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

         Earlier, too, Gurū Gobind Siṅgh had, when concluding the story of Lord Kṛṣṇa, versified by him, stated that the purpose of the composition was nothing but to acclaim the righteous war. Although the Dasam Granth is revered equally with the Gurū Granth Sāhib and in some gurdwārās is seated side by side with the latter, it does not enjoy the same status nor does it rank theologically as Shabad-Gurū as does the Ādi Granth. Even the authorship and authenticity of some of the writings in it are sometimes questioned. The volume was compiled at Amritsar by Bhāī Manī Siṅgh, one of his devoted followers, some two decades after the passing away of Gurū Gobind Siṅgh. What with the intrigues of the jealous hill rājās and the hostility of the Mughal satraps, those were perilous times. Gurū Gobind Siṅgh continued to patronize bards and poets who had gravitated to Anandpur and encouraged them to produce translations into bhākhā (vernacular) of martial episodes from the Purāṇas 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. Manī Siṅgh 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 Dasam Granth. A second recension was prepared by Bābā Dīp Siṅgh, chief of the Shahīd clan at Damdamā Sāhib. The bulk of the contents of these recensions was common to both. Yet another recension was got up by Bhāī Sukkhā Siṅgh, an officiant at Takht Srī Paṭnā Sāhib. Several other recensions, copies and copies made from copies, appeared successively, not without some mutual textual variations.

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

         A few of the compositions in the Dasam Granth bear the signature title, Srī Mukhvāk Pātshāhī X, literally, holy word from the mouth of the Tenth Sovereign, i. e. the Tenth Gurū, Gurū Gobind Siṅgh. Some compositions are preceded by simply, Pātshāhī X. Two or three, covering about 75 pages of the Dasam Granth, bear no signatures at all. In general, those with the full signature title are accepted as written or dictated by the Gurū himself, whereas those with the abbreviated title, or those with no title, may or may not be so accepted.

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

         The Akāl Ustati, spelt "Ustat" in the original (Praises of the Timeless), occupying 28 pages in the Dasam Granth edition comprising 1428 pages, is a poem mixing stotra 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 tū hī (Thou alone art, Thou alone existest). He repeats the expression 16 times (verses 69-70). The Akāl Ustati 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. Gurū Gobind Siṅgh 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.

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

         Among the battles described is that of Bhaṅgāṇī (18 September 1688) in which Gurū Gobind Siṅgh 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 Bachitra Nāṭak Granth which also includes the Chaṇḍī Charitra, I and II, Chaubīs Autār, Brahmā Avatār and Rudra Avatār. Some stories of the avatārs such as that of Kṛṣṇa are based on the "Dasam Skandh" of the Bhāgavat Purāṇa, whereas those of the Chaṇḍī Charitra, I and II, are based on Mārkaṇḍaya Purāṇa. Chaṇḍī dī Vār is the only long composition in Punjabi in the Dasam Granth. Chaṇḍī Charitra, I and II, and Chaṇḍī dī Vār describe battles between Durgā and the demons, allegorically the cosmic conflict between good and evil. The opening verses of the Punjabi Vār now form part of the ardās or daily supplicatory prayer of the Sikhs. The verses run as under :

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

        Aṅgad Gurū, Amar Dās, each with Rām Dās, be our protectors.

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

        Remember Srī Har Krishan whose very sight dispels all sorrow.

        Think of Gurū Tegh Bahādur;

        So will all the nine treasures throng thy door.

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

        

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

         Shabad Pātshāhī 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 "Khayāl" (of the Tenth Sovereign) etch a picture of a true devotee. Savaiyyās are quatrains comprising 33 four-line stanzas. The text carries the signature Srī Mukhvāk Pātshāhī X. Truth is sifted from falsehood. "One in whose heart the light of the Perfect One shines is a true member of the Khālsā. "

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

         Chritropākhyān (Tales of Deceit) covering 7555 verses of Charit Kāvya is the largest composition in the Dasam Granth. "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, sudī aṣṭamī of Bhādoṅ 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'ān it is Yūsuf and Zulaikhā.

