exceeding ten or twelve. These stanzas (often loosely called verses) are composed in some fifteen different metres, only seven of which, however, are at all frequent. Three of them are by far the commonest, claiming together about four-fifths of the total number of stanzas in the Rigveda.
There is an essential difference between Greek and Vedic prosody. Whereas the metrical unit of the former system is the foot, in the later it is the line (or verse), feet not being distinguished. Curiously enough, however, the Vedic metrical unit is also called pāda, or "foot," but for a very different reason; for the word has here really the figurative sense of "quarter" (from the foot of a quadruped), because the most usual kind of stanza has four lines. The ordinary pādas consist of eight, eleven, or twelve syllables. A stanza or ṛich is generally formed of three or four lines of the same kind. Four or five of the rarer types of stanza are, however, made up of a combination of different lines.
It is to be noted that the Vedic metres have a certain elasticity to which we are unaccustomed in Greek prosody, and which recalls the irregularities of the Latin Saturnian verse. Only the rhythm of the last four or five syllables is determined, the first part of the line not being subject to rule. Regarded in their historical connection, the Vedic metres, which are the foundation of the entire prosody of the later literature, occupy a position midway between the system of the Indo-Iranian period and that of classical Sanskrit. For the evidence of the Avesta, with its eight and eleven syllable lines, which ignore quantity, but are combined into stanzas otherwise the same as those of the Rigveda, indicates that the metrical practice of the period when Persians
