The Unity of Devata: Love as the Universal Glue
"Durga is Kali, Kali is Durga, and Krishna as Kali, Krishna as Durga! All Devata are connected, including Shiva and Vishnu—Hara Hari." This perspective of interconnectedness, as shown in the provided images and historical narratives, beautifully reflects how it "used to be" and how it "should be." There are indeed many stories that link all Devi and Deva together, showcasing their profound unity.
"Baul of Bengal: Accept all, Respect all, Love all, Serve all!" This embodies the essence of the tradition. Radha and Durga are deeply connected in Yoga (Union). There is an inherent Union between all Devata; there is no separation. Such separation is Man-Made. In love, there is only Union. This truth seems profoundly simple, yet some choose to complicate everything and attempt to "own what cannot be owned." Everything is intrinsically connected, one way or another—this is called Unity. "Love is the glue that holds the Universe together!"
History is being rewritten and distorted because the roots have been severed. The "money collectors, luxury temple builders, and devotee collectors" of a "New Age of fundamentalism," who use terms like "demi-god," have forgotten the profound Oral Tradition and the true ways of Sanatana Dharma in Bengal. Perhaps 40 years of communism in the region hasn't helped either. These "Demi-God" or "Apa Sampradaya" (deviant traditions) have no place in any Sanatana Dharmic (Hindu) tradition.
When referring to "Oral Tradition," it is implicitly understood that Oral Tradition and Shastra (scriptures) go hand in hand. In today's age, being trained in the Oral Tradition of Guru Shishya Sampradaya does not imply a lack of books or illiteracy. The Bauls were not illiterate because they did not speak English; they spoke Sanskrit and Bengali, read their Shastra in those languages, and possessed Sanskrit Manuscripts. This signifies their deep, long-standing, ancient roots and abundant proof of their heritage.
Inclusivity and Non-Duality and Duality in Sanatana Dharma
"The sources are unlimited, and it is time that we look at the oneness, not the separation. The Universe is joined together by Love... so is every living thing on this planet and all the Gods and Goddesses."
It's crucial to state that there is no such thing as a "demi-god" in India; that is a wrong translation.
As stated in the Sammohana Tantra: "He is a fool who sees any difference between Rama and Shiva."
This profound unity is further exemplified by Harihara: "Harihara is the name of a combined deity form of both Vishnu (Hari) and Shiva (Hara) from the Hindu tradition. Also known as Shankaranarayana ("Shankara" is Shiva, and "Narayana" is Vishnu), Harihara is thus worshipped by both Vaishnavites and Shaivities as a form of the Supreme God, as well as being a figure of worship for other Hindu traditions in general. Harihara is also sometimes used as a philosophical term to denote the unity of Vishnu and Shiva as different aspects of the same Supreme God. The exact nature of both Vishnu and Shiva (from their associated stories in Vedic and Puranic scriptures), and their position of difference or unity (or both), is a subject of some debate amongst the different philosophical schools."
Krishna and Kali: The Lila of Divine Union
In Sanatana Dharma, there is a powerful story of how Krishna assumed the form of Kali Ma as a lila or divine play.The narrative unfolds in the Puranic forest of Vrindavana, where the cowherds (Yadavas) resided peacefully with their beloved leader, Sri Krishna. Every night, hearing Krishna's flute at midnight, Srimati Radharani would discreetly slip out of her home to secretly meet her lover in the deep forests.
However, Radha's shrewd sisters-in-law, Jatila and Kutila, observed this and informed her husband, Ayan, of his wife’s "adultery." Infuriated, Ayan set off into the deep woods to punish the "miscreant." Yet, the Lord of all beings, Sri Krishna, already sensed what was afoot. Krishna quickly instructed Radha to gather all the wild fruits and flowers she could find and sit at his feet in a worshipful (Puja) gesture. Radha obeyed, and immediately Krishna transformed into Kali—the ishta (chosen deity) of Ayan. When Ayan finally arrived, he found his wife performing puja to their family deity. Thus, Srimati Radharani was saved.
Over the last 500 years, Shakti Sadhaks in India have personally experienced the unity of these two crucial forms within the Sanatana Dharmic pantheon: Krishna and Kali. Many songs and poems were composed to honor this united form, which was named KRISHNA-KALI. In these songs, the sadhak often positions themselves as a child, affectionately requesting their beloved Mother to shed her fearsome appearance and assume the more pleasing form of Krishna, adorned with Kadamba garlands, yellow robes, and an enchanting crown of flowers and peacock feathers.
