DASAM GRANTH (lit. the Tenth Book, generally signifying the Book of the Tenth Gurū) is how the collection of compositions attributed to the Tenth Gurū Gurū Gobind Siṅgh is named to distinguish it from the earlier work, the Ādi Granth, the First or Primary Book, compiled by Gurū Arjan, the fifth in the spiritual line from Gurū Nānak and to which Gurū Gobind Siṅgh added the hymns of the Ninth Gurū, Gurū Tegh Bahādur, forbearing from adding any of his own. His own compositions were gathered into a separate volume. According to Kesar Siṅgh Chhibbar, Baṅsāvalīnāmā Dāsāṅ Pātshāhīaṅ Kā, the two volumes sat in gurdwārās separately when in Sammat 1755 (AD 1698), Sikhs, says Chhibbar, proposed to Gurū Gobind Siṅgh that the two Granths be got bound together into one volume. But the Gurū spoke, "This one is Ādi Gurū Granth, the root book; that one is only for my diversion. Let this be kept in mind and let the two stay separate. "

         During the Siṅgh Sabhā days, the Khālsā Dīwān, Amritsar, took up the question of verification and standardization of the text of the Dasam Granth. The work was entrusted to Gurmat Granth Prachārak Sabhā, established in March 1885. Bhāī Mannā Siṅgh, son of the secretary to the Sabhā, Bhāī Āgyā Siṅgh Hakīm, undertook to finance the project. Thirty-two copies of the Granth were collected from different places and brought to the Akāl Takht, where a group of eminent scholars pored over them, studying and discussing them threadbare between 8 Sāvaṇ 1952 Bk/ 5 July 1895 and 5 Phagaṇ 1952 Bk/17 February 1896. Among these scholars were Bhāī Mannā Siṅgh Hakīm, Bhāī Naraiṇ Siṅgh, Bhāī Ṭhākar Siṅgh, Bhāī Sant Siṅgh (son of Giānī Giān Siṅgh), Bhāī Bishan Siṅgh, Sant Gopāl Dās Udāsī, Mahant Amīr Siṅgh, et al. Opinions were invited from a wider circle by correspondence, and a complete report on the deliberations was published on 1 Kārtik 1954 Bk / 14 October 1897. The result was the recension now current. It was first published by Wazīr Hind Press, Amritsar, in October 1902.

         The Jāpu, the opening meditation in the Dasam Granth, is one of the morning prayers of the Sikhs and one of the hymns recited as part of the Sikh initiation ceremony. It is a stotra or panegyric, a well-established poetic form used in devotional Sanskrit literature. The Japu consists of 199 stanzas in which ten different metres have been used. God is described by a variety of names which are all notable for their linguistic and poetic ingenuity. The Jāpu is placed at the head of the Dasam Granth as is the Jāpu at the head of the Ādi Granth. The Jāpu is all a hymn of laudation to the Lord who is remembered by many different names and attributes of Sanskrit, Arabic and Persian origin. Gurū Gobind Siṅgh has tried in the Jāpu the novel experiment of juxtaposing oriental and semitic terminology by using compound expressions derived from both sources; for example: kī sarabaṅ kalīmai; ki paramaṅ fahīmai (sarabaṅ kalīmai = all eloquence, paramaṅ fahīmai = most wise). At places he used a and an which are Sanskrit prefixes denoting negative sense with Arabic and Persian words to a very telling effect; for example, namastaṅ a-majabe and a-nrañj bāt (a =without, majabe = religion; amajabe = without any religion; an = without, rañj = rancour; anrañj = without rancour). The Jāpu carries the signature title, Mukhvāk Pātshāhī X. The text may be taken as an example of the blending of Indian and Semitic linguistic cultures.

         The Bachitra Nāṭak (Play Marvellous) carries the signature Srī Mukhvāk Pātshāhī X. It consists of 14 cantos. The style is autobiographical. Gurū Gobind Siṅgh tells us how he was called into the world by the Almighty himself : "I cherish thee as my own son and charge thee to go out into the world, to extend faith. " Says Gurū Gobind Siṅgh, "I assumed birth for the purpose of upholding dharma, saving the saints and destroying tyrants. The fierce battles between the armies of Lava and Kuśa are described in grim detail. Vultures and foul spirits abound. Gorgeously robed houris fly about the battlefield wheedling the warriors. Death on the battlefield is reckoned glorious.

        Meditate first on God and then turn your thoughts to Gurū Nānak.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀䄀☀⌀㜀㜀㐀㤀最愀搀 䜀甀爀☀⌀㌀㘀㌀Ⰰ 䄀洀愀爀 䐀☀⌀㈀㔀㜀猀Ⰰ 攀愀挀栀 眀椀琀栀 刀☀⌀㈀㔀㜀洀 䐀☀⌀㈀㔀㜀猀Ⰰ 戀攀 漀甀爀 瀀爀漀琀攀挀琀漀爀猀⸀㰀⼀瀀㸀ഀഀ

        Arjan and Hargobind, remember them and remember Srī Hari Rāī.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀刀攀洀攀洀戀攀爀 匀爀☀⌀㈀㤀㤀 䠀愀爀 䬀爀椀猀栀愀渀 眀栀漀猀攀 瘀攀爀礀 猀椀最栀琀 搀椀猀瀀攀氀猀 愀氀氀 猀漀爀爀漀眀⸀㰀⼀瀀㸀ഀഀ

        Think of Gurū Tegh Bahādur;

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀匀漀 眀椀氀氀 愀氀氀 琀栀攀 渀椀渀攀 琀爀攀愀猀甀爀攀猀 琀栀爀漀渀最 琀栀礀 搀漀漀爀⸀㰀⼀瀀㸀ഀഀ

        May they, the Gurūs, be our guides, our protectors in all places.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㰀⼀戀氀漀挀欀焀甀漀琀攀㸀㰀⼀瀀㸀ഀഀ

        Giān Prabodh (Consciousness of Knowledge), comprising 336 stanzas in all, is a mixture of praises of the Timeless and of pantheistic poetry, riddles, and stories from the Mahābhārata.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ㰀椀㸀匀栀愀戀愀搀 倀☀⌀㈀㔀㜀琀猀栀☀⌀㈀㔀㜀栀☀⌀㈀㤀㤀㰀⼀椀㸀 堀 ⠀嘀攀爀猀攀猀 漀昀 琀栀攀 吀攀渀琀栀 匀漀瘀攀爀攀椀最渀⤀ 愀爀攀 琀攀渀 椀渀 渀甀洀戀攀爀 愀渀搀 洀椀最栀琀 戀攀 愀 瀀愀爀琀 漀昀 愀 氀愀爀最攀爀 挀漀氀氀攀挀琀椀漀渀⸀ 吀栀攀 琀栀攀洀攀 椀猀 氀愀甀搀愀琀椀漀渀 漀昀 琀栀攀 䌀爀攀愀琀漀爀 䰀漀爀搀⸀ 嘀攀爀猀攀猀 琀椀琀氀攀搀 㰀椀㸀∀䬀栀愀礀☀⌀㈀㔀㜀氀∀㰀⼀椀㸀 ⠀漀昀 琀栀攀 吀攀渀琀栀 匀漀瘀攀爀攀椀最渀⤀ 攀琀挀栀 愀 瀀椀挀琀甀爀攀 漀昀 愀 琀爀甀攀 搀攀瘀漀琀攀攀⸀ 㰀椀㸀匀愀瘀愀椀礀礀☀⌀㈀㔀㜀猀㰀⼀椀㸀 愀爀攀 焀甀愀琀爀愀椀渀猀 挀漀洀瀀爀椀猀椀渀最 ㌀㌀ 昀漀甀爀ⴀ氀椀渀攀 猀琀愀渀稀愀猀⸀ 吀栀攀 琀攀砀琀 挀愀爀爀椀攀猀 琀栀攀 猀椀最渀愀琀甀爀攀 㰀椀㸀匀爀☀⌀㈀㤀㤀 䴀甀欀栀瘀☀⌀㈀㔀㜀欀 倀☀⌀㈀㔀㜀琀猀栀☀⌀㈀㔀㜀栀☀⌀㈀㤀㤀㰀⼀椀㸀 堀⸀ 吀爀甀琀栀 椀猀 猀椀昀琀攀搀 昀爀漀洀 昀愀氀猀攀栀漀漀搀⸀ ∀伀渀攀 椀渀 眀栀漀猀攀 栀攀愀爀琀 琀栀攀 氀椀最栀琀 漀昀 琀栀攀 倀攀爀昀攀挀琀 伀渀攀 猀栀椀渀攀猀 椀猀 愀 琀爀甀攀 洀攀洀戀攀爀 漀昀 琀栀攀 㰀椀㸀㰀甀㸀䬀栀㰀⼀甀㸀☀⌀㈀㔀㜀氀猀☀⌀㈀㔀㜀⸀ ∀ 㰀⼀椀㸀㰀⼀瀀㸀ഀഀ

         Sastra Nāṁ Mālā (The Necklace of the Names of Weapons) consists of 1318 verses, with "Pātshāhī X" appended at the beginning as the signature of the Tenth Master with their Paurāṇic background. It is a catalogue of weapons used in warfare of olden days. Weapons of war are praised as protectors and deliverers. Largest number of pages are reserved for tupak, a kind of firearm, reckoned to be the deadliest of weapons.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ㰀椀㸀䌀栀爀椀琀爀漀瀀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀㰀⼀椀㸀 ⠀吀愀氀攀猀 漀昀 䐀攀挀攀椀琀⤀ 挀漀瘀攀爀椀渀最 㜀㔀㔀㔀 瘀攀爀猀攀猀 漀昀 㰀椀㸀䌀栀愀爀椀琀 䬀☀⌀㈀㔀㜀瘀礀愀㰀⼀椀㸀 椀猀 琀栀攀 氀愀爀最攀猀琀 挀漀洀瀀漀猀椀琀椀漀渀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀⸀ ∀倀愀琀猀栀愀栀椀 堀∀ 椀猀 洀攀渀琀椀漀渀攀搀 愀琀 琀栀攀 瘀攀爀礀 戀攀最椀渀渀椀渀最 漀昀 琀栀攀 眀漀爀欀 愀猀 琀栀攀 猀椀最渀愀琀甀爀攀 琀椀琀氀攀⸀ 吀栀攀 搀愀琀攀 漀昀 挀漀洀瀀氀攀琀椀渀最 琀栀椀猀 挀漀洀瀀椀氀愀琀椀漀渀 椀猀 最椀瘀攀渀 椀渀 琀栀攀 氀愀猀琀 瘀攀爀猀攀 愀猀 匀甀渀搀愀礀Ⰰ 㰀椀㸀猀甀搀☀⌀㈀㤀㤀 愀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㠀㤀愀洀☀⌀㈀㤀㤀㰀⼀椀㸀 漀昀 䈀栀☀⌀㈀㔀㜀搀漀☀⌀㜀㜀㐀㤀 ㄀㜀㔀㌀ 䈀欀 ⼀ ㈀㐀 䄀甀最甀猀琀 ㄀㘀㤀㘀⸀ 吀栀攀 㐀　㐀 琀愀氀攀猀 洀愀礀 戀攀 搀椀瘀椀搀攀搀 椀渀琀漀 挀愀琀攀最漀爀椀攀猀 猀甀挀栀 愀猀 琀愀氀攀猀 漀昀 琀栀攀 戀爀愀瘀攀爀礀Ⰰ 搀攀瘀漀琀椀漀渀Ⰰ 漀爀 椀渀琀攀氀氀椀最攀渀挀攀 漀昀 眀漀洀攀渀Ⰰ 㜀㠀 椀渀 渀甀洀戀攀爀㬀 漀昀 琀栀攀 搀攀挀攀椀琀昀甀氀渀攀猀猀 愀渀搀 甀渀猀挀爀甀瀀甀氀漀甀猀渀攀猀猀 漀昀 眀漀洀攀渀Ⰰ ㈀㘀㤀㬀 漀昀 琀栀攀 搀攀挀攀椀琀昀甀氀渀攀猀猀 漀昀 洀攀渀 ㈀㘀⸀ 吀愀氀攀猀 挀漀洀攀 昀爀漀洀 昀漀爀攀椀最渀 氀愀渀搀猀 愀猀 眀攀氀氀⸀ 吀愀氀攀 ㈀　㄀ 挀漀洀攀猀 漀爀椀最椀渀愀氀氀礀 昀爀漀洀 琀栀攀 猀琀漀爀礀 漀昀 䨀漀猀攀瀀栀 愀渀搀 倀漀琀椀瀀栀愀爀✀猀 眀椀昀攀 椀渀 琀栀攀 䈀椀戀氀攀Ⰰ 䜀攀渀攀猀椀猀 挀栀愀瀀琀攀爀 ㌀㤀⸀ 䤀渀 琀栀攀 儀甀爀✀☀⌀㈀㔀㜀渀 椀琀 椀猀 夀☀⌀㌀㘀㌀猀甀昀 愀渀搀 娀甀氀愀椀㰀甀㸀欀栀㰀⼀甀㸀☀⌀㈀㔀㜀⸀㰀⼀瀀㸀ഀഀ

         Zafarnāmah (The Letter of Victory), bearing the signature title Srī Mukhvāk PātshāhīX, was sent to Emperor Auraṅgzīb from Dīnā in the southern Punjab in December 1705. It consists of 111 verses in Persian and is a homily on the sanctity of one's pledged word. The Emperor has been taxed with breaking faith, Paimāṅshikan, oath-breaker, referring obviously to the violation of the pledge of safe-conduct given the Gurū by the Emperor's generals at Anandpur.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ㰀椀㸀䠀椀欀☀⌀㈀㔀㜀礀愀琀㰀⼀椀㸀 挀漀洀瀀爀椀猀攀猀 猀琀漀爀椀攀猀 椀渀 琀栀攀 倀攀爀猀椀愀渀 氀愀渀最甀愀最攀Ⰰ 眀爀椀琀琀攀渀 椀渀 䜀甀爀洀甀欀栀☀⌀㈀㤀㤀 挀栀愀爀愀挀琀攀爀猀⸀ 吀栀攀礀 愀爀攀 瀀氀愀挀攀搀 愀琀 琀栀攀 攀渀搀 漀昀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 愀昀琀攀爀 琀栀攀 倀攀爀猀椀愀渀 㰀椀㸀娀愀昀愀爀渀☀⌀㈀㔀㜀洀愀栀㰀⼀椀㸀⸀ 匀攀瘀攀爀愀氀 漀昀 琀栀攀猀攀 琀愀氀攀猀 愀爀攀 倀攀爀猀椀愀渀 搀甀瀀氀椀挀愀琀攀猀 漀昀 猀漀洀攀 漀昀 琀栀攀 䈀爀愀樀 琀愀氀攀猀⸀ 㰀椀㸀䠀椀欀☀⌀㈀㔀㜀礀愀琀㰀⼀椀㸀 㐀 椀猀 㰀椀㸀䌀栀愀爀椀琀爀愀㰀⼀椀㸀 㔀㈀ 㨀 㰀椀㸀䠀椀欀☀⌀㈀㔀㜀礀愀琀㰀⼀椀㸀 㔀 椀猀 㰀椀㸀䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ㈀㘀㜀㬀 愀渀搀 㤀 椀猀 㰀椀㸀䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ㈀㤀　⸀㰀⼀瀀㸀ഀഀ