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

         Hikāyat comprises stories in the Persian language, written in Gurmukhī characters. They are placed at the end of Dasam Granth after the Persian Zafarnāmah. Several of these tales are Persian duplicates of some of the Braj tales. Hikāyat 4 is Charitra 52 : Hikāyat 5 is Charitra 267; and 9 is Charitra 290.

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

         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, Prākrit, Apabhraṅśa and old Hindi languages with concomitant extensions. These are divided into mātrik (in which syllabic instants are counted) and varṇik (in which order and number of short and long vowels are taken into account). In earlier Sanskrit literature only varṇik metres were popular and at a later stage, due to the influence of Prākrit and Apabhraṅśa languages, poets of Sanskrit also turned to the use of mātrik metres.

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

         Both kinds of metres (syllable or varṇik and syllabic instants or mātrik) are employed in the Dasam Granth, but varṇik metres have been used more frequently and with perfect ease. Apart from the above two main varieties of Indian origin, the bait, a metre of Persian poetry, has also been used. Secondly, out of a total number of about 150 metres used in the Dasam Granth, over one hundred metres have their origin in Sanskrit, Prākrit, Apabhraṅśa and old Hindi languages. The remaining metres, either new or traditional ones, appear under new names to suit the flow of narration. Gurū Gobind Siṅgh invented new metres which contribute a great deal to the realization of sentiments (rasa) in their sublimity. Keeping the contents in view, he gives many alternative names to some of the metres. In the Dasam Granth, the Chaupaī metre has been used to the maximum followed by Doharā and Savaiyyā.

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

        SYLLABLE (VARṆIK) METRES

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

        2. Ajā is of 8 syllables having yagaṇ (ISS), ragaṇ (SIS), laghu (I) and guru (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 Chaubīs Autār (Nihkalaṅkī).

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

        4. Akrā is of 5 syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Aṇakā, Anahad, Anubhav, Śaśivadna, Chaṇḍrasā and Madhurdhuni. It has been used 16 times in the Chaubīs Autār (Rāma).

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

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

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

        8. Anād is of 8 syllables having magaṇ (SSS) yagaṇ (ISS), guru (S) and laghu (I) consecutively and pause at 4 syllables in each quarter. It is also called Vāpī. It has been used eight times in the Chaubīs Autār (Rāma).

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

        10. Anhad is of 6 syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. Alternative names for it are Akrā, Aṇakā, Anubhav, Śaśivadnā, Chaṇḍrasā and Madhurdhuni. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

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

        12. Anūp Narāj is of 16 syllables having jagaṇ (ISI), ragaṇ (SIS), jagan (ISI), ragaṇ (SIS), jagaṇ (ISI) and guru (S) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Narāj, Bichitra Narāj, Narāch and Bridhi. It has been used forty seven times in the Chaubīs Autār (Rāma-29; Nihkalaṅkī-5) and Rudra Avatār (Datta-13).

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

        14. Apūrab or Apūrav is of 6 syllables having ragaṇ (SIS) and tagaṇ (SSI) consecutively in each quarter. It is of Sanskrit origin and alternative names for it are Arūpā and Krīṛā. It has been used 26 times in the Chaubīs Autār (Rāma).

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

        16. Arūpā is of 4 syllables having yagaṇ (ISS) and guru (S) consecutively in each quarter. Krīṛā is the alternative name given it. It has been used four times in the Chaubīs Autār (Rāma).

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

        18. Astar or Astra is of 12 syllables having four yagaṇs (ISS) in each quarter. It is of Sanskrit origin and alternative name for it is Bhujaṅg-prayāt. It has been used twice in the Brahmā Avatār (Māndhātā Rājā).

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

        20. Bahir Tvīl Paschamī is of five syllables having sagaṇ (IIS) and two laghus (I) consecutively in each quarter. Its formation is based on Pashto lyric and alternative name given it is Nāyak. It has been used 19 times in the Giān Prabodh.

