Mahalaya: When Past Meets Future Reminding Life’s Cyclical Nature
Agartala Sep 20: Every year, as the scent of shiuli (night jasmine) wafts through the dawn, people in Tripura awaken to the soul-stirring chants of Mahishasura Mardini broadcast over the radio.
This marks Mahalaya, a day that heralds the advent of Durga Puja, one of the most vibrant and cherished festivals in the State as well as in India.
Celebrated on the last day of the Pitru Paksha and the eve of Devi Paksha, the day holds a unique place in Hindu tradition, particularly among Bengalis.
In 2025, Mahalaya will be observed on September 21st.
But is this an auspicious or inauspicious event?
The answer is layered, blending mythology, ritual, and cultural nuance, with insights from scholars like Nrisingha Prasad Bhaduri adding depth to the discourse.
The Dual Nature of Mahalaya:
Mahalaya is a day of transition, sandwiched two distinct phases of the Hindu lunar calendar: the Pitru Paksha, a time dedicated to honoring deceased ancestors through tarpan (offerings of water), and the Devi Paksha, which ushers in the worship of Goddess Durga.
I Watch Dual Nature of Mahalaya I
This duality gives Mahalaya a complex character, as it is both a day of solemn remembrance and a prelude to joyous celebration.
The Inauspicious Aspect:
The Pitru Paksha is, according to many, considered inauspicious in Hindu culture. During this period, it is believed that the souls of ancestors visit the earthly realm, and families perform shraddha and tarpan to ensure their peace and blessings.
According to Hindu scriptures, activities like weddings, housewarming ceremonies, or other auspicious events are avoided during this time due to its association with death and the afterlife.
Mahalaya, as the culminating day of Pitru Paksha, carries this somber tone. The rituals of tarpan, performed at dawn by the banks of rivers or lakes, reinforce this connection to the departed, making it a day of reflection rather than festivity.
The Auspicious Aspect:
However, this event also marks the beginning of Devi Paksha, the period when Goddess Durga is believed to descend to earth to vanquish evil, symbolized by her slaying of the demon Mahishasura.
This transition is celebrated with enthusiasm, as it signals the arrival of Durga Puja, a festival synonymous with joy, community, and divine feminine power.
The famous Mahishasura Mardini broadcast, a radio program featuring Birendra Krishna Bhadra’s iconic recitation of the Chandi Paath (verses from the Devi Mahatmya), has become a cultural hallmark of Mahalaya since its first airing in 1931.
For Bengalis in Tripura and across the globe, this recitation is not just a ritual but a spiritual awakening, evoking devotion and anticipation for the festivities ahead.
Nrisingha Prasad Bhaduri’s Perspective:
Renowned Indologist and Sanskrit scholar Nrisingha Prasad Bhaduri offers a nuanced view on Mahalaya, emphasizing its dual significance rooted in mythology and tradition. In his writings and lectures, Bhaduri explains that Mahalaya is neither wholly auspicious nor inauspicious—it is a bridge between the two.
He highlighted the mythological narrative of Durga’s descent to earth, which is central to Mahalaya.
According to the Devi Mahatmya, the gods invoked Durga on this day to combat Mahishasura, marking the start of her divine mission.
Bhaduri noted this invocation (Avahana) signifies a moment of cosmic renewal, making Mahalaya auspicious as it heralds the triumph of good over evil. However, Bhaduri also underscored the inauspicious undertones of Pitru Paksha.
He pointed out that the tarpan rituals performed on Mahalaya are a way to seek closure for ancestral souls, ensuring their journey to the afterlife is complete. In his book ‘Dharma O Sanskritir Bichitra Rup‘ (as referenced in various Bengali cultural discussions), Bhaduri argued that Mahalaya’s inauspiciousness stems from its association with death, but its auspiciousness lies in its role as a precursor to Durga’s victory, symbolizing hope and divine intervention.
He likened Mahalaya to a “spiritual pivot,” a day that balances reverence for the past with optimism for the future.
Cultural and Ritualistic Dimensions:
Mahalaya’s significance extends beyond mythology into the cultural and emotional fabric. The Mahishasura Mardini broadcast, for instance, is a cultural phenomenon that transcends generations.
Even in 2025, despite the advent of digital media, families will gather around radios or stream the program online, reciting verses like “Ya Chandi, Madhu Kaitabha Jadi” with fervor.
This ritual, as Bhaduri noted, is not just devotional but a collective reaffirmation of Bengali identity and spirituality. Another key ritual is the Chokkhu Daan, the ceremonial painting of the eyes of Durga idols, which some communities perform on Mahalaya.
This act symbolises the infusion of life into the goddess’s image, marking the formal start of her worship.
While not universally practised on Mahalaya (some perform it closer to the puja), this ritual underscores the day’s auspicious connection to Durga’s arrival.
Is Mahalaya Auspicious or Inauspicious?
The question of whether Mahalaya is auspicious or inauspicious defies a binary answer. It is a day of profound duality, embodying both closure and new beginnings. The inauspiciousness of Pitru Paksha is tempered by the hope and joy of Devi Paksha.
As Nrisingha Prasad Bhaduri eloquently suggested, Mahalaya is a reminder of life’s cyclical nature—where death and remembrance coexist with renewal and celebration.
For Bengalis, it is a day to honor ancestors while preparing to welcome the divine mother, making it a unique blend of solemnity and festivity.
In conclusion, Mahalaya is neither wholly one nor the other—it is a sacred juncture where the past meets the future, and the human connection with the divine.
Whether you rise at dawn to offer tarpan or tune into the timeless chants of Mahishasura Mardini, Mahalaya invites you to embrace its dual essence, making it one of the most evocative days in the Hindu calendar.
Source Reference: Insights from Nrisingha Prasad Bhaduri’s works, including Dharma O Sanskritir Bichitra Rup and his lectures on Bengali mythology and culture, as referenced in various Bengali cultural discussions and articles.