         Gurū Gobind Siṅgh's poetry is marked by a very vast range of metres he employed. There is much innovation and novelty he introduced in his prosodic schemes. In Indian classical prosody the time required to pronounce the syllables, According to their phonetic make-up, is designated into two forms : short (laghu) and long (gurū) known by the signs I and S, respectively. In words comprising specific placement of consonants, long and short vowels enhance the intensity of their musical content and hence the flow and incision are elicited.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ倀漀攀琀爀礀 愀渀搀 洀攀琀爀攀 栀愀瘀攀 攀砀椀猀琀攀搀 琀漀最攀琀栀攀爀 愀氀氀 愀氀漀渀最⸀ 伀渀 愀挀挀漀甀渀琀 漀昀 搀椀昀昀攀爀攀渀琀 爀栀礀琀栀洀猀 瀀爀漀搀甀挀攀搀 戀礀 搀椀昀昀攀爀攀渀琀 洀攀琀爀攀猀 琀栀攀礀 栀愀瘀攀 愀挀焀甀椀爀攀搀 搀椀昀昀攀爀攀渀琀 渀愀洀攀猀⸀ 䴀攀琀爀攀猀 椀渀 琀栀攀椀爀 瀀爀攀猀攀渀琀 昀漀爀洀 栀愀瘀攀 挀漀洀攀 搀漀眀渀 琀漀 甀猀 瀀愀猀猀椀渀最 琀栀爀漀甀最栀 洀愀渀礀 挀栀愀渀最攀猀 愀渀搀 瘀愀爀椀攀琀椀攀猀 椀渀 匀愀渀猀欀爀椀琀Ⰰ 倀爀☀⌀㈀㔀㜀欀爀椀琀Ⰰ 䄀瀀愀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀愀 愀渀搀 漀氀搀 䠀椀渀搀椀 氀愀渀最甀愀最攀猀 眀椀琀栀 挀漀渀挀漀洀椀琀愀渀琀 攀砀琀攀渀猀椀漀渀猀⸀ 吀栀攀猀攀 愀爀攀 搀椀瘀椀搀攀搀 椀渀琀漀 㰀椀㸀洀☀⌀㈀㔀㜀琀爀椀欀㰀⼀椀㸀 ⠀椀渀 眀栀椀挀栀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 愀爀攀 挀漀甀渀琀攀搀⤀ 愀渀搀 㰀椀㸀瘀愀爀☀⌀㜀㜀㔀㄀椀欀㰀⼀椀㸀 ⠀椀渀 眀栀椀挀栀 漀爀搀攀爀 愀渀搀 渀甀洀戀攀爀 漀昀 猀栀漀爀琀 愀渀搀 氀漀渀最 瘀漀眀攀氀猀 愀爀攀 琀愀欀攀渀 椀渀琀漀 愀挀挀漀甀渀琀⤀⸀ 䤀渀 攀愀爀氀椀攀爀 匀愀渀猀欀爀椀琀 氀椀琀攀爀愀琀甀爀攀 漀渀氀礀 㰀椀㸀瘀愀爀☀⌀㜀㜀㔀㄀椀欀㰀⼀椀㸀 洀攀琀爀攀猀 眀攀爀攀 瀀漀瀀甀氀愀爀 愀渀搀 愀琀 愀 氀愀琀攀爀 猀琀愀最攀Ⰰ 搀甀攀 琀漀 琀栀攀 椀渀昀氀甀攀渀挀攀 漀昀 倀爀☀⌀㈀㔀㜀欀爀椀琀 愀渀搀 䄀瀀愀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀愀 氀愀渀最甀愀最攀猀Ⰰ 瀀漀攀琀猀 漀昀 匀愀渀猀欀爀椀琀 愀氀猀漀 琀甀爀渀攀搀 琀漀 琀栀攀 甀猀攀 漀昀 㰀椀㸀洀☀⌀㈀㔀㜀琀爀椀欀㰀⼀椀㸀 洀攀琀爀攀猀⸀㰀⼀瀀㸀ഀഀ

         The Hindi verse has recognized both the metrical categories, mātrik and varṇik, but to facilitate the development of poetry, Hindi poets have increasingly relaxed and modified certain conditions of varṇik metres like kabitt and Śavaiyyā to suit the flow of expression. Before the advent of devotional poetry in Hindi, Dohā, Sorṭhā, Tomar, Toṭak, Gāhā, Chhappaya, etc. , were popular metres. Devotional poetry was mostly composed in padas. Other important metres were Dohā, Chaupaī, Tribhaṅgī, Jhūlanā, Toṭak, Nāgsvarūpinī (Nāgsarūpī), Basant, Tilkā, Kīriṭ, Māltī, Mālinī, Kabitt, Savaiyyā, Bhujaṅg-prayāt, etc.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ䈀漀琀栀 欀椀渀搀猀 漀昀 洀攀琀爀攀猀 ⠀猀礀氀氀愀戀氀攀 漀爀 㰀椀㸀瘀愀爀☀⌀㜀㜀㔀㄀椀欀㰀⼀椀㸀 愀渀搀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 漀爀 㰀椀㸀洀☀⌀㈀㔀㜀琀爀椀欀㰀⼀椀㸀⤀ 愀爀攀 攀洀瀀氀漀礀攀搀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀Ⰰ 戀甀琀 㰀椀㸀瘀愀爀☀⌀㜀㜀㔀㄀椀欀㰀⼀椀㸀 洀攀琀爀攀猀 栀愀瘀攀 戀攀攀渀 甀猀攀搀 洀漀爀攀 昀爀攀焀甀攀渀琀氀礀 愀渀搀 眀椀琀栀 瀀攀爀昀攀挀琀 攀愀猀攀⸀ 䄀瀀愀爀琀 昀爀漀洀 琀栀攀 愀戀漀瘀攀 琀眀漀 洀愀椀渀 瘀愀爀椀攀琀椀攀猀 漀昀 䤀渀搀椀愀渀 漀爀椀最椀渀Ⰰ 琀栀攀 㰀椀㸀戀愀椀琀㰀⼀椀㸀Ⰰ 愀 洀攀琀爀攀 漀昀 倀攀爀猀椀愀渀 瀀漀攀琀爀礀Ⰰ 栀愀猀 愀氀猀漀 戀攀攀渀 甀猀攀搀⸀ 匀攀挀漀渀搀氀礀Ⰰ 漀甀琀 漀昀 愀 琀漀琀愀氀 渀甀洀戀攀爀 漀昀 愀戀漀甀琀 ㄀㔀　 洀攀琀爀攀猀 甀猀攀搀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀Ⰰ 漀瘀攀爀 漀渀攀 栀甀渀搀爀攀搀 洀攀琀爀攀猀 栀愀瘀攀 琀栀攀椀爀 漀爀椀最椀渀 椀渀 匀愀渀猀欀爀椀琀Ⰰ 倀爀☀⌀㈀㔀㜀欀爀椀琀Ⰰ 䄀瀀愀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀愀 愀渀搀 漀氀搀 䠀椀渀搀椀 氀愀渀最甀愀最攀猀⸀ 吀栀攀 爀攀洀愀椀渀椀渀最 洀攀琀爀攀猀Ⰰ 攀椀琀栀攀爀 渀攀眀 漀爀 琀爀愀搀椀琀椀漀渀愀氀 漀渀攀猀Ⰰ 愀瀀瀀攀愀爀 甀渀搀攀爀 渀攀眀 渀愀洀攀猀 琀漀 猀甀椀琀 琀栀攀 昀氀漀眀 漀昀 渀愀爀爀愀琀椀漀渀⸀ 䜀甀爀☀⌀㌀㘀㌀ 䜀漀戀椀渀搀 匀椀☀⌀㜀㜀㐀㤀最栀 椀渀瘀攀渀琀攀搀 渀攀眀 洀攀琀爀攀猀 眀栀椀挀栀 挀漀渀琀爀椀戀甀琀攀 愀 最爀攀愀琀 搀攀愀氀 琀漀 琀栀攀 爀攀愀氀椀稀愀琀椀漀渀 漀昀 猀攀渀琀椀洀攀渀琀猀 ⠀㰀椀㸀爀愀猀愀㰀⼀椀㸀⤀ 椀渀 琀栀攀椀爀 猀甀戀氀椀洀椀琀礀⸀ 䬀攀攀瀀椀渀最 琀栀攀 挀漀渀琀攀渀琀猀 椀渀 瘀椀攀眀Ⰰ 栀攀 最椀瘀攀猀 洀愀渀礀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 琀漀 猀漀洀攀 漀昀 琀栀攀 洀攀琀爀攀猀⸀ 䤀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀Ⰰ 琀栀攀 䌀栀愀甀瀀愀☀⌀㈀㤀㤀 洀攀琀爀攀 栀愀猀 戀攀攀渀 甀猀攀搀 琀漀 琀栀攀 洀愀砀椀洀甀洀 昀漀氀氀漀眀攀搀 戀礀 䐀漀栀愀爀☀⌀㈀㔀㜀 愀渀搀 匀愀瘀愀椀礀礀☀⌀㈀㔀㜀⸀㰀⼀瀀㸀ഀഀ

         In the Dasam Granth the battle scenes have been described through the metres Kabitt, Savaiyyā, Padhisṭakā and Bisnupadā. Savaiyyā hitherto had been generally used for sensuous love poetry, but Gurū Gobind Siṅgh used it with consummate artistry for heroic poetry. To capture the sounds as well as the swift movements on the battlefield he has used small metres like Padhisṭakā. Metres are changed frequently with a view to describing different types of combat. In this process the similes and metaphors are sometimes relegated to the background but where similes and metaphors dominate, the metres remain mostly unchanged. Through Bisnupadās, which are held to be highly musical, the battle scenes are portrayed with the help of onomatopoeic words. Gurū Gobind Siṅgh also introduced for the first time in his Chaṇḍī dī Vār blank verse in Punjabi poetry : the metre used was Sirkhiṇḍī. Following is a note on the different metres used in the Dasam Granth, with their prominent features and frequency of their usage in different compositions. Of them, the first ninety-seven are examples of metres regulated by syllables (varṇik chhand) and the rest are of those regulated by syllabic instant (mātrik chhand) :

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀匀夀䰀䰀䄀䈀䰀䔀 ⠀嘀䄀刀☀⌀㜀㜀㔀　䤀䬀⤀ 䴀䔀吀刀䔀匀㰀⼀瀀㸀ഀഀ

        1. Achkaṛā is of 12 syllables having four ragaṇs (SIS) in each line. It is a new name and alternative names for it are Sragviṇī, Kāminī Mohanā and Lakshmīdhārā. It has been used 12 times in the Rudrā Avatar (Pāras Nāth).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀⸀ ऀ㰀椀㸀䄀樀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㠀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 愀 渀攀眀 渀愀洀攀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䄀樀愀渀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀栀爀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        3. Ajbā is of 4 syllables having magaṇ (SSS) and guru (S) consecutively in each quarter. It is a new metre and alternative names for it are Akvā, Kanyā and Tīrṇā. It has been used 19 times in the Chaubīs Autār (Rāma) for the purpose of reproducing the sound of the actual action in the battlefield.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀⸀ ऀ㰀椀㸀䄀欀爀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㔀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀☀⌀㜀㜀㔀㄀愀欀☀⌀㈀㔀㜀Ⰰ 䄀渀愀栀愀搀Ⰰ 䄀渀甀戀栀愀瘀Ⰰ ☀⌀㌀㐀㘀愀☀⌀㌀㐀㜀椀瘀愀搀渀愀Ⰰ 䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀爀愀猀☀⌀㈀㔀㜀 愀渀搀 䴀愀搀栀甀爀搀栀甀渀椀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㘀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        5. Akṛā having one sagaṇ (IIS), two jagaṇs (ISI) consecutively in each quarter is a new name. It has been used eight times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀⸀ ऀ㰀椀㸀䄀欀瘀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㐀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀洀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 愀 渀攀眀 洀攀琀爀攀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀樀戀☀⌀㈀㔀㜀Ⰰ 䬀愀渀礀☀⌀㈀㔀㜀 愀渀搀 吀☀⌀㈀㤀㤀爀☀⌀㜀㜀㔀㄀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 猀椀砀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀ 昀漀爀 琀栀攀 瀀甀爀瀀漀猀攀 漀昀 爀攀瀀爀漀搀甀挀椀渀最 琀栀攀 猀漀甀渀搀 漀昀 琀栀攀 愀挀琀甀愀氀 愀挀琀椀漀渀 椀渀 琀栀攀 戀愀琀琀氀攀昀椀攀氀搀⸀㰀⼀瀀㸀ഀഀ

