That the refrain portion, therefore of the Sanskrit sons, originates from the introductory tag, becomes rather clear. No doubt there has been some lengthening of the tune in Sanskrit in the refrain portion, but this is because a uniformity of the metre has been maintained. To explain the matter more clearly, let me notice here a verse which has been composed by exactly adopting the metre of Jayadeva's song বদসি যদি, etc.; it will be observed in this verse that the essential character of the chhanda has not been affected, even though there has been either a little lengthening or a little shortening of some mātrās, in conformity with the genius of the Bengali metre. The Bengalicised Sanskrit verse runs as:—
তেমন-ইকি আসে ঊষা সে সোণালি সুষমায়,
- সাজায়ে শ্যামল দেহ শরতের?
শুনি যবে পাখীদের আনন্দের ঘোষণায়
- ভেঙ্গে যায় নীরবতা জগতের?
If the portions হরতি, etc., and রোচয়তি, etc., of Jayadeva's song, and the corresponding lines of the Bengali verse be put aside, the following Bengali verse composed after an indigenous Bengali metre, will be found to be in perfect agreement with the chhanda in question:
ঠাকুরমা, সেই ছেলে বেলায়, ঘুম পাড়াবার ফন্দিতে,
এক যে রাজার মজার গল্পের হুঁ হুঁ জোড়া সন্ধিতে
এম্নি ক'রে ঢেলে দিতেন নিদ্রালসের আবল্লি,
নেতিয়ে পড়্তে হ'তই ঘুমে, রাজারাণী যা বল্লেই ।
For an example of a Sanskrit metre, corresponding to or agreeing with the Bengali লঘুত্রিপদী, which may easily be conceived to have evolved the longer or দীর্ঘত্রিপদী, I lay again the poet Jayadeva under contribution. In his
চল সখি কুঞ্জংসতিমির পুঞ্জং
শীলয় নীল নিচোলং ।
