Why is Rigveda 10.114 considered as a mysterious, enigmatic, and riddle hymn?

 

Rigveda 10.114

Rigveda 10.114 is celebrated as a mysterious, enigmatic, and riddle hymn.

Stephanie W. Jamison and Joel P. Brereton in their translation (page 1581) stated about this Hymn or Suktam, as follows:

“A mystical treatment of the sacrifice, whose mysteries unfortunately remain for the most part unsolved, despite many attempts to identify the referents and relationships of the striking images presented.”

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My understanding of this Hymn is as follows:

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Ṛṣi (seer): Sadhri Vairūpa or dharma tāpasa

This Hymn or Suktam contains 10 Riks or verses.

I have reproduced the original Rik and provided English translation thereto of Stephanie W. Jamison and Joel P. Brereton. 

Thereafter, I have provided my interpretation.

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Rigveda 10.114.1

घर्मा समन्ता त्रिवृतं व्यापतुस्तयोर्जुष्टिं मातरिश्वा जगाम । दिवस्पयो दिधिषाणा अवेषन्विदुर्देवाः सहसामानमर्कम् ॥
gharmā samantā trivṛtaṃ vy āpatus tayor juṣṭim mātariśvā jagāma | divas payo didhiṣāṇā aveṣan vidur devāḥ sahasāmānam arkam ||

 

English translation:

The two contiguous heat (sources) [=fire and sun/gharma pots/or chant and melody] have pervaded the threefold (world) [/Trivr̥t Stoma]. Mātariśvan has come to enjoyment of the two. Seeking to acquire the milk of heaven, they have toiled: the gods know the chant provided with melody.

My Interpretation

a) gharmā samantā trivṛtaṁ vyāpatuḥ - two contiguous heat (sources) may indicate the feminine and masculine energies, ie., ADITI and AGNI of THE formless ENERGY OR BRAHMAN that pervades the 3 spheres of spirituality, ie., EARTH, mid-space or Antariksha and Heaven and above.

b) mātariśvan might be the Individual Seeker (Jivatman/Prana), who reached the zenith of spirituality. Prashna Upanishad, Verse 2.11 says Mātariśvan  is Prāṇa (vital breath/life force) or BRAHMAN.

c) mātariśvā jagāma juṣṭim tayor - may indicate the attainment of spiritual zenith by individual seeker or experiencing the unified form of Masculine and feminine energies or BRAHMAN. This unified experience is also mentioned in Rig Veda 1.24.2, as seeing one’s parents once again or spiritual BLISS.

d) divas payo didhiṣāṇā aveṣan vidur devāḥ sahasāmānam arkam - may indicate that when the seeker's meditation synchronises with the Universal rhythm, with due efforts, the divine bliss or payas is attained

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Rigveda 10.114.2

तिस्रो देष्ट्राय निॠतीरुपासते दीर्घश्रुतो वि हि जानन्ति वह्नयः । तासां नि चिक्युः कवयो निदानं परेषु या गुह्येषु व्रतेषु ॥
tisro deṣṭrāya nirṛtīr upāsate dīrghaśruto vi hi jānanti vahnayaḥ | tāsāṃ ni cikyuḥ kavayo nidānam pareṣu yā guhyeṣu vrateṣu ||

English translation:

Three (Goddesses of ?) Dissolution reverently approach to be pointed out, for the conveyors (of songs?) who hear from afar recognize them. The sage poets discern the connection of those (goddesses), (although they dwell) among the distant hidden commandments.

My Interpretation

a) Tisro deṣṭrāya nirṛtīr upāsate : They are not forces of decay or destruction (nirṛtīḥ) wait upon or are subject to (upāsate) the cosmic director/order (deṣṭrāya).

b) these three forces may indicate the three vices or weaknesses that keep on hindering the spiritual seeker from progressing, viz., (i) not following the path of Ṛtam, (ii) not implementing astēya (not stealing) and aparigraha (not accumulating more than required. Thus, Varuṇa, who is the guardian for the cosmic order, does not release the seeker from his 3 fetters (Tisro nirṛtīr).

c) This can be co-related with Rig Veda 1.24.13, wherein release of 3 fetters by Varuṇa was mentioned.

d) The closing part of the Rik states that the Kavis (enlightened sages), with far-reaching hearing capacity (dīrghaśrut), have discovered the Nidāna—the ultimate root cause for binding the spiritual from not progressing.

