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Manasa

Manasa, also known as or Vishahari (destroyer of ), is a Hindu folk goddess revered as the queen of snakes and a protector against snakebites, venomous diseases, , and misfortune. She is primarily worshipped in the eastern Indian states of , , , and , as well as in parts of northeastern and , where her cult emphasizes her role in safeguarding human life from the dangers posed by serpents in marshy and rural environments. Manasa's origins trace back to pre-Vedic or indigenous tribal traditions, likely emerging from ancient serpent worship practices across South Asia, with possible influences from non-Aryan folk cults, Buddhist deities like Jaguli, and regional snake goddess figures such as Manchamma from South India. Over time, she was integrated into the broader Hindu pantheon during the medieval period, particularly through the Shaiva and Shakta traditions, becoming associated with Shiva as her father and the naga king Vasuki or Shesha as her brother. Her mythology is prominently featured in Bengali Mangal-Kavyas (auspicious poems), where she is depicted as the wife of the sage Jaratkaru and mother of the sage Astika, who intervened to end the snake sacrifice performed by King Janamejaya in the Mahabharata narrative. In , Manasa is typically portrayed as a four-armed seated on a , adorned with jewels and a crown, often under a canopy formed by seven snake hoods reminiscent of a ; she holds attributes such as a , a snake, a water pot, and a staff, symbolizing purity, protection, fertility, and authority over serpents. Her worship, centered on the annual Manasa during the monsoon season (typically in the month of ), involves rituals like snake idol offerings, fasting, and recitation of the Manasa Mangal, a medieval that narrates her triumphs over rival and her establishment of devotion among humans. These practices highlight her dual role as a fierce yet benevolent , countering while bestowing and marital bliss.

Names and Etymology

Epithets and Regional Names

Manasa, the goddess associated with serpents and protection from , derives her primary name from the Sanskrit term manas, signifying "mind" or "intention," reflecting her origin as a mind-born deity in ancient texts. Among her key epithets are Visahari (remover or destroyer of ), emphasizing her role in curing snakebites through the visahari vidya (science of ), and Nagesvari (queen or goddess of snakes), bestowed upon her by the king as ruler over all serpents. Jagadambika (mother of the world) highlights her nurturing aspect as a and deity, while Manasa Devi serves as a title underscoring her divine status in devotional practices. Regional variations of her name reflect localized traditions and . In , she is commonly known as Manasha or Bishohori, adapting to the vernacular while retaining her snake-protectress identity, particularly in rural worship. In and , Padmavati emerges as a prominent form, linking her to symbolism and possibly deriving from pre-Hindu folk deities, with syncretic elements blending her with Lakshmi-like attributes. Syncretic names such as Manasa-Gouri or Jagatgauri appear in eastern Indian traditions, merging her with (a form of ) to integrate her into broader Shaivite frameworks, as seen in temple iconography and folk narratives. Other regional epithets include Nagmata (mother of snakes) in agrarian communities and Manchamma in southern locales, illustrating her adaptation to diverse linguistic and tribal contexts. In Puranic literature, additional epithets emphasize her mythological lineage and attributes. Nagakanya (daughter of the serpents) denotes her connection to the lineage as sister to and other serpents, while Jara-garbha (womb of Jaratkaru) refers to her marital tie to the sage Jaratkaru, underscoring her role in sage Astika's birth. These titles appear in texts like the and Devi-Bhagavata Purana, where she is portrayed as an autonomous deity elevated from folk origins to a recognized figure in the Hindu pantheon. Ayonisambhava (not born from a womb) and Nitya (eternal) further highlight her non-conventional birth and timeless nature, distinguishing her from anthropomorphic goddesses. The historical evolution of Manasa's names is prominently traced in medieval , particularly the Manasa Mangalkavyas (15th–18th centuries), which popularized her cult among lower castes and rural folk. In these poetic narratives, she assumes epithets like Bishahari (poison-remover) and Padmavati, evolving from Buddhist-influenced Janguli (a healer) to a fully Hinduized snake queen, reflecting the integration of tribal and elements into Vaishnava and Shaiva traditions. This literary tradition, composed by poets such as Vijay Gupta and Ketaka Das, transformed her from a marginal village —known variably as Bahura or Brahmani in local dialects—into a multifaceted demanding universal , with names adapting to emphasize her benevolence and power over plagues.

