ÿþ<HTML><HEAD><TITLE>DASAM GRANTH </TITLE> <style type="text/css"> .BODY { background-color: #EAF1F7; background-image: url('images/gtbh.jpg'); background-repeat: no-repeat; background-attachment: fixed; background-position: center; color: #0066CC;} .C1{text-align: justify;color: #0066CC;FONT-size: SMALL;FONT-family: Tahoma;} .BIB{text-align: center;color: #000099;FONT-size: SMALL;FONT-family: Tahoma;} .CONT{text-align: right;color: #FF0000;FONT-size: SMALL;FONT-family: Tahoma;} </style><META NAME="keywords" CONTENT="DASAM,GRANTH"> <META http-equiv="content-type" content="text/html; charset=UTF-8"></HEAD> <BODY class="BODY" oncontextmenu="return false" ondragstart="return false" onselectstart="return false"> <FONT ALIGN="JUSTIFY" FACE="Tahoma"> <p class="C1">&#65279DASAM GRANTH (lit. the Tenth Book, generally signifying the Book of the Tenth Gur&#363) is how the collection of compositions attributed to the Tenth Gur&#363 Gur&#363 Gobind Si&#7749gh is named to distinguish it from the earlier work, the <i>&#256di Granth</i>, the First or Primary Book, compiled by Gur&#363 Arjan, the fifth in the spiritual line from Gur&#363 N&#257nak and to which Gur&#363 Gobind Si&#7749gh added the hymns of the Ninth Gur&#363, Gur&#363 Te<u>gh</u> Bah&#257dur, forbearing from adding any of his own. His own compositions were gathered into a separate volume. According to Kesar Si&#7749gh Chhibbar, <i>Ba&#7749s&#257val&#299n&#257m&#257 D&#257s&#257&#7749 P&#257tsh&#257h&#299a&#7749 K&#257</i>, the two volumes sat in <i>gurdw&#257r&#257s</i> separately when in Sammat 1755 (AD 1698), Sikhs, says Chhibbar, proposed to Gur&#363 Gobind Si&#7749gh that the two Granths be got bound together into one volume. But the Gur&#363 spoke, "This one is &#256di Gur&#363 Granth, the root book; that one is only for my diversion. Let this be kept in mind and let the two stay separate. "</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Earlier, too, Gur&#363 Gobind Si&#7749gh had, when concluding the story of Lord K&#7771&#7779&#7751a, versified by him, stated that the purpose of the composition was nothing but to acclaim the righteous war. Although the <i>Dasam Granth</i> is revered equally with the Gur&#363 Granth S&#257hib and in some <i>gurdw&#257r&#257s</i> is seated side by side with the latter, it does not enjoy the same status nor does it rank theologically as Shabad-Gur&#363 as does the &#256di Granth. Even the authorship and authenticity of some of the writings in it are sometimes questioned. The volume was compiled at Amritsar by Bh&#257&#299 Man&#299 Si&#7749gh, one of his devoted followers, some two decades after the passing away of Gur&#363 Gobind Si&#7749gh. What with the intrigues of the jealous hill <i>r&#257j&#257s</i> and the hostility of the Mu<u>gh</u>al satraps, those were perilous times. Gur&#363 Gobind Si&#7749gh continued to patronize bards and poets who had gravitated to Anandpur and encouraged them to produce translations into <i>bh&#257kh&#257</i> (vernacular) of martial episodes from the Pur&#257&#7751as and other ancient texts. Many of the manuscripts from his own pen and from those of the poets were lost at the time of the final evacuation of Anandpur in December 1705. Man&#299 Si&#7749gh spent years tracing and collecting whatever could be salvaged or whatever had been preserved by Sikhs who had retained copies of some of the texts in their possession. From this material came the first recension of the <i>Dasam Granth</i>. A second recension was prepared by B&#257b&#257 D&#299p Si&#7749gh, chief of the Shah&#299d clan at Damdam&#257 S&#257hib. The bulk of the contents of these recensions was common to both. Yet another recension was got up by Bh&#257&#299 Sukkh&#257 Si&#7749gh, an officiant at Ta<u>kh</u>t Sr&#299 Pa&#7789n&#257 S&#257hib. Several other recensions, copies and copies made from copies, appeared successively, not without some mutual textual variations.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; During the Si&#7749gh Sabh&#257 days, the <u>Kh</u>&#257ls&#257 D&#299w&#257n, Amritsar, took up the question of verification and standardization of the text of the <i>Dasam Granth</i>. The work was entrusted to Gurmat Granth Prach&#257rak Sabh&#257, established in March 1885. Bh&#257&#299 Mann&#257 Si&#7749gh, son of the secretary to the Sabh&#257, Bh&#257&#299 &#256gy&#257 Si&#7749gh Hak&#299m, undertook to finance the project. Thirty-two copies of the <i>Granth</i> were collected from different places and brought to the Ak&#257l Ta<u>kh</u>t, where a group of eminent scholars pored over them, studying and discussing them threadbare between 8 S&#257va&#7751 1952 Bk/ 5 July 1895 and 5 Phaga&#7751 1952 Bk/17 February 1896. Among these scholars were Bh&#257&#299 Mann&#257 Si&#7749gh Hak&#299m, Bh&#257&#299 Narai&#7751 Si&#7749gh, Bh&#257&#299 &#7788h&#257kar Si&#7749gh, Bh&#257&#299 Sant Si&#7749gh (son of Gi&#257n&#299 Gi&#257n Si&#7749gh), Bh&#257&#299 Bishan Si&#7749gh, Sant Gop&#257l D&#257s Ud&#257s&#299, Mahant Am&#299r Si&#7749gh, <i>et al</i>. Opinions were invited from a wider circle by correspondence, and a complete report on the deliberations was published on 1 K&#257rtik 1954 Bk / 14 October 1897. The result was the recension now current. It was first published by Waz&#299r Hind Press, Amritsar, in October 1902.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; A few of the compositions in the <i>Dasam Granth</i> bear the signature title, Sr&#299 Mukhv&#257k P&#257tsh&#257h&#299 X, literally, holy word from the mouth of the Tenth Sovereign, i. e. the Tenth Gur&#363, Gur&#363 Gobind Si&#7749gh. Some compositions are preceded by simply, P&#257tsh&#257h&#299 X. Two or three, covering about 75 pages of the <i>Dasam Granth</i>, bear no signatures at all. In general, those with the full signature title are accepted as written or dictated by the Gur&#363 himself, whereas those with the abbreviated title, or those with no title, may or may not be so accepted.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>J&#257pu</i>, the opening meditation in the <i>Dasam Granth</i>, 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 <i>stotra</i> or panegyric, a well-established poetic form used in devotional Sanskrit literature. The <i>Japu</i> 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 <i>J&#257pu</i> is placed at the head of the <i>Dasam Granth</i> as is the <i>J&#257pu</i> at the head of the <i>&#256di Granth</i>. The <i>J&#257pu</i> is all a hymn of laudation to the Lord who is remembered by many different names and attributes of Sanskrit, Arabic and Persian origin. Gur&#363 Gobind Si&#7749gh has tried in the <i>J&#257pu</i> the novel experiment of juxtaposing oriental and semitic terminology by using compound expressions derived from both sources; for example: <i>k&#299 saraba&#7749 kal&#299mai; ki parama&#7749 fah&#299mai (saraba&#7749 kal&#299mai</i> = all eloquence, <i>parama&#7749 fah&#299mai</i> = most wise). At places he used <i>a</i> and <i>an</i> which are Sanskrit prefixes denoting negative sense with Arabic and Persian words to a very telling effect; for example, <i>namasta&#7749 a-majabe</i> and <i>a-nrañj b&#257t</i> (<i>a</i> =without, <i>majabe</i> = religion; <i>amajabe</i> = without any religion; an = without, <i>rañj</i> = rancour; <i>anrañj</i> = without rancour). The <i>J&#257pu</i> carries the signature title, Mukhv&#257k P&#257tsh&#257h&#299 X. The text may be taken as an example of the blending of Indian and Semitic linguistic cultures.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>Ak&#257l Ustati</i>, spelt "Ustat" in the original (Praises of the Timeless), occupying 28 pages in the <i>Dasam Granth</i> edition comprising 1428 pages, is a poem mixing <i>stotra</i> and didactic forms of verse. The real purpose of man, according to this poem, is to live and remember God. The poet becomes attuned to the Supreme Being as he utters the expression <i>t&#363 h&#299</i> (Thou alone art, Thou alone existest). He repeats the expression 16 times (verses 69-70). The <i>Ak&#257l Ustati</i> focusses upon the unity of all mankind, saying that the temple and mosque are the same. All mankind is one. It is but error to see it divided. Gur&#363 Gobind Si&#7749gh commences this poem with an invocation to God, All-Steel, and ends it picturing Hindus and Muslims, in fact people the world over, as one, seeking the same God whose blessings they cherish.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The <i>Bachitra N&#257&#7789ak</i> (Play Marvellous) carries the signature Sr&#299 Mukhv&#257k P&#257tsh&#257h&#299 X. It consists of 14 cantos. The style is autobiographical. Gur&#363 Gobind Si&#7749gh 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 Gur&#363 Gobind Si&#7749gh, "I assumed birth for the purpose of upholding <i>dharma, </i> saving the saints and destroying tyrants. The fierce battles between the armies of Lava and Ku&#347a are described in grim detail. Vultures and foul spirits abound. Gorgeously robed <i>houris</i> fly about the battlefield wheedling the warriors. Death on the battlefield is reckoned glorious.