Bagalamukhi Chalisa, Bagalamukhi Mata Chalisa
Bagalamukhi Chalisa, Bagalamukhi Mata Chalisa
Bagalamukhi Chalisa, Bagalamukhi Mata Chalisa
Jai Jai Jai Shri Bagala Mata
|| dohA ||
sira navAi bagalAmukhI,
likhU.N chAlIsA Aja|
kRRipA karahu mopara sadA,
pUrana ho mama kAja||
|| chaupAI ||
jaya jaya jaya shrI bagalA mAtA|
Adishakti saba jaga kI trAtA||
bagalA sama taba Anana mAtA|
ehi te bhayau nAma vikhyAtA||
shashi lalATa kuNDala Chavi nyArI|
astuti karahiM deva nara-nArI||
pItavasana tana para tava rAjai|
hAthahiM mudgara gadA virAjai||
tIna nayana gala champaka mAlA|
amita teja prakaTata hai bhAlA||
ratna-jaTita siMhAsana sohai|
shobhA nirakhi sakala jana mohai||
Asana pItavarNa mahArAnI|
bhaktana kI tuma ho varadAnI||
pItAbhUShaNa pItahiM chandana|
sura nara nAga karata saba vandana||
ehi vidhi dhyAna hRRidaya meM rAkhai|
veda purANa santa asa bhAkhai||
aba pUjA vidhi karauM prakAshA|
jAke kiye hota dukha-nAshA||
prathamahiM pIta dhvajA phaharAvai|
pItavasana devI pahirAvai||
kuMkuma akShata modaka besana|
abira gulAla supArI chandana||
mAlya haridrA aru phala pAnA|
sabahiM chaDha़i 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 kRRipA mopara janajAnI||
trividha tApa saba duHkha nashAvahu|
timira miTAkara j~nAna baDha़Avahu||
bAra-bAra maiM binavau.N tohIM|
avirala bhagati j~nAna do mohIM||
pUjanAnta meM havana karAvai|
so nara manavAMChita phala pAvai||
sarShapa homa karai jo koI|
tAke vasha sacharAchara hoI||
tila taNDula saMga kShIra mirAvai|
bhakti prema se havana karAvai||
duHkha daridra vyApai nahiM soI|
nishchaya sukha-saMpati saba hoI||
phUla ashoka havana jo karaI|
tAke gRRiha sukha-sampatti bharaI||
phala semara kA homa karIjai|
nishchaya vAko ripu saba ChIjai||
guggula ghRRita homai jo koI|
tehi ke vasha meM rAjA hoI||
guggula tila sa.Nga homa karAvai|
tAko sakala bandha kaTa jAvai||
bIjAkShara kA pATha jo karahIM|
bIjamantra tumharo uchcharahIM||
eka mAsa nishi jo kara jApA|
tehi kara miTata sakala santApA||
ghara kI shuddha bhUmi jaha.N hoI|
sAdhaka jApa karai taha.N soI||
soi ichChita phala nishchaya pAvai|
jAme nahiM kaChu saMshaya 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 lakShahiM bArA|
tAkara hoya suyasha vistArA||
jo tava nAma japai mana lAI|
alpakAla maha.N 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 chArI||
prAtaH sAyaM aru madhyAnA|
dhare dhyAna hovai kalyAnA||
kaha.N lagi mahimA kahauM tihArI|
nAma sadA shubha maMgalakArI||
pATha karai jo nitya chAlIsA|
tehi para kRRipA karahiM gaurIshA||
|| dohA ||
santasharaNa ko tanaya hU.N,
kulapati mishra sunAma|
haridvAra maNDala basU.N,
dhAma haripura grAma||
unnIsa sau pichAnabe san kI,
shrAvaNa shuklA mAsa|
chAlIsA rachanA kiyauM,
tava charaNana 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.