I now proceed to give a more numerous list of Traishtubha pâdas ending in a choriambus,  ̄  ̆  ̆  ̄, again confining myself, with few exceptions, to final pâdas:

§ 8.  ̄  ̆  ̆  ̄

I, 62, 3. sam usriyâbhir vâvasāntă nărāh.

I, 103, 4. yad dha sûnuh sravase nâ̄mă dădhē.

I, 121, 9; 122, 10b; 173, 8; 186, 2; II, 4, 3; 19, 1; 33, 14; IV, 1, 19c a; 25, 4; 39, 2; V, 30, 12; 41, 4; 41, 15;

[paragraph continues] VI, 4, 7; 10, 5; 11, 4; 13, 1b; 13, 1d; 20, 1b; 20, 1d; 29, 4; 33, 3; 33, 5; 44, 11; 49, 12; 68, 5; 68, 7; VII, 19, 10; 62, 4; IX, 97, 26; X, 55; 8; 99, 9; 108, 6; 169, 1.

It is perfectly true that this sudden change in the rhythm of Trishtubh verses, making their ending iambic instead of trochaic, grates on our ears. But, I believe, that if we admit a short stop after the seventh syllable, the intended rhythm of these verses will become intelligible. We remarked a similar break in the verses of hymn X, 77, where the sudden transition to an iambic metre was used with great effect, and the choriambic ending, though less effective, is by no means offensive. It should be remarked also, that in many, though not in all cases, a cæsura takes place after the seventh syllable, and this is, no doubt, a great help towards a better delivery of these choriambic Trishtubhs.

While, however, I contend for the recognition of these three varieties of the normal Trishtubh metre, I am quite willing to admit that other variations besides these, which occur from time to time in the Veda, form a legitimate subject of critical discussion.

§ 2.  ̆  ̆  ̆  ̄.

Trishtubh verses, the final pâda of which ends in  ̆  ̆  ̆  ̄, I should generally prefer to treat as ending in a Gâgata pâda, in which this ending is more legitimate. Thus I should propose to scan:

I, 122, 11. prăsāstăyē măhĭn̆â̄ ̍ răthăvătē.

III, 20, 5. văsû̄n rūdrâ̄n̐ â̄dīty̆â̄n̐ ̍ ĭhă hŭvē.

V, 2, 1. pŭrāh pāsyāntĭ nĭhĭtām ̍ (tăm) ărătaū.

VI, 13, 5. văyō vrĭkâ̄y̆â̆răyē ̍ găsŭrăyē.

§ 1.  ̆  ̄  ̆  ̄.

I should propose the same medela for some final pâdas of Trishtubhs apparently ending in  ̆  ̄  ̆  ̄. We might indeed, as has been suggested, treat these verses as single instances of that peculiar metre which we saw carried out in the whole of hymn X, 77, but at the end of a verse the admission

of an occasional Gâgata pâda is more in accordance with the habit of the Vedic poets. Thus I should scan:

V, 33, 4. vrĭshâ̄ sămātsŭ d̄â̆sās̍yă nâ̄mă kīt a.

V, 41, 5b. râ̄yă ĕs̄hēऽ̆văsē ̍ dădhî̄tă dhî̄h.