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Among the battles described is that of Bha&#7749g&#257&#7751&#299 (18 September 1688) in which Gur&#363 Gobind Si&#7749gh himself took part. The poem contains many a personal allusion and allusions to participants on both sides. The opening invocation to the Creator and Saviour hailed as the Sword sets the mood for the battle scenes. Verses of war and worship intermingle and a picture emerges of an ideal warrior-saint. The text comprising 14 chapters is part of the larger <i>Bachitra N&#257&#7789ak Granth</i> which also includes the <i>Cha&#7751&#7693&#299 Charitra, </i> I and II, <i>Chaub&#299s Aut&#257r</i>, <i>Brahm&#257 Avat&#257r</i> and <i>Rudra Avat&#257r. </i> Some stories of the <i>avat&#257rs</i> such as that of K&#7771&#7779&#7751a are based on the "Dasam Skandh" of the <i>Bh&#257gavat Pur&#257&#7751a</i>, whereas those of the <i>Cha&#7751&#7693&#299 Charitra, </i> I and II, are based on <i>M&#257rka&#7751&#7693aya Pur&#257&#7751a. Cha&#7751&#7693&#299 d&#299 V&#257r</i> is the only long composition in Punjabi in the <i>Dasam Granth. Cha&#7751&#7693&#299 Charitra</i>, I and II, and <i>Cha&#7751&#7693&#299 d&#299 V&#257r</i> describe battles between Durg&#257 and the demons, allegorically the cosmic conflict between good and evil. The opening verses of the Punjabi <i>V&#257r</i> now form part of the <i>ard&#257s</i> or daily supplicatory prayer of the Sikhs. The verses run as under :</p> <blockquote class="C1"><p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Meditate first on God and then turn your thoughts to Gur&#363 N&#257nak.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;A&#7749gad Gur&#363, Amar D&#257s, each with R&#257m D&#257s, be our protectors.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Arjan and Hargobind, remember them and remember Sr&#299 Hari R&#257&#299.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Remember Sr&#299 Har Krishan whose very sight dispels all sorrow.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;Think of Gur&#363 Te<u>gh</u> Bah&#257dur;</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;So will all the nine treasures throng thy door.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;May they, the Gur&#363s, be our guides, our protectors in all places.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;</blockquote></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;<i>Gi&#257n Prabodh</i> (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 <i>Mah&#257bh&#257rata</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Shabad P&#257tsh&#257h&#299</i> X (Verses of the Tenth Sovereign) are ten in number and might be a part of a larger collection. The theme is laudation of the Creator Lord. Verses titled <i>"Khay&#257l"</i> (of the Tenth Sovereign) etch a picture of a true devotee. <i>Savaiyy&#257s</i> are quatrains comprising 33 four-line stanzas. The text carries the signature <i>Sr&#299 Mukhv&#257k P&#257tsh&#257h&#299</i> X. Truth is sifted from falsehood. "One in whose heart the light of the Perfect One shines is a true member of the <i><u>Kh</u>&#257ls&#257. " </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Sastra N&#257m&#775 M&#257l&#257</i> (The Necklace of the Names of Weapons) consists of 1318 verses, with "P&#257tsh&#257h&#299 X" appended at the beginning as the signature of the Tenth Master with their Paur&#257&#7751ic 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 <i>tupak</i>, a kind of firearm, reckoned to be the deadliest of weapons.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Chritrop&#257khy&#257n</i> (Tales of Deceit) covering 7555 verses of <i>Charit K&#257vya</i> is the largest composition in the <i>Dasam Granth</i>. "Patshahi X" is mentioned at the very beginning of the work as the signature title. The date of completing this compilation is given in the last verse as Sunday, <i>sud&#299 a&#7779&#7789am&#299</i> of Bh&#257do&#7749 1753 Bk / 24 August 1696. The 404 tales may be divided into categories such as tales of the bravery, devotion, or intelligence of women, 78 in number; of the deceitfulness and unscrupulousness of women, 269; of the deceitfulness of men 26. Tales come from foreign lands as well. Tale 201 comes originally from the story of Joseph and Potiphar's wife in the Bible, Genesis chapter 39. In the Qur'&#257n it is Y&#363suf and Zulai<u>kh</u>&#257.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Zafarn&#257mah</i> (The Letter of Victory), bearing the signature title <i>Sr&#299 Mukhv&#257k P&#257tsh&#257h&#299</i>X, was sent to Emperor Aura&#7749gz&#299b from D&#299n&#257 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, <i>Paim&#257&#7749shikan</i>, oath-breaker, referring obviously to the violation of the pledge of safe-conduct given the Gur&#363 by the Emperor's generals at Anandpur.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; <i>Hik&#257yat</i> comprises stories in the Persian language, written in Gurmukh&#299 characters. They are placed at the end of <i>Dasam Granth</i> after the Persian <i>Zafarn&#257mah</i>. Several of these tales are Persian duplicates of some of the Braj tales. <i>Hik&#257yat</i> 4 is <i>Charitra</i> 52 : <i>Hik&#257yat</i> 5 is <i>Charitra</i> 267; and 9 is <i>Charitra</i> 290.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Gur&#363 Gobind Si&#7749gh'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 (<i>laghu</i>) and long (<i>gur&#363</i>) 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.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Poetry and metre have existed together all along. On account of different rhythms produced by different metres they have acquired different names. Metres in their present form have come down to us passing through many changes and varieties in Sanskrit, Pr&#257krit, Apabhra&#7749&#347a and old Hindi languages with concomitant extensions. These are divided into <i>m&#257trik</i> (in which syllabic instants are counted) and <i>var&#7751ik</i> (in which order and number of short and long vowels are taken into account). In earlier Sanskrit literature only <i>var&#7751ik</i> metres were popular and at a later stage, due to the influence of Pr&#257krit and Apabhra&#7749&#347a languages, poets of Sanskrit also turned to the use of <i>m&#257trik</i> metres.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; The Hindi verse has recognized both the metrical categories, <i>m&#257trik</i> and <i>var&#7751ik</i>, but to facilitate the development of poetry, Hindi poets have increasingly relaxed and modified certain conditions of <i>var&#7751ik</i> metres like <i>kabitt</i> and <i>&#346avaiyy&#257</i> to suit the flow of expression. Before the advent of devotional poetry in Hindi, Doh&#257, Sor&#7789h&#257, Tomar, To&#7789ak, G&#257h&#257, Chhappaya, etc. , were popular metres. Devotional poetry was mostly composed in <i>padas</i>. Other important metres were Doh&#257, Chaupa&#299, Tribha&#7749g&#299, Jh&#363lan&#257, To&#7789ak, N&#257gsvar&#363pin&#299 (N&#257gsar&#363p&#299), Basant, Tilk&#257, K&#299ri&#7789, M&#257lt&#299, M&#257lin&#299, Kabitt, Savaiyy&#257, Bhuja&#7749g-pray&#257t, etc.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; Both kinds of metres (syllable or <i>var&#7751ik</i> and syllabic instants or <i>m&#257trik</i>) are employed in the <i>Dasam Granth</i>, but <i>var&#7751ik</i> metres have been used more frequently and with perfect ease. Apart from the above two main varieties of Indian origin, the <i>bait</i>, a metre of Persian poetry, has also been used. Secondly, out of a total number of about 150 metres used in the <i>Dasam Granth</i>, over one hundred metres have their origin in Sanskrit, Pr&#257krit, Apabhra&#7749&#347a and old Hindi languages. The remaining metres, either new or traditional ones, appear under new names to suit the flow of narration. Gur&#363 Gobind Si&#7749gh invented new metres which contribute a great deal to the realization of sentiments (<i>rasa</i>) in their sublimity. Keeping the contents in view, he gives many alternative names to some of the metres. In the <i>Dasam Granth</i>, the Chaupa&#299 metre has been used to the maximum followed by Dohar&#257 and Savaiyy&#257.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; In the <i>Dasam Granth</i> the battle scenes have been described through the metres Kabitt, Savaiyy&#257, Padhis&#7789ak&#257 and Bisnupad&#257. Savaiyy&#257 hitherto had been generally used for sensuous love poetry, but Gur&#363 Gobind Si&#7749gh 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 Padhis&#7789ak&#257. 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 Bisnupad&#257s, which are held to be highly musical, the battle scenes are portrayed with the help of onomatopoeic words. Gur&#363 Gobind Si&#7749gh also introduced for the first time in his <i>Cha&#7751&#7693&#299 d&#299 V&#257r</i> blank verse in Punjabi poetry : the metre used was Sirkhi&#7751&#7693&#299. Following is a note on the different metres used in the <i>Dasam Granth</i>, 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 (<i>var&#7751ik chhand</i>) and the rest are of those regulated by syllabic instant (<i>m&#257trik chhand</i>) :</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SYLLABLE (VAR&#7750IK) METRES</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;1. <i>Achka&#7771&#257</i> is of 12 syllables having four <i>raga&#7751s</i> (SIS) in each line. It is a new name and alternative names for it are Sragvi&#7751&#299, K&#257min&#299 Mohan&#257 and Lakshm&#299dh&#257r&#257. It has been used 12 times in the <i>Rudr&#257 Avatar</i> (P&#257ras N&#257th).