This day is also commemorated in Bengal as Phalaharini Kalika Puja, which occurs on the Amavasya (new moon night) of the Jyestha month (April-May), a time when India abounds with fragrant flowers and sweet fruits like mango. It is customary to offer all seasonal fruits to Kali on this day, symbolizing the surrender of ego and karmic reactions to the supreme.
A 19th-century self-realized Kali sadhak named Premik Maharaj wrote a song whose opening lines translate to: "My mother has become Krishna on seeing the enchanting night of full moon in the season of spring. My black moon (Kali) has now started the divine play of Holi. Ah! Behold the mesmeric beauty on her body, which is now covered with colored Holi powders and blood. Dakini, Sakini, Yogini, Hakini, and all her other companions have become mad with divine love and thus have turned to gopinis (cowherd damsels)."
Scriptural Confirmations of Divine Unity
As reported by Vrindavan Today, a news source for Braj-Vrindavan, during Navaratri celebrations at the Kali Krishna temple in Gopinath Bazaar, Vrindavan, it is affirmed: "Krishna Gave Darshan in the form of Kali." Thanks to the late Jagatananda Das
Jiva Goswami, in his commentary on the Brahma Samhita, explicitly states: "Krsna is Durga. Durga is Krsna. One who sees that they are different will not become liberated from the cycle of repeated birth and death."
He further explains: "Durga is the personal potency of Lord Krsna, and therefore she is Lord Krsna Himself. For this reason, Durga should not be considered manifested from a portion of the Lord’s illusory potency Maya. This fact is confirmed by the following statement of the Nirukti: 'Even if one continually worships her, Durga is still difficult to understand.' Durga is also described in Narada-pancaratra, in the following conversation of Sruti and Vidya: 'Durga is the supreme goddess. She is an incarnation of the Supreme Personality of Godhead. She is the transcendental potency of the Lord. She is manifested from the form of Lord Maha-Visnu.' Simply by understanding her one immediately attains the Supreme Personality of Godhead. It is not otherwise. She is identical with Gokula’s queen Sri Radha, who possesses a great treasure of love for Krishna. Because She is understood only with great difficulty, the saintly devotees call her Durga (difficult to understand). She is the personal potency of the Supreme Personality of Godhead and she is always filled with the nectar of love for Him." (Compiled by Trishula Das)
From her is manifested the maha-maya potency, the controller of all conditioned souls, who covers them with illusion. By this maha-maya potency the residents of the entire world are bewildered into thinking themselves identical with their external material bodies. (Translation: Kushakrata Das)
This Bengali prayer offers a glimpse into this intricate subject: kuladevi yogamaya more krpa kori abarana sambaribe kabe visvodari "O Yogamaya! You who have been worshiped in my family for generations! When will you show mercy to me by lifting up the curtain of illusion with which you shroud the universe in your external form of Mahamaya?"
The Pancharatra further informs: "In all mantras used to worship Krishna, the presiding deity is known as Durga. She is also the personification of suddha sattva – pure transcendental existence and synonymous with yoganidra – the trance – sleep of Vishnu (SB 10.4.29)."
The Śrī Kātyāyanī Vratā in the Srimad Bhagavatam (10.22.4) describes how the marriageable daughters of the cowherd men worshipped Goddess Kātyāyanī (a form of Durga) to obtain Lord Śrī Kṛṣṇa as their husband, and how Kṛṣṇa blessed them.
The mantra chanted was: kātyāyani mahā-māye | mahā-yoginy adhīśvari nanda-gopa-sutaṁ devi | patiṁ me kuru te namaḥ iti mantraṁ japantyas tāḥ | pūjāṁ cakruḥ kumārikāḥ Translation: "Each of the young unmarried girls performed her worship while chanting the following mantra: 'O goddess Kātyāyanī, O great potency of the Lord, O possessor of great mystic power and mighty controller of all, please make the son of Nanda Mahārāja my husband. I offer my obeisances unto you.'" (SB 10.22.4)
Śukadeva Gosvāmī recounts: "During the first month of the winter season, the young unmarried girls of Gokula observed the vow of worshiping goddess Kātyāyanī. For the entire month they ate only unspiced khichrī. My dear King, after they had bathed in the water of the Yamunā just as the sun was rising, the gopīs made an earthen deity of goddess Durgā on the riverbank. Then they worshiped her with such aromatic substances as sandalwood pulp, along with other items both opulent and simple, including lamps, fruits, betel nuts, newly grown leaves, and fragrant garlands and incense. Thus for an entire month the girls carried out their vow and properly worshiped the goddess Bhadra kālī, fully absorbing their minds in Kṛṣṇa and meditating upon the following thought: 'May the son of King Nanda become my husband.'"
