Hymns to the Goddess and Hymn to Kali

About the Book

The Goddess or Devī is God in Its Mother aspect. Devī, who is existence, consciousness and bliss, is thought of as a female, a male or pure Brahman. This volume Hymns to the Goddess is an endeavour of Sir John Woodroffe (Arthur Avalon) to translate the Sanskrit hymns in praise of the Goddess or Devī, scattered in Tantra and Purāṇa texts, Mahābhārata, and in the hymns of Śaṅkarācārya, who was an incarnation of devotion and a great philosopher, Vālmīki and Indra.

After a general introduction, the book starts with a hymn to Kālabhairava, the spouse of Devī, followed by Devī stotras. In these hymns, Devī is praised as Bhairavaī, Bhuvaneśvarī, Ādyakālī, Lakṣmī, Tārā, Mahiṣamardinī, Aṇṇapūrṇā, Sarasvatī, Durgā, Tripurā in Tantra texts; Sarvaviśvajananī, Ambikā, Caṇḍikā, Mahādevī and Jagadambikā in Purāṇas; Durgā, Āryā, Durgā in Mahābhārata; Tripurasundarī, Gaṅgā, Ānanadalaharī, Yamunā, Narmadā and Mahālakṣmī.

Hymn to Kālī (Karpūrādi Stotra), another book within the book, is a celebrated Kaula stotra, having commentary on the hymns. It, in addition to mantroddhāradhārā, contains stotras of dhyāna, yantra, sādhanā, madya, māṁsa, maithuna and phala-śruti matters.

About the Author

Sir John George Woodroffe (1865–1936), also known by pseudonym Arthur Avalon, was a British Orientalist whose work helped to develop in the West a deep and wide interest in Hindu philosophy and yogic practices. A lawyer by profession, he developed parallel interest in Sanskrit, Indian philosophy and religion.

Sir Woodroffe wrote or translated more than a dozen books: Introduction to the Tantra Sastra; Tantra of the Great Liberation (Mahanirvana Tantra); Hymns to the Goddess; The Serpent Power; Hymn to Kali: Karpuradi-Stotra; The World as Power; The Garland of Letters; Principles of Tantra (2 vols) and Is India Civilized? Essays on Indian Culture are some of them.

Hymns to the Goddess

and

Hymn to Kālī

SIR JOHN WOODROFFE

(At the Konarak Temple of Sun-god in Orissa)

(courtsey : Mr. P.K. Dutta)

Major Works of Sir John Woodroffe # 1

Hymns to the Goddess

and

Hymn to Kālī

Arthur Avalon

[Sir John Woodroffe]

Cataloging in Publication Data — DK

[Courtesy: D.K. Agencies (P) Ltd. ]

Hymns to the goddess and hymn to Kālī / [compiled and translated by] Arthur Avalon (Sir John Woodroffe). pages cm (Major Works of Sir John Woodroffe # 1)

Translated from Sanskrit.

1. Hindu goddesses — Prayers and devotions. 2. Kālī

(Hindu deity) — Prayers and devotions. 3. Hindu

hymns, Sanskrit — Translations into English. I. Avalon,

Arthur, 1865-1936, compiler, translator.

BL1236.22.H95 2017 DDC 294.543 23

ISBN: 978-81-246-0980-4

First published in 1913 by Luzac & Co., London

Retypeset and printed in India, 2018

© D.K. Printworld (P) Ltd., New Delhi

Rights reserved with the copyright holder for the presention, style and layout of the text in this edition. No reproduction of this book or part thereof in any form through any means should be made without the written permission of the Publishers.

Printed and published by:

D.K. Printworld (P) Ltd.

Regd. Office: "Vedaśrī", F-395, Sudarshan Park

(Metro Station: ESI Hospital), New Delhi – 110 015

Phones: (011) 2545 3975, 2546 6019; Fax: (011) 2546 5926

e-mail: indology@dkprintworld.com

Website: www.dkprintworld.com

HYMNS TO THE GODDESS

Publisher’s Note

Ever since this scholarly translation published first in 1913 by Luzac, London, many editions (reprints) have come out from different publishers in India and abroad. The reprinted editions available in the Indian market are of poor print quality, affecting readability. Moreover, the diacritics used in Indological terms have undergone a few modifications over the period. So also some editorial presentations. Due to these reasons, we have recomposed the volume in reader-friendly typeface with present-day usage of diacritics and necessary editorial changes following the New Oxford Dictionary for Writers and Editors.

