A/1
Madhusūdan Datta / Meghnādbadh
miśrabr̥tta
8,6   
WAV 44k

sammukh samare paṛi, bīr-cūṛāmaṇi
ᴗ  _       ᴗᴗᴗ    ᴗᴗ   _ ᴗᴗᴗᴗ       =8,6
bīrbāhu, cali yabe gelā yamapure
_ᴗᴗ     ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗᴗᴗ       =8,6 ^*1
akāle, kaha, he debi amr̥tabhāṣiṇi,
ᴗᴗᴗ   ᴗᴗ    ᴗ  ᴗᴗ  ᴗᴗᴗᴗᴗᴗ          =8,6
kon bīrbare bari senāpati-pade,
_   _ᴗᴗ    ᴗᴗ   ᴗᴗᴗᴗ  ᴗᴗ           =8,6^*2
pāṭhāilā raṇe punaḥ rakṣḥakulanidhi
ᴗᴗᴗᴗ    ᴗᴗ   ᴗᴗ    ᴗᴗᴗᴗᴗᴗ          =8,6
rāghabāri ? ki kauśale, rākṣasbharasā
ᴗᴗᴗᴗ       ᴗ  ᴗᴗᴗ    ᴗ_ ᴗᴗᴗ        =8,6^*3
indrajit meghnāde ― ajeẏ jagate ―
ᴗᴗ_     ᴗᴗᴗ         ᴗ_  ᴗᴗᴗ       =8(7),6^*4
ūrmmilābilāsī nāśi, indre niḥśaṅkilā ?
ᴗᴗᴗᴗᴗᴗ       ᴗᴗ   ᴗᴗ   ᴗᴗᴗᴗ       =8,6

*1 Though written as one word, “bīrbāhu” is actually a compound of two words, “bīr-bāhu”.
*2“bīrbare” is also a compound, “bīr-bare”.
*3 “rākṣasbharasā” is also a compound, “rākṣas-bharasā”.
*4 “indrajit meghnāde ―”, which is short of the required 8 matras, will be made up by the dash, i.e. a pause.

A/2
Bihārīlāl Cakrabartī / Sāradāmaṅgal
miśrabr̥tta
8,8,8,6   
WAV 44k

    dãṛāo hr̥daẏeśvarī,
    ᴗᴗᴗ  ᴗᴗᴗᴗᴗ  =8
    tribhuban ālo kari,
    ᴗᴗ_     ᴗᴗ  ᴗᴗ                =8
du’naẏan bhari bhari dekhiba tomāẏ /
ᴗᴗ_      ᴗᴗ    ᴗᴗ   ᴗᴗᴗ   ᴗ_      =8,6
    dekhiẏe meṭe nā sādh,
    ᴗᴗᴗ    ᴗᴗ   ᴗ   _               =8
    kī jāni kī āche svād,
    ᴗ ᴗᴗ   ᴗ  ᴗᴗ  _                 =8
kī jāni kī mākhā āche o śubh-ānane !
ᴗᴗᴗ   ᴗ  ᴗᴗ    ᴗᴗ   ᴗ_   ᴗᴗᴗ      =8,6
    kī ek bimal bhāti
    ᴗ  _  ᴗ_   ᴗᴗ                     =8
    prabhāt kareche rāti
    ᴗ_      ᴗᴗᴗ    ᴗᴗ                 =8
hāsiche amarābatī naẏankiraṇe /
ᴗᴗᴗ     ᴗᴗᴗᴗᴗ     ᴗ_  ᴗᴗᴗ           =8,6^*1
    eman sādher dhane
    ᴗ_    ᴗ_     ᴗᴗ                   =8
    pratibādī jane jane ―
    ᴗᴗᴗᴗ     ᴗᴗ  ᴗᴗ                   =8
daẏā māẏā nāi mane, keman kaṭhor /
ᴗᴗ    ᴗᴗ   ᴗᴗ  ᴗᴗ   ᴗ_    ᴗ_        =8,6
    ādare gẽtheche bālā
    ᴗᴗᴗ   ᴗᴗᴗ      ᴗᴗ                =8
    hr̥daẏkusum mālā,
     ᴗ_ᴗ_      ᴗᴗ                  =8^*2
kr̥pāṇe kāṭibe ke re sei phulḍor !
ᴗᴗᴗ    ᴗᴗᴗ   ᴗ  ᴗ  _  _ _           =8,6^*3

*1 Though written in one word, “naẏankiraṇe” is actually a compound, “naẏan-kiraṇe”.
*2 “hr̥daẏkusum”is also a compound, “hr̥daẏ-kusum“. 
*3 “phulḍor”is also a compound, “phul-ḍor”.

A/3
Rabīndranāth Ṭhakur / Balākā 7
miśrabr̥tta
muktabandha^*1   
WAV 44k

e kathā jānite tumi, bhārat-iśvar śā-jāhān,
ᴗᴗ    ᴗᴗᴗ   ᴗᴗ   ᴗ_   ᴗ_    ᴗ ᴗ_           =8,10
kālasrote bhese yāẏ jīban yauban dhana mān /
ᴗᴗᴗᴗ     ᴗᴗ    _   ᴗ_  ᴗ_      ᴗᴗ    _      =8,10
    śudhu taba antarbednā
    ᴗᴗ    ᴗᴗ   ᴗ_ᴗᴗᴗ                          =10<sup>*2
cirantan haẏe thāk samrāṭer chila e sādhanā /
ᴗᴗ_     ᴗᴗ    _   ᴗᴗ_    ᴗᴗ   ᴗ ᴗᴗᴗ          =8,10
    rājśakti bajra sukaṭhin
    _ᴗᴗ     ᴗᴗ   ᴗᴗ_                           =10*3
sandhyāraktarāgsama tandrātale haẏ hok līn,
ᴗᴗᴗᴗ_ᴗᴗ              ᴗᴗᴗᴗ    _   _   _        =8,10*4
    kebal ekṭi dīrghaśvās
    ᴗ    _ᴗ  ᴗᴗ_                          =10*5
nitya-ucchvasit haẏe sakaruṇ karuk ākāś
ᴗᴗ    ᴗᴗ_      ᴗᴗ   ᴗᴗ_    ᴗ_   ᴗ_            =8,10
    ei taba mane chila āś /
    _ ᴗᴗ  ᴗᴗ    ᴗᴗ   _                          =10

