Nirṛti and the Chaos of Pride
Frankenstein; or, The Modern Prometheus, 2001: A Space Odyssey, Star Wars, Terminator, Hercules, The Matrix, I, Robot, Ex Machina, and even Little Shop of Horrors; this isn’t just a list of movies with the thinnest thread of connection. It’s the “monster”, being “the monster”, HAL, Darth Vader, Skynet, Hercules, Agent Smith, VIKI, Ava, and Audrey 2. But, while many of these characters are considered villains of the stories they are in, not all of them are, possibly less when adjusting the point of view. This is a list of “creations” and people who destroyed or defeated their creators (or at least tried).
The obvious exception in this would seem to be Hercules, but hear me out. If Hades (I’m not even going to get into the mix of Heracles vs Hercules and Hades vs Pluto, Greek vs Roman names or that Hades wasn’t actually a bad guy) hadn’t sent Pain and Panic to kidnap Hercules, hadn’t had them drain his power, hadn’t baited him by sending Meg, hadn’t TOLD him about it, and hadn’t made a deal that she wouldn’t get hurt, Hercules wouldn’t have won. He stood against Hades, not even knowing who he was, and he gave his life for the woman he loves. Hades directly led to Hercules becoming a god; other factors played a role, but Hades created the one person who could defeat him. This happened a ton in ancient Greek and Roman mythologies, and came down to hubris. Something even the gods had to deal with, at one level or another.
Diatribe
At this point, you’re probably wondering. Why is she going through a trope talk? Well, it’s not a book or movie plot climax, I mean, it is, but it’s not ONLY that. It is hubris; it’s playing god. In Greek tragedy, it’s excessive pride toward or in defiance of the gods that leads to retribution or nemesis. In general, it’s excessive pride or self-confidence, and in the stories, this always leads to the antagonist’s downfall. Recently, many of these stories have been centred around AI taking over and ruling the human race. It makes sense because it is a human creation that could easily lead to our destruction, but really, it would be only one of many ways we are destroying ourselves for the future every day. But, as far as I’ve gone with this diatribe, this is not about hubris in itself. It’s about a particular character, a particular Goa’uld who took their lust for power over creation, especially for the most selfish reasons, way too far and got killed for their trouble.
Who is Nirriti?
The Goa’uld in question here is Nirṛti (Sanskrit: निर्ऋति, Romanised: Nirṛti), sometimes spelt Nirruti, named after the Hindu goddess of death, decay, sorrow, misfortune, darkness, chaos, destruction, pain, and pretty much all things evil (Goswami 1989). The Sanskrit word Nirṛti means 'decay' and is derived from nirṛ, literally 'to separate'. It can be interpreted as meaning "devoid of ṛta/i", which, in the simplest terms, is a state of disorder or chaos or lawlessness (Nelson 2003; Witzel 1997). Specifically, it more or less means ‘the guardian to the absence of divine or cosmic disorder’ (Witzel 1997; Chandra 1998). This term was used in Vedic texts to denote a realm of nonexistence and absolute darkness that threatened to consume those who failed to perform their duties to offer sacrifices and procreate. In nirṛti, there was no light, no food, and no children: there were none of the necessary elements of Vedic life and ritual.
Nirṛti is mentioned in the Rigveda or Rig Veda (Sanskrit: ऋग्वेद, IAST: ṛgveda), from ऋच्, "praise" [Derived from the root ṛc "to praise", cf. Dhātupātha 28.19; Monier-Williams translates Rigveda as "a Veda of Praise or Hymn-Veda"] and वेद, "knowledge", the oldest known ancient Indian collection of Vedic Sanskrit hymns (sūktas) that most scholars believe that the sounds and texts of the Rigveda have been orally transmitted with precision since the 2nd millennium BCE, making its early layers among the oldest extant texts in any Indo-European language (Bryant 2015; Polomé 2010; Wood 2007; Hexam 2011; Dwyer 2013; Jamison (tr.) & Brereton (tr.) 2014: 3) as one of the four sacred canonical Hindu texts (śruti) known as the Vedas (Witzel 1997: 259–264; de Nicholas 2003: 273). Only one Shakha, a Hindu theological school that specialises in the study of specific Vedic texts, or the traditional texts followed by such a school, has survived to the present day, namely the Śakalya Shakha (Apte: 913; Monier-Williams, A Sanskrit-English Dictionary: 1062). Much of the content contained in the remaining Shakhas is now lost or unavailable in the public forum (H. Oldenberg 1888, English translation, New Delhi: Motilal, 2004).
