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Abstract
It is often said, independently of any linguistic evidence, that the refusal of the redactors of the Rigveda text to allow sandhi between the second and third eight-syllable verses (pādas) of the three-line Rigvedic gāyatrī stanza is based on their parallel convention in the cases of the four-line triṣṭubh and anuṣṭubh stanzas, where the first two lines predominantly serve as an independent discourse unit (distich) relative to the last two. This paper attempts to provide independent linguistic evidence for the redactors' treatment of the gāyatrī line by examining the syntactic and rhetorical structures of the first 300 gāyatrī stanzas in the Rigveda. The results show that nearly 60% of these show a clear syntactic and/or rhetorical break at the end of the second verse, whereas fewer than 19% show such a boundary following the first verse. While this does not prove that the redactors' procedure was based on syntactic-rhetorical structure alone, it is maintained that the redactors could not have been unaware of the preponderance of a linguistic break following the second verse of the gāyatrī and that, even if they were influenced by their treatment of the distich boundary in four-line stanzas, their procedure was not simply a matter of analogical extension independent of linguistic considerations.

In Sanskrit; pref., introd. and notes in English. ; Prof. A. Weber's copy, with ms. notes. ; "Published by the Director of Public Instruction in behalf of Government." ; v. 1. Sanskrit text, with preface, introductory essay, and a map of the sacrificial compound at the Soma sacrifice.--v. 2. Translation, with notes. ; Mode of access: Internet.

Among several Indo-European poetic and literary inheritances from which Aristophanes draws in his play The Frogs, a crucial one seems to have been overlooked thus far, which ties together seemingly disparate beats and motifs in the play. This is the metaphor analogizing poets to carpenters, their craft (poems) to ships, and recitation/composition as sailing, which besides its appearance in other branches of the Indo-European languages, is attested in other places in the Greek corpus too, especially in the works of Pindar. Tying this inherited poetic trope in with the metaphorical "ship of state" (attested in the lyric poets, tragedians, Plato, etc.) and the on-the-ground importance of Athens's naval culture and service to its polity makes the trope into more than just a technique for poetic embellishment, but rather, a crucial element in interpreting the literary and political significance of these aforementioned seemingly disparate sections of the play, the motivations of characters, and the play's overall message, in what is one of Arisophanes's plays which most pointedly comments on the process and importance of producing poetry. By analogizing shipbuilding and sailing to poesy and by unifying the act of rowing in ships to citizenship, Aristophanes intertwines the proper construction and appreciation of poetry with the health of the Athenian polity and participation in it.

The Ashvamedha Yagya has been hailed as the monarch of rituals in the Indian tradition. Since Vedic times, the Ashvamedha holds a distinguished position among sacrificial rites. The horse symbolizes power. In the Shatapatha Brahmana, potent entities such as the nation, Indra, and the Sun are metaphorically portrayed as horses. The term 'Medha' is synonymous with 'Yagya'. The Nighantu texts provide 15 synonyms for Yagya, one of which is 'Medha'. In the comprehensive meaning of Ashvamedha, in Vedic rhetoric, 'Medha' signifies the awakening of intellect or wisdom. Delving into the philosophical significance of Ashvamedha in scriptural contexts is imperative to grasp this invaluable heritage. This research paper endeavors to understand Ashvamedha in the backdrop of Vedic literature, particularly by deciphering the meanings of the mantras presented in the Vedas. In Rigveda 5/27/4, Ashvamedha signifies the ultimate truth or reality; in Rigveda 5/27/5, it symbolizes the flow of creative power and the bliss represented by the essence of Soma; and in Rigveda 8/68/15 and 8/68/16, Ashvamedha is said to lead to the attainment of strength and the flow of life force. Ashvamedha leads to the enhancement of our intellect, meaning the awakening of wisdom, through which a human is established in the Supreme. The Vedas tell us that the purification of human consciousness through Ashvamedha - the awakening of wisdom - is the reward of Ashvamedha, and that the worship (Medha) of the divine power flow (Ashva) is the expansive, cosmic purpose of Ashvamedha.