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;2. <i>Aj&#257</i> is of 8 syllables having <i>yaga&#7751</i> (ISS), <i>raga&#7751</i> (SIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. It is a new name and the alternative name for it is Añjan. It has been used thrice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;3. <i>Ajb&#257</i> is of 4 syllables having <i>maga&#7751</i> (SSS) and <i>guru</i> (S) consecutively in each quarter. It is a new metre and alternative names for it are Akv&#257, Kany&#257 and T&#299r&#7751&#257. It has been used 19 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma) for the purpose of reproducing the sound of the actual action in the battlefield.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;4. <i>Akr&#257</i> is of 5 syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are A&#7751ak&#257, Anahad, Anubhav, &#346a&#347ivadna, Cha&#7751&#7693ras&#257 and Madhurdhuni. It has been used 16 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;5. <i>Ak&#7771&#257</i> having one <i>saga&#7751</i> (IIS), two <i>jaga&#7751s</i> (ISI) consecutively in each quarter is a new name. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;6. <i>Akv&#257</i> is of 4 syllables having <i>maga&#7751</i> (SSS) and <i>guru</i> (S) consecutively in each quarter. It is a new metre and alternative names for it are Ajb&#257, Kany&#257 and T&#299r&#7751&#257. It has been used six times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299) for the purpose of reproducing the sound of the actual action in the battlefield.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;7. <i>Alk&#257</i> is of 12 syllables having <i>naga&#7751</i> (III), <i>yaga&#7751</i> (ISS) <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (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 <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;8. <i>An&#257d</i> is of 8 syllables having <i>maga&#7751</i> (SSS) <i>yaga&#7751</i> (ISS), <i>guru</i> (S) and <i>laghu</i> (I) consecutively and pause at 4 syllables in each quarter. It is also called V&#257p&#299. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;9. <i>Anant Tuk&#257 Bhuja&#7749g Pray&#257t</i> : An unrhymed 12 syllable metre with four <i>yaga&#7751s</i> is a new name and the alternative name for it is Bhuja&#7749g-Pray&#257t. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;10. <i>Anhad</i> is of 6 syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. Alternative names for it are Akr&#257, A&#7751ak&#257, Anubhav, &#346a&#347ivadn&#257, Cha&#7751&#7693ras&#257 and Madhurdhuni. It has been used four times in the Chaub&#299s Aut&#257r (<i>Nihkala&#7749k&#299</i>).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;11. <i>A&#7751ak&#257</i> is of 6 syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Akr&#257, Anhad, Anubhav, &#346a&#347ivadn&#257, Cha&#7751&#7693ras&#257 and Madhurdhuni. It has been used sixteen times in the <i>Chaub&#299s. Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;12. <i>An&#363p Nar&#257j</i> is of 16 syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jagan</i> (ISI), <i>raga&#7751</i> (SIS), jaga&#7751 (ISI) and <i>guru</i> (S) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Nar&#257j, Bichitra Nar&#257j, Nar&#257ch and Bridhi. It has been used forty seven times in the Chaub&#299s Aut&#257r (R&#257ma-29; Nihkala&#7749k&#299-5) and <i>Rudra Avat&#257r</i> (Datta-13).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;13. <i>Anubhav</i> is of 6 syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. Alternative names are: Akr&#257, A&#7751ak&#257, Anhad, &#346a&#347ivadn&#257, Cha&#7751&#7693ras&#257 and Madhurdhuni. It has been used once in the <i>Chaub&#299s Aut&#257r</i> (S&#363raj).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;14. <i>Ap&#363rab</i> or <i>Ap&#363rav</i> is of 6 syllables having <i>raga&#7751</i> (SIS) and <i>taga&#7751</i> (SSI) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Ar&#363p&#257 and Kr&#299&#7771&#257. It has been used 26 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;15. <i>A&#7771&#363h&#257</i> is of 10 syllables having <i>saga&#7751</i> (IIS), <i>jaga&#7751</i> (ISI), and <i>guru</i> (S) consecutively in each quarter. Alternative names for it are Sañjut&#257, Sa&#7749yukt&#257 and Priy&#257. It has been used six times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;16. <i>Ar&#363p&#257</i> is of 4 syllables having <i>yaga&#7751</i> (ISS) and <i>guru</i> (S) consecutively in each quarter. Kr&#299&#7771&#257 is the alternative name given it. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;17. <i>Ast&#257</i> is 12 syllables having four <i>saga&#7751s</i> (IIS) in each quarter. It is of Sanskrit origin and alternative names given it are Kilak&#257, T&#257rak and To&#7789ak. It has been used five times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;18. <i>Astar</i> or <i>Astra</i> is of 12 syllables having four <i>yaga&#7751s</i> (ISS) in each quarter. It is of Sanskrit origin and alternative name for it is Bhuja&#7749g-pray&#257t. It has been used twice in the <i>Brahm&#257 Avat&#257r</i> (M&#257ndh&#257t&#257 R&#257j&#257).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;19. <i>Bachitra Pad</i> is of 8 syllables having two <i>bhaga&#7751s</i> (SII) and two <i>gurus</i> (S) consecutively in a quarter. It has been used twice in the <i>Rudra Avat&#257r</i> (Data).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;20. <i>Bahir Tv&#299l Pascham&#299</i> is of five syllables having saga&#7751 (IIS) and two <i>laghus</i> (I) consecutively in each quarter. Its formation is based on Pashto lyric and alternative name given it is N&#257yak. It has been used 19 times in the <i>Gi&#257n Prabodh</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;21. <i>B&#257ntura&#7749gam</i> is of seven syllables having <i>maga&#7751</i> (III), raga&#7751 (SIS) and <i>guru</i> (S) consecutively in each quarter. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (<i>Nihkala&#7749k&#299</i>).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;22. <i>Bel&#299 Bindram</i> is of two kinds : one is of eleven syllables having <i>naga&#7751</i> (III), two <i>saga&#7751s</i> (IIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. The other is of ten syllables having <i>saga&#7751</i> (IIS), two <i>jaga&#7751s</i> (ISI) and <i>guru</i> (S) consecutively. It has been used fifteen times in the Cha&#7751&#7693&#299 Charitra II (11) and <i>Chaub&#299s Aut&#257r</i> (Narsi&#7749gh -2 and S&#363raj -2).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;23. <i>Bhagvat&#299</i> or <i>Bhagaut&#299</i> is of two kinds : one is of six syllables having two <i>yaga&#7751s </i> (ISS) and the other is of 8 syllables having <i>jaga&#7749</i> (ISI), <i>saga&#7751</i> (IIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. It is of Hindi origin and Bhav&#257n&#299 and Sr&#299 Bhagvat&#299 are the other names given it. The first kind is also known as Somr&#257j&#299 or &#346a&#7749khan&#257r&#299. It has been used 141 times in the, <i>J&#257pu</i> (41), <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299-17), and the <i>Rudra Avat&#257r</i> (Datta -60; and P&#257ras N&#257th -23).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;24. <i>Bha&#7771th&#363&#257</i> is of six syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. The alternative name given it is &#346a&#7749khan&#257r&#299 and it suits the description of destruction in war. It has been used twenty five times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;25. Bhav&#257n&#299 is of two kinds : one is of six syllables having two <i>yaga&#7751s</i> (ISS), and the other is of eight syllables having <i>jaga&#7751</i> (ISI), <i>saga&#7751</i> (IIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. The alternative name given it is Bhagaut&#299. It has been used six times in <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299). (See <i>Bhagvat&#299</i>)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;26. <i>Bhuja&#7749g</i> is similar to Bhuja&#7749g-pray&#257t. It has been used 317 times (<i>Bachitra N&#257&#7789ak</i> (41), <i>Chaub&#299s Aut&#257r</i> (55) and <i>P&#257khy&#257n Charitra</i> (221).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;27. <i>Bhuja&#7749g-pray&#257t</i> is of 12 syllables having four <i>yaga&#7751s</i> (ISS) in each quarter. It is of Sanskritorigin and alternative names for it are Bhuja&#7749g and Astar. It has been used 609 times (<i>J&#257pu</i> (62), <i>Ak&#257l Ustati</i> (30), <i>Bachitra N&#257&#7789ak</i> (72), <i>Cha&#7751&#7693&#299 Charitra</i> II (70), <i>Gi&#257n Prabodh</i> (88), <i>Chaub&#299s Aut&#257r</i> (117), <i>Brahm&#257 Avat&#257r</i> (22), <i>Rudra Avat&#257r</i> (Datta: 17 and P&#257ras N&#257th : 65) and <i>P&#257khy&#257n Charitra</i> (66). In some of the old manuscript copies of the <i>J&#257pu</i>, Aradh Bhuja&#7749g is found written in place of Bhuja&#7749g-pray&#257t.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;28. <i>Bidh&#363p Nar&#257j</i> is of 8 syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS) <i>laghu</i> (I) and <i>guru</i> (S) consecutively in a quarter. Alternative names for it are Aradh Nar&#257j and Pram&#257&#7751ik&#257. It has been used six times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;29. <i>Bir&#257j</i> is of six syllables having two <i>raga&#7751s</i> (SIS) in each quarter. It is of Hindi origin and alternative names for it are Vijoh&#257 and Vimoh&#257. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;30. <i>Bisekh</i> or <i>Bisheshak</i> is of sixteen syllables having five <i>bh&#257ga&#7751s</i> (SII) and <i>guru</i> (S) consecutively in each quarter. Alternative names given it are A&#347vgati, Manahara&#7751 and N&#299l. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;31. <i>Bridh Nar&#257j</i>. See <i>Nar&#257j Bridh</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;32. <i>Ch&#257char&#299</i> is of two kinds - one is of four syllables having <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) and the other is of three syllables having one <i>yaga&#7751</i> (ISS). Alternative names given it are Sudh&#299 and &#346a&#347&#299. It has been used 57 times in the <i>J&#257pu</i> (32) and <i>Chaub&#299s Aut&#257r</i> (R&#257ma 6; and Nihkala&#7749k&#299 19).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;33. <i>Ch&#257mar</i> is of 15 syllables having <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Somvallar&#299 and T&#363&#7751. It has been used two times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;34. Chañchal&#257 is of 16 syllables having <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI) and <i>laghu</i> (I) consecutively in each quarter. Alternative names given it are Chitra, Bir&#257j and Brahmr&#363pak. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;35. <i>Charpa&#7789</i> is of five syllables having <i>bhaga&#7751</i> (SII) and two <i>gurus</i> (S) or <i>saga&#7751</i> (IIS) and two <i>gurus</i> (S) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Uchh&#257l, Ha&#7749sak and Pa&#7749kti. It has been used 27 times in the <i>J&#257pu</i> and <i>Rudra Avat&#257r</i> (Datta) 19.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;36. <i>Dodhak</i> is of eleven syllables having three <i>bhaga&#7751s</i> (SII) and two <i>gurus</i> (S) in each quarter. It is of Sanskrit origin and alternative names for it are Bandhu, Modak and Sundar&#299. In <i>Chaub&#299s Aut&#257r</i> (Narsi&#7749gh) this metre has been used for Modak with four <i>bhaga&#7751s</i> (SII) in each quarter. It has been used 22 times, in the <i>Chaub&#299s Aut&#257r</i> (Narsi&#7749gh 3; Chand 4; and R&#257ma 10) and <i>Brahm&#257 Avat&#257r</i> (M&#257ndh&#257t&#257 R&#257j&#257 -5).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;37. <i>Ek Achhar&#299</i> is of three types, i. e. Mah&#299 with two syllables having <i>laghu</i> and <i>guru</i> (IS) in each quarter beginning with the same letters; Mrigendra with three syllables in the formation of <i>jaga&#7751</i> (ISI) in each quarter beginning with the same letter ; and &#346a&#347i with three syllables in the formation of <i>yaga&#7751</i> (ISS) in each quarter beginning with the same letter. Alternative names given it are Ek&#257khar&#299 and &#346r&#299. It has been used eight times in the <i>J&#257pu</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;38. <i>Haribolman&#257</i> (six syllables with two <i>saga&#7751s</i> (IIS), in each quarter) is also called Tilk&#257. It has been used 69 times, in the <i>J&#257pu</i> (14), <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299) (30) and <i>Brahm&#257 Avat&#257r</i> (Manu R&#257j&#257-1, Prith R&#257j&#257 -24).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;39. <i>Hoh&#257</i> is of four syllables having <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. The alternative name for it is Sudhi. It has been used 14 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;40. <i>Jh&#363l&#257</i> is of six syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. Alternative names given it are Somr&#257j&#299 and Aradh Bhuja&#7749g. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;41. <i>Jh&#363ln&#257</i> (24 syllables having eight <i>yaga&#7751s</i> (ISS) in each quarter) is also known as Ma&#7751idhar Savaiyy&#257. It has been freely used by the poets of medieval period and one kind of it is also included in <i>m&#257trik</i> metres. It has been used seven times in the composition <i>Chaub&#299s Aut&#257r</i> (K&#7771&#7779&#7751a - 4 ; R&#257ma -3).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;42. <i>Kabitt</i> is of 31 syllables with pause at 8, 8, 8, 7 and <i>guru</i> (S) at the end of each quarter. Its origin is not known though it is profusely found in old Hindi and Punjabi poetry. Tuls&#299d&#257s, Padm&#257kar, Bh&#257&#299 Gurd&#257s and Hirdya R&#257m Bhall&#257 were quite fond of using it in their works. Alternative names for it are Da&#7751&#7693ak, Manahara&#7751 and Ghan&#257k&#7779ar&#299. It rhymes and ends with a <i>guru</i>. It has been used 154 times in the <i>Dasam Granth-Ak&#257l Ustati</i>: 44, <i>Cha&#7751&#7693&#299 Charitra</i> I: 7, <i>Gi&#257n Prabodh</i>: 8, <i>Chaub&#299s Aut&#257r</i>, 69 (K&#7771&#7779&#7751a: 58 and R&#257ma 11), <i>Brahm&#257 Avat&#257r</i> (Vy&#257s): 1, and <i>P&#257khy&#257n Charitra</i>: 25.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;43. <i>Ka&#7751&#7789h Abh&#363kha&#7751</i> is of eleven syllables having three <i>bhaga&#7751s</i> (SII) and two <i>gurus</i> (S) in each quarter. In Sanskrit it is called Dodhak. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;44. <i>Kilk&#257</i> is of twelve syllables having four <i>saga&#7751s</i> (IIS) in each quarter. Alternative names for it are Ast&#257 and To&#7789ak. It has been used twice in <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;45. <i>Krip&#257nkrit</i> is of seven syllables having <i>saga&#7751</i> (IIS), <i>naga&#7751</i> (III) and <i>laghu</i> (I) consecutively in each quarter. The alternative name for it is Madhubh&#257r. It has been used 34 times in the composition <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299) 12 and <i>Rudra Avat&#257r</i> (Datta) 22.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;46. <i>Kulak</i> or <i>Kulk&#257</i> is of two kinds : one, <i>Kulak</i>, has six syllables in order of <i>bhaga&#7751</i> (SII) and <i>jaga&#7751</i> (ISI), and the other, <i>Kulk&#257</i>, has six syllables in order of <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) in each quarter. It is of Sanskrit origin and the alternative name for is &#346a&#347ivadan&#257. It has been used 23 times in the <i>Cha&#7751&#7693&#299 Charitra</i> II (4), <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299-11), and <i>Rudra Avat&#257r</i> (Datta-8).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;47. <i>Kum&#257r-lalit</i> is of eight syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. It is of Hindi origin and the alternative name for it is Mallik&#257. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;48. <i>Kusam Bichitra</i>, also written as <i>Kusum Vichitra</i>, is of 12 syllables having <i>naga&#7751</i> (III), <i>yaga&#7751</i> (ISS), <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. It is of Sanskrit origin and was adopted by Keshav in his works. It has been used eight times in <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;49. <i>Madhurdhuni</i>, is also known by the names of Akr&#257, Ank&#257, Anhad, Anubhav, &#346a&#347ivadan&#257 and Cha&#7751&#7693ras&#257, is of six syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in a quarter. It has been used 18 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma -11, and S&#363raj -7).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;50. <i>M&#257lt&#299</i> is of twenty three syllables having seven <i>bhaga&#7751s</i> (SII) and two <i>gurus</i> (S) consecutively in each quarter. It is of Sanskrit origin and is a kind of Sava&#299yy&#257. Alternative names given it are Indav, Bijai and Mattagyand. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;51. <i>Manohar</i> is of 23 syllables, having seven <i>bhaga&#7751s</i> (SII) and two <i>gurus</i> (S) consecutively in each quarter. It is of Hindi origin and is a kind of Sava&#299yy&#257. Alternative names given it are Bijai and Mattagyand. It has been used 24 times in the <i>Cha&#7751&#7693&#299 Charitra</i> II (I) and <i>Chaub&#299s</i> Aut&#257r (R&#257ma -23).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;52. <i>Math&#257n</i> is of six syllables having two <i>taga&#7751s</i> (SSI) in each quarter. It has been used nine times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;53. <i>Medak</i> or <i>To&#7789ak</i> is of twelve syllables having four <i>saga&#7751s</i> (IIS) in each quarter. It has been used five times in the <i>Brahm&#257 Avat&#257r</i> (Vy&#257s).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;54. N&#257gsar&#363pi&#7751&#299, also called Pram&#257&#7751ik&#257, is of eight syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), laghu (I) and <i>guru</i> (S) consecutively in each quarter. It is of Sanskrit origin and has been used 10 times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299 -6 ; and R&#257ma -4).