a Trishtubh. It is what we should call an asynartete strophe, and the contrast of the rhythm in the first and second lines is very effective. I am not certain whether Professor Bollensen, who has touched on this metre in an article just published (Zeitschrift der D. M. G., vol. xxii, p. 572), shares this opinion. He has clearly seen that the division of the lines, as given in the MSS. of the Samhitâ text, is wrong; but he seems inclined to admit the same rhythm throughout, and to treat the strophe as consisting of four lines of five syllables each, and one of six syllables, which last line is to submit to the prevailing rhythm of the preceding lines. If we differ, however, as to the internal architecture of this strophe, we agree in condemning the interpretation proposed by the Prâtisâkhya; and I should, in connection with this, like to call attention to two important facts: first, that the Samhitâ text, in not changing, for instance, the final t of martât, betrays itself as clearly later than the elaboration of the ancient theory of metres, later than the invention of such a metre as the Padapaṅkti; and secondly, that the accentuation, too, of the Samhitâ is thus proved to be posterior to the establishment of these fanciful metrical divisions, and hence cannot throughout claim so irrefragable an authority as certainly belongs to it in many cases. I give the Samhitâ text:

1. Āgnē tăm ādyā | āsvām nă stōmāih | krătūm nă bhādrām,
         hrĭdīsprĭsăm ri̅dhy̆â̄mâ̄ tă ōhaīh.
2. Ădhâ̄ hy āgnē | krătōr bhādrāsyă | dākshāsyă sâ̄dhōh,
         răthî̄r rĭtāsyă brĭhătō băbhû̄thā, &c.

Now it is perfectly true that, as a general rule, the syllables composing the vritta or turn of the different metres, and described by the Prâtisâkhya as heavy or light, are in reality long or short. The question, however, is this, have we a right, or are we obliged, in cases where that syllable is not either long or short, as it ought to be, so to alter the text, or so to change the rules of pronunciation, that the penultimate may again be what we wish it to be?

If we begin with the Gâyatra pâda, we have not to read