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

        22. Belī Bindram is of two kinds : one is of eleven syllables having nagaṇ (III), two sagaṇs (IIS), laghu (I) and guru (S) consecutively in each quarter. The other is of ten syllables having sagaṇ (IIS), two jagaṇs (ISI) and guru (S) consecutively. It has been used fifteen times in the Chaṇḍī Charitra II (11) and Chaubīs Autār (Narsiṅgh -2 and Sūraj -2).

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

        24. Bhaṛthūā is of six syllables having two yagaṇs (ISS) in each quarter. The alternative name given it is Śaṅkhanārī and it suits the description of destruction in war. It has been used twenty five times in the Chaubīs Autār (Nihkalaṅkī).

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

        26. Bhujaṅg is similar to Bhujaṅg-prayāt. It has been used 317 times (Bachitra Nāṭak (41), Chaubīs Autār (55) and Pākhyān Charitra (221).

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

        28. Bidhūp Narāj is of 8 syllables having jagaṇ (ISI), ragaṇ (SIS) laghu (I) and guru (S) consecutively in a quarter. Alternative names for it are Aradh Narāj and Pramāṇikā. It has been used six times in the Chaubīs Autār (Nihkalaṅkī).

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

        30. Bisekh or Bisheshak is of sixteen syllables having five bhāgaṇs (SII) and guru (S) consecutively in each quarter. Alternative names given it are Aśvgati, Manaharaṇ and Nīl. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

        31. Bridh Narāj. See Narāj Bridh.

        32. Chācharī is of two kinds - one is of four syllables having jagaṇ (ISI) and guru (S) and the other is of three syllables having one yagaṇ (ISS). Alternative names given it are Sudhī and Śaśī. It has been used 57 times in the Jāpu (32) and Chaubīs Autār (Rāma 6; and Nihkalaṅkī 19).

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

        34. Chañchalā is of 16 syllables having ragaṇ (SIS), jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI) and laghu (I) consecutively in each quarter. Alternative names given it are Chitra, Birāj and Brahmrūpak. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

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

        36. Dodhak is of eleven syllables having three bhagaṇs (SII) and two gurus (S) in each quarter. It is of Sanskrit origin and alternative names for it are Bandhu, Modak and Sundarī. In Chaubīs Autār (Narsiṅgh) this metre has been used for Modak with four bhagaṇs (SII) in each quarter. It has been used 22 times, in the Chaubīs Autār (Narsiṅgh 3; Chand 4; and Rāma 10) and Brahmā Avatār (Māndhātā Rājā -5).

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

        38. Haribolmanā (six syllables with two sagaṇs (IIS), in each quarter) is also called Tilkā. It has been used 69 times, in the Jāpu (14), Chaubīs Autār (Nihkalaṅkī) (30) and Brahmā Avatār (Manu Rājā-1, Prith Rājā -24).

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

        40. Jhūlā is of six syllables having two yagaṇs (ISS) in each quarter. Alternative names given it are Somrājī and Aradh Bhujaṅg. It has been used four times in the Chaubīs Autār (Rāma).

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

        42. Kabitt is of 31 syllables with pause at 8, 8, 8, 7 and guru (S) at the end of each quarter. Its origin is not known though it is profusely found in old Hindi and Punjabi poetry. Tulsīdās, Padmākar, Bhāī Gurdās and Hirdya Rām Bhallā were quite fond of using it in their works. Alternative names for it are Daṇḍak, Manaharaṇ and Ghanākṣarī. It rhymes and ends with a guru. It has been used 154 times in the Dasam Granth-Akāl Ustati: 44, Chaṇḍī Charitra I: 7, Giān Prabodh: 8, Chaubīs Autār, 69 (Kṛṣṇa: 58 and Rāma 11), Brahmā Avatār (Vyās): 1, and Pākhyān Charitra: 25.

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

        44. Kilkā is of twelve syllables having four sagaṇs (IIS) in each quarter. Alternative names for it are Astā and Toṭak. It has been used twice in Chaubīs Autār (Nihkalaṅkī).

