The Mythical explanation of an Eclipse - Indian

The Hindu myth has its origins in the famous episode of samudra manthan. As per the myth, the gods and asuras got together to churn the ocean to get the wealth from the bottom of the sea. Amongst this wealth, the most coveted and awaited of all was the amrita (nectar of life) consuming of which would grant immortality. Both the gods and the asuras were after it, but both knew that they needed each others might to churn it out of the sea.

When they finally got the nectar, Lord Vishnu took the form of Mohini, the enchantress and asked all of them to stand in a queue and she would serve it to one and all, with the idea of not serving it to the asuras at all. All the asuras were too enchanted to see thru the deception, except for one of them, by the name of Swarbhanu. Swarbhanu could sense something amiss and so he disguised himself like the gods and managed to get a sip.

Sun and the Moon came to know about it and informed this to Lord Vishnu, who immediately cut Swarbhanu with his Chakra into two. However, since Swarbhanu had already consumed it, nothing much could be done. So the top half of Swarbhanu came to be known as Rahu and the tail became Ketu, with no body in between.

Rahu and Ketu came to dislike Sun and Moon, and so once in a while they try to swallow them. Since there is no body, every time the mouth (Rahu) swallows the Sun or the Moon, it slips out of the tail (Ketu). During the time that the Sun and the Moon pass thru Rahu and Ketu, there is darkness all around. This is the mythical reason of a Solar eclipse and a Lunar eclipse!

Rahu and Ketu have a lot of astrological significance (negative impact) on the mortals, which is a different subject altogether.

The picture shows Rahu swallowing the Sun and causing an eclipse. This Rahu Temple (Named Wat Srisathong) is in Nakhon Chaisi 65 kms from Bangkok.

The Waxing and Waning of the Moon.

As per a Vedic myth, Daksha Prajapati had given 27 of his daughters in marriage to Chandra (the moon god). Chandra was known for his good looks and virility. But Chandra amongst all the wives preferred Rohini, which angered the other sisters, who complained to their father about this partiality.

Daksha Prajapati cursed Chandra with a degenerative disease, which led him to lose his lustre and thus Chandra started to wane. Chandra was worried and on the advice of Lord Brahma, prayed to Shiva, who allowed him to take refuge in his locks and gain his potency back.

Later, the curse was reduced to a temporary state, and from that day onwards, Chandra, the moon, waxes when it approaches Rohini and wanes when it moves away from her. On the full moon day, Chandra attains his full potency, and then onwards, it loses its potency to the new moon night, when he has no wife by his side and on the previous day, when he is just a crescent, he takes refuge on Shiva’s locks. The day Chandra, takes refuge on Shiva’s locks, Lord Shiva is known as Chedrashekhar!

Another myth has its origin in the ravenous appetite of Lord Ganesha. It so happened that once Ganesha had an overdose of his favourite sweet, modaks (sweet rice balls), till the point of feeling extremely uncomfortable. He then decided to out in the open air. While was in the jungle, a snake crossed his path, which scared his vahana, the mouse, who backed out a bit, toppling Ganesha. On falling, Ganesha’s big tummy burst open and all the modaks rolled out. Ganesha ran after them, collected all of them and stuffed them back, and tied his tummy with the help of the snake Vasuki.

All this was being witnessed by Moon and his wives, and they all burst out laughing! Ganesha felt very insulted and cursed the Moon god, to disappear forever. Shiva realised that the disappearance of Moon could cause cosmic dis-balance, so he intervened. He made Moon god apologise to Ganesha and in turn asked Ganesha to reduce this curse. Ganesha then reduced the curse to slowly diminishing and then disappearing for a day, and then come back to his original size back, and then start the diminishing act again. This cycle would continue forever, so that people are reminded of the curse and also not to make fun of the Lord! 

Vijaya Dashami

Yesterday Ravan was burnt in full public view and with a lot of enthusiasm and joy. Quite ironic to see celebrations over a public execution. Some would say, why not after all this is celebration of the victory of good over evil, some prefer to keep quiet and overlook the other salient points of the eternal conflict.

What is good and what is evil? Who decided such standards in the absence of central governance or a common human understanding?

Was it incorrect to questions people who donned the outfit of ‘harmless ascetics’ but carried arms and displayed the physique of warriors? A man should not kidnap another’s wife. But then should people allow their sisters to be insulted?

In which culture did one severe nose in response to what one might call an ‘indecent proposal’? Which is a bigger crime – insulting someone’s sister or kidnapping someone’s wife, in return? Is an individual taken by force the property of the one who has strength and power at his behest? For an individual enmity, is it correct to render the whole nation (read kingdom) vulnerable?

On one had we tell people to feel proud about ones achievements, but the moment we change the adjective (Proud) in to a noun (Pride) we start looking down on the same achievement, why is it like that?

Were there ulterior motives behind the whole apparent plot? Was it destined such? Were the characters just playing small roles in the overall big drama conducted by someone else?

Someone once asked me why do you ask so many questions and my answer was – Why not? He said, there that’s another question, but I thought that was an answer!

Durga – A Feminist Icon?

