#green

ramnath@nerdpol.ch

#Happy #Navratri Day 6
Shashti

#Maa #Katyayani Puja
27th
March 2023
(Monday)

Navratri Day 6: #Green
Green colour signifies new beginnings and growth. Hindus worship Goddess Katyayani on this day and she is seen as the slayer of tyrannical demon Mahisasura.

Katyayani Mata is worshipped on the sixth day of Navratri. Goddess Parvati took this form to kill the demon Mahishasura. This form is considered quite violent and hence, Maa Katyayani is also known as the warrior goddess.

About Katyayani
Katyayani Maa rides a majestic lion. She is depicted with 4 arms, where the left 2 arms carry lotus & a sword, and right 2 arms stay in Varada & Abhaya Mudras. The Goddess is draped in a red attire.

Legend
The Goddess got this name Katyayini because she was born to the Katyayana Rishi. Some texts also described that she is an Avatar of Goddess Shakti and got this name because Rishi Katyayana was the first one to worship her.

When the world was in danger due to the atrocities of Mahishasura, Goddess Katyayani slew him. As soon as she arrived in front of the Demon Mahishasura, she dismounted herself from the lion being armed with all the weapons. The demon took the form of a bull and the goddess sprang over his back. With her tender feet, she pushed his head down and then slew his neck. That’s why she has also got the name Mahishasuramardini (the Mahishasura;s slayer).

Astrological Aspect
Planet Jupiter (Brihaspati) is ruled by the Goddess Katyayani. Worshipping her helps in pacifying the ill effects of this planet.

Mantras
ॐ देवी कात्यायन्यै नमः॥

Prarthana Mantra:
चन्द्रहासोज्ज्वलकरा शार्दूलवरवाहना।
कात्यायनी शुभं दद्याद् देवी दानवघातिनी॥

Stuti:
या देवी सर्वभू‍तेषु माँ कात्यायनी रूपेण संस्थिता।
नमस्तस्यै नमस्तस्यै नमस्तस्यै नमो नमः॥

Dhyana Mantra:
वन्दे वाञ्छित मनोरथार्थ चन्द्रार्धकृतशेखराम्।
सिंहारूढा चतुर्भुजा कात्यायनी यशस्विनीम्॥
स्वर्णवर्णा आज्ञाचक्र स्थिताम् षष्ठम दुर्गा त्रिनेत्राम्।
वराभीत करां षगपदधरां कात्यायनसुतां भजामि॥
पटाम्बर परिधानां स्मेरमुखी नानालङ्कार भूषिताम्।
मञ्जीर, हार, केयूर, किङ्किणि, रत्नकुण्डल मण्डिताम्॥
प्रसन्नवदना पल्लवाधरां कान्त कपोलाम् तुगम् कुचाम्।
कमनीयां लावण्यां त्रिवलीविभूषित निम्न नाभिम्॥

Stotra:
कञ्चनाभां वराभयं पद्मधरा मुकटोज्जवलां।
स्मेरमुखी शिवपत्नी कात्यायनेसुते नमोऽस्तुते॥
पटाम्बर परिधानां नानालङ्कार भूषिताम्।
सिंहस्थिताम् पद्महस्तां कात्यायनसुते नमोऽस्तुते॥
परमानन्दमयी देवी परब्रह्म परमात्मा।
परमशक्ति, परमभक्ति, कात्यायनसुते नमोऽस्तुते॥
विश्वकर्ती, विश्वभर्ती, विश्वहर्ती, विश्वप्रीता।
विश्वाचिन्ता, विश्वातीता कात्यायनसुते नमोऽस्तुते॥
कां बीजा, कां जपानन्दकां बीज जप तोषिते।
कां कां बीज जपदासक्ताकां कां सन्तुता॥
कांकारहर्षिणीकां धनदाधनमासना।
कां बीज जपकारिणीकां बीज तप मानसा॥
कां कारिणी कां मन्त्रपूजिताकां बीज धारिणी।
कां कीं कूंकै क: ठ: छ: स्वाहारूपिणी॥

Kavacha Mantra:
कात्यायनौमुख पातु कां स्वाहास्वरूपिणी।
ललाटे विजया पातु मालिनी नित्य सुन्दरी॥
कल्याणी हृदयम् पातु जया भगमालिनी॥

With this, we hope that you will make the best of Navratri’s sixth day. May Katyayani Durga blesses you with all the goodness of life.

Happy Navratri!
enter image description here

Ma as Katyayani – in many ways, perhaps the most iconic understanding for Devi amidst the modern Hindusphere.

When we think of Durga – this tends to be Whom we are praising. For She is MahishasuraMardini – The Destroyer of the Buffalo-Demon – Herself !

However, as with many prominently declared myths, it is an occasionally misunderstood one in various of its key particulars. Particularly by an outside audience or those with an insistent agenda to do so.

So, for instance, you will often find a particular focus upon the notion that She is created, congealed from an emanation of ‘essence’ or ’empowerment’ from various (male) Gods – that They give Her various weapons as parts to Her appearance in amongst Them.

Technically, this is true. It is absolutely correct to state, as it is found quite well attested within the relevant scriptural source-material. However it is something of a limited perspective – one which misses at least as much as it illuminates.

For it leaves unexamined the rather more ‘underlying’ point – where those Weapons, those Empowerments came from in the first place.

The answer?

Her.