Since page to page composition is difficult due to change in the layout and font, we have specified the original page number (showing the last line of original composing) at the left margin of the present edition, enabling one to have easy referencing of the original edition and the notes appeared therein.

Preface

The Goddess or Devī (as the Hindus call Her) is God (as the Western worshippers address Him) in Its Mother aspect. The latter not uncommonly deem such attribution of feminine quality to be heathenish; but this condemnation (for the criticism has, of course, this intendment) is itself singularly foolish in that it is thereby implied that of two sets of terms (neither of which is in its strict sense applicable to the Deity as the Author of forms), one is, in fact, a more correct description than the other. In Navaratneśvara it is said: "That Devī, who is existence, consciousness, and bliss, should be thought of as a female or as a male, or as pure Brahman. In reality, however, She is neither male nor neuter (that is to say, that She is not bound to any particular form)." No one contends that the brahma-tattva in the supreme abode beyond appearances is masculine as opposed to feminine, or the latter as contrasted with the former. Like all else in this matter, words are but the babbling endeavour of our plane to express that which is above it. It is not easy, then, to explain the condemnation except upon the assumption that those who pronounce it think their mother’s sex to be inferior to their own, and that thus Deity is unworthily described by any other terms than those of masculine excellence. But Hindus, whoever place the name of mother before that of father, and to whom garbha dhāraṇapoṣābhyām pitur mātā garīyasi, have no partiality for such mistaken notions. On the other hand, it is possible that they might not understand the Christian expression Mother of God, nor approve it even after they had learnt the limited and special sense which theology gives to this epithet. The tāntrika would least of all admit the insufficiency of the conception of God as Mother. For the Devī manifests in his own mother, in his prakṛti (as he calls his wife), and in all women. As Kubjikā Tantra says: "Whosoever has seen the feet of woman let him worship them as those of his guru" (strīnām pādatalam dṛtṣṭvāguruvadbhāvayet sadā). Whilst male and female are both Her aspects, yet Śakti is, in a sense, said to be more revealed in the female than in the male form. And so Muṇḍamāla Tantra says: "Wherever there is a śakti (female), there I am". On account of this greater manifestation, women are called Śakti. From this, however, it must not be suppos that Śakti is less present in such forms as Śiva and Kṛṣṇa, and others. If, as the author of the Tantra Tattva says, a sādhaka who is a worshipper of the Kṛṣṇamūrti desires to see Him as Kālī, Bhagavān, who fulfils the desires of devotees, will assume that form. All forms come into existence upon the manifestation of consciousness in the play of Her whose substance is consciousness.

Though Śāktānandataraṅgiṇī says that Devī is worshipped on account of Her soft heart (komalāntaḥkaraṇam), yet the use of the term Mother has other grounds than those which are founded upon an appeal to the natural feelings which the sweetness of the word Mother evokes. The meaning of the term devī is prakāśātmikā, or that which is by its nature Light and Manifestation. And the word is used in the feminine gender because the One, as Śakti and Prakṛti, bears and nourishes all things as their Mother. The Devī is therefore the Brahman revealed in Its Mother aspect (śrīmātā) as creatrix and nourisher of the worlds.

Worshippers of Devī or Śakti are called Śāktas. But those who have a true knowledge of śakti-tattva without which, according to Śāstra, nirvāṇamokṣa is unattainable, will in thought surpass the sectarianism which the terms Śākta, Vaiṣṇava, and Śaiva ordinarily connote. Whatever forms the Devī assumes in Her aspect with attributes are but Her forms. As the author last cited says, the sādhaka will know Her, whether the appearance be that of Kṛṣṇa, Durgā, or Mahādeva. The Vaiṣṇava may consider Her as Viṣṇu in the form of Śakti, or the Śākta may look upon Her as Śakti in the form of Viṣṇu. To those who, immersed in the ocean of Her substance, which is citśakti, are forgetful of all differences which appertain to the world of form, Kṛṣṇaśakti, Śivaśakti, or Kālīśakti, and all other manifestations of śakti, are one and the same. And so Rāmaprasāda, the Bengali poet and tāntrika, sang: Thou assumeth five principal forms according to the differences of worship. But, O Mother! how can you escape the hands of him who has dissolved the five and made them into one?

