Деви Махатмья: Гимн Великой Богине

Hindu philosophical text

The Devi Mahatmya or Devi Mahatmyam is a Hindu philosophical text describing the Goddess, known as Mahadevi or Adishakti, as the supreme power and creator of the universe. It is part of the Markandeya Purana. Devi Mahatmyam is also known as the Durgā Saptashatī (दुर्गासप्तशती) or Śata Chandī (शत् चण्डी) and Chandi Path (चंडी पाठ). The text contains 700 verses arranged into 13 chapters. It is one of the most important texts in Shaktism, along with Devi Bhagavata Purana, MahaBhagawat and Devi Upanishad. 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. The Devi Mahatmyam describes a storied battle between good and evil, where the Devi manifesting as goddess Durga leads the forces of good against the demon Mahishasura—the goddess is very angry and ruthless, and the forces of good win. The verses of this story also outline a philosophical foundation wherein the ultimate reality (Brahman in Hinduism) can also be female. It is recited during Navaratri celebrations, the Durga Puja festival, and in Durga temples across India.

Devi Mahatmyam means 'Glorification of the Goddess'. The text is also called Durga Saptaśati (literally a collection of seven hundred" or something that contains seven hundreds in number), as it contains 700 shlokas (verses). It is also known as Candi Patha. Caṇḍī or Caṇḍika is the name by which the Supreme Goddess is referred to in Devī Māhātmyam. According to Hindu Scriptures, Caṇḍikā is "the Goddess of Truth and Justice who came to Earth for the establishment of Dharma", from the adjective caṇḍa, "fierce, violent, cruel for evil forces not for good forces". The epithet has no precedent in Vedic literature and is first found in a late insertion to the Mahabharata, where Chaṇḍa and Chaṇḍī appear as epithets."

Devi Mahatmyam is a text extracted from Markandeya Purana, and constitutes the latter's chapters 81 through 93. The Purana is dated to the ~3rd century CE, and the Devi Mahatmyam was added to the Markandeya Purana either in the 5th or 6th century. The Dadhimati Mata inscription (608 CE) quotes a portion from the Devi Mahatmyam. Thus, it can be concluded that the text was composed before the 7th century CE. It is generally dated between 400–600 CE. Wendy Doniger O'Flaherty dates the Devi Mahatmya to c. 550 CE, and rest of the Markandeya Purana to c. 250 CE. Hymns to goddesses are in the ancient Hindu epic Mahabharata, particularly in the later (100 to 300 CE) added Harivamsa section. The archaeological and textual evidence implies, states Thomas Coburn, that the Goddess had become as much a part of the Hindu tradition, as God, by about the third or fourth century. The Devi Mahatmyam, states C. Mackenzie Brown, is both a culmination of centuries of Indian ideas about the divine feminine, as well as a foundation for the literature and spirituality focused on the feminine transcendence in centuries that followed. The text includes hymns to saguna (manifest, incarnated) form of the Goddess, as well as nirguna (unmanifest, abstract) form of her. This structure is not accidental, but embeds the Samkhya philosophy idea of three Gunas that is central in Hindu scriptures such as the Bhagavad Gita. Tamasic is darkness and destructiveness (represented as Kali in Devi Mahatmya), Sattvic is light and creative pursuit (Mahalakshmi), and Rajasic is dynamic energy qua energy without any intent of being creative or destructive (Mahasaraswati). The thirteen chapters of Devi Mahatmya are divided into three unequal parts. The framing narrative of Devi Mahatmya presents a dispossessed king Suratha, who has lost his kingdom and a merchant named Samadhi, who is betrayed by his family. Disturbed by these events, both men decide to renounce the world and escape to the forested ashram of sage Medhas to find peace. Medhas' teachings lead them both beyond existential suffering. The sage tells them about Mahamaya, an epithet of the goddess, who is the cause of world's delusion and creation and who manifests in different ways.

The first episode (chapter 1) of the Devi Mahatmyam depicts Devi in her form as Maha Maya. Here, Devi is central and key to the creation as Maha Maya, or, the great illusion/power that induces Vishnu'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.

The middle episode (chapters 2–4) presents the goddess in her avatar as Durga. The episode stages a world under attack by the shape shifting Mahishasura, an evil demon who uses deception to disarm his opponents, ultimately taking the form of a buffalo demon. Mahishasura is able to use his powers to defeat the male gods because he had been granted a boon that he could only be defeated by a woman. Feeling angered and helpless, the gods release energy which combines into a singular mass of light and strength which takes the form of a goddess, Durga. The gods then bestow her with various weapons. Vishnu gives her his discus, Vayu gives her his bow and arrows and Himalaya provides her with a lion for a vehicle. Durga rides the lion into battle and captures and slays the buffalo demon by cutting off its head. She then destroys the inner essence of the demon when it emerges from the buffalo's severed neck, thereby establishing order in the world.

In the final episode (chapters 5–13) the demons Shumbha and Nishumbha conquer heaven and the gods go to the Himalayas to pray to Devi. Soon, Parvati arrives and asks them to whom they are praying. She then reveals to them that it is her. The sage finishes the tale. He tells the king and the merchant to take refuge in Devi to rid themselves of their delusion. Both the king and the merchant undertake penance and Devi grants them her vision. The king asks Devi for his lost kingdom and Devi grants it to him. The merchants asks Devi for wisdom and she grants it to him (Chapter 13).

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 century." 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.

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 Stuti which consists of the seven verses indicated. 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. 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.

Pradhana Rahasyam – "Deals with the process of creation. It is the secret about mula Prakrti who is the cause of creation." Vaikritika Rahasyam – "Describes how the Godhead beyond change subjected itself to change, how the mula prakrti (productive), became vikriti (produced); hence the name Vaikritika Rahasyam."

The Devi Mahatmya was considered significant among the Puranas by Indologists. This is indicated by the early dates when 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.