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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.
In recent decades, the relation between Egyptian and Greek praises of the goddess Isis has received much scholarly attention. The present study, however, focuses on six Demotic hymns and praises directed to this goddess: P. Heidelberg dem. 736 verso, O. Hor 10, Theban Graffiti 3156, 3462, 3445, and P. Tebt. Tait 14. These texts from the second century BC to the second century AD are re-edited in facsimile, transliteration and translation. A commentary to each document discusses philological matters, providing improved readings in some instances. For the first time, the six texts are analyzed comparatively in regard to formal features and content. The concept of Isis that is outlined by the Demotic sources is set against Isis' role as described by other Egyptian sources (such as temple inscriptions or theophoric personal names) and by Greek eulogies of the goddess. An appendix offers an overview of other Demotic hymns and praises addressed to various divinities.
This translation combines Western scholarship with an insider's perspective, based on the author's 37 years of spiritual practice in the Hindu tradition.
Anita Corrine Donihue's beloved When I'm Praising God is back in a completely updated package! The second book in Anita's best-selling When I'm on My Knees series, When I'm Praising God sold nearly 300,000 copies in its first release. Encouraging women to praise God in any and every situation, When I'm Praising God is a heartfelt collection of prayers, devotional thoughts, poems, and scripture. It's designed to help readers through even the most trying times, by turning their focus to the God who overcomes all-and is worthy of all praise. This new edition is priced right for anyone looking to praise and worship God.
In Praise of Adya Kali details the goddess Kali, and her culture of devotion in West Bengal and South Asia. Different from most contemporary books about this Dark Goddess, this book offers a liturgy of worship—a spiritual practice, the Song of the Hundred Names of Adya Kali, that readers can use to cultivate a direct devotional relationship to Kali. In Praise of Adya Kali is also a context-setting guide, establishing this practice as a general orientation to life. Most compelling, the text of this liturgy and Commentaries contain an intimate revelation of how the goddess establishes herself in her devotees’ bodies and thus intervenes, by unconditional love and acceptance, in their lives. A lengthy Introduction, both scholarly and personal, describes the goddess and the possibilities that these prayers will offer. Aditi Devi guides us in how to build a shrine to Kali, various types of offerings to make to her, and suggests a schedule for how to use this liturgy with a long-term commitment over the course of 108 nights. “This Song of the Hundred Names is a powerful teaching that all forms are her forms,” the author notes. Male, female, or other gendered, readers are presented with the possibility to experience the depths of their own internal feminine energies, and thereby come into greater healing and wholeness, more readily able to express this often neglected part of ourselves.
Fiercely Bright One, Beautiful Lady, Queen of Heaven, Giver of Wealth, Great of Magic, Mother of God. These are some of the titles given to Aset, the ancient Egyptian Goddess commonly known as Isis. She is a goddess of kingship, sovereignty of Heaven and Earth, magic, knowledge, healing, divination and owns Ra's Hidden Name. Presented here is a collection of over 100 hymns, prayers and inscriptions from various Ancient Egyptian temples and papyri praising and petitioning the goddess Aset. Many of these works have never been translated into English.
Fiercely Bright One, Beautiful Lady, Queen of Heaven, Giver of Wealth, Great of Magic, Mother of God. These are some of the titles given to Aset, the ancient Egyptian Goddess commonly known as Isis. She is a goddess of kingship, sovereignty of Heaven and Earth, magic, knowledge, healing, divination and owns Ra's Hidden Name. Presented here is a collection of over 100 hymns, prayers and inscriptions from various Ancient Egyptian temples and papyri praising and petitioning the goddess Aset. Many of these works have never been translated into English.
A celebration in folklore, mythology, music, and art of the African goddess Oya. This expanded edition of an underground classic (Shambhala, 1987) features new artwork, new chapter introductions, and songs with musical scores. The author of six books, Judith Gleason has traveled extensively to Africa and the Caribbean to research the ancient and contemporary Yoruba and Santeria traditions.
New York Times bestselling author P. C. Cast presents the first novel in her Goddess Summoning series... Home alone on the night of her twenty-fifth birthday, Air Force Sergeant Christine Canady yearned for something to cure her loneliness. After drinking too much champagne, she recited a divine invocation to revive her humdrum life. But how was she to know the spell would actually work? When her plane crashes into the ocean, CC’s life changes forever. She awakens, bewildered, to find herself in a legendary time and place ruled by magic—and in the body of the mythic mermaid Undine. But danger lurks in the waters, ready to swallow CC whole. Taking pity on her, the goddess Gaea turns her into a damsel, that she might seek shelter on land. But when a dashing knight comes to CC’s rescue—a dream-come-true she should be falling for—she instead aches for the sea and the darkly sexy merman who’s stolen her heart…
She is seen as one and as many: as it were, but one moon reflected in countless waters.She exists, too, in all animals and inorganic things, since the universe, with all its beauties, is, as the Dev Pura says, but a part of Her. All this diversity of form is but the infinite manifestations of the flowering beauty of the one Supreme Life--a doctrine which is nowhere else taught with greater wealth of illustration than in the kta stras and Tantras. The great Bharga in the bright sun, and all Devat, and, indeed, all life and being are worshipful, and are worshipped, but only as Her manifestations. And he who worships them otherwise is, in the words of the great Devbhgavata, "like unto a man who, with the light of a clear lamp in his hands, yet falls into some waterless and terrible well." It is customary nowadays to decry external worship, but those who do so presume too much. The ladder of ascent can only be scaled by those who have trod all, including its lowest, rungs. The aktirahasya summarises the stages of progress in a short verse, thus: "A mortal who worships by ceremonies, by images, by mind, by identification, by knowing the self, attains kaivalya." Before brahma-bhva can be attained the sdhaka must have passed from pjbhva through hymns and prayer to dhyna-bhva. The highest worship for which the sdhaka is qualified (adhikri) only after external worship, and that internal form known as sdhra is described as nirdhra. Therein Pure Intelligence is the Supreme akti who is worshipped as the Very Self, the Witness freed of the glamour of the manifold universe. By one's own direct experience of Mahevar as the Self, She is, with reverence, made the object of that worship which leads to liberation.