Krishna Manifests as Kali: A Divine Pastime in Vrindavan
A compelling story from Hindu tradition describes how Krishna gave darshan (divine sight) in the form of Kali to Shrimati Radharani, a lila that underscores the deep unity between seemingly distinct deities.
As reported by Amar Ujala, Navaratri is celebrated at the Kali Krishna temple in Gopinath Bazaar, Vrindavan. While Vrindavan is primarily known for Krishna worship, this temple highlights a significant presence of Shakti worship. The Kali Pith at this temple is considered a vital place of worship due to this very pastime.
The head sevait (priest) of the Krishna Kali Pith, Keshavacharyaji, narrates the story: "Once, Ayan Ghosh, Radha’s so-called husband, grew suspicious that his wife was being unfaithful. So, one night, when Radha went to meet Krishna, he followed them, intending to catch them red-handed."
"But Krishna was aware of Ayan’s plan. As Ayan drew near, Krishna transformed into Kali. This made it appear as though Radha was secretly worshipping the Goddess to benefit her husband and his family. Consequently, instead of becoming angry, Ayan was filled with respect upon seeing his devout and saintly wife engaged in religious activities on his behalf."
In this divine transformation, Krishna’s two arms became four, his flute became a scimitar, and the flower garland around his neck became a garland of skulls, signifying his assumption of Kali's fearsome yet protective form.
The Kali Pith at this temple is said to be the exact location where this divine pastime occurred. Variations of this story can also be found in other texts, notably the last act of the Vidagdha-madhava.
The Divine Interconnectedness: Krishna as Kali and Durga
In Sanatan Dharma, numerous stories illustrate the profound unity of all Devata (deities). One such narrative beautifully portrays how Krishna assumed the form of Kali Ma as a lila, or divine play.
The story unfolds in the Puranic forest of Vrindavana, where the cowherds (Yadavas) lived peacefully with Sri Krishna. Every night, hearing Krishna's flute, Srimati Radharani would secretly meet her beloved in the deep forests. However, Radha’s sisters-in-law, Jatila and Kutila, observed this and informed her husband, Ayan, of his wife’s perceived 'adultery'.
An enraged Ayan set off into the woods to confront the alleged miscreant. Yet, Sri Krishna, the Lord of all beings, already knew what was coming. Krishna swiftly instructed Radha to gather wild fruits and flowers and sit at his feet in a worshipful (Puja) gesture. Radha obeyed, and immediately Krishna transformed into Kali—Ayan's ishta (chosen deity). When Ayan finally arrived, he found his wife performing puja to their family deity, thus saving Srimati Radharani.
For the last 500 years, Shakti Sadhaks in India have personally experienced the unity of Krishna and Kali, leading to the composition of many songs and poems honoring this combined form, named KRISHNA-KALI. In these songs, the sadhak often expresses a child-like plea to their beloved Mother, requesting her to shed her fearsome appearance and assume the more pleasing form of Krishna, adorned with Kadamba garlands, yellow robes, and an enchanting crown of flowers and peacock feathers.
This divine interconnectedness is also celebrated in Bengal as Phalaharini Kalika Puja, which occurs on the Amavasya(new moon night) of the Jyestha month (April-May). This is a time when India is abundant with fragrant flowers and sweet fruits like mango. It's customary to offer seasonal fruits to Kali on this day, symbolizing the surrender of ego and karmic reactions. A 19th-century self-realized Kali sadhak, Premik Maharaj, beautifully captured this sentiment in a song, with lines translating to:
"My mother has become Krishna on seeing the enchanting night of full moon in the season of spring. My black moon (Kali) has now started the divine play of Holi. ah! behold the mesmeric beauty on her body, which is now covered with coloured Holi powders and blood. Dakini, Sakini, Yogini, Hakini and all her other companions have become mad with divine love and thus have turned to gopinis (cowherd damsels)."
Scriptural Affirmations of Oneness
The concept of divine unity is deeply rooted in Hindu scriptures:
As reported by Vrindavan Today, a news source for Braj-Vrindavan, during Navaratri celebrations at the Kali Krishna temple in Gopinath Bazaar, Vrindavan, it is affirmed: "Krishna Gave Darshan in the form of Kali."
