Vedic Metre in its Historical Development c15: Chapter IX

Vedic Metre in its Historical Development c15

Language: English

Chapter IX

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THE LESS USUAL METRES—STANZAS AND STROPHES.

239. WITH the conclusion of the analysis of dimeter and trimeter verse the discussion of Vedic metre is in the main complete: the combination of verses into stanzas and strophes being usually so simple that it has been sufficiently explained in the General Introduction. There remain however for consideration a number of hymns, chiefly belonging to the earlier periods of Vedic poetry, which are constructed upon principles which differ from those already discussed in detail. In these hymns the rhythm or internal structure is on the whole of comparatively small importance, whilst the number of syllables in the verse, and the combination of verses into stanzas and of stanzas into strophes, that is to say, the elements of the ‘external structure’ (§ 30) require to be carefully considered. This inquiry is of a much easier kind than those in which we have so far been engaged. It will be found that most of the hymns to be examined belong to groups that are fairly well defined, and which include one or two standard types and a number of variations which only slightly depart from them. Such groups are (i) the ‘uneven lyric’ hymns, (ii) the lyric and dimeter triplets, amongst which Uṣṇih and Gāyatrī are most prominent, (iii) the Kakubh-Satoṛhatī and Bṛhatī-Satoṛhatī strophes, (iv) the Atyaṣṭi hymns and (v) the decasyllabic metres. After the consideration of the separate groups it will be possible to discuss the few hymns which do not fall into the classification, and to consider the relationship of the groups to one another and to the bulk of the hymns in the Rigveda; and also such traces of strophic arrangement as can be found in ordinary trimeter verse.

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240. The ‘uneven lyric’ metres have been defined in § 27 as those which combine in one stanza verses of eight and eleven syllables. A list of such hymns has been given in § 186, and we have seen reason to believe that the dimeter and trimeter verses which they contain represent the earliest Vedic types of these two kinds of verse (§§ 196, 233). The irregularity shewn in these hymns as they stand in the Saṃhitā text is a further indication of their antiquity, since in the Rigveda proper we find that strictness of metrical regulation increases in the later periods.

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The antiquity of these hymns may cause irregularities in the text in various ways. Some are due to the lack of strict metrical principle which characterized the composers: others to the perplexities of the reciters and copyists in preserving the tradition of poems of which both the dialect and the metre were becoming strange to them. Hence in these hymns questions of emendation assume an importance unusual in the Rigveda, and it becomes impossible to feel confident as to the original form of many of the stanzas. Where however difficulties of metre and of interpretation occur in the same stanza, it will be justifiable to look to the composition of the hymn as a whole as a guide: and though it may not be practicable to restore with any certainty the original form, yet it will appear that there is little justification for the complete despair with which the metre of some of these hymns has been regarded by Western critics.

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241. The following principles are suggested as a clue to the difficulties of the ‘uneven lyric’ hymns:

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(i) The number of verses in the stanza is not fixed: the concluding stanza in particular is often made of greater length, as in the Atri Anuṣṭubh, by repeating one or more of the verses in the scheme.

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(ii) The succession of dimeter and trimeter verses is seldom quite regular: in particular, dimeter verses are occasionally replaced by trimeter.

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(iii) By contamination of the cadences of the two kinds of verse the dimeter verse is often, sometimes almost regularly, reduced to seven syllables: whilst the trimeter verse is with varying regularity extended to twelve syllables, and thus approximates to that used in lyric verse.

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(iv) Amongst the trimeter verses decasyllabic variations are common.

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The discussion will be the more readily followed if we begin with the hymns in which the metre causes the least difficulty, and reserve to the last those in which either the metre is very complicated or the text less satisfactory than usual.

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242. The easier hymns to interpret are of course those which come nearest to the regular lyric metres. These hymns are v 24, x 93 and x 132, to which should perhaps be added i 127, 129 and 150, and viii 35. Looked at from the later standpoint, these are lyric hymns marked by somewhat frequent catalexis both of the dimeter and the trimeter verses: but regarded historically some or all of them mark a transition stage between the ‘uneven lyric’ and the lyric metres. Such further difficulties as appear in the separate hymns are easily explained by the principles stated in the last section.

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(i) The hymn i 127 can hardly be separated from the whole group i 127–139, which we have seen reason to regard as not quite of the earliest date (§§ 201, 234). But catalectic verses are somewhat common, occurring as 1a 2a 10d 11e, and there are also several irregularities of rhythm. Of the other hymns in this group only i 129 has the same characteristics, but they occur less frequently, the catalectic verses being 5f 8a 8e.

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(ii) i 150 is treated by the Anukramaṇī as an Uṣṇih hymn, but of its three trimeter verses only one (2c) has more than 11 syllables: the probable standard is therefore 8.8.11.

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(iii) v 24 is conveniently included here, though the type is rather 8.8.3 than 8.11. Only in 1c (*varūthíaḥ*) do we find four syllables in the short verse.