*1 A muktabandha or ‘free composition’ is still written in a fixed metre, but contains irregular verse forms. This poem begins with the combination of 8 and 10 matras, called Maha-Payar, as it is a variant of Payar. The poet does not stay with this form for long, however, and as a result this poem turns out as a free composition.
*2 “antarbedanā” is actually a compound, “antar-bedanā”.
*3”rājśakti”is actually a compound, “rāj-śakti”.
*4”sandhyāraktarāgsama” is actually a compound of four words, “sandhyā-rakta-rāg-sama”.
*5 “ekṭi” is a compound, “ek-ṭi”</sup>

A/4
Rabīndranāth Ṭhakur / Gītañjali 3
kalābr̥tta
6,6,6,2 / 6,6,6,6   
WAV 44k

kata ajānāre jānāile tumi,
ᴗᴗ   ᴗᴗᴗᴗ   ᴗᴗᴗᴗ  ᴗᴗ               =6,6
  kata ghare dile ṭhãi ―
  ᴗᴗ   ᴗᴗ    ᴗᴗ  _                 =6,2
dūrke karile nikaṭ, bandhu,
_ᴗ    ᴗᴗᴗ   ᴗ_    _ᴗ                 =6,6
  parke karile bhāi /
  _ᴗ   ᴗᴗᴗ   _                     =6,2
    purāno ābās cheṛe yāi yabe
    ᴗᴗᴗ    ᴗ_  ᴗᴗ   _  ᴗᴗ          =6,6
mane bhebe mari kī jāni kī habe,
ᴗᴗ   ᴗᴗ    ᴗᴗ   ᴗ  ᴗᴗ  ᴗ  ᴗᴗ       =6,6
    nūtaner mājhe tumi purātan
    ᴗᴗ_    ᴗᴗ    ᴗᴗ   ᴗᴗ_           =6,6
       se kathā ye bhule yāi /
       ᴗᴗ    ᴗ ᴗᴗ   _           =6,2
    dūrke karile nikaṭ, bandhu,
    _ᴗ  ᴗᴗᴗ   ᴗ_    _ᴗ             =6,6
      parke karile bhāi /
      _ᴗ  ᴗᴗᴗ    _               =6,2

A/5
Rabīndranāth Ṭhākur / Gītañjali 74
dalbr̥tta
4,4,4,2 / 4,4,4,4   
WAV 44k

bajre tomār bāje bãśi,
ᴗᴗ    ᴗᴗ   ᴗᴗ   ᴗᴗ             =4,4
  se ki sahaj gān /
  ᴗᴗ   ᴗᴗ   ᴗ    =4,1^*1
sei surete jāgba āmi,
ᴗ   ᴗᴗᴗ  ᴗᴗ    ᴗᴗ             =4,4
  dāo more sei kān /
  ᴗ     ᴗᴗ   ᴗ   ᴗ           =4,1^*1
    bhulba nā ār sahajete,
    ᴗᴗ    ᴗ  ᴗ  ᴗᴗᴗᴗ      =4,4
    sei prāṇe man uṭhbe mete
    ᴗ    ᴗᴗ    ᴗ   ᴗᴗ    ᴗᴗ =4,4
    mr̥tyumājhe ḍhākā āche
    ᴗᴗᴗᴗ       ᴗᴗ     ᴗᴗ  =4,4
      ye antahīn prāṇ /
      ᴗ    ᴗᴗᴗ    ᴗ      =4,1^*1

*1 One-syllable words at the end of a line, such as “gān”, “ kān” and “prāṇ”, are often counted as 2 matras, though they are normally counted as 1 matra in dalbritta.

A/6
Jībanānanda Dāś / Banalatā Sen
miśrabr̥tta
8,8,6   
WAV 44k

hājār bachar dhare āmi path hãṭitechi pr̥thibīr pathe,
ᴗ_    ᴗ_    ᴗᴗ    ᴗᴗ   _  ᴗᴗᴗᴗ    ᴗᴗ_    ᴗᴗ       =8,8,6
siṁhal samudra theke niśīther andhakāre mālaẏ sāgare
ᴗ_     ᴗᴗᴗ     ᴗᴗ    ᴗᴗ_    ᴗᴗᴗᴗ     ᴗ_    ᴗᴗᴗ    =8,8,6
anek ghurechi āmi ; bimbisār aśoker dhūsar jagate
ᴗ_   ᴗᴗᴗ      ᴗᴗ   ᴗᴗ_      ᴗᴗ_   ᴗ_    ᴗᴗᴗ        =8,8,6
yekhāne chilām āmi ; āro dūr andhakāre bidarbha nagare ;
ᴗᴗᴗ      ᴗᴗᴗ   ᴗᴗ   ᴗᴗ   _  ᴗᴗᴗᴗ     ᴗᴗᴗ     ᴗᴗᴗ   =8,8,6
āmi klānta prāṇ ek, cāridike jībaner samudra saphen,
ᴗᴗ  ᴗᴗ     _   _  ᴗᴗᴗᴗ    ᴗᴗ_    ᴗᴗᴗ     ᴗ_        =8,8,6
āmāre dudaṇḍa śānti diẏechila nāṭorer banalatā sen /
ᴗᴗᴗ   ᴗᴗᴗ     ᴗᴗ  ᴗᴗᴗᴗ    ᴗᴗ_    ᴗᴗᴗᴗ    _       =8,8,6