Jiva Goswami, in his commentary on the Brahma Samhita, explicitly states: "Krsna is Durga. Durga is Krsna. One who sees that they are different will not become liberated from the cycle of repeated birth and death.” He clarifies that Durga is the personal potency of Lord Krsna and therefore identical to Him. The Nirukti confirms Durga is "still difficult to understand," even with continuous worship.
The Narada-pancaratra further describes Durga: "Durga is the supreme goddess. She is an incarnation of the Supreme Personality of Godhead. She is the transcendental potency of the Lord. She is manifested from the form of Lord Maha-Visnu.” It emphasizes that simply by understanding her, one immediately attains the Supreme Personality of Godhead. She's identified with Sri Radha, Gokula’s queen, embodying immense love for Krishna. Due to her profound nature, saintly devotees call her Durga, meaning "difficult to understand."
From Durga manifests the maha-maya potency, which controls conditioned souls and bewilders the world into identifying with their material bodies.
A Bengali prayer beautifully captures this intricate subject: kuladevi yogamaya more krpa kori abarana sambaribe kabe visvodari "O Yogamaya! You who have been worshiped in my family for generations! When will you show mercy to me by lifting up the curtain of illusion with which you shroud the universe in your external form of Mahamaya?”
The Pancharatra also states: "In all mantras used to worship Krishna, the presiding deity is known as Durga. She is also the personification of suddha sattva—pure transcendental existence and synonymous with yoganidra—the trance-sleep of Vishnu (SB 10.4.29)."
This unity is further exemplified in the Śrī Kātyāyanī Vratā described in Srimad Bhagavatam (10.22.4). During the winter, young, unmarried girls of Gokula observed a vow to worship goddess Kātyāyanī (a form of Durga). They would bathe in the Yamunā and worship an earthen deity of goddess Durgā with various offerings. While chanting: "O goddess Kātyāyanī, O great potency of the Lord, O possessor of great mystic power and mighty controller of all, please make the son of Nanda Mahārāja my husband. I offer my obeisances unto you." For an entire month, they devotedly worshipped Bhadrakālī, their minds fully absorbed in Krishna, meditating on the wish for King Nanda’s son to be their husband.
The term Raai Raja refers to a beautiful and profound lila where Raai means Radha and Raja means king. This specific divine play of Krishna is particularly popular and cherished in TRADITIONAL Gaudiya Dharma, which you distinguish significantly from the "New Age Vaishnavism" that has made its way to the West from Bengal.
You emphasize that extensive research, including engagement with authentic oral traditions, is crucial in this area. This is presented as a counter to the "New Age" approach, which you suggest relies on "printing presses creating propaganda and separation through their name calling and Apa Sampradaya." You highlight that real, authentic, Traditional Gaudiya or Bengali Vaishnavas never put others down or resort to name-calling. Instead, they are characterized by their sweetness, embracing a philosophy of "accepted all, respected all, loved all, and served all," without any thought of personal gain, including collecting devotees or money for printing presses and temples.
In the Raai Raja lila, Radhika is worshipped as a king or monarch by her maids, and Krishna is brought into her royal court (durbar). This lila is commemorated in a specific picture, and its tradition is kept alive in Shantipur, where descendants of Advaita Acharya reside and maintain many ancient Gaudiya Temples.
During Raasa Purnima, deities are publicly processed, and in these processions, little girls are dressed as Radha and seated on a throne, like a king. As these floats move through the streets, devotees and commoners bow to them, honoring them as a living manifestation of Radha.
Raai Raja Lila is one of many lilas popular in TRADITIONAL GAUDIYA VAISHNAVISM, though it is not specially cultivated in NEW AGE Vaishnavism.
Other Notable Traditional Lilas
You also mention other significant lilas from Traditional Gaudiya Vaishnavism:
Nava Nari Kunjar: This lila depicts nine Gopis forming themselves into the shape of an elephant through acrobatic body formations, serving as a living vehicle to carry Radha and Krishna.
Kalahantarahita: This lila is centered on feelings of separation and love.
Kalanka Mochana: In this lila, Radharani is saddened by villagers' negative words regarding her chastity. She appeals to Krishna to prove her innocence. Krishna then devises a clever plan to ascertain that Radha is the highest sati (chaste girl) in all of Vraja.