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(iv) The hymn viii 35, like i 127, belongs to a group from which it cannot easily be detached, but its peculiar structure deserves notice. The regular type of the stanza is 12.12.12.8, and the stanzas are grouped in triplets, the last three verses of the stanza being the same throughout each triplet. Of the 21 initial verses 4 have catalectic cadence, namely 6a 13a 14a 15a: and of the 21 refrain verses 2, namely 10b = 11b = 12b and 16b = 17b = 18b.

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(v) The hymn x 93 approximates to the type 12.12.8.8, and is accordingly described by Indian tradition, after a careful counting of the whole number of syllables, as of the *Prastārapaṅkti* metre. Of the trimeter verses, however, 1a 1b 4a 4b 14a 14b are certainly catalectic (14b being also ‘hybrid’), and 12a 12b may be read as catalectic: of the dimeter verses 2d is certainly catalectic, and 5c 9b 9d 13d 14d may be so read. The hymn therefore appears to be associated with the ‘uneven lyric metres’ in the irregularity of the cadence.

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With this limitation ten of the fifteen stanzas correspond to the type described. Stanza 9 is of the type 12.8.8.8.8, and stanza 15 of the type 12.8.8.8: these stanzas shew the irregularity of external structure which characterizes the uneven lyric metres. The remaining stanzas 2, 3 and 13 are described in the Anukramaṇī as Anuṣṭubh: this may be correct, but in any case some emendation is required in each, and it is quite likely that each of the original stanzas contained at least one trimeter verse. In this case they may have run somewhat as follows:

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yajñé-yajñe ‖ saparyati sá deván
yáh sumnám dīrghaśruttamā
āvívāsati agnéḥ. 2

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vísveṣaam ‖ irajyati vásūnām
devánaam maháh sá
vísve hí viśvámahasah
vísve yajñéṣu yajñíyāḥ. 3

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yéṣām rábhir ‖ hiraṇyáyī vavárta
yuktá īṣā hiraṇyáyī
nemádhitā vām paúṃsiā
víthā víprāḥ stavanta. 13

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(vi) The hymn x 132 approximates to the same standard 12.12.8.8: stanza 6 is exactly of this type, and stanza 2 can be read in the same way. The final stanza 7 has an extra dimeter verse, and 7c is catalectic. In stanza 4 (11.11.7.11) all four verses are catalectic, and there can be little doubt that stanzas 3 and 5 are substantially of the same type: in this case 3c requires correction, perhaps to yád vā púṣyati dadván. In stanza 1 only the first verse causes any difficulty: metre and meaning would be adequately represented by some such verse as ijánám íd ‖ vásunā dyaúḥ pṛṇaktu.

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243. In x 22 we have an isolated but almost perfect example of an ‘uneven lyric’ hymn, the type being 11.8.8.8. The position of this hymn in the Vimada collection enables us definitely to assign it to the same period as the earliest forms of Anuṣṭubh verse (§ 201).

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The metre is termed Purastādbr̥hatī in the Anukramaṇī, as though the type were 12.8.8.8: and stanzas 5, 7, and 9 are described as Anuṣṭubh. Of the opening verses of these three stanzas 5a is Triṣṭubh, if we read váatasya (§ 142 v): 9a is Triṣṭubh with a double rest (§ 226): 7a alone is dimeter, and probably needs correction.

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Of the initial verses only 3a and 11a have Jagatī cadence, but many have rests or other archaic variations: of the dimeter verses 3c 5b and 6c are probably to be read as catalectic.

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The whole number of stanzas is the same as in x 93, but the last stanza is Triṣṭubh.

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244. The more difficult hymns of this class are i 88, i 120 1–9, and x 105. But although it may not be possible to determine the original form of each stanza in these hymns, we can feel confident that the general type in the mind of the composer was for i 88 11.11.7.11; for i 120 11.11.7; and for x 105 11.7.11. In these hymns therefore the Triṣṭubh or trochaic cadence is generally found in both the trimeter and the dimeter verses.

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(i) In i 88 stanza 5 may be taken as giving the normal type, namely:

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etát tián ná ‖ yójanam aceti
sasvár ha yán ‖ maruto gótamo vaḥ
pásyan híraṇyacakrān
áyodaṃṣṭrān ‖ vidhávato varáhūn.

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If this is so, stanza 1 diverges by having a full dimeter verse, and stanzas 3 and 4 diverge by having trimeter verses in the third place, whilst stanza 6 has a dimeter verse in the fourth place. 2c which contains nine syllables must in any case be emended. In addition we have two irregular forms of Triṣṭubh verse, 1b being hypersyllabic (§ 224), and 1d having a double rest (§ 226).

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(ii) In i 120 1–9 both metre and meaning are very obscure in many of the stanzas. The starting-point for the interpretation of both is to be found in stanza 8, which gives us a metrical type 11.11.7, and also indicates that the matter of the hymn is exactly what is usual in hymns to the Aśvins. It follows that the text has been violently disturbed in some of the other stanzas, and needs correction. On the analogy of i 88 we may infer that the third verse will not always be of seven syllables, but may appear as a dimeter or a Triṣṭubh verse. In stanza 4 we find an additional verse of 7 syllables.

