Sukta 5.5
वातस्य पत्मन्नीळिता दैव्या होतारा मनुषः । इमं नो यज्ञमा गतम् ॥
vā́tasya pátmann īḷitā́ daivyā́ hotārā mánuṣaḥ | imáṃ no yajñám ā́ gatam ||
ഹേ ദൈവ്യ ഹോതാക്കളേ, വായുവിന്റെ പഥത്തിൽ സ്തുതിക്കപ്പെടുന്നവരും മനുഷ്യനുവേണ്ടി യജ്ഞസേവ ചെയ്യുന്നവരുമായ നിങ്ങള്—ഈ ഞങ്ങളുടെ യജ്ഞത്തിലേക്ക് വരിക.
The verse invites the divine Hotars, praised along the path of the Wind, serving humanity, to come to the sacrifice.
The “Daivyā Hotārā” are the divine invoking powers within—forces that call, name, and establish the gods (higher consciousness) in the human field. “Wind’s path” suggests the subtle prāṇic current and movement of inspiration. The mantra asks these inner priests to enter our yajña (the disciplined offering of works, breath, and thought) so that aspiration becomes effective invocation, not mere wish.
Transformation requires mediating faculties: inner discernment and aspiration that can ‘invite’ higher states into daily life. When our life-breath aligns with a higher movement, invocation becomes a real passage.
invocation, priestly powers, breath-path symbolism, descent to the sacrifice
Atri hymns often emphasize correct invocation and the working of ṛta through inner and outer rite; here the focus is on the invoking function itself.
The seer highlights that the ‘priesthood’ is primarily an inner competence: the ability to call the divine through aligned breath and intention.
Mediators between gods and humans; they carry the call and establish the rite, ensuring the sacrifice reaches its intended powers.
Mantric invocation, aspiration, and discriminative intelligence that opens channels for descent of higher consciousness.
General āvāhana within soma/yajña settings; also fits agnihotra-style invocation of officiating powers.
वात॑स्य॒ पत्म॑न्नीळि॒ता दैव्या॒ होता॑रा॒ मनु॑षः । इ॒मं नो॑ य॒ज्ञमा ग॑तम् ॥
वात॑स्य । पत्म॑न् । ई॒ळि॒ता । दैव्या॑ । होता॑रा । मनु॑षः । इ॒मम् । नः॒ । य॒ज्ञम् । आ । ग॒त॒म् ॥
vātasya | patman | īḷitā | daivyā | hotārā | manuṣaḥ | imam | naḥ | yajñam | ā | gatam
Likely Triṣṭubh (approx.; common in this section)
44
4 × ~11 (approx.)
Invocatory and directive; a ‘calling’ rhythm with clear imperative closure (ā gatam).
Energizes aspiration and clarifies intention; feels like opening a channel and summoning presence.
Aprī sequence: summoning the officiating/divine invoking agencies to establish correct calling and offering; inner sense: awakening the faculties that can invoke higher powers effectively
At the start of a rite when inviting deities/priests; psychologically, at the start of meditation to ‘call in’ higher faculties.
Invitation of the invoking powers; establishing the yajña-field.
Before work or study: a brief recitation to align breath (vāta) and call the ‘inner hotar’—clear attention and right speech.
vā́ta from √vā ‘to blow’—wind/breath as movement of prāṇa and inspiration. patman ‘path/course’ from √pat/√path ‘to go, fly, fall’ (semantic: track of movement). hotṛ from √hu ‘to pour/sacrifice/invoke’—the invoker-priest; dual hotārā indicates a paired function. īḷitā from √īḷ ‘to praise, invoke’ (archaic Vedic verb).
invocation as effective speech-act (īḷ), descent of powers into the human field, ordered rite (yajña) as inner discipline
The Hotar function is ṛta in action—right calling, right placing of forces.
True speech and true intention (satya-vāc) make invocation effective.
Manifestation through vibration and movement—wind/path as the carrier of the call.
Mantra-śakti oriented Vedic psychology (Aurobindo/Kashyap): speech and breath as instruments of descent.
Wind = prāṇa and inspiration; path = inner channel; hotars = faculties that translate aspiration into effective offering.
Invite the ‘inner priests’: attention (manas), discernment (buddhi), and aspiration (icchā) to conduct the practice.
Viśuddha (vāc/mantra) and Anāhata (invocation as sincerity).
Gentle ujjāyī or 1:1 breathing (e.g., 6-6) to feel vāta’s smooth path; then chant on exhale.
From scattered prāṇa to collected, purposeful invocation (saṅkalpa).
Chant once, pause to feel breath-current; chant again as an invitation for higher guidance to ‘enter’ the session and conduct it.
Vedic accents indicated in text (e.g., vā́tasya, pátmann); exact svara requires śākhā-based notation; keep udātta lifted and svarita as a glide.
Emphasize imperatives and arrivals: ‘ā gátam’ with clear final dental ‘t’.
: long ā; dental t, : cluster ‘tm’ clean, no extra vowel, : retroflex ḷ; long ī at start, : long ā in -rā, : ‘yajñam’ with palatal ñ (ny) sound
Clear, summoning, slightly firm; avoid heaviness.
3
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