We can find this presaged in the Vedas. Long-term readers of my work will instantly know which hymnals I am going to cite in support of this contention. RV X 125 is the obvious – therein, Devi is stated to be the figure Who enables Rudra to wield His Bow to smite the opponents of Gods and our religion; Who supports Varuna, Mitra, Indra, Agni, the Asvins, Soma, Tvastr, Bhaga, Pusan … you get the idea. Devi is not only Uber Alles – but also Underpinning All likewise.

Except how does this generalized conception for ‘Supporting’ the Gods pertain to the rather specific points around Divine Weaponry? Well, other than the aforementioned Bow of Rudra – we find in RV VIII 100 9-10, the situation of the Vajra of Indra being, it should seem effectively granted through Devi’s empowerment. Indeed, per Sayana’s commentary upon the verse, the Vajra is Devi – Thunder is Vak.

We can tell that this interpretation is likely accurate due to the lesser-known situation found in the Greek Indo-European mythos – wherein Athena alone “[knows] the keys to the house where His Thunderbolt is sealed” per Aeschylus’ Eumenides.

I have detailed at far grander length the mythic and theological purports of these understandings elsewhere, and so shall not seek to reproduce that work here. However, to provide the ‘essence’ of the situation –

My position is that what is being expressed here is quite simple. We know that Devi is the Absolute, Cosmic Order – and we know that what is being expressed here is that ‘elements’, ‘shards’, ‘sparks’ of this are being ‘brought in’ to our universe via Her Grace and active bestowal. Hence why the Vajra, as with Vak Devi has its home in amidst The Waters – that liminal sphere which surrounds our universe and provides an evidently semi-permeable barrier from the more ‘unshrouded’ Absolute Order. The ‘Lightning’, if you will, to the ‘Thunder’.

Now, this is vitally important in our discussion of the circumstances pertaining to Katyayani in combat against Mahishasur.

Why?

Because consider what a Demon is. It is a Lie given form and flesh.

In one of the rare moments where I say something complimentary about the Zoroastrians – their use of a certain term in Avestan, Druj, is apt. What does this word mean? Just exactly as I have said – “falsehood”, “harm”, “pollution”, “demon”. It derives from Proto-Indo-European *dʰrewgʰ-. In our language – in this case, Sanskrit – we have the similar term and understanding – द्रुह् (‘Druh’ – although it has less of the active sense of a lie and focuses instead on the ‘injury’ and ‘invidious demonic entity’ elements). And in Old Norse, we have ‘Draugr’ (a term most frequently used for a sort of malefic undead spirit – a false mockery of life).

Rta, Orlog – Cosmic Order – this is the Truth. The Demon is, in many ways, defined by its opposition to Rta, its opposition to Cosmic Order. And so therefore, it is quite natural that it is so eminently .. well .. False. Why it seeks to overthrow the Reign of the Gods, and drag the universe entire down to its turgid level.

And hence also how it seeks to do so – via the skillful use of illusion, beguilement, deceit. This is partially why demons are stated to have such great power of ‘maya’ (in its later sense – not quite the original Vedic understanding to the term), and partially why we find Mahishasur, a foremost lord of demonkind, described as such a shapeshifter.

The Demon, it dresses itself and its cause up – it bewitches the minds and senses of various beings (including, one can observe, itself – to delude itself into believing it has not only chance, but virtual certitude of victory) to bend them to its will; all in a bid to undermine and to eviscerate out, the saliency of Cosmic Order here in this universe of ours.

So, if this is the ‘essence’ of the demon – this falseness – then we are unsurprised to find that the supreme weapon with which the Demon is to be combatted … is Truth, is Light, is Law.

What is the Weapon of the Gods?

Just exactly that.

Or, rather, just exactly – Her.

Devi.

In the Hands of Indra, the Vajra is, indeed, Devi-bestowed Law – a weapon that is an in-universe tangible expression of Her Will, Her Law, Her Force (‘Shakti’). Hence why it is so incredibly effective at smiting the demonic foe that sought to ‘shroud’ away the Truth or the Dawn or the other such elements vitally necessary for the ongoing maintenance and upholding of Existence Itself.

In similar fashions, the various ‘qualities’ represented by the various weapons of the Gods that are given (back) to Devi for Her Fight against Mahishasur are likewise. She granted them to Them in the first instance.

These ‘qualities’ coming back – radiated out from the faces, the mouths, the brows of the Gods – into a ‘mountain of Tejas’ (radiancy, fire). A most eloquent, excellent tool with which to ‘illuminate’ – to dispel the darkness, the shadows, the delusions and illusions and despair.

To dispel, in short, the ‘Dhrewgh’ we have just aforemet.

As Terry Pratchett once observed: “Sometimes it’s better to light a flamethrower than curse the darkness.”

Indeed, I suspect that this rather more than partially explicates the root to the name ‘Katyayani’.

After all, the customary interpretation is that She is the ‘Daughter’ of the Sage Katyayana.

The etymology of ‘Katyayana’ is a bit of a complicated topic for another time – although we note with interest the potentiality around Kai (कै), ‘To Sound’. Certainly, in addition to the logical ‘Priestly’ component to this, it should concord rather well with the salient contribution of the historical Katyayana as … something of an etymologist, or perhaps a philologist, and directly acquainted with some of the ‘mysteries’ around Vak akin to those salient in RV X 71 (effectively, that words in the Sacred Speech have meaning a-priori to human utilization – our tongues and minds being ‘guided’ to these via Her Divine Hand).

One way to perhaps interpret this is the notion of the Vedic Ritualist invoking Her – causing Her to become present via the sacral fire and his prayerful Song. The notion of Devi in this form as ‘Daughter of Katyayana’ would accord what we seemingly observe elsewhere in the poetic descriptions of various Gods as being the ‘Sons’ of prominent Vedic Rsis – statements that cannot be taken at face-value and literality for a number of reasons, yet which make perfect sense when we consider the manner of the Vedic rite wherein a God is ‘brought into this world’ through the Priest’s holy formula of invocation.

