Sukta 9.10
हिन्वानासो रथा इव दधन्विरे गभस्त्योः । भरासः कारिणामिव ॥
hinvānā́so ráthā iva dadhanviré gábhastyoḥ | bhárāsaḥ kāríṇām iva ||
Denn, angetrieben wie Wagen, spannen sie sich in den beiden Händen; Träger sind sie, gleich den Werkmeistern.
Urged on like chariots, they stretch in the two hands; they are bearers like craftsmen.
The Soma-currents, once impelled (hinvānāsaḥ), extend themselves within the ‘two hands’ (gabhastyoḥ): the twin grasp of higher powers—often read psychologically as the twofold hold of illumination and force (knowledge and will). As ‘bearers’ (bharāsaḥ) they carry and shape experience like artisans (kāriṇām), forming the substance of delight into workable inner realizations.
Spiritual energy is not vague rapture: when rightly held by knowledge and will, it becomes a skilled maker—shaping life-substance into forms that can carry truth in action.
Soma pressing as inner craftsmanship, Embodiment of force, Dynamic purification
The seer emphasizes ‘formation’: the Vedic yoga is a making (kṛ) of the inner sacrifice—energies must be held, directed, and fashioned, not merely released.
Mediates between formless delight and formed power—carrying the essence into the hands of the gods for effective work.
Ananda disciplined by a twofold grasp (knowledge/will), becoming a ‘craft’ that builds stable realizations.
Soma purification and offering chants
हि॒न्वा॒नासो॒ रथा॑ इव दधन्वि॒रे गभ॑स्त्योः । भरा॑सः का॒रिणा॑मिव ॥
हि॒न्वा॒नासः॑ । रथाः॑ऽइव । द॒ध॒न्वि॒रे । गभ॑स्त्योः । भरा॑सः । का॒रिणा॑म्ऽइव ॥
hinvānāsaḥ | rathāḥ-iva | dadhanvire | gabhastyoḥ | bharāsaḥ | kāriṇām-iva
Two pādas displayed
Taut, stretching rhythm—mirrors ‘dadhanvire’ (they extend).
Creates a sense of being ‘held’ and ‘shaped’—helpful for stabilizing scattered energy.
Describes Soma handled/pressed and carried through grasping ‘hands’ (ritual hands; inwardly divine agencies), aligning the physical pressing with inner formation.
During the directed flow/handling of Soma in ritual sequence.
Recited as Soma is grasped/handled, filtered, and borne toward offering.
For channeling energy into craft: study, music, writing, disciplined practice—invoking ‘skillful bearing’ rather than impulsive force.
hinvānāsaḥ from √hi/√hinv ‘impel’ (causative/denominative motion). gabhasti ‘hand/ray’ is Vedic; often links physical grasp with luminous ray (semantic bridge: ‘grasping’ = ‘raying’). bhṛ ‘bear’ from PIE *bʰer- (English bear, Latin ferō). kārin from √kṛ ‘do/make’ (PIE *kwer-/*ker- ‘make’ debated; but √kṛ is central Indo-Iranian). dadhanvire is textually tricky; treated as ‘they extend/spread’ in context with motion and ‘hands’.
Formation (crafting of consciousness), Divine grasp/ray (gabhasti as hand and light), Carrying of delight-substance (bhṛ)
‘Craftsmanship’ implies ṛta as correct measure and proportion in inner building.
True holding (gabhasti) prevents distortion; delight is shaped by truth, not desire.
Manifestation as skilled formation: the streams become bearers and makers—ananda into organized power.
Vedic psychology of formation (kṛ, takṣ): creation as conscious crafting of the being.
The flow is seized by ‘two hands’—directed currents that turn raw energy into shaped capacity.
Hold the delight-current in a twofold way: clarity (see) and power (do).
Ājñā (clarity/holding) with Maṇipūra (power/bearing).
Box breathing 4-4-4-4 for 8 rounds, then chant softly, feeling the ‘two hands’ as awareness on both sides of the spine (iḍā/piṅgalā balance).
Collected, skillful, quietly powerful.
After chanting, choose one concrete action that embodies the inner delight (a crafted step). Let ananda become workmanship.
Chant according to Saṃhitā accents; keep ‘gabhastyoḥ’ clearly articulated, as it carries the key image.
Do not rush consonant clusters: ‘dadhanvire’ and ‘gabhastyoḥ’ should be deliberate to evoke ‘stretching’ and ‘holding’.
hinvānāsaḥ: ‘nv’ cluster clean; long ā, dadhanvire: soft dental ‘dh’ voiced aspirate, gabhastyoḥ: ‘bh’ voiced aspirate; ‘sty’ cluster clean; long ‘oḥ’, bharāsaḥ: roll ‘r’ lightly; final ḥ, kāriṇām: long ā, retroflex ṇ
Steady, shaped, artisan-like precision; less dramatic, more controlled.
9
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