Devadatta Kali, author of In Praise of the Goddess and The Veiling Brilliance
The sage Medhas said:
The Devi appears in many forms. [....] There is no end
to the ways in which she reveals herself. And for now
she is both the auspicious Ambika and the terrible Kali.
[....] Kali appears here [in the Devimahatmya] in a
particularly frightening form to embody the Devi's wrath.
The Devi, in her lovely form as Ambika, projected the
horrific Kali from her own scowling brow.
This form of Kali bears the imagery of death and
destruction: the emaciated flesh hanging loose upon the
bones, the skull-topped staff, the all-devouring mouth.
Kali is the relentless power of time, which in the end
swallows up everything. But there is more to Kali than
this. Her flesh is black, her tongue is red, her teeth are
gleaming white. Black, red, and white represent the
three gunas - tamas, rajas, and sattva. Kali embodies all
the energy of the universe. She is Shakti personified.
Hers is the power to create, sustain, and destroy. She is
indeed supreme. [....]
She is The Mother [...] You must go beyond your fear
and come to her in love.
[....] What you love, you cannot fear, [.....] And Kali
takes us beyond all fear. She has many forms. This
wrathful form is called Chamunda. When she appears on
the battlefield with bloody mouth and glowing eyes, she
is the night of death who laughs derisively and binds
men and horses and elephants in her terrible snare.
When she haunts the cremation ground, she is
Shmashanakali, the embodiment of destructive power
who reduces all created things to ash. [...]
Shmashanakali presides over the dissolution of matter
back into spirit. When [Kali] is pleased, she is the
benevolent Bhadrakali. As Shyama, she is worshiped in
household shrines as the tender dispeller of fear and the
granter of boons. She is also called Bhavabhayaharini,
'she who removes the fear of worldly existence.'
[...] [B]ehind every detail of her appearance lies a
sublime truth. [....] For example, [consider] the
auspicious Dakshinakali. Her untamed hair hints at
unrestrained power and boundless freedom. Some say it
represents the veil of illusion, woven from the strands of
space and time. Her three eyes represent omniscience,
for she sees past, present, and future. Nothing is
unknown to the all-knowing Mother. The garland of
skulls around her neck is not a symbol of death, as you
might think, but of creative power. [....] Each of the
fifty skulls stands for a sound of the alphabet, and from
these sounds, these vibrating energies, The Mother brings
forth the entire universe. So this garland of skulls is, in
fact, the alphabet of creation! Kali's full breasts show
how she nurtures us. The girdle of severed arms around
her waist betokens her power to sever the bonds of
karma - to free us from the accumulated deeds that keep
us in bondage. Her nakedness represents freedom from
illusion, and her blacker-than-black skin, like the endless
blackness of the night sky, tells us that she is infinite.
[Kali's paradoxical mixture of maternal tenderness and
destructive terror appears polarized on her right and
left.] She often appears with four hands. Her lower right
hand extends itself in the offering of a boon, as if to say,
Ask of me what you will.' [....] One of Kali's greatest
boons is fearlessness, which she signals with her upper
right hand, the palm held outward. 'Be not afraid!' this
gesture proclaims.
[....] Consider The Mother's upper left hand, which
wields the bloodied sword of knowledge. This is a
strong image. It represents the power of discernment -
the ability to separate what is transitory and fleeting
from what is real and abiding. This power cuts through
appearances and reveals things as they really are. [....]
In her lower left hand The Mother dangles the freshly
severed head of a demon. This represents the limiting
sense of ignorance that she slays. Taken together, Kali's
four hands say, atake refuge in me, let go of your fear,
let me slay your illusion of smallness and separation,
and you will merge into my infinite bliss.'
Devadatta Kali, The Veiling Brilliance, Pages 138-140
June 30, 2006
Interview with author Devadatta Kali
Author of In Praise of the Goddess and The Veiling Brilliance
Interview by Lee Prosser - leep@ghostvillage.com
Ghostvillage.com author interview
Devadatta Kali (DAvid Nelson) is a highly respected writer and author of the
forthcoming novel The Veiling Brilliance. He is a lecturer, teacher,
and author, and wrote the popular book, In Praise of the Goddess. A
Vedantist, he has been writing about Vedanta since the 1990s.
Devadatta, it is a pleasure to visit with you to discuss the Goddess
Kali and your life in Vedanta.
Tell us about your first book, In Praise of the Goddess.