A/7
Binaẏ Majumdār / Kalkatabāsī haba 1
miśrabr̥tta
8,8,10 / 8,8,6   
WAV 44k

natun praṇālī diẏe ḍhuke yāẏ śabdaguli ek dui tin cār pãc
ᴗ_    ᴗᴗᴗ    ᴗᴗ   ᴗᴗ   _   ᴗᴗᴗᴗ      _  _  _  _  _    =8,8,10
sāhityer abhyantare ḍhuke yāẏ molāẏem biṣaṇṇatā niẏe
ᴗᴗ_     ᴗᴗᴗᴗ        ᴗᴗ   _  ᴗᴗ_       ᴗᴗᴗᴗ    ᴗᴗ       =8,8,6
konodin ei paṅkti mahākāl bhulbe nā, svarṇareṇu jhare jhare jhare
ᴗᴗ_   _  ᴗᴗ   ᴗᴗ_    ᴗᴗ    ᴗ  ᴗᴗᴗᴗ     ᴗᴗ   ᴗᴗ  ᴗᴗ     =8,7 (8), 10 ^*1
paṛbei paṅkti theke romaś hr̥daẏe yena hr̥tpiṇḍu eṭi ―
ᴗᴗᴗ   ᴗᴗ     ᴗᴗ    ᴗ_    ᴗᴗᴗ    ᴗᴗ   ᴗᴗᴗ     ᴗᴗ         =7(8),8,5(6)^*2
esab ucchrita paṅkti ― raẏe yābe rasagrāhī deher bhitare
ᴗ_  ᴗᴗᴗ    ᴗᴗ        ᴗᴗ  ᴗᴗ   ᴗᴗᴗᴗ      ᴗ_   ᴗᴗᴗ       =8,8,6
tāle tāle tār spanda śonā yāẏ bojhā yāẏ śonā bojhā yāẏ
ᴗᴗ ᴗᴗ  _  ᴗᴗ     ᴗᴗ   _   ᴗᴗ    _  ᴗᴗ   ᴗᴗ    _        =8,8,6
cokhe paṛā mātra eṭi tār ei svasthānei āche bale bojhā yete thāke
ᴗᴗ   ᴗᴗ   ᴗᴗ   ᴗᴗ  _  _  ᴗᴗᴗᴗ     ᴗᴗ   ᴗᴗ  ᴗᴗ    ᴗᴗ  ᴗᴗ =8,8,10
natun praṇālī diẏe ḍhuke yāẏ śabdaguli ek dui tin cār pãc
ᴗ_   ᴗᴗᴗ    ᴗᴗ   ᴗᴗ    _  ᴗᴗᴗᴗ      _  _  _  _  _      =8,8,10

*1 “mahākāl bhulbe nā,” has only 7 matras. The last “nā” may be counted as 2 matras, as this is a one-syllable word followed by a comma, i.e. a pause.
*2 This line, expected to contain 8,8 and 6 matras, has only 7,8 and 5 matras. The final segment “hr̥tpiṇḍu eṭi” can be counted as 6 matras with a dash.

A/8
Śakti Caṭṭopādhyāẏ / Caturdaśpadī kabitābalī ^*1
miśrabr̥tta
8,10   
WAV 44k

mahīner ghoṛāguli mahīner ghare phere nāi
ᴗᴗ_      ᴗᴗᴗᴗ     ᴗᴗ_    ᴗᴗ    ᴗᴗ   _       =8,10
uhārā jebrār pārśve cariteche / bāiś jebrāẏ,
ᴗᴗᴗ   ᴗ_    ᴗᴗ    ᴗᴗᴗᴗ     ᴗ_  ᴗ_           =8,10
ghoṛāguli andhakār utarol samudre duliche
ᴗᴗᴗᴗ      ᴗᴗ_      ᴗᴗ_  ᴗᴗᴗ     ᴗᴗᴗ         =8,10
kāler kãṭār mato, oi ghoṛāguli jebrāguli
ᴗ_   ᴗ_    ᴗᴗ   _  ᴗᴗᴗᴗ    ᴗᴗᴗᴗ             =8,10
ananta jyotsnār mājhe baśabartī bhūter matan
ᴗᴗᴗ    ᴗ_      ᴗᴗ    ᴗᴗᴗᴗ    ᴗ_    ᴗ_       =8,10
caṛiẏā beṛāẏ orā― kathā kaẏ ― kī kathā ke jāne ?
ᴗᴗᴗ    ᴗ_   ᴗᴗ    ᴗᴗ   _     ᴗ  ᴗᴗ   ᴗ  ᴗᴗ  =8,10

*1 This is the first part of a sonnet written in the form of Maha-Payar.

A/9
Subhāṣ Mukhopādhyāẏ
miśrabr̥tta
muktabandha^*1   
WAV 44k

sampādak samīpeṣu,
ᴗᴗ_       ᴗᴗᴗᴗ              =8
    mahāśaẏ, itastata bhūsampatti āche nimnasvākṣarkārīr /
    ᴗᴗ_      ᴗᴗᴗᴗ   ᴗᴗᴗᴗ       ᴗᴗ   ᴗᴗ    ᴗ_   ᴗ_    =8,8,6^*2
e-durdaibe jamidāri rakṣā dāẏ / baṃśaparamparāgata kiṃkartabyabimūṛh bhubane
ᴗ ᴗᴗᴗ      ᴗᴗᴗᴗ    ᴗᴗ   _    ᴗᴗ   ᴗᴗᴗᴗᴗᴗᴗᴗᴗᴗᴗ_           ᴗᴗᴗ                                  =8,4,8,10
    īśvar cālān cali /
    ᴗ_   ᴗ_   ᴗᴗ        =8
    peẏādārā baśambada : prabañcak ādāẏer pratyek phikir
    ᴗᴗᴗᴗ     ᴗᴗᴗᴗ        ᴗᴗ_       ᴗᴗ_    ᴗ_     ᴗᴗᴗ   =8,8,6
tāder kaṇṭhastha ājo / athaca bakeẏā khājnā prajārā deẏni gata dui tin sane /
ᴗ_    ᴗᴗᴗ      ᴗᴗ   ᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗ     ᴗᴗᴗ    _ᴗ   ᴗᴗ  _  _  ᴗᴗ =8,8,6,8^*3
ādālate phal alpa /
ᴗᴗᴗᴗ    _   ᴗᴗ     =8

*1 This poem is written entirely in muktabandha, ‘free composition’, thus there is no fixed verse form.
*2 “nimnasvākṣarkārīr”is supposed to be a compound of three words, “nimna-svākṣar-kārīr”.
*3 “deẏni” is actually a compound, “deẏ-ni”.

