1998, p. 26.
[26] The Rig Veda/Mandala 10/Hymn 125 Ralph T.H. Grif-
fith (Translator); for Sanskrit original see: ऋग्वेद: सूक्तं
१०.१२५
[27] Coburn 2002, p. 7.
[28] Rocher 1986, p. 191.
[29] Pandit Ram Karna Asopa (1911). “Dadhimati-Mata In-
scription of Dhruhlana”. In E. Hultzsch. Epigraphia In-
dica. XI. Government of India. p. 302.
[30] Katherine Anne Harper (1 February 2012). “The Warring
Śaktis: A Paradigm for Gupta Conquests”. The Roots of
Tantra. SUNY Press. p. 117. ISBN 978-0-7914-8890-4.
[31] Charles Dillard Collins (1988). The Iconography and Rit-
ual of Siva at Elephanta: On Life, Illumination, and Being.
SUNY Press. p. 36. ISBN 978-0-88706-773-0.
[32] Thomas Coburn (2002). Katherine Anne Harper, Robert
L. Brown, ed. The Roots of Tantra. State University of
New York Press. pp. 79–81. ISBN 978-0-7914-5305-6.
[33] Thomas Coburn (2002). Katherine Anne Harper, Robert
L. Brown, ed. The Roots of Tantra. State University of
New York Press. pp. 80–83. ISBN 978-0-7914-5305-6.
[34] James G. Lochtefeld, Guna, in The Illustrated Encyclope-
dia of Hinduism: A-M, Vol. 1, Rosen Publishing, ISBN
9780823931798, page 265
[35] Alban Widgery (1930), The principles of Hindu Ethics,
International Journal of Ethics, Vol. 40, No. 2, pages
234-237
[36] Tracy Pintchman 2015, pp. 131-132.
[37] Coburn 1991, pp. 157-158.
[38] Coburn, Thomas B., Encountering the Goddess. p 100
[39] Kali, Davadatta, p. xvii
[40] “Devi”.
[41] “Devi”.
7
[42] Kali 2003, p. xvii.
[43] Coburn 2002, p. 72.
[44] Coburn, Thomas B., Devī Māhātmya. p 72
[45] Coburn 2002, p. 290.
[46] Coburn 2002, p. 291.
[47] Coburn 2002, p. 295.
[48] Coburn 2002, p. 298.
[49] “Evolution of Temple Architecture – Aihole-Badami-
Pattadakal”. UNESCO. 2004. Retrieved 21 October
2015.
[50] Coburn, Thomas B., Encountering the Goddess.p 100–
101
[51] Coburn, Thomas B., Encountering the Goddess.p 223
[52] Swami Sivananda, p 3
[53] Swami Satyananda Saraswati, Chaṇḍī Pāṭh
[54] Sankaranarayanan. S., p 271–273
[55] Sarma, Sarayu Prasad, Saptashatī Sarvasvam
[56] Sri Durga Saptashatī, Gita Press
[57] Coburn, Thomas B., Devī Māhātmya. p 52
[58] Manna, Sibendu, p 92
[59] Swami Sivananda p 5
[60] Coburn 2002, p. 55.
[61] C Mackenzie Brown 1990, p. ix.
[62] Coburn, Thomas B., Devī Māhātmya. p 51–55
[63] Anna, p vii
[64] Anna, p v
10.1 Bibliography
• Anna, Sri. Devi Māhātmyam with commentary in
Tamil, Sri Ramakrishna Matam, Chennai, India,
1973. (ISBN 81-7120-128-8)
• C Mackenzie Brown (1990). The Triumph of the
Goddess: The Canonical Models and Theological Vi-
sions of the Devi-Bhagavata Purana. State Univer-
sity of New York Press. ISBN 978-0-7914-0364-8.
• Cheever Mackenzie Brown (1998). The Devi Gita:
The Song of the Goddess: A Translation, Annotation,
and Commentary. State University of New York
Press. ISBN 978-0-7914-3939-5.
• Coburn, Thomas B. (1991). Encountering the God-
dess: A translation of the Devi-Mahatmya and a
Study of Its Interpretation. State University of New
York Press. ISBN 0791404463.
8 11 EXTERNAL LINKS

• Coburn, Thomas B. (2002). Devī Māhātmya, The • Tracy Pintchman (2015). The Rise of the Goddess in
Crystallization of the Goddess Tradition. South Asia the Hindu Tradition. State University of New York
Books. ISBN 81-208-0557-7. Press. ISBN 978-1-4384-1618-2.