However, another potentiality for the theonym is also in evidence.

In the Skanda Purana (VI 1 120), we find this most intriguing illustration:

The Gods are said to have been defeated in combat against Mahishasur, even despite being lead by Indra – leading to the woeful state of the Three Worlds as the Demons rapaciously appropriate anything and everything of worth. This lamentable situation is the cause for much anger and strategizing on the part of the Gods – with, and this is of vital importance, this anger and its attendant heat (the Sanskrit word used is Gharma (घर्म) – so ‘heat’, predictably, doesn’t really capture the connotation; think ‘boiling’, ‘brew-up’ – as with various ritual preparations), issuing forth from ‘Vak’s Gate’ (Vaktradvāra – i.e. the Mouth), begins to congeal.

However, it is only once Lord Skanda, Kartikeya, becomes aware of the situation – and joins His vocal expression of Wrath (‘War-Fury’ would be the apt translation for Kopa ( कोप ) here, I think) again out through the voice-gate with those of the rest of the pantheon – that She ‘arrives’ in earnest (the relevant Sanskrit term – Samagata – simultaneously means ‘to arrive’ but also to ‘come together’, ‘conjoin’, ‘unite’).

The Purana then goes on to state (VI 1 120 13) that it is due to precisely this that She becomes known as Katyayani – as She has developed from the Wrath of the Heavens, catalyzed via the Rage of Kartikeya being introduced to this.

Now this opens up some rather intriguing possibilities, in light of the later understanding via Prakrits of ‘Katya’ to pertain to the Krttikas (Pleiades) – however that is perhaps unnecessary to explore at this time.

What we shall instead note is that due to the theonymic for Kartikeya Himself as ‘Katyayanisuta’ – the Issue of Katyayani (i.e. His Mother’s Son) – or ‘Katyayaniputra’ (again, ‘Son of Katyayani’), it is not the case that this sets up the ultimate Invoker of Katyayani as being Her Father. Only Her ‘Caller’ (and here we are pointedly referencing the sense to Goði as the ‘Caller of the Gods’ … as well as, as we have seen viz. Gharma, the Pourer Forth to the Gods – as seen in the underlying sense to होतृ ( Hotr ) and हवन, होम (Havan, Homa), all from PIE *ǵʰew- (‘To Pour’)).

Now, toward the outset of this piece, I declared that the Myth of Katyayani is one that, “as with many prominently declared myths, it is an occasionally misunderstood one in various of its key particulars. Particularly by an outside audience or those with an insistent agenda to do so.”

To which did I refer there? Well, in part it is to a most bizarre and scurrilous spectacle I had beheld some years ago – wherein a group of Bengali animation students had decided to ‘re-interpret’ the myth to be more in line with their own particular flavouring of ‘feminist’ sensibilities. This is affronting on multiple levels – one of which being that the myth needs no reinterpretation to be approached as an excellent ‘feminist’ morality tale. The Demon makes a most indecent proposition indeed toward the beautiful Devi, and following his would-be harassment, objectification, however we wish to term it … She destroys him mercilessly.

However, it is the precise manner of their ‘reinterpretation’ that caused – and should cause – such intemperate outrage. For they had decided to “present” (in truth, flagrantly misrepresent) the narrative in a manner they considered to not have been crafted for the ‘male gaze’ … and so instead of Devi slaying the demon through force of arms, they chose to try and suggest that more “feminine” [their labelling] means that eschewed violence to instead ‘persuade’ and ‘exhaust’ the cretin were deployed.

Perish the thought. This sort of thing is directly opposed by the actual texts themselves.

In the course of the Srimad Devi Bhagavatam, Devi directly tells the envoy of Mahishasur, in reply to an attempted marriage proposal, that she is going to kill him.

In fact, it is not so much phrased as a threat – but rather, an inevitability. She is, as we have said, Cosmic Order – Rta, Orlog – and just as ‘Orlog’ in the later Germanic / Nordic rendering came to mean ‘Fate’ … well, so She is thusly, too.

To quote from the text (V 10; Vijñanananda translation):

“Now see that your master Mahiṣa has shown his intelligence, when he courted his death from the hands of a woman. For that very reason, I have come here in the shape of a woman to effect my purpose; why shall I fear, then, to hear your words, contradictory to those of the Śāstras.

When Fate goes against any one, a grass comes like a thunderbolt; and when fate goes in favour of anyone, a thunderbolt becomes as soft as a bundle of cotton.
What does it avail even when one possesses an extensive army or various weapons in abundance, taking shelter in a wide extending fort? What will his soldiers do to him, whose death has come close at hand?
[…]
Know this as certain, very certain, that death will come to him in the manner as written by the hands of Fate; it will never be otherwise.
As the birth and death of Brahmā and other gods are ordained, your death has been similarly ordained; no, there is no need of taking the example further than this.
Those who are tied up by the hands of death are surely fools and of extremely blunt intellect, if they think simply on the strength of their getting some boons “that they would never die.”

Therefore go quickly to your king and speak to him what I have said; you will then surely obey what he commands you to do.
If he wants his life, he, with his retinue, would at once go down to Pātāla; let Indra and the other Devas get possession of the Heavens and their share of Yajñas.
If he holds a contrary opinion, let him be eager to go to the house of Death and come and fight with Me.

