Jaiminīya (Talavakāra) Brāhmaṇa 1.102

1.102

vāgvā anuṣṭup
tāmarvācīmabhinudangāyati vāco'napakramāya
yatparācīmapanudangāyedvācaṃ pradhamedvāgasmādapakrāmukā syāt
tāṃ yadarvācīmabhunudangāyatyātmanneva tadvācaṃ pratiṣṭhāpayati
tasyai niruktaṃ cāniruktaṃ ca pade gāyati
niruktena vai vāco bhuñjate'niruktamasyā upajīvanīyam
bhuṅkte vācopa caināṃ jīvati ya evaṃ veda
sa yanniruktameva gāyedvadeyureva prajā na tūṣṇīmāsīran
atha yadaniruktaṃ gāyedtūṣṇīmeva prajā āsīranna vadeyuḥ
yasmānniruktaṃ cāniruktaṃ ca pade gāyati tasmātprajā vadanti ca tūṣṇīṃ cāsate
vāgiti nidhanaṃ karoti
vāgvai brahma
vācyeva tadbrahmanpratitiṣṭhati
paṅktie gāyati
ṛtavo vai paṅktiḥ
tasyai ṣaḍakṣarāṇi dyotayati
ṣaḍvā ṛtavaḥ
ṛtuṣveva tatpratitiṣṭhati

The Anuṣṭubh is speech.
He sings pressing it hitherward, so that speech may not depart.
If he were to sing pushing it away, he would blow away speech; speech would be liable to depart from him.
In that he sings pressing it hitherward, he establishes speech in his own self.
For it, he sings a verse-quarter explicitly and [one] inexplicitly.
Through the explicit, they enjoy speech; the inexplicit is that by which it is lived upon.
He enjoys speech and lives upon it, who knows thus.
If he were to sing only explicitly, creatures would only speak and not sit in silence.
Then, if he were to sing inexplicitly, creatures would only sit in silence and not speak.
Because he sings a verse-quarter explicitly and [one] inexplicitly, therefore creatures both speak and sit in silence.
He makes 'Speech' the finale.
Speech is the brahman.
In speech, in the brahman, he thus finds support.
He sings a Paṅkti.
The Paṅkti is the seasons.
For it, he makes six syllables shine forth.
Six indeed are the seasons.
In the seasons he thus finds support.