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It would be beyond the scope of this book to discuss possible emendations of the text as such, but the metrical effect of the original hymn may have been somewhat as follows:

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ká †rādhāti ‖ hótarā aśvinā vām
kó vām jóṣam ‖ ubháyor á vidhāti
kathá †dáśad ápracetāḥ. 1

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vidváṃsa ít ‖ †kúha †pṛcchāti †sántā
ávidvān itthá ‖ ápara acetāḥ
nú cin nú márta †aśyāt. 2

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†ávidvāṃsaḥ ‖ havāmahe †vayáṃ vām
tá no vidváṃsa ‖ mánma †á †juṣethām
prá †riricyād ‖ dáyamāno yuvákuḥ. 3

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ví pṛcchāmi ‖ pákīā †cid †vratāni
vásaṭkṛtasya ‖ †adhvarásya dasrā
tá pātam sáhyaso naḥ
pātám ca rábhyaso naḥ. 4

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prá yá †ghóṣi ‖ †bhŕgavāṇena †śubhrā
yáyā vācá ‖ yájati pajriyó vām
prá †devayúr ná †sādhat. 5

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†nú †cic chrutam ‖ tákavānasya †gāthám
ahám cid dhí ‖ rirébhā aśvinā vām
ákṣī śubhas patī dán. 6

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yuvám †yád †gá ‖ ástam á †taṃsayethe
tá no vasū ‖ sugopāā siātam
pátām vírkād agháyóḥ. 7

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má kásmai dhātam ‖ amitríṇe nah
má †kútrā no ‖ gŕhébhyo dhenávo guḥ
stanábhúja áśisvīḥ. 8

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duhīyán mitrá ‖ -dhitaye yuváku
rāyé ca no ‖ mīmātám vājavatyai
iṣé ca dhenumátyai. 9

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For previous discussions of this hymn refer to Prof. A. Ludwig’s *Rigveda* iv 39–42, and Prof. R. Pischel in *Vedische Studien* ii 87–109.

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The ingenious theory¹ that the peculiarities of this hymn are due to the ill temper of the bard, who purposely made it unmetrical, is not very probable. To a bard familiar with the smoother metres of (say) the normal period the construction of a hymn of this type would have been a very severe task.

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¹ R. Pischel, *Vedische Studien*, i 1 ff.

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(iii) In x 105 the normal type of the stanza is 11.7.11; this is found in the text in stanzas 1, 2 and 10, and is still more clearly proved by the form of the final stanza, in which each of the two last verses is doubled, giving the type 11.7.7.11.11. In 7a we have a trimeter verse of 12 syllables, unless we substitute *dásyu* as an abbreviated form for *dásyave*: 8a has a double rest, 8b is a full dimeter verse, and 9a appears to be a dimeter verse, although it is easy to restore a trimeter verse in the shape *ūrdhuá* ‖ *tretínī yád bhúut te*. The most difficult stanzas are those from 3 to 6, which may perhaps be restored somewhat as follows:

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ápa †ayóḥ ‖ ∙ índro †mártio ná
śaśramāṇó bibhīván
śubhé yád ‖ yuyujé táviṣīvān. 3

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sácā ayóḥ ‖ ∙ carkṛṣe †yád †enam
†úpanakṣat saparyán
nadáyor ví- ‖ vratayoḥ śúra índraḥ. 4

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késavantā ‖ yáh †śubhá adhi tasthaú
vyácasvantā ná puṣtyaí
śiprābhīām ‖ vanoti śipríṇīvān. 5

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ṛṣvébhir †yad ‖ ṛṣvá-ojās tatákṣa
prá śúraḥ śávasāstaut
ṛbhúr ná ‖ krátubhir mātaríśvā. 6

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(iv) Isolated stanzas of the uneven lyric type appear to occur as follows: in viii 46 20 of the type 11.8.11.8: in viii 46 14 of the type 13.8.14; see Appendix III, No. 18: in iii 21 4 as 11.11.11.8: in v 19 5 (unless the text is corrected) of the type 8.11.11.11. For similar stanzas in the popular Rigveda see Appendix III (§ 253), Nos. 35 and 39.

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245. Almost the whole of the lyric verse in the Rigveda, and a large proportion of the dimeter hymns, shew a system of grouping of stanzas. The most common grouping is that of three stanzas to make a metrical unit, the hymn consisting of any number of such units. Owing to the disconnected character of the Vedic poems, it might not always be easy to trace this grouping by the meaning: but it is easily recognized by the great number of hymns in which the number of stanzas is some multiple of 3, and by the fact that changes of metre so commonly take place after each third stanza.

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A group of three stanzas may be called a triplet. The principal kinds of triplets in the Rigveda are the following: (i) Uṣṇih or other homogeneous lyric triplets; (ii) triplets of mixed lyric metres, or of lyric metres combined with Gāyatrī, Triṣṭubh, or Anuṣṭubh; (iii) Gāyatrī or Anuṣṭubh triplets; (iv) triplets in which Anuṣṭubh and Gāyatrī are combined in some systematic way. In trimeter verse triplets are not common, and we defer the discussion of this point (see § 251 i).

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It is probable that the system of grouping is at times carried further, and in particular that groups of three or five triplets are deliberately combined to form a larger whole: in the former case an extra stanza is often added to the last triplet, so that the poem as a whole consists of ten stanzas in the one case and fifteen in the second.