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

        46. Kulak or Kulkā is of two kinds : one, Kulak, has six syllables in order of bhagaṇ (SII) and jagaṇ (ISI), and the other, Kulkā, has six syllables in order of nagaṇ (III) and yagaṇ (ISS) in each quarter. It is of Sanskrit origin and the alternative name for is Śaśivadanā. It has been used 23 times in the Chaṇḍī Charitra II (4), Chaubīs Autār (Nihkalaṅkī-11), and Rudra Avatār (Datta-8).

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

        48. Kusam Bichitra, also written as Kusum Vichitra, is of 12 syllables having nagaṇ (III), yagaṇ (ISS), nagaṇ (III) and yagaṇ (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 Chaubīs Autār (Rāma).

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

        50. Māltī is of twenty three syllables having seven bhagaṇs (SII) and two gurus (S) consecutively in each quarter. It is of Sanskrit origin and is a kind of Savaīyyā. Alternative names given it are Indav, Bijai and Mattagyand. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

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

        52. Mathān is of six syllables having two tagaṇs (SSI) in each quarter. It has been used nine times in the Chaubīs Autār (Nihkalaṅkī).

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

        54. Nāgsarūpiṇī, also called Pramāṇikā, is of eight syllables having jagaṇ (ISI), ragaṇ (SIS), laghu (I) and guru (S) consecutively in each quarter. It is of Sanskrit origin and has been used 10 times in the Chaubīs Autār (Nihkalaṅkī -6 ; and Rāma -4).

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

        56. Narāj, of Sanskrit origin and also called Narāch, Nāgrāj, Pañch Chāmar and Vichitra, is of l6 syllables having jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI), ragaṇ (SIS), jagaṇ (ISI) and guru (S) consecutively in each quarter. It has been used 150 times in the Akāl Ustati (20), Bachitra Nāṭak (33), Chaṇḍī Charitra II (21), Giān Prabodh (37), Brahmā Avatār (8), Rudra Avatār (Pāras Nāth-30) and Pākhyān Charitra (1).

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

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

        59. Narāj Laghu is of 4 syllables having jagaṇ (ISI) and guru (S) consecutively in each quarter. Alternative names given it are Sudhī and Hohā. It has been used 20 times in the Akāl Ustati.

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

        61. Nispāl is of 15 syllables having bhagaṇ (SII), jagaṇ (ISI) sagaṇ (IIS), nagaṇ (III) and ragaṇ (SIS) consecutively in each quarter. It is also known by the names of Nispālikā and Nisipāl. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

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

        63. Pādhṛī Aradh, also named Madhubhār, is of five syllables having two gurus (S) and jagaṇ (ISI) consecutively in each quarter. It has been used five times in the Brahmā Avatār (Vyās).

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

        65. Priyā, of Sanskrit origin and also known as Aṛūhā and Saṅyut, is of ten syllables having sagaṇ (IIS), two jagaṇs (ISI) and guru (S) consecutively in each quarter. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

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

        67. Rasāval is of six syllables having two yagaṇs (ISS) in each quarter. It has been used in the compositions titled Jāpu (8), Bachitra Nāṭak (90), Chaṇḍī Charitra II (69), Giān Prabodh (17), Rudra Avatār (17), and Chaubīs Autār (179) having been named as Aradh Bhujaṅg in the Jāpu and the Bachitra Nāṭak.

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

        69. Rekhtā 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 Chaṇḍī Charitra I, Rekhtā is used only once for Kabitt (Manhar).

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

        71. Ruṇjhuṇ is of six syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. Alternative names for it are Akvā and Śaśivadnā. It has been used thrice in Rudra Avatār.

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

        73. Saṅgīt Bhujaṅg-prayāt has been used 44 times in the Chaṇḍī Charitra II (7) and Chaubīs Autār (Rāma-13 and Nihkalaṅkī-24).

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

        75. Saṅgīt Padhisṭakā is of eleven syllables having ragaṇ (SIS), jagaṇ (ISI), tagaṇ (SSI), guru (S) and laghu (I) consecutively in each quarter. But in the Nihkalaṅkī Avatār, this name has been given to Toṭak (See Padhisṭakā). It has been used 8 times in Chaubīs Autār (Rāma).