        7. Alkā is of 12 syllables having nagaṇ (III), yagaṇ (ISS) nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. It is of Sanskrit origin and the alternative name for it is Kusam vichitra or Kusam-bichitra. It has been used six times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀⸀ ऀ㰀椀㸀䄀渀☀⌀㈀㔀㜀搀㰀⼀椀㸀 椀猀 漀昀 㠀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀洀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀匀⤀ 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀Ⰰ 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 愀渀搀 瀀愀甀猀攀 愀琀 㐀 猀礀氀氀愀戀氀攀猀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 愀氀猀漀 挀愀氀氀攀搀 嘀☀⌀㈀㔀㜀瀀☀⌀㈀㤀㤀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 攀椀最栀琀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        9. Anant Tukā Bhujaṅg Prayāt : An unrhymed 12 syllable metre with four yagaṇs is a new name and the alternative name for it is Bhujaṅg-Prayāt. It has been used eight times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　⸀ ऀ㰀椀㸀䄀渀栀愀搀㰀⼀椀㸀 椀猀 漀昀 㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀欀爀☀⌀㈀㔀㜀Ⰰ 䄀☀⌀㜀㜀㔀㄀愀欀☀⌀㈀㔀㜀Ⰰ 䄀渀甀戀栀愀瘀Ⰰ ☀⌀㌀㐀㘀愀☀⌀㌀㐀㜀椀瘀愀搀渀☀⌀㈀㔀㜀Ⰰ 䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀爀愀猀☀⌀㈀㔀㜀 愀渀搀 䴀愀搀栀甀爀搀栀甀渀椀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀 ⠀㰀椀㸀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀㰀⼀椀㸀⤀⸀㰀⼀瀀㸀ഀഀ

        11. Aṇakā is of 6 syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Akrā, Anhad, Anubhav, Śaśivadnā, Chaṇḍrasā and Madhurdhuni. It has been used sixteen times in the Chaubīs. Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀⸀ ऀ㰀椀㸀䄀渀☀⌀㌀㘀㌀瀀 一愀爀☀⌀㈀㔀㜀樀㰀⼀椀㸀 椀猀 漀昀 ㄀㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀渀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 樀愀最愀☀⌀㜀㜀㔀㄀ ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 一愀爀☀⌀㈀㔀㜀樀Ⰰ 䈀椀挀栀椀琀爀愀 一愀爀☀⌀㈀㔀㜀樀Ⰰ 一愀爀☀⌀㈀㔀㜀挀栀 愀渀搀 䈀爀椀搀栀椀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀爀琀礀 猀攀瘀攀渀 琀椀洀攀猀 椀渀 琀栀攀 䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀 ⠀刀☀⌀㈀㔀㜀洀愀ⴀ㈀㤀㬀 一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀ⴀ㔀⤀ 愀渀搀 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䐀愀琀琀愀ⴀ㄀㌀⤀⸀㰀⼀瀀㸀ഀഀ

        13. Anubhav is of 6 syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. Alternative names are: Akrā, Aṇakā, Anhad, Śaśivadnā, Chaṇḍrasā and Madhurdhuni. It has been used once in the Chaubīs Autār (Sūraj).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀⸀ ऀ㰀椀㸀䄀瀀☀⌀㌀㘀㌀爀愀戀㰀⼀椀㸀 漀爀 㰀椀㸀䄀瀀☀⌀㌀㘀㌀爀愀瘀㰀⼀椀㸀 椀猀 漀昀 㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀渀搀 㰀椀㸀琀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀爀☀⌀㌀㘀㌀瀀☀⌀㈀㔀㜀 愀渀搀 䬀爀☀⌀㈀㤀㤀☀⌀㜀㜀㜀㄀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀㘀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        15. Aṛūhā is of 10 syllables having sagaṇ (IIS), jagaṇ (ISI), and guru (S) consecutively in each quarter. Alternative names for it are Sañjutā, Saṅyuktā and Priyā. It has been used six times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㘀⸀ ऀ㰀椀㸀䄀爀☀⌀㌀㘀㌀瀀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㐀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䬀爀☀⌀㈀㤀㤀☀⌀㜀㜀㜀㄀☀⌀㈀㔀㜀 椀猀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        17. Astā is 12 syllables having four sagaṇs (IIS) in each quarter. It is of Sanskrit origin and alternative names given it are Kilakā, Tārak and Toṭak. It has been used five times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㠀⸀ ऀ㰀椀㸀䄀猀琀愀爀㰀⼀椀㸀 漀爀 㰀椀㸀䄀猀琀爀愀㰀⼀椀㸀 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 昀漀甀爀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最ⴀ瀀爀愀礀☀⌀㈀㔀㜀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀  ⠀䴀☀⌀㈀㔀㜀渀搀栀☀⌀㈀㔀㜀琀☀⌀㈀㔀㜀 刀☀⌀㈀㔀㜀樀☀⌀㈀㔀㜀⤀⸀㰀⼀瀀㸀ഀഀ

        19. Bachitra Pad is of 8 syllables having two bhagaṇs (SII) and two gurus (S) consecutively in a quarter. It has been used twice in the Rudra Avatār (Data).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀　⸀ ऀ㰀椀㸀䈀愀栀椀爀 吀瘀☀⌀㈀㤀㤀氀 倀愀猀挀栀愀洀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 昀椀瘀攀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 猀愀最愀☀⌀㜀㜀㔀㄀ ⠀䤀䤀匀⤀ 愀渀搀 琀眀漀 㰀椀㸀氀愀最栀甀猀㰀⼀椀㸀 ⠀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀猀 昀漀爀洀愀琀椀漀渀 椀猀 戀愀猀攀搀 漀渀 倀愀猀栀琀漀 氀礀爀椀挀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀 椀猀 一☀⌀㈀㔀㜀礀愀欀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㤀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        21. Bānturaṅgam is of seven syllables having magaṇ (III), ragaṇ (SIS) and guru (S) consecutively in each quarter. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀㈀⸀ ऀ 㰀椀㸀䈀攀氀☀⌀㈀㤀㤀 䈀椀渀搀爀愀洀㰀⼀椀㸀 椀猀 漀昀 琀眀漀 欀椀渀搀猀 㨀 漀渀攀 椀猀 漀昀 攀氀攀瘀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀Ⰰ 琀眀漀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀Ⰰ 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 吀栀攀 漀琀栀攀爀 椀猀 漀昀 琀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀匀⤀Ⰰ 琀眀漀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀椀昀琀攀攀渀 琀椀洀攀猀 椀渀 琀栀攀 䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀 䤀䤀 ⠀㄀㄀⤀ 愀渀搀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一愀爀猀椀☀⌀㜀㜀㐀㤀最栀 ⴀ㈀ 愀渀搀 匀☀⌀㌀㘀㌀爀愀樀 ⴀ㈀⤀⸀㰀⼀瀀㸀ഀഀ

        23. Bhagvatī or Bhagautī is of two kinds : one is of six syllables having two yagaṇs (ISS) and the other is of 8 syllables having jagaṅ (ISI), sagaṇ (IIS), laghu (I) and guru (S) consecutively in each quarter. It is of Hindi origin and Bhavānī and Srī Bhagvatī are the other names given it. The first kind is also known as Somrājī or Śaṅkhanārī. It has been used 141 times in the, Jāpu (41), Chaubīs Autār (Nihkalaṅkī-17), and the Rudra Avatār (Datta -60; and Pāras Nāth -23).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀㐀⸀ ऀ㰀椀㸀䈀栀愀☀⌀㜀㜀㜀㄀琀栀☀⌀㌀㘀㌀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 吀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀 椀猀 ☀⌀㌀㐀㘀愀☀⌀㜀㜀㐀㤀欀栀愀渀☀⌀㈀㔀㜀爀☀⌀㈀㤀㤀 愀渀搀 椀琀 猀甀椀琀猀 琀栀攀 搀攀猀挀爀椀瀀琀椀漀渀 漀昀 搀攀猀琀爀甀挀琀椀漀渀 椀渀 眀愀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀攀渀琀礀 昀椀瘀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        25. Bhavānī is of two kinds : one is of six syllables having two yagaṇs (ISS), and the other is of eight syllables having jagaṇ (ISI), sagaṇ (IIS), laghu (I) and guru (S) consecutively in each quarter. The alternative name given it is Bhagautī. It has been used six times in Chaubīs Autār (Nihkalaṅkī). (See Bhagvatī)

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀㘀⸀ ऀ㰀椀㸀䈀栀甀樀愀☀⌀㜀㜀㐀㤀最㰀⼀椀㸀 椀猀 猀椀洀椀氀愀爀 琀漀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最ⴀ瀀爀愀礀☀⌀㈀㔀㜀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㌀㄀㜀 琀椀洀攀猀 ⠀㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 ⠀㐀㄀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㔀㔀⤀ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㈀㈀㄀⤀⸀㰀⼀瀀㸀ഀഀ

        27. Bhujaṅg-prayāt is of 12 syllables having four yagaṇs (ISS) in each quarter. It is of Sanskritorigin and alternative names for it are Bhujaṅg and Astar. It has been used 609 times (Jāpu (62), Akāl Ustati (30), Bachitra Nāṭak (72), Chaṇḍī Charitra II (70), Giān Prabodh (88), Chaubīs Autār (117), Brahmā Avatār (22), Rudra Avatār (Datta: 17 and Pāras Nāth : 65) and Pākhyān Charitra (66). In some of the old manuscript copies of the Jāpu, Aradh Bhujaṅg is found written in place of Bhujaṅg-prayāt.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㈀㠀⸀ ऀ㰀椀㸀䈀椀搀栀☀⌀㌀㘀㌀瀀 一愀爀☀⌀㈀㔀㜀樀㰀⼀椀㸀 椀猀 漀昀 㠀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 愀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀爀愀搀栀 一愀爀☀⌀㈀㔀㜀樀 愀渀搀 倀爀愀洀☀⌀㈀㔀㜀☀⌀㜀㜀㔀㄀椀欀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 猀椀砀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        29. Birāj is of six syllables having two ragaṇs (SIS) in each quarter. It is of Hindi origin and alternative names for it are Vijohā and Vimohā. It has been used four times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㌀　⸀ ऀ㰀椀㸀䈀椀猀攀欀栀㰀⼀椀㸀 漀爀 㰀椀㸀䈀椀猀栀攀猀栀愀欀㰀⼀椀㸀 椀猀 漀昀 猀椀砀琀攀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 昀椀瘀攀 㰀椀㸀戀栀☀⌀㈀㔀㜀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 䄀☀⌀㌀㐀㜀瘀最愀琀椀Ⰰ 䴀愀渀愀栀愀爀愀☀⌀㜀㜀㔀㄀ 愀渀搀 一☀⌀㈀㤀㤀氀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        31. Bridh Narāj. See Narāj Bridh.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㌀㈀⸀ ऀ㰀椀㸀䌀栀☀⌀㈀㔀㜀挀栀愀爀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 琀眀漀 欀椀渀搀猀 ⴀ 漀渀攀 椀猀 漀昀 昀漀甀爀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 琀栀攀 漀琀栀攀爀 椀猀 漀昀 琀栀爀攀攀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 漀渀攀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 匀甀搀栀☀⌀㈀㤀㤀 愀渀搀 ☀⌀㌀㐀㘀愀☀⌀㌀㐀㜀☀⌀㈀㤀㤀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㔀㜀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䨀☀⌀㈀㔀㜀瀀甀㰀⼀椀㸀 ⠀㌀㈀⤀ 愀渀搀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀 㘀㬀 愀渀搀 一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀 ㄀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        33. Chāmar is of 15 syllables having ragaṇ (SIS), jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI), ragaṇ (SIS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Somvallarī and Tūṇ. It has been used two times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㌀㐀⸀ ऀ䌀栀愀挀栀愀氀☀⌀㈀㔀㜀 椀猀 漀昀 ㄀㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 䌀栀椀琀爀愀Ⰰ 䈀椀爀☀⌀㈀㔀㜀樀 愀渀搀 䈀爀愀栀洀爀☀⌀㌀㘀㌀瀀愀欀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        35. Charpaṭ is of five syllables having bhagaṇ (SII) and two gurus (S) or sagaṇ (IIS) and two gurus (S) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Uchhāl, Haṅsak and Paṅkti. It has been used 27 times in the Jāpu and Rudra Avatār (Datta) 19.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㌀㘀⸀ ऀ㰀椀㸀䐀漀搀栀愀欀㰀⼀椀㸀 椀猀 漀昀 攀氀攀瘀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀栀爀攀攀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀渀搀 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䈀愀渀搀栀甀Ⰰ 䴀漀搀愀欀 愀渀搀 匀甀渀搀愀爀☀⌀㈀㤀㤀⸀ 䤀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一愀爀猀椀☀⌀㜀㜀㐀㤀最栀⤀ 琀栀椀猀 洀攀琀爀攀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀爀 䴀漀搀愀欀 眀椀琀栀 昀漀甀爀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀㈀ 琀椀洀攀猀Ⰰ 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一愀爀猀椀☀⌀㜀㜀㐀㤀最栀 ㌀㬀 䌀栀愀渀搀 㐀㬀 愀渀搀 刀☀⌀㈀㔀㜀洀愀 ㄀　⤀ 愀渀搀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䴀☀⌀㈀㔀㜀渀搀栀☀⌀㈀㔀㜀琀☀⌀㈀㔀㜀 刀☀⌀㈀㔀㜀樀☀⌀㈀㔀㜀 ⴀ㔀⤀⸀㰀⼀瀀㸀ഀഀ

        37. Ek Achharī is of three types, i. e. Mahī with two syllables having laghu and guru (IS) in each quarter beginning with the same letters; Mrigendra with three syllables in the formation of jagaṇ (ISI) in each quarter beginning with the same letter ; and Śaśi with three syllables in the formation of yagaṇ (ISS) in each quarter beginning with the same letter. Alternative names given it are Ekākharī and Śrī. It has been used eight times in the Jāpu.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㌀㠀⸀ ऀ㰀椀㸀䠀愀爀椀戀漀氀洀愀渀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀猀椀砀 猀礀氀氀愀戀氀攀猀 眀椀琀栀 琀眀漀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀Ⰰ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⤀ 椀猀 愀氀猀漀 挀愀氀氀攀搀 吀椀氀欀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㘀㤀 琀椀洀攀猀Ⰰ 椀渀 琀栀攀 㰀椀㸀䨀☀⌀㈀㔀㜀瀀甀㰀⼀椀㸀 ⠀㄀㐀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀ ⠀㌀　⤀ 愀渀搀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䴀愀渀甀 刀☀⌀㈀㔀㜀樀☀⌀㈀㔀㜀ⴀ㄀Ⰰ 倀爀椀琀栀 刀☀⌀㈀㔀㜀樀☀⌀㈀㔀㜀 ⴀ㈀㐀⤀⸀㰀⼀瀀㸀ഀഀ