In these texts, Nirriti is named, primarily to seek protection from her or to implore her during a possible departure. In one hymn (X.59), she is mentioned several times, summarising her nature and also requesting her departure from the sacrificial site. In the Taittiriya Brahmana (Sanskrit तैत्तिरीयब्राह्मण, meaning 'Brāhmaṇa of the school of Tittri', I.6.1.4), Nirṛtī is described as dark, dressed in dark clothes and her sacrificial shares are dark husks. Though that one doesn’t mention her hair, in Atharvaveda (Sanskrit: अथर्ववेद, from अथर्वन्, "priest" and वेद, "knowledge", or is the "knowledge storehouse of atharvans, the procedures for everyday life", V.7.9), part of the fourth Veda (dated between c. 1200-900 BCE), she is described as having golden locks (Patton 2004: 38; Olson 2007: 13–14; Patton 1994; Bloomfield 1899). In the Shatapatha Brahmana (Sanskrit: शतपथब्राह्मणम्, literally 'Brāhmaṇa of one hundred paths', X.1.2.9)(c. 8th-6th century BCE), she is associated with the southwest quarter as her region (which will come back later). However, elsewhere in the same text (V.2.3.3.), she is said to live in the kingdom of the dead (Kinsley 1987: 13; Bhattacharji 2000: 80–81; Stutley 1977: 210).
In subsequent Hindu scriptures, Nirṛti was reimagined as a divine being. According to some texts, she is the wife of Adharma, meaning that which is not in accord with dharma (Maharishi Mahesh Yogi 1969). Her change in divine status signifies an essential component of Prakriti, "the original or natural form or condition of anything, and/or original or primary substance," for the Purusha and cosmic beings who dwell in forests. And Nirriti is also the mother of three rakshasas (a race of usually malevolent beings, literally ‘demon’ or ‘fiend’)—Mrityu (death), Bhaya (fear) and Mahabhaya (terror)—who were collectively referred to as Nairrita (Monier-Williams 1899; Mayrhofer 1996; Lubotsky 2011; Mani 1975: 540). Other texts portray her as the daughter of Adharma and Himsa (violence, the opposite of Ahimsa, non-violence); she married her brother, Arita (not ṛta), and became the mother of Naraka (the personification of hell) and Bhaya (Witzel 1997; Nelson 2003). Some texts identify Nirṛti with other inauspicious goddesses, such as Jyeshtha or Alakshmi. In this context, she is described as having emerged from the Samudra Manthana, literally, the churning of the ocean (of milk) by the devas and asuras, which was a major legendary event described in the Vishnu Purana explaining the origin of amrita, the elixir of eternal life (Benard 2000; Chaturvedi 2006; Daniélou 1991).
As a Male
In ever later Hinduism, Nirṛti also came to be regarded as a male god, and a dikapala ("guardian of the directions") of the southwest. This is not unlike the goddess Nirṛti, according to some scholars and authors, who is also regarded as the guardian of the southwest, her domain (Chandra 1998: 238). Nirṛti, as a man, is sometimes included among the Rudras, forms of the god Rudra, who is associated with Lord Shiva and is described as the son of Sthanu (Hopkins 1915: 172-3; Dalal 2010; Daniélou 1991; Dikshitar 1996). Descriptions of the god Nirṛti vary across scriptures (Rao 2003). According to the Agamas, Nirrti is described as having dark skin, a large body, and wearing yellow garments. His vahana, or mount (a being, such as an animal or mythical entity used as a vehicle), is either a man or a lion (Gopinatha Rao 1916; Rodrigues 1842). The encyclopedia-like text, the Vishnudharmottara Purana, states that Nirṛti has a terrifying appearance with ill-looking eyes, a gaping mouth, and exposed teeth. The same scripture also provides a different account, stating that Nirṛti's vahana is a donkey and that he holds a danda (a large staff) in his hand. The text also mentions that Nirṛti has four consorts named Devi, Krishnangi, Krishavandana and Krishnapasha (Gopinatha Rao 1916). According to another scripture, the Devi-Bhagavata Purana, Nirṛti resides in a city named Krishnajana, which is located in the southwestern part of Mount Meru. The city is said to have an area of 2,500 yojanas, a distance measurement, according to some sources, defined as the distance an army can march in a day, ranging from 3.5 to 15 km, depending on the text (Nichiren Buddhism Library 2024; Mani 1975; Thapar 1997; Gupta 1951).
