Varaha Purana 96.55: Adhyaya 96, Shloka 55
The Threefold Power: The Raudrī Observance and the Manifestation of Chāmuṇḍā
Pūrva Bhāga · Devī-stotra and Phalaśruti (Hymn to the Goddess and its stated results)
मनोजवे जये जृम्भे भीमाक्ष क्षुभितक्षये ॥ महामारि विचित्राङ्गे जय नृत्यप्रिये शुभे ॥
manojave jaye jṛmbhe bhīmākṣe kṣubhitakṣaye || mahāmāri vicitrāṅge jaya nṛtyapriye śubhe
manojave jaye jRRimbhe bhImAkSha kShubhitakShaye || mahAmAri vichitrA~Nge jaya nRRityapriye shubhe
जय हो तुम्हारी, तुम इतनी तेज़ हो जैसे मन उड़ जाए। जय हो, तुम बड़ी हो और फैली हुई हो। तुम्हारी आँखें भयंकर हैं, तुम हिचकोले और बुराई को खत्म करती हो। तुम बड़ी बीमारी भेजने वाली शक्ति हो, तुम्हारा रूप अलग है। जय हो तुम्हारी, तुम नाच पसंद करती हो, तुम भले हो।
Sandhi Notes
- Mostly a litany of संबोधन-forms. No external sandhi to split
- compounds analyzed internally (e.g., मनोजव = मनस्+जव)
The same power that terrifies (bhīmākṣī, mahāmāri) also blesses (śubhe); victory-invocation aligns the devotee with cosmic order.
Use praise/recitation as śānti practice during fear, illness, or social unrest; cultivate reverence toward disruptive forces as governable through dharma and devotion.
The hymn’s epithets portray Devī as the immanent kinetic power (śakti) that governs mind-speed, expansion, fearsome perception, dissolution of decay, and even epidemic forces—suggesting a Vedāntic reading where śakti operates within prakṛti while remaining auspicious when propitiated.
Instead, a śānti-stotra mapping: ‘manojavā’ (mind-swiftness) as prāṇa/saṅkalpa-force, ‘jṛmbhā’ (expansive) as vyāpti, ‘bhīmākṣī’ as all-seeing protective gaze, ‘mahāmāri’ as controller of contagion, ‘nṛtyapriyā’ as rhythmic cosmic regulation.
Śakti as the dynamic aspect of Brahman’s governance of nāma-rūpa; fearsome forms are also auspicious when recognized as the same ultimate power (abheda-bhāva in devotion).
Varāha Purāṇa 96.42–46 (protective/appeasement frame that this stotra can ritually complement)
FAQs
It preserves a Purāṇic stotra-style register in which Devī is addressed through dense epithets, reflecting medieval Sanskrit hymn conventions and ritualized protective speech.
No explicit geographic toponym appears in this verse.
The verse models disciplined praise as a cultural practice—using language to seek protection and stability amid disorder (kṣubhita/kṣaya).
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