यत्र॒ ग्रावा॑ पृ॒थुबु॑ध्न ऊ॒र्ध्वो भव॑ति॒ सोत॑वे । उ॒लूख॑लसुताना॒मवेद्विं॑द्र जल्गुलः ॥
yátra grā́vā pṛthúbudhna ūrdhvó bhávati sótave ǀ ulū́khalasutānāmávédvindra jalgulaḥ ǁ
Verses 1, 2, 3, 4
यत्र॒ ग्रावा॑ पृ॒थुबु॑ध्न ऊ॒र्ध्वो भव॑ति॒ सोत॑वे । उ॒लूख॑लसुताना॒मवेद्विं॑द्र जल्गुलः ॥
yátra grā́vā pṛthúbudhna ūrdhvó bhávati sótave ǀ ulū́khalasutānāmávédvindra jalgulaḥ ǁ
यत्र॒ द्वावि॑व ज॒घना॑धिषव॒ण्या॑ कृ॒ता । उ॒लूख॑लसुताना॒मवेद्विं॑द्र जल्गुलः ॥
yátra dvā́viva jaghánādhiṣavaṇyā́ kṛtā́ ǀ ulū́khalasutānāmávédvindra jalgulaḥ ǁ
यत्र॒ नार्य॑पच्य॒वमु॑पच्य॒वं च॒ शिक्ष॑ते । उ॒लूख॑लसुताना॒मवेद्विं॑द्र जल्गुलः ॥
yátra nā́ryapacyavámupacyavám ca śíkṣate ǀ ulū́khalasutānāmávédvindra jalgulaḥ ǁ
यत्र॒ मंथां॑ विब॒ध्नते॑ र॒श्मीन्यमि॑त॒वा इ॑व । उ॒लूख॑लसुताना॒मवेद्विं॑द्र जल्गुलः ॥
yátra mánthām vibadhnáte raśmī́nyámitavā́ iva ǀ ulū́khalasutānāmávédvindra jalgulaḥ ǁ
In these opening verses, the Ṛṣi brings us right into the heart of the domestic space, transforming everyday household chores into cosmic acts of devotion. The mortar and pestle—the tools used to crush the Soma stalks—are elevated to sacred instruments of divine invocation. We hear the rhythmic pounding of the heavy stones, the clever positioning of the wooden planks, and the diligent labor of the woman of the house who operates the churning apparatus with practiced skill. This imagery is striking because it bridges the gap between the grand public sacrifices and the quiet, intimate rituals performed within the family home. Indra, the great god of thunder and heroic might, is pictured as being drawn near by the clamor and vibration of these domestic tools. The Ṛṣi shows us that the divine is not distant, waiting only in high temples; rather, the sacred pulse beats strongly wherever humans engage in sincere, rhythmic labor directed upward to the heavens.
Verse 1: Where the broad-bottomed crushing stone is raised on high to press the juice, there may Indra linger and look upon the crushed stalks of the mortar.
Verse 2: Where two pressing boards are arranged like the hips of a seated creature, there may Indra linger over the Soma pressed in the mortar.
Verse 3: Where the diligent woman practices the downward and upward stroke with skill, there may Indra delight in the pressed Soma.
Verse 4: Where they fasten the churning stick as if binding reins to restrain a steed, there may Indra linger over the pressed Soma.
Sāyaṇa interprets these verses literally as the physical preparations of the Soma pressing using a wooden mortar, pestle, and skin boards. Modern and psychological interpretations, such as those inspired by Sri Aurobindo, see the domestic setting as a profound metaphor for the purification and extraction of spiritual joy (Soma) from the dense matter of daily human consciousness.
| Devanāgarī | IAST | Translation |
|---|---|---|
| यत्र | yatra | where |
| ग्रावा | grāvā | pressing stone |
| पृथुबुध्नः | pṛthu-budhnaḥ | broad-bottomed |
| ऊर्ध्वः | ūrdhvaḥ | upward, raised |
| इन्द्र | indra | Indra |
| Devanāgarī | IAST | Translation |
|---|---|---|
| द्वौ इव | dvau iva | like two |
| जघना | jaghanā | hips, buttocks |
| अधिसवन्या | adhi-savanyā | pressing boards |
| इन्द्र | indra | Indra |
| Devanāgarī | IAST | Translation |
|---|---|---|
| नारी | nārī | woman, wife |
| अपच्यवम् | apa-cyavam | downward motion |
| उपच्यवम् | upa-cyavam | upward motion |
| शिक्षते | śikṣate | practices, strives with skill |
| Devanāgarī | IAST | Translation |
|---|---|---|
| मन्थाम् | manthām | churning stick, stirring rod |
| विबध्नते | vi-badhnate | they fasten, bind |
| रश्मीन् | raśmīn | reins, cords |
| यमितवै | yamitavai | to control, restrain |
Picture a bustling ancient kitchen where the pounding of mortar and pestle becomes a rhythmic drumbeat that catches the ear of Indra passing overhead.