The hymns to the Devī in this volume (introduced by a stotra to Her Spouse the Kālabhairava) are taken from the Tantra, Purāṇas, Mahābhārata, and Śaṅkarācārya, who was the incarnation of devotion (bhaktāvatāra) as well as a great philosopher; a fact which is sometimes ignored by those who do not wish to be reminded that he, whose speculative genius they extol, was also the protagonist of the so-called idolatrous Hinduism. As his great example amongst many others of differing race and creed tell us, it is not, from the view of religion, the mark of discernment (even though it be the mode) to neglect or disparage the ritual practice which all orthodoxies have prescribed for their adherents. Stava and pūjā are doubtless the sādhana appropriate to the first of the several stages of an ascent which gradually leads away from them; but they are in general as necessary as the higher ones, which more immediately precede the attainment of brahmabhāva and siddhi.

Apart, however, from this aspect of the matter, and to look at it from the point of view of that modern product, the mere student of religions, who is not infrequently a believer in none, a knowledge of ritual (to use that term in its widest sense) will help to a greater and more real understanding of the mahāvākya of the Āryas than can be gained from those merely theoretical expositions of them which are now more popular. Those, again, whose interests are in what Verlaine called mere literature will at least appreciate the mingled tenderness and splendour of these hymns, even in a translation which cannot reproduce the majesty of the Sanskrit ślokas of the Tantra and Purāṇas, or the rhyme and sweet lilting rhythms of Śaṅkara.

Of the hymns now published, those from Mahābhārata and Caṇḍīstotraprayogavidhi have already been translated; the first, in the English edition of Mahābhārata, by Protap Chandra Roy and by Professor Muir in his Original Sanskrit Texts, and the second by Mr. Pargiter, whose rendering of Mārkaṇḍeya Purāṇa (of which it is the most celebrated portion) has been printed by the Asiatic Society of Bengal. Ādyākālīsvarūpastotra has also been previously published as part of a rendering by myself of Mahānirvāṇa Tantra. The first two sets of hymns have been translated afresh. In the translation of such works a Sanskrit dictionary (however excellent) is not either a sufficient or reliable guide. It is necessary to study the Hindu commentators and to seek the oral aid of those who possess the traditional interpretation of the śāstra. Without this and an understanding of what Hindu worship is and means, absurd mistakes are likely to be made. I have thus, in addition to such oral aid, availed myself of the commentaries of Nīlakaṇṭha on Mahābhārata, of Gopāla Chakravarti and Nāgoji Bhaṭṭa on Caṇḍīstotraprayogavidhi, and of Nīlakaṇṭha on the Devībhāgavata. As regards the Tantra, the great Sādhanā Śāstra, nothing which is of both an understanding and accurate character can be achieved without a study of the original texts undertaken with the assistance of the tantrika gurus and paṇḍits, who are the authorized custodians of its traditions.

The other stotras are now rendered in English for the first time; at least, I have come across no translation of them.

The text of Tantrasāra which has been used is that edited by Shrijut Rasik Mohun Chatterjee. It is not free from faults, which have necessitated reference to other manuscripts. A more correct text of Tārāśatakam, from Nīla Tantra, is given in B¦hatstotraratnākara, to which reference has also been made for the hymns of Vālmīki and Indra.

Both Ellen Woodroffe and myself have collaborated in the translation of the hymns by Śaṅkara. For the rest, as also for the Introduction and Commentary, I am alone responsible. Some of the notes deal with matter familiar enough to the Hindu reader but have been inserted for the use of his English friends. Other portions of the commentary will, I believe, be found to be of use to both.