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(i) Hymns in Uṣṇih metre, whether of the type 8.8.8.4 or the type 8.8.12, are almost invariably grouped in triplets: the list of hymns is given in § 186. The only stanzas not so grouped are found in vi 43 (4 Uṣṇih stanzas), viii 18 22, ix 102 (8 stanzas), 106 13, 14 (2 stanzas): see also subsection ii.

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Triplets of the Atyaṣṭi type are found in i 130, 132, 134–137, v 87 and ix 111. See also § 247 ii. A triplet of the type 12.8.12 is found in ix 110 1–3. For Bṛhatī-triplets see § 246 iv.

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(ii) It very often appears from the general arrangement of a hymn which contains a large proportion of lyric stanzas that the stanzas are grouped in triplets, although the stanzas which form the triplet are not homogeneous, nor grouped according to any recognizable system.

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Mixed lyric triplets are found in viii 9 4-6, 98 7-9, 10-12, and also frequently where a Kakubh-Satobṛhatī or Bṛhatī-Satobṛhatī strophe is included: for the latter class see § 246 i.

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Triplets in which lyric metres are combined with dimeter verse or with Triṣṭubh are found as follows: i 91 16-18; ii 41 16-18; *iii 28 1-3; v 61 9-11; vi 15 16-18; vii 14; viii 5 37-39, 9 13-15, 24 28-30, 26 20-22, 23-25, 35 22-24, 70 13-15, 89 5-7.

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(iii) Of the Gāyatrī and Anuṣṭubh verse contained in the Rigveda a very large proportion is grouped in triplets: the system extends to the epic Anuṣṭubh verse of the popular Rigveda.

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A grouping of this kind is usually to be inferred where the number of Gāyatrī verses in a hymn is a multiple of 9, or the number of Anuṣṭubh verses a multiple of 12: see the ‘Table of Hymns’ appended to Ch. X.

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(iv) The grouping of Anuṣṭubh and Gāyatrī together in triplets is a very simple and effective arrangement. Usually the first stanza alone in the triplet is Anuṣṭubh: of this we have examples in v 28 4-6, 82 1-3; viii 3 21-23, 9 19-21, 63 1-3, 7-9, 68 1-12, 74 1-12, 92 1-3; ix 101 1-3. Two Anuṣṭubh stanzas are followed by a Gāyatrī stanza in viii 63 4-6, x 62 8-10. Two Gāyatrī stanzas are followed by an Anuṣṭubh stanza in i 43 7-9, vi 45 31-33, ix 67 25-27.

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Similar groups each consisting of five stanzas are perhaps to be found in viii 31 5-9, 10-14, 69 7-11, 12-16.

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(v) More complicated groupings are chiefly found in Gāyatrī verse. Groups of nine stanzas are found in i 1, 16, 17, 19, 41, 43, 50 1-9; iii 11, 12, 40-42; viii 11 1-9, 72, 73, 77 1-9, 79, 80 1-9, 81-85, 102 1-18; ix 6-13; x 118. Groups of ten stanzas are found in i 4-9, 26, 42, 86; iii 37 1-10; iv 15; viii 17 1-10, 38; ix 1-4. Groups of fifteen stanzas are found in i 37, 38, 46; iv 31; vi 16 1-45; viii 6 1-45, 14, 32, 34 1-15, 44.

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246. The combination of a Kakubh or Bṛhatī stanza with a Satobṛhatī stanza so as to form a strophe is a well-marked feature of certain parts of the Rigveda, and in particular of the Sobharī, Vasiṣṭha, and Kaṇva collections. The beginnings of the system may be traced back to the lyric triplets, in which some third stanza is combined with Kakubh or Bṛhatī and Satobṛhatī: and there is an intermediate stage in which the combination is in pairs of stanzas, but many slight variations are permissible. The strophes are so far treated as single stanzas, that they are themselves frequently treated in triplets.

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(i) Kakubh-Satobṛhatī and Bṛhatī-Satobṛhatī strophes are found combined with some third stanza (often 12.8.8 Purausṇih) making a triplet as follows: vi 48 13-15 (Pur.-B.-Sat.) 16-18 (Kak.-Sat.-Pur.) 19-21 (B.-B.-Sat.); vii 96 1-3 (B.-Sat.-Prastārapaṅkti); viii 4 19-21 (B.-Sat.-Pur.); x 62 5-7 (An.-B.-Sat.). In vi 48 variations from the strict type occur for which see the Appendix to this chapter as follows: No. 63, No. 60.

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(ii) Kakubh-Satoṛhatī strophes are found in triplets in viii 19–21, 22 7–18, with the following irregularities; in viii 19 we find an extended strophe (12.8.12.8.12.8) as 26–27, and 37 as it stands is Paṅkti, though by rearrangement of the words Satoṛhatī may be restored; and in viii 22 stanza 7 is Bṛhatī, stanza 8 is Anuṣṭubh, and stanza 12 of the type 12.8.12.12. Another such triplet is probably to be found in viii 103 8–13, although stanza 10 is in the text only Gāyatrī; and in ix 108 stanzas 1–6 and 7–12 are probably triplets.