These lilas, along with many others, are presented as the bedrock of Gaudiya Dharma, highlighting their importance in the authentic tradition. As you recall, in Raai Raja, Krishna was even in disguise as a woman, and Radha's sakhis (female companions) acted as her ministers in the durbar.
The Śrī Kātyāyanī Vratā chapter in the Srimad Bhagavatam (10.22.4) describes a significant pastime where the marriageable daughters of the cowherd men (Gopis) worshipped Goddess Kātyāyanī (a form of Durga) with a specific, heartfelt desire: to secure Lord Śrī Kṛṣṇa as their husband. Following their worship, Kṛṣṇa engaged in the pastime of vastra-haraṇa (stealing their garments) and subsequently bestowed His benedictions upon them.
The Gopis performed their worship while chanting the following potent mantra:
कात्यायनि महा-माये | महा-योगिन्य् अधिज़्वरि नन्द-गोप-सुतं देवि | पतिं मे कुरु ते नमः इति मन्त्रं जपन्त्यस् ताः | पूजां चक्रुः कमारिकाः
Translation: "O goddess Kātyāyanī, O great potency of the Lord, O possessor of great mystic power and mighty controller of all, please make the son of Nanda Mahārāja my husband. I offer my obeisances unto you."
Śukadeva Gosvāmī recounts that during the first month of the winter season, these young unmarried girls of Gokula meticulously observed this vow. For the entire month, they ate only unspiced khichrī. Each morning, after bathing in the Yamunā as the sun rose, the Gopis would craft an earthen deity of Goddess Durgā on the riverbank. They then worshipped her with a variety of offerings: aromatic substances like sandalwood pulp, lamps, fruits, betel nuts, newly grown leaves, fragrant garlands, and incense. For a full month, they steadfastly observed their vow, properly worshipping Goddess Bhadrakālī, with their minds completely absorbed in Kṛṣṇa and meditating on the sole thought: "May the son of King Nanda become my husband."
The Inner Desire and Unparalleled Devotion of the Gopis
While the Gopis outwardly worshipped Goddess Durgā, or Kātyāyanī, their innermost and ardent desire was to attain Lord Kṛṣṇa as their husband. Kṛṣṇa, as the Paramātmā (Supersoul), was fully aware of their profound longing, and therefore, he reciprocated by engaging in the pastime of vastra-haraṇa.
The unmarried Gopis meticulously prepared the deity of Goddess Durgā and offered her various presentations, including candana pulp, garlands, incense, lamps, fruits, grains, and twigs of plants. After their worship, it is customary to pray for benedictions. The unmarried girls fervently prayed to Goddess Kātyāyanī, addressing her as the "supreme eternal energy of the Personality of Godhead, O supreme mystic power, O supreme controller of this material world."They humbly requested her to be kind and arrange their marriage with Kṛṣṇa, the son of Nanda Mahārāja.
Even though Gopis are unparalleled in their pure affection for Kṛṣṇa, their worship of Durgā highlights a crucial point: if Kṛṣṇa is the ultimate center of activity, a devotee can adopt any means to achieve that divine goal. The Gopis exemplified this by adopting any means necessary to satisfy or serve Kṛṣṇa, demonstrating their superexcellent characteristic. They worshipped Goddess Durgā for an entire month with the singular purpose of having Kṛṣṇa as their husband, praying daily for this union.
Footnote on Terminology
It's important to note, as you mentioned, that there is no such concept as "demi-gods" in any Sanskrit literature. The use of "Demi-Gods" in place of Devata is considered a gross mistranslation of Vedic Puranic Sanskrit texts.
Krishna's Divine Transformation: The Lila of Kali in Vrindavan
You've provided a rich and detailed account of a fascinating lila (divine play) from Sanatan Dharma, where Krishna assumes the form of Kali Ma. This story beautifully illustrates the profound interconnectedness of deities within the Hindu pantheon.
The narrative unfolds in the Puranic forest of Vrindavana, where the cowherds (Yadavas) lived peacefully alongside their beloved leader, Sri Krishna. Every night, drawn by the enchanting sound of Krishna's flute, Srimati Radharaniwould discreetly leave her home to meet her lover in the deep woods. However, Radha's cunning sisters-in-law, Jatila and Kutila, observed these clandestine meetings and swiftly informed her husband, Ayan, of his wife's perceived 'adultery'.