• Dalal, Rosen (2014). Hinduism: An Alphabetical • Rocher, Ludo (1986). The Puranas. Otto Harras-
Guide. Penguin. ISBN 978-8184752779. sowitz Verlag. ISBN 978-3447025225.

• Dutt, MN (1896). Markandeya Puranam. Elysium
Press.
• Lynn Foulston; Stuart Abbott (2009). Hindu God-
desses: Beliefs and Practices. Sussex Academic
Press. ISBN 978-1-902210-43-8.
• John Stratton Hawley; Donna Marie Wulff (1998).
Devi: Goddesses of India. Motilal Banarsidass.
ISBN 978-81-208-1491-2.
• Alf Hiltebeitel; Kathleen M. Erndl (2000). Is the
Goddess a Feminist?: The Politics of South Asian
Goddesses. New York University Press. ISBN 978-
0-8147-3619-7.
• Kali, Davadatta (2003). In Praise of the Goddess:
The Devimahatmya and Its Meaning. Motilal Ba-
narsidass. ISBN 8120829530.
• David Kinsley (1988). Hindu Goddesses: Visions of
the Divine Feminine in the Hindu Religious Tradi-
tion. University of California Press. ISBN 978-0-
520-90883-3.
• David Kinsley (1997). Tantric Visions of the Divine
Feminine: The Ten Mahavidyas. University of Cali-
fornia Press. ISBN 978-0-520-91772-9.
• Lochtefeld, James (2002). The Illustrated Encyclo-
pedia of Hinduism, Vol. 1 & 2. Rosen Publishing.
ISBN 978-0823931798.
• Sankaranarayanan, S., Glory of the Divine Mother
(Devī Māhātmyam), Nesma Books, India, 2001.
(ISBN 81-87936-00-2)
• Sarma, Sarayu Prasad, Saptashatī Sarvasvam, in
Sanskrit, - A cyclopaedic work on Devī Māhātmya.
Rashtriya Sanskrita Samsthan, New Delhi, India,
2006.
• Sri Durga Saptashatī, - Original text and ritual man-
ual with Hindi translation, Gita Press, Gorakpur, In-
dia.
• Swami Jagadiswarananda, Devi Māhātmyam En-
glish translation, Sri Ramkrishna Math, Madras,
1953. (ISBN 978-8171201396)
• Swami Satyananda Saraswati, Chaṇḍī Pāṭh, Devi
Mandir Publications, USA and Motilal Banarsidass
Publishers Pvt. Ltd., Delhi, India, 1995. (ISBN 81-
208-1307-3)
• Swami Sivananda, Devi Māhātmya (with a lucid
running translation), The Divine Life Society, Shiv-
anandanagar, India, 1994. (ISBN 81-7052-103-3)
11 External links
• Devi Mahatmya, English Transliteration and com-
mentary

• Manna, Sibendu, Mother Goddess, Chaṇḍī, Punthi

Pustak, Calcutta, India, 1993. (ISBN 81-85094-60-
8)

• June McDaniel (2004). Offering Flowers, Feeding

Skulls. Oxford University Press. ISBN 978-0-19-
534713-5.

• Jyotir Maya Nanda. Mysticism of the Devi Mahat-

mya Worship of the Divine Mother. South Miami,
Fla: Yoga Research Foundation, 1994. ISBN 0-
934664-58-7

• Tracy Pintchman (2005). Guests at God’s Wedding:

Celebrating Kartik among the Women of Benares.
State University of New York Press. ISBN 978-0-
7914-6595-0.

• Tracy Pintchman (2014). Seeking Mahadevi: Con-

structing the Identities of the Hindu Great Goddess.
State University of New York Press. ISBN 978-0-
7914-9049-5.
 9

12 Text and image sources, contributors, and licenses

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