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Another study, by Gunkel and Ryan (2011), based on a much larger corpus, confirms the above and shows that the propensity for a syllable to be long in a triṣṭubh is greatest in the 2nd, 4th, 5th 8th and 10th positions of the line, while the 6th and 9th are almost always short. Long (heavy) syllables
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to be fully iambic: x – ᴗ – occurs in less than 7% of lines and x – – – hardly at all. The most common forms of the second measure are x ᴗ ᴗ – (63%) and x ᴗ – – (30%). When x ᴗ – – is used, the caesura always follows the 4th syllable.
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The two caesura positions (after the 4th or 5th syllable) according to Randle's statistics, are almost exactly equally common overall. But when the second measure is – ᴗ ᴗ –, a caesura after the 5th syllable is four times more common.
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A statistical study of 600 lines by Randle shows that 75% of triṣṭubh lines start with an iambic pattern (x – x –). The opening x u – – accounts for another 10%, x – ᴗ ᴗ for 6%, and x – – ᴗ for 4%.
53:
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376:, Vol. 20, No. 1/3. (Studies in Honour of Sir Ralph Turner, Director of the School of Oriental and African Studies, 1937-57, pp. 459-469.)
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Trishtubh verses are also used in later literature, its archaic associations used to press home a "Vedic" character of the poetry. The
95:(1888) divided the line into three sections by placing one break at the caesura and another break four syllables before the end:
83:, after either four or five syllables, necessarily at a word-boundary and if possible at a syntactic break.
463:
314:) is interspersed with Trishtubhs. A particularly long section of Trishtubhs is chapter 11, verses 15-50.
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of eleven syllables each), or any hymn composed in this metre. It is the most prevalent metre of the
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334:, i, Metrische und textgeschichtliche Prolegomena. See pp. 58 i; cited by Randle (1957).
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Different scholars have different methods of showing the structure of the line. Thus
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E. Vernon Arnold (1905) divided it into 4 + 3 + 4 syllables, whatever the caesura:
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has a parallel stanza of 4x11 syllables with a caesura after the fourth syllable.
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But when the caesura comes after the 4th syllable, the following is common:
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Following Randle's division, the above lines can be scanned as follows:
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The division 4 + 4 + 3 is also favoured by the comparative metrist
425:, Appendix II, p. 232(Oxford University Press, 3rd edition, 1927).
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Thus, summing up the statistics above, the most common scheme is:
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are found in the following percentages in the various positions:
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Proceedings of the 22nd Annual UCLA Indo-European
Conference
269:; the translator attempts to imitate the meter in English)
412:, ed. Jamison, S. W.; Melchert, H. C.; Vine, B; p. 57.
374:
Bulletin of the School of
Oriental and African Studies
406:"Hiatus avoidance and metrification in the Rigveda."
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49%, 86%, 52%, 96%, 63%, 12%, 40%, 97%, 4%, 98% 76%.
118:(1957), on the other hand, divides it 4 + 4 + 3:
387:"Indo-European origins of the Greek hexameter"
389:. In Hackstein, O., & Gunkel, D. (2018).
8:
347:, i.e. either long (heavy) or short (light).
76:, accounting for roughly 40% of its verses.
259:Wise, ancient, God, the Priest and Purifier
262:let Agni serve the Gods for he is worthy."
256:he standeth in the presence of all beings.
404:Gunkel, Dieter & Ryan, Kevin (2011).
358:Vedic metre in its historical development
79:The Trishtubh pada contains a "break" or
360:; sections 42–8; cited by Randle (1957).
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395:(pp. 77–128). Brill; pp. 89–90.
195:An example of a triṣṭubh stanza is
253:is set upon the earth well kindled
137:, the final four syllables form a
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371:"The Patterns of the "triṣṭubh"."
206:sámiddho agnír níhitaḥ pṛthivyâm
423:A Sanskrit Grammar for Students
283:– – – ᴗ | –, ᴗ ᴗ – | ᴗ – x
280:– – – – | ᴗ, ᴗ ᴗ – | ᴗ – x
178:x – x – | –, ᴗ ᴗ – | ᴗ – x
1:
228:hótā pāvakáḥ pradívaḥ sumedhâ
306:, while mostly composed in
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27:Vedic meter of 11 syllables
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459:Sanskrit words and phrases
310:(developed from the Vedic
286:– – – –, | ᴗ ᴗ ᴗ – | ᴗ – x
277:ᴗ – – – | –, ᴗ ᴗ – | ᴗ – x
186:x – ᴗ –, | ᴗ ᴗ – – | ᴗ – x
102:x x x x, | x x x | – ᴗ – x
99:x x x x x, | x x | – ᴗ – x
153:The second measure tends
122:x x x x | x x x – | ᴗ – x
110:x x x x | x x x | – ᴗ – x
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215:pratyáṅ víśvāni bhúvanān
421:Macdonell, Arthur A.,
369:Randle, H. N. (1957).
356:Arnold, E. V. (1905).
332:Die Hymnen des Rigveda
330:Oldenberg, H. (1888).
114:A more recent author,
68:of 44 syllables (four
385:Kiparsky, P. (2018).
267:Ralph T. H. Griffith
133:Because the line is
49:[tɽɪˈʂʈʊbʱ]
392:Language and Meter
93:Hermann Oldenberg
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116:H. N. Randle
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444:Vedic meter
66:Vedic metre
453:Categories
145:Statistics
135:catalectic
41:त्रिष्टुभ्
343:Here x =
312:anushtubh
298:Later use
141:cadence.
87:Structure
32:Trishtubh
439:Anustubh
433:See also
265:(trans.
219:y asthāt
139:trochaic
130:(2018).
60:Triṣṭubh
37:Sanskrit
18:Tristubh
191:Example
81:caesura
74:Rigveda
64:) is a
345:anceps
308:shloka
292:Avesta
199:.3.1:
318:Notes
70:padas
290:The
251:Agni
197:RV 2
54:IAST
45:IPA:
408:In
155:not
455::
56::
52:,
43:,
39::
249:"
239:u
217:i
35:(
20:)
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