Linguistic and Scriptural Origins

The name Manasa derives from the root manas, meaning "mind," reflecting her mythological origin as a mind-born and her association with mental clarity, spiritual insight, and the control of poisonous thoughts or afflictions akin to venom. This etymology underscores her role as a protector against physical and metaphorical poisons, including snakebites and harmful intentions, positioning her as a guardian of the psyche in Hindu traditions. Manasa's earliest scriptural traces appear in the through allusions to minor serpent deities and figures, symbolizing subterranean forces and , which laid the groundwork for her later . These references evolve in the and , where she emerges more distinctly as a naga-associated entity linked to ritual protection and cosmic balance, transitioning from anonymous Vedic serpentine motifs to a personalized divine form. Her conceptual development culminates in the Puranas, particularly related texts like the , where Manasa is explicitly portrayed as the daughter of the sage and his consort , mother of the nagas, marking her shift from Vedic anonymity to a named with familial ties to the serpent lineage. This portrayal emphasizes her authority over poisons and nagas, distinct from her earlier, less individualized depictions. Scholarly debates, advanced by 19th- and 20th-century Indologists in their analyses of ancient traditions, posit Manasa's possible non-Aryan origins, tracing her worship to pre-Vedic tribal and roots in , where she parallels folk snake-goddesses like Manchamma, before assimilation into the Brahmanical . These views highlight her integration of serpent cults, evidenced by archaeological and textual parallels in Harappan and proto- contexts, suggesting a syncretic rather than purely Vedic genesis.

Iconography and Symbolism

Visual Depictions

Manasa is most commonly represented in anthropomorphic form as a serene female deity seated in the lalitasana pose on a lotus throne, with her right leg pendant and often positioned above a kalasha filled with nectar from which serpents emerge. In her typical two-armed depictions, she holds a live serpent or cobra in her left hand and an āmalaka fruit (myrobalan) in her right, while a canopy of seven hooded snakes arches over her head, evoking the cosmic serpent Shesha. Four-armed variations extend this iconography, with the upper hands grasping a kalasha in one and a fruit or betel branch in the other, the lower hands displaying varada (boon-granting) and abhaya (fear-dispelling) mudras; these forms frequently include a coiled cobra at her feet or a child figure symbolizing her son Astika beside her. By the medieval period in , terracotta plaques and reliefs emphasized multi-hooded canopies akin to , integrating her into regional Vaishnava and Shaiva artistic traditions, as seen in decorations where she appears flanked by serpents or attendants. Artistic representations of Manasa evolved from tribal aniconic symbols, such as snake stones (manasa mani) used in folk rituals, to fully anthropomorphic figures by the , coinciding with the Pala dynasty's patronage in eastern . Bronze sculptures from the 12th century, originating from regions like and , capture her in elegant, slender forms with intricate snake motifs, as exemplified by ritual ewers and standalone idols featuring her lotus-seated pose under a hooded canopy. In 's Bishnupur region, clay terracotta images from complexes depict her in vibrant, styles, often with exaggerated hoods and accompanying figures, highlighting local artisanal techniques in baked clay. The 19th-century Kalighat pats, hand-painted on paper by patuas near Kolkata's , portray Manasa in bold, satirical outlines with simplified attributes like the fruit and snake, emphasizing her role in folk tales amid everyday scenes.