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Strophes not arranged in triplets are only found in v 53 5–6, 15–16 and ix 108 13–16. Isolated Kakubh verses do not occur.

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(iii) Bṛhatī-Satoṛhatī strophes are found in triplets as follows: iii 16; vi 48 1–12; vii 16, 32, 59 1–6, 66 10–15, 74, 81; viii 4 1–18, 10, 22 1–6, 61, 70 1–6, 71 10–15, 87, 88, 90, 101 1–12, ix 107.

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The hymns named contain the following irregularities. In vi 48 stanzas 6 and 8 are of the type 12.8.12.8.8, 7 is of the type 8.8.12.8.8, and 11 is Kakubh. In vii 32 we have an extended Satoṛhatī stanza as 2–3, of the type 12.8.12.8.12.8. In viii 10 1–6 stanzas 2 and 4 are variations on Satoṛhatī, of the respective types 12.8.12.12 and 8.8.12.12. In viii 101 stanza 3 is Gāyatrī, and there is an appended Bṛhatī stanza after stanza 12. In ix 107 we have extended Satoṛhatī stanzas of the same type as above as 2–3 and 15–16; for stanza 9 see §§ 142 ii, 151 i, 228 i.

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In v 56 we have a hymn of nine stanzas, of which two only are Satoṛhatī and the rest Bṛhatī.

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Similar strophes not arranged in triplets are regular in the Kaṇva hymns, and i 36, 39, 40, 44, 47, 48; viii 3 1–20, and 49–54 are so composed. Elsewhere we find the hymns vi 46, viii 27, 60, 66 1–14, 99 composed of these strophes.

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The Kaṇva hymns contain no irregularities.

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Detached strophes occur i 84 19–20; viii 1 1–4, 17 14–15, 46 11–12¹, 25–26, 27–28, 77 10–11, 89 1–4, 103 4–7; x 33 2–3. Here viii 46 12 is of the type 8.12.8.12, and viii 103 5 of the type 11.12.12.8.

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¹ See § 248 iii.

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(iv) Bṛhatī stanzas occur in triplets in vi 59 1–6; viii 33 1–15, 62 7–9¹, 70 7–12, 97 1–9; x 150 1–3. Other Bṛhatī hymns are iii 44, 45; viii 1 5–32. Detached stanzas are found as i 139 5, *170 1; iii 53 18; v 53 2; vi 15 18, 42 4, 47 19, 60 14; viii 30 3, 46 7¹, 11, 19, 69 17, 18, 78 10; ix 98 11, 99 1; *x 14 15, *101 5, *102 1, 3, 12. For the position of this metre in the later parts of the Rigveda see § 94 i.

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¹ These are ‘Dimeter Bṛhatī’ stanzas, the type being 8.8.8.4.8.

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(v) Satoṛhatī and the allied metres are very rarely found outside the strophic system; but there are three hymns near the end of the tenth Maṇḍala which are so composed, namely x 140, 144, and 150. In x 140 the first two stanzas are Viṣṭārapaṅkti (8.12.12.8), stanzas 3–5 Satoṛhatī, and 6 is Upariṣṭājyotis (12.12.12.8). In x 144 the first two of these metres are combined with Bṛhatī and Gāyatrī. In x 150 a Bṛhatī triplet is followed by two stanzas in Upariṣṭāj-jyotis. All these hymns must necessarily be referred to a very early Vedic period.

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247. The Atyaṣṭi metre is the most common form of a group of lyric metres, which are characterized by the large number of verses included in one stanza. The whole group may be regarded as a developement of the Sato-bṛhatī metre in its extended form 12.8.12.8.12.8 (§ 246 ii) or through the metre of v 87 (12.12.12.8.8).

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The Atyaṣṭi group of metres is amongst the latest productions of the archaic period, and presupposes a long developement of the lyric stanza: but the view entertained by many Western critics that hymns in these metres belong to the later additions to the Rigveda is entirely untenable. A correct appreciation of this metre is given by A. Ludwig, Rigveda iv, xxxi-xxxii.

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(i) There are about 20 varieties of stanza belonging to the Atyaṣṭi group: their common features are that they have at least five verses to the stanza, of which two at least are trimeter and two at least dimeter, and that (with rare exceptions) the stanza begins with a trimeter and ends with a dimeter verse.

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The standard Atyaṣṭi metre, of which the type is 12.12.8|8.8|12.8.8 is as common as all the rest put together, but on account of its length it must be regarded as almost the latest in developement.

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(ii) Hymns composed in standard Atyaṣṭi triplets are i 130, 132, 134, 136, and ix 111: v 87 consists of triplets of stanzas of the type 12.12|12.8.8: i 137 of a triplet of the type 8.8.8|8,8|12.8: and i 135 of triplets which are chiefly Atyaṣṭi, but partly of an allied type (12.12.8|12.12.8). Hymns i 130 and 136 have each also an appended Triṣṭubh stanza.

