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This Puran is devoted to the mother goddess. Owing to her brocreational capabilities she is considered to be the geacom of all energy. Hence the term 'shakti' for mother Godders which literally means energy.
The Devi Bhagavatam is said to have been composed in Bengal in the sixth century CE, in twelve Parvas and 18,000 slokas. The text is only available in Bengali, with Hindi commentaries. It is replete with references to and legends from an obviously pre-Vedic religion of the Goddess. The Devi Bhagavatam is a Shakta Purana. It is for the Shakta what the Bhagavata Purana is for the Vaishnava: his or her most sacred book. The Shaktas worship Shakti, the Eternal Feminine, in all her forms. Devi is Kali and Durga; she is Saraswati, Mahalakshmi and Parvati; she is Sati, Sita and Radha. She is the Mother of the Universe; without her animating power, Shiva becomes shava, a corpse. This book is an abridged literary rendering of the Devi Bhagavatam. It retells all the major legends of the Goddess, as well as some other, less known tales.
Hindu mythological text; retold.
This book provides a translation, with introduction, commentary, and annotation, of the medieval Hindu Sanskrit text the Devi Gita (Song of the Goddess). It is an important but not well-known text from the rich SAakta (Goddess) tradition of India. The Devi Gita was composed about the fifteenth century C.E., in partial imitation of the famous Bhagavad Gita (Song of the Lord), composed some fifteen centuries earlier. Around the sixth century C.E., following the rise of several male deities to prominence, a new theistic movement began in which the supreme being was envisioned as female, known as the Great Goddess (Maha-Devi). Appearing first as a violent and blood-loving deity, this Goddess gradually evolved into a more benign figure, a compassionate World-Mother and bestower of salvific wisdom. It is in this beneficent mode that the Goddess appears in the Devi Gita. This work makes available an up-to-date translation of the Devi Gita, along with a historical and theological analysis of the text. The book is divided into sections of verses, and each section is followed by a comment explaining key terms, concepts, ritual procedures, and mythic themes. The comments also offer comparisons with related schools of thought, indicate parallel texts and textual sources of verses in the Devi Gita, and briefly elucidate the historical and religious background, supplementing the remarks of the introduction.
About 16 centuries ago, an unknown Indian author or authors gathered together the diverse threads of already ancient traditions and wove them into a verbal tapestry that today is still the central text for worshippers of the Hindu Devi, the Divine Mother. This spiritual classic, the Devimahatmya, addresses the perennial questions of the nature of the universe, humankind, and divinity. How are they related, how do we live in a world torn between good and evil, and how do we find lasting satisfaction and inner peace? These questions and their answers form the substance of the Devimahatmya. Its narrative of a dispossessed king, a merchant betrayed by the family he loves, and a seer whose teaching leads beyond existential suffering sets the stage for a trilogy of myths concerning the all-powerful Divine Mother, Durga, and the fierce battles she wages against throngs of demonic foes. In these allegories, her adversaries represent our all-too-human impulses toward power, possessions, and pleasure. The battlefields symbolize the field of human consciousness on which our lives' dramas play out in joy and sorrow, in wisdom and folly. The Devimahatmya speaks to us across the ages of the experiences and beliefs of our ancient ancestors. We sense their enchantment at nature's bounty and their terror before its destructive fury, their recognition of the good and evil in the human heart, and their understanding that everything in our experience is the expression of a greater reality, personified as the Divine Mother.
The authors of the Devī-Bhāgavata Purāna endeavored to demonstrate the superiority of the Devī over competing masculine deities, and to articulate in new ways the manifold nature of the Goddess. Brown's book sets out to examine how the Purana pursues these ends. The Devī-Bhāgavata employs many ancient myths and motifs from older masculine theologies, incorporating them into a thoroughly "feminized" theological framework. The text also seeks to supplant older "masculine" canonical authorities. Part I of Brown's study explores these strategies by focusing on the Purana's self-conscious endeavor to supersede the famous VaisBhagavata Purana. The Devī-Bhāgavata also re-envisions older mythological traditions about the Goddess, especially those in the first great Sanskritic glorification of the Goddess, the Devi-Mahatmya. Brown shows in Part II how this re-envisioning process transforms the Devī from a primarily martial and erotic goddess into the World-Mother of infinite compassion. Part III examines the Devi Gita, the philosophical climax of the Purana modeled upon the Bhagavad Gita. The Devi Gita, while affirming that ultimate reality is the divine Mother, avows that her highest form as consciousness encompasses all gender, thereby suggesting the final triumph of the Goddess. It is not simply that She is superior to the male gods, but rather that She transcends Her own sexuality without denying it.
The Devi Gita, literally the "Song of the Goddess," is an Eastern spiritual classic that appeared around the fifteenth century C.E. C. Mackenzie Brown provides a reader-friendly English translation of this sacred text taken from his well-regarded previous book The Devi Gita: The Song of the Goddess, A Translation, Annotation, and Commentary. Here the translation is presented uninterrupted, without the scholarly annotations of the original version, and in its entirety for the pleasure of all readers who wish to encounter this treasure from the world's sacred literature. Often neglected, the Devi Gita deserves to be better known for its presentations of one of the great Hindu visions of the divine conceived in feminine terms. The work depicts the universe as created, pervaded, and protected by a supremely powerful, all-knowing, and wholly compassionate divine female. It also describes the various spiritual paths leading to realization of unity with the Goddess. The author of the Devi Gita intended for the work to supplant the famous teachings of Krishna in the Bhagavad Gita (the "Song of the Lord") from a goddess-inspired perspective.
From the author of what has become the standard edition of The Yoga Sutras of Patañjali, an exploration of probably the most significant tradition in Hinduism, along with a rendering of key texts and parables from that tradition Bhakti Yoga explores one of the eight “limbs” of yoga. In the simplest terms, bhakti yoga is the practice of devotion, which is the essential heart of yoga and of Hinduism in general. In recent times, the term has come to be used in a rather simplistic way to refer to the increasingly popular practice of kirtan, or chanting in a group or at large gatherings. But bhakti yoga is far more complex and ancient than today’s growing kirtan audiences are aware, and embraces many strands and practices. Edwin F. Bryant focuses on one famous and important school of bhakti and explores it in depth to show what bhakti is and how it is expressed. And he supplies his own renderings of central texts from that tradition in the form of “tales and teachings” from an important work called the Bhagavata Purana, or “The Beautiful Legend of God.” This clarifying work establishes a baseline for understanding, and will be welcomed by all serious students of the spiritual heritage of India.