Listen, as the venerable Sūta and the tradition of sages unfold the subtle science of poetic meters, their intricate patterns and distinguishing marks, as described in the ancient treatise. First, they speak of the meters known as Āryā and Jāti. In the structure of these meters, there is a particular arrangement: in the middle, the second syllable is marked as 'y', while 'jau' is called capalā, beginning from the start of the foot. In the second half, sajaghanā appears—these are the identifying features of the Āryā and Jāti meters. The Āryā specifically has its distinctive mark in the first half; if the meter is gīti, this mark is present in both halves. The upagīti begins from the second half, while udgīti arises from the interchange of these patterns. When the end of the line in Āryāgīti bears a guru (a heavy syllable), this is the sign of the Gotijāti meter. In such meters, if there are six kalās (units) in odd positions and eight in even, but not in continuous sequence, it is called samā and is not dependent on other rules. The Vaitālīya meter, too, is marked by a guru at the end. If, as before, two 'y's are placed within the line, this is recognized as the Aupacchandasika meter. The Bhādgau is known as āpātalikā, and similarly, there is the dakṣiṇāntikā. In the Parāśrita meter, the second 'la' is present in every foot. The udīcya meter is characterized by an uneven arrangement, while the prācya meter forms pairs. Both proceed together when the fifth syllable appears in the fourth foot. When the first foot of udīcya unites with the paired feet, the yugmapāda, or single-footed meter, emerges. In the vaitālīya, both feet are described as charming and smiling, making a delightful collection. There are further rules for the beginning and end of lines. The face, or opening, of the verse should not begin with 'na', and the fourth foot should contain a 'gaṇa' (a specific group of syllables). If the pathyā face has 'ja' in the same place, it is so called; otherwise, it is reversed or different. In the usame, na, and capalā meters, the seventh laghu (light syllable) is called vipulā. In all, the saitava meter contains mrau and tau, and in the oceanic meter, these two are preceded by 'tat'. A meter of sixteen syllables, with steady and unwavering rhythm (acala-dhṛti), is said to have equal mātrās (time units). Nava, mala, and similar patterns are placed at the end; jo, nlau, and, as in the ocean, are also found. The viśloka is composed of four or eight lines, and is called navāsikā. In the bāṇa meter, eight and nine syllables are arranged, and 'la' is citrā, consisting of sixteen syllables; equal mātrā is prescribed, and this is known as padākulaka. A meter without mātrā is measured by syllables alone; 'la' occurs without heavy syllables. Heavy syllables are always 'la' in the foot, and this is the established rule. Twenty-eight 'la' syllables are found in the first half of the second section; thirty in the crest, and by reversing the khañja pattern, it is so arranged. Sixteen syllables are set in anaṅga-krīḍā, thirty-two 'la' in the last section, and twenty-seven 'la' in both feet, creating a beautiful form. Having thus described the mātrā meters, the sage now turns to the syllabic meters. Sūta continues: The śrīruktha is to be known as gena; utyuktha is feminine, marked by two heavy syllables. The syllable 'mo' represents a woman, 'ro' a deer, madhyā is magau, and kanyā is pratiṣṭhā. The meter called Paṅkti is well established as bho gau, slender in the middle and remembered as tayau. When combined with nayā and bāla-lalitā, it becomes the gāyatrī meter. Masagai and madalekhā are known to the wise as uṣṇik meter; bhau gau is famed as citrapadā, and vidyunmālā is mamau gagau. Māṇavaka is called bhāttalaga, mnau gau is haṃsaruta; samānikā, rajagalā, jaralā, and gaḥ together form pramāṇikā. With these, another arrangement is called the anuṣṭup meter. With ranasai, the meter is halamukhī; nau maḥ is for the child-bearer, known as the bṛhatī meter, whose shining form is smau jagau. Paṇava is manayagai, and from this arises mayūrasāriṇī; with rajā and ragā, rukmavatī is bhamau sagau. The Paṅkti meter is described as consisting of lines adorned with pleasing syllables, joined with the sounds 'ma', 'bha', and 'ga', delightful to both people and cows. Among these, the one with 'ga', 'vi', and 'indra', and beginning with 'ja', is called Gupapūrvikā. Other meters, ending with upajāti, are Sumukhī, Najajā, and Lagau; Bhabhabhā and Gau are called Dodhaka, while Śālinī is Matatā and Gagau. The separation of the worlds of water and air is called Mamatā Gagau; Śrībhatau and Nanagā are composed of five or six syllables. Maganā and Go are named for the play of bees; Rathoddhata and Arṇau are Ralagāḥ, while Svāgata and Ranabhā Gagau are also recognized. Vṛttā, Nanau, Sagau, and Gaḥ are said to be equal in measure; Rajarā and Lgau are Śyenikā, Jasatā and Gau are Śikhaṇḍita; the Triṣṭubh meter is so named by the illustrious Piṅgala. Ranau, Bhasau, and Candravartma are found in the Vaṃśastha meter, with Jatau and Jarau; then Jarā and Indravaṃśā are known as Vedasaistoṭaka; Nbhau and Bhrau are Drutavilambita, and Puṭa is Nanau and Mayau. Vasuveda brings cessation, and the one with a joyful face is called Nayanā, as declared by Nanararā. That meter, adorned with various flowers and moving like water, is known as Stragviṇī, with four clever jasau in each line. The Bhujaṅgaprayāta meter is described as having four lines; Maṇimālā is composed with Prayaṃvadā and Nabhajrai, as well as Tayau, Tayau. With Guhavaktra, Sannidrā is Lalitā, and Tabhau and Jarau; Ujjvalā, with measured syllables and Sajasasai, is Nanau and Bharau. Mamau and Yayau are Vaiśvadevī, and with fifty horses, it is called Yati; Mabhau and Samau, along with Jaladharamālā and Abdhya, are also called Yati. Nau, Tatau, and Gaḥ are Kṣamāvṛtta, and with horses and rasa, it is Yati; Praharṣiṇī is Manau, Jrau, and Gaḥ, and with ten fires, it is Yati. Jabhau, Sajau, and Gaḥ form Rucirā, and with four planets, it is Yati; Mattamayūra, with Matayāḥ and Sagau, is Yati with divine planets. Mañjubhāṣiṇī is Sajsā and Jgau; Sunandinī is Sajasā and Magau; Nanau, Tatau, and Candrikā Gaḥ, with seven rasas, is Yati. Asambādhā, with Matanasā and Gagau, is Yati with Bāṇa planets; Nanarāḥ is Laghuguru, and with svaras, it is called Aparājitā. Nanau, Bhanau, and Praharaṇakalikā are Lagau as well; Vasantatilakā, Siṃhonnatā, and Tabhjā are Jagau Guru. Bhajau, Sanau, and Gagāvindu are Vadanātha and Sukeśaram; Naranā, Ralagāḥ, and Pāde, Śarkarī is thus explained. Thus, the sages have lovingly described the many meters, their forms and qualities, their names and patterns, bestowing upon us the wisdom of poetic measure, so that the sacred verses may be composed with beauty, order, and grace.