गाव उप वदावटे महि यज्ञस्य रप्सुदा उभा कर्णा हिरण्यया
gāva upa vadāvaṭe mahi yajñasya rapsudā ubhā karṇā hiraṇyayā
gā́va úpa vadā́vaṭe3 mahí1 yajñásya rapsu-dā́3 ubhā́1 karṇā́3 hiraṇyáyā3
ગાયો સ્તુતિ-ઉચ્ચારક પાસે નજીક આવે છે—ઝડપી દાનની દાત્રી બની, મહા યજ્ઞને શોભાવે છે; તેના બંને કાન સુવર્ણ છે.
gāvaḥ | upa | vadāvaṭe | mahi | yajñasya | rapsu-dāḥ | ubhā | karṇā | hiraṇyayā
Aindra (Uttarārcika) — melody unspecified in input
{ "prastava": "Prelude stobhas introducing the ‘approach’ motif.", "udgitha": "‘gāva upa vadāvaṭe’ as the main melodic statement.", "pratihara": "‘mahi yajñasya rapsu-dā’ as responsive elaboration of the rite’s greatness and swift gifts.", "upadrava": "‘ubhā karṇā…’ as after-song imagery of golden hearing.", "nidhana": "Cadence on ‘hiraṇyayā’ (often prolonged for brilliance).", "structure_notes": "Imagery naturally supports a luminous nidhana; without gāna mapping, division is functional rather than prescriptive.", "singer_assignments": "Prastotṛ/Udgātṛ/Pratihartṛ/all as standard." }
{ "gloss_summary": "gāvaḥ as auspicious bestowers (rays/wealth) attending the yajña; vadāvaṭe connected to the officiant’s voiced recitation; hiraṇyayā indicates ritual splendor, not mere color.", "ritual_interpretation": "The chant draws supportive powers/wealth toward the great sacrifice and sanctifies the act of hearing/receiving the sacred sound.", "theological_insight": "Prosperity is framed as a consequence of right utterance and right reception; the rite is ‘great’ when nourished by both giving (speech) and receiving (hearing).", "etymology_highlights": "vadāvaṭe → vad (to speak) + agentive sense; hiraṇya → tejas/śrī as ritual radiance." }