If he thinks that Viṣṇu and the other Devas have fled from the battle-fields, he has nothing to boast of; for he has not shown his manliness at all even then; for his victory is solely due to his having got the boon from Brahmā. ””

The message is relayed to Mahishasur … who asks his advisors what it is that he should do with this information.

One of these, Durdhara, offers this counsel (V 11):

“As far as I think, I consider that woman with beautiful teeth as passionate. For that woman of broad hips has expressed a desire to bring you under control by making you fearful; the mistresses, proud of their beauty generally use such words when they become passionate.
When they behave in this way, people call these amorous gestures. These crooked words of mistresses are the chief causes in attracting dear persons unto them.
Those who are skilled in the art of love affair, some of them can know these things thoroughly well.
O King! That woman has said:
“I will pierce and kill you by arrows, face to face, in the battlefield.”
The sense of this is different. The wise persons that are clever and experienced in the art of finding out the cause, declare that the above sentence is pregnant with deep and esoteric meaning.
You can easily see that the handsome women have no other arrows with them; their side-glances are their arrows. And their words carry their hidden meanings, and, expressing their desires, are their flowers.
O King! Brahmā, Viṣṇu and Maheśa even have no powers to shoot arrows at you; how can, then, that helpless woman, who appears so passionate, dart real arrows at you?
O King! That lady said:
“O Stupid! I will kill your King by my arrow-like eye-sight.”
But the messenger was wanting in that power to appreciate; so he, no doubt, understood her words in their contrary sense.
The saying of that lady:
“I will lay your lord in the death-bed in the battle-field”
is to be taken in the light of inverted sexual intercourse, where woman is above the man.
Her utterance:
“I will take away the vitality (life) of your lord” – is also significant.
The semen virile is known as the vitality (life). Therefore the above expression means that she will make you devoid of your virility. There can be no other meaning.
O King! Those women that are excellent show by too much of their covert expressions (innuendos) that they select and like very much their beloved. The experts only in these amorous affairs will be able to appreciate these things.
Knowing thus, dealings ought to be made with Her so that the harmony in amorous sentiments be not broken.
O King! Sāma (conciliation) and Dana (gifts) are the two means to be adopted; there is no other way. By these two, that Lady, whether she be proud or angry, is sure to have brought under control; I will go now and bring Her before you by such sweet words.
O King! What is the use of my talking too much? I will make Her submissive to you like a slave girl.”

You can just imagine how this actually plays out in practice.

Violently. For the demons.

As it turned out, Devi meant exactly as She had said when She declared that She would destroy them. Funny, that.

Now as it happens, this mytheme of demon lords deciding they really do rather like the appearance and other such qualities of Devi, and would like to possess Her in most unseemly fashion – is quite a recurrent one. It always ends the same way. We could quote quite a number of further exemplars from the scripture, but this piece has already taken far too long in the writing (we apologize wholeheartedly to Devi for being a night late, even!).

However, we shall quote from the … aftermath of another decidedly ill-considered attempted-marriage-proposal from a would-be demon world-emperor:

From the Devi Mahatmya (Pargiter translation of the Markandeya Purana’s presentation of same):

“Seeing his brother Niśumbha slain, who was dear to him as his life, and his army being slaughtered, Śumbha in wrath spoke thus—“O Durgā, who art tainted with the arrogance of strength, bring not thy pride here, thou who, trusting in the strength of the other goddesses, dost fight in exceeding haughtiness!”

The Goddess Spoke:

Alone verily am I in the world here; what other Goddess is there besides Me? See, vile one! that these Goddesses, Who have their divine power from Me, are entering into Me indeed.

Then all those Goddesses, Brahmāṇī and the others, became absorbed into the Goddess’ breasts; Ambikā then remained alone indeed.

The Goddess spoke:

Whereas I existed with My Divine Power in many forms here—that has been drawn in by Me, truly alone I stand now. Be thou steadfast in combat!”

It is intriguing to note that which happens next:

“Thereupon commenced a battle between them both, the goddess and Śumbha, while all the gods and the Asuras looked on —a battle without quarter. With showers of arrows, with sharp weapons and also with pitiless missiles both engaged anew in a combat which set all the world in fear. And the lord of the Daityas broke the heavenly missiles, which Ambikā discharged in hundreds, with weapons that parried them. And the supreme goddess in merest play broke the heavenly missiles that he discharged, with fierce shouts, ejaculations and other sounds.”

We are unsurprised to find that Vocalization is such a prominent combat-form here. Vak, as we have said (in multiple senses), Over All.
Although, of course, more conventional forms of martial engagement then ensue – which we shall not quote here for length.

Our point in quoting that aforementioned excerpt was simple – as She Herself states: the Powers, the Divinities that had taken to the field … well, She Alone outnumbers the foe, precisely because all of these other forms are expressions, emanations of Her. The various Goddess-forms mentioned are, indeed, Shaktis of the male Gods as well in many of these cases. Just as we had stated much earlier.

Yet let us draw things to their close.

Demons both present and represent Lies. In some cases, these are small and subtle – in others, large and pernicious in their profusion. They may be conceptual delusions – like the idea that one can successfully defy the Will of the Gods (and live …), or for that matter, the notion that a woman cannot possibly be a martial threat or a leader, cannot prove and demand respect. Or they may be other kinds of falsehood – the various and manifold guises adopted by Mahishasur in the course of his attempted combat against the Goddess, as one example; or the lies we might tell ourselves (whether under demonic influence, particularly) about who and where we are ‘supposed’ to be.