        39. Hohā is of four syllables having jagaṇ (ISI) and guru (S) consecutively in each quarter. The alternative name for it is Sudhi. It has been used 14 times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀　⸀ ऀ㰀椀㸀䨀栀☀⌀㌀㘀㌀氀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 匀漀洀爀☀⌀㈀㔀㜀樀☀⌀㈀㤀㤀 愀渀搀 䄀爀愀搀栀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        41. Jhūlnā (24 syllables having eight yagaṇs (ISS) in each quarter) is also known as Maṇidhar Savaiyyā. It has been freely used by the poets of medieval period and one kind of it is also included in mātrik metres. It has been used seven times in the composition Chaubīs Autār (Kṛṣṇa - 4 ; Rāma -3).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀㈀⸀ ऀ㰀椀㸀䬀愀戀椀琀琀㰀⼀椀㸀 椀猀 漀昀 ㌀㄀ 猀礀氀氀愀戀氀攀猀 眀椀琀栀 瀀愀甀猀攀 愀琀 㠀Ⰰ 㠀Ⰰ 㠀Ⰰ 㜀 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀猀 漀爀椀最椀渀 椀猀 渀漀琀 欀渀漀眀渀 琀栀漀甀最栀 椀琀 椀猀 瀀爀漀昀甀猀攀氀礀 昀漀甀渀搀 椀渀 漀氀搀 䠀椀渀搀椀 愀渀搀 倀甀渀樀愀戀椀 瀀漀攀琀爀礀⸀ 吀甀氀猀☀⌀㈀㤀㤀搀☀⌀㈀㔀㜀猀Ⰰ 倀愀搀洀☀⌀㈀㔀㜀欀愀爀Ⰰ 䈀栀☀⌀㈀㔀㜀☀⌀㈀㤀㤀 䜀甀爀搀☀⌀㈀㔀㜀猀 愀渀搀 䠀椀爀搀礀愀 刀☀⌀㈀㔀㜀洀 䈀栀愀氀氀☀⌀㈀㔀㜀 眀攀爀攀 焀甀椀琀攀 昀漀渀搀 漀昀 甀猀椀渀最 椀琀 椀渀 琀栀攀椀爀 眀漀爀欀猀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䐀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀愀欀Ⰰ 䴀愀渀愀栀愀爀愀☀⌀㜀㜀㔀㄀ 愀渀搀 䜀栀愀渀☀⌀㈀㔀㜀欀☀⌀㜀㜀㜀㤀愀爀☀⌀㈀㤀㤀⸀ 䤀琀 爀栀礀洀攀猀 愀渀搀 攀渀搀猀 眀椀琀栀 愀 㰀椀㸀最甀爀甀㰀⼀椀㸀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㔀㐀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀ⴀ䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀㨀 㐀㐀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀㨀 㜀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀㨀 㠀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀Ⰰ 㘀㤀 ⠀䬀☀⌀㜀㜀㜀㄀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㔀㄀愀㨀 㔀㠀 愀渀搀 刀☀⌀㈀㔀㜀洀愀 ㄀㄀⤀Ⰰ 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀嘀礀☀⌀㈀㔀㜀猀⤀㨀 ㄀Ⰰ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀㨀 ㈀㔀⸀㰀⼀瀀㸀ഀഀ

        43. Kaṇṭh Abhūkhaṇ is of eleven syllables having three bhagaṇs (SII) and two gurus (S) in each quarter. In Sanskrit it is called Dodhak. It has been used eight times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀㐀⸀ ऀ㰀椀㸀䬀椀氀欀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 琀眀攀氀瘀攀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 昀漀甀爀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀猀琀☀⌀㈀㔀㜀 愀渀搀 吀漀☀⌀㜀㜀㠀㤀愀欀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        45. Kripānkrit is of seven syllables having sagaṇ (IIS), nagaṇ (III) and laghu (I) consecutively in each quarter. The alternative name for it is Madhubhār. It has been used 34 times in the composition Chaubīs Autār (Nihkalaṅkī) 12 and Rudra Avatār (Datta) 22.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀㘀⸀ ऀ㰀椀㸀䬀甀氀愀欀㰀⼀椀㸀 漀爀 㰀椀㸀䬀甀氀欀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 琀眀漀 欀椀渀搀猀 㨀 漀渀攀Ⰰ 㰀椀㸀䬀甀氀愀欀㰀⼀椀㸀Ⰰ 栀愀猀 猀椀砀 猀礀氀氀愀戀氀攀猀 椀渀 漀爀搀攀爀 漀昀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀渀搀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 愀渀搀 琀栀攀 漀琀栀攀爀Ⰰ 㰀椀㸀䬀甀氀欀☀⌀㈀㔀㜀㰀⼀椀㸀Ⰰ 栀愀猀 猀椀砀 猀礀氀氀愀戀氀攀猀 椀渀 漀爀搀攀爀 漀昀 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀猀 ☀⌀㌀㐀㘀愀☀⌀㌀㐀㜀椀瘀愀搀愀渀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀㌀ 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀䤀 ⠀㐀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀ⴀ㄀㄀⤀Ⰰ 愀渀搀 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䐀愀琀琀愀ⴀ㠀⤀⸀㰀⼀瀀㸀ഀഀ

        47. Kumār-lalit is of eight syllables having jagaṇ (ISI), ragaṇ (SIS), laghu (I) and guru (S) consecutively in each quarter. It is of Hindi origin and the alternative name for it is Mallikā. It has been used eight times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㐀㠀⸀ ऀ㰀椀㸀䬀甀猀愀洀 䈀椀挀栀椀琀爀愀㰀⼀椀㸀Ⰰ 愀氀猀漀 眀爀椀琀琀攀渀 愀猀 㰀椀㸀䬀甀猀甀洀 嘀椀挀栀椀琀爀愀㰀⼀椀㸀Ⰰ 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀Ⰰ 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀Ⰰ 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 眀愀猀 愀搀漀瀀琀攀搀 戀礀 䬀攀猀栀愀瘀 椀渀 栀椀猀 眀漀爀欀猀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 攀椀最栀琀 琀椀洀攀猀 椀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        49. Madhurdhuni, is also known by the names of Akrā, Ankā, Anhad, Anubhav, Śaśivadanā and Chaṇḍrasā, is of six syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in a quarter. It has been used 18 times in the Chaubīs Autār (Rāma -11, and Sūraj -7).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㔀　⸀ ऀ㰀椀㸀䴀☀⌀㈀㔀㜀氀琀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 琀眀攀渀琀礀 琀栀爀攀攀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 猀攀瘀攀渀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀渀搀 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 椀猀 愀 欀椀渀搀 漀昀 匀愀瘀愀☀⌀㈀㤀㤀礀礀☀⌀㈀㔀㜀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 䤀渀搀愀瘀Ⰰ 䈀椀樀愀椀 愀渀搀 䴀愀琀琀愀最礀愀渀搀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        51. Manohar is of 23 syllables, having seven bhagaṇs (SII) and two gurus (S) consecutively in each quarter. It is of Hindi origin and is a kind of Savaīyyā. Alternative names given it are Bijai and Mattagyand. It has been used 24 times in the Chaṇḍī Charitra II (I) and Chaubīs Autār (Rāma -23).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㔀㈀⸀ ऀ㰀椀㸀䴀愀琀栀☀⌀㈀㔀㜀渀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀琀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀匀匀䤀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 渀椀渀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        53. Medak or Toṭak is of twelve syllables having four sagaṇs (IIS) in each quarter. It has been used five times in the Brahmā Avatār (Vyās).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㔀㐀⸀ ऀ一☀⌀㈀㔀㜀最猀愀爀☀⌀㌀㘀㌀瀀椀☀⌀㜀㜀㔀㄀☀⌀㈀㤀㤀Ⰰ 愀氀猀漀 挀愀氀氀攀搀 倀爀愀洀☀⌀㈀㔀㜀☀⌀㜀㜀㔀㄀椀欀☀⌀㈀㔀㜀Ⰰ 椀猀 漀昀 攀椀最栀琀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 氀愀最栀甀 ⠀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀　 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀 ⴀ㘀 㬀 愀渀搀 刀☀⌀㈀㔀㜀洀愀 ⴀ㐀⤀⸀㰀⼀瀀㸀ഀഀ

        55. Nāgsarūpiṇī Aradh is of Sanskrit origin and is of 4 syllables having jagaṇ (ISI) and guru (S) in each quarter. Alternative names given it are Sudhi and Narāj-Laghu and it has been used five times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㔀㘀⸀ ऀ㰀椀㸀一愀爀☀⌀㈀㔀㜀樀㰀⼀椀㸀Ⰰ 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀猀漀 挀愀氀氀攀搀 一愀爀☀⌀㈀㔀㜀挀栀Ⰰ 一☀⌀㈀㔀㜀最爀☀⌀㈀㔀㜀樀Ⰰ 倀愀挀栀 䌀栀☀⌀㈀㔀㜀洀愀爀 愀渀搀 嘀椀挀栀椀琀爀愀Ⰰ 椀猀 漀昀 氀㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㔀　 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀 ⠀㈀　⤀Ⰰ 㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 ⠀㌀㌀⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀䤀 ⠀㈀㄀⤀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㌀㜀⤀Ⰰ 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㠀⤀Ⰰ 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀倀☀⌀㈀㔀㜀爀愀猀 一☀⌀㈀㔀㜀琀栀ⴀ㌀　⤀ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㄀⤀⸀㰀⼀瀀㸀ഀഀ

        57. Narāj Aradh is of eight syllables having jagaṇ (ISI), ragaṇ (SIS), laghu (I) and guru (S) consecutively in each quarter. Alternative names for it are Nāgsarūpiṇī and Pramāṇikā. It has been used 21 times, in the Giān Prabodh (12) and Chaubīs Autār (Sūraj -4, Rāma-5).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀ऀ㰀⼀瀀㸀ഀഀ

        58. Narāj Briddh, also called Mahānarāch, is of 16 syllables having jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI), and guru (S) consecutively in a quarter. It has been used 10 times, in theChaṇḍī Charitra II (1) Giān Prabodh (5) and Chaubīs Autar (Rudra) (4).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㔀㤀⸀ ऀ㰀椀㸀一愀爀☀⌀㈀㔀㜀樀 䰀愀最栀甀㰀⼀椀㸀 椀猀 漀昀 㐀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 匀甀搀栀☀⌀㈀㤀㤀 愀渀搀 䠀漀栀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀　 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        60. Nav Nāmak, also named Narhari, is of 8 syllables having two nagaṇs (III) and two laghus (I) consecutively in each quarter. It has been used six times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀㄀⸀ ऀ㰀椀㸀一椀猀瀀☀⌀㈀㔀㜀氀㰀⼀椀㸀 椀猀 漀昀 ㄀㔀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀䤀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀匀⤀Ⰰ 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 愀氀猀漀 欀渀漀眀渀 戀礀 琀栀攀 渀愀洀攀猀 漀昀 一椀猀瀀☀⌀㈀㔀㜀氀椀欀☀⌀㈀㔀㜀 愀渀搀 一椀猀椀瀀☀⌀㈀㔀㜀氀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        62. Padhisṭakā is of 12 syllables having four sagaṇs (IIS) in each quarter (See Saṅgīt Padhisṭakā). The alternative name for it is Toṭak, and it has been used twice in the Chaubīs Autār (Nihkalaṅkī)

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀㌀⸀ ऀ㰀椀㸀倀☀⌀㈀㔀㜀搀栀☀⌀㜀㜀㜀㄀☀⌀㈀㤀㤀 䄀爀愀搀栀㰀⼀椀㸀Ⰰ 愀氀猀漀 渀愀洀攀搀 䴀愀搀栀甀戀栀☀⌀㈀㔀㜀爀Ⰰ 椀猀 漀昀 昀椀瘀攀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀椀瘀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀嘀礀☀⌀㈀㔀㜀猀⤀⸀㰀⼀瀀㸀ഀഀ

        64. Paṅkaj Bāṭikā, of Sanskrit origin, is of 12 syllables having four bhagaṇs (SII) in each quarter. The alternative name given it is Modak. In the books of prosody its composition is different, i. e. bhagaṇ (SII), nagaṇ (III), two jagaṇs (ISI) and laghu (I). It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀㔀⸀ ऀ㰀椀㸀倀爀椀礀☀⌀㈀㔀㜀㰀⼀椀㸀Ⰰ 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀猀漀 欀渀漀眀渀 愀猀 䄀☀⌀㜀㜀㜀㄀☀⌀㌀㘀㌀栀☀⌀㈀㔀㜀 愀渀搀 匀愀☀⌀㜀㜀㐀㤀礀甀琀Ⰰ 椀猀 漀昀 琀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀匀⤀Ⰰ 琀眀漀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        66. Ramāṇ is of six syllables having two sagaṇs (IIS) in each quarter. Alternative names for it are Ramāṇakā and Tilkā. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀㜀⸀ ऀ㰀椀㸀刀愀猀☀⌀㈀㔀㜀瘀愀氀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 椀渀 琀栀攀 挀漀洀瀀漀猀椀琀椀漀渀猀 琀椀琀氀攀搀 㰀椀㸀䨀☀⌀㈀㔀㜀瀀甀㰀⼀椀㸀 ⠀㠀⤀Ⰰ 㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 ⠀㤀　⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀䤀 ⠀㘀㤀⤀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㄀㜀⤀Ⰰ 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㄀㜀⤀Ⰰ 愀渀搀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㄀㜀㤀⤀ 栀愀瘀椀渀最 戀攀攀渀 渀愀洀攀搀 愀猀 䄀爀愀搀栀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最 椀渀 琀栀攀 㰀椀㸀䨀☀⌀㈀㔀㜀瀀甀㰀⼀椀㸀 愀渀搀 琀栀攀 㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        68. Rāvaṇbād is of six syllables having two jagaṇs (ISI) in each quarter. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㘀㤀⸀ ऀ㰀椀㸀刀攀欀栀琀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㌀㄀ 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 㠀Ⰰ 㠀Ⰰ 㠀Ⰰ 㜀⸀ 吀栀椀猀 椀猀 渀漀琀 琀栀攀 渀愀洀攀 漀昀 愀 洀攀琀爀攀 戀甀琀 椀猀 愀 洀攀琀爀椀挀愀氀 挀漀洀瀀漀猀椀琀椀漀渀 漀昀 洀椀砀攀搀 倀攀爀猀椀愀渀 愀渀搀 䠀椀渀搀椀 眀漀爀搀猀⸀ 䤀渀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀Ⰰ 刀攀欀栀琀☀⌀㈀㔀㜀 椀猀 甀猀攀搀 漀渀氀礀 漀渀挀攀 昀漀爀 䬀愀戀椀琀琀 ⠀䴀愀渀栀愀爀⤀⸀㰀⼀瀀㸀ഀഀ

