In connection with Civa stands, closely united, his son, Ganeca, “leader of troops,” still worshipped as one of the popular gods, and the battle-god, Skanda, the son first of Agni then of Civa, the conqueror of the demons, d[=a]navas, and later representative of Indra, with whom the epic identifies him.  For it is Skanda that is the real battle-god of the later epic; though in its original form Indra was still the warrior’s refuge, as attests the stereotyped phraseology.  In III. 225-232 honor and praise are ascribed to Skanda in much the same language with that used to portray his father, Civa.  “The god of a thousand arms, the Lord of all, the creator of gods and demons” are phrases used in his eulogy.  He too has a list of names; his nurse is the “maiden of the red (bloody) sea,” called Loh[=i]t[=a]yan[=i].  His terrible appearance and fearful acts make him the equal of Civa.[41] His sign is a kukku[t.]a, cock; ib. 229. 33.

Associated, again, with Skanda are the spirits or ‘mothers,’ which afflict people.  The belief in mother-gods is old, but its epic form is new.  The exactness and detail in regard to these beautiful monsters show at least a real belief, which, as one on a lower plane besides the higher religion, cannot be passed over without notice.  As in other lands, people are ‘possessed’ by evil spirits, called possessors or seizers (grahas).  These are Skanda’s demons,[42] and are both male and female.  Until one reaches the age of sixteen he is liable to be possessed by one group of ‘seizers,’ who must be worshipped in proper form that their wrath may be averted.  Others menace mortals from the age of sixteen to seventy.  After that only the fever-demon is to be feared.  Imps of this sort are of three kinds.  One kind indulge only in mischievous sport:  another kind lead one to gluttony; the third kind are devoted to lust.  They are known as Pic[=a]cas, Yakshas, etc., and when they seize a person he goes mad.  They are to be kept at bay by self-restraint and moderation (III. 230. 43-56).  In IX. 46 and III. 226 the ‘mothers’ are described.  They are witches, and live in cross-roads, cemeteries, and mountains.  They may be of Dravidian origin, and in their epic form, at any rate, are a late intrusion.[43]

Just before the Divine Song begins, the knight who is about to become, illuminated or ‘disillusioned’ offers a prayer to the terrible goddess Durg[=a], also one of the new, popular, and horrible forms of divine manifestation.  In this hymn, VI. 23, Durg[=a] (Um[=a], P[=a]rvat[=i], K[=a]li, etc.) is addressed as “leader of the armies of the blessed, the dweller in Mandara, the youthful woman, K[=a]li, wife of Civa, she who is red, black, variegated; the savior, the giver of gifts, K[=a]ty[=a]yan[=i], the great benefactress, the terrible one, the victorious one, victory itself ...  Um[=a], the slayer of demons,"[44] and the usual identification and theft of epithets then follows:  “O thou who art the Vedas, who art Revelation, who art virtue, J[=a]tavedasi, ... thou art brahma among the sciences, thou art the sleep of incorporate beings, the mother of Skanda, the blessed one, Durg[=a] ... thou art the mother of the Vedas and Ved[=a]nta ... thou art sleep, illusion, modesty, happiness ... thou art satisfaction, growth, contentment, light, the increaser of moon and sun.”