However, in order to gain meaningful purchase out here in this world of ours – or even ‘in there’ in these heads that sometimes uneasily coexist with same – they must be listened to, believed, given credence, let in and entertained, tolerated. And slowly but surely, upon our beginning to do so, they become … not ‘true’ – not really – but a sort of twisted simulacra of ‘reality’ that parasitically sustains itself upon the energy of our life’s force, and the stolen valour of Truth, that it can pervert away from its true direction. We’re ‘necessary’ to them, in order to grant them the material support, the material expression, to which they are otherwise – eminently righteously – denied !

The Kingdom of Mahishasur – such as it was – was a fundamentally Delusory one. For it was based, at all levels and in all ways, upon a Lie. It was ruled over by a Liar, whose conquest was only made possible via his Lie that he was invulnerable (and the best lies, as they say, are the ones that are only ‘mostly’ true), garbed up also as another Lie as to his purported superior martial vigour. Devi calls him out on all of the above. But I say that it was a Delusory kingdom, because that is just exactly that which it was – the Heavens, Truth, belong to the Gods. He had not set up a meaningful ruination and casting down to Them – he had, at best, temporarily taken up residence somewhere that he decidedly did not belong. The dreams of empire and imperial dominion he harboured were fantasies – they were defined against the truth, and against Cosmic Law, right there from the outset.

What does all of this lead to?

A ‘snapback’ of sorts.

Reality reasserts itself – sorry, I should say:

Reality reasserts *HERself – violently.

जय माता दी ॥

जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥

ॐ देवी कात्यायन्यै नम ॥

yew@diasp.eu
ramnath@nerdpol.ch

#ARDRA #NAKSHATRA
enter image description here
#Rudra is the teacher who teaches us
to contain, and to spiritually empower ourselves
with the Primal rage of existence.

https://www.ancient-tantra.com/63-ardra-nakshatra/
Ardra Nakshatra is the lunar house of the raging god Rudra.

Destruction and Re-creation are both themes of Ardra.

This #Star is connected deeply to the #water element, #Green is the colour of Ardra, we can take this green colour to mean the growth that ensues after the moisture fertilizes the soil of the #soul.

It is the star #Betelgeuse in the shoulder of the hunter, in the constellation of #Orion.

This is the celestial warrior Orion, whose name is most probably derives from the Greek word Arion which means hunter.

Ardra actually means moist. The symbol of this star is a teardrop, a teardrop of emotion and the rains of life.

The lessons of this star is given by considering how the rains bring growth and life, while also considering how the rains can also flood and ravage.

Ardra also contains the word Rudra and is also simply called Rudra Nakshatra.

The rain of Ardra is a furious thunderous storm and not a sprinkling twinkling shower. The water of Rudra is not a sweet refreshing freshwater stream in the height of summer, but rather it is a tempest of crashing screaming waves in the bone splitting coldest and darkest corner of the ocean.

Rudra arrived in the world howling and roaring like cosmic thunder.

Rudra in fact, means the howling screamer. He was born androgynous, purple and wild.

Creativity takes destruction and combustion to ensue, like a cloud that opens its waters for the sake of growth and nourishment. Creation takes death and transition. Death is implicit in every act of creation. Rudra is that death.

Rudra is #Shiva in his #primal aspect. Rudra is the furiously red lord of #Tantra who becomes the cool blue Shiva, after immersing himself in Yogic practices.

Shiva is the mastery of the raging Rudra energy. Shiva contains the root Shva, which implies death, calmness and stillness. Rudra brings the death of rebirth. Rudra is the transitional maneuver twixt the poles of tension and suspension. Rudra takes us from one state to another.

That becoming Shiva, is representative of the transition between storm and calm. Rudra to Shiva is the path of integration of the stormy forces of the heart.

Rudra is the teacher who teaches us to contain, and to spiritually empower ourselves with the Primal rage of existence.

When the storms of the heart are brought forth. Rudra can and does shift back from his Shiva state and unto his raging Rudra state of wild and destructive force.

We will now look at some stories that highlight this transition between Rudra and Shiva.

The stories tell us how the desire of the creator to populate creation gave #birth to Rudra. This will be a simplification a longer more detailed tale, but we will bring out the most poignant points.
At first the creator had a desire to populate the creation. And so some children were birthed. But the children were so calm and detached, that they had any desire to do anything of the sort and refused to populate the creation. Instead, they wanted fly the starry sky in meditation of the great mysteries.
These were the 4 Kumar brothers who are perpetually young little boys, they never reach puberty and fly around the skies naked. They were not interested in the least about the creation, but rather just wanted to be left alone, so that they could meditate of the mysteries of the great beyond.
The creator became furious that these children defied his will. The creators anger built up in his third eye Chakra. A frown knotted his brow and built up to such an extreme, that it erupted as a storm. And so Rudra was born of the rage and frustration of the creators third eye Chakra.
Rudra was born bright purple, it’s significant that Rudra is a mix of opposites. He contains both male and female and the colours red and blue.
Rudra roared and screamed so forcefully that his rage threatened to erode and crumble creation. His rage was so destructive that it had the potential to create.

Rudra then exploded into half. He became Rudra and Rudrani the red. They further exploded into 11 furious forms and continued to populate creation.
Rudrani is the female half of Rudra. Rudrani finds her expression in her various incarnations of the Urga (fearsome) Devi’s (Goddesses). The fearsome goddesses such as Nrritti and Matangi are two such manifestations of Rudrani.
The male Rudra also has his incarnations, Hanuman and the serpent Ajaikapad, for example, are two of the manifestations of Rudra.