A/10
Biṣṇu De / Ubhacar
kalābr̥tta
6,6,2   
WAV 44k

pākhir ābeg jāgābe śarīr mane ?
ᴗ_     ᴗ_  ᴗᴗᴗ    ᴗ_   ᴗᴗ           =6,6,2
pākhār jhāpṭā dinrāt yāba śune?
ᴗ_     _ᴗ     _ _  ᴗᴗ    ᴗᴗ          =6,6,2
pākhār chanda hr̥daẏe ki debe bẽdhe
ᴗ_     _ᴗ     ᴗᴗᴗ    ᴗ  ᴗᴗ  ᴗᴗ       =6,6,2
harṣa-bihāre dūr digantakoṇe?
_ᴗ    ᴗᴗᴗ    _   ᴗ_ᴗ  ᴗᴗ             =6,6,2

nagarer bhiṛ, byartha diner jvālā !
ᴗᴗ_     _    _ᴗ     ᴗ_   ᴗᴗ          =6,6,2
asahāẏ bhīru ? śudhu tār pathe calā ?
ᴗᴗ_    ᴗᴗ     ᴗᴗ    _  _     ᴗᴗ      =6,6,2
bandhur bhrū-o kuṭil ― r̥ṇer bhīti ?
_ _      ᴗ    ᴗ ᴗ_       ᴗ_  ᴗᴗ       =6,6,2
agaṇan lok ― tabu jvalā, śudhu jvalā /
ᴗᴗ_    _       ᴗᴗ  ᴗᴗ    ᴗᴗ    ᴗᴗ     =6,6,2

A/11
Sudhīndranāth Datta / Uṭpākhī
kalābr̥tta
6,6,2   
WAV 44k

āmār kathā ki śunte pāo nā tumi?
ᴗ_   ᴗᴗ ᴗ _ᴗ   _ ᴗ  ᴗᴗ           =6,6,2
kena mukh gũje ācha tabe miche chale?
ᴗᴗ  _   ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ   ᴗᴗ       =6,6,2
kothāẏ lukābe? dhū dhū kare marubhumi;
ᴗ_    ᴗᴗᴗ   ᴗ   ᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ      =6,6,2
kṣaẏe kṣaẏe chāẏā mare geche padatale /
ᴗᴗ   ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ      =6,6,2
āj digante marīcikāo ye nei;
_  ᴗ_ᴗ  ᴗᴗᴗᴗᴗ   ᴗ  _               =6,6,2
nirbāk, nīl, nirmam mahākāś /
_ _   _  _ _    ᴗᴗ_                =6,6,2
niṣāder man māẏāmr̥ge maje nei;
ᴗᴗ_   _   ᴗᴗᴗᴗ    ᴗᴗ   _           =6,6,2
tumi binā tār samūha sarbanāś /
ᴗᴗ  ᴗᴗ _  ᴗᴗᴗ    _ᴗ_               =6,6,2
kothāẏ palābe? chuṭbe bā ār kata?
ᴗ_    ᴗᴗᴗ   _ᴗ   ᴗ  _ ᴗᴗ            =6,6,2
udāsīn bāli ḍhākbe nā padarekhā /
ᴗᴗ_  ᴗᴗ  _ᴗ    ᴗ  ᴗᴗ  ᴗᴗ            =6,6,2
prākpurāṇik bālyabandhu yata
_ᴗᴗ_     _ᴗ_ᴗ       ᴗᴗ              =6,6,2
bigata sabāi, tumi asahāẏ ekā /
ᴗᴗᴗ   ᴗ_  ᴗᴗ   ᴗᴗ_  ᴗᴗ              =6,6,2

A/12
Jaẏ Gosvāmī / Khelā ghurbe
kalābr̥tta
muktabandha   
WAV 44k

dam rākho, khelā ghurbe /
_   ᴗᴗ   ᴗᴗ   _ᴗ               =6,3
ei khelā tumi khelecho ki itipūrbe?
_  ᴗᴗ ᴗᴗ   ᴗᴗᴗ    ᴗ ᴗᴗ _ᴗ       =6,6,3

o bãkā madan, bujhe dyākho eibār
ᴗ ᴗᴗ  ᴗ_    ᴗᴗ   ᴗᴗ    _ _      =6,6,2
śāṇṭiṃ karā darkār, darkār
_ _    ᴗᴗ _ _   _ _            =6,6,2
kadin ebhābe jhope mukh diẏe ghurbe?
ᴗ_    ᴗᴗᴗ  ᴗᴗ   _   ᴗᴗ   _ ᴗ    =6,6,3

eibār ṭhik-rāstāẏ neme yāo
_ _  _  _ _  ᴗᴗ   _             =6,6,2
ete pāp nei, nei hāẏā-lajjāo
ᴗᴗ _  _  _  ᴗᴗ  _ _            =6,6,2
tubṛi nācāle hāt to ekṭu puṛbe!
ᴗᴗᴗ  ᴗᴗᴗ  _  ᴗ _ᴗ   _ᴗ          =6,6,3