        70. Rūāmal is of 17 syllables having ragaṇ (SIS), sagaṇ (IIS), two jagaṇs (ISI), bhagaṇ (SII), guru (S) and laghu (I) consecutively in each quarter, with pause at 10, 7. Alternative names for it are Rūāl and Rūāmaṇ. It has been used 186 times in the Jāpu. (8), Akāl Ustati (20), Chaṇḍī Charitra II (15), Giān Prabodh (30), Chaubīs Autār (26), Brahmā Avatār (25), Rudra Avatār (57), Sastra Nām Mālā (2) and Pākhyān Charitra(3).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㜀㄀⸀ ऀ㰀椀㸀刀甀☀⌀㜀㜀㔀㄀樀栀甀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀欀瘀☀⌀㈀㔀㜀 愀渀搀 ☀⌀㌀㐀㘀愀☀⌀㌀㐀㜀椀瘀愀搀渀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀栀爀椀挀攀 椀渀 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀⸀ 㰀⼀椀㸀㰀⼀瀀㸀ഀഀ

        72. Samānikā is of eight syllables having ragaṇ (SIS), jagaṇ (ISI) and guru (S) consecutively in each quarter. The alternative name given it is Pramāṇikā (ISI, SIS, I, S). It has been used 12 times in the Chaubīs Autār (Rāma-8 and Nihkalaṅkī -4).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㜀㌀⸀ ऀ㰀椀㸀匀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀琀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最ⴀ瀀爀愀礀☀⌀㈀㔀㜀琀㰀⼀椀㸀 栀愀猀 戀攀攀渀 甀猀攀搀 㐀㐀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀䤀 ⠀㜀⤀ 愀渀搀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀ⴀ㄀㌀ 愀渀搀 一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀ⴀ㈀㐀⤀⸀㰀⼀瀀㸀ഀഀ

        74. Saṅgīt Narāj has been used only once in the Chaṇḍī Charitra II.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㜀㔀⸀ ऀ㰀椀㸀匀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀琀 倀愀搀栀椀猀☀⌀㜀㜀㠀㤀愀欀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 攀氀攀瘀攀渀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀Ⰰ 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀琀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀䤀⤀Ⰰ 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䈀甀琀 椀渀 琀栀攀 㰀椀㸀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀Ⰰ 琀栀椀猀 渀愀洀攀 栀愀猀 戀攀攀渀 最椀瘀攀渀 琀漀 吀漀☀⌀㜀㜀㠀㤀愀欀 ⠀匀攀攀 倀愀搀栀椀猀☀⌀㜀㜀㠀㤀愀欀☀⌀㈀㔀㜀⤀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㠀 琀椀洀攀猀 椀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        76. Sañjutā or Saṅyutā, of Sanskrit origin, is of 10 syllables having sagaṇ (IIS), two jagaṇs (ISI) and guru (S) consecutively in each quarter. Alternative names given it are Sañjuktā, Aṛūhā and Priyā. It has been used six times in the Brahmā Avatār.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㜀㜀⸀ ऀ匀愀☀⌀㜀㜀㐀㤀欀栀☀⌀㜀㜀㐀㤀☀⌀㈀㔀㜀爀☀⌀㈀㤀㤀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀猀 漀琀栀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 愀爀攀 匀漀洀爀☀⌀㈀㔀㜀樀☀⌀㈀㤀㤀 愀渀搀 䄀爀愀搀栀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最⸀ 䤀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 ⠀㰀椀㸀䨀☀⌀㈀㔀㜀瀀甀㰀⼀椀㸀⤀ 椀琀 椀猀 最椀瘀攀渀 甀渀搀攀爀 琀栀攀 渀愀洀攀 漀昀 䄀爀愀搀栀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最⸀㰀⼀瀀㸀ഀഀ

        78. Sarasvatī is of 17 syllables having ragaṇ (SIS), sagaṇ(IIS), two jagans (ISI), bhagaṇ (SII), guru (S), laghu (I) consecutively in each quarter, with pause at 8, 9. It is of Prākrit and Apbhraṅsa origin and its other alternative names are Rūāmal, Rūāl and Rūālā. It has been used 8 times in the composition Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㜀㤀⸀ ऀ㰀椀㸀匀愀瘀愀椀礀礀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㐀㠀 欀椀渀搀猀 漀甀琀 漀昀 眀栀椀挀栀 䴀愀搀椀爀☀⌀㈀㔀㜀Ⰰ 䤀渀搀愀瘀Ⰰ 䴀☀⌀㈀㔀㜀氀琀☀⌀㈀㤀㤀Ⰰ 刀愀洀愀礀愀Ⰰ 䬀椀爀☀⌀㈀㤀㤀琀Ⰰ 䐀爀甀洀椀氀☀⌀㈀㔀㜀Ⰰ 䴀愀渀漀樀Ⰰ 唀☀⌀㜀㜀㠀㤀愀☀⌀㜀㜀㐀㤀欀愀☀⌀㜀㜀㔀㄀Ⰰ 匀甀爀搀栀甀渀☀⌀㈀㤀㤀 愀渀搀 匀愀爀瘀愀最☀⌀㈀㔀㜀洀☀⌀㈀㤀㤀 愀爀攀 昀漀甀渀搀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀⸀ 䘀椀渀愀氀 愀氀氀椀琀攀爀愀琀椀漀渀 漀昀 愀氀氀 琀栀攀 焀甀愀爀琀攀琀猀 椀猀 攀猀猀攀渀琀椀愀氀 椀渀 愀 匀愀瘀愀椀礀礀☀⌀㈀㔀㜀⸀ 䤀琀猀 漀爀椀最椀渀 氀椀攀猀 椀渀 琀栀攀 䈀爀愀樀⸀ 䤀渀 琀栀攀 洀攀搀椀攀瘀愀氀 䠀椀渀搀椀 瀀漀攀琀爀礀 椀琀 栀愀猀 戀攀攀渀 甀猀甀愀氀氀礀 挀栀漀猀攀渀 昀漀爀 猀攀渀猀甀漀甀猀 氀漀瘀攀 瀀漀攀琀爀礀 搀甀攀 琀漀 椀琀猀 猀洀漀漀琀栀渀攀猀猀Ⰰ 戀甀琀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 椀琀 椀猀 愀瀀瀀氀椀攀搀 昀漀爀 眀愀爀 瀀漀攀琀爀礀 眀椀琀栀 甀渀椀焀甀攀 猀甀挀挀攀猀猀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀爀 愀 琀漀琀愀氀 漀昀 ㈀㈀㔀㈀ 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀Ⰰ 琀栀攀 洀愀砀椀洀甀洀 甀猀攀 ⠀㄀㜀㠀㈀ 琀椀洀攀猀⤀ 漀昀 椀琀 戀攀椀渀最 椀渀 琀栀攀 ∀䬀☀⌀㜀㜀㜀㄀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㔀㄀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀∀ 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        80. Savaiyyā Anant-tukā is a Kind of Savaiyyā with no final alliteration as is clear from its name. It has been used only once in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀㄀⸀ ऀ㰀椀㸀匀漀洀爀☀⌀㈀㔀㜀樀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 椀琀猀 漀琀栀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 愀爀攀 唀琀戀栀甀樀Ⰰ 䄀爀愀搀栀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最Ⰰ ☀⌀㌀㐀㘀愀☀⌀㜀㜀㐀㤀欀栀愀渀☀⌀㈀㔀㜀爀☀⌀㈀㤀㤀 愀渀搀 䨀栀☀⌀㌀㘀㌀氀☀⌀㈀㔀㜀⸀ 䤀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 ⠀∀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀 䄀瘀愀琀☀⌀㈀㔀㜀爀∀ 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀⤀Ⰰ 琀栀椀猀 渀愀洀攀 栀愀猀 戀攀攀渀 最椀瘀攀渀 琀漀 昀漀甀爀 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最ⴀ瀀爀愀礀☀⌀㈀㔀㜀琀 洀攀琀爀攀猀⸀㰀⼀瀀㸀ഀഀ

        82. Sukhdā Bridh is of eight syllables having laghu (I) in the beginning and guru (S) at the end of each quarter, with pause at 5, 3. Its other alternative name is Sagaunā. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀㌀⸀ ऀ㰀椀㸀匀甀渀搀愀爀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 愀 昀漀爀洀 漀昀 匀愀瘀愀椀礀礀☀⌀㈀㔀㜀 挀漀洀瀀爀椀猀椀渀最 ㈀㔀 猀礀氀氀愀戀氀攀猀ⴀ攀椀最栀琀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 愀渀搀 漀渀攀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀⸀ 䤀渀 琀栀攀 ∀刀☀⌀㈀㔀㜀洀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀∀ 漀昀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 椀琀 栀愀猀 戀攀攀渀 甀猀攀搀 攀椀最栀琀攀攀渀 琀椀洀攀猀⸀㰀⼀瀀㸀ഀഀ

        84. Tārak is of 12 syllables having four sagaṇs (IIS) in each quarter. Alternative names for it are Astā and Toṭak. It has been used 26 times in the Dasam Granth-Chaubīs Autār (Nihkalaṅkī -24), Rudra Avatār (Datta -2).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀㔀⸀ ऀ㰀椀㸀吀☀⌀㈀㔀㜀爀欀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㄀㌀ 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 昀漀甀爀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 唀最☀⌀㈀㔀㜀搀栀 愀渀搀 夀愀☀⌀㌀㐀㜀漀搀☀⌀㈀㔀㜀 䤀琀 椀猀 甀猀攀搀 㠀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        86. Tar Narāj is of 7 syllables having ragaṇ (SIS), jagaṇ (ISI) and guru (S) consecutively in each-uarter, but in the Dasam Granth we find it consisting of only two quarters (charaṇs) instead of four. The alternative name for it is Samānikā. It has been used eight times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀㜀⸀ ऀ㰀椀㸀吀椀氀欀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㐀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀洀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 䄀欀瘀☀⌀㈀㔀㜀Ⰰ 䄀樀戀☀⌀㈀㔀㜀Ⰰ 愀渀搀 䬀愀渀礀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 攀椀最栀琀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        88. Tilkaṛīā is of five syllables having jagaṇ (ISI) and two gurus (S) consecutively in each quarter. Alternative names for it are Ugādh and Yasodā. A speciality of this metre is that herein sound conveys the sense. It has been used six times in Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㠀㤀⸀ ऀ㰀椀㸀吀漀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 昀漀甀爀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 椀琀猀 漀琀栀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 愀爀攀 䄀猀琀☀⌀㈀㔀㜀Ⰰ 䬀椀氀欀☀⌀㈀㔀㜀 愀渀搀 吀☀⌀㈀㔀㜀爀愀欀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀㌀㈀ 琀椀洀攀猀 椀渀 琀栀攀 挀漀洀瀀漀猀椀琀椀漀渀猀 渀愀洀攀氀礀 㰀椀㸀䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀 ⠀㈀　⤀Ⰰ 㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 ⠀㘀⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀猀㰀⼀椀㸀 ⠀㘀⤀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㄀㔀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㄀　㄀⤀Ⰰ 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㌀⤀Ⰰ 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㘀㌀⤀Ⰰ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㄀㠀⤀⸀㰀⼀瀀㸀ഀഀ

        90. Trigatā is of 4 syllables having magaṇ (SSS) and guru (S) in each quarter. The first letter of each line (charaṇ) is repeated thrice with a view to reproducing the sound of actual action. Alternative names for it are Akvā and Ajbā. It has been used 10 times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㤀㄀⸀ ऀ㰀椀㸀吀爀椀☀⌀㜀㜀㔀㄀☀⌀㜀㜀㔀㄀椀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 椀猀 漀昀 猀椀砀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀渀搀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 吀栀攀 昀椀爀猀琀 眀漀爀搀 漀昀 攀愀挀栀 氀椀渀攀 ⠀㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀⤀ 椀猀 㰀椀㸀琀爀椀☀⌀㜀㜀㔀㄀☀⌀㜀㜀㔀㄀椀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 漀爀 猀椀洀椀氀愀爀氀礀 猀漀甀渀搀椀渀最 眀漀爀搀 猀漀 琀栀愀琀 椀琀猀 爀攀瀀攀琀椀琀椀漀渀 栀攀氀瀀猀 琀漀 瀀爀漀搀甀挀攀 琀栀攀 猀漀甀渀搀 漀昀 愀挀琀甀愀氀 昀椀最栀琀椀渀最 椀渀 琀栀攀 昀椀攀氀搀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㠀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        92. Triṛkā is of 6 syllables having nagaṇ (III) and yagaṇ (IIS) consecutively in each quarter. Alternative names are : Akvā and Śaśivadnā. The sound of mridaṅg is reproduced through the use of alliteration of words. It has been used ten times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㤀㌀⸀ ऀ㰀椀㸀唀挀栀栀氀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 㔀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀渀搀 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 唀挀栀栀☀⌀㈀㔀㜀氀Ⰰ 䠀愀☀⌀㜀㜀㐀㤀猀愀欀 愀渀搀 倀愀☀⌀㜀㜀㐀㤀欀琀椀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 渀椀渀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        94. Ugādh is of 5 syllables having jagaṇ (ISI) and two gurus (S) consecutively in each quarter. It is of Sanskrit origin and is also called Tilkaṛīā and Yaśodhā. It has been used 13 times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㤀㔀⸀ ऀ㰀椀㸀唀最☀⌀㈀㔀㜀琀栀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㄀　 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀Ⰰ 㰀椀㸀琀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀匀䤀⤀Ⰰ 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀 眀椀琀栀 瀀愀甀猀攀 愀琀 㔀Ⰰ 㔀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 渀椀渀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        96. Uṭaṅkaṇ is of 22 syllables having seven ragaṇs (SIS) and guru (S) consecutively in each quarter with pause at 12, 10. It is of Sanskrit origin and the alternative name given it is Uṭaṅgaṇ. It is a kind of Savaiyyā. It has been used 10 times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㤀㜀⸀ ऀ㰀椀㸀唀琀戀栀甀樀㰀⼀椀㸀Ⰰ 愀氀猀漀 挀愀氀氀攀搀 㰀椀㸀唀搀戀栀甀樀㰀⼀椀㸀Ⰰ 椀猀 漀昀 㘀 猀礀氀氀愀戀氀攀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀匀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 愀爀攀 㨀 䄀爀愀搀Ⰰ 䈀栀甀樀愀☀⌀㜀㜀㐀㤀最Ⰰ ☀⌀㌀㐀㘀漀洀爀☀⌀㈀㔀㜀樀☀⌀㈀㤀㤀Ⰰ 匀愀☀⌀㜀㜀㐀㤀欀栀愀渀☀⌀㈀㔀㜀爀☀⌀㈀㤀㤀Ⰰ 䨀栀☀⌀㌀㘀㌀氀☀⌀㈀㔀㜀 愀渀搀 刀愀猀☀⌀㈀㔀㜀瘀愀氀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀⸀ ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        SYLLABIC INSTANT (MĀTRIK) METRES