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Rigveda 10.114.3

चतुष्कपर्दा युवतिः सुपेशा घृतप्रतीका वयुनानि वस्ते । तस्यां सुपर्णा वृषणा नि षेदतुर्यत्र देवा दधिरे भागधेयम् ॥
catuṣkapardā yuvatiḥ supeśā ghṛtapratīkā vayunāni vaste | tasyāṃ suparṇā vṛṣaṇā ni ṣedatur yatra devā dadhire bhāgadheyam ||

English translation:

The well-ornamented, ghee-faced young woman with four braids [=vedi (“altar”)/night sky?] clothes herself in the (ritual) patterns. Two bullish eagles have settled down on her, where the gods have acquired their share.

My Interpretation

a) Catuṣkapardā yuvatiḥ supeśā  - The young maiden (yuvatiḥ), beautifully adorned (supeśā) might be the Uṣás, the daughter of heaven (divo duhitā), the hazy spiritual light that always precedes the DIVINE BLISS or experiencing the unified form of masculine and feminine energies of the BRAHMAN.

b) catuṣkapardā - possessing four braided locks of hair – might indicate that Uṣás, the hazy spiritual light spreads into all 4 directions.

c) Tasyāṁ suparṇā vṛṣaṇā ni ṣedur-  two beautiful-winged birds(suparṇā) sitting on her.  We have to remember that the two (2) Aśvins always accompany Uṣás. 

d) In Rig Veda, the Aśvins are frequently symbolized as two birds or eagles descending swiftly from heaven to bring relief, as in Rig Veda 5.78.1. 

e) The Aśvins are the divine physicians, as mentioned in Rig Veda 1.117.17.  They heal the blindness of the seeker, restore youth to the exhausted spirit, and give the strength needed to cross the ocean of samsara (vṛṣaṇā)

f) Hence, the two beautiful-winged birds that sit on Uṣás are Aśvins, who will provide spiritual relief to the seeker.

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Rigveda 10.114.4

एकः सुपर्णः स समुद्रमा विवेश स इदं विश्वं भुवनं वि चष्टे । तं पाकेन मनसापश्यमन्तितस्तं माता रेळ्हि स उ रेळ्हि मातरम् ॥
ekaḥ suparṇaḥ sa samudram ā viveśa sa idaṃ viśvam bhuvanaṃ vi caṣṭe | tam pākena manasāpaśyam antitas tam mātā reḻhi sa u reḻhi mātaram ||

English translation:

The eagle is (really just) one—it has entered the sea; it surveys all this creation. With my simple mind I saw it nearby: the mother licks it, and it licks the mother.

My Interpretation

a) ekaḥ suparṇaḥ sa samudram ā viveśa sa idaṃ viśvam bhuvanaṃ vi caṣṭe : In my opinion, ekaḥ suparṇaḥ may indicate the status of individual soul/energy that merged into the BRAHMAN, and thus experiencing all-pervading illumination (sa idaṁ viśvaṁ bhuvanaṁ vi caṣṭe).

b) After the purification reaches its zenith, the seeker experiences continuous flow of the DIVINE NECTAR – this was narrated esoterically as the mother (mātā) licks/cherishes (reḷhi) the child (new born in spiritual realm), and he in turn licks/cherishes the Mother (mātaram).

 

This interesting concept of mother licking the child, to which the child reciprocates, can be linked to Rig Veda 1.164.27 & 28, wherein the DIVINE COW licks its calf and to which the calf reciprocates, by making the sound 'Hin -  हिङ्.

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Rigveda 10.114.5

सुपर्णं विप्राः कवयो वचोभिरेकं सन्तं बहुधा कल्पयन्ति । छन्दांसि च दधतो अध्वरेषु ग्रहान्त्सोमस्य मिमते द्वादश ॥
suparṇaṃ viprāḥ kavayo vacobhir ekaṃ santam bahudhā kalpayanti | chandāṃsi ca dadhato adhvareṣu grahān somasya mimate dvādaśa ||

English translation:

The inspired ones, the sage poets configure the eagle, though it is just one, in many ways with their words. And arranging their meters at the ceremonies, they measure twelve cupfuls of soma.