A/13
Sukumār Rāẏ / Ābol tābol
dalbr̥tta
4,4,4,3   
WAV 44k

āẏre bholā kheẏāl-kholā
ᴗᴗ  ᴗᴗ   ᴗᴗ    ᴗᴗ           =4,4
    svapandolā nāciẏe āẏ,
    ᴗᴗᴗᴗ      ᴗᴗ  ᴗ         =4,3
āẏre pāgal ābol tābol
ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ             =4,4
    matta mādal bājiẏe āẏ /
    ᴗᴗ   ᴗᴗ    ᴗᴗ  ᴗ        =4,3
āẏ yekhāne khyāpār gāne
ᴗ  ᴗᴗᴗ   ᴗᴗ     ᴗᴗ          =4,4
    nāiko māne nāiko sur /
    ᴗᴗ   ᴗᴗ   ᴗᴗ  ᴗ         =4,3
āẏre yethāẏ udhāo hāoẏāẏ
ᴗᴗ  ᴗᴗ    ᴗᴗ   ᴗᴗ           =4,4
    man bhese yāẏ kon sudūr /
    ᴗ   ᴗᴗ   ᴗ   ᴗ ᴗᴗ       =4,3

A/14
Śaṅkha Ghoṣ / Bāul
dalbr̥tta
4,4,4,4 / 4,2   
WAV 44k

balechilām, tomāẏ niẏe yāba anya dūrer deśe
ᴗᴗᴗᴗ       ᴗᴗ   ᴗᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ   ᴗᴗ     =4,4,4,4
sei kathāṭā bhābi,
ᴗ  ᴗᴗᴗ  ᴗᴗ                             =4,2
jībaner oi sātṭā māẏā dūre dūre dauṛe beṛāẏ
ᴗᴗᴗ   ᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ   ᴗᴗ       =4,4,4,4
sei kathāṭā bhābi /
ᴗ  ᴗᴗᴗ  ᴗᴗ                             =4,2
tākiẏe thāke pr̥thibīṭā, tomār kāche hār mene se
ᴗᴗ    ᴗᴗ   ᴗᴗᴗᴗ  ᴗᴗ   ᴗᴗ   ᴗ   ᴗᴗ  ᴗ   =4,4,4,4
bãcbe keman kare !
ᴗᴗ   ᴗᴗ    ᴗᴗ                          =4,2
yekhāne yāo atr̥pti ār tr̥pti duṭo joṛāẏ joṛāẏ
ᴗᴗᴗ    ᴗ   ᴗᴗᴗ  ᴗᴗᴗ  ᴗᴗ  ᴗᴗ  ᴗᴗ        =4,4,4,4
sadare-andare /
ᴗᴗᴗ   ᴗᴗᴗ                              =4,2

A/15
Subhāṣ Mukhopādhyāẏ / Keḍā re
dalbr̥tta
4,4,4,4 / 4,2   
WAV 44k

bāṛi / gāṛi / aḍhel ṭākā /
ᴗᴗ   ᴗᴗ   ᴗᴗ   ᴗᴗ           =4,4
prācurya āj diẏeche ḍhākā /
ᴗᴗᴗ    ᴗ  ᴗᴗᴗ   ᴗᴗ          =4,5,
sābeker sei dainya /
ᴗᴗᴗ    ᴗ  ᴗᴗ                =4,2
svaẏaṃ yete haẏ nā jele /
ᴗᴗ     ᴗᴗ  ᴗ  ᴗ ᴗᴗ           =4,4
phel’le kaṛi bājāre mele
ᴗᴗ    ᴗᴗ  ᴗᴗᴗ  ᴗᴗ            =4,5
laṛāi karār sainya /
ᴗᴗ  ᴗᴗ   ᴗᴗ                  =4,2

A/16
Śakti Caṭṭopādhyāẏ / Jhāuẏer ḍāke
dalbr̥tta
muktabandha   
WAV 44k

jhāuẏer ḍāke takhan haṭhāt mane āmār paṛlo kāke
ᴗᴗ     ᴗᴗ  ᴗᴗ   ᴗᴗ    ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ     =4,4,4,4
                                        rātribelā
                                        ᴗᴗᴗᴗ           =4
upakūler saṅge cale sroter khelā
ᴗᴗᴗᴗ    ᴗᴗ   ᴗᴗ ᴗᴗ  ᴗᴗ                    =4,4,4
sãtār kāṭe sroter jale cãder naram
ᴗᴗ  ᴗᴗ   ᴗᴗ  ᴗᴗ ᴗᴗ  ᴗᴗ                    =4,4,4
                                        dukhāni hāt
                                        ᴗᴗᴗ    ᴗ       =4
lāiṭ’hāus dekhāẏ ālo, dūrgaganer jalaprapāt
ᴗᴗᴗᴗ    ᴗᴗ   ᴗᴗ  ᴗ  ᴗᴗᴗ     ᴗᴗᴗᴗ          =4,4,4,4^*1
gatabachar esechilām, buker madhye besechilām
ᴗᴗᴗᴗ     ᴗᴗᴗᴗ    ᴗᴗ    ᴗᴗ    ᴗᴗᴗᴗ         =4,4,4,4
                                        tomāẏ bhālo
                                        ᴗᴗ  ᴗᴗ        =4
ekhan sandhyā haẏeche ghor, kebal meghe-meghe-meghei
ᴗᴗ    ᴗᴗ     ᴗᴗᴗ   ᴗ   ᴗᴗ   ᴗᴗ    ᴗᴗ    ᴗᴗ    =4,4,4,4
                                        din phurālo
                                        ᴗ  ᴗᴗᴗ            =4
ekhan nithar rātribelā
ᴗᴗ    ᴗᴗ   ᴗᴗᴗᴗ                     =4,4
jaler dhāre kebali haẏ jaler khelā
ᴗᴗ  ᴗᴗ   ᴗᴗᴗ  ᴗ  ᴗᴗ  ᴗᴗ           =4,4,4
abartamān tomār hāsi jhāuẏer phãke
ᴗᴗᴗᴗ     ᴗᴗ   ᴗᴗ ᴗᴗ    ᴗᴗ         =4,4,4
                                        āmāẏ gabhīr rātre ḍāke
                                        ᴗᴗ   ᴗᴗ    ᴗᴗ  ᴗᴗ  =4,4
o nirupam o nirupam o nirupam ....
ᴗ ᴗᴗᴗ    ᴗ ᴗᴗᴗ   ᴗ ᴗᴗᴗ                 =4,4,4

*1 Four matras may be allotted for the English word “lāiṭ’hāus”.