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Other hymns in Atyaṣṭi are i 127-129, 131, 133 6-7, 138, 139, in which the following stanzas differ from the standard: i 127 6, 129 8, 9, 133 6; whilst i 139 5 is a Bṛhatī stanza. See Appendix III (§ 253) Nos. 74, 77, 80, 81, 85, and 88.

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The triplet iv 1 1-3 consists of mixed metres of this group, and is followed by a Triṣṭubh hymn. See Appendix III (§ 253) Nos. 62, 75, and 83.

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(iii) In ii 22 we have a metre which seems to be similar in principle to Atyaṣṭi. In stanzas 2 and 3 the type is 12.4|12.4|12.8.8, but the last two dimeter verses (which belong to a refrain) are unrhythmical. The first stanza only differs by having an additional verse of four syllables after e. The concluding stanza is in the text of the type 24|12.4|12.8.4|: but it is probable that the first section admits of some analysis. See Appendix III (§ 253) Nos. 79, 84, and 87.

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(iv) In viii 35-37 the metres appear to be allied. viii 35 (12.12.12.8) does not indeed come within our definition in subsection i, and has points of contact with the uneven lyric metres: but viii 36 1-6 is of the type 12.12 | 8.8.8.8, and the concluding stanza only differs in having one dimeter verse less. For the similar metres found in viii 37 see Appendix III (§ 253) Nos. 70 and 71.

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248. The grouping of stanzas is so regular in those hymns in which the lyric metres are used, that some disorder in the text may be suspected where an arrangement in triplets or strophes does not come to light. Such hymns are v 53, viii 30, and viii 46. In addition the Āstarapaṅkti hymns of Vimada (x 21, 24 1-3, 25) shew no clear indication of grouping.

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(i) v 53. In this hymn stanza 4 may be interpreted as Kakubh by reading *vásiṣu* in 4a (§ 170 iii), and thus the number of the detached Kakubh stanzas (1, 4, 10, 11) becomes equal to that of the detached Satoṛhatī stanzas (7, 9, 13, 14). As there are also two strophes (5-6, 15-16) in the hymn, and only 4 stanzas of quite different type, it seems probable that the original hymn was composed entirely in Kakubh-Satoṛhatī, but has not been faithfully preserved.

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(ii) viii 30. Here a triplet in mixed metres (1 Gāyatrī, 2 Purauṣṇih, 3 Bṛhatī) is followed by an appended Anuṣṭubh stanza.

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(iii) viii 46. This is the most varied hymn in the Rigveda, but contains many groups. 1-6 Gāyatrī triplets: 5 is in the text Dimeter Kakubh, but probably *suvíriam* should be omitted. 7 Dim. Bṛhatī. 8 Anuṣṭubh. 9 Satoṛhatī. 10 Gāyatrī. 11-12 Bṛhatī followed by stanza 8.12.8.12 in place of Satoṛhatī. 13 Dvipadā Jagatī. 14 is a Satoṛhatī stanza: the first verse is hypersyllabic, and the fourth is represented only by the initial word *yáthā*. 15 as 13: omit the concluding words *nūnám átha*. 16 probably the same as 14, but requiring considerable restoration. 17 The type is 12.12 | 12.8.8, as in v 87: the third verse requires restoration. 18 Upariṣṭādṛhatī. 19-20 Bṛhatī. 20 is either disordered or is in uneven lyric metre. 21 Paṅkti. 22 Stanza of type 12.8 | 8.8.8 representing Satoṛhatī. 23 Gāyatrī. 24 Paṅkti. 25-28 Bṛhatī-Satoṛhatī strophes. 29-33 Dimeter stanzas, except that 30a is trimeter: in 31c *satá* should perhaps be omitted. It seems probable that stanzas 1 to 12 are arranged in triplets, and 13 to 28 in strophes each containing two stanzas.

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249. The internal structure or rhythm of decasyllabic verses has been examined in the last chapter (§§ 228-230). It therefore only remains here to consider the building up of such verses into stanzas and strophes in the hymns that have already been distinguished as composed in decasyllabic metres, and to measure the extent to which these hymns are differentiated from the less regular trimeter hymns from which they have originated.

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The most important of these metres is the ‘Dvipadā Virāj’ or ‘Pentad’ metre. There are a few hymns in which Pentad and Triṣṭubh verses are combined: but in the greater number Triṣṭubh verses are so rare that they may practically be disregarded. In these, which we may call the pure Pentad hymns, we observe that the original trimeter verse is split, and becomes two verses: and these two exercise a mutual influence which tends towards their complete assimilation. This point seems to be reached in the metre of iv 10, in which three pentads are followed by a Triṣṭubh verse in each stanza. Pentad hymns are usually arranged in strophes of ten stanzas, each of which consists of two trimeter verses or four pentads.

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(i) The mixed Pentad hymns are vi 44 7–9, x 1, 6, and 46. In these hymns about two-thirds of the verses are ordinary Triṣṭubh verses, and of the remainder three-quarters are Pentad verses and one-quarter belong to other decasyllabic types. The stanzas consist of four trimeter verses, and the two parts of each verse retain their original character: thus the quantity of the third syllable is indifferent, but the ninth is almost invariably short. The strophe-formation varies: the first hymn named consists of a triplet, the second and third of seven stanzas each, and only the last of ten stanzas.