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㤀㠀⸀ ऀ㰀椀㸀䄀戀栀☀⌀㈀㤀㤀爀㰀⼀椀㸀 椀猀 漀昀 ㄀㄀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 倀爀☀⌀㈀㔀㜀欀爀椀琀 愀渀搀 䄀瀀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀 漀爀椀最椀渀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䄀栀☀⌀㈀㤀㤀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        99. Aṛill is of 21 syllabic instants having pause at 11, 10 with ragaṇ (SIS) at the end of each quarter and use of 'Ho' syllabic instant at the beginning of the fourth quarter, which is always in addition to the actual count. It is of Apbhraṅś origin and is an early form of Chaupaī. It is a popular metre of narrative Hindi poetry. It has been used 962 times in the Bachitra Nāṭak (1), Sastra Nām Mālā (253),Pākhyān Charitra (690) andChaubīs Autār (18 : Kṛṣṇa-14, Sūraj-2, Rudra 2).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　　⸀ ऀ㰀椀㸀䄀☀⌀㜀㜀㜀㄀椀氀氀 䐀☀⌀㌀㘀㌀樀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㄀㘀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 眀椀琀栀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 䄀瀀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 ☀⌀㜀㘀㤀㈀椀氀氀☀⌀㈀㔀㜀 愀渀搀 倀☀⌀㈀㔀㜀搀☀⌀㈀㔀㜀 䬀甀氀愀欀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        101. Atimāltī is of 16 syllabic instants having pause at 8, 8, with two gurus (S) at the end of each quarter. It is of Sanskrit origin and the alternative name given it is Pādā Kulak. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　㈀⸀ ऀ㰀椀㸀䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 椀猀 漀昀 ㈀㌀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀㌀Ⰰ ㄀　 眀椀琀栀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 吀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䴀爀椀琀最愀琀椀⸀ 䄀挀挀漀爀搀椀渀最 琀漀 䈀栀☀⌀㈀㔀㜀☀⌀㈀㤀㤀 䬀☀⌀㈀㔀㜀栀渀 匀椀☀⌀㜀㜀㐀㤀最栀Ⰰ 漀渀氀礀 䄀爀愀搀栀 䄀瘀愀琀☀⌀㈀㔀㜀爀 栀愀猀 戀攀攀渀 甀猀攀搀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀Ⰰ 戀甀琀 琀栀攀 猀挀爀椀戀攀 栀愀猀 攀爀爀漀渀攀漀甀猀氀礀 瀀甀琀 椀琀 甀渀搀攀爀 琀栀攀 栀攀愀搀椀渀最 漀昀 䐀漀栀愀爀☀⌀㈀㔀㜀 ⠀匀攀攀 㰀椀㸀䐀漀栀愀爀愀㰀⼀椀㸀⤀⸀㰀⼀瀀㸀ഀഀ

        103. Bahoṛā is of 16 syllabic instants having pause at 8, 8 with jagaṇ (ISI) at the end of each quarter. The alternative name for it is Pādharī. It has been used four times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　㐀⸀ ऀ㰀椀㸀䈀愀栀☀⌀㜀㜀㜀㄀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㈀㄀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀㄀Ⰰ ㄀　 眀椀琀栀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀琀 琀栀攀 昀椀爀猀琀 瀀愀甀猀攀 愀渀搀 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀琀 琀栀攀 猀攀挀漀渀搀 瀀愀甀猀攀⸀ 吀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀 椀猀 倀甀渀栀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        105. Bait is of 18 syllabic instants having pause at 10, 8 with laghu (I) at the end of each charaṇ. It is of Arabic and Persian origin and is popular in narrative Punjabi poetry. It has been used 863 times in the Zafarnāmah (111) and Hikāyats (752).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　㘀⸀ ऀ㰀椀㸀䈀椀猀栀愀渀瀀愀搀㰀⼀椀㸀 椀猀 漀昀 搀椀昀昀攀爀攀渀琀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 椀渀 搀椀昀昀攀爀攀渀琀 欀椀渀搀猀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 ☀⌀㌀㐀㘀愀戀搀愀Ⰰ 嘀椀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㔀㄀甀瀀愀搀 愀渀搀 䈀椀猀愀渀瀀愀搀⸀ 䤀琀 椀猀 漀昀 䠀椀渀搀椀 漀爀椀最椀渀 愀渀搀 眀愀猀 昀爀攀攀氀礀 甀猀攀搀 戀礀 瀀漀攀琀猀 漀昀 䈀栀愀欀琀☀⌀㈀㤀㤀 琀爀愀搀椀琀椀漀渀⸀ 䤀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 椀琀 椀猀 昀漀甀渀搀 漀渀氀礀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀Ⰰ ⠀䬀☀⌀㜀㜀㜀㄀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㔀㄀愀ⴀ㔀⤀ 愀渀搀 琀栀攀㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀倀☀⌀㈀㔀㜀爀愀猀 一☀⌀㈀㔀㜀琀栀 ⴀ㐀㔀⤀⸀㰀⼀瀀㸀ഀഀ

        107. Charpaṭ Chhīgā is of eight syllabic instants having six mātrās and guru (S) consecutively in each quarter. It is a kind of Charpaṭ and has been used for eight times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀　㠀⸀ ऀ㰀椀㸀䌀栀愀琀甀猀瀀愀搀☀⌀㈀㤀㤀㰀⼀椀㸀 漀爀 㰀椀㸀䌀栀愀琀甀爀瀀愀搀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 ㌀　 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀　Ⰰ 㠀Ⰰ ㄀㈀ 眀椀琀栀 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 愀渀搀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 䌀栀愀瘀瀀愀☀⌀㈀㤀㤀礀☀⌀㈀㔀㜀 愀渀搀 䌀栀愀甀瀀愀☀⌀㈀㤀㤀礀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        109. Chaupaī is of 16 syllabic instants having guru (S) at the end of each quarter. It is of Apbhraṅś origin and alternative names for it are Rūp-Chaupaī, Jaykarī and Śaṅkhinī. This metre is known as of two kinds, namely Chaupaī and Chaupāī. The first kind is of 15 mātrās and the second is of 16 mātrās, but in the Sikh scriptures there is no such distinction and usually it is of 16 mātrās. It is a popular metre in Hindi narrative poetry. Tulsīdās's Rāma-charita Mānasa is in this metre. In early periods Paddharīā was preferred to Chaupaī. This metre has been used 5555 times in the Dasam Granth - Akāl Ustati, (10), Bachitra Nāṭak (162), Chaṇḍī Charitra II (20), Giān Prabodh (46), Chaubīs Autār (414), Brahmā Avatār (56), Rudra Avatār (79), Sastra Nām Mālā (344), and Pākhyān Charitra (4424).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㄀　⸀ ऀ㰀椀㸀䌀栀栀愀渀搀㰀⼀椀㸀 挀愀渀 戀攀 甀猀攀搀 昀漀爀 愀氀氀 欀椀渀搀猀 漀昀 洀攀琀爀攀猀⸀ 䤀琀 椀猀 漀昀 䠀椀渀搀椀 漀爀椀最椀渀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䌀栀栀愀渀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀㤀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀匀愀猀琀爀愀 一☀⌀㈀㔀㜀洀 䴀☀⌀㈀㔀㜀氀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀㔀⤀ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㈀㐀⤀⸀㰀⼀瀀㸀ഀഀ

        111. Chhand Vaḍḍā is of 28 syllabic instants having pause at 16, 12, and ragaṇ (SIS) at the end of each quarter. It is of Hindi origin and has been used once in the Sastra Nām Mālāin place of Harigītikā, vide Kāhn Siṅgh Nābha, Gurushabad Ratnākar Mahān Kosh, p. 498.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㄀㈀⸀ ऀ㰀椀㸀䌀栀愀甀戀漀氀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 愀 欀椀渀搀 漀昀 匀愀瘀愀椀礀礀☀⌀㈀㔀㜀 戀甀琀 椀猀 搀攀昀椀渀攀搀 愀猀 䌀栀愀甀戀漀氀☀⌀㈀㔀㜀 戀攀挀愀甀猀攀 漀昀 琀栀攀 甀猀攀 漀昀 昀漀甀爀 搀椀昀昀攀爀攀渀琀 氀愀渀最甀愀最攀猀 椀渀 椀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀栀爀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        113. Chhappai, a combination of Ullālā and Rolā, is of six charaṇs. It is of Apbhraṅś origin and alternative names for it are Chhappā, Chhappaya, Khaṭpad and Śārdul-vikrīṛit. In the Dasam Granth it has been used in various forms for 81 times in the Jāpu (I), Bachitra Nāṭak (I), Giān Prabodh(8), Chaubīs Autār (19), Rudra Avatār(47) and Pākhyān Charitra (5).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㄀㐀⸀ ऀ㰀椀㸀䐀漀栀愀爀☀⌀㈀㔀㜀㰀⼀椀㸀Ⰰ 漀昀 琀眀漀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 愀渀搀 ㈀㐀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 眀椀琀栀 瀀愀甀猀攀 愀琀 ㄀㌀Ⰰ ㄀㄀ 愀渀搀 㰀椀㸀最甀爀甀 氀愀最栀甀㰀⼀椀㸀 ⠀匀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 椀猀 漀昀 䄀瀀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 㰀椀㸀搀漀栀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀椀渀 䄀瀀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀⤀Ⰰ 㰀椀㸀最☀⌀㈀㔀㜀琀栀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀椀渀 倀爀☀⌀㈀㔀㜀欀爀椀琀⤀ 愀渀搀 㰀椀㸀☀⌀㌀㐀㜀氀漀欀愀㰀⼀椀㸀 ⠀椀渀 匀愀渀猀欀爀椀琀⤀⸀ 䤀琀 椀猀 漀昀 洀愀渀礀 欀椀渀搀猀 愀渀搀 愀氀洀漀猀琀 愀氀氀 琀栀攀 欀椀渀搀猀 栀愀瘀攀 戀攀攀渀 甀猀攀搀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀⸀ 䤀琀 椀猀 愀氀眀愀礀猀 瀀爀攀昀攀爀爀攀搀 昀漀爀 猀栀漀爀琀攀爀 瀀愀琀琀攀爀渀猀 漀昀 瘀攀爀猀攀⸀ 䜀漀爀愀欀栀 一☀⌀㈀㔀㜀琀栀Ⰰ 䬀愀戀☀⌀㈀㤀㤀爀Ⰰ 䨀愀礀愀猀☀⌀㈀㤀㤀Ⰰ 吀甀氀猀☀⌀㈀㤀㤀搀☀⌀㈀㔀㜀猀Ⰰ 䈀椀栀☀⌀㈀㔀㜀爀☀⌀㈀㤀㤀Ⰰ 㰀椀㸀攀琀 愀氀㰀⼀椀㸀⸀ 栀愀搀 攀砀瀀爀攀猀猀攀搀 琀栀攀洀猀攀氀瘀攀猀 琀栀爀漀甀最栀 琀栀椀猀 洀攀琀爀攀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㌀㄀㔀　 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀㨀 㰀椀㸀䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀 ⠀㄀　⤀Ⰰ 㰀椀㸀䈀愀挀栀椀琀爀愀 一☀⌀㈀㔀㜀☀⌀㜀㜀㠀㤀愀欀㰀⼀椀㸀 ⠀㌀㠀⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀 䤀㰀⼀椀㸀 ⠀㠀　⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀 䤀䤀㰀⼀椀㸀 ⠀㄀㐀⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 搀☀⌀㈀㤀㤀 嘀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䤀⤀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㈀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㐀㔀㐀⤀Ⰰ 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䤀⤀Ⰰ 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㠀⤀Ⰰ 匀愀瘀愀椀礀礀☀⌀㈀㔀㜀 㨀 㰀椀㸀䨀漀 欀椀挀挀栀 氀攀欀栀 氀椀欀栀椀漀 戀椀搀栀☀⌀㈀㔀㜀琀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀䤀⤀Ⰰ 㰀椀㸀匀愀猀琀爀愀 一☀⌀㈀㔀㜀洀 䴀☀⌀㈀㔀㜀氀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀㜀㄀㄀⤀Ⰰ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㄀㠀㌀　⤀⸀㰀⼀瀀㸀ഀഀ

