Bagalamukhi Chalisa, Bagalamukhi Mata Chalisa
Bagalamukhi Chalisa, Bagalamukhi Mata Chalisa
Jai Jai Jai Shri Bagala Mata
|| dohA ||
sira navAi bagalAmukhI,
likhU~ cAlIsA Aja|
kRpA karahu mopara sadA,
pUrana ho mama kAja||
|| caupAI ||
jaya jaya jaya zrI bagalA mAtA|
Adizakti saba jaga kI trAtA||
bagalA sama taba Anana mAtA|
ehi te bhayau nAma vikhyAtA||
zazi lalATa kuNDala chavi nyArI|
astuti karahiM deva nara-nArI||
pItavasana tana para tava rAjai|
hAthahiM mudgara gadA virAjai||
tIna nayana gala campaka mAlA|
amita teja prakaTata hai bhAlA||
ratna-jaTita siMhAsana sohai|
zobhA nirakhi sakala jana mohai||
Asana pItavarNa mahArAnI|
bhaktana kI tuma ho varadAnI||
pItAbhUSaNa pItahiM candana|
sura nara nAga karata saba vandana||
ehi vidhi dhyAna hRdaya meM rAkhai|
veda purANa santa asa bhAkhai||
aba pUjA vidhi karauM prakAzA|
jAke kiye hota dukha-nAzA||
prathamahiM pIta dhvajA phaharAvai|
pItavasana devI pahirAvai||
kuMkuma akSata modaka besana|
abira gulAla supArI candana||
mAlya haridrA aru phala pAnA|
sabahiM caDha़i dharai ura dhyAnA||
dhUpa dIpa karpUra kI bAtI|
prema-sahita taba karai AratI||
astuti karai hAtha dou jore|
puravahu mAtu manoratha more||
mAtu bhagati taba saba sukha khAnI|
karahu kRpA mopara janajAnI||
trividha tApa saba duHkha nazAvahu|
timira miTAkara jJAna baDha़Avahu||
bAra-bAra maiM binavau~ tohIM|
avirala bhagati jJAna do mohIM||
pUjanAnta meM havana karAvai|
so nara manavAMchita phala pAvai||
sarSapa homa karai jo koI|
tAke vaza sacarAcara hoI||
tila taNDula saMga kSIra mirAvai|
bhakti prema se havana karAvai||
duHkha daridra vyApai nahiM soI|
nizcaya sukha-saMpati saba hoI||
phUla azoka havana jo karaI|
tAke gRha sukha-sampatti bharaI||
phala semara kA homa karIjai|
nizcaya vAko ripu saba chIjai||
guggula ghRta homai jo koI|
tehi ke vaza meM rAjA hoI||
guggula tila sa~ga homa karAvai|
tAko sakala bandha kaTa jAvai||
bIjAkSara kA pATha jo karahIM|
bIjamantra tumharo uccarahIM||
eka mAsa nizi jo kara jApA|
tehi kara miTata sakala santApA||
ghara kI zuddha bhUmi jaha~ hoI|
sAdhaka jApa karai taha~ soI||
soi icchita phala nizcaya pAvai|
jAme nahiM kachu saMzaya lAvai||
athavA tIra nadI ke jAI|
sAdhaka jApa karai mana lAI||
dasa sahasra japa karai jo koI|
sakala kAja tehi kara sidhi hoI||
jApa karai jo lakSahiM bArA|
tAkara hoya suyaza vistArA||
jo tava nAma japai mana lAI|
alpakAla maha~ ripuhiM nasAI||
saptarAtri jo jApahiM nAmA|
vAko pUrana ho saba kAmA||
nava dina jApa kare jo koI|
vyAdhi rahita tAkara tana hoI||
dhyAna karai jo bandhyA nArI|
pAvai putrAdika phala cArI||
prAtaH sAyaM aru madhyAnA|
dhare dhyAna hovai kalyAnA||
kaha~ lagi mahimA kahauM tihArI|
nAma sadA zubha maMgalakArI||
pATha karai jo nitya cAlIsA|
tehi para kRpA karahiM gaurIzA||
|| dohA ||
santazaraNa ko tanaya hU~,
kulapati mizra sunAma|
haridvAra maNDala basU~,
dhAma haripura grAma||
unnIsa sau picAnabe san kI,
zrAvaNa zuklA mAsa|
cAlIsA racanA kiyauM,
tava caraNana ko dAsa||
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About This Stotram
Overview
The Bagalamukhi Chalisa is an 8-verse Hindi devotional hymn dedicated to Goddess Bagalamukhi, one of the ten Mahavidyas. She is associated with the power to paralyze enemies and control hostile speech. The Chalisa belongs to the North Indian vernacular devotional tradition and draws on Tantric Shakta worship.
What are the benefits of chanting Bagalamukhi Chalisa?
- Recitation is said to provide protection from enemies.
- It is chanted to seek victory in legal disputes and adversarial situations.
- Devotees use it to achieve success in their endeavors.
- Regular practice is associated with the removal of obstacles.
- It is believed to confer authority and influence in difficult circumstances.
When is the best time to recite this?
Morning and evening recitation is standard. Tuesdays, Chaturdashi Tithi (14th lunar day), and Navaratri are considered particularly auspicious for Bagalamukhi worship.
What is the historical and traditional background?
The worship of Bagalamukhi is rooted in Tantric traditions and is associated with texts such as the Tantrasara. The Chalisa format, composed in Hindi using rhyming couplets and quatrains, is a post-medieval development in devotional literature distinct from classical Sanskrit stotrams. The exact date and author of this Chalisa are unknown; like most Chalisas, it likely emerged in the medieval or early modern period as vernacular devotional practice expanded. It is widely recited in Bagalamukhi temples across North India.
Available scripts
This text is available in 14 scripts: devanagari, tamil, telugu, kannada, malayalam, gujarati, bengali, iast, gurmukhi, oriya, assamese, sinhala, itrans, hk. Use the script selector above to switch between them.
Related Texts
- Bagalamukhi 1000 Names — the Sanskrit Sahasra Namavali for Goddess Bagalamukhi, used in more formal Tantric worship.
- Bagalamukhi Kavacham — a Sanskrit protective hymn invoking the Goddess's power as a shield for the devotee.