अयि गिरिनन्दिनि नन्दितमेदिनि विश्वविनोदिनि नन्दिनुते
गिरिवरविन्ध्यशिरोऽधिनिवासिनि विष्णुविलासिनि जिष्णुनुते ।
भगवति हे शितिकण्ठकुटुम्बिनि भूरिकुटुम्बिनि भूरिकृते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥१॥
सुरवरवर्षिणि दुर्धरधर्षिणि दुर्मुखमर्षिणि हर्षरते
त्रिभुवनपोषिणि शङ्करतोषिणि किल्बिषमोषिणि घोषरते ।
दनुजनिरोषिणि दितिसुतरोषिणि दुर्मदशोषिणि सिन्धुसुते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥२॥
अयि जगदम्ब मदम्ब कदम्ब वनप्रियवासिनि हासरते
शिखरि शिरोमणि तुङ्गहिमलय शृङ्गनिजालय मध्यगते ।
मधुमधुरे मधुकैटभगञ्जिनि कैटभभञ्जिनि रासरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥३॥
अयि शतखण्ड विखण्डितरुण्ड वितुण्डितशुण्द गजाधिपते
रिपुगजगण्ड विदारणचण्ड पराक्रमशुण्ड मृगाधिपते ।
निजभुजदण्ड निपातितखण्ड विपातितमुण्ड भटाधिपते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥४॥
अयि रणदुर्मद शत्रुवधोदित दुर्धरनिर्जर शक्तिभृते
चतुरविचार धुरीणमहाशिव दूतकृत प्रमथाधिपते ।
दुरितदुरीह दुराशयदुर्मति दानवदुत कृतान्तमते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥५॥
अयि शरणागत वैरिवधुवर वीरवराभय दायकरे
त्रिभुवनमस्तक शुलविरोधि शिरोऽधिकृतामल शुलकरे ।
दुमिदुमितामर धुन्दुभिनादमहोमुखरीकृत दिङ्मकरे
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥६॥
अयि निजहुङ्कृति मात्रनिराकृत धूम्रविलोचन धूम्रशते
समरविशोषित शोणितबीज समुद्भवशोणित बीजलते ।
शिवशिवशुम्भ निशुम्भमहाहव तर्पितभूत पिशाचरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥७॥
धनुरनुषङ्ग रणक्षणसङ्ग परिस्फुरदङ्ग नटत्कटके
कनकपिशङ्ग पृषत्कनिषङ्ग रसद्भटशृङ्ग हताबटुके ।
कृतचतुरङ्ग बलक्षितिरङ्ग घटद्बहुरङ्ग रटद्बटुके
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥८॥
जय जय जप्य जयेजयशब्द परस्तुति तत्परविश्वनुते
झणझणझिञ्झिमि झिङ्कृत नूपुरशिञ्जितमोहित भूतपते ।
नटित नटार्ध नटी नट नायक नाटितनाट्य सुगानरते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥९॥
अयि सुमनःसुमनःसुमनः सुमनःसुमनोहरकान्तियुते
श्रितरजनी रजनीरजनी रजनीरजनी करवक्त्रवृते ।
सुनयनविभ्रमर भ्रमरभ्रमर भ्रमरभ्रमराधिपते
जय जय हे महिषासुरमर्दिनि रम्यकपर्दिनि शैलसुते ॥१०॥
Ayi Giri-Nandini Nandita-Medini Vishva-Vinodini Nandinu-te
Giri-Vara-Vindhya-Shiro-Dhini-Vasini Vishnu-Vilasini Jishnu-nu-te |
Bhagavati He Shiti-Kantha-Kutumbini Bhuri-Kutumbini Bhuri-Krte
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||1||
Sura-Vara-Varshini Dur-Dhara-Dharshini Dur-Mukha-Marshini Harsha-Rate
Tri-Bhuvana-Poshini Shankara-Toshini Kilbisha-Moshini Ghosha-Rate |
Danuja-Niroshini Diti-Suta-Roshini Dur-Mada-Shoshini Sindhu-Sute
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||2||
Ayi Jagad-Amba Madamba Kadamba Vana-Priya-Vasini Hasa-Rate
Shikhari-Shiromani Tunga-Himalaya Shrnga-Nija-Alaya Madhyagate |
Madhu-Madhure Madhu-Kaitabha-Ganjini Kaitabha-Bhanjini Rasa-Rate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||3||
Ayi Shata-Khanda Vikhanda-Runda Vitundita-Shunda Gaja-Adhipate