Rta (also rita) is commonly translated as “rule”, “law”, or “cosmic order”. Its antonym is druh (deceiving, lying, seeking to harm). Both rta and druh are active, meaning druh might be a lie that is actually enacted or an untruth that is not only conceived but also acted upon. It is the active power of rta by which the sun moves across the sky; that rivers flow – and by extension, that people speak the truth (satya) and perform their duties. Generally, Nirrti is associated with calamity, misfortune, death (particularly untimely death), poverty, and infertility. There are also some indications that she is associated with stealing children. The Rakshasas, with whom she is associated, as their mother or otherwise, are known for disrupting sacrificial rituals. (Hine 2025)
In Stargate
Now that I’ve provided an extremely mangled glimpse into the actual mythological figure, let me mess it all up with Stargate SG-1’s version. The main way to tell the mythological context is by the sari she is wearing, a white one, which makes sense to a goddess of death since white is traditionally the colour of mourning (just like in Eastern Asia and multiple countries/cultures in Africa, interesting that European tradition went black mourning… and white for marriage, that was Queen Victoria).
[https://www.gateworld.net/wiki/Nirrti]
Background information
Nirrti's symbol.
When the Goa'uld still held dominion over Earth, Nirrti had little interest whatsoever in political bickering or military power. Her primary concern was her study of humans and how their physical abilities as hosts could be improved. The other Goa'uld, however, would not give her the time or opportunity to delve into her studies. Kali, in particular, aggressively sought to take over Nirrti's holdings in present-day India. Thus, Nirrti was forced to play the political game she hated. She partnered with Olokun, a relationship which would prove disastrous for him, but beneficial to Nirrti. She slowly but surely established an extensive power base, and by the time of the Tau'ri Rebellion in Egypt, she had more than earned the title of System Lord. The Goa'uld Nirrti was regarded as a goddess of darkness and destruction in ancient Hindu culture, likely because of her continued research on how to modify human hosts, which led to devastating casualties in her slave populations. She took to using the slaves of other System Lords, without their permission. Bastet and Kali, infuriated, managed to get Nirrti stripped of her System Lord status. By this time, however, the galactic empires of the Goa'uld were vast, and even while demoted, Nirrti had no trouble finding wayward human populations to perform tests on.
After Ra's death, she regained much of her old territory in the power vacuum and was thus reinstated as a System Lord. (RPG: "Living Gods: Stargate System Lords")
While investigating the Lilin, Doctor Daniel Jackson found evidence indicating that Nirrti killed their creator, the Ancient Lilith. While Daniel found that Nirrti is listed among Lilith's children, he thinks it is more likely that Nirrti was Lilith's protégé or briefly took Lilith as a host to access Lilith's genetic knowledge before killing her. (SGA: "Blood Ties")
1997
When the S.G.C. made contact with Hanka, Nirrti wiped them out, fearing that the other System Lords would discover her experiments in creating an enhanced human, hok'taur (hok: advanced taur: tauri human) host. She believed that taking a host with abilities like telekinesis and telepathy would make her more powerful than ever. She tried various experiments, which led to her killing the inhabitants of the planet Hanka with a bacterial infection, the only survivor being a young girl named Cassandra, in whom she planted a naquada bomb in an effort to destroy Earth's Stargate. Fortunately, Cassandra lived and was adopted by Dr Janet Fraiser (SG1: "Singularity"). We see her mothership, but not her, and get a little backstory.
1999
In the show, Nirriti is played by Jacqueline Samuda, marking her first actual appearance in “Fair Game”, season 3, episode 3, which aired in 1999. In this episode, the System Lords Nirrti, Cronus and Yu are part of the Goa'uld delegation. They arrive on Earth to negotiate its inclusion in the Asgard Protected Planets Treaty. During the negotiations, she was adamant that the Tau'ri were too aggressive toward the System Lords, essentially arguing that the Tau'ri were fair game and did not need the protection of the Asgard. During these discussions, it was revealed that Nirrti had long aspired to capture Cronus' domain. Using cloaking technology, Nirrti tried to kill Cronus in his quarters, framing Teal'c for the attack. Colonel Jack O'Neill decided to bluff, claiming that they knew she was experimenting with phase-shifting technology, and she exposed herself. She was captured and became a prisoner of Cronus. (SG1: "Fair Game")
After her betrayal of the System Lords, Nirrti was held captive by Cronus. But when he was killed by SG-1 two years later, Nirrti escaped his prison and managed to rebuild her resources. Nirrti resumed her experiments on another world. She stumbled on pieces of Ancient technology, capable of reading and altering a person's genetic code.
