স্ফুরদধর সীধবে । তব বদন । (চন্দ্রমা) ।
রোচয়তি । লোচন । (চকোরং) ॥
প্রিয়ে চারুশীলে etc., as ধূয়া or refrain.
It is first to be noticed, that each portion divided by partition lines consists of either five letters or five mātrās. The beginning of the refrain portion if divided similarly, a great artificiality will be noticed, since the first division will take in only the first three letters প্রিয়েচা; but if sung according to the tune, this unnaturalness will disappear, and the whole refrain will be found to be set in music with all regularities. Compare with it the line composed in Bengali রেক্তাছন্দ, already quoted above, and is quoted again, for facility of reference:
নানারকি নানাকেলে—
নানারকি নানাকেলে । রাজ্য পেলে ।
তাতেই এত । জারি ।
If we exclude the introductory নানারকি নানাকেলে which is prouounced as অনুদাত্ত, and if we set apart the word জারি as a tag, the essential agreement between the Bengali metre and the Sanskrit metre, will be obvious; the word জারি if pronounced with lengthening sound as is done in reciting a verse of the রেক্তাছন্দ, its agreement with ঘোরং, will also become clear. In রেক্তাছন্দ there is an introductory portion which is of peculiar nature; the first portion of the first line becomes the independent introductory portion of the verse. The introductory line সে যে গো পুষ্যি এঁড়ে, must first be articulated as অনুদাত্ত, and then it is to be repeated as উদাত্ত with the other portions of the verse. The verse then will stand thus—
সে যে গো পুষ্যি এঁড়ে—
সে যে গো পুষ্যি এঁড়েদস্যি ভেড়ে
নস্যি কর তাকে ।