My Interpretation

a) Suparṇaṁ viprā kavayo vacobhirekaṁ santaṁ bahudhā kalpayanti: The realised persons (viprāḥ) and wise sages (kavayaḥ), through their spoken words (vacobhiḥ), conceptualize, shape, and describe that ONE beautiful-winged Bird (suparṇaṁ) or formless ENERGY/BRAHMAN, in many ways/forms (bahudhā kalpayanti).  This can be related to ekaṁ Sat Viprā Bahudhā Vadanti (Rigveda 1.164.46).

b) grahāntsomasya mimate dvādaśa: "measuring out the twelve cups of Soma" may be indicating 12 forms/epithets of BRAHMAN,ie., Indra, 2 Ashwins, Rudra, Vishnu, AGNI, Usha, Saraswati, Sarama, Ratri, Aditi, Surya/Savitr.

c) Chandāṁsi ca dadhato adhvareṣu: They establish and maintain the sacred meters or rhythms (chandāṁsi) of the 12 forms of BRAHMAN, within the uninjured, peaceful spiritual practices (adhvareṣu).

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Rigveda 10.114.6

षट्त्रिंशाँश्च चतुरः कल्पयन्तश्छन्दांसि च दधत आद्वादशम् । यज्ञं विमाय कवयो मनीष ऋक्सामाभ्यां प्र रथं वर्तयन्ति ॥

ṣaṭtriṃśām̐ś ca caturaḥ kalpayantaś chandāṃsi ca dadhata ādvādaśam | yajñaṃ vimāya kavayo manīṣa ṛksāmābhyām pra rathaṃ vartayanti ||

English translation:

Configuring the four as thirty-six and arranging the meters up to twelve (syllables?), having measured out the sacrifice with their inspired thought, the poets make the chariot [=sacrifice] roll forth with r̥c and sāman [/verse and tune].

My Interpretation

a) ṣaṭtriṁśāṁśca caturaḥ kalpayantaḥ : It may mean that the experiencing of BLISS or BRAHMAN, will be spreading, starting with the 4 directions, to 36 directions or if understood esoterically, pervades in all directions. It resembles with the similar expression of ekapadī dvipadī sā catuṣpadī aṣṭāpadī navapadī babhūvuṣī sahasrākṣarā in Rig Veda 1.164.41.

b) chandāṁsi ca dadhata ādvādaśam: This may mean that the seeker is holding (dadhata) the inner metrical vibrations (Chandas) to sequentially awaken and scale through the 12 functional forms of Brahman (Agni, Usha, the Ashwins, all the way to the all-pervading Vishnu). It represents the ascending ladder of consciousness reaching its maximum capacity (Dvadasanta).

c) yajñaṃ vimāya kavayo manīṣā: Yajna here is no longer an external fire ritual with wood and ghee. The Kavis (enlightened sages) measure out (vimāya) the spiritual practice - manīṣā—by means of mental illumination, pure intellect, and deep meditative focus.

d) ṛksāmābhyāṃ pra rathaṃ vartayanti :-It may indicate that based on praises dedicating to BRAHMAN, made in structural riks and melodious Sāmās, the spiritual practice (rathaṃ) will move forward.

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Rigveda 10.114.7

चतुर्दशान्ये महिमानो अस्य तं धीरा वाचा प्र णयन्ति सप्त । आप्नानं तीर्थं क इह प्र वोचद्येन पथा प्रपिबन्ते सुतस्य ॥
caturdaśānye mahimāno asya taṃ dhīrā vācā pra ṇayanti sapta | āpnānaṃ tīrthaṃ ka iha pra vocad yena pathā prapibante sutasya ||

English translation:

Fourteen are the other powers of this one [=chariot of the sacrifice]. Seven wise ones [=priests] lead it forth with their speech. The opulent ford—who will here proclaim it: the path by which they take the first drink of the soma?

My Interpretation

In my view, this Rik contains 2 questions and 2 answers. In this way, we can decode the Rik.

Question-1: yena pathā prapibante sutasya:

"By which precise path do they drink deeply of the pressed Soma nectar?"