A/17
Śaṅkha Ghoṣ / Yamunābatī
1st stanza, dalbr̥tta, 4,4,4,2 (1)
2nd stanza, kalābr̥tta, 4,4,4,4,2
3rd stanza, dalbr̥btta, 4,4,4,2 (1)
4th stanza, kalābr̥tta, 4,4,4,4 / 4,4,3
5th stanza, kalābr̥tta, 7,7,7,3   
WAV 44k

nibhanta ei cullite mā
ᴗᴗᴗ     ᴗ  ᴗᴗᴗ   ᴗ          =4,4
    ekṭu āgun de
    ᴗᴗ  ᴗᴗ   ᴗ            =4,1(2) ^*1
ārekṭu kāl bẽcei thāki
ᴗᴗᴗ   ᴗ   ᴗᴗ   ᴗᴗ           =4,4
    bãcār ānande !
    ᴗᴗ   ᴗᴗ  ᴗ            =4,1
noṭan noṭan pāẏrāguli
ᴗᴗ    ᴗᴗ   ᴗᴗᴗᴗ             =4,4
    khãcāte bandī
    ᴗᴗᴗ    ᴗ  ᴗ           =4,1
du-ek muṭho bhāt pele tā
ᴗ  ᴗ  ᴗᴗ    ᴗ    ᴗᴗ  ᴗ     =4,4
    oṛāte man di /
    ᴗᴗᴗ  ᴗ   ᴗ            =4,1

hāẏ toke bhāt dii kī kare ye bhāt dii hāẏ
_   ᴗᴗ  _    ᴗᴗ ᴗ ᴗᴗ   ᴗ  _   ᴗᴗ _      =4,4,4,4,2
hāẏ toke bhāt deba kī diẏe ye bhāt deba hāẏ
_   ᴗᴗ  _    ᴗᴗ  ᴗ  ᴗᴗ  ᴗ  _    ᴗᴗ _   =4,4,4,4,2

nibhanta ei culli tabe
ᴗᴗᴗ    ᴗ  ᴗᴗ  ᴗᴗ         =4,4
    ekṭu āgun de ―
    ᴗᴗ  ᴗᴗ  ᴗ            =4,1
hāṛer śirāẏ śikhār mātan
ᴗᴗ   ᴗᴗ  ᴗᴗ    ᴗᴗ        =4,4
    marār ānande !
    ᴗᴗ   ᴗᴗ ᴗ            =4,1
du-pāre dui rui kātlār
ᴗ  ᴗᴗ  ᴗᴗᴗ ᴗᴗ           =4,4
    māraṇī phandi
    ᴗᴗᴗ   ᴗ  ᴗ           =4,1
bãcār āśāẏ hāt-hātiẏār
ᴗᴗ   ᴗᴗ  ᴗ  ᴗᴗᴗ          =4,4
    mr̥tyute man di /
    ᴗᴗᴗ   ᴗ   ᴗ          =4,1
    bargi nā ṭargi nā, yamke ke sāmlāẏ /
    _ᴗ   ᴗ  _ᴗ   ᴗ  _ᴗ    ᴗ _ _      =4,4,4,4
    dhār-cakcake thābā dekhcha nā hāmlāẏ ?
    _    _ ᴗᴗ     ᴗᴗ   _ᴗ      ᴗ _ _  =4,4,4,4
    yāsne o-hāmlāẏ, yāsne //
    _ᴗ    ᴗ _ _      _ᴗ                 =4,4,3

kānnā kanẏār māẏer dhamanīte ākul ḍheu tole, jvale nā ―
_ᴗ    _ _   ᴗ_   ᴗᴗᴗᴗ    ᴗ_   _   ᴗᴗ  ᴗᴗ  ᴗ   =7,7,7,3
māẏer kānnāẏ meẏer rakter uṣṇa hāhākār mare nā ―
ᴗ_    _ _    ᴗ_  _ _  _ᴗᴗᴗ_      ᴗᴗ  ᴗ        =7,7,7,3

*1 One-syllable words at the end of a line, such as “de” or “ di”, are often counted as 2 matras, though they are normally counted as 1 matra in dalbritta.

M/1
Vidyāpati
kalābr̥tta
2 - 6,4 / 2-6,4 /6,6, / 6,4^*1   
WAV 44k

jaba godhuli samaẏ beli
ᴗᴗ   ᴗᴗᴗ    ᴗ_     _ _           =(2),6,4^*2
    dhani mandir bāhar bheli /
    ᴗᴗ    _ _    ᴗ_    _ _      =(2),7,4^*3
naba jaladhara bijuri rehā
ᴗᴗ   ᴗᴗᴗᴗ     ᴗᴗᴗ   ᴗ_           =6,6
    danda pasāri geli //
    _ᴗ    ᴗᴗᴗ   _ _             =6,4
dhani alapa baẏes bālā
ᴗᴗ    ᴗᴗᴗ  ᴗ_    _ _              =(2),6,4
    janu gãthni puhpa mālā /
    ᴗᴗ  _ᴗ    _ᴗ     _ _        =(2),6,4
thori darśane ās na pūrla
ᴗᴗ   _ᴗᴗ    _  ᴗ  _ᴗ              =6,6
    bāṛhla madana jālā //
    _ᴗ    ᴗ_     _ _            =6,4

*1 This verse form is considered to be 6,4/6,4/6,6/6,4 excluding the additional 2 matras at the beginning of some lines. This style, with its extra 2 matras, is said to have been introduced by Vidyapati and was later followed by many other poets. Cf. Anandamohon Basu, Bangla Padabalir Chanda (Kolkata: Pratima Prakashan, 1968), p. 61.
*2 The last word “beli” is supposed to be pronounced longer, like “bēlī”, in order to be counted as 4 matras. Except for the seventh line, all other lines end in the same manner.
*3 This line is irregular, since “mandir bāhar” becomes 7 matras.