In Praise of the Goddess is the actual translation of a sacred text,
the Devimahatmya, which is about 1600 years old. Since it is a holy
book, I made the language eloquent and inspiring, as sacred
literature should be. Just translating the text wasn't enough,
though. It needed explanation to point out its depths and hidden
meanings, so I wrote an introduction and then a verse-by-verse
commentary. Some people say the book is"scholarly," but I don't want
to frighten people off with the"s"Word. Admittedly the book is
based on careful scholarship, but that is necessary to make this
ancient text come alive—and it really comes alive in a way that
few translations from Sanskrit do. I think the excitement of
discovery that I felt throughout the process comes through in the
book.
Could you share your personal feelings on what is Goddess?
The Goddess exists on every level. Tantra teaches that she is the
power that creates this universe. She is that same power residing in
each of us as the strength of inconceivable silence, peace, and joy.
She is the divine presence that makes everything alive and wonderful,
shining with light—not light in a physical sense but something I
can't put into words. It's vibrant, and its nature is joy—not joy
in the ordinary sense but a self-contained joy of freedom and beauty.
We get a taste of this when we are moved by something inspiring —
maybe a piece of music, a work of art, the magnificence of nature. In
any of these experiences I think we sense the presence of something
greater than ourselves.”Standing outside"—that is the literal
meaning of the word ecstasy. For a moment we stand outside of our
ordinary limitations of ego and touch something far greater.
Psychologists call this awareness"The unitive dimension of being.”
It can't be described, not really, but anyone who has had this sort
of glimpse into a greater reality will know exactly what I am talking
about. This mystical insight need not come necessarily through
anything we call religion, although customarily we slap the religious
label on it. The divine reality is greater than any or all religions.
As I like to say, the experience is primary, and all religions and
philosophies are only the afterthoughts. So, to return to your
question, to me the Goddess is many things—the universal creative
principle; the countless personifications of that principle, such as
Durga, Kali, Lakshmi, Sarasvati, the Virgin Mary, Yemaya, and so on;
and ultimately she is the pure infinite consciousness which is the
true Self of every being.
What is the role of Goddess in life?
Since the Goddess is everything, her roles are without number. She
(or he or it, if you prefer) is the source, sustenance, and ultimate
goal of all creation, and everything that exists is nothing but her
own self-expression. If we can remember that and strive consciously
to make the divine presence central to our individual lives—in
whatever way we choose to do this—then we live in harmony with the
entire universe. There are many ways to do this. The Hindu tradition
has the well-known four yogas or spiritual paths: devotion,
knowledge, meditation, and selfless action. Each of them or, better,
any combination of them that best suits us, is a way back to the
center. The Goddess—whatever or however you choose to think of
her, him, or it—is the center, where everything comes together,
first in harmony, then in unity, then in enlightenment.
What is the role of Goddess in religion?
Here in the Western world, we're living in very exciting times. This
is a period of rediscovery of the sacred feminine. There is a deep
archetypal need in the human psyche to have a mother, and for far too
long The Motherhood of God has been suppressed by the monotheistic
religions. They have promoted an imbalance in our world that has led
to our present global crises. If what present-day researchers and
scholars, not to mention India's Tantric tradition, tell us is true,
the Goddess was humankind's earliest conception of divinity. The
Willendorf Venus, for example, is 28,000 years old. Cybele, the
ancient Anatolian goddess from around 8000 years ago, is a direct
ancestor to Durga, who has been worshiped in India without a break
(although under various names, such as Aditi, Vak, and Sarasvati) for
as far back as we have evidence.
When we read the historical sections of the Jewish Bible in the light
of recent scholarship and archeological findings, it becomes clear
that the Asherah, YHWH's female consort, played a very important role
in the religious lives of the Jewish people. Look at what happened
with the establishment of patriarchal"reforms"under King Josiah.
During his reign a fifth book of Moses, Deuteronomy, was"discovered"
after lying forgotten for centuries in the Jerusalem temple! It
denounced the Asherah, and Josiah had her image removed from the
temple and destroyed. Officialdom forced the Goddess underground. She
survived, of course, variously disguised—as Hokhmah (Sophia) in
the Jewish Wisdom tradition and later as Shekhinah in Kabbalah. The
brand of Christianity that won out as orthodox by the late fourth
century had a similar distaste for the divine feminine. The Goddess
in all her forms was forcibly repressed—especially Isis, whose
religion was one of Christianity's most serious rivals. I like to say
that Isis and her son Horus were forced into the witness-protection
program and emerged with new identities as the Virgin Mary and her
son Jesus. For Isis it was also a demotion, of course. She had to
give up her job descriptions, such as"Queen of Heaven"And"Stella
Maris," which were reassigned to Mary, whose cult then became a
thriving one throughout the Middle Ages.