Answer-1: caturdaśānye mahimāno asya:

"It is through the fourteen other dimensions/directions of His absolute expansion."

“By expanding your awareness into these fourteen cosmic planes, your entire being becomes an open vessel that automatically drinks the nectar of the Absolute.”

Question:2: āpnānaṁ tīrthaṁ ka iha pra vocat

"Who here can truly declare or point out that attaining crossing-place/threshold?"

Answer-2: taṁ dhīrā vācā pra ṇayanti sapta

"The steady-minded seers lead you directly to it via the voice/vibration of the seven channels."

The Dhīras (the steady-minded internal faculties) point it out. They do it by dynamically activating and leading your vital energy upward through the seven primary energy channels or chakras (Sapta) using the power of internalized, rhythmic cosmic vibration (Vācā). The seven centers themselves act as the runway that delivers you straight to the sacred threshold.

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Rigveda 10.114.8

सहस्रधा पञ्चदशान्युक्था यावद्द्यावापृथिवी तावदित्तत् । सहस्रधा महिमानः सहस्रं यावद्ब्रह्म विष्ठितं तावती वाक् ॥

sahasradhā pañcadaśāny ukthā yāvad dyāvāpṛthivī tāvad it tat | sahasradhā mahimānaḥ sahasraṃ yāvad brahma viṣṭhitaṃ tāvatī vāk ||

English translation:

Thousandfold are the fifteen ukthas. As great as heaven and earth, so great is that. Thousandfold are the thousand powers. As far as the sacred formulation is spread out, so far is speech.

My Interpretation

Sahasradhā pañcadaśāny ukthā Yāvad dyā́vāpṛthivī tāvad it tat: In a thousand ways (sahasradhā) are the fifteen (pañcadaśāni) hymns of affirmation/recitations (ukthā). As far-reaching as Heaven-and-Earth are (yāvad dyā́vāpṛthivī), so wide indeed is that (tāvad it tat).

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According to my understanding, the rishi is advising the spiritual practitioner to control or withdraw, the following five powers/faculties of human with Trikaraṇaśuddhi (with purity of thoughts, speech and action).

1. power of vision (eyes) - The primary generator of Raga (attachment to material forms and possessions).
2. power of smell (nose) - The instinctual lure toward physical consumption, indulgence, and sensory desire.
3. power of hearing (ears) - The avenue that drink in flattery, alluring words, and worldly distractions.
4.  Mind- The restless coordinator that constantly hovers over and fantasizes about these sensory objects, and 
5. Intellect (Buddhi) -It is the faculty of discretion (Viveka) that must decide whether to run outward toward Nirriti (vice/decay) or inward toward Rtam (cosmic order).

When the above 5 faculties are withdrawn with Trikaraṇaśuddhi, ie., 5 x 3 =15, it results in pañcadaśāny ukthā – 15 types of prayers.

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Sahasradhā mahimānaḥ sahasraṃ: A thousand-fold are its pervasiveness and inner majesties (sahasradhā mahimānaḥ), spreading in a thousand places (sahasraṃ).

Yāvad brahma viṣṭhitaṃ tāvatī vāk: As far as Brahman is explicitly established and pervades reality (yāvad brahma viṣṭhitaṃ), precisely so far extends the Word/Divine Speech (tāvatī vāk).

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Rigveda 10.114.9

कश्छन्दसां योगमा वेद धीरः को धिष्ण्यां प्रति वाचं पपाद । कमृत्विजामष्टमं शूरमाहुर्हरी इन्द्रस्य नि चिकाय कः स्वित् ॥
kaś chandasāṃ yogam ā veda dhīraḥ ko dhiṣṇyām prati vācam papāda | kam ṛtvijām aṣṭamaṃ śūram āhur harī indrasya ni cikāya kaḥ svit ||

English translation:

Who is the wise one who knows the yoking of the meters? Who has undertaken the holy speech? What champion do they call the eighth of the priests? Who indeed has discerned the two fallow bays of Indra?

My Interpretation

The question-and-answer methodology should be applied even in this Rik also.

Question-1: kaś chándasāṃ yógam ā veda dhīráḥ...

"Which steady-minded seeker truly knows the structural coupling/alignment of the cosmic meters (Chandas)?"