Verses 5, 6, 7, 8, 9
यच्चि॒द्धि त्वं गृ॒हेगृ॑ह॒ उलू॑खलक यु॒ज्यसे॑ । इ॒ह द्यु॒मत्त॑मं वद॒ जय॑तामिव दुंदु॒भिः ॥
yácciddhí tvám gṛhégṛha úlūkhalaka yujyáse ǀ ihá dyumáttamam vada jáyatāmiva dundubhíḥ ǁ
उ॒त स्म॑ ते वनस्पते॒ वातो॒ वि वा॒त्यग्र॒मित् । अथो॒ इंद्रा॑य॒ पात॑वे सु॒नु सोम॑मुलूखल ॥
utá sma te vanaspate vā́to ví vātyágramít ǀ átho índrāya pā́tave sunú sómamulūkhala ǁ
आ॒य॒जी वा॑ज॒सात॑मा॒ ता ह्यु१॒॑च्चा वि॑जर्भृ॒तः । हरी॑ इ॒वांधां॑सि॒ बप्स॑ता ॥
āyajī́ vājasā́tamā tā́ hyúccā́ vijarbhṛtáḥ ǀ hárī ivā́ndhāṃsi bápsatā ǁ
ता नो॑ अ॒द्य व॑नस्पती ऋ॒ष्वावृ॒ष्वेभिः॑ सो॒तृभिः॑ । इंद्रा॑य॒ मधु॑मत्सुतं ॥
tā́ no adyá vanaspatī ṛṣvā́vṛṣvébhiḥ sotṛ́bhiḥ ǀ índrāya mádhumatsutam ǁ
उच्छि॒ष्टं च॒म्वो॑र्भर॒ सोमं॑ प॒वित्र॒ आ सृ॑ज । नि धे॑हि॒ गोरधि॑ त्व॒चि ॥
úcchiṣṭám camvórbhara sómam pavítra ā́ sṛja ǀ ní dhehi górádhi tvací ǁ
As the Sūkta progresses, the Ṛṣi addresses the wooden implements themselves—treating the mortar and the pestle as living entities capable of hearing and responding to sacred praise. The mortar is told that because it is used in every single household, it should proclaim the praises of Indra as loudly and jubilantly as a victorious war drum. The twin wooden implements are likened to horses eager for the race, drawing the divine nectar upward. Finally, the ritual reaches its climax as the golden stalks are fully expressed. The Ṛṣi instructs the assistants to pour the remaining nectar into the straining vessels and to set the pure Soma upon the purifying sheep's fleece or cowhide. Every element of the physical process is sanctified, reminding the listener that human action, when aligned with divine intention, becomes a sacred liturgy of transformation.
Verse 5: Since you, O wooden mortar, are employed in every single home, speak out here with utmost brilliance like the drum of victors!
Verse 6: And verily, O forest lord (mortar), the wind blows fiercely past your very peak; so press out the Soma for Indra to drink!
Verse 7: Ever-sacrificing, winning the prize, these two are raised high together, devouring the dark juices like two eager bay horses.
Verse 8: May these two lofty forest lords today, along with the exalted pressers, pour the honey-sweet pressed Soma for Indra.
Verse 9: Bring the remainder of the Soma into the two wooden vats, pour it into the strainer, and set it down upon the cowhide.
Sāyaṇa takes 'vanaspati' directly as the wooden mortar and pestle fashioned from trees. The commentary views the instructions in verse 9 as standard liturgical directions for handling the leftovers of the Soma draught, ensuring that nothing sacred is wasted during the rite.
| Devanāgarī | IAST | Translation |
|---|---|---|
| गृहे गृहे | gṛhe gṛhe | in house after house |
| उलूखलक | ulū-khalaka | O mortar |
| युज्यसे | yujyase | you are harnessed, employed |
| दुन्दुभिः | dundubhiḥ | war drum |
| Devanāgarī | IAST | Translation |
|---|---|---|
| वनस्पते | vanaspate | lord of the forest, tree |
| वातः | vātaḥ | wind |
| इन्द्राय | indrāya | for Indra |
| सुनु | sunu | press out, extract |
| Devanāgarī | IAST | Translation |
|---|---|---|
| आयजी | āyajī | continually sacrificing |
| वाजसातमा | vāja-sātamā | best at winning prizes/bounty |
| हरी इव | harī iva | like two bay steeds |
| बप्सता | bapsatā | chewing, devouring |
| Devanāgarī | IAST | Translation |
|---|---|---|
| वनस्पती | vanaspatī | two forest lords (mortar and pestle) |
| सोतृभिः | sotṛbhiḥ | by the pressers |
| मधुमत | madhu-mat | honey-sweet, mead-like |
| सुतम् | sutam | pressed juice |
| Devanāgarī | IAST | Translation |
|---|---|---|
| उच्छिष्टम् | ucchiṣṭam | remainder, residue |
| चम्वोः | camvoḥ | in the two vats |
| पवित्रे | pavitre | in the purifier, strainer |
| गोः त्वचि | goḥ tvaci | on the hide of a cow |
Imagine a vibrant harvest festival where even the wooden tools of the kitchen come alive and join the chorus, singing praise to the heavens as the golden juice flows.