1 March 1913

John Woodroffe

Abbreviations

Contents

HYMNS TO THE GODDESS

Publisher’s Note

Preface

Abbreviations

Introduction

Hymn to Kālabhairava

Kālabhairava

Hymns to the Devī from Tantra

Bhairavī

Bhuvaneśvarī

Ādyakālī

Lakṣmī

Tārā

Mahiṣamardinī

Annapūrṇā

Sarasvatī

Durgā

Tripuṭā

Hymms to the Devī from

Purāṇas and Mahābhārata

Sarvaviśvajananī

Ambikā

Caṇḍikā

Mahādevī

Jagadambikā

Durgā

Āryā

Durgā

Hymns to the Devī

by Śaṅkarācārya and Others

Tripurasundarī

Gaṅgā

Ānandalaharī

Yamunā

Devīaparādhakṣamāpana Stotra

Maṇikarṇikā

Gaṅgā

Narmadā

Annapūrṇā

Gaṅgā

Mahālakṣmīstotra by Indra

HYMN TO KĀLĪ

Preface

Invocation

Prayer

Verses 1-22

Introduction

Sanātana Brahman is called sakala when with Prakṛti, as It is niṣkala when thought of as without Prakṛti (prakṛteranya), for kalā is Prakṛti.¹ To say, however, that Śakti exists in or with, the Brahman is an accommodation to human thought and speech, for the Brahman and Śakti are in fact one. Śakti is eternal (anādirūpā) and brahmarūpā, and both nirguṇā and saguṇā.² She, the Goddess (Devī), is the caitanyarūpiṇī devī who manifests all bhūta; the ānandarūpiṇī devī by whom the Brahman, who She is, manifests Itself,³ and who, to use the words of Śāradātilaka, pervades the universe as does oil the sesamum seed. Sa aikṣata, of which Śruti speaks, was itself a manifestation of Śakti, the paramāpūrvanirvāṇaśakti, or Brahman, as Śakti.

From the paraśaktimaya issued nāda, and from nāda, bindu.⁴ The state of subtle body known as kāmakalā is the mūla of mantra, and is meant when the Devī is spoken of as mūlamantrātmikā.⁵ The parama-bindu is represented as a circle the centre of which is the brahmapada, wherein are Prakṛti and Puruṣa; the circumference of which is encircling māyā. It is in the crescent of nirvāṇakalā the seventeenth, which is again in that of amākalā the sixteenth digit of the moon-circle (candramaṇḍala), situate above the sun-circle (sūryamaṇḍala), the guru and the haṁsaḥ in the pericarp of the 1,000-petalled lotus (sahasrārapadma). The bindu is symbolically described as being like a grain of gram (canaka), which under its encircling sheath contains a divided seed — Prakṛti–Puruṣa or Śakti–Śiva.⁶

It is known as the Śabda-Brahman.⁷ A polarization then takes place in paraśaktimaya. The Devī becomes unmukhī. Her face is turned to Śiva. There is an unfolding which bursts the encircling shell.⁸ The devatāparaśaktimaya exists in the threefold aspect of bindu, bīja, and nāda, the last being in relation to the two former. An indistinct sound then arises⁹ (avyaktātmāravobhavat). Nāda, as Rāghava Bhaṭṭa¹⁰ says, exists in three states, for in it are the three guṇas. The Śabda-Brahman manifests Itself in the threefold energies — jñāna, ichhā, and kriyā śakti.¹¹ For, as Vāmakeśvara Tantra says, the Devī Tripurā is threefold as Brahmā, Viṣṇu, and Īśa. Paraśiva exists as a septenary under the forms of Śambhu, Sadāśiva, Īśāna, Rudra, Viṣṇu, and Brahmā. The last five are the mahāpreta, four of whom form the support, and the fifth the seat, of the bed on which the Devī is united with Paramaśiva in the room of cintāmaṇi stone on the jewelled island clad with clumps of kadamba, and heavenly trees set in the ocean of ambrosia.¹²