The Rudric forms that started to populate the creation were at the same time destroying it.
The creator told Rudra that there is a way to manage this destruction if he would do Yogic practices and Rudra was very interested in the proposal.. And so the creator taught Rudra the Yogic art and science of yore.
Rudra went far into the wilderness and mountains and there spent aeons mastering Tantric Yogic wisdom.
Rudra developed the Yogic wisdom to levels far beyond what even the creator had taught him or ever even conceived of. Rudra broke on through to the other side, far beyond the known borders of creation. That is his secret magic trick that he brings to us. Rudra destroys the known order, in order to create something yet unknown.

Rudra is the ultimate Yogi who works with the forces of destruction.
When Rudra came down from the mountain, he was Shiva.
He had worked with the malefic destructive force and appeared as the ultimate benefic mellow Yogi that is Shiva. Now the creation had another face and destructive force could be balanced.

Consider some of the key points of this story in the list below and meditate upon the symbol of Rudra going up the mountain and coming down as Shiva. What connotation could the upward and downward maneuver imply.

The calm firstborn children 4 Kumaras who had no desire for to populate creation.
The androgynous Rudra splitting into the male Rudra and the female Rudrani.
Rudra, going up the mountain to work in solitude his anger.
Coming down the mountain as the calm Shiva.

Rudra is an out cast, he doesn’t see within the known bounds, this is the power that his star brings to us. The time-honoured conservative, along with his precious structures, is torn to bloody shreds by the bare hands that gleam in the starlight of Ardra Nakshatra. These be the Hands of Rudra.

The story of Rudra and Sati is a central Tantric tale that tells that the princess Sati was in love with the wild Rudra who lived in the wilderness. Sati was determined to unite with Rudra. This destiny of hers caused great storms with her father Daksha who was a highly honoured master of ritual and magical creation of forms. He was a royal king of high prestige, possess of profound pride stubbornness and arrogance.

Daksha was the ultimate patriarch who was concerned with royal appearance, dominance and prestige. Rudra on the other hand couldn’t care less for outer appearances, he was too far-sighted beyond the surface of the appearances of things. Rudra saw into the depth into a place where there was no form to cover the naked essence. Rudra is verily that deep essence. He has no need for anything because he has everything in his vision that sees the indivisible pure essence behind all forms.

Sati is the link between wilderness and propriety. She is the one who stands between the worlds of wilderness and propriety as we will see.
Sati had a hard time getting Shiva’s interest, as he was often deep in trances of visiting the realms of pure energy behind the surface of appearances. Locked in Samadhi, (meditational absorption) Shiva would sit on the earth but hardly be interacting with any of its endless infinity of forms. Sati did prevail in her wish to be with Shiva, and she joined him in the ways of the wilderness. They both stood far outside and beyond civilisation, Rudra initiated Sati ever deeper into the ways of nature. Rudra didn’t dress or wash or even comb their hair. His friends were the earth bond spirits and ghouls. Shiva indulged in ecstatic trance and kept warm by the fires of the funeral pyres where he would befriend the lost and wandering ghosts.
Sati was of high class aristocratic stock, but she found more jewels wealth in her time with Rudra. Sitting in Yogic wonder beneath the dark star-sprinkled night, Sati found real royalty.
But Sati wanted to do things properly and formally, and so she told her father Daksha that she would get married to Rudra.
Her opulent honourable father hated Rudra to the core. In Rudra, he saw his very opposite. To him, Rudra was a filthy outcast who didn’t know the appropriate way to behave in proper society. Sati’s father Daksha, time and again brutally opposed the marriage. This is an important point in the story that points to Sati’s role as the bridge between two worlds of the wilderness of Rudra and the aristocratic propriety of her father Daksha.
Sati prevailed and she brought Rudra Home. Of course, within moments, Rudra caused outrage and scandal.
In the royal court, Rudra was quite a sight to behold, naked with matted hair, accompanied by hoards of ghoul and ghost.
When Daksha entered his own royal court, everyone stood to acknowledge him as was the custom for such an esteemed dignitary as he. Everyone that is, except Rudra.
Insults and outrage ensued and Rudra stayed self-contained and walked away.
At this point Rudra had already been doing the sacred Yogic practices for aeons.

Time passed magically in the wilderness for the two lovers, when one day Sati wanted to go and see her family, she had developed a profound disgust and hatred for her father. She had been the youngest favorite daughter but bitterness had ensued since her willfulness to go and live with Rudra the wild one.
Rudra tried to stop her from going as he knew what would happen, but of course the forcefully willed Sati went ahead anyway.
In the royal palace, argument ensued between Sati and her father.
Rage shook Sati as insults were hurled between her and her father. Sati shouted out at her father that all would witness how his arrogance, hate and pride will disgrace him, and that he shall forever-after be known as the epitome of patriarchal ignorance that resulted in his daughters death.
And so Sati sat down and prepared to say the Mantra which would cause her to combust into flames. Some variants of the story said she jumped into the sacred sacrificial Yanja fire. A Yajna is a ritual fire to which sacrificial offerings are given.
Sati burned to death right in front of everyone in the palace.