        115. Elā is of 24 syllabic instants having pause at 11, 13 with two gurus (S) at the end of each line. It is made of three charaṇs (lines) and is of Sanskrit origin. It is viṣam mātrik in the Dasam Granth but according to Hindi Chhand Prakāsh it is varṇik metre. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㄀㘀⸀ ऀ㰀椀㸀䜀☀⌀㈀㔀㜀栀☀⌀㈀㔀㜀 䐀☀⌀㌀㘀㌀樀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㈀㜀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 眀椀琀栀 瀀愀甀猀攀 愀琀 ㄀㐀Ⰰ ㄀㌀ 椀渀 攀愀挀栀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀⸀ 㰀⼀椀㸀 䤀琀 椀猀 漀昀 倀爀☀⌀㈀㔀㜀欀爀椀琀 漀爀椀最椀渀 愀渀搀 漀琀栀攀爀 渀愀洀攀 最椀瘀攀渀 椀渀 䜀☀⌀㈀㔀㜀琀栀☀⌀㈀㔀㜀⸀ 䤀琀 椀猀 愀氀猀漀 猀愀椀搀 琀漀 戀攀 昀漀甀爀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 眀椀琀栀 㘀㈀ 㰀椀㸀洀☀⌀㈀㔀㜀琀爀☀⌀㈀㔀㜀猀㰀⼀椀㸀 椀渀 愀氀氀Ⰰ 戀甀琀 椀琀 栀愀猀 戀攀攀渀 最椀瘀攀渀 愀 渀攀眀 昀漀爀洀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        117. Ghattā is generally of two charaṇs having 32 syllabic instants but in the Dasam Granth it is of three charaṇs- the first foot of 24 syllabic instants with pause at 11, 13; the second of 16 syllabic instants with pause at 8, 8, and the third of 32 syllabic instants with pause at 8, 8, 16 and having two laghus (I) at the end. It is a Viṣam metre and is of Prākrit and Apbhraṅś origin. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㄀㠀⸀ ऀ㰀椀㸀䜀☀⌀㈀㤀㤀琀洀☀⌀㈀㔀㜀氀愀琀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 漀昀 ㈀㠀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 眀椀琀栀 瀀愀甀猀攀 愀琀 ㄀㘀Ⰰ ㄀㈀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㘀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀ⴀ㠀㬀 一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀 ⴀ㠀⤀⸀㰀⼀瀀㸀ഀഀ

        119. Haṅs is of 15 syllabic instants having two charaṇs with pause at 7, 8 and guru (S) and laghu (I) at the end of each charaṇ. It is of Sanskrit origin and has been used four times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀　⸀ ऀ㰀椀㸀䠀愀爀椀最☀⌀㈀㤀㤀琀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㈀㠀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀㘀Ⰰ ㄀㈀ 眀椀琀栀 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 䠀椀渀搀椀 漀爀椀最椀渀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀 椀猀 䠀愀爀椀最☀⌀㈀㤀㤀琀椀欀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        121. Hīr is of 23 syllabic instants having pause at 6, 6, 11 with guru (S) in the beginning and ragaṇ (SIS) at the end of each quarter. It is of Prākrit and Apbhraṅś origin and the alternative name for it is Hīrak. It is also counted in Varṇik metres. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀㈀⸀ ऀ㰀椀㸀䬀愀氀愀猀㰀⼀椀㸀 椀猀 琀栀攀 渀愀洀攀 漀昀 愀 挀漀洀戀椀渀攀搀 洀攀琀爀攀⸀ 䤀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀 椀琀 椀猀 洀愀搀攀 漀昀 䌀栀愀甀瀀愀☀⌀㈀㤀㤀 吀爀椀戀栀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀Ⰰ 椀渀 眀栀椀挀栀 琀栀攀 氀愀猀琀 㰀椀㸀瀀愀搀㰀⼀椀㸀 漀昀 琀栀攀 昀椀爀猀琀 猀琀愀渀稀愀 椀猀 爀攀瀀爀漀搀甀挀攀搀 椀渀 琀栀攀 戀攀最椀渀渀椀渀最 琀栀攀 昀漀氀氀漀眀椀渀最 猀琀愀渀稀愀⸀ 吀栀攀 䜀甀爀☀⌀㌀㘀㌀ 栀愀猀 最椀瘀攀渀 琀栀攀 渀愀洀攀 䬀愀氀愀猀 椀渀 瀀氀愀挀攀 漀昀 䌀栀愀甀瀀愀☀⌀㈀㤀㤀 愀渀搀 渀愀洀攀搀 琀栀攀 猀攀挀漀渀搀 洀攀琀爀攀 椀渀搀攀瀀攀渀搀攀渀琀氀礀 愀猀⸀ 吀爀椀戀栀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 唀氀氀☀⌀㈀㔀㜀猀 愀渀搀 䠀甀氀氀☀⌀㈀㔀㜀猀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㌀ 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㐀⤀Ⰰ 愀渀搀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀ⴀ㤀⤀⸀㰀⼀瀀㸀ഀഀ

        123. Kuṇḍalīā is of 24 syllabic instants and is a combination of Dohā and Rolā with pause at 13, 11 in the two charaṇs of Dohā and pause at 11, 13 in the four quarters of Rolā, but in the Dasam Granth only two charaṇs of Rolā are combined with Dohā and as such this metre is of four charaṇs instead of six. It is of Apbhraṅś origin and the alternative name for it is Kuṇḍarīā. It is commonly used in Hindi poetry. In the Dasam Granth it has been used five times in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀㐀⸀ ऀ㰀椀㸀䴀☀⌀㈀㔀㜀搀栀漀㰀⼀椀㸀 椀猀 漀昀 ㄀㘀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 愀 欀椀渀搀 漀昀 䄀☀⌀㜀㜀㜀㄀椀氀氀 愀渀搀 琀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 最椀瘀攀渀 椀琀 椀猀 䬀愀爀☀⌀㈀㤀㤀☀⌀㜀㜀㜀㄀☀⌀㈀㔀㜀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 猀攀瘀攀渀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        125. Madhubhār is of 8 syllabic instants having jagaṇ (ISI) after four mātrās. It is of Prākrit and Apbhraṅś origin and alternative names for it are Chhabi and Mohanā It has been used 97 times in the Jāpu (17), Bachitra Nāṭak (12), Chaṇḍī Charitra II(8), Chaubīs Autār (Nihkalaṅkī-11), Brahmā Avatār (34), and Rudra Avatār -15.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀㘀⸀ ऀ㰀椀㸀䴀愀欀爀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 愀渀搀 栀愀猀 琀栀爀攀攀 欀椀渀搀猀 漀昀 爀栀礀洀攀猀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㐀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        127. Mārahā or Mārāh is of 29 syllabic instants having pause at 10, 8, 11 with two gurus (S) at the end of each quarter. Alternative names for it are Manharī, Marharī and Marhaṭā. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㈀㠀⸀ ऀ㰀椀㸀䴀漀栀愀渀㰀⼀椀㸀 椀猀 漀昀 ㈀㠀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀㘀Ⰰ ㄀㈀ 眀椀琀栀 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䄀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 最椀瘀攀渀 椀琀 愀爀攀 䴀漀栀愀渀☀⌀㈀㔀㜀 愀渀搀 䴀愀搀栀甀戀栀☀⌀㈀㔀㜀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀漀甀爀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀ 䄀渀漀琀栀攀爀 昀漀爀洀 漀昀 椀琀Ⰰ 㰀椀㸀䴀漀栀愀☀⌀㜀㜀㔀㄀☀⌀㈀㔀㜀㰀⼀椀㸀Ⰰ 椀猀 愀 欀椀渀搀 漀昀 䠀愀爀椀最☀⌀㈀㤀㤀琀椀欀☀⌀㈀㔀㜀 眀栀椀挀栀 椀猀 漀昀 㠀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀㰀⼀瀀㸀ഀഀ

        129. Mohaṇī is of 16 syllabic instants having sagaṇ (IIS) in the beginning and magaṇ (SSS) at the end of each quarter. Its alternative name in the Dasam Granth is Modak. It has been used 52 times, in the Chaubīs Autār (Rāma -8), Brahmā Avatār (Aj Rājā -8) and Rudrā Avatār (36).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㌀　⸀ ऀ㰀椀㸀䴀爀椀琀最愀琀㰀⼀椀㸀 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 眀椀琀栀 㰀椀㸀渀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 䄀洀爀椀琀最愀琀椀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 琀栀爀椀挀攀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀⸀㰀⼀瀀㸀ഀഀ

        131. Navpadī is of 16 syllabic instants having bhagaṇ (SII) at the end of each quarter. It is a type of Chaupaī and Aṛill and has been used four times in Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㌀㈀⸀ ऀ㰀椀㸀倀愀搀㰀⼀椀㸀 椀猀 漀昀 搀椀昀昀攀爀攀渀琀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 椀渀 搀椀昀昀攀爀攀渀琀 欀椀渀搀猀⸀ 䤀琀 椀猀 漀昀 䠀椀渀搀椀 漀爀椀最椀渀 愀渀搀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀猀 昀漀爀 椀琀 愀爀攀 ☀⌀㌀㐀㘀愀戀搀愀Ⰰ 嘀椀☀⌀㜀㜀㜀㤀☀⌀㜀㜀㔀㄀甀瀀愀搀愀 愀渀搀 䈀椀猀栀愀渀瀀愀搀⸀ 䤀琀 眀愀猀 愀 昀愀瘀漀甀爀椀琀攀 眀椀琀栀 琀栀攀 洀攀搀椀攀瘀愀氀 䤀渀搀椀愀渀 瀀漀攀琀猀 眀爀椀琀椀渀最 椀渀 琀栀攀 搀攀瘀漀琀椀漀渀愀氀 洀漀甀氀搀⸀ 䤀琀 椀猀 愀挀琀甀愀氀氀礀 渀漀琀 愀 洀攀琀爀攀Ⰰ 戀甀琀 愀 瀀漀攀琀椀挀 昀漀爀洀 愀猀 椀渀 琀栀攀 挀愀猀攀 漀昀 倀愀甀☀⌀㜀㜀㜀㄀☀⌀㈀㤀㤀⸀ 䤀琀猀 昀椀爀猀琀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 椀猀 挀漀洀瀀愀爀愀琀椀瘀攀氀礀 猀栀漀爀琀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㔀㔀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀匀栀愀戀愀搀 䠀愀稀☀⌀㈀㔀㜀爀攀㰀⼀椀㸀 ⠀㄀　⤀ 愀渀搀 㰀椀㸀刀甀搀爀愀㰀⼀椀㸀 ⠀倀☀⌀㈀㔀㜀爀愀猀 一☀⌀㈀㔀㜀琀栀⤀ 㰀椀㸀䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㐀㔀⤀⸀㰀⼀瀀㸀ഀഀ

        133. Pāddharī also written as Pāddhaṛī, is of 12 syllabic instants having jagaṇ (ISI) at the end of each quarter with pause at 8, 8. It is of Apbhraṅś origin and is taken, at times, to mean Chaupaī. It has been used 312 times in the Akāl Ustati (38), Bachitra Nāṭak (2), Giān Prabodh (16), Chaubīs Autār (92), Brahmā Avatār (40), and Rudra Avatār (124).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㌀㐀⸀ ऀ㰀椀㸀倀☀⌀㈀㔀㜀搀搀栀愀☀⌀㜀㜀㜀㄀☀⌀㈀㤀㤀 䄀爀愀搀栀㰀⼀椀㸀 椀猀 漀昀 攀椀最栀琀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 琀眀漀 㰀椀㸀最甀爀甀猀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 挀漀渀猀攀挀甀琀椀瘀攀氀礀 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 爀攀猀攀洀戀氀攀猀 䴀愀搀栀甀戀栀☀⌀㈀㔀㜀爀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 昀椀瘀攀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀嘀礀☀⌀㈀㔀㜀猀⤀⸀㰀⼀瀀㸀ഀഀ

        135. Padmāvatī is of 30 syllabic instants having sagaṇ (IIS) and guru (S) at the end of each quarter with pause at 10, 8, 12 and rhyming at the first and the second pause. It resembles Chaupaī and its other alternative names are Chaturpadī and Chavpaīyā. It has been used thrice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㌀㘀⸀ ऀ㰀椀㸀倀愀甀☀⌀㜀㜀㜀㄀☀⌀㈀㤀㤀㰀⼀椀㸀 椀猀 愀 嘀椀☀⌀㜀㜀㜀㤀愀洀 䌀栀栀愀渀搀 栀愀瘀椀渀最 渀漀 氀椀洀椀琀愀琀椀漀渀 漀昀 氀椀渀攀猀 ⠀㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀⤀ 戀甀琀 椀琀猀 氀愀猀琀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 椀猀 最攀渀攀爀愀氀氀礀 猀栀漀爀琀⸀ 吀栀攀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 昀漀爀 椀琀 椀猀 一椀栀猀栀爀攀☀⌀㜀㜀㔀㄀☀⌀㈀㤀㤀Ⰰ 愀渀搀 椀猀 甀猀甀愀氀氀礀 漀昀 琀眀漀 欀椀渀搀猀 㨀 漀渀攀Ⰰ 一椀猀栀☀⌀㈀㔀㜀渀☀⌀㈀㤀㤀 眀栀椀挀栀 爀栀礀洀攀猀 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 愀渀搀 琀栀攀 漀琀栀攀爀Ⰰ 匀椀爀欀栀椀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 栀愀瘀椀渀最 漀渀氀礀 洀椀搀搀氀攀ⴀ爀栀礀洀攀 眀椀琀栀漀甀琀 愀渀礀 爀栀礀洀椀渀最 愀琀 琀栀攀 攀渀搀⸀ 吀栀椀猀 洀攀琀爀攀 椀猀 甀猀甀愀氀氀礀 猀甀渀最 戀礀 琀栀攀 挀漀甀爀琀ⴀ戀愀爀搀猀 漀爀 㰀椀㸀☀⌀㜀㘀㤀㌀栀☀⌀㈀㔀㜀☀⌀㜀㘀㤀㌀栀☀⌀㈀㤀㤀猀㰀⼀椀㸀 愀渀搀 椀猀 洀甀猀椀挀愀氀 椀渀 挀栀愀爀愀挀琀攀爀⸀ 䤀琀 椀猀 洀漀爀攀 愀 昀漀爀洀 漀昀 瀀漀攀琀爀礀 琀栀愀渀 愀 洀攀琀爀攀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 㘀㄀ 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 搀☀⌀㈀㤀㤀 嘀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㔀㐀⤀ 愀渀搀 䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀 ⠀㜀⤀⸀㰀⼀瀀㸀ഀഀ

        137. Punhā is of 21 syllabic instants having pause at 11, 10. Some poets have stressed the use of jagaṇ (ISI) in the middle while others have emphasized ragaṇ (SIS) in the end. Alternative names given it are Harihāṅ, Chāndrāyan, Parihāṅ and Punhā. It is also considered a kind of Aṛill. It has been used twice in Chaṇḍī Charitra I.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㌀㠀⸀ ऀ㰀椀㸀匀愀搀搀㰀⼀椀㸀 椀猀 漀昀 ㈀㤀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀㜀Ⰰ ㄀㈀ 眀椀琀栀 㰀椀㸀礀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀匀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 漀渀氀礀 漀渀挀攀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀⸀㰀⼀瀀㸀ഀഀ

        139. Saṅgīt Bahṛā, which is different from Bahṛā metre used in the Dasam Granth, has been treated four times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀　⸀ ऀ㰀椀㸀匀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀琀 䌀栀栀愀瀀瀀愀礀愀㰀⼀椀㸀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㜀 琀椀洀攀猀 ⴀ 㠀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀刀☀⌀㈀㔀㜀洀愀⤀ 愀渀搀 㤀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀倀☀⌀㈀㔀㜀爀愀猀 一☀⌀㈀㔀㜀琀栀⤀⸀㰀⼀瀀㸀ഀഀ

        141. Saṅgīt Madhubhār. The Saṅgīt is prefixed to it as it contains the strains of musical instruments which increases the tempo of war. It has been used 9 times in the Chaṇḍī Charitra II.