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

        77. Saṅkhṅārī is of six syllables having two yagaṇs (ISS) in each quarter. Its other alternative names are Somrājī and Aradh Bhujaṅg. In the Dasam Granth (Jāpu) it is given under the name of Aradh Bhujaṅg.

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

        79. Savaiyyā is of 48 kinds out of which Madirā, Indav, Māltī, Ramaya, Kirīt, Drumilā, Manoj, Uṭaṅkaṇ, Surdhunī and Sarvagāmī are found in the Dasam Granth. Final alliteration of all the quartets is essential in a Savaiyyā. 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 Dasam Granth it is applied for war poetry with unique success. It has been used for a total of 2252 times in the Dasam Granth, the maximum use (1782 times) of it being in the "Kṛṣṇa Avatār" in the Chaubīs Autār.

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

        81. Somrājī is of 6 syllables having two yagaṇs (ISS) in each quarter. It is of Sanskrit origin and its other alternative names are Utbhuj, Aradh Bhujaṅg, Śaṅkhanārī and Jhūlā. In the Dasam Granth ("Nihkalaṅkī Avatār" in the Chaubīs Autār), this name has been given to four Bhujaṅg-prayāt metres.

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

        83. Sundarī is a form of Savaiyyā comprising 25 syllables-eight sagaṇs (IIS) and one guru (S). In the "Rāma Avatār" of the Chaubīs Autār it has been used eighteen times.

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

        85. Tārkā is of 13 syllables having four sagaṇs (IIS) and guru (S) consecutively in each quarter. Alternative names given it are Ugādh and Yaśodā It is used 8 times in the Chaubīs Autār (Rāma).

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

        87. Tilkā is of 4 syllables having magaṇ (SSS) and guru (S) consecutively in each quarter. Alternative names for it are Akvā, Ajbā, and Kanyā. It has been used eight times in the Chaubīs Autār (Rāma).

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

        89. Toṭak is of 12 syllables having four sagaṇs (IIS) in each quarter. It is of Sanskrit origin and its other alternative names are Astā, Kilkā and Tārak. It has been used 232 times in the compositions namely Akāl Ustati (20), Bachitra Nāṭak (6), Chaṇḍī Charitras (6), Giān Prabodh (15), Chaubīs Autār (101), Brahmā Avatār (3), Rudra Avatār (63), and Pākhyān Charitra (18).

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

        91. Triṇṇiṇ is of six syllables having nagaṇ (III) and yagaṇ (ISS) consecutively in each quarter. The first word of each line (charaṇ) is triṇṇiṇ 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 Chaubīs Autār (Rāma).

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

        93. Uchhlā is of 5 syllables having bhagaṇ (SII) and two gurus (S) consecutively in each quarter. Alternative names for it are Uchhāl, Haṅsak and Paṅkti. It has been used nine times in the Brahmā Avatār.

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

        95. Ugāthā is of 10 syllables having jagaṇ (ISI), tagaṇ (SSI), ragaṇ (SIS) and guru (S) consecutively in each quarter with pause at 5, 5. It is of Sanskrit origin. It has been used nine times in the Chaubīs Autār (Rāma).

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

        97. Utbhuj, also called Udbhuj, is of 6 syllables having two yagaṇs (ISS) in each quarter. Alternative names are : Arad, Bhujaṅg, Śomrājī, Saṅkhanārī, Jhūlā and Rasāval. It has been used four times in the Chaubīs Autār. (Nihkalaṅkī).

        SYLLABIC INSTANT (MĀTRIK) METRES

        98. Abhīr is of 11 syllabic instants having jagaṇ (ISI) at the end of each quarter. It is of Prākrit and Apbhraṅś origin and the alternative name for it is Ahīr. It has been used four times in the Chaubīs Autār (Nihkalaṅkī).