2001
Nirriti discovered Cassandra Fraiser was sick with a repercussion from the experimentation done on Cassie’s planet. She infiltrated Stargate Command with a Goa'uld cloaking device, waiting in her lab before becoming invisible and following SG-1 back through the gate. When captured, she offered to help save Cassandra, who was dying from a retrovirus turning her into a hok'taur. Nirrti demanded her freedom, the cloaking device, and a blood sample. Hammond refused, but Dr Janet Fraiser, in desperation, held Nirrti at gunpoint, demanding help. Hammond then agreed, reminding Nirrti that Fraiser was Cassandra's [adoptive] mother. Nirrti healed Cassandra and left her unharmed, although she warned that she would need a blood sample to avoid restarting her research.
2002
There was an upcoming System Lord Summit, and Nirrti was still a renegade and also "persona non grata" among the System Lords (SG1: "Summit"). But she managed to get control of her Jaffa again at some point, because it’s mentioned in the episode “The Warrior” that K'tano's (spoilers: who was really the minor goa’uld Imotep) rebel Jaffa captured a shipment of weapons intended for Nirrti's Jaffa on a planet in her domain. K'tano managed to convert many of her Jaffa to his cause. He later sent a team of rebel Jaffa on a suicide mission to another planet in Nirrti's territory, but the mission failed to kill Teal’c. (SG1: "The Warrior")
Adrian Conrad's Goa'uld helped Colonel Frank Simmons make a deal with Nirrti, allowing her to capture Dr Janet Fraiser as part of Nirrti's revenge for defying her attempts to analyse Cassandra. In exchange, Nirrti gave Simmons information on how to genetically engineer humans into Jaffa. Her plan was thwarted when SG-1 rescued Frasier and killed and/or captured the 'new' Jaffa she had created. (SG1: "Survival of the Fittest")
2003
The episode "Metamorphosis" starts with the Russian SG-4 team discovering a planet where Nirrti is using a piece of Ancient technology to experiment on the local population through genetic manipulation. She deforms her victims while granting them superhuman abilities, with her continuing ultimate goal being to create a hok'taur host for herself, before restoring them to their original form, since the symbiote would not prefer an unattractive host. One of her victims informed the people at the SGC of all that he knew about what Nirriti was doing, but he died, turned into liquid.
Two SG teams returned to the planet to help the locals, but the locals didn’t believe that Nirrti was evil because she had been the one to save them from a plague that had ravaged their planet. The locals took Teal'c and Jonas Quinn prisoner after Eggar discovered their intent to kill Nirrti in O'Neill's mind, and the others were captured when Nirrti returned.
SG-1 tried to convince the locals of Nirrti's true motives while she conducted experiments on both teams, without success. That is, until finding that Jonas' Kelownan heritage had caused him to be somewhat more evolved than the Tau'ri. She was positive she could make him a hok'taur, and even asked if he would let her, since he would get all that power. Jonas refused, but Nirrti continued experimenting on him anyway. During this time, however, SG-1 was able to somewhat convince the locals of Nirrti's true intentions and after Eggar read her mind, he discovered this to be true.
One of her victims kills Nirrti by telekinetically breaking her neck when they learn what she is really doing, and most importantly, that she is NOT a god.
Nirrti lies on the ground, her neck having been broken by Wodan, resulting in her death.
Unknown to anyone at the time, Nirrti's experiments on Jonas Quinn gave him the ability of precognition through a brain tumour that formed. Jonas had only limited control over it, and unlike what Nirrti believed, his Kelownan heritage did not allow his body to stabilise, though he didn't liquefy. Ultimately, the tumour was removed, and Jonas lost the ability Nirrti had given him, but not before he used it to aid SG-1 in defeating the Goa'uld Underlord Mot and his Jaffa, in the episode “Prophecy”. (SG1: "Prophecy")
She (at least in her current and final form) played god every day of their existence, and, like the actual goddess, is the deity of death and chaos. The stargate Nirriti didn’t truly have any control; it was all a farce. And she died from the chaos she brought into the world.
What is cool is that while Nirriti is manipulating the genetics of humans from various planets, the currently female goa’uld is also working on males. We already know, at this point in the show, that the symbiotes have no gender and can switch between hosts at will. It is pretty cool that, perhaps without realising it, the Stargate writers inadvertently walked backwards into a hint at actual mythology: later in the mythology, Nirriti would also present as male.
Motives and Framework
The goddess Nirriti is a lesser-known deity in Hindu mythology compared to more widely recognised goddesses such as Durga, Lakshmi, and Kali. However, her narrative and the myths surrounding her convey significant moral and philosophical lessons pertinent to life challenges, suffering, and the components of existence. They have a complex narrative framework intertwined with various myths and cultural implications. As an embodiment of destruction, her stories explore the inevitable human experiences of grief, failure, and the cycles of life and death.
