Let us journey through the luminous world of Sanskrit metres, as revealed in these verses, where each rhythm and pattern is lovingly named and described. The sages begin by explaining that when a composition is marked with “ranasai,” it is called Halamukhī; “nau maḥ” is for the child-bearer, and this pattern is known as the Bṛhatī metre. Its radiant form, “smau jagau,” shines forth. Next, “Paṇava” is called Manayagai, and when shaped with Mayūrasāriṇī, it is formed anew. With “rajā” and “ragā,” the Rukmavatī metre is described as “bhamau sagau.” The Paṅkti metre follows, consisting of lines adorned with pleasing syllables, joined with the sounds “ma,” “bha,” and “ga,” bringing delight to both people and cows. Among these, the one beginning with “ja,” and containing “ga,” “vi,” and “indra,” is known as Gupapūrvikā. Other metres, ending with Upajāti, are called Sumukhī, Najajā, and Lagau; Bhabhabhā and Gau are Dodhaka, while Śālinī is Matatā and Gagau. The separation of the realms of water and air gives rise to the Mamatā Gagau metre. Śrībhatau and Nanagā are said to be composed of five or six syllables. Maganā and Go are named for the playful dance of bees; Rathoddhata and Arṇau are Ralagāḥ, while Svāgata and Ranabhā are Gagau. Vṛttā, Nanau, Sagau, and Gaḥ are equal in measure; Rajarā and Lgau are known as Śyenikā, Jasatā and Gau as Śikhaṇḍita. The Triṣṭubh metre is thus named by the great Piṅgala. Ranau, Bhasau, and Candravartma belong to the Vaṃśastha metre, with Jatau and Jarau. 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 named Nayanā, as declared by Nanararā. The Stragviṇī metre is adorned with various flowers and flows like water, each line containing four clever jasau. The Bhujaṅgaprayāta metre 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 are called Vaiśvadevī, and with fifty horses, it is named Yati. Mabhau and Samau, with the Jaladharamālā and Abdhya, are also called Yati. Nau, Tatau, and Gaḥ are Kṣamāvṛtta, and with horses and rasa, it remains 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, 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 metre is best, with the lunar digit and its companions; the rasagraha metre, the sraksrā, and the vasuśaila metre are likewise so. The maṇiguṇa group forms the Mālinī metre, and nanamā proceeds; the Vasusvara metre is also so, and Najau, Bhajrā, and Prabhadraka likewise. Elā, Sayau, and Nanau belong to the eight citralekhā notes; Marau and Mayau, when so joined, create the Śarkarī metre. From the svarā, the Khaṃ, Vṛṣabha, Gaja, and Jṛmbhita, as well as Bhrananā and Nagau; Najabhajarā, Vāṇinī, and Gaḥ, the Piṅgala metre is declared with eight. With Rasarudra, the Śikhariṇī metre arises, with Yamau and Nasabhalā, the Guru; the Vasugrayati metre is Pṛthvī, Jasau, and Jasayalā, the Guru. With ten notes, the Vaṃśapatra falls, Bhraunnabhā is Laghu; with six Vedāśva, the Hariṇī metre, Nasamā, and Rasalā, the Guru. The Mandākrānta metre, with six Nagas, Mabhanā, and Tatagā, is Guru; the Nardaṭaka, Najabhajā, Jalau, and Go is also a metre. The Saptartva metre, 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 metre, Ragau; the Śārdūlavikrīḍita, Maḥ, with Sūryaśva, Sajsatā, and Stagau. The metre called Atidhṛti is declared, and after that comes Kṛti; with seven Aśva and Rtu, the Suvadanā, Bhrau, Manau, and Yabhalā, the Guru. The Vṛtta metre, with Rajau, Rajau in the foot, Rajau, Go, and Laḥ, is Kṛti; with three sevens, the Snagdharā, the Prakṛti, and Mnabhanaistriyaiḥ. With Digarka, the Bhadraka metre, Bhrau, Nrau, Naranā, and Go, as per the form; Najau, Bhaśvāśva, Lalita, Jabhau, and Jabhalagā, is the metre. With Mattākrīḍa and eight Bāṇa and ten, Mau, Tanau, and Nanau; Nalau and Guru, the Vikṛti metre, and the Chinnā is called Saṃkṛti. With five Aśva and Arka, Bhatau, Tanvī, Nasabhā, and Bhanayā, the Gaṇas; Krauñca feet, Bāṇa, Śara, Vasuśaila, Bhamau, and Sabhau. Nau, Nau, and Go—the Atikṛti metre is declared; the metre called Utkṛti; with Vasvī, Īśa, Aśva, and Mamatanaiḥ, the Bhujaṅgavijṛmbhita metre. With Nanaras and Laghu, the Apavāhākhyaka metre; with six Guha and Rasa, Bāṇa, Monāḥ, and six Sagagā, the Gaṇas. The Caṇḍa metre, Prapāta, Daṇḍaka, Nau, and then Agara; from Raphe, Vṛddhānta, and the rest, Vyāla, Jīmūta, and others. Sūta then explains: If “sasasalagā” occurs in an uneven foot, it is called Upacitraka; in an even foot, Bhau, Bhagagā are Drutamadhyā, and Bhabhau, Bhagau. In an uneven foot, “gaḥ” is found; elsewhere, “najau,” “jyau,” and “gaṇau” are remembered. “Gaḥ” in an uneven metre is swift; in an even metre, “bhau,” “bho,” “gagau,” and “gaṇāḥ.” In an uneven foot, “tajau,” “ro,” and “gaḥ”; in an even metre, “masau,” “jagau,” and “garuḥ.” The Bhadravirāṭketumatī, in an uneven metre, is “sajau.” Thus, the tapestry of Sanskrit metres is woven, each with its own rhythm, beauty, and name, as passed down by the wise and preserved in these sacred verses.