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

        100. Aṛill Dūjā is of 16 syllabic instants with bhagaṇ (SII) at the end of each quarter. It is of Apbhraṅś origin and alternative names for it are Ḍillā and Pādā Kulak. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

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

        102. Avatār is of 23 syllabic instants having pause at 13, 10 with laghu (I) and guru (S) consecutively at the end of each quarter. The alternative name for it is Mritgati. According to Bhāī Kāhn Siṅgh, only Aradh Avatār has been used in the Dasam Granth, but the scribe has erroneously put it under the heading of Doharā (See Dohara).

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

        104. Bahṛā is of 21 syllabic instants having pause at 11, 10 with jagaṇ (ISI) at the first pause and ragaṇ (SIS) at the second pause. The alternative name given it is Punhā. It has been used twice in Chaubīs Autār (Rāma).

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

        106. Bishanpad is of different syllabic instants in different kinds and alternative names for it are Śabda, Viṣṇupad and Bisanpad. It is of Hindi origin and was freely used by poets of Bhaktī tradition. In the Dasam Granth it is found only in the Chaubīs Autār, (Kṛṣṇa-5) and theRudra Avatār (Pāras Nāth -45).

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

        108. Chatuspadī or Chaturpadī is of 30 syllabic instants having pause at 10, 8, 12 with sagaṇ (IIS) and guru (S) at the end of each quarter. Alternative names given it are Chavpaīyā and Chaupaīyā. It has been used four time in the Chaubīs Autār (Nihkalaṅkī).

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

        110. Chhand 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 Sastra Nām Mālā (5) and Pākhyān Charitra (24).

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

        112. Chaubolā is a kind of Savaiyyā but is defined as Chaubolā because of the use of four different languages in it. It has been used thrice in the Chaubīs Autār (Rāma).

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

        114. Doharā, of two charaṇs and 24 syllabic instants with pause at 13, 11 and guru laghu (SI) at the end of each charaṇ is of Apbhraṅś origin and alternative names given it are dohā (in Apbhraṅś), gāthā (in Prākrit) and śloka (in Sanskrit). It is of many kinds and almost all the kinds have been used in the Dasam Granth. It is always preferred for shorter patterns of verse. Gorakh Nāth, Kabīr, Jayasī, Tulsīdās, Bihārī, et al. had expressed themselves through this metre. It has been used 3150 times in the Dasam Granth: Akāl Ustati (10), Bachitra Nāṭak (38), Chaṇḍī Charitra I (80), Chaṇḍī Charitra II (14), Chaṇḍī dī Vār (I), Giān Prabodh (2), Chaubīs Autār (454), Brahmā Avatār (I), Rudra Avatār (8), Savaiyyā : Jo kicch lekh likhio bidhātā (I), Sastra Nām Mālā (711), and Pākhyān Charitra (1830).

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

        116. Gāhā Dūjā is of 27 syllabic instants having two charaṇs with pause at 14, 13 in each charaṇ. It is of Prākrit origin and other name given in Gāthā. It is also said to be four charaṇs with 62 mātrās in all, but it has been given a new form in the Dasam Granth. It has been used four times in Chaubīs Autār (Nihkalaṅkī).

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

        118. Gītmālatī is of 28 syllabic instants with pause at 16, 12 in each quarter. It has been used 16 times in the Chaubīs Autār (Rāma-8; Nihkalaṅkī -8).

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

        120. Harigītā is of 28 syllabic instants having pause at 16, 12 with ragaṇ (SIS) at the end of each quarter. It is of Hindi origin and the alternative name given it is Harigītikā. It has been used twice in the Chaubīs Autār (Nihkalaṅkī).

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

        122. Kalas is the name of a combined metre. In the Dasam Granth it is made of Chaupaī Tribhaṅgī, in which the last pad of the first stanza is reproduced in the beginning the following stanza. The Gurū has given the name Kalas in place of Chaupaī and named the second metre independently as. Tribhaṅgī. Alternative names for it are Ullās and Hullās. It has been used 13 times in the Giān Prabodh (4), and Chaubīs Autār (Rāma-9).

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

        124. Mādho is of 16 syllabic instants having two gurus (S) at the end of each quarter. It is a kind of Aṛill and the alternative name given it is Karīṛā. It has been used seven times in the Chaubīs Autār (Nihkalaṅkī).