Nirriti is primarily referenced in ancient texts such as the Rigveda. She is significant within Hindu cosmology, which often views destruction not only as an ending but as a precursor to renewal. and rebirth Nirriti's role illustrates the balance of cosmic forces, where chaos may lead to new beginnings (Williams, 2003). She embodies destruction and chaos, often portrayed as a goddess who wields power over calamity, but in these texts, calamities and tragedies are framed not only as things to avoid but also, like many gods of destruction in mythologies around the world, as essential aspects of the cyclical nature of life and rebirth. In this context, Nirriti serves as a reminder of the unavoidable presence of sorrow, thereby emphasising the need to accept one’s fate and to cultivate resilience.
In myths where Nirriti features prominently, she often intersects with broader themes of transformation and regeneration. For instance, the Bhadrakāḷīmāhātmya depicts cycles of violence and regeneration as inherent to the goddess's narrative. Here, the idea that destruction precedes creation becomes apparent, underscoring the philosophical understanding that death and rebirth inherently coexist within the cosmic order. Such tales often convey the moral that confronting adversity and acknowledging the darkness within life contribute to a holistic understanding of existence (Brussel, 2020). The mythology surrounding her suggests a duality in many aspects of divine manifestation, in which destruction is inherently linked to the potential for regeneration. This theme is common in narratives across Hindu texts, particularly evident in tales of goddesses such as Durga and Kali, who embody ferocity and transformation. These narratives highlight the importance of confronting adversity for spiritual and existential growth (Williams, 2003; Lakshmanan, 2025). For instance, the Bhadrakāḷīmāhātmya narrative emphasises that the struggles posed by deities like Nirriti are integral to the cosmic order, even though she’s not actually in it (Brussel, 2020).
Nirriti’s encounters with asuras (demons) often depict her as a formidable force, associated with calamity yet facilitating growth through confronting malevolence, ultimately leading towards balance and harmony (Brussel, 2020). Many goddesses, representing various aspects of feminine power, serve dual roles as creators and destroyers, embodying both nurturing and fearful dimensions. This duality resonates in the complexities of societal norms and the expectations of women, as reflected in the portrayals and stories of figures like Sita and Kali, who respectively represent devotion and empowerment, often stemming from profound sorrow or conflict (Guzder, 2011).
An example of this is celebrated during Navrātri, a Hindu festival that lasts for nine nights, honours the goddess Durga and the divine feminine power (Shakti). It is celebrated four times a year, with the most widely observed being the post-monsoon Sharada Navratri in the autumn (September–October). The festival involves praying to the nine forms of the goddess, fasting, and celebrations that vary by region, often culminating on the tenth day, called either Vijayadaśamī or Dussehra. The various aspects of the feminine form allude to themes associated with Nirriti, emphasising her resilience and transformative power. By celebrating both the nurturing and destructive aspects of femininity, the festival encapsulates the rich symbolism associated with Durga (although she is more protective in her war aspect), Kali, and, in extension, Nirriti, which would reinforce societal values concerning the importance of the bad parts of life as part of the human experience (Williams, 2003).
Nirriti can be juxtaposed with tales of transformation found in these other goddesses, in which they rise from chaotic conditions to dismantle malevolent forces. The mythological subtext stresses the importance of responding to adversity with strength and dignity, thereby encapsulating the moral of harnessing inner power to navigate life's patterns (Fuller & Logan, 1985).
Nirrti in the Vedas
In the Rg Veda, Nirriti is the personification of destruction, calamity, corruption and death. She is also, however, the abode or place of dissolution or decay. A verse in the RV (RV 7.104.1,9-11) describes the ‘realm’ of Nirriti as an endless pit without light or warmth, a place reserved for those who act against the basic ideals of Vedic society. Those who are condemned to the realm of Nirriti do not receive nourishment from the offerings of their descendants, nor from their own accumulated merit. (Hine 2025).
Nirrti is the daughter of Surabhi (the cow goddess), the wife of Adharma (Destroyer of All Things), and is the Goddess of Disease and Death. Nirrti, meaning "misery," is worshipped to ward off disease. The ceremony dedicated to her features black ornaments, and the worshippers wear black garments. She is also considered the goddess who punishes the sinners, but she also protects those born into crime as long as they remain ethical. In another source, Nirriti is the Vedic goddess of death, the spouse of Nirrita, the guardian deity of the Southwest, and the mother of Rakshasis and Rakshasas, who dwell in isolated places and watch over those who are hungry or in mourning. Though I don’t know whether it was particularly to help or just to watch those people suffer. (Hine 2025).