Associated Symbols and Attributes

Manasa's iconography prominently features , which symbolize her kinship with the lineage and embody the dual aspects of danger through and benevolence as an to . The canopy of seven snake hoods crowning her head, often depicted fanning out like a protective known as "Manasar Chali," represents from forces and underscores her role in providing protection against serpentine threats. The lotus upon which Manasa is frequently seated signifies purity and transcendence, elevating her above worldly impurities while linking to themes of fertility and renewal. Accompanying this, the kalasha or pot she holds—sometimes filled with water symbolizing the womb or containing poison—denotes life-giving abundance and her mastery over venom, tying into her protective domains against diseases and environmental calamities like droughts. Attributes such as the child figure, representing her son Astika cradled in her arms, emphasize motherhood and familial protection, evoking harmony in marital bonds with her husband Jaratkaru. The , occasionally portrayed as her or vehicle, further symbolizes grace, purity, and spiritual discernment, reinforcing her benevolent guardianship. In depictions, Manasa appears with a golden complexion, clad in red garments that signify power and vitality, and adorned with gold jewelry, often drawn from treasures in traditional descriptions. These elements collectively highlight her regal authority and connection to prosperity and serpentine wealth.

Mythological Origins

Birth and Genealogy

In , Manasa is regarded as the daughter of the sage . In epic traditions such as the , she is portrayed as the daughter of and his consort , the mother of all serpents known as , positioning her within the ancient lineage tracing back to . In Puranic accounts like the , however, Manasa is described as the mind-born daughter (manasa-putri) of , emphasizing her origin tied to intellectual and mystical faculties rather than a conventional birth. , a daughter of , bore numerous offspring in the epics, establishing Manasa's integral role in the serpent cosmology where she shares kinship with the entire race, though not explicitly as her physical mother in all traditions. This familial connection makes Manasa a full to prominent s such as , the cosmic serpent who supports the earth and serves as Vishnu's resting abode; , the king of serpents often depicted as the rope used in the churning of the ocean; and , a fierce associated with royal lineages and vengeance. The Mahabharata's describes the figure later identified as Manasa in folk traditions as the of , referred to there as Jaratkaru, who was given in marriage to the sage of the same name to ensure the protection of the lineage from a prophesied destruction. Through this shared heritage, Manasa embodies the essence, specializing in the control of poisons, minds, and serpentine forces, in contrast to her brothers' roles in sustaining cosmic order and elemental upheavals. Her position underscores the interconnectedness of divine progeny in Vedic and Puranic genealogies, where Kashyapa's unions with various wives produced diverse classes of beings, including gods, demons, birds, and reptiles. Certain traditions, particularly in regional folklore and texts like the , attribute Manasa's origin to , portraying her as emerging from his divine essence—often his semen or mind—mingled with Naga elements. In these accounts, Shiva's vital fluid, spilled upon a lotus or a crafted by or Vasuki's kin, is used by to fertilize the conception, granting Manasa a semi-independent status outside the primary worship while retaining her Naga ties. The and describe her as the mind-born daughter of and a devotee of , highlighting her connection to Shaiva cosmology without the semen narrative. These varying accounts underscore the hybrid nature of her , bridging , Puranic, and folk traditions.