The shame and guilt of his youngest daughters death was on Daksha. But he was soon to meet a foe far worse than any of this.
The ghosts of Rudra informed Rudra what had happened, and his wrathful side was evoked. Rudra tore at his Jutta (locks of matted hair) and threw them on the ground in rage, from one of the Jatta appeared the giant Bhadravira, the potent force of Rudras rage, Rudra as Bhadravira charged the galaxies like a raging storm that went tearing its way through creation.
Meanwhile, in the royal palace, insults were hurled between ghost and saint. The storm clouds rumbled through creation and the royal assembly felt the terror in the pit of their bowels. When Bhadravira arrived in his raging form of Bhadravira, the full force of his primal screaming rage set lose, eyes were squeezed out of heads, wise old beards were yanked clean off the face, most probably with half the flesh of the face.
Pushan the milk drinking god had his teeth smashed out.
(Note that Pushan is the god of Revati Nakshatra, you may review the text here.)
http://www.healinginthewillows.com/revati-nakshatra

Before going further with the story, let us consider the ruling planet of Ardra Nakshatra, which is Rahu. Rahu is the headless North lunar node as pictured above. He is considered as one of the Navagrah, (9 planets of the Yogins) Rahu moves out and forward and is ever consuming hungrily what ever he can. He represents the future and also the results of ones past actions. It is interesting to look at how the head symbolism plays out very strongly in Ardra Nakshatra. This will be our next line of study. But first a little more on Rahu. Though Rahu is often described as being male, he is also said to carry the energy of the ultra destructive feminine.
The destructive Goddess Nirrti carries a Rahu energy, she is the Goddess of Mula Nakshatra, she is a Rudrani.
You may review the text on that which was sent in the newsletter on the 24th of June 2021. (Please request it if you have not got it and wish to read it.)
Nirrti’s Nakshatra is ruled by Ketu which is the South lunar node, she is a destructive goddess who moves between the past and the future, she is Rahu personified yet works with the root and uprooting. Her Nakshatra Mula literally translates at the Root star.
Ketu represents the roots of the past, all things ancestral and of heritage.

#Rahu are the ultimate Asuras, they were once one being that became divided.

It’s interesting also that Rahu is the planet that causes the eclipse of the sun by literally gobbling it down. Interesting because Daksha was the great solar patriarch who worked with fire in his rituals. He was a master at manipulating fire for magical purposes.
The name Daksha can also be taken to mean the great skillful manipulator.
We could say that the Rudra force of Ardra Nakshatra backed by Rahu, came and gave Daksha the result of his past actions of disregarding and insulting his daughters feelings and harboring hatred for Rudra, not to mention the rebound echo of beheading so many animals for the magical rituals in which he was engaged.
Daksha lost his head quite literally in the Story.

The Daksha aspect of Rahu is represented in the hunger and want of Rahu. Daksha is ever on the quest for more power and prestige. He is like the Rahu head without body, ever consuming and yet is never satisfied. The Rudra aspect of Rahu is the eclipsing of the fire and shading things into obliteration. Daksha along with his dear Yajna fire was obliterated. Sati as Rudrani combusted to a charred body without its previous glow.
This is what Rahu does, he is a planet that works on different octaves of eclipsing.
The story shows these different octaves of Rahu force in the form of Daksha, Rudra and Sati.

And so finally, for the grand finale, the head of Daksha was wretched screaming from his body and the headless patriarch was born. Some accounts tell that Rudra wielded the Moon sword known as Chandrahas, and decapitated the head from the body of Daksha.

Daksha was a master of ritual and was given to the sacrifice of animals for magical gain. There is such a branch of magic still in existence where the etheric force of sacrificed animals is gathered and put towards the fulfillment of the desired ends. Though it is a powerful form of magic, it carries rather costly Karmic consequences.
There are some parts of India where even orthodox priests still adhere to this practice to fulfill requests. Religion is a big business in India, one can pay for such rituals. Obviously there are other rituals that do not involve animal sacrifice. There are many types of practitioners that come under the title of a Tantric . Some are doing rituals for others, those in the line of teachers of the techniques are more on the side of teaching others how to do their own rituals. Some Tantrics believe they find loopholes to get out of the Karmic repercussions of actions like animal sacrifice.
Some of the branches of Tantra deal with healing and study of the soul, but not all branches do. Some of the modern Western branches of Tantra deal with drinking strong chocolate and masturbating their clients on a massage table while New-Age music plays peacefully in the background. The spectrum of what is considered Tantra is indeed broad.
Dasksha was of the side that indulged in ritual for material gain. He was a powerful manifester. His name in fact means he who is highly adept. Daksha is a Prajapati, which means he is one of the progenitors of creation. He it was who gave birth to the 27 sisters who are the Nakshatra’s. He was arrogant, haughty and proud. To him, beauty form and manners were paramount.
Daksha is the energy that cares for what people think.
Daksha is the energy that cares for facade and appearance.
Because of this love of external form and obsession with order and cleanliness, Daksha dispised the wild natural Rudra who lived outside the principles of convention.

It was the Daksha Yajna story that really highlights the meeting of the two worlds of raw natural impulse and exterior edifices of propriety.
The Yajna had invited everyone apart from Sati and Rudra. But Sati had gone anyway and as we have seen, met her end.
The story is very detailed and has many subtle meanings woven into its narrative, right down to the directions where the many events happen are poignant and give teaching of the qualities and powers of the directions.
We are here dealing with the main points.
One such detail of note, is that the Bhadravira form of Rudra could not kill Daksha so easily.
Daksha was protected by the rituals he had been conducting for aeons in his own place of power.
Rudra’s form of Bhadravira saw that there was one place where Daksha was not protected, and so he dragged the pitifully screaming Daksha to the place where he had been sacrificing animals. He placed Daksha on the sacrificial altar and…
Off with his head!