M/2
Vidyāpati
kalābr̥tta
4,4,3   
WAV 44k

jahã jahã padajuga dhara’ī /
ᴗᴗ  ᴗᴗ   ᴗᴗᴗᴗ     ᴗᴗᴗ           =4,4,3
tahĩ tahĩ saroruha bhara’ī//
ᴗᴗ  ᴗᴗ   ᴗᴗᴗᴗ    ᴗᴗᴗ           =4,4,3
jahã jahã jhalakata aṅga /
ᴗᴗ   ᴗᴗ  ᴗᴗᴗᴗ     _ᴗ            =4,4,3
tahĩ tahĩ bijuri taraṅga //
ᴗᴗ  ᴗᴗ  ᴗᴗᴗ   ᴗ_ᴗ               =4,4,3*1

*1 “bijuri taraṅga”is supposed to be recited as “bijuri ta/raṅga”, cf. Anandamohan Basu, Bangla Padabalir Chanda, p. 58.

M/3
Vidyāpati
miśrabr̥tta
8,6,   
WAV 44k

gagane garaje ghana phukare maẏūr /
ᴗᴗᴗ    ᴗᴗᴗ   ᴗᴗ    ᴗᴗᴗ     ᴗ_        =8,6
ekali mandire hām piẏā madhupur //
ᴗᴗᴗ  ᴗᴗᴗ      _   ᴗᴗ   ᴗᴗ_           =8,6
śuna sakhi hāmāri bedan /
ᴗᴗ   ᴗᴗ   ᴗᴗᴗ     ᴗ_                 =6,4^*1
baṛa dukha dila more dārun madan //
ᴗᴗ   _     ᴗᴗ  ᴗᴗ    ᴗ_   ᴗ_         =8,6

*1 This line appears to be short and irregular.

M/4
Caṇḍīdās / Śrīkr̥ṣṇakīrttan
miśrabr̥tta
6,8   
WAV 44k

niśi āndhiārī tāhāta kemane nārī /
ᴗᴗ  ᴗᴗᴗᴗ    ᴗᴗᴗ   ᴗᴗᴗ     ᴗᴗ      =6,8
jie se jāhār pāsata puruṣ nāhī // (āla)
ᴗᴗ ᴗ  ᴗ_  ᴗᴗᴗ   ᴗ_    ᴗᴗ         =6,8
more ki nā bhaẏiñã gela baṛāẏi nāe/
ᴗᴗ   ᴗ  ᴗ  ᴗᴗᴗ    ᴗᴗ   ᴗᴗᴗ   ᴗᴗ   =6,8
birahe bikalī khõjo mõ nānder poe //
ᴗᴗᴗ   ᴗᴗᴗ   ᴗᴗ    ᴗ   ᴗ_    ᴗᴗ    =6,8

M/5
Jñāndās
miśrabr̥tta
6,6,8   
WAV 44k

prāṇnandinī                rādhā binodinī
ᴗᴗᴗᴗ_                     ᴗᴗ   ᴗᴗᴗᴗ       =6,6^*1
      kothā giẏāchilā tumi /
      ᴗᴗ    ᴗᴗᴗᴗ     ᴗᴗ                =8
e gopanagare              prati ghare ghare
ᴗ ᴗᴗᴗᴗᴗ                ᴗᴗ   ᴗᴗ   ᴗᴗ      =6,6
      khũjiẏā byākul āmi //
      ᴗᴗᴗ     ᴗ_     ᴗᴗ                =8
bihān haite                kāhār bāṭīte
ᴗ_    ᴗᴗᴗ                 ᴗ_    ᴗᴗᴗ        =6,6
      kothā giẏāchilā bala /
      ᴗᴗ    ᴗᴗᴗᴗ     ᴗᴗ                =8
e khīr modaka            cini kadalaka
ᴗ _    ᴗᴗᴗ               ᴗᴗ  ᴗᴗᴗᴗ          =6,6
      ke tor ãcare dila //
      ᴗ  _  ᴗᴗᴗ   ᴗᴗ                   =8

*1 “nī” in “prāṇanandinī” is suppose to be pronounced longer in order to be counted as 2 matras.

M/6
Kr̥ttibās / Rāmāyaṇ (normal recitation)
miśrabr̥tta
8,6^*1   
WAV 44k

golok baikuṇṭha-purī sabār upar /
ᴗ_    ᴗᴗᴗ       ᴗᴗ   ᴗ_   ᴗ_     =8,6
lakṣīsaha tathāẏ āchen gadādhar //
ᴗᴗᴗᴗ     ᴗ_     ᴗ_    ᴗᴗ_         =8,6 (7,7)^*2
tathāẏ adbhut br̥kṣa dekhite sucāru /
ᴗ_    ᴗ_      ᴗᴗ   ᴗᴗᴗ    ᴗᴗᴗ     =8,6
yāhā cāi, tāhā pāi, nām kalpataru //
ᴗᴗ   _   ᴗᴗ   _   _   ᴗᴗᴗᴗ        =8,6
dibā-niśi tathā candra sūryyer prakāś /
ᴗᴗᴗᴗ     ᴗᴗ   ᴗᴗ     ᴗ_     ᴗ_    =8,6
tār tale āche dibya bicitra ābās //
_  ᴗᴗ  ᴗᴗ   ᴗᴗ    ᴗᴗᴗ   ᴗ_        =8,6
netapāt siṃhāsan-uparete tuli /
ᴗᴗ_     ᴗᴗ_     ᴗᴗᴗᴗ    ᴗᴗ        =8,6
bīrāsane basiẏā āchen banamālī //
ᴗᴗᴗᴗ     ᴗᴗᴗ   ᴗ_    ᴗᴗᴗᴗ         =8,6 (7,7)^*3

*1 This verse form, which consists of couplets of clauses with 8 and 6 matra feet each, is called Payar.
*2 Some scholars believe that the word “āchen” should be divided as “ā/chen” whereas others argue that this line may remain 7,7 as long as the whole line consists of 14 matras.
*3 This line is also considered to be either 8,6 or 7,7.