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀㈀⸀ ऀ㰀椀㸀匀愀☀⌀㜀㜀㐀㤀最☀⌀㈀㤀㤀琀 倀☀⌀㈀㔀㜀搀搀栀愀☀⌀㜀㜀㜀㄀☀⌀㈀㤀㤀㰀⼀椀㸀 ⠀匀攀攀 倀☀⌀㈀㔀㜀搀搀栀愀爀☀⌀㈀㤀㤀⤀ 栀愀猀 戀攀攀渀 甀猀攀搀 琀眀椀挀攀 椀渀 琀栀攀 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀嘀礀☀⌀㈀㔀㜀猀⤀⸀㰀⼀瀀㸀ഀഀ

        143. Sirkhiṇḍī is of 21, 22, or 23 syllabic instants having pause at 12, 9 or 12, 10 or 14, 9 respectively. It is of Sanskrit origin and alternative names for it are Palvaṅgam and Srīkhaṇḍ. It has been used in the Dasam Granth generally under the name of Pauṛī (See Pauṛī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀㐀⸀ ऀ㰀椀㸀匀漀爀愀☀⌀㜀㜀㠀㤀栀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㈀㐀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 愀渀搀 椀猀 愀渀 椀渀瘀攀爀琀攀搀 昀漀爀洀 漀昀 䐀漀栀☀⌀㈀㔀㜀 ⠀䐀漀栀愀爀☀⌀㈀㔀㜀⤀⸀ 䤀琀 栀愀猀 琀眀漀 㰀椀㸀挀栀愀爀愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 眀椀琀栀 瀀愀甀猀攀 愀琀 ㄀㄀Ⰰ ㄀㌀⸀ 吀栀攀 昀椀爀猀琀 瀀愀甀猀攀 攀渀搀猀 眀椀琀栀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀Ⰰ 眀栀攀爀攀愀猀 琀栀攀 猀攀挀漀渀搀 瀀愀甀猀攀 攀渀搀猀 眀椀琀栀 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀⸀ 䤀琀 椀猀 漀昀 䠀椀渀搀椀 漀爀椀最椀渀 愀渀搀 栀愀猀 戀攀攀渀 甀猀攀搀 㠀　 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 䤀 ⠀㜀⤀Ⰰ 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀 氀氀㰀⼀椀㸀 ⠀䤀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㐀㐀⤀Ⰰ 㰀椀㸀匀愀猀琀爀愀 一☀⌀㈀㔀㜀洀 䴀☀⌀㈀㔀㜀氀☀⌀㈀㔀㜀㰀⼀椀㸀 ⠀㈀⤀Ⰰ 愀渀搀 㰀椀㸀倀愀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㈀㘀⤀⸀㰀⼀瀀㸀ഀഀ

        145. Sukhdā is of 8 syllabic instants having guru (S), laghu (I) consecutively at the end of each quarter. It has been used 8 times in the Chaubīs Autār (Rāma).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀㘀⸀ ऀ㰀椀㸀匀甀瀀爀椀礀☀⌀㈀㔀㜀㰀⼀椀㸀 椀猀 漀昀 ㄀㘀 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 眀椀琀栀 㰀椀㸀戀栀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀猀 漀琀栀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 椀猀 ☀⌀㜀㘀㤀㈀椀氀氀☀⌀㈀㔀㜀 愀渀搀 栀愀猀 戀攀攀渀 甀猀攀搀 㐀 琀椀洀攀✀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀一椀栀欀愀氀愀☀⌀㜀㜀㐀㤀欀☀⌀㈀㤀㤀⤀⸀㰀⼀瀀㸀ഀഀ

        147. Tilokī is of 16 syllabic instants having guru (S) after four and eight mātrās and also at the end of each quarter. The alternative name given it is Upchitrā, and it has been used twice in the Chaubīs Autār (Nihkalaṅkī).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㐀㠀⸀ ऀ㰀椀㸀吀漀洀愀爀㰀⼀椀㸀 椀猀 漀昀 ㄀㈀ 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 㰀椀㸀最甀爀甀㰀⼀椀㸀 ⠀匀⤀ 愀渀搀 㰀椀㸀氀愀最栀甀㰀⼀椀㸀 ⠀䤀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 匀愀渀猀欀爀椀琀 漀爀椀最椀渀 愀渀搀 椀琀猀 漀琀栀攀爀 愀氀琀攀爀渀愀琀椀瘀攀 渀愀洀攀 椀猀 倀愀搀栀愀☀⌀㜀㜀㜀㄀椀欀☀⌀㈀㔀㜀⸀ 䈀栀☀⌀㈀㔀㜀☀⌀㈀㤀㤀 䬀☀⌀㈀㔀㜀栀渀 匀椀☀⌀㜀㜀㐀㤀最栀 栀愀猀 搀攀昀椀渀攀搀 椀琀 愀猀 㰀椀㸀瘀愀☀⌀㜀㜀㜀㄀渀椀欀㰀⼀椀㸀 洀攀琀爀攀 愀氀猀漀Ⰰ 栀愀瘀椀渀最 㰀椀㸀猀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀䤀䤀匀⤀ 愀渀搀 琀眀漀 㰀椀㸀樀愀最愀☀⌀㜀㜀㔀㄀猀㰀⼀椀㸀 ⠀䤀匀䤀⤀ 椀渀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䈀甀琀 琀栀椀猀 搀攀昀椀渀椀琀椀漀渀 搀漀攀猀 渀漀琀 搀椀猀琀甀爀戀 琀栀攀 瀀愀琀琀攀爀渀 漀昀 㰀椀㸀洀☀⌀㈀㔀㜀琀爀椀欀㰀⼀椀㸀 洀攀琀爀攀 愀猀 椀琀 椀猀 琀爀攀愀琀攀搀 椀渀 䠀椀渀搀椀 瀀漀攀琀爀礀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㈀　㐀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀㰀⼀椀㸀㨀 㰀椀㸀䄀欀☀⌀㈀㔀㜀氀 唀猀琀愀琀椀㰀⼀椀㸀 ⠀㈀　⤀Ⰰ 㰀椀㸀䜀椀☀⌀㈀㔀㜀渀 倀爀愀戀漀搀栀㰀⼀椀㸀 ⠀㈀㈀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㈀㘀⤀Ⰰ 㰀椀㸀䈀爀愀栀洀☀⌀㈀㔀㜀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㜀　⤀Ⰰ 㰀椀㸀刀甀搀爀愀 䄀瘀愀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀㘀　⤀Ⰰ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㘀⤀⸀㰀⼀瀀㸀ഀഀ

        149. Tribhaṅgī is of 32 syllabic instants having pause at 10, 8, 8, 6 with guru (S) at the end of each quarter. There are ordinarily three subordinate rhymes at each pause. It is of Sanskrit origin and poets of Prākrit and Apbhraṅś have also practised it. It has been used 41 times in the Akāl Ustati (20), Bachitra Nāṭak (2), Giān Prabodh (7), and Chaubīs Autār (12).

਍㰀瀀 挀氀愀猀猀㴀∀䌀㄀∀㸀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀☀渀戀猀瀀㬀㄀㔀　⸀ ऀ㰀椀㸀嘀椀樀愀礀愀㰀⼀椀㸀Ⰰ 愀氀猀漀 眀爀椀琀琀攀渀 愀猀 䈀椀樀愀椀Ⰰ 椀猀 漀昀 㐀　 猀礀氀氀愀戀椀挀 椀渀猀琀愀渀琀猀 栀愀瘀椀渀最 瀀愀甀猀攀 愀琀 ㄀　Ⰰ ㄀　Ⰰ ㄀　Ⰰ ㄀　 眀椀琀栀 㰀椀㸀爀愀最愀☀⌀㜀㜀㔀㄀㰀⼀椀㸀 ⠀匀䤀匀⤀ 愀琀 琀栀攀 攀渀搀 漀昀 攀愀挀栀 焀甀愀爀琀攀爀⸀ 䤀琀 椀猀 漀昀 倀爀☀⌀㈀㔀㜀欀爀椀琀 愀渀搀 䄀瀀戀栀爀愀☀⌀㜀㜀㐀㤀☀⌀㌀㐀㜀 漀爀椀最椀渀 愀渀搀 愀氀猀漀 昀愀氀氀猀 甀渀搀攀爀 琀栀攀 挀愀琀攀最漀爀礀 漀昀 㰀椀㸀瘀愀爀☀⌀㜀㜀㔀㄀椀欀㰀⼀椀㸀 洀攀琀爀攀⸀ 䤀琀 栀愀猀 戀攀攀渀 甀猀攀搀 ㄀㤀 琀椀洀攀猀 椀渀 琀栀攀 㰀椀㸀䌀栀愀☀⌀㜀㜀㔀㄀☀⌀㜀㘀㤀㌀☀⌀㈀㤀㤀 䌀栀愀爀椀琀爀愀 䤀䤀㰀⼀椀㸀 ⠀㈀⤀Ⰰ 㰀椀㸀䌀栀愀甀戀☀⌀㈀㤀㤀猀 䄀甀琀☀⌀㈀㔀㜀爀㰀⼀椀㸀 ⠀䤀⤀ 愀渀搀 㰀椀㸀倀☀⌀㈀㔀㜀欀栀礀☀⌀㈀㔀㜀渀 䌀栀愀爀椀琀爀愀㰀⼀椀㸀 ⠀㄀㘀⤀⸀㰀⼀瀀㸀ഀഀ ਍㰀瀀 挀氀愀猀猀㴀∀䈀䤀䈀∀㸀ഀഀ BIBLIOGRAPHY

1. Ashta, Dharam Pal, The Poetry of the Dasam Granth. Delhi, 1959
   ਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䰀漀攀栀氀椀渀Ⰰ 䌀⸀ 䠀⸀ Ⰰ 㰀椀㸀吀栀攀 䜀爀愀渀琀栀 漀昀 䜀甀爀甀 䜀漀戀椀渀搀 匀椀☀⌀㜀㜀㐀㤀最栀 愀渀搀 琀栀攀 䬀栀愀氀猀愀 䈀爀漀琀栀攀爀栀漀漀搀㰀⼀椀㸀⸀ 䰀甀挀欀渀漀眀Ⰰ ㄀㤀㜀㄀㰀䈀刀㸀ഀഀ
2. Sher Singh, Social and Political Philosophy of Guru Gobind Singh. Delhi, n. d.
   ਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䬀漀栀氀椀Ⰰ 匀甀爀椀渀搀愀爀 匀椀☀⌀㜀㜀㐀㤀最栀Ⰰ ∀䐀愀猀愀洀 䜀爀愀渀琀栀Ⰰ ∀ 椀渀 䴀椀爀挀攀愀 䔀氀椀搀攀Ⰰ 攀搀⸀ Ⰰ 㰀椀㸀吀栀攀 䔀渀挀礀挀氀漀瀀愀攀搀椀愀 漀昀 刀攀氀椀最椀漀渀㰀⼀椀㸀Ⰰ 瘀漀氀⸀ 㐀⸀ 一攀眀 夀漀爀欀Ⰰ ㄀㤀㠀㜀㰀䈀刀㸀ഀഀ
3. Gopal Singh, Thus Spake the Tenth Master. Patiala, 1978
   ਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䨀愀最最☀⌀㈀㤀㤀Ⰰ 刀愀琀琀愀渀 匀椀☀⌀㜀㜀㐀㤀最栀Ⰰ 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀 倀愀爀椀挀栀愀礀愀㰀⼀椀㸀⸀ 䐀攀氀栀椀Ⰰ ㄀㤀㤀　㰀䈀刀㸀ഀഀ
4. Dasam Granth dā Kartritav. Delhi, 1965
   ਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 倀愀搀愀洀Ⰰ 倀椀☀⌀㈀㔀㜀爀☀⌀㈀㔀㜀 匀椀☀⌀㜀㜀㐀㤀最栀Ⰰ 㰀椀㸀䐀愀猀愀洀 䜀爀愀渀琀栀 䐀愀爀猀栀愀渀㰀⼀椀㸀⸀ 倀愀琀椀愀氀愀Ⰰ ㄀㤀㘀㠀㰀䈀刀㸀ഀഀ
5. Mahīp Siṅgh, Gurū Gobind Siṅgh Aur Unkī Hindī Kavitā. Delhi, 1968
   ਍㰀氀椀 挀氀愀猀猀㴀∀䌀㄀∀㸀 䈀栀☀⌀㈀㔀㜀爀搀眀☀⌀㈀㔀㜀樀Ⰰ 伀洀 倀爀愀欀愀猀栀Ⰰ 㰀椀㸀刀愀洀愀瘀琀☀⌀㈀㔀㜀爀 吀愀琀栀☀⌀㈀㔀㜀 䬀爀椀猀栀愀☀⌀㜀㜀㔀㄀愀瘀琀☀⌀㈀㔀㜀爀 䬀☀⌀㈀㔀㜀 䬀☀⌀㈀㔀㜀瘀礀愀ⴀ匀栀☀⌀㈀㔀㜀猀琀爀☀⌀㈀㤀㤀礀愀 䄀搀栀礀愀渀㰀⼀椀㸀⸀ 倀愀琀椀愀氀愀Ⰰ ㄀㤀㜀㠀㰀䈀刀㸀ഀഀ

C. H. Loehlin
Rattan Siṅgh Jaggī

਍㰀⼀昀漀渀琀㸀ഀഀ ਍㰀⼀䠀吀䴀䰀㸀㰀⼀䈀伀䐀夀㸀ഀഀ