Goddess Durga is one of the most important and impressive goddess in the entire Hindu pantheon. She is both a warrior goddess as well as epitome of motherhood. Unlike many of the goddess who are seen along with their male consorts, she stands by herself. Her very existence was for something that the male gods could not achieve, both individually and collectively.

Does this not make her a formidable entity? How is she different, if at all? After all she was created by the male gods and given a task to accomplish, so is she not abiding by the dictates of the male gods? So what makes her so different?

If we analyse closely Durga goes against all that a Hindu woman represents (please take note that here we are not talking of the woman of the 21^st century, English speaking, blog-reading, urban educated woman, we are referring to the woman of the yester-ages – phew…..that was on time!). In majority of our mythologies, a woman is generally with a consort, derives succor from her male partner and is at the whims and mercy of the males around her (I will not be dragged into controversy by naming a few of the mythical female characters who personify such a state). A general impression of the females has been that of subjugation, surrender and those who live in the shadows of the male deity/partner.

But Durga is different. She is a woman in the male domain of activities. She is a warrior who fights a mighty demon who could not be vanquished by all the gods together. She is adept in the use of all arms and has the energy to wage a battle for nine days.  Another aspect is the dwelling grounds of the goddess. She is the one who stays in mountains, a space which is generally kept outside the boundaries of the society or civilisation. The hard terrain, unlivable conditions of the mountains does not deter her. Sometimes she is the daughter of Himalaya and sometimes she is the resident of Vindhyas (as Vidhyavasini), or as Ma Sherawali, all are mountainous abodes. She rides a lion or a tiger, both ferocious animals, on whom she has total control, again a shade far from feminine.

References of worshiping Durga is found in both Ramayana (Ram worshiping before his battle with Ravana) and in Mahabharata (first by Yudhishtira in Virata-parva and then by Arjuna in Bhisma-parva). In all the instances, it is to achieve victory in the impending war. This led to the practice of Kings later worshiping Durga as a goddess who aids achieving military success and is followed even today in some parts of the country where arms and weapons are worshiped as a part of the festival. There are references of Shivaji worshiping Ma Bhavani (a form of Durga) in History.

Some would say that a Mother is she who takes care of her children and saves them from all dangers (whatever they be), and that the role Durga has played is still within the larger domain of the feminine sphere of activities – as defined by the patriarchy!

Do you agree?

Kumari Puja

Kumari Puja, literally means ‘virgin worship’. During the course of nine days, Goddess Durga is worshipped in different forms, primarily in the form of Mother Goddess, then in the form of a warrior goddess, etc. But one of the forms of worship is in the form of a virgin. The virgin form of this shakti is considered to be very powerful.

For this a girl with a calm and quite personality between the ages of one and sixteen, who has not attained puberty, is selected. The age of the girl selected denotes a different name for the goddess, for example a one year old girl is called Sandhya while a two year old is referred to as Saraswati and so on right up to sixteen.

Kumari puja takes place on the Mahaashtami (the eighth day of the nine nights), though sometimes it is done on the ninth day. On the day, the selected girl is given a ritual bath and draped in a red saree and is seated in front of the idol of Durga and the ritual worship of the girl takes place. She is decked with flowers, ornaments and ‘alta’ smeared on her feet. She is showered with gifts of gold, silver, clothes, etc. After the puja the girl is considered to be the incarnate of Devi Durga herself.

This kind of a puja is found in Nepal and generally in all places where the female form of divinity is worshipped, especially in some of the Shaktipeeths.

In Bengal, this form of worship was made popular by Swami Vivekananda in the early 1900 and the practice is still followed in the Order created by him at Belur Math, in the outskirts of Kolkata. So what is behind such worship? Our religious texts have insisted on Kumari Puja ‘to evolve the purity and the divinity of our women in the society.’

Durga Puja was a regular practice at Belur Math from the very beginning, except that it was done without the installation of any idols and was more of a celebration of the Order. Swami Vivekananda first started the practice of idol worship of Durga Puja. It is important to mention that the ‘western ways’ of the Swami was not very well accepted by the locals then – things like not believing in caste system and his free mixing with foreigners was seen as unconventional, to put it mildly. The beginning of idol worship at Belur Math was to get the people to accept that the monastic ways were not different from the Hindu-way and that the Swamis were a part of the society.

The Swami during his visits to the western countries was convinced that the advancement of a society was mainly due to their treatment of their womenfolk, as that of equals. His observation was that the same was not happening in our country and that the neglect of Indian womenfolk was amongst the main reasons of the general backwardness of our country. His idea was that institutionalising the Kumari Puja would bring people’s attention on the neglect of the womenfolk and also bring out the inherent divinity of women and the much needed respect they deserved. It is pertinent to recall that back then girls were not given education, were given away in marriage at early ages and sometimes to men much older than them and the ill-treatment of child-widow’s was also quite prevalent. So way back in 1901, when the first Durga Puja was conducted at Belur Math, Swami Vivekananda undertook the Kumari Puja of several girls, not just one. He wanted to highlight the elevated position women deserved and more importantly, needed.

This is a perfect example of sending social messages through religious rituals. An example of contemporary interpretation of an otherwise archaic ritual.