Early Scriptural References

Manasa's presence in ancient Hindu scriptures is notably sparse in the Vedic corpus and major , where she does not appear as a distinct or spirit, reflecting her likely origins in later folk and regional traditions rather than the early Vedic . The and other Samhitas focus on broader cosmic and natural forces without specific references to her, and the philosophical similarly omit any characterization of Manasa, underscoring her emergence as a in post-Vedic developments. Her initial elaboration occurs in the epic literature, particularly the , where the figure later identified as the goddess Manasa is depicted as a princess named Jaratkaru, the sister of the serpent king , the wife of the ascetic sage Jaratkaru, and the mother of the sage Astika. This portrayal integrates her into the serpent lore central to the Adi Parva's narrative of the , establishing her familial ties to the lineage without yet elevating her to full divine status. The offers only brief, indirect allusions to serpent figures but lacks prominent mention of Manasa, highlighting the as the primary epic source for her early characterization. The , an appendix to the , echoes this genealogy, reinforcing her role within the epic's mythological framework. The Puranic texts mark a significant expansion of Manasa's role, portraying her as a powerful with divine origins and attributes. In the Devi-Bhagavata Purana (composed around the 9th-12th centuries ), she emerges as the mind-born daughter of the sage through his intense (austerities), tasked with controlling serpents and granting protection from venom, thereby formalizing her as a benevolent yet formidable . Similarly, the (likely 15th-16th centuries , though drawing on earlier traditions) describes her as the mind-born daughter of , a devotee of inclined toward Krishna, who attains goddess status through divine satisfaction and intervention, emphasizing her integration into Vaishnava and Shaiva narratives. These texts shift her from a peripheral figure to a central , capable of bestowing , , and warding off plagues. In medieval , Manasa's cult gains prominence through the Mangalkavyas, a genre of devotional poems composed between the 13th and 16th centuries that popularize her as a folk deity demanding worship for prosperity and safety. The Manasa Mangal Kavya, the earliest and most influential of these, chronicles her establishment as a worshipped in , blending epic elements with local lore to appeal to lower-caste and rural devotees, thus marking her transition from scriptural archetype to living folk tradition.

Key Legends

Marriage to Jaratkaru and Birth of Astika

In the Mahabharata's , the sage Jaratkaru, renowned for his extreme , is compelled by his deceased ancestors to marry in order to perpetuate his lineage and avert their eternal damnation in hell. The ancestors, suspended head-down in a pit, implore him during a vision, emphasizing that without progeny, their line would end, leading to their downfall. Jaratkaru reluctantly agrees but stipulates that he will wed only a named Jaratkaru, offered to him as without any obligation to support her, and who must match his austere lifestyle by never exceeding his physical emaciation. Overhearing the ancestors' plea through the serpents' vigilance, , the king of the Nagas, identifies his —also named Jaratkaru and later revered as the goddess Manasa in Puranic traditions—as the ideal match to fulfill this prophecy. dispatches emissaries to locate the and, upon finding him engaged in , offers his slender-waisted as , confirming her name and compliance with the conditions. The , verifying that she is provided without expectation of maintenance, accepts the proposal, leading to their immediate union under the guidance of the serpents, who anticipate the birth of a son to safeguard their race from impending destruction. The marriage proves brief due to Jaratkaru's rigid vows of austerity. He instructs his wife to remain ever vigilant and not to allow her body to grow heavier than his or sleep beyond his waking hours, as such lapses would violate his ascetic discipline. One day, while Jaratkaru rests in the sun to combat the cold, his wife, feeling discomfort, covers him with her mantle; upon waking and perceiving this as a breach—interpreting her greater comfort as exceeding his emaciation—he departs abruptly, leaving her desolate despite her pregnancy. Devastated, Jaratkaru (Manasa) returns to her brother and recounts the events, including her husband's sudden exit. She gives birth to their son Astika, a of unparalleled wisdom, whose advent is foretold to redeem the lineage by intervening in a future cataclysmic . This birth fulfills the ancestral , as Astika is destined to become the savior of the serpents, embodying themes of redemption through familial duty and .