OFF WITH HIS HEAD!
Oh! but there are a few other heads that come off in the story of Rudra, there are several stories and variants of heads being withdrawn from their bodies when we look at Rudra. Note again the Rahu connection. Rahu also once had a body before his head sliced from it . He was once an Asura who drank the elixir of immortality. Vishnu steppers in and cut the head with his spinning Chakra weapon. The head and body were hurled into the celestial expanse, where the head became Rahu at the north of the Moon, and the Body became Ketu at the south of the Moon, forever they became immortalised at the cosmic shadows upon Moon and sun.

Let’s look at another head of interest that was dispensed from its body. The sacrifices of Daksha are known as Yajna. And Yajna is also the name given to the one who does the sacrificing himself.

#Yajna saw the storming Rudra charge the palace in his Bhadravira form. Yajna trembled in fear and knew he had to escape. Transforming into a Deer, he leapt from the palace, but with the force of a steaming thunderbolt, the giant Bhadravira grabbed the head, yanking it clean from the body, he threw it into the starry firmament. That head became the Nakshatra of the Deer head. Known as Mrgasirsa Nakshatra. This Deer star is beside Ardra Nakshatra.

Mrgasirsa literally means Deer headed lunar house.

To review the writing of Mrgasirsa, you may refer to the text on the website with this link.

The events of this particular part of the tale occur in the Nakshatra of Ardra. This story gives us an insight into what the energy of Ardra Nakshatra represents.

A TIME TO #CRY
On with the story!

After a sufficient amount of bodies were made headless. Rudra picked up the dead burned body of his beloved Sati and proceeded to freak out in primal rage and trample his way all over creation.

His tears do water the land. Rudraksh means the tears of Rudra. Rudraksh is a sacred seed that is carries a potent force, Yogins recognise many types of Rudraksh, the seeds have segments which are called Mukhi (face) each different number of faces on a Rudraksh gives it a particular quality and so different types of Rudraksh have different effects. This is a wisdom kept by Yogins. It’s a very detailed subject that assigns different types of Rudraksh seeds to different planetary forces and deities. Sometimes medicines are prepared from the beads in the Siddha secret medicine of the Yogins. There are many stories both written and unwritten that tell of how the sacred Rudraksha came to earth and it’s significance for Yogins. Let us consider one such story here.
The Tantric wears a bead necklace of 108 beads to represent the 108 tears that Rudra cried as he howeled his way through creation in utter distress, carrying the burned rotting body of his only love Sati.
Each time a part of the dead body of Sati fell off, Rudra wept a tear as she faded further from him.
Where his tears fell with the body part of Sati, that place became one of the 108 Shakti Peeths. The Shakti Peeths are places of magnetic power of the temples of the Goddess in her different aspects. Each Shakti Peeth carries a different power. For example, where the Yoni and the Womb of Sati fell, that place became the Shakti Peeth of Kamakhya Devi. Kamakhya Devi is the Goddess of menstruation and desire.
Kamakhya’s #Shakti Peeth is located in Assam.
In some of the lines of Tantra, the wandering Tantrics wander the land in the footsteps of Shiva, and give honour to the Shakti Peeths.
For example, on the Moon of #Bharani Nakshatra. Some Tantrics travel to the Kamakhya temple in Assam for connection to the mysteries of the Goddess. Shakti Peeths are astrologically aligned to the Nakshatra’s and transport their teachings.
Bharani Nakshatra is the lunar house of the celestial Yoni.
You may review the text on Bharani here.
http://www.healinginthewillows.com/bharani-nakshatra

Rudra is the storm god of water, we have seen how his Nakshatra is symbolised by a teardrop. The word Ardra means moist.
But Rudra also symbolises fire. The story of Rudra shows how he came in a storm to the royal Yajna of Daksha and took the still burning body of Sati away with him. There are some accounts that say that his houses and ghoul companions had pissed of the sacrificial Yajna fire and created noxious gasses that caused abject suffering for those who breathed them in.
This contention between Fire and water is very poignant to Rudra.
When a Nakshatra spans two signs between water and fire, then that junction becomes what is an own as a Gandanta point. It is a place of steam. Steam is rain, this is the steaming moisture of Rudra. A Gandanta point carries Karmic lessons and is a place of learning though the art and style of Rudra, often with tears and fire.
The whole movement of a Rudra storming into the fire ceremony of Dasha’s Yajna, is a portrayal of the Gandanta point. Rudra verily is the Gandanta point. He came in a storm and left with fire in the form of Sati’s still burning body.
It is known that Rudra lives in the cremation grounds where he warms from the funeral fires and befriends wandering ghosts. Rudra wears the ash of the funeral pyre, this is a custom that some Yogins still follow. Ash is the place where fire and water meet.
Let us look further into the implications of the fire and water that Rudra represents.

Rudra has two other Nakshatra’s that further point to the principle of him ruling the Gandanta points.
The 2 Bhadrapada Nakshatra’s of Purva (origin) and Ashadha (maturity) are the two Nakshatra’s of Rudra that are ruled by him in his form as the incarnations of the celestial serpents of fire and water.
The first serpent form of Rudra is called Ajaikapad who the fire serpent and ruling deity of Purva Bhadrapada. The second serpent form of Rudra is called Ahirbudhyana who is the water serpent and ruling deity of Uttara Bhadrapada. They are two aspects of Rudra, and are both the fiery and watery incarnations of Rudra.
In the human body the Gandanta points are called the Granthi’s. These are the psycho/physical knots where Karma is tied up. Rudra is the one who releases the Knot, He offers 11 incarnations, which are the teachings of releasing Gandanta. The Ritual work with Rudra of Saturday’s dark Moon will further develop towards the home meditation of working with the 11 faces of the Primal Rudra.
The primal Rudra is the primal rage.