Why? Because she presented the gentle, compassionate face of the
divine. People wanted that and needed that, especially in view of the
harsh, punitive measures taken by the male-dominated church to
preserve its hold on power. The role of the Goddess fulfills a
profound human need—to have a mother who is near and dear, who is
always approachable, and who loves us unconditionally. This is all
very general, of course, but in Indian tradition the Goddess takes on
many different forms to fulfill different needs, and if you asked me
about them, I could be more specific.
What do you see as the most important aspects of the Hindu Goddess,
Durga?
Durga is called the Mahadevi, the Great Goddess, and she is the form
of The Mother who gives rise to all other forms. She is the subject
of the Devimahatmya, which is also known as Sri Durga Saptashati, or
Seven-Hundred Verses on Sri Durga. Relating this to what I said
earlier, I'd like to mention that at the same time as the Goddess was
being suppressed in the Western world, her devotees in India were
busy collecting and preserving all the ancient knowledge about her,
which was compiled as the Devimahatmya.
Durga is portrayed in sculptures and paintings as a beautiful woman
with ten arms to represent that she is present everywhere. Her ten
hands hold various weapons and other objects to symbolize that she is
all-powerful. She has three eyes to show that she is all-knowing. She
rides the lion of dharma, meaning that holy action is virtuous
action. Durga is both warrior and mother at the same time. You have
to ask yourself, who is more fiercely protective than a mother toward
her child? I remember hearing once about an incident at a zoo.
Somehow a lion got loose, pounced on a child and had the child's head
in its mouth. The Mother was so focused on saving her child that she
rushed forward with no thought of her own safety and miraculously
pried open the lion's jaws with her bare hands. Now and then a story
comes along about a mother who does something almost physically
impossible, like lifting up a car to save the child trapped beneath
it. That is the power of a mother's love, and that's what we revere
in Durga. Durga is a fierce warrior, and she goes after all the
personal demons that assail us. So, even though she has this awesome
destructive power, what she destroys is anything that threatens our
well-being.
What do you see as the most important aspects of the Hindu Goddess,
Kali?
In the Devimahatyma Kali emerges from Durga's brow as the embodiment
of divine wrath in order to take on a growing army of demonic forces.
It's a chilling scene, and in The Veiling Brilliance I recreated it
in widescreen technicolor.
Kali is terribly misunderstood, except by her devotees. Yes, she has
her horrific side, as she appears in the Devimahatmya, but over the
centuries the understanding changed. The most wonderful portrayals of
Kali are the 18th-century devotional songs of Ramprasad and
Kamalakanta, which show her in many aspects, everything from a naked
mad woman on the battlefield devouring demons between her gnashing
teeth to the epitome of feminine beauty and gentle motherhood. The
beauty of Kali is that she reconciles all the pairs of opposites that
bedevil our human experience. She has her benevolent side on the
right and her fierce side on the left.
The first Westerners who saw her images were aghast and
misinterpreted everything as devilish, but Kali is in fact pure
divinity in all its raw power. The symbolism is strong, no doubt—a
garland of severed heads around her neck, severed arms forming her
girdle, blood oozing from the corners of her mouth—but every
feature, no matter how horrific, means something absolutely sublime.
Let's just take her four hands, for example. The lower right hand is
extended in a gesture of boon-giving. We can ask The Mother for
whatever we want; she'll give it all—worldly enjoyment (bhukti) or
spiritual liberation (mukti). Her upper right hand forms the
abhayamudra, a gesture that means," Be not afraid.”How's that for a
gift? Fearlessness is a condition for success in our worldly affairs,
of course, but it's also essential for spiritual life. If we let
anything hold us back, how can we move forward? OK, that's the
benevolent side. What about the other half? Kali's upper left hand
wields a curving sword, smeared with the blood and fat of the demons
she's slain. Pretty scary, huh? Actually, no. The demons are all the
enemies of our own mental and spiritual happiness and well-being. The
sword is called jnanakadga, the"sword of knowledge," because it is
our own empowerment to cut away from our awareness all the mistaken
ideas that cause so much trouble. Those ideas arise in the ego-sense,
the thought that I am an individual being—separate, limited,
small, alienated. When there is this restrictive idea of"I,"
everything that is"not-I"becomes the other, and that's where the
problems arise—everything from individual grievances to nations at
war. So, we look at Kali's lower left hand and find it dangling the
freshly severed head of a demon. That is the demon of ego. We are not
that small, separate self we mistook ourselves to be; we are the
infinite Self that is one with The Mother. Her power of knowledge
sets us free. Kali's power is the power of transformation that brings
us to enlightenment.
Devadatta Kali, In Praise of the Goddess and The Veiling Brilliance
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