Conflict with Shiva and the Plague Narrative

In the Manasa Mangalkavyas, Manasa is portrayed as the daughter of , born when his semen falls on a lotus leaf, trickling down its stem into the , but she faces rejection from her father due to her serpentine nature and lack of acceptance by , his consort, prompting her to seek worship through her own assertive actions rather than paternal endorsement. This initial denial fuels Manasa's campaign for universal devotion, as Shiva refuses to compel his followers to honor her, leading her to demonstrate her power independently. The central conflict unfolds with , a prosperous from Champaknagar and ardent devotee of , who vows never to worship Manasa, viewing her as inferior to his patron deity and even prohibiting others in his domain from doing so. In response, Manasa unleashes a devastating of snakes upon his and fleet; over successive Nag Panchami festivals, venomous serpents bite and kill his six elder sons one by one, while a storm sinks his seven trading ships laden with goods, leaving his youngest son, Lakshmindar, as the final victim on the seventh occasion. Only , Lakshmindar's devoted wife and a secret worshiper of Manasa, escapes unharmed due to her piety, adorning her home with offerings to the goddess despite her father-in-law's prohibitions. Behula's unyielding faith propels the resolution: refusing to cremate her husband's body, she places it on a banana raft and drifts down the river toward Manasa's celestial abode, enduring trials including encounters with gods and demons, all while singing hymns of praise to the goddess. Moved by this exemplary devotion, Manasa appears before , revives Lakshmindar and the six slain brothers, restores the sunken ships with their treasures intact, and compels to witness the miracle, thereby breaking his resistance and securing his pledge to install her idol in his home and propagate her worship throughout the land. This triumph, detailed prominently in 15th-century versions like Vijay Gupta's Manasa Mangal, underscores Manasa's establishment as a formidable demanding recognition beyond Shiva's domain, with Puranic texts providing earlier motifs of her serpentine plagues.

Role in the Mahabharata's

In the , the refers to the grand snake sacrifice performed by King Janamejaya, the son of , to eradicate all serpents in vengeance for his father's death from the bite of the . This ritual, officiated by high-souled Brahmins under the guidance of the sage Vyasa's disciples, drew snakes from across the world into the sacrificial fire through powerful mantras, nearly annihilating the entire race. The turning point comes with the intervention of the young Brahmin sage Astika, born to the ascetic Jaratkaru and a princess who was the sister of the serpent king . Their marriage had been divinely ordained to produce a son capable of relieving the serpents from destruction, as prophesied earlier to by the gods. Arriving at the sacrifice, Astika, revered for his ascetic lineage and wisdom, extols Janamejaya's ritual before requesting boons that compel the king to halt the mid-proceeding, thereby sparing and the surviving Nagas from total extermination. Manasa's connection emerges through later interpretive traditions that identify the unnamed Naga princess—mother of Astika—as the goddess Manasa herself, positioning her as the prophesied maternal protector whose progeny safeguarded the serpent lineage during this cataclysmic event. This association underscores Manasa's enduring role as a of s, with her subtle influence invoked in folk narratives to emphasize worship as a means to prevent snake-related calamities akin to those in the epic. The narrative unfolds primarily in the of the , spanning sections roughly equivalent to chapters 49-57 in traditional recensions, highlighting the interplay between human vengeance and in preserving cosmic balance.

Worship and Rituals

Festivals and Observances

The primary festival dedicated to Manasa is Manasa Puja, observed during the Hindu lunar month of Shravana, which typically falls in July-August and coincides with the monsoon season. This period is significant as it aligns with increased snake activity in eastern India, prompting devotees to seek the goddess's protection against bites and related perils. The festival culminates on Nag Panchami, the fifth day (Panchami) of the bright half (Shukla Paksha) of Shravana, when Panchami Vrat—a day-long fast—is undertaken by women and families to honor Manasa and invoke her blessings for prosperity and safety. In regions like West Bengal and Assam, the observance integrates communal elements, including multi-day gatherings that often span four to five days, featuring processions and fairs to foster community participation. Central to these observances are devotional performances such as kirtans, where troupes recite verses from the Manasa Mangal, a medieval poetic tradition narrating the goddess's legends, drawing large crowds in rural and semi-urban areas of . These gatherings emphasize collective devotion, with participants engaging in all-night recitations to reinforce social bonds and cultural continuity. The five-day structure in some locales, like in , includes progressive rituals building toward the main Panchami culmination, where fasts are observed with offerings and prayers specifically timed to the . Historically, Manasa worship emerged prominently in 14th-century through integration into Shaiva and Vaishnava traditions, as evidenced by references in texts like the , which formalized her rituals within broader Hindu frameworks. The cult spread from 's lower-caste and tribal communities to and by the 18th century, facilitated by cultural exchanges and migrations, including during periods of regional invasions that carried folk practices northward. This expansion was influenced by Vaishnava movements, which adapted local snake veneration into scriptural narratives, enhancing Manasa's appeal across diverse socio-religious groups. In modern practice, the festival adheres to the Shukla Paksha Panchami date, such as August 9 in 2024, though regional shifts occur; for instance, tribal communities in and parts of may celebrate earlier, around February-March in areas like Cachar, adapting to local agrarian cycles while maintaining the core emphasis on monsoon-linked protection. These variations highlight the festival's adaptability, briefly connecting to broader snake veneration traditions without overshadowing Manasa's distinct role.