The following Hymn from the RV implores her to leave the sacrifice alone and to “depart to distant places” so that no calamity may befall it or them:
“His life hath been renewed and carried forward as two men, car-borne, by the skilful driver. One falls, then seeks the goal with quickened vigour. Let Nirrti depart to distant places. Here is the psalm for wealth, and food, in plenty: let us do many deeds to bring us glory. All these our doings shall delight the singer. Let Nirrti depart to distant places. May we o’ercome our foes with acts of valour, as heaven is over earth, hills over lowlands. All these our deeds the singer hath considered. Let Nirrti depart to distant places. Give us not up as prey to death, O Sorna still let us look upon the Sun arising. Let our old age with passing days be kindly. Let Nirrti depart to distant places.”
Rg Veda, Hymn LIX
A curse which can be found in the Atharva Veda reads:
“Whenever yonder person in his thought, and with his speech, offers sacrifice accompanied by oblations and benedictions, may Nirriti, allying herself with death, smite his offering before it takes effect! May sorcerers, Nirriti, as well as Rakshas, mar his true work with error! May the gods, despatched by Indra, scatter (churn) his sacrificial butter; may that which yonder person offers not succeed!”
Nirriti in later texts
In the Mahabharata, Nirriti is the wife of Adharma (unrighteousness) and the mother of three sons: Bhaya (“fear”), Maha-Bhaya (“great fear”), and Mrityu (“death incarnate”). Another version of this text says that she is the daughter of Adharma and Himsa (“violence or injury”). She is also, however, one of the creations of Brahma, as recounted in the Bhagavatam:
“Here is the story of Nirrti . Brahma’s creative energy was showing on his body and mind. Narada popped out from the lap, Daksa trotted out of his thumb, Vasistha spiraled out of his breath, Bhrgu crawled out of his skin, Kratu muscled his way out of his hand, Pulaha sprouted out of his navel, Pulastya wriggled out of his ear, Angira gushed out of his mouth, Atri brimmed over the eyelid, Marici dawned out of his mind, Dharma burst out of his right breast, Adharma scratched his way out of his back, the god of love (Kāma) blossomed out of his heart, Anger bounced off his brow, Greed gyrated on his upper lip, the goddess of Speech (Vak) vaulted out his of mouth with the aid of a pole of nimble wit, the oceans rained down from his phallus, Nirrti plunked out of his anus, and the sage Kardama stepped out of his shadow. Dharma was Lord Narāyana Himself. Thus, Brahma’s creations came out of his body and mind.”
According to the Agni Purana, the spirit of the “doer of bad deeds” leaves the body through the anus. The implication is that if the Jiva leaves the body through the lower orifices (rather than, for example, the head), then the future of the Jiva is bound to the lower worlds. (Hine 2025)
Birds of Ill Omen
In a section of the Taittiriya Samhita that lists the various animals to be sacrificed to the gods; the pigeon, owl, and hare are listed as being sacrificed to Nirrti. Both pigeons and owls were considered inauspicious birds, and there is a charm in the Atharva Veda that refers to the pigeon as the “messenger of Nirrti”. There are folk stories in North India in which Bhutas – believed to be the spirits of those who have suffered untimely deaths – take on the form of owls (Skt: ulaka). In the Dharmasastras, the cry of an owl is considered a negative sign – a student of the Vedas who hears the owl is enjoined not to continue his studies until he has slept. The association of owls and Nirrti is quite interesting, as later, the owl becomes the vehicle of Lakshmi. This might be an instance of the goddess “conquering” an animal associated with misfortune or delusion and taking it as her vehicle – as with Ganesa and the rat/mouse. (Hine 2025)
In later texts, Nirriti's sex and appearance are changed. In the Mahanirvana Tantra, Nirriti is depicted as a dark-green god, seated on a horse and bearing a sword, leading to different meanings and lessons associated with his importance and value.
Unlike in the Stargate universe, direct narratives of hubris aren’t specifically linked to the goddess Nirriti in Hindu mythology. Especially for actual gods, unless they were punished by other gods, which could be a thing, especially in Greek mythology. However, the themes of arrogance and excessive pride resonate throughout various mythological tales, particularly concerning the consequences faced by powerful characters who overstep. In broader Hindu mythology, hubris often leads to downfall, aligning with the underlying moral lessons that underpin many tales involving various deities. Nirriti is associated with calamities arising when natural balances are disturbed. In Hindu cosmology, hubris can lead to actions that upset these balances, resulting in dire consequences. Figures who exhibit arrogance often invoke the wrath of deities and suffer as a result. In essence, tales embodying this moral might indirectly connect to Nirriti, given her role.
