Sūta, the revered sage, continued his discourse on the intricate science of poetic meters, sharing their secrets as taught in sacred tradition. He began by explaining the technical aspects of certain meters: “In the construction of verses, the syllables nava and mala, as well as go, are placed at the end. The syllables jo and nlau, similar to the ocean’s vastness, are used as well. The viśloka meter is counted either as four times, or double that, and is named navāsikā. In the bāṇa meter, eight and nine syllables are used, and la is citrā, which consists of sixteen. Equal mātrās are prescribed for this, and it is called padākulaka. A meter that is not measured by mātrās is instead counted by syllables. In this, la denotes the absence of heavy syllables, while heavy syllables are always la in the foot—this is the established rule. In one particular meter, twenty-eight la syllables are placed in the first half of the second line; thirty la syllables form the crest, and by the reversal of khañja, the pattern is set. In anaṅga-krīḍā, there are sixteen la syllables, and thirty-two la in the last; both feet contain twenty-seven la each, and both are considered beautiful. Having spoken of meters based on mātrās, Sūta declared, ‘Now I will explain the meters constructed from syllables.’ He continued: “The śrīruktha is known as gena. The utyuktha is feminine and contains two heavy syllables. The syllable mo signifies woman, ro is deer; madhyā is magau, and kanyā is pratiṣṭhā. Bho gau is the paṅkti meter, well established and slender in the middle, remembered as tayau. With nayā and bāla-lalitā, it is recognized as the gāyatrī meter. Masagai and madalekhā are known by the wise as uṣṇik meter; bhau gau is famed as citrapadā, while vidyunmālā is called mamau gagau. The māṇavaka meter is bhāttalaga, and mnau gau is remembered as haṃsaruta. Samānikā, rajagalā, jaralā, and gaḥ together form pramāṇikā; with these, another arrangement is called the anuṣṭup meter. With ranasai, the meter is called halamukhī; nau maḥ denotes the child-bearer, and this is the bṛhatī meter, with smau jagau being its shining form. Paṇava is manayagai, and from this, mayūrasāriṇī is formed; with rajā and ragā, rukmavatī is bhamau sagau. The meter called Paṅkti is described as consisting of lines adorned with pleasing syllables, joined with the sounds ‘ma’, ‘bha’, and ‘ga’, delightful to both people and cows. Of these, the one with ‘ga’, ‘vi’, and ‘indra’, and beginning with ‘ja’, is known as Gupapūrvikā. Other meters, ending with upajāti, are named Sumukhī, Najajā, and Lagau; Bhabhabhā and Gau are 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, and Svāgata and Ranabhā Gagau. Vṛttā, Nanau, Sagau, and Gaḥ are equal in measure; Rajarā and Lgau are Śyenikā, Jasatā and Gau are Śikhaṇḍita. The Triṣṭubh meter is so named by the great Piṅgala. Ranau, Bhasau, and Candravartma are in the Vaṃśastha meter, with Jatau and Jarau; then Jarā and Indravaṃśā are called Vedasaistoṭaka. Nbhau and Bhrau are Drutavilambita, and Puṭa is Nanau and Mayau. Vasuveda brings cessation, and the meter with a joyful face is named Nayanā, as declared by Nanararā. That meter, adorned with various flowers and moving like water, is called Stragviṇī, with four clever jasau in each line. The meter called Bhujaṅgaprayāta has four lines; Maṇimālā is composed with Prayaṃvadā and Nabhajrai, and Tayau, Tayau. With Guhavaktra, Sannidrā is Lalitā, and Tabhau and Jarau; Ujjvalā, with measured syllables and Sajasasai, is Nanau and Bharau. Mamau and Yayau form the Vaiśvadevī meter; with fifty horses, it is called Yati. Mabhau and Samau, 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 make 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, 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. The fourteen-syllable meter is best, with the lunar digit and its companions; the rasagraha meter, the sraksrā, and the vasuśaila meter are likewise so. The maṇiguṇa group forms the mālinī meter, and nanamā proceeds; the vasusvara meter is also so, and najau, bhajrā, and prabhadraka likewise. Elā, sayau, and nanau—whoever is with the eight citralekhā notes; marau and mayau—whoever is thus, this is called the śarkarī meter. From the svarā, the khaṃ, vṛṣabha, gaja, and jṛmbhita, as well as bhrananā and nagau; najabhajarā, vāṇinī, and gaḥ, the piṅgala meter is declared with eight. With rasarudra, the śikhariṇī meter, yamau, and nasabhalā, the guru; the vasugrayati meter is pṛthvī, jasau, and jasayalā, the guru. With ten notes, the vaṃśapatra falls, bhraunnabhā is laghu; with six vedāśva, the hariṇī meter, nasamā, and rasalā, the guru. The mandākrānta meter, with six nagas, mabhanā, and tatagā, is guru; the nardaṭaka, najabhajā, jalau, and go is also a meter. The saptartva meter, the kokila, and the kamatyaṣṭi are as before; with bhūtartva and aśva, the kusumitalatā, mtau, nyau, and yayau, is dhṛti. With rasartva and aśva, yamau, nsau, and rau, the meghavisphūrjita meter, ragau; the śārdūlavikrīḍita, maḥ, with sūryaśva, sajsatā, and stagau. The meter called atidhṛti is declared, and after that comes kṛti; with seven aśva and rtu, the suvadanā, bhrau, manau, and yabhalā, the guru. Thus, Sūta unfolded the wondrous tapestry of meters, each with its unique arrangement and beauty, as cherished by poets and sages alike.