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;55. <i>N&#257gsar&#363pi&#7751&#299 Aradh</i> is of Sanskrit origin and is of 4 syllables having <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) in each quarter. Alternative names given it are Sudhi and Nar&#257j-Laghu and it has been used five times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;56. <i>Nar&#257j</i>, of Sanskrit origin and also called Nar&#257ch, N&#257gr&#257j, Pañch Ch&#257mar and Vichitra, is of l6 syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. It has been used 150 times in the <i>Ak&#257l Ustati</i> (20), <i>Bachitra N&#257&#7789ak</i> (33), <i>Cha&#7751&#7693&#299 Charitra</i> II (21), <i>Gi&#257n Prabodh</i> (37), <i>Brahm&#257 Avat&#257r</i> (8), <i>Rudra Avat&#257r</i> (P&#257ras N&#257th-30) and <i>P&#257khy&#257n Charitra</i> (1).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;57. <i>Nar&#257j Aradh</i> is of eight syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>laghu</i> (I) and <i>guru</i> (S) consecutively in each quarter. Alternative names for it are N&#257gsar&#363pi&#7751&#299 and Pram&#257&#7751ik&#257. It has been used 21 times, in the <i>Gi&#257n Prabodh</i> (12) and <i>Chaub&#299s Aut&#257r</i> (S&#363raj -4, R&#257ma-5).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp; </p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;58. <i>Nar&#257j Briddh</i>, also called Mah&#257nar&#257ch, is of 16 syllables having <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), and <i>guru</i> (S) consecutively in a quarter. It has been used 10 times, in the<i>Cha&#7751&#7693&#299 Charitra</i> II (1) <i>Gi&#257n Prabodh</i> (5) and <i>Chaub&#299s Autar</i> (Rudra) (4).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;59. <i>Nar&#257j Laghu</i> is of 4 syllables having <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. Alternative names given it are Sudh&#299 and Hoh&#257. It has been used 20 times in the <i>Ak&#257l Ustati</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;60. <i>Nav N&#257mak</i>, also named Narhari, is of 8 syllables having two <i>naga&#7751s</i> (III) and two <i>laghus</i> (I) consecutively in each quarter. It has been used six times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;61. <i>Nisp&#257l</i> is of 15 syllables having <i>bhaga&#7751</i> (SII), <i>jaga&#7751</i> (ISI) <i>saga&#7751</i> (IIS), <i>naga&#7751</i> (III) and <i>raga&#7751</i> (SIS) consecutively in each quarter. It is also known by the names of Nisp&#257lik&#257 and Nisip&#257l. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;62. <i>Padhis&#7789ak&#257</i> is of 12 syllables having four <i>saga&#7751s</i> (IIS) in each quarter (See Sa&#7749g&#299t Padhis&#7789ak&#257). The alternative name for it is To&#7789ak, and it has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299)</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;63. <i>P&#257dh&#7771&#299 Aradh</i>, also named Madhubh&#257r, is of five syllables having two <i>gurus</i> (S) and <i>jaga&#7751</i> (ISI) consecutively in each quarter. It has been used five times in the <i>Brahm&#257 Avat&#257r</i> (Vy&#257s).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;64. <i>Pa&#7749kaj B&#257&#7789ik&#257</i>, of Sanskrit origin, is of 12 syllables having four <i>bhaga&#7751s</i> (SII) in each quarter. The alternative name given it is Modak. In the books of prosody its composition is different, i. e. <i>bhaga&#7751</i> (SII), <i>naga&#7751</i> (III), two <i>jaga&#7751s</i> (ISI) and <i>laghu</i> (I). It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;65. <i>Priy&#257</i>, of Sanskrit origin and also known as A&#7771&#363h&#257 and Sa&#7749yut, is of ten syllables having <i>saga&#7751</i> (IIS), two <i>jaga&#7751s</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;66. <i>Ram&#257&#7751</i> is of six syllables having two <i>saga&#7751s</i> (IIS) in each quarter. Alternative names for it are Ram&#257&#7751ak&#257 and Tilk&#257. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;67. <i>Ras&#257val</i> is of six syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. It has been used in the compositions titled <i>J&#257pu</i> (8), <i>Bachitra N&#257&#7789ak</i> (90), <i>Cha&#7751&#7693&#299 Charitra</i> II (69), <i>Gi&#257n Prabodh</i> (17), <i>Rudra Avat&#257r</i> (17), and <i>Chaub&#299s Aut&#257r</i> (179) having been named as Aradh Bhuja&#7749g in the <i>J&#257pu</i> and the <i>Bachitra N&#257&#7789ak</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;68. <i>R&#257va&#7751b&#257d</i> is of six syllables having two <i>jaga&#7751s</i> (ISI) in each quarter. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;69. <i>Rekht&#257</i> is of 31 syllables having pause at 8, 8, 8, 7. This is not the name of a metre but is a metrical composition of mixed Persian and Hindi words. In <i>Cha&#7751&#7693&#299 Charitra</i> I, Rekht&#257 is used only once for Kabitt (Manhar).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;70. <i>R&#363&#257mal</i> is of 17 syllables having <i>raga&#7751</i> (SIS), <i>saga&#7751</i> (IIS), two <i>jaga&#7751s</i> (ISI), <i>bhaga&#7751</i> (SII), <i>guru</i> (S) and <i>laghu</i> (I) consecutively in each quarter, with pause at 10, 7. Alternative names for it are R&#363&#257l and R&#363&#257ma&#7751. It has been used 186 times in the <i>J&#257pu</i>. (8), <i>Ak&#257l Ustati</i> (20), Cha&#7751&#7693&#299 Charitra II (15), <i>Gi&#257n Prabodh</i> (30), <i>Chaub&#299s Aut&#257r</i> (26), <i>Brahm&#257 Avat&#257r</i> (25), <i>Rudra Avat&#257r</i> (57), Sastra N&#257m M&#257l&#257 (2) and <i>P&#257khy&#257n Charitra</i>(3).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;71. <i>Ru&#7751jhu&#7751</i> is of six syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. Alternative names for it are Akv&#257 and &#346a&#347ivadn&#257. It has been used thrice in <i>Rudra Avat&#257r. </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;72. <i>Sam&#257nik&#257</i> is of eight syllables having <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. The alternative name given it is <i>Pram&#257&#7751ik&#257</i> (ISI, SIS, I, S). It has been used 12 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma-8 and Nihkala&#7749k&#299 -4).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;73. <i>Sa&#7749g&#299t Bhuja&#7749g-pray&#257t</i> has been used 44 times in the <i>Cha&#7751&#7693&#299 Charitra</i> II (7) and <i>Chaub&#299s Aut&#257r</i> (R&#257ma-13 and Nihkala&#7749k&#299-24).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;74. <i>Sa&#7749g&#299t Nar&#257j</i> has been used only once in the <i>Cha&#7751&#7693&#299 Charitra II</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;75. <i>Sa&#7749g&#299t Padhis&#7789ak&#257</i> is of eleven syllables having <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI), <i>taga&#7751</i> (SSI), <i>guru</i> (S) and <i>laghu</i> (I) consecutively in each quarter. But in the <i>Nihkala&#7749k&#299 Avat&#257r</i>, this name has been given to To&#7789ak (See Padhis&#7789ak&#257). It has been used 8 times in <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;76. <i>Sañjut&#257 or Sa&#7749yut&#257</i>, of Sanskrit origin, is of 10 syllables having <i>saga&#7751</i> (IIS), two <i>jaga&#7751s</i> (ISI) and <i>guru</i> (S) consecutively in each quarter. Alternative names given it are Sañjukt&#257, A&#7771&#363h&#257 and Priy&#257. It has been used six times in the <i>Brahm&#257 Avat&#257r</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;77. Sa&#7749kh&#7749&#257r&#299 is of six syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. Its other alternative names are Somr&#257j&#299 and Aradh Bhuja&#7749g. In the <i>Dasam Granth</i> (<i>J&#257pu</i>) it is given under the name of Aradh Bhuja&#7749g.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;78. <i>Sarasvat&#299</i> is of 17 syllables having <i>raga&#7751</i> (SIS), <i>saga&#7751</i>(IIS), two <i>jagans</i> (ISI), <i>bhaga&#7751</i> (SII), <i>guru</i> (S), <i>laghu</i> (I) consecutively in each quarter, with pause at 8, 9. It is of Pr&#257krit and Apbhra&#7749sa origin and its other alternative names are R&#363&#257mal, R&#363&#257l and R&#363&#257l&#257. It has been used 8 times in the composition <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;79. <i>Savaiyy&#257</i> is of 48 kinds out of which Madir&#257, Indav, M&#257lt&#299, Ramaya, Kir&#299t, Drumil&#257, Manoj, U&#7789a&#7749ka&#7751, Surdhun&#299 and Sarvag&#257m&#299 are found in the <i>Dasam Granth</i>. Final alliteration of all the quartets is essential in a Savaiyy&#257. Its origin lies in the Braj. In the medieval Hindi poetry it has been usually chosen for sensuous love poetry due to its smoothness, but in the <i>Dasam Granth</i> it is applied for war poetry with unique success. It has been used for a total of 2252 times in the <i>Dasam Granth</i>, the maximum use (1782 times) of it being in the "K&#7771&#7779&#7751a Avat&#257r" in the <i>Chaub&#299s Aut&#257r</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;80. <i>Savaiyy&#257 Anant-tuk&#257</i> is a Kind of Savaiyy&#257 with no final alliteration as is clear from its name. It has been used only once in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;81. <i>Somr&#257j&#299</i> is of 6 syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. It is of Sanskrit origin and its other alternative names are Utbhuj, Aradh Bhuja&#7749g, &#346a&#7749khan&#257r&#299 and Jh&#363l&#257. In the <i>Dasam Granth</i> ("Nihkala&#7749k&#299 Avat&#257r" in the <i>Chaub&#299s Aut&#257r</i>), this name has been given to four Bhuja&#7749g-pray&#257t metres.