One of the best examples of a drawing parallel to the theme of hubris is found in the tales surrounding the asuras (demonic figures), who frequently defied the gods. Characters like Ravana from the Ramayana exemplify hubris through their overwhelming pride and ambition. Ravana's fit of pride blinds him to the consequences of abducting Sita and challenging Rama, leading to his own destruction. In each case, the narratives emphasise that hubristic pride can invoke divine retribution, manifesting suffering tied to the nature of misfortune associated with deities.
The narrative of King Hiranyakashipu, who defies Vishnu and seeks immortality through sheer arrogance, is another instance of hubris leading to ruin. His eventual downfall, despite his formidable strength, illustrates the dangers of excessive pride, aligning with broader narrative themes that emphasise the importance of maintaining the natural order. These stories explore moral symbols of struggle against hubris, and, through the lens of modern interpretations, scholars have noted that individuals in positions of power often exhibit traits of hubris, which can lead to catastrophic failures. This reflects common concerns in both ancient and contemporary discourse on governance and ethics, resonating with moral lessons about disobedience that often lead to calamity.
Nirriti's character as a goddess of misfortune aligns with the lessons about humility and the consequences of hubris embedded in various narratives throughout Hindu lore, especially given her symbolic connection to the Furies (the Erinyes, also known as the Eumenides), chthonic goddesses of vengeance in ancient Greek mythology. These interconnected stories and principles underscore the importance of acknowledging natural limits and the consequences of overreaching ambition, thereby fostering humility and respect for the cosmic order.
References
Apte, V. S. A Practical Sanskrit Dictionary: 913; Monier-Williams, A Sanskrit-English Dictionary 1062
Benard, Elisabeth; Moon, Beverly (2000-09-21). Goddesses Who Rule. Oxford University Press.
Bhattacharji, Sukumari (2000). The Indian Theogony: Brahmā, Viṣṇu and Śiva, New Delhi: Penguin, p. 80–81.
Bloomfield, Maurice. 1899. The Atharvaveda, Harvard University Press, p. 1-2.
Brussel, N. (2020). Tales of endings and beginnings: cycles of violence as a leitmotif in the narrative structure of the bhadrakāḷīmāhātmya. Religions, 11(3), 119. https://doi.org/10.3390/rel11030119 .
Bryant, Edwin F. (2015). The Yoga Sutras of Patañjali: A New Edition, Translation, and Commentary. Farrar, Straus and Giroux. pp. 565–566.
Chandra, Suresh (1998). Encyclopaedia of Hindu Gods and Goddesses. Sarup & Sons.
Chaturvedi, B. K. (2006). Vishnu Purana. Diamond Pocket Books (P) Ltd.
Dalal, Roshen (2010). Hinduism: An Alphabetical Guide. Penguin Books India. p. 283.
Daniélou, Alain (1991). The Myths and Gods of India: The Classic Work on Hindu Polytheism from the Princeton Bollingen Series. Inner Traditions / Bear & Co.
de Nicholas, Antonio (2003), Meditations Through the Rig Veda: Four-Dimensional Man, New York: Authors Choice Press, 273.
Dikshitar, V. R. Ramachandra (1996). The Purana Index. Motilal Banarsidass Publishers. p. 246.
Dwyer, Rachel (2013), What Do Hindus Believe?, Granta Books.
Fuller, C. and Logan, P. (1985). The navarātri festival in madurai. Bulletin of the School of Oriental and African Studies, 48(1), 79-105. https://doi.org/10.1017/s0041977x00026987
Gopinatha Rao, T. A. (1916). Elements Of Hindu Iconography, Vol. II Part II. pp. 527–529.
Goswami, Rajeshri. 1989. “Description of Goddess Nirrti”. Goddesses from the Samhitas to the Sutras. pp. 93-112. Department of Sanskrit, Jadavpur University. http://hdl.handle.net/10603/365318.
Gupta, C. C. Das (1951). "A NOTE ON AN EXPRESSION IN ROCK EDICT XIII OF AŚOKA". Proceedings of the Indian History Congress. 14: 68–71. JSTOR 44303939.
