The Sword and the Flute: Kali and Krsna, Dark Visions of
the Terrible and Sublime in Hindu Mythology (Berkeley:
University of California Press, 2000); June McDaniel,
Offering Flowers, Feeding Skulls: Popular Goddess Wor-
ship in West Bengal (New York: Oxford University Press,
2004).
Chanakya See ARTHASHASTRA.
Chandi
Chandi (the fierce) is a name for the goddess
DURGA, when she is killing the demon MAHISHA-
SURA. This name is used primarily in the 700-verse
poem chanted in her honor. This poem, called
either Chandi Stotra (Praise of Chandi) or Durga
Saptashati (Seven hundred verses to Durga), forms
an episode of 13 chapters in the Markandeya
Purana, also known as the Devi Mahatmya (Glory
of the Goddess). It describes Durga’s victory over
Mahishasura, a demon with the head of a water
buffalo, and his demon hordes. It is read daily at
Durga temples and is always recited at the annual
celebration of Durga PUJA in the fall of each year.
Further reading: Thomas B. Coburn, Devi-Mahatmya:
The Crystalization of the Goddess Tradition (Delhi: Moti-
lal Banarsidass, 1984); Swami Jagadisvarananda, The
Devi Mahatmyam, or, Sri Durga-Saptashati: 700 Mantras
on Shri Durga (Madras: Sri Ramakrishna Math, 1969);
Satya Nand Sarawati, trans., Candi (Martinez, Calif.:
Devi Mandir, 1989).
Chandogya Upanishad
The classical Chandogya Upanishad is part of
the Chandogya Brahmana, which is attached
to the SAMA VEDA. It is one of the oldest UPA-
NISHADS. It retains much of the character of the
BRAHMANA from which it comes, in that it is
largely devoted to delineating the deeper mean-
ing and significance of the elements of the Vedic
sacrifice or YA J N A (see VEDAS).
Much of the Chandogya Upanishad is devoted
to the true meaning of the Udigitha, the loud
chant of the Sama Vedic priest at the sacrificial
ritual. The Udgitha is said to be tantamount to OM
(Ch. 1.1.1–10) and is identified with the breath
(Ch. 1.2.1–14). The esoteric meaning of each of
the syllables in the word Udgitha is explicated
(Ch. 1.3.1–12). The Udgitha is also identified
with the Sun, with space as the ultimate, and with
divinities.
The Chandoga Upanishad goes on to coordi-
nate the sounds of the fuller Sama Vedic chant
with cosmic and human entities. Through this
process, the elements of the Sama Vedic chant
are shown to encompass a wide range of human,
worldly, and cosmic entities; it is much more
important than a simple musical recitation.
Chapter three raises the familiar Upanishadic
theme of the identity of AT M A N (the individual
self) and the BRAHMAN (the Ultimate Reality). The
fifth chapter gives the famous teaching of Uddal-
aka Aruni to his son, Shvetaketu; in defining the
Ultimate Reality of the brahman he tells his son,
“You are THAT” (TAT TVAM ASI). This is one of the
most well known MAHAVAKYAS or “Great Sayings”
quoted in the VEDANTA.
Chapters seven and eight relate the nature of
the atman or individual self and show that it resides
within the human heart. They tell the famous tale
in which INDRA, king of the gods, at last learns the
nature of the brahman/atman identity.Further reading: S. N. Dasgupta, A History of Indian
Philosophy, Vol. 1 (Delhi: Motilal Banarsidass, 1975);
Swami Nikhilandanda, trans., The Upanishads. Vol. 1
(New York: Ramakrishna-Vivekananda Center, 1975);
S. Radhakrishnan, The Principal Upanishads (Atlantic
Highlands, N.J.: Humanities Press, 1974).Chandra
A rich Indian mythology addresses the Earth’s
Moon. In the VEDAS it was called Chandra (or can-
dramas). The name SOMA, who in the Vedas was aChandra 103 J