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;82. <i>Sukhd&#257 Bridh</i> is of eight syllables having <i>laghu</i> (I) in the beginning and <i>guru</i> (S) at the end of each quarter, with pause at 5, 3. Its other alternative name is Sagaun&#257. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;83. <i>Sundar&#299</i> is a form of Savaiyy&#257 comprising 25 syllables-eight <i>saga&#7751s</i> (IIS) and one <i>guru</i> (S). In the "R&#257ma Avat&#257r" of the <i>Chaub&#299s Aut&#257r</i> it has been used eighteen times.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;84. <i>T&#257rak</i> is of 12 syllables having four <i>saga&#7751s</i> (IIS) in each quarter. Alternative names for it are Ast&#257 and To&#7789ak. It has been used 26 times in the <i>Dasam Granth-Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299 -24), Rudra Avat&#257r (Datta -2).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;85. <i>T&#257rk&#257</i> is of 13 syllables having four <i>saga&#7751s</i> (IIS) and <i>guru</i> (S) consecutively in each quarter. Alternative names given it are Ug&#257dh and Ya&#347od&#257 It is used 8 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;86. <i>Tar Nar&#257j</i> is of 7 syllables having <i>raga&#7751</i> (SIS), <i>jaga&#7751</i> (ISI) and <i>guru</i> (S) consecutively in each-uarter, but in the <i>Dasam Granth</i> we find it consisting of only two quarters (<i>chara&#7751s</i>) instead of four. The alternative name for it is Sam&#257nik&#257. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;87. <i>Tilk&#257</i> is of 4 syllables having <i>maga&#7751</i> (SSS) and <i>guru</i> (S) consecutively in each quarter. Alternative names for it are Akv&#257, Ajb&#257, and Kany&#257. It has been used eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;88. <i>Tilka&#7771&#299&#257</i> is of five syllables having <i>jaga&#7751</i> (ISI) and two <i>gurus</i> (S) consecutively in each quarter. Alternative names for it are Ug&#257dh and Yasod&#257. A speciality of this metre is that herein sound conveys the sense. It has been used six times in <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;89. <i>To&#7789ak</i> is of 12 syllables having four <i>saga&#7751s</i> (IIS) in each quarter. It is of Sanskrit origin and its other alternative names are Ast&#257, Kilk&#257 and T&#257rak. It has been used 232 times in the compositions namely <i>Ak&#257l Ustati</i> (20), <i>Bachitra N&#257&#7789ak</i> (6), <i>Cha&#7751&#7693&#299 Charitras</i> (6), <i>Gi&#257n Prabodh</i> (15), <i>Chaub&#299s Aut&#257r</i> (101), <i>Brahm&#257 Avat&#257r</i> (3), <i>Rudra Avat&#257r</i> (63), and <i>P&#257khy&#257n Charitra</i> (18).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;90. <i>Trigat&#257</i> is of 4 syllables having <i>maga&#7751</i> (SSS) and <i>guru</i> (S) in each quarter. The first letter of each line (<i>chara&#7751</i>) is repeated thrice with a view to reproducing the sound of actual action. Alternative names for it are Akv&#257 and Ajb&#257. It has been used 10 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;91. <i>Tri&#7751&#7751i&#7751</i> is of six syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (ISS) consecutively in each quarter. The first word of each line (<i>chara&#7751</i>) is <i>tri&#7751&#7751i&#7751</i> or similarly sounding word so that its repetition helps to produce the sound of actual fighting in the field. It has been used 8 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;92. <i>Tri&#7771k&#257</i> is of 6 syllables having <i>naga&#7751</i> (III) and <i>yaga&#7751</i> (IIS) consecutively in each quarter. Alternative names are : Akv&#257 and &#346a&#347ivadn&#257. The sound of <i>mrida&#7749g</i> is reproduced through the use of alliteration of words. It has been used ten times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;93. <i>Uchhl&#257</i> is of 5 syllables having <i>bhaga&#7751</i> (SII) and two <i>gurus</i> (S) consecutively in each quarter. Alternative names for it are Uchh&#257l, Ha&#7749sak and Pa&#7749kti. It has been used nine times in the <i>Brahm&#257 Avat&#257r</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;94. <i>Ug&#257dh</i> is of 5 syllables having <i>jaga&#7751</i> (ISI) and two <i>gurus</i> (S) consecutively in each quarter. It is of Sanskrit origin and is also called Tilka&#7771&#299&#257 and Ya&#347odh&#257. It has been used 13 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;95. <i>Ug&#257th&#257</i> is of 10 syllables having <i>jaga&#7751</i> (ISI), <i>taga&#7751</i> (SSI), <i>raga&#7751</i> (SIS) and <i>guru</i> (S) consecutively in each quarter with pause at 5, 5. It is of Sanskrit origin. It has been used nine times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;96. <i>U&#7789a&#7749ka&#7751</i> is of 22 syllables having seven <i>raga&#7751s</i> (SIS) and <i>guru</i> (S) consecutively in each quarter with pause at 12, 10. It is of Sanskrit origin and the alternative name given it is U&#7789a&#7749ga&#7751. It is a kind of Savaiyy&#257. It has been used 10 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;97. <i>Utbhuj</i>, also called <i>Udbhuj</i>, is of 6 syllables having two <i>yaga&#7751s</i> (ISS) in each quarter. Alternative names are : Arad, Bhuja&#7749g, &#346omr&#257j&#299, Sa&#7749khan&#257r&#299, Jh&#363l&#257 and Ras&#257val. It has been used four times in the <i>Chaub&#299s Aut&#257r</i>. (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;SYLLABIC INSTANT (<i>M&#256TRIK</i>) METRES</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;98. <i>Abh&#299r</i> is of 11 syllabic instants having <i>jaga&#7751</i> (ISI) at the end of each quarter. It is of Pr&#257krit and Apbhra&#7749&#347 origin and the alternative name for it is Ah&#299r. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;99. <i>A&#7771ill</i> is of 21 syllabic instants having pause at 11, 10 with <i>raga&#7751</i> (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 Apbhra&#7749&#347 origin and is an early form of Chaupa&#299. It is a popular metre of narrative Hindi poetry. It has been used 962 times in the <i>Bachitra N&#257&#7789ak</i> (1), <i>Sastra N&#257m M&#257l&#257</i> (253),<i>P&#257khy&#257n Charitra</i> (690) and<i>Chaub&#299s Aut&#257r</i> (18 : K&#7771&#7779&#7751a-14, S&#363raj-2, Rudra 2).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;100. <i>A&#7771ill D&#363j&#257</i> is of 16 syllabic instants with <i>bhaga&#7751</i> (SII) at the end of each quarter. It is of Apbhra&#7749&#347 origin and alternative names for it are &#7692ill&#257 and P&#257d&#257 Kulak. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;101. <i>Atim&#257lt&#299</i> is of 16 syllabic instants having pause at 8, 8, with two <i>gurus</i> (S) at the end of each quarter. It is of Sanskrit origin and the alternative name given it is P&#257d&#257 Kulak. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;102. <i>Avat&#257r</i> is of 23 syllabic instants having pause at 13, 10 with <i>laghu</i> (I) and <i>guru</i> (S) consecutively at the end of each quarter. The alternative name for it is Mritgati. According to Bh&#257&#299 K&#257hn Si&#7749gh, only Aradh Avat&#257r has been used in the <i>Dasam Granth</i>, but the scribe has erroneously put it under the heading of Dohar&#257 (See <i>Dohara</i>).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;103. <i>Baho&#7771&#257</i> is of 16 syllabic instants having pause at 8, 8 with <i>jaga&#7751</i> (ISI) at the end of each quarter. The alternative name for it is P&#257dhar&#299. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;104. <i>Bah&#7771&#257</i> is of 21 syllabic instants having pause at 11, 10 with <i>jaga&#7751</i> (ISI) at the first pause and <i>raga&#7751</i> (SIS) at the second pause. The alternative name given it is Punh&#257. It has been used twice in <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;105. <i>Bait</i> is of 18 syllabic instants having pause at 10, 8 with <i>laghu</i> (I) at the end of each <i>chara&#7751</i>. It is of Arabic and Persian origin and is popular in narrative Punjabi poetry. It has been used 863 times in the <i>Zafarn&#257mah</i> (111) and <i>Hik&#257yats</i> (752).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;106. <i>Bishanpad</i> is of different syllabic instants in different kinds and alternative names for it are &#346abda, Vi&#7779&#7751upad and Bisanpad. It is of Hindi origin and was freely used by poets of Bhakt&#299 tradition. In the <i>Dasam Granth</i> it is found only in the <i>Chaub&#299s Aut&#257r</i>, (K&#7771&#7779&#7751a-5) and the<i>Rudra Avat&#257r</i> (P&#257ras N&#257th -45).