pecchantīṇaṁ hiaaṇihiaṁ ṇiddalanto a dappaṁ
dolālīlāsaralataralo dīsae se muhendū.
‘Paling the face of every beauty here, making the sky’s vault to ripple with the liquid moonlight of her loveliness, and breaking the haughty pride in the hearts of maids that regard her, appeareth the moon-like orb of her face as she moveth straight to and fro in her sport on the swing.’ The effective alliteration and paronomasia of this stanza are surpassed by the metrical perfection of the next but one, where the Pṛthvī metre, with ‘its jingling tribrachs and bell-like, chiming cretics’, is employed in a stanza which admirably conveys by its sound the sense at which it aims:
raṇantamaṇiṇeuraṁ jhaṇajhaṇantahāracchaḍaṁ
kaṇakkaṇiakin̄kiṇīmuhalamehalāḍambaraṁ
vilolavalaāvalījaṇiamañjusiñjāravaṁ
ṇa kassa maṇomohaṇaṁ sasimuhīa hindolaṇaṁ.
‘With the tinkling jewelled anklets, With the sound of lovely jingles
With the flashing jewelled necklace, From the rows of rolling bangles,
With the show of girdles garrulous Pray whose heart is not bewildered