Answer-1: kó dhiṣṇyā́ṃ práti vā́caṃ papāda...

"The one who has attained the consecrated, unshakeable seat directly facing the Universal Voice (Vāk)."

“The seeker knows it when ONE attains the Dhiṣṇyā—the absolute, steady center of silent absorption (Samadhi) within the heart. The moment ONE’s ego falls silent and ONE sit directly witnessing the primordial cosmic VOICE (Para-Vāk) bubbling up from the source, the "coupling of the meters" is automatically realized. ONE’s breath, mind, and the universe become a single, synchronized wave.”

Question-2: kám ṛtvíjām aṣṭamáṃ śū́ram āhur...

"Whom do they call the Eighth Hero standing supreme beyond the seven active priests?"

Answer -2 “hárī índrasya ní cikāya káḥ svit...

"It is the one who has thoroughly perceived, mastered, and yoked the two bay horses (Hárī) of Indra."

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Mārtāṇḍa in the Rig Veda, is the eighth son of the cosmic mother Aditi (Rig Veda 10.72.8), who was cast aside or born as a "dead egg/embryo" before being brought forth to spring to life and die again. Mārtāṇḍa may not indicate a dead egg, but may indicate the concealed divinity with in every human that is in dormant stage, which can be activated.

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“The one, who can activate the Eighth Hero, ie, dormant DIVINITY or Mārtāṇḍa, who has masterfully yoked Indra's two horses. These horses are the twin Pranic forces (the Ashwins governing Idā and Pingalā). When the dual breath currents are perfectly balanced and harnessed by the sovereign intellect (Indra), the chaotic pull of the external world stops. The energy rushes into the central channel, instantly shattering the dormant egg and allowing the inner divinity (Mārtāṇḍa) to stand forth as the absolute, heroic Witness (Sakshi).”

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Rigveda 10.114.10

भूम्या अन्तं पर्येके चरन्ति रथस्य धूर्षु युक्तासो अस्थुः । श्रमस्य दायं वि भजन्त्येभ्यो यदा यमो भवति हर्म्ये हितः ॥
bhūmyā antam pary eke caranti rathasya dhūrṣu yuktāso asthuḥ | śramasya dāyaṃ vi bhajanty ebhyo yadā yamo bhavati harmye hitaḥ ||

English translation:

Such ones circle around the end of the earth, (while) they have stayed yoked to the poles of the chariot. They [=gods?] distribute the legacy of their labor to them, when Yama becomes established in his secure habitation.

My Interpretation

1. The Stillness at the Limit of the Earth (Bhūmyā antáṃ)

The text describes the horses moving all the way to the boundary of the earth and standing perfectly still (asthuḥ).

“In spiritual practice or Sadhana, the "horses" are ONE’s active senses, Pranas, and thoughts that have been driven forward by Rik and Saman (Verse 6). "Reaching the end of the earth" may mean that the senses getting exhausted with experiencing the outward materialistic pleasures. They have gone as far outward as matter can go, and now, they hit the ultimate absolute boundary and remain perfectly still by yoking to Ṛtam. “

2. The Distribution of the Reward of Labour (Śrámasya dā́yaṃ)

Śrama is the intense spiritual toil, the relentless friction of meditative effort, and the grinding struggle to break Varuna's fetters. When the chariot reaches the destination, the gods distribute the dā́yaṃ (alleviation or divine inheritance). The seeker no longer has to try to meditate. The effort drops away, and a deep, refreshing tranquility fills the entire bio-energetic system.

3. Yama Established in the Mansion (Yamo bhávati harmyé hitáḥ)

Harmya is the palace or mansion—esoterically, the Hridaya Guha (the secret palace inside the heart center).

Who is Yama? According to Puranas, Yama is the god of death. But in the highest spiritual realm, Yama comes from the root yam, meaning "to restrain, to control, or to bring perfect order." Yama is the Inner Controller (Antaryami)—the absolute, unshakeable state of mental restraint and spiritual mastery.

When your Yama (inner rest/self-governance) becomes permanently fixed (hitáḥ) within the palace of your own heart (harmyé), the individual soul has fully realized its identity as the One Bird (Brahman).