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In the concluding stages of the poem, the goddess reassures the gods of her immense power by granting them a boon that dictates that she will deliver the world from danger whenever it is possessed by demonic forces (Bhattacharyya 1974).Shaktism was also bolstered soon after between the fourth and the seventh centuries CE with the emergence of the class of ritual manuals known as the Tantras.With Shakti, the concept of power becomes personified in the image(s) of the feminine divine.Since the prehistoric dawn of what is now known as Hinduism, the goddess has been a central figure.Durga was also identified with other southern female conceptions of the divine such as the Bhagavati of Kerala, Saraswati/Vac, Srī/Lakshmi, and Cinta Devi, among others.
With the fall of the Gupta Empire around 700 came the closure of what had historically been the supremacy of north India over the south.
In the south of India, meanwhile, a cult dedicated to a figure resembling Shakti was a major aspect of Dravidian religion, and eventually came to be identified with the Puranic goddesses Parvati, Durga or Kali (Bhattacharyya 1974).
While the Vedic society that superseded the Indus Valley culture was far more patriarchal than its predecessors, the Vedic literature still features a number of significant goddesses including Ushas, Prithivi, Aditi, Sarasvati, Vac, Nirrti, and Ratri.
The Upanishads, philosophical commentaries marking the end of the Vedas, make little mention of the goddesses.
During the ages of the Mauryas (322–185 ), the cult of the feminine divine grew steadily in India, with later Vedic goddesses such as Ambika, Durga, Lakshmi/Sri, and Bhadrakali rising to prominence (Bhattacharyya 1974).From this time forward, religious movements of the South now began influence those of the North (Bhattacharyya 1974).