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;107. <i>Charpa&#7789 Chh&#299g&#257</i> is of eight syllabic instants having six <i>m&#257tr&#257s</i> and <i>guru</i> (S) consecutively in each quarter. It is a kind of Charpa&#7789 and has been used for eight times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;108. <i>Chatuspad&#299</i> or <i>Chaturpad&#299</i> is of 30 syllabic instants having pause at 10, 8, 12 with <i>saga&#7751</i> (IIS) and <i>guru</i> (S) at the end of each quarter. Alternative names given it are Chavpa&#299y&#257 and Chaupa&#299y&#257. It has been used four time in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;109. <i>Chaupa&#299</i> is of 16 syllabic instants having <i>guru</i> (S) at the end of each quarter. It is of Apbhra&#7749&#347 origin and alternative names for it are R&#363p-Chaupa&#299, Jaykar&#299 and &#346a&#7749khin&#299. This metre is known as of two kinds, namely Chaupa&#299 and Chaup&#257&#299. The first kind is of 15 <i>m&#257tr&#257s</i> and the second is of 16 <i>m&#257tr&#257s</i>, but in the Sikh scriptures there is no such distinction and usually it is of 16 <i>m&#257tr&#257s</i>. It is a popular metre in Hindi narrative poetry. Tuls&#299d&#257s's <i>R&#257ma-charita M&#257nasa</i> is in this metre. In early periods Paddhar&#299&#257 was preferred to Chaupa&#299. This metre has been used 5555 times in the <i>Dasam Granth - Ak&#257l Ustati</i>, (10), <i>Bachitra N&#257&#7789ak</i> (162), <i>Cha&#7751&#7693&#299 Charitra II</i> (20), <i>Gi&#257n Prabodh</i> (46), <i>Chaub&#299s Aut&#257r</i> (414), <i>Brahm&#257 Avat&#257r</i> (56), <i>Rudra Avat&#257r</i> (79), <i>Sastra N&#257m M&#257l&#257</i> (344), and <i>P&#257khy&#257n Charitra</i> (4424).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;110. <i>Chhand</i> can be used for all kinds of metres. It is of Hindi origin and the alternative name for it is Chhant. It has been used 29 times in the <i>Sastra N&#257m M&#257l&#257</i> (5) and <i>P&#257khy&#257n Charitra</i> (24).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;111. <i>Chhand Va&#7693&#7693&#257</i> is of 28 syllabic instants having pause at 16, 12, and <i>raga&#7751</i> (SIS) at the end of each quarter. It is of Hindi origin and has been used once in the <i>Sastra N&#257m M&#257l&#257</i>in place of Harig&#299tik&#257, vide K&#257hn Si&#7749gh N&#257bha, <i>Gurushabad Ratn&#257kar Mah&#257n Kosh</i>, p. 498.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;112. <i>Chaubol&#257</i> is a kind of Savaiyy&#257 but is defined as Chaubol&#257 because of the use of four different languages in it. It has been used thrice in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;113. <i>Chhappai</i>, a combination of Ull&#257l&#257 and Rol&#257, is of six <i>chara&#7751s</i>. It is of Apbhra&#7749&#347 origin and alternative names for it are Chhapp&#257, Chhappaya, Kha&#7789pad and &#346&#257rdul-vikr&#299&#7771it. In the <i>Dasam Granth</i> it has been used in various forms for 81 times in the <i>J&#257pu</i> (I), <i>Bachitra N&#257&#7789ak</i> (I), <i>Gi&#257n Prabodh</i>(8), <i>Chaub&#299s Aut&#257r</i> (19), <i>Rudra Avat&#257r</i>(47) and <i>P&#257khy&#257n Charitra</i> (5).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;114. <i>Dohar&#257</i>, of two <i>chara&#7751s</i> and 24 syllabic instants with pause at 13, 11 and <i>guru laghu</i> (SI) at the end of each <i>chara&#7751</i> is of Apbhra&#7749&#347 origin and alternative names given it are <i>doh&#257</i> (in Apbhra&#7749&#347), <i>g&#257th&#257</i> (in Pr&#257krit) and <i>&#347loka</i> (in Sanskrit). It is of many kinds and almost all the kinds have been used in the <i>Dasam Granth</i>. It is always preferred for shorter patterns of verse. Gorakh N&#257th, Kab&#299r, Jayas&#299, Tuls&#299d&#257s, Bih&#257r&#299, <i>et al</i>. had expressed themselves through this metre. It has been used 3150 times in the <i>Dasam Granth</i>: <i>Ak&#257l Ustati</i> (10), <i>Bachitra N&#257&#7789ak</i> (38), <i>Cha&#7751&#7693&#299 Charitra I</i> (80), <i>Cha&#7751&#7693&#299 Charitra II</i> (14), <i>Cha&#7751&#7693&#299 d&#299 V&#257r</i> (I), <i>Gi&#257n Prabodh</i> (2), <i>Chaub&#299s Aut&#257r</i> (454), <i>Brahm&#257 Avat&#257r</i> (I), <i>Rudra Avat&#257r</i> (8), Savaiyy&#257 : <i>Jo kicch lekh likhio bidh&#257t&#257</i> (I), <i>Sastra N&#257m M&#257l&#257</i> (711), and <i>P&#257khy&#257n Charitra</i> (1830).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;115. <i>El&#257</i> is of 24 syllabic instants having pause at 11, 13 with two <i>gurus</i> (S) at the end of each line. It is made of three <i>chara&#7751s</i> (lines) and is of Sanskrit origin. It is <i>vi&#7779am m&#257trik</i> in the <i>Dasam Granth</i> but according to <i>Hindi Chhand Prak&#257sh</i> it is <i>var&#7751ik</i> metre. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;116. <i>G&#257h&#257 D&#363j&#257</i> is of 27 syllabic instants having two <i>chara&#7751s</i> with pause at 14, 13 in each <i>chara&#7751. </i> It is of Pr&#257krit origin and other name given in G&#257th&#257. It is also said to be four <i>chara&#7751s</i> with 62 <i>m&#257tr&#257s</i> in all, but it has been given a new form in the <i>Dasam Granth</i>. It has been used four times in <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;117. <i>Ghatt&#257</i> is generally of two <i>chara&#7751s</i> having 32 syllabic instants but in the <i>Dasam Granth</i> it is of three <i>chara&#7751s</i>- 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 <i>laghus</i> (I) at the end. It is a Vi&#7779am metre and is of Pr&#257krit and Apbhra&#7749&#347 origin. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;118. <i>G&#299tm&#257lat&#299</i> is of 28 syllabic instants with pause at 16, 12 in each quarter. It has been used 16 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma-8; Nihkala&#7749k&#299 -8).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;119. <i>Ha&#7749s</i> is of 15 syllabic instants having two <i>chara&#7751s</i> with pause at 7, 8 and <i>guru</i> (S) and <i>laghu</i> (I) at the end of each <i>chara&#7751</i>. It is of Sanskrit origin and has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;120. <i>Harig&#299t&#257</i> is of 28 syllabic instants having pause at 16, 12 with <i>raga&#7751</i> (SIS) at the end of each quarter. It is of Hindi origin and the alternative name given it is Harig&#299tik&#257. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;121. <i>H&#299r</i> is of 23 syllabic instants having pause at 6, 6, 11 with <i>guru</i> (S) in the beginning and <i>raga&#7751</i> (SIS) at the end of each quarter. It is of Pr&#257krit and Apbhra&#7749&#347 origin and the alternative name for it is H&#299rak. It is also counted in Var&#7751ik metres. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;122. <i>Kalas</i> is the name of a combined metre. In the <i>Dasam Granth</i> it is made of Chaupa&#299 Tribha&#7749g&#299, in which the last <i>pad</i> of the first stanza is reproduced in the beginning the following stanza. The Gur&#363 has given the name Kalas in place of Chaupa&#299 and named the second metre independently as. Tribha&#7749g&#299. Alternative names for it are Ull&#257s and Hull&#257s. It has been used 13 times in the <i>Gi&#257n Prabodh</i> (4), and <i>Chaub&#299s Aut&#257r</i> (R&#257ma-9).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;123. <i>Ku&#7751&#7693al&#299&#257</i> is of 24 syllabic instants and is a combination of Doh&#257 and Rol&#257 with pause at 13, 11 in the two <i>chara&#7751s</i> of Doh&#257 and pause at 11, 13 in the four quarters of Rol&#257, but in the <i>Dasam Granth</i> only two <i>chara&#7751s</i> of Rol&#257 are combined with Doh&#257 and as such this metre is of four <i>chara&#7751s</i> instead of six. It is of Apbhra&#7749&#347 origin and the alternative name for it is Ku&#7751&#7693ar&#299&#257. It is commonly used in Hindi poetry. In the <i>Dasam Granth</i> it has been used five times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;124. <i>M&#257dho</i> is of 16 syllabic instants having two <i>gurus</i> (S) at the end of each quarter. It is a kind of A&#7771ill and the alternative name given it is Kar&#299&#7771&#257. It has been used seven times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;125. <i>Madhubh&#257r</i> is of 8 syllabic instants having <i>jaga&#7751</i> (ISI) after four <i>m&#257tr&#257s</i>. It is of Pr&#257krit and Apbhra&#7749&#347 origin and alternative names for it are Chhabi and Mohan&#257 It has been used 97 times in the <i>J&#257pu</i> (17), <i>Bachitra N&#257&#7789ak</i> (12), <i>Cha&#7751&#7693&#299 Charitra</i> II(8), <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299-11), <i>Brahm&#257 Avat&#257r</i> (34), and <i>Rudra Avat&#257r</i> -15.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;126. <i>Makr&#257</i> is of 12 syllabic instants and has three kinds of rhymes. It has been used 14 times in the <i>Chaub&#299s Aut&#257r</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;127. <i>M&#257rah&#257</i> or <i>M&#257r&#257h</i> is of 29 syllabic instants having pause at 10, 8, 11 with two <i>gurus</i> (S) at the end of each quarter. Alternative names for it are Manhar&#299, Marhar&#299 and Marha&#7789&#257. It has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;128. <i>Mohan</i> is of 28 syllabic instants having pause at 16, 12 with <i>raga&#7751</i> (SIS) at the end of each quarter. Alternative names given it are Mohan&#257 and Madhubh&#257r. It has been used four times in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299). Another form of it, <i>Moha&#7751&#257</i>, is a kind of Harig&#299tik&#257 which is of 8 syllabic instants having <i>jaga&#7751</i> (ISI) at the end of each quarter.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;129. <i>Moha&#7751&#299</i> is of 16 syllabic instants having <i>saga&#7751</i> (IIS) in the beginning and <i>maga&#7751</i> (SSS) at the end of each quarter. Its alternative name in the <i>Dasam Granth</i> is Modak. It has been used 52 times, in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma -8), <i>Brahm&#257 Avat&#257r</i> (Aj R&#257j&#257 -8) and <i>Rudr&#257 Avat&#257r</i> (36).