Ripu-Gaja-Ganda Vidarana-Chanda Parakrama-Shunda Mrga-Adhipate |
Nija-Bhuja-Danda Nipatita-Khanda Vipatita-Munda Bhata-Adhipate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||4||
Ayi Rana-Durmada Shatru-Vadhodita Dur-Dhara-Nirjara Shakti-Bhrte
Chatura-Vichara Dhurina-Maha-Shiva Duta-Krta Pramatha-Dhipate |
Durita-Duriha Durashaya-Durmati Danava-Duta Krtanta-Mate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||5||
Ayi Sharana-Agata Vairi-Vadhu-Vara Vira-Vara-Abhaya Dayakare
Tri-Bhuvana-Mastaka Shula-Virodhi Shiro-Dhikrta-Amala Shula-Kare |
Dumidumitamara Dhundubhi-Nada-Maho-Mukharikrta Dimga-Kare
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||6||
Ayi Nija-Hunkrti Matra-Nirakrta Dhumra-Vilochana Dhumra-Shate
Samara-Vishoshita Shonita-Bija Samudbhava-Shonita Bija-Late |
Shiva-Shiva-Shumbha Nishumbha-Mahahava Tarpita-Bhuta Pishacha-Rate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||7||
Dhanur-Anushanga Rana-Kshana-Sanga Parisphurad-Anga Natat-Katake
Kanaka-Pishanga Prshatka-Nishanga Rasad-Bhata-Shrnga Hata-Batuke |
Krita-Chatur-Anga Bala-Kshiti-Ranga Ghatad-Bahu-Ranga Ratad-Batuke
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||8||
Jaya Jaya Japya Jaye-Jaya-Shabda Para-Stuti Tat-Para-Vishva-Nute
Jhana-Jhana-Jhinjhimi Jhinkrta Nupura-Shinjita-Mohita Bhuta-Pate |
Natita Natardha Nati Nata Nayaka Natita-Natya Sugana-Rate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||9||
Ayi Sumanah-Sumanah-Sumanah Sumanah-Sumanohara-Kanti-Yute
Shrita-Rajani Rajani-Rajani Rajani-Rajani-Kara-Vaktra-Vrte |
Sunayana-Vibhrama-Ra Bhramara-Bhramara Bhramara-Bhramara-Adhipate
Jaya Jaya He Mahisha-Sura-Mardini Ramya-Kapardini Shaila-Sute ||10||
Mahishasura Mardini Stotram — the hymn to the slayer of Mahishasura — is one of the most celebrated Sanskrit stotras dedicated to Goddess Durga. Its opening invocation, Ayi Giri Nandini (O daughter of the mountain!), immediately establishes the Goddess as Parvati, daughter of the Himalayas, yet in her fierce aspect as the destroyer of the buffalo demon Mahishasura. The stotram consists of twenty-one verses, each built on an exhilarating metre that evokes the energy of battle. Every verse ends with the triumphant refrain — Victory, victory to you, O Mahishasura Mardini, O beautiful-haired daughter of the mountain! — which builds a crescendo of devotion across the entire composition. The verses praise Durga in her many aspects: as the nourisher of the three worlds, the destroyer of pride and sin, the one who vanquished the demons Madhu-Kaitabha, Shumbha, and Nishumbha, and the compassionate refuge of those who surrender to her. The stotram's unique blending of battle imagery with tender maternal invocation makes it extraordinary in the Sanskrit devotional canon.