Infuriated, Ayan set off into the deep forest, intent on catching the pair red-handed. Yet, Sri Krishna, the omniscient Lord of all beings, was already aware of Ayan's plan.
With quick divine foresight, Krishna instructed Radha to gather all the wild fruits and flowers she could find and sit at his feet in a worshipful (Puja) gesture. Radha immediately complied. And then, a miraculous transformation occurred: Krishna assumed the formidable form of Kali—who was, serendipitously, the ishta devata (chosen deity) of Ayan.When Ayan finally arrived at the spot, he found his wife deeply engaged in puja to their family deity. Thus, Srimati Radharani was saved from his wrath and suspicion.
In this divine transformation, Krishna's attributes shifted dramatically: His two arms became four, his beloved flute transformed into a scimitar, and the flower garland around his neck became a garland of skulls, signifying his powerful assumption of Kali's iconic form.
Krishna-Kali: The Unity of Devotion and Power
For the past 500 years, Shakti Sadhaks of India have deeply felt and celebrated the inherent unity of these two vital forms within the Sanatan Dharmic pantheon: Krishna and Kali. This profound realization led to the composition of countless songs and poems honoring this united form, affectionately named KRISHNA-KALI.
In many of these devotional songs, the sadhak (spiritual practitioner) humbly poses as a small child. They lovingly request their revered Mother, Kali, to shed her fearsome aspect and instead assume the more pleasing form of Krishna, adorned with Kadamba garlands, yellow robes, and an enchanting crown of flowers and peacock feathers.
This special unity is also commemorated in Bengal as Phalaharini Kalika Puja. This takes place on the Amavasya (new moon night) of the Jyestha month (April-May), a time when India is lush with fragrant flowers and the sweetest fruits like mango. It's a custom to offer all seasonal fruits to Kali on this day, symbolizing the surrender of one's ego and karmic reactions to the Supreme.
A beautiful song by Premik Maharaj, a self-realized Kali sadhak from the nineteenth century, captures this divine synthesis. The first few lines translate as:
"My mother has become Krishna on seeing the enchanting night of full moon in the season of spring. My black moon (Kali) has now started the divine play of Holi. ah! behold the mesmeric beauty on her body, which is now covered with coloured Holi powders and blood. Dakini, Sakini, Yogini, Hakini and all her other companions have become mad with divine love and thus have turned to gopinis (cowherd damsels)."
Scriptural and Modern Confirmations of Divine Oneness
The concept of divine unity is deeply ingrained in Hindu scriptures and continues to resonate in contemporary spiritual practice.
As reported by Amar Ujala and Vrindavan Today, Navaratri celebrations at the Kali Krishna temple in Gopinath Bazaar, Vrindavan, confirm that "Krishna Gave Darshan in the form of Kali." While Vrindavan is primarily associated with Krishna worship, this temple clearly demonstrates a significant presence of Shakti worship.
Jiva Goswami, in his commentary on the Brahma Samhita, profoundly states: "Krsna is Durga. Durga is Krsna. One who sees that they are different will not become liberated from the cycle of repeated birth and death.” He clarifies that Durga is the personal potency of Lord Krsna, and thus, she is Lord Krsna Himself, not merely a manifestation of illusory Maya. This is further supported by the Nirukti, stating that "Even if one continually worships her, Durga is still difficult to understand."
The Narada-pancaratra also describes Durga as the "supreme goddess" and "an incarnation of the Supreme Personality of Godhead," the "transcendental potency of the Lord," manifested from "Lord Maha-Visnu." It asserts that simply by understanding her, one immediately attains the Supreme Personality of Godhead. It connects her directly to Sri Radha, Gokula's queen, possessing immense love for Krishna, and explains that her name "Durga" (difficult to understand) arises from the difficulty in comprehending her.
From this divine potency, the maha-maya potency manifests, controlling conditioned souls and enveloping them in illusion, making them identify with their external material bodies.
A Bengali prayer further reveals this intricate subject: kuladevi yogamaya more krpa kori abarana sambaribe kabe visvodari "O Yogamaya! You who have been worshiped in my family for generations! When will you show mercy to me by lifting up the curtain of illusion with which you shroud the universe in your external form of Mahamaya?”
Finally, the Pancharatra affirms: "In all mantras used to worship Krishna, the presiding deity is known as Durga. She is also the personification of suddha sattva—pure transcendental existence and synonymous with yoganidra—the trance-sleep of Vishnu (SB 10.4.29)."
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