7 Secrets of Goddess is a well researched and thoroughly documented book from Dr. Devdutt Pattanaik. This book should be a must read for anybody interested in Hindu mythology. The book documents the stories relating to Hindu goddesses in the context of gender studies, patriarchy, colonialism and capitalism. The book heavily borrows from the signs and symbols found in folk art, calendar prints, tiles, temple art, statuettes, pattas and other sources to reach to the conclusion. Thus the book has huge pictorial references with proper demonstrations.
7 Secrets of the Goddess studies the five goddesses Kali, Gauri, Durga, Laxmi and Saraswati and one god Vittal or Krishna from Hindu mythology. Interestingly the first chapter studies not any Hindu deity but Gaia, the earth mother from Greek mythology. The entire first chapter draws parallel between the Hindu deities and their counterparts from across the world. Gaia is compared to Adya or the Adi Mata from the Tantrik tradition who is the mother of the Hindu trinity. The chapter focuses on how the idea of a primal female deity, first adored, then brutally side-lined by the male deities is a consistent theme in mythologies around the world. The chapter studies how women lost her dominant position and submitted to the dominance of men. The word “virgin” lost its earlier meaning of ‘one who is ready to bear a child’ to its present meaning of ‘one who is untouched’. Similarly ‘whore’ meant a woman who had the right to choose her man and not an insult as today. The shift in meaning shows how the position of women shifted from free willed to one who was bound. A patriarchal society links women with nature and men with culture. Just as culture domesticates nature, men are asked to domesticate women. Thus, the word “sati” which originates from ‘sat’ meaning honest/loyal was coined. A woman who is loyal to her husband is powerful and has the virtues of a goddess. Society therefore started locating its honour in a woman’s body.
The book should have elaborated more on the impact of colonialism and re-telling of Hindu mythology. The domestication of the goddess happened more so under the influence of not only Islam but also the Victorian and Puritan era. The Hindu goddess lost her free spirit and became the mother during the colonial rule.
Recently in my post “How Bengali Deepavali is different” I discussed how Bengal worships Kali on the day of Diwali instead of Laxmi as the rest of India does. The second chapter of this book deals with the idea of Kali over last four thousand years. It shows the mention of Kali in different literatures including the Tamil Sangam or changam literature. Kali also traces her origin in Buddhist Goddess Tara, interestingly in Bengal Kali is also refered as Tara, and there is one famous pilgrim spot known as Tarapith, known for its Tantric temple and its adjoining cremation grounds where sādhanā (tantric rites) are performed. It is one of the Shakti peeth, where sati’s body parts fell. Tarapith is also famous for Bamakhepa, known as the "mad saint", who worshipped in the temple and resided in the cremation grounds. In post colonial times, with the rise of feminist movement kali became an image of subversion and rebellion. We often consider Durga as Gauri. While Kali was fierce she was nature but Gauri is domesticated thus culture. Durga and Gauri are treated as daughters and their tales are abundant in rural folklore.
We often assume that great knowledge cannot come from ‘simple rural folk’. But with study of Indian rituals and text we can find that wisdom of India comes from simple rural folk. And thus we should give more value to the “panchali” "bratakatha” and songs practiced by simple village women. In rural India we often hear the term “mata has come” where a woman is considered the medium of Goddess and whatever she says is considered spoken by the Devi herself. The author referred this as ‘hysterical trances’ or a way of letting out repressed emotions. However he ignores that often these women were epileptic or schizophrenic.
Sindur khela in Bengal has often been criticised by Feminists as a way of asking for death before the husband so that the lady never gets claim on the husband’s property and also her fidelity remain intact. But this book links it to fertility as well, where if the husband is alive she remains fertile.
This book traces the quarrel between Laxmi and Saraswati to the conflict between the three Vedic communities. While Durga was worshipped by Khsatriyas for strength, the Brahmins worshipped Saraswati for wisdom and the Vaishyas worshipped Laxmi for wealth. In the book laxmi is shown prettier and more decorated than Saraswati. But as per Bengali tradition Saraswati is the prettier one with pale skin whereas Laxmi is dark skinned with slightly squinted eyes. In Bengal Saraswati is worshipped during spring mainly in educational and musical institutes’ besides homes. Saraswati puja is as important as Laxmi puja in Bengal. Although in rest of India Laxmi is worshipped with bigger fanfare.
India is not a homogeneous country so the goddesses also exhibit characteristic specific to the area and community. Therefore during Navratri, while North India worships Amba mata, the Bengalis worship Mohishasurmordini, the Tamils keep golu and the Koli community in Maharashtra worship ekvira aai. The offerings are also different. As the Bengalis eat non-veg, Ekvira aai is offered fish everyday as the Kolis are a fisherman community. This book refers to Puranic and Vedic scriptures, rural folklore, epics and other literatures as its source. It is a gripping book. It traces the story through different civilisations, cultures, historical periods and religions. It borrows hugely from rural folklores and paintings. This is undoubtedly one of the most interesting books I have read in recent times.
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