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;130. <i>Mritgat</i> is of 12 syllabic instants with <i>naga&#7751</i> (III) at the end of each quarter. It is of Sanskrit origin and alternative name for it is Amritgati. It has been used thrice in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;131. <i>Navpad&#299</i> is of 16 syllabic instants having <i>bhaga&#7751</i> (SII) at the end of each quarter. It is a type of Chaupa&#299 and A&#7771ill and has been used four times in <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;132. <i>Pad</i> is of different syllabic instants in different kinds. It is of Hindi origin and alternative names for it are &#346abda, Vi&#7779&#7751upada and Bishanpad. It was a favourite with the medieval Indian poets writing in the devotional mould. It is actually not a metre, but a poetic form as in the case of Pau&#7771&#299. Its first <i>chara&#7751</i> is comparatively short. It has been used 55 times in the <i>Shabad Haz&#257re</i> (10) and <i>Rudra</i> (P&#257ras N&#257th) <i>Avat&#257r</i> (45).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;133. <i>P&#257ddhar&#299</i> also written as <i>P&#257ddha&#7771&#299, </i> is of 12 syllabic instants having <i>jaga&#7751</i> (ISI) at the end of each quarter with pause at 8, 8. It is of Apbhra&#7749&#347 origin and is taken, at times, to mean Chaupa&#299. It has been used 312 times in the <i>Ak&#257l Ustati</i> (38), <i>Bachitra N&#257&#7789ak</i> (2), <i>Gi&#257n Prabodh</i> (16), <i>Chaub&#299s Aut&#257r</i> (92), <i>Brahm&#257 Avat&#257r</i> (40), and <i>Rudra Avat&#257r</i> (124).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;134. <i>P&#257ddha&#7771&#299 Aradh</i> is of eight syllabic instants having two <i>gurus</i> (S) and <i>jaga&#7751</i> (ISI) consecutively in each quarter. It resembles Madhubh&#257r. It has been used five times in the <i>Brahm&#257 Avat&#257r</i> (Vy&#257s).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;135. <i>Padm&#257vat&#299</i> is of 30 syllabic instants having <i>saga&#7751</i> (IIS) and <i>guru</i> (S) at the end of each quarter with pause at 10, 8, 12 and rhyming at the first and the second pause. It resembles Chaupa&#299 and its other alternative names are Chaturpad&#299 and Chavpa&#299y&#257. It has been used thrice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;136. <i>Pau&#7771&#299</i> is a Vi&#7779am Chhand having no limitation of lines (<i>chara&#7751s</i>) but its last <i>chara&#7751</i> is generally short. The alternative name for it is Nihshre&#7751&#299, and is usually of two kinds : one, Nish&#257n&#299 which rhymes at the end of each <i>chara&#7751</i> and the other, Sirkhi&#7751&#7693&#299 having only middle-rhyme without any rhyming at the end. This metre is usually sung by the court-bards or <i>&#7693h&#257&#7693h&#299s</i> and is musical in character. It is more a form of poetry than a metre. It has been used 61 times in the <i>Cha&#7751&#7693&#299 d&#299 V&#257r</i> (54) and Chaub&#299s Aut&#257r (7).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;137. <i>Punh&#257</i> is of 21 syllabic instants having pause at 11, 10. Some poets have stressed the use of <i>jaga&#7751</i> (ISI) in the middle while others have emphasized <i>raga&#7751</i> (SIS) in the end. Alternative names given it are Harih&#257&#7749, Ch&#257ndr&#257yan, Parih&#257&#7749 and Punh&#257. It is also considered a kind of A&#7771ill. It has been used twice in <i>Cha&#7751&#7693&#299 Charitra I. </i></p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;138. <i>Sadd</i> is of 29 syllabic instants having pause at 17, 12 with <i>yaga&#7751</i> (ISS) at the end of each <i>chara&#7751</i>. It has been used only once in the <i>Dasam Granth</i>.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;139. <i>Sa&#7749g&#299t Bah&#7771&#257</i>, which is different from Bah&#7771&#257 metre used in the<i> Dasam Granth</i>, has been treated four times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;140. <i>Sa&#7749g&#299t Chhappaya</i> has been used 17 times - 8 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma) and 9 times in the <i>Rudra Avat&#257r</i> (P&#257ras N&#257th).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;141. <i>Sa&#7749g&#299t Madhubh&#257r</i>. The Sa&#7749g&#299t 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 <i>Cha&#7751&#7693&#299 Charitra</i> II.</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;142. <i>Sa&#7749g&#299t P&#257ddha&#7771&#299</i> (See P&#257ddhar&#299) has been used twice in the <i>Brahm&#257 Avat&#257r</i> (Vy&#257s).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;143. <i>Sirkhi&#7751&#7693&#299</i> 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 Palva&#7749gam and Sr&#299kha&#7751&#7693. It has been used in the <i>Dasam Granth</i> generally under the name of <i>Pau&#7771&#299</i> (See Pau&#7771&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;144. <i>Sora&#7789h&#257</i> is of 24 syllabic instants and is an inverted form of Doh&#257 (Dohar&#257). It has two <i>chara&#7751s</i> with pause at 11, 13. The first pause ends with <i>laghu</i> (I), whereas the second pause ends with <i>guru</i> (S). It is of Hindi origin and has been used 80 times in the <i>Cha&#7751&#7693&#299 Charitra</i> I (7), <i>Cha&#7751&#7693&#299 Charitra ll</i> (I), <i>Chaub&#299s Aut&#257r</i> (44), <i>Sastra N&#257m M&#257l&#257</i> (2), and <i>Pakhy&#257n Charitra</i> (26).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;145. <i>Sukhd&#257</i> is of 8 syllabic instants having <i>guru</i> (S), <i>laghu</i> (I) consecutively at the end of each quarter. It has been used 8 times in the <i>Chaub&#299s Aut&#257r</i> (R&#257ma).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;146. <i>Supriy&#257</i> is of 16 syllabic instants with <i>bhaga&#7751</i> (SII) at the end of each quarter. Its other alternative name is &#7692ill&#257 and has been used 4 time's in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;147. <i>Tilok&#299</i> is of 16 syllabic instants having <i>guru</i> (S) after four and eight <i>m&#257tr&#257s</i> and also at the end of each quarter. The alternative name given it is Upchitr&#257, and it has been used twice in the <i>Chaub&#299s Aut&#257r</i> (Nihkala&#7749k&#299).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;148. <i>Tomar</i> is of 12 syllabic instants having <i>guru</i> (S) and <i>laghu</i> (I) at the end of each quarter. It is of Sanskrit origin and its other alternative name is Padha&#7771ik&#257. Bh&#257&#299 K&#257hn Si&#7749gh has defined it as <i>va&#7771nik</i> metre also, having <i>saga&#7751</i> (IIS) and two <i>jaga&#7751s</i> (ISI) in each quarter. But this definition does not disturb the pattern of <i>m&#257trik</i> metre as it is treated in Hindi poetry. It has been used 204 times in the <i>Dasam Granth</i>: <i>Ak&#257l Ustati</i> (20), <i>Gi&#257n Prabodh</i> (22), <i>Chaub&#299s Aut&#257r</i> (26), <i>Brahm&#257 Avat&#257r</i> (70), <i>Rudra Avat&#257r</i> (60), and <i>P&#257khy&#257n Charitra</i> (6).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;149. <i>Tribha&#7749g&#299</i> is of 32 syllabic instants having pause at 10, 8, 8, 6 with <i>guru</i> (S) at the end of each quarter. There are ordinarily three subordinate rhymes at each pause. It is of Sanskrit origin and poets of Pr&#257krit and Apbhra&#7749&#347 have also practised it. It has been used 41 times in the <i>Ak&#257l Ustati</i> (20), <i>Bachitra N&#257&#7789ak</i> (2), <i>Gi&#257n Prabodh</i> (7), and <i>Chaub&#299s Aut&#257r</i> (12).</p> <p class="C1">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;150. <i>Vijaya</i>, also written as Bijai, is of 40 syllabic instants having pause at 10, 10, 10, 10 with <i>raga&#7751</i> (SIS) at the end of each quarter. It is of Pr&#257krit and Apbhra&#7749&#347 origin and also falls under the category of <i>var&#7751ik</i> metre. It has been used 19 times in the <i>Cha&#7751&#7693&#299 Charitra II</i> (2), <i>Chaub&#299s Aut&#257r</i> (I) and <i>P&#257khy&#257n Charitra</i> (16).</p> </font> <p class="BIB"> BIBLIOGRAPHY<p class="C1"><ol class="C1"><li class="C1"> Ashta, Dharam Pal, <i>The Poetry of the Dasam Granth</i>. Delhi, 1959<BR> <li class="C1"> Loehlin, C. H. , <i>The Granth of Guru Gobind Si&#7749gh and the Khalsa Brotherhood</i>. Lucknow, 1971<BR> <li class="C1"> Sher Singh, <i>Social and Political Philosophy of Guru Gobind Singh</i>. Delhi, n. d.<BR> <li class="C1"> Kohli, Surindar Si&#7749gh, "Dasam Granth, " in Mircea Elide, ed. , <i>The Encyclopaedia of Religion</i>, vol. 4. New York, 1987<BR> <li class="C1"> Gopal Singh, <i>Thus Spake the Tenth Master</i>. Patiala, 1978<BR> <li class="C1"> Jagg&#299, Rattan Si&#7749gh, <i>Dasam Granth Parichaya</i>. Delhi, 1990<BR> <li class="C1"><i>Dasam Granth d&#257 Kartritav</i>. Delhi, 1965<BR> <li class="C1"> Padam, Pi&#257r&#257 Si&#7749gh, <i>Dasam Granth Darshan</i>. Patiala, 1968<BR> <li class="C1"> Mah&#299p Si&#7749gh, <i>Gur&#363 Gobind Si&#7749gh Aur Unk&#299 Hind&#299 Kavit&#257</i>. Delhi, 1968<BR> <li class="C1"> Bh&#257rdw&#257j, Om Prakash, <i>Ramavt&#257r Tath&#257 Krisha&#7751avt&#257r K&#257 K&#257vya-Sh&#257str&#299ya Adhyan</i>. Patiala, 1978<BR> </ol><p class="CONT">C. H. Loehlin<br>Rattan Si&#7749gh Jagg&#299<br></p><BR> </font> <img src="counter.aspx" width="1px" height="1px" alt=""> </HTML></BODY>