Ritual Practices and Offerings

The ritual practices of Manasa center on domestic and community pujas that emphasize from snakebites and poison, typically conducted in home altars or temporary setups during the monsoon season. The core procedure begins with the of a clay idol, known as Manasa , crafted by local artisans to depict the goddess adorned with snakes and seated on a . This idol is placed on a raised decorated with leaves and flowers, symbolizing her dominion over serpents. Following installation, the idol undergoes a purification rite involving bathing with milk, water, and turmeric paste, which invokes Manasa's healing attributes as a curer of venomous afflictions. Offerings are then presented, including sweets such as rice-based preparations, fresh fruits like bananas and coconuts, and bowls of milk poured near symbolic snake figures or earthen snake models to honor her serpentine attendants. In some traditions, these offerings are shared as prasad among participants to ensure communal well-being and fertility. Mantra recitation forms a vital part of the proceedings, with devotees chanting verses from the Manasa Mangalkavyas that praise Manasa as the remover of poison and protector of life. These chants often incorporate the narration of the Behula legend, recounting the devotee 's trials and triumph, performed through songs or readings to reinforce the goddess's benevolence. The rituals are frequently led by non-Brahmin priests, such as snake charmers who display non-venomous snakes in baskets to demonstrate Manasa's control over reptiles, while women take prominent roles in observing vratas, preparing offerings, and guiding the proceedings to seek family prosperity. Observance of taboos is essential for ritual purity, with participants abstaining from and throughout the period to align with Manasa's non-violent, protective essence. Upon conclusion, the clay idols are disposed of eco-friendly by immersion in flowing water bodies, where they naturally dissolve without environmental harm, reflecting a sustainable aspect of the tradition.

Connection to Snake Veneration

Manasa's is deeply intertwined with protective practices against snakebites, where devotees believe that her can cure venomous afflictions and prevent future incidents. Known as Bishahari, meaning "remover of ," the is invoked through rituals that emphasize her antidotal powers, particularly during the season when snake encounters peak. In these rites, participants often tie amulets adorned with snake motifs around their necks or wrists, serving as talismans to ward off bites and symbolizing Manasa's guardianship over human life from reptilian threats. Central to her cult is the integration of Naga elements, where Manasa acts as a mediator between humans and serpents, facilitating harmony rather than conflict. During pujas, offerings are made to live snakes or their symbolic representations, such as clay or metal effigies, to appease the Naga deities under her domain and seek forgiveness for any inadvertent harm to reptiles. This practice reflects ancient Naga cults prevalent in pre-Vedic India, where serpent worship was tied to fertility, water sources, and underworld guardians, evolving into Manasa's specialized role as the queen of snakes. Devotees release captured snakes back into the wild after the ceremony, reinforcing ecological balance and her protective ethos. Among cultural practitioners, snake-charming communities like the Bedia and Sapera castes form primary devotees, viewing Manasa as their patroness due to their intimate handling of venomous reptiles. These semi-nomadic groups perform specialized rituals, including snake dances and invocations during her festivals, to honor her while demonstrating control over serpents as a form of devotion. Annual snake releases in her name, often led by these communities, underscore a of reverence that transforms into alliance. Scholarly studies from the , such as those by P.K. Maity, highlight how Manasa's cult has historically mitigated fear-induced killings of snakes in and , promoting instead a symbiotic human-reptile relationship through ritualistic awe and reduced panic-driven extermination.