Śakti is both māyā and mūlaprakṛti, whose substance is the three guṇas, representing nature as the revelation of spirit (sattva); nature as the passage of descent from spirit to matter, or of ascent from matter to spirit (rajas), and nature as the dense veil of spirit (tamas). The Devī is thus the treasure house of guṇas (guṇanidhiḥ).¹³ Mūlaprakṛti is the womb into which the Brahman casts the seed from which all things are born.¹⁴ The womb thrills to the movement of the essentially active rajoguṇa, and the now unstable guṇas in varied combinations under the illumination of Śiva (cit) evolve the universe which is ruled by Maheśvara and Māheśvarī. The dual principles of Śiva–Śakti, which are the product of the polarity manifested in paraśaktimaya, pervade the whole universe, and are present in man in the svayambhūliṅga of the mūlādhāra and the Devī Kuṇḍalinī, who in serpent form encircles it. The Śabda-Brahman assumes the form of the Devī Kuṇḍalinī, and as such is in the form of all breathing creatures (prāṇī), and in the form of letters appears in prose and verse. She is the luminous vital energy (jīvaśakti), which manifests as prāṇa. Through the various prakṛta and vaikṛta creations, issued the devas, men, animals, and the whole universe, which is the work and manifested form of the Devī. For, as Kubjikā Tantra says: Not Brahmā, Viṣṇu, and Rudra create, maintain, and destroy, but Brāhmī, Vaiṣṇavī, Rudrāṇī. Their husbands are but as dead bodies.

The Goddess (Devī) is the great śakti. She is māyā, for of Her the māyā, which produces the saṁsāra is. As the Lord of māyā, She is Mahāmāyā.¹⁵ Devī is avidyā (nescience), because She binds; and vidyā (knowledge), because She liberates and destroys the saṁsāra.¹⁶ She is Prakṛti,¹⁷ and, as existing before creation, She is the ādya (primordial) śakti. She is the vācaka-śakti, the manifestation of cit in Prakṛti; and the vācya-śakti or cit itself. The ātmā should be contemplated as Devī.¹⁸

Śakti or Devī is thus the Brahman revealed in its Mother aspect (śrīmātā)¹⁹ as creatrix and nourisher of the worlds. Kālī says of Herself in Yoginī Tantra:²⁰ saccidānandarūpāham brahmaivāham sphuratprabham. So the Devī is described with attributes both of the qualified²¹ Brahman, and (since that Brahman is but the manifestation of the Absolute), She is also addressed with epithets which denote the unconditioned Brahman.²² She is the great Mother (ambikā) sprung from the sacrificial hearth of the fire of the Grand Consciousness (cit) decked with the sun and moon; Lalitā — She who plays — whose play is world-play; whose eyes, playing like fish in the beauteous waters of Her Divine face, open and shut with the appearance and disappearance of countless worlds, now illuminated by Her light, now wrapped in her terrible darkness.²³ For Devī, who issues from the great Abyss, is terrible also in Her Kālī, Tārā, Chinnamastā, and other forms. Śāktas hold that a sweet and complete resignation of the self to such forms of the Divine Power denotes a higher stage of spiritual development.²⁴ Such dualistic worship also speedily bears the fruit of knowledge of the universal unity, the realization of which dispels all fear. For the Mother is only terrible to those who, living in the illusion of separateness (which is the cause of all fear), have not yet realized their unity with Her, and known that all Her forms are those of beauty.

The Devī as Para-Brahman is beyond all forms and guṇas. The forms of the Mother of the universe are threefold. There is first the Supreme (para) form, of which, as Viṣṇu Yāmala²⁵ says, none knows. There is next Her subtle (sūkṣma) form, which consists of mantra. But, as the mind cannot easily settle itself upon that which is formless,²⁶ She appears as the subject of contemplation in Her third or gross (sthūla) or physical form, with hands and feet and the like, as celebrated in Devīstotra of the Purāṇas and Tantras. Devī, who as Prakṛti is the source of Brahmā, Viṣṇu, and Maheśvara,²⁷ has both male and female forms.²⁸ But it is in Her female forms that she is chiefly contemplated. For, though existing in all things, in a peculiar sense female beings are parts of Her.²⁹ The Great Mother, who exists in the form of all Tantras and all Yantras,³⁰ is, as the Lalitāsahasranāma says, the unsullied treasure house of beauty, the sapphire Devī³¹ whose slender waist,³² bending beneath the burden of the ripe fruit of her breasts,³³ swells into jewelled hips heavy³⁴ with the promise of infinite maternities.³⁵ Litanies to Her depict Her physical form from head to foot, celebrating Her hair adorned with flowers and crowned with gems; Her brow bright as the eighth-day moon; Her ruby cheeks and coral lips; teeth like to "the buds of the sixteen-syllabled mantra", and eyebrows curved as are the arches at the gate of the palace of Kāmarāja; Her nose; Her teeth; Her chin; Her arms; and