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(ii) The ‘pure Pentad’ hymns are i 65–70, vii 34 1–21, 56 1–11, and ix 109. These hymns contain together over 200 verses, of which only nine are Triṣṭubh verses. In vii 34 and 56 the seventh syllable (the initial syllable of the second Pentad) is long in one-third of the instances, in the other hymns in one-half: but here the effects of the ‘rest’ and of assimilation coincide. The third syllable, almost indifferent in quantity in trimeter verse, is in these hymns short in almost three-quarters of the instances: whilst the corresponding ninth syllable, always short in trimeter verse, is in these hymns long in one-seventh of the instances (§ 220 iii): these two changes appear to be due to mutual assimilation.

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It is remarkable that the fifth syllable is long in three-quarters of the instances, so that (in spite of the tendency to assimilate) this syllable does not become *syllaba anceps*.

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All the Pentad hymns are arranged in strophes consisting of five double stanzas, but some add a final stanza, so that the total number is 10, 11, or 21. In ix 109 there is also an additional stanza in another metre (8.4.8) which hardly seems to belong to the hymn. The number of stanzas in the strophe thus corresponds exactly to the number of syllables in the verse.

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(iii) The metre found in iv 10 consists of three Pentads followed by a Triṣṭubh verse, as for instance:

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*ágne tám adyá*
*áśvam ná stomaíḥ*
*krátum ná bhadrám*
*hṛdispŕśam ‖ ṛdhiámā ta óhaiḥ.*

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In the fifth stanza there are four Pentads besides the Triṣṭubh verse, the last of these being evidently a repetition of the third.

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The rhythm of the first pentad in each stanza is the same as in the Pentad hymns, and that of the last pentad (the last two in stanza 5) the same as in the second pentad in those hymns. As to the middle pentad it is hardly possible to make a safe inference from 8 occurrences only: so far as can be observed, the quantity both in the third and in the fifth place is indifferent.

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The strophe-formation is very uncertain: perhaps we have a strophe of five stanzas followed by a triplet.

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250. The remaining hymns in decasyllabic metre are ii 11 (Virāṭsthānā) and x 77, 78 (Bhārgavī): to which may perhaps be added i 61 as shewing at least the beginnings of a new decasyllabic stanza (Gautamī). Although none of these metres become established in the same way as the Pentad metre, they appear to be clearly conceived by the poets in the special hymns in which they appear.

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An arrangement in strophes of five stanzas is probable.

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(i) The hymn ii 11 consists of 20 Virāṭsthānā stanzas followed by one Triṣṭubh stanza: it therefore corresponds in the number of stanzas with the Pentad hymns vii 34 and ix 109.

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Of the 80 verses in the Virāṭsthānā stanzas 43 must necessarily be read as Virāṭsthānā verses; 8 more if *indra* is read (as seems certain in this hymn) as a disyllable, and yet 8 more if we abstain from resolutions which are permissible but not necessary: so that we have 59 verses or three-quarters of the whole number which are of the Virāṭsthānā type. The verses in which we abstain from possible resolutions are 2d (*ukthaíḥ* § 151 iii), 4d (*dásīḥ* § 151 i), 5a (*gúhyam* § 136 ii), 5c (*dyám* § 142 ii), 12a (*ápy abhūma* § 125), 13a (*syāma* § 147), 15a (*vyántu* § 140 iii), 19d (*sākhyásya* § 137).

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Of the remaining verses 12 have the Virāṭsthānā ending, but appear to have five syllables in the opening. Here, if the text is correct, we seem to have contamination of the two metres. But in 4c 6a it is possible to omit *indra* as a gloss, and in 6b it seems desirable to read *stavā* for *stavāma*: in 3a 17a *ukthéṣu nú*, *ugréṣu nú* seem more probable than *ukthéṣvid nú*, *ugrésvid nú*. In 9d 10b 12d 13c 17b 19a 20a the verse certainly has eleven syllables. There are 4 regular Triṣṭubh verses only, namely 1d 2b 8d 12b, and 5 which shew various irregularities other than those already described, namely 3b 7d 10d 15c 17d.

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In the Virāṭsthānā verses the seventh syllable is usually short.

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(ii) The Bhārgavī hymns x 77, 78 each consist of eight stanzas, and in each case only five stanzas out of the eight shew the special metre. It is natural therefore to regard these hymns as composite: x 77 consisting of a Bhārgavī strophe of five stanzas followed by a Triṣṭubh triplet, and x 78 of a similar strophe followed by a Jagatī triplet, of which, however, the last stanza is Triṣṭubh. On this supposition it becomes necessary to transpose stanzas 5 and 6 in x 78.

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In the Bhārgavī strophes there are 14 verses out of 30 which do not conform to either of the Bhārgavī types (§ 52): of these verses 5 have eleven syllables and 9 have twelve, but all agree in shewing Jagatī cadence. There can therefore be no doubt that we have to deal with a variation of Jagatī verse, though the Anukramaṇī by means of counting the syllables discovers most of them to be Triṣṭubh.