Temples and Sacred Sites

Notable Temples in India

The terracotta temples of Bishnupur in , constructed by the Malla kings during the , are renowned for their elaborate panels that illustrate Puranic legends. The region is associated with Manasa worship, including terracotta idols of the goddess preserved in local museums. These structures exemplify Bengal's distinctive architectural style, characterized by curved, thatched-like roofs (ek-banga or at-chala designs) and intricate terracotta artwork depicting divine figures and mythological scenes, underscoring Manasa's role in local folklore. The Manasa Devi Temple in Azara, near in , is a popular dedicated to the goddess. It observes Manasa Puja, drawing devotees, as highlighted by the visit of 's in July 2025 for prayers and announcements of infrastructural support. In , the Mansa Devi Temple in Champanagar, , is a dedicated to Manasa. The area around , near the , features rituals aimed at protection from snakebites and prosperity, reflecting her role as Vishahari (poison remover). Coastal shrines in , such as those around , highlight Manasa's historical veneration through ancient icons, including a 9th-century granite sculpture of the goddess discovered in the area, portraying her with serpentine attributes. These sites incorporate Kalinga architectural elements like deul towers and detailed stone carvings, where idols typically show Manasa with four arms holding a lotus and , adorned with hoods symbolizing her dominion over reptiles. The shrines maintain worship practices, integrating Odisha's curvilinear motifs with Manasa's protective .

Pilgrimage Traditions

Pilgrimage traditions associated with the goddess Manasa are deeply rooted in medieval Bengali folklore, particularly the of , the devoted wife of the merchant 's son Lakhindar, who undertakes a perilous riverine journey with her husband's corpse to seek after his death from a inflicted by Manasa. This narrative, documented in the 15th- to 18th-century Manasamangal Kavyas, portrays Behula's voyage as a transformative across rivers and sacred sites, enduring trials like attacks by animals and encounters with deities, ultimately compelling Manasa to revive the dead and convert Chand Sadagar to her worship. Medieval records, such as those reflected in these poetic texts, indicate that merchant communities in drew inspiration from this to undertake devotional travels, offering vows and rituals at riverside shrines to avert plagues and ensure safe trade voyages, thereby embedding merchant devotion into the cult's historical practices. In tribal regions of , Manasa worship has been incorporated into practices by some indigenous communities, such as the Santals and Mundas, who venerate her alongside forest deities in sacred groves known as jaher than. These small forested patches, often protected for ecological reasons, serve as sites for rituals offering milk, fruits, and incense to seek protection against snakebites and misfortunes, blending animistic traditions with the goddess's iconography. Contemporary pilgrimage customs draw heavily from Behula's legendary journey, manifesting in annual yatras during the Shravana month (July-August), when devotees in West Bengal, including routes leading to sites near Bishnupur, embark on barefoot walks along riverbanks to emulate her devotion and seek Manasa's blessings for family welfare. These treks often involve boat processions on rivers like the Damodar, where participants carry earthen idols of Manasa, stopping at ghats for offerings into snake pits—symbolic acts of propitiation with milk and flowers to honor serpents as her vahana. En route, folk performances of Behula-themed dramas, known as jatra, are staged at villages, recounting her trials to inspire participants and reinforce communal bonds in the face of monsoon-related dangers like floods and snake encounters.

