A simpler and more characteristic internal rhyme scheme is found in the _Prayer of the First Dancers_,[2] _aaa_ _bbb_, in lines 14 to 21: ... nĭkégo ... ... nĭsklégo ... ... niégo ... ... nitságo ... ... bininĭnlágo ... ... dahitágo ... Two further illustrations show the Navaho command of end rhymes. In the _Daylight Song_,[3] there is easy inversion of pattern, _abba_: ... dóla aní, ... bĭźa holó, ... bĭźa hozó, ... hwí he inlí. In _Slayer of the Alien Gods_,[4] the rhyme _aaaaa_ achieves a definite tone color, rounding with a full open syllable: ... sĭnĭsnlígo, ... hánatahasgo, ... nítatahasgo, ... ínatahasgo, ... nínatahasgo. We must keep in mind that these uses of rhyme serve only a secondary purpose in drawing together the elements of the pattern within the stanza. The stanza of Indian verse, it readily appears, is flexible in form—both in length of line and in length of thought-unit. The rapid tempo employs a short line, as in this Maliseet _Dance-Song_:[1] Kive-hiu-wha-ni-ho Ya hi ye Kive-hiu-wha-ni-yo Ya hi ye Ya hi ye Kshi-te-ka-mo-tikʹlo Ya hi ye Ya hi ye Pilsh-kwe-sis-tokʹlo Ya hi ye Kshi-te-ka-mo-tikʹlo Ya hi ye Twa, twa, twa, twa! The short line does not merely accompany rapid movement. It appears a measure of severe economy in some prayers in which the Indian catalogs his daily needs for seventy or more lines! The formal invocations, however, commonly use the longer line and the slower movement. Long, slow, even lines breathe the lament of the _Death of Taluta_ and the reflective cadences of _Mount Koonak: A Song of Arsut_. The variation of the lyric line shows technical skill. The _Dance-Song_ just quoted beats out only a simple alteration of long and short lines. _The Song of the Coyote and the Locust_ begins with long flowing lines, but snaps off with a gay quick ending: Tchumali, tchumali, shohkoya, Tchumali, tchumali, shohkoya, Yaamii heeshoo taatani tchupatchiute Shohkoya, Shohkoya! When the shorter line falls within the stanza, there is greater play of mood and thought, with the elasticity of the outward swing and return in the rhythm of the thought as we feel it through the succession of stanzas in _The Song of the Rain Chant_. The line of verse sweeps outward and the thought recedes at the ebb, as clearly as a _Hiroshige_ wave crest lifts and the waters return to their level. Within the silhouette of the verse are indisputable metrical patterns, some structural, some decorative. These patterns frequently occur in phrases; and these phrases, in turn, fall into a larger pattern which may be repeated or may be interchanged with other patterns of corresponding values. They are sometimes of amazing complexity, yet form a compact unity of design.