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

        126. Makrā is of 12 syllabic instants and has three kinds of rhymes. It has been used 14 times in the Chaubīs Autār.

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

        128. Mohan is of 28 syllabic instants having pause at 16, 12 with ragaṇ (SIS) at the end of each quarter. Alternative names given it are Mohanā and Madhubhār. It has been used four times in the Chaubīs Autār (Nihkalaṅkī). Another form of it, Mohaṇā, is a kind of Harigītikā which is of 8 syllabic instants having jagaṇ (ISI) at the end of each quarter.

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

        130. Mritgat is of 12 syllabic instants with nagaṇ (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 Chaubīs Autār (Rāma).

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

        132. Pad is of different syllabic instants in different kinds. It is of Hindi origin and alternative names for it are Śabda, Viṣṇupada 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 Pauṛī. Its first charaṇ is comparatively short. It has been used 55 times in the Shabad Hazāre (10) and Rudra (Pāras Nāth) Avatār (45).

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

        134. Pāddhaṛī Aradh is of eight syllabic instants having two gurus (S) and jagaṇ (ISI) consecutively in each quarter. It resembles Madhubhār. It has been used five times in the Brahmā Avatār (Vyās).

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

        136. Pauṛī is a Viṣam Chhand having no limitation of lines (charaṇs) but its last charaṇ is generally short. The alternative name for it is Nihshreṇī, and is usually of two kinds : one, Nishānī which rhymes at the end of each charaṇ and the other, Sirkhiṇḍī having only middle-rhyme without any rhyming at the end. This metre is usually sung by the court-bards or ḍhāḍhīs and is musical in character. It is more a form of poetry than a metre. It has been used 61 times in the Chaṇḍī dī Vār (54) and Chaubīs Autār (7).

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

        138. Sadd is of 29 syllabic instants having pause at 17, 12 with yagaṇ (ISS) at the end of each charaṇ. It has been used only once in the Dasam Granth.

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

        140. Saṅgīt Chhappaya has been used 17 times - 8 times in the Chaubīs Autār (Rāma) and 9 times in the Rudra Avatār (Pāras Nāth).

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

        142. Saṅgīt Pāddhaṛī (See Pāddharī) has been used twice in the Brahmā Avatār (Vyās).

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

        144. Soraṭhā is of 24 syllabic instants and is an inverted form of Dohā (Doharā). It has two charaṇs with pause at 11, 13. The first pause ends with laghu (I), whereas the second pause ends with guru (S). It is of Hindi origin and has been used 80 times in the Chaṇḍī Charitra I (7), Chaṇḍī Charitra ll (I), Chaubīs Autār (44), Sastra Nām Mālā (2), and Pakhyān Charitra (26).

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

        146. Supriyā is of 16 syllabic instants with bhagaṇ (SII) at the end of each quarter. Its other alternative name is Ḍillā and has been used 4 time's in the Chaubīs Autār (Nihkalaṅkī).

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

        148. Tomar is of 12 syllabic instants having guru (S) and laghu (I) at the end of each quarter. It is of Sanskrit origin and its other alternative name is Padhaṛikā. Bhāī Kāhn Siṅgh has defined it as vaṛnik metre also, having sagaṇ (IIS) and two jagaṇs (ISI) in each quarter. But this definition does not disturb the pattern of mātrik metre as it is treated in Hindi poetry. It has been used 204 times in the Dasam Granth: Akāl Ustati (20), Giān Prabodh (22), Chaubīs Autār (26), Brahmā Avatār (70), Rudra Avatār (60), and Pākhyān Charitra (6).

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

        150. Vijaya, also written as Bijai, is of 40 syllabic instants having pause at 10, 10, 10, 10 with ragaṇ (SIS) at the end of each quarter. It is of Prākrit and Apbhraṅś origin and also falls under the category of varṇik metre. It has been used 19 times in the Chaṇḍī Charitra II (2), Chaubīs Autār (I) and Pākhyān Charitra (16).