M/7
Kr̥ttibās / Rāmāyaṇ (musical recitation)
miśrabr̥tta
8,6   
WAV 44k

golok baikuṇṭha-purī sabār upar /
ᴗ_    ᴗᴗᴗ      ᴗᴗ   ᴗ_   ᴗ_      =8,6
lakṣīsaha tathāẏ āchen gadādhar //
ᴗᴗᴗᴗ     ᴗ_    ᴗ_    ᴗᴗ_         =8,6 (7,7)^*2
tathāẏ adbhut br̥kṣa dekhite sucāru /
ᴗ_    ᴗ_      ᴗᴗ   ᴗᴗᴗ    ᴗᴗᴗ   =8,6
yāhā cāi, tāhā pāi, nām kalpataru //
ᴗᴗ   _   ᴗᴗ   _   _   ᴗᴗᴗᴗ      =8,6
dibā-niśi tathā candra sūryyer prakāś /
ᴗᴗᴗᴗ     ᴗᴗ   ᴗᴗ     ᴗ_     ᴗ_  =8,6
tār tale āche dibya bicitra ābās //
_  ᴗᴗ  ᴗᴗ   ᴗᴗ    ᴗᴗᴗ   ᴗ_      =8,6
netapāt siṃhāsan-uparete tuli /
ᴗᴗ_    ᴗᴗ_      ᴗᴗᴗᴗ    ᴗᴗ      =8,6
bīrāsane basiẏā āchen banamālī //
ᴗᴗᴗᴗ    ᴗᴗᴗ    ᴗ_    ᴗᴗᴗᴗ       =8,6 (7,7)^*3

M/8
Bhāratcandra / Annadāmaṅgal (normal recitation)
miśrabr̥tta
8,6   
WAV 44k

annapūrṇā aparṇā annadā aṣṭabhujā / abhaẏā aparājitā acyuta-anujā //
ᴗᴗᴗᴗ      ᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗᴗᴗ          ᴗᴗᴗ   ᴗᴗᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗᴗ
=8,6 (7,7) ^*1                            =8,6
anādyā anantā ambā ambikā ajaẏā / aparādh kṣama ago aba go abyaẏā //
ᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗ   ᴗᴗᴗ     ᴗᴗᴗ       ᴗᴗ_    ᴗᴗ     ᴗᴗ  ᴗᴗ  ᴗ  ᴗᴗᴗ
=8,6                                          =8,6
*1 This line is also considered to be either 8,6 or 7,7 for the same reason mentioned in M/6.

M/9
Bhāratcandra / Annadāmaṅgal (musical recitation)
miśrabr̥tta
8,6   
WAV 44k

annapūrṇā aparṇā annadā aṣṭabhujā / abhaẏā aparājitā acyuta-anujā //
ᴗᴗᴗᴗ      ᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗᴗᴗ       ᴗᴗᴗ   ᴗᴗᴗᴗᴗ   ᴗᴗᴗ    ᴗᴗᴗ
=8,6 (7,7)                                  =8,6
anādyā anantā ambā ambikā ajaẏā / aparādh kṣama ago aba go abyaẏā //
ᴗᴗᴗ     ᴗᴗᴗ   ᴗᴗ   ᴗᴗᴗ    ᴗᴗᴗ    ᴗᴗ_    ᴗᴗ    ᴗᴗ   ᴗᴗ  ᴗ  ᴗᴗᴗ
=8,6                                          =8,6

M/10
Bhāratcandra / Annadāmaṅgal (normal recitation)
miśrabr̥tta
8,6   
WAV 44k

nibedan śunaha ṭhākur pañcānan / yajña dekhibāre yāba bāpār bhaban //
ᴗᴗ_     ᴗᴗᴗ    ᴗ_    ᴗᴗ_        ᴗᴗ   ᴗᴗᴗᴗ     ᴗᴗ   ᴗ_    ᴗ_
=8,6 (7,7) ^*1                     =8,6
śaṅkar kahen baṭe bāp-ghare yābe / nimantraṇ binā giẏā apamān pābe //
ᴗ_     ᴗ_    ᴗᴗ  _   ᴗᴗ    ᴗᴗ    ᴗᴗ_      ᴗᴗ   ᴗᴗ  ᴗᴗ_    ᴗᴗ
=8,6                             =8,6
yajña kariẏāche dakṣa śuna tār marma / āmāre nā dibe bhāg ei tār karma //
ᴗᴗ    ᴗᴗᴗᴗ     ᴗᴗ    ᴗᴗ  _  ᴗᴗ      ᴗᴗᴗ   ᴗ  ᴗᴗ  _    _  _  ᴗᴗ
=8,6                                 =8,6
satī kan mahāprabhu hena nā kahibā / bāp-ghare kanyā yete nimantraṇ kibā//
ᴗᴗ  _  ᴗᴗᴗᴗ        ᴗᴗ   ᴗ  ᴗᴗᴗ    _   ᴗᴗ    ᴗᴗ    ᴗᴗ  ᴗᴗ_       ᴗᴗ
=8,6                                 =8,6
*1 This line is again considered to be either 8,6 or 7,7 for the same reason mentioned in M/6.

M/11
Bhāratcandra / Annadāmaṅgal (musical recitation)
miśrabr̥tta
8,6   
WAV 44k

nibedan śunaha ṭhākur pañcānan / yajña dekhibāre yāba bāpār bhaban //
ᴗᴗ_     ᴗᴗᴗ    ᴗ_    ᴗᴗ_       ᴗᴗ    ᴗᴗᴗᴗ     ᴗᴗ   ᴗ_    ᴗ_
=8,6 (7,7)                        =8,6
śaṅkar kahen baṭe bāp-ghare yābe / nimantraṇ binā giẏā apamān pābe //
ᴗ_    ᴗ_     ᴗᴗ  _   ᴗᴗ   ᴗᴗ    ᴗᴗ_       ᴗᴗ   