Cultural Impact

In Literature and Folk Traditions

Manasa's portrayal in medieval is prominently featured in the Mangalkavyas, a genre of narrative poems composed between the 15th and 18th centuries that glorify local deities and promote their worship among the populace. These works, such as Vijay Gupta's Manasamangal from 1494 and Bipradas Pipilai's Manasavijay from the mid-15th century, depict Manasa's triumphs over skeptics like the merchant Chand Saudagar, emphasizing her establishment as a protective against snakebites and misfortunes. The poems blend Sanskrit-derived Puranic elements with vernacular Bengali dialects, incorporating influences and local to create accessible epics that bridge elite and folk traditions. In regional folk traditions, Manasa's legends extend through oral narratives and songs that highlight the heroism of figures like , her devoted follower. In Assamese variants, the cult manifests in rustic performances such as Ojhā Pāli songs and Deodhanī rituals, where Manasa—known locally as Mārai—is invoked for healing and protection, with stories underscoring communal devotion amid tribal practices in districts like and Kamrup. Similarly, Odia ballads within Manasa Jatra folk theater narrate 's arduous journey to revive her husband Lakhindar, portraying her as a resilient heroine who navigates divine trials through unwavering faith in Manasa, thereby disseminating the goddess's lore across Odisha's rural communities. These oral forms preserve narrative motifs of familial loss and restoration, adapting the core legend to local linguistic and cultural contexts. Central motifs in these literary and folk depictions include the supremacy of personal devotion () over rigid orthodoxy, as seen in Saudagar's eventual submission to Manasa despite his Shaivite loyalties, and the assertion of female agency through characters like , who defies death and societal norms to achieve familial redemption. This emphasis on emotive surrender aligns with broader Vaishnava influences, evident in the Mangalkavyas' shift toward lyrical, devotion-centered narratives that prioritize accessible piety over ritualistic hierarchy, reflecting the genre's evolution during Bengal's medieval . Scholarly analysis of Manasa's representations reveals gaps in the study of tribal folk songs, particularly among groups like the Bedia in West Bengal's , where oral chants and stories during Manasa transmit pre-Mangal traditions of snake veneration rooted in Proto-Australoid indigenous practices. These unexamined songs suggest an earlier layer of oral lore predating the 15th-century Mangalkavyas, potentially linking Manasa's cult to ancient non-Aryan fertility and protection rituals, though comprehensive documentation remains limited. A 2025 study highlights the cultural significance of these practices among the Bedia tribe.

Modern Interpretations and Relevance

In contemporary scholarship, Manasa is often analyzed as a deity embodying the fusion of tribal beliefs and Vedic traditions, particularly in agrarian contexts where her worship integrates local practices with broader Hindu frameworks. A 2025 study on Bardhaman's religious landscape highlights this "organic syncretism," portraying Manasa as a figure who bridges pre-Aryan cults with Sanskritic elements, allowing her to gain acceptance among diverse social strata. Feminist interpretations further position Manasa as an icon of feminine , challenging patriarchal structures through narratives of her struggles for recognition and . For instance, a 2024 analysis in the Athena Journal frames her myths as a critique of male-dominated divine hierarchies, emphasizing her resilience against rejection by figures like . Similarly, a 2025 publication explores Manasa and her devotee as symbols of feminine strength, underscoring themes of agency and defiance in . Manasa's relevance extends to modern media, where her stories are adapted to address contemporary social issues. In Bengali cinema, the 2010 film Sati Behula dramatizes her protective role against snakebites and familial curses, blending mythology with themes of devotion and justice. Television serials have further popularized her, such as the 2018–2019 Colors Bangla series Manasa, which portrays the goddess's quest for worship amid celestial opposition, highlighting gender dynamics and emotional isolation. These adaptations often link her to environmental concerns, with post-2010 campaigns in eastern invoking Manasa's to promote snake and reduce human-snake conflicts amid loss. Her contemporary significance also intersects with , where veneration encourages education on prevention, aligning folk beliefs with modern medical interventions in regions like . Recent anthropological work connects Manasa to , particularly in the climate-vulnerable , where her snake associations symbolize environmental agency and adaptation. A 2022 University of thesis examines her cult amid degradation, noting how worship rituals foster against rising sea levels and . Literary works like Amitav Ghosh's 2019 novel Gun Island reinterpret her legends to critique climate-induced migration, portraying her wrath as a for ecological imbalance in the delta. Such interpretations underscore gaps in earlier scholarship, including limited comparisons to global mythologies and the impacts of climate variability on festivals, where erratic monsoons disrupt rituals tied to her seasonal veneration.