Guzder, J. (2011). Women who jump into wells: reflections on suicidality in women from conflict regions of the indian subcontinent. Transcultural Psychiatry, 48(5), 585-603. https://doi.org/10.1177/1363461511425098
Hexam, Irving (2011), Understanding World Religions: An Interdisciplinary Approach, Wilfrid Laurier University Press.
Hine, P. (2025). Nirrti. https://enfolding.org/. https://enfolding.org/wikis-4/tantra-wikiwikis-4tantra-wiki/deities/nirrti/#:~:text=By%20Phil%20Hine,the%20%E2%80%9Cremover%E2%80%9D%20of%20misfortunes.
Hopkins, Edward Washburn (1915). Epic mythology. Strassburg K.J. Trübner.
Jamison, Stephanie W. (tr.) & Joel P. Brereton (tr.) (2014) 3.
Kinsley, David (1987, reprint 2005). Hindu Goddesses: Visions of the Divine Feminine in the Hindu Religious Tradition, Delhi: Motilal Banarsidass, p.13.
Lakshmanan, K. (2025). Reinterpreting Hinduism through the lens of the Indus-to-Ganges migration. https://doi.org/10.31235/osf.io/79zv2_v1.
Lubotsky, Alexander (2011). "ráks·as-". The Indo-Aryan Inherited Lexicon (Indo-European Etymological Dictionary Project). Leiden University. pp. 407–408.
Maharishi Mahesh Yogi on the Bhagavad-Gita, a New Translation and Commentary, Chapter 1–6. Penguin Books, 1969, pp. 64–66 (v 40–41), pp. 262–263 (v 7).
Mani, Vettam. (1975). Puranic encyclopaedia : a comprehensive dictionary with special reference to the epic and Puranic literature. Robarts - University of Toronto. Delhi : Motilal Banarsidass. p. 540.
Mayrhofer, Manfred (1996). Etymologisches Wörterbuch des Altindoarischen [Etymological Dictionary of Old Indo-Aryan] (in German). Vol. 2. Heidelberg: Carl Winter Universitätsverlag. p. 423.
Monier-Williams, Monier (1899). A Sanskrit-English dictionary: with special reference to cognate Indo-European languages. Ocford, England: Oxford. OCLC 704040338.
Nelson, David. (Devadatta Kali)(translator/editor). 2003. In Praise of the Goddess: The Devimahatmya and Its Meaning. United States: Nicolas-Hays, Incorporated.
Nichiren Buddhism Library "yojana | Dictionary of Buddhism | Nichiren Buddhism Library". www.nichirenlibrary.org. Archived from the original on 2024-07-14. Retrieved 2025-09-21.
Oldenberg, H. Prolegomena,1888, Engl. transl. New Delhi: Motilal 2004
Olson, Carl. (2007), The Many Colors of Hinduism, Rutgers University Press, p. 13–14.
Patton, Laurie. (1994), Authority, Anxiety, and Canon: Essays in Vedic Interpretation, State University of New York Press, p. 57.
Patton, Laurie. (2004), "Veda and Upanishad," in The Hindu World (Editors: Sushil Mittal and Gene Thursby), Routledge, p. 38
Polomé, Edgar. (2010). Per Sture Ureland (ed.). Entstehung von Sprachen und Völkern: glotto- und ethnogenetische Aspekte europäischer Sprachen. Walter de Gruyter. p. 51.
Rao, Saligrama Krishna Ramachandra (2003). Encyclopaedia of Indian Iconography: Hinduism - Buddhism - Jainism. Sri Satguru Publications.
Rodrigues, E. A. (1842). The Complete Hindoo Pantheon, Comprising the Principal Deities Worshipped by the Natives of British India Throughout Hindoostan: Being a Collection of the Gods and Goddesses Accompanied by a Succinct History and Descriptive of the Idols. E.A. Rodrigues.
Stutley, Margaret. (2019-04-09) [1977]. A Dictionary of Hinduism. London: Routledge. p. 210.
Thapar, Romila (1997). Aśoka and the decline of the Mauryas (PDF) (Revised ed.). Oxford University Press. pp. 250–266.
Williams, G. (2003). Handbook of Hindu Mythology. https://doi.org/10.5040/9798400661280
Witzel, Michael. 1997. “Macrocosm, Mesocosm, and Microcosm: The Persistent Nature of 'Hindu' Beliefs and Symbolic Forms.” International Journal of Hindu Studies, vol. 1, no. 3, pp. 501–539. JSTOR, www.jstor.org/stable/20106493. Accessed 10 Mar. 2020.
Wood, Michael (2007), The Story of India Hardcover, BBC Worldwide.