Mahishasura Mardini Stotram is attributed by tradition to Adi Shankaracharya (circa 788–820 CE), the philosopher-saint who unified diverse strands of Hindu philosophy under Advaita Vedanta. Although best known for his non-dualist philosophical commentaries, Shankara was also a prolific composer of devotional stotras to Shiva, Vishnu, and Devi. He held that devotion (bhakti) was a valid and powerful path even within an Advaita framework, since the apparent multiplicity of devotee and deity is ultimately resolved in the one non-dual Brahman. The Mahishasura Mardini Stotram, with its exuberant metre and vivid descriptions, reflects the aspect of Shankara as a poet and devotee, not merely a philosopher.
Goddess Durga — Mahishasura Mardini, the slayer of the buffalo demon — is the supreme manifestation of Shakti, the divine cosmic energy that underlies all existence. She arose from the combined radiance of all the gods to destroy the demon Mahishasura, whom no god could individually defeat. Armed with weapons gifted by each deity and riding a lion, Durga waged a fierce cosmic battle and vanquished Mahishasura, thereby restoring order to the universe. As Parvati-Durga, she is simultaneously the loving daughter of the Himalayas, the consort of Shiva, and the independent sovereign Shakti who needs no male companion to exercise her power. She is worshipped especially during Navratri (nine nights of the Goddess) and Durga Puja, with Mahishasura Mardini Stotram forming the centerpiece of many festival recitations.
Mahishasura Mardini Stotram holds a place of special prominence during the nine nights of Navratri, when it is recited at dawn (brahma-muhurta) in temples and homes as an invocation of the Goddess. All-India Radio has broadcast a traditional rendition of this stotram at dawn during Navratri for many decades, making it one of the most widely recognised Sanskrit hymns among Indian listeners. The stotram is also chanted on Ashtami (the eighth lunar day), during Durga Puja, and on Fridays dedicated to the Goddess. It is typically recited with a brisk, energetic pace that honours the martial metre of the original Sanskrit.
Ayi Giri Nandini translates as O daughter of the mountain — a tender address to Goddess Durga in her identity as Parvati, the daughter of Himalaya (Giri = mountain, Nandini = daughter, Ayi = O). This opening immediately establishes a personal, affectionate relationship between the devotee and the fierce goddess, blending awe with intimacy.
Mahishasura (Mahisha = buffalo, Asura = demon) was a powerful demon king who had obtained a boon that no male being could kill him. Emboldened by this boon, he conquered heaven and expelled the gods. The gods, unable to defeat him, pooled their divine energies to create Goddess Durga, who as a female warrior was outside the terms of his boon. After a fierce battle, Durga slew Mahishasura, thereby being called Mahishasura Mardini — the slayer of Mahishasura.
The complete Mahishasura Mardini Stotram traditionally contains twenty-one verses, each ending with the same triumphant refrain — Jaya Jaya He Mahishasura Mardini Ramya-Kapardini Shaila-Sute. The repetition of this refrain across all verses creates a meditative, chant-like structure that builds spiritual energy through sustained praise of the Goddess.
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The fierce grace of the Mother: Mahishasura Mardini Stotram and the rasa of Shakti
The Mahishasura Mardini Stotram, celebrated by its opening words Ayi Giri Nandini, is among the most musically and emotionally exhilarating compositions in all of Sanskrit devotional literature. Its verses move at an almost breathless pace, using complex internal rhymes and alliterative clusters to evoke the whirling, invincible energy of the Goddess as she battles and vanquishes the buffalo demon Mahishasura. The rasa at the centre of this stotram is not gentle devotion but vira — heroism — and adbhuta — wonder — the awe a devotee feels when confronted with divine power that is simultaneously terrifying and utterly protective.
This stotram holds a particularly sacred place during the nine nights of Navaratri, when it is recited in temples and homes as a central devotional offering to Devi in her form as Durga or Chandika. Many practitioners recite it daily during the period between the eighth and ninth lunar days (Ashtami and Navami) when the Goddess's energy is traditionally held to be most potent. In the Jyotish tradition, the Goddess in her fierce aspect is associated with the transformative power that governs Rahu and the shadow planets; recitation of this stotram is considered by some practitioners a means of seeking her shelter during times of upheaval and uncertainty. The stotram's enduring appeal lies in this dual quality: it is at once a celebration of cosmic triumph and an intensely personal refuge for the devotee who turns to the Mother in need.