Mantra 5

Pavamāna-stotra (generic; specific gāna not supplied in input)

{ "prastava": "(stobha-led prelude, often with elongated ‘hā/ho/ā’) preparing ‘tisro vācaḥ…’", "udgitha": "Main text carried on the principal melodic line; emphasis on vācaḥ, gāvaḥ, hariḥ.", "pratihara": "Responsive reiteration/cadence segment aligning the ensemble; often compresses the semantic text and expands vowels.", "upadrava": "After-song continuation resolving the melodic tension; ‘…eti kanikradat’ tends to take the resolving descent.", "nidhana": "Final settling syllables (often stobha-vowels) sung together to ‘seal’ the sound.", "structure_notes": "Exact stobha distribution depends on the specific gāna; pavamāna stotras commonly elongate openings and cadences, keeping semantic words intact in udgītha.", "singer_assignments": "Prastotṛ: prastāva; Udgātṛ: udgītha+upadrava; Pratihartṛ: pratihāra; all three: nidhana." }

{ "gloss_summary": "‘Three voices’ are explained as a triad of ritual utterance/roles; ‘cows/milch-kine’ are the yielding streams that produce the soma-juice; Soma is ‘tawny’ and ‘resounding’ as it moves through purification.", "ritual_interpretation": "Maps to coordinated Hotṛ–Adhvaryu–Udgātṛ functions (or stotra–śastra–yajus triad) accompanying the pressing/straining; the ‘lowing’ indicates abundant outflow.", "theological_insight": "Soma is both substance and praise: its purification is inseparable from correctly ordered sacred speech; sound is a sign of ṛta manifesting.", "etymology_highlights": "kanikradat: onomatopoetic ‘ringing/crying’; hari: tawny/lustrous; udīrate: ‘rise up’—voices as upward-moving offerings." }