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Between the two types of Bhārgavī verse it is impossible to distinguish satisfactorily, as a large proportion of the verses may be classed with either, according as we place the caesura before or after ná.

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(iii) In i 61 the regular Triṣṭubh verses number 30 out of 63, or rather less than half, the Virātsthānā verses are 10 in number, Gautamī verses 9, and other irregular verses 14. No special importance would attach to the Gautamī verses, except for their extreme rarity in other parts of the Rigveda: as it is, there appears to be an attempt to create a new type similar to Virātsthānā: and in stanza 13 no less than three verses out of four are of this type, as follows:

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asyéd u • || prá brūhi púrviāni
turásya • || kármāṇi návya ukthaíḥ
yudhé yád • || iṣṇáná áyudhāni
ṛghāyámāṇo || ni riṇáti śátrūn.

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The hymn consists of three strophes each of five stanzas, and an appended Triṣṭubh stanza.

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251. In the great body of Triṣṭubh and Jagatī verse in the Rigveda we look in vain for any strophic arrangement. Occasionally there appear indications of a grouping in three, five, seven, and ten (or eleven) stanzas, but the varieties are so numerous that it is quite possible to explain them as due to chance.

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Jagatī hymns often have a concluding Triṣṭubh stanza, and some of the longer hymns have one or two such stanzas towards the end. It is open to question whether this habit has any connexion with grouping in strophes.

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(i) Triṣṭubh and Jagatī triplets might be expected in the earlier parts of the Rigveda, but the traces of them are few. They are probable in vi 15 1–15, 44 13–24, and in the Soma hymns ix 86 and 97. Where the stanza consists of three verses only (§ 94 iv), the triplet grouping seems to be more regular, as in vii 22, 31 10–12, 68; ix 110 4–12. In viii 9 10–12 a triplet is composed of a Triṣṭubh, a Virāj, and a Jagatī stanza.

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(ii) Strophes of five stanzas are certainly found in the group of Indra hymns extending from vi 30 to vi 41, and are further probable in iii 17–23, 44–50, iv 27–29, ix 75–84. See also subsection v.

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(iii) Strophes of seven stanzas appear to belong rather to the later periods of the Rigveda, and may perhaps be associated with the conduct of the sacrifice by the saptá hótāraḥ. The Āpriya hymns in their original form must have consisted of seven stanzas only, and the hymns vii 2 1-7, 17, and ix 5 1-7 are of this type, though additional verses have been added at a later period to two of these three hymns. Other probable examples, all in Triṣṭubh metre, are the hymns vi 7-9, x 1-7, 79, 80, *81-84, and *87 1-21.

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(iv) Groups of ten stanzas are probably due to the influence of the Pentad hymns (§ 249): they may be traced in i 71-73; iii 5-7, 34-36; iv 19-23; ix 68-70. Hymns of eleven stanzas may be explained in the same way, by the addition of a concluding stanza: possible examples are i 53, 54, 185, 186; x 48, 49.

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(v) Hymns of 15 and 20 stanzas are more common in the Rigveda than those which contain an intermediate number, and thus indirectly suggest strophes of five stanzas each. Such hymns are i 32, 33, 51, 52, 121, 122; ii 33-35; iv 1, 2, 4, 5; v 29, 30, 41, 43, 54; vi 49, 50; *vii 35; x 91, 92. The hymns i 116, 117 each contain 25 stanzas.

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(vi) There are about 170 Jagatī hymns in the Rigveda: of these nearly 100 are composed in Jagatī alone, about 40 have a concluding Triṣṭubh verse, and about 35 have some further admixture of Triṣṭubh. The relation of these varieties is shewn in the annexed Table. In the archaic period irregular combinations of Jagatī and Triṣṭubh are proportionately common, corresponding to the uneven lyric metres: in the strophic and normal periods pure Jagatī is most common, but in the latter the use of final Triṣṭubh stanzas begins to assert itself, and leads to greater irregularities in the two last periods. The history of contamination within the stanza is exactly similar: see § 223.

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TABLE SHEWING THE VARIETIES OF JAGATĪ VERSE.

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| Period | Arch. | Stroph. | Norm. | Cretic | Popular | Total |
| Pure Jagatī | 11 | 10 | 48 | 24 | 5 | 98 |
| Jagatī with final Triṣṭubh | 3 | 2 | 17 | 15 | 3 | 40 |
| Mixed Jagatī | 7 | 1 | 6 | 19 | 3 | 36 |
| | 21 | 13 | 71 | 58 | 11 | 174 |

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252. Upon a general view of the developement of the external structure of the verse it may be said that the archaic period is characterized by irregularity and variety, the strophic period by regularity and variety: and that the normal and cretic periods are marked by regularity only. From the Western point of view the metrical history of the earlier periods possesses an interest which is wanting later: for the varied forms of the stanza have their counterparts in modern metres, whilst the developement of the internal structure appears artificial and even pedantic. It is therefore perhaps not too much to claim a more human interest for the earlier poetry : but on the other hand it may be said that the metrical powers of the Vedic poets were not lessened in the later periods, though they were diverted into directions which appeal less readily to modern sympathies.

Linked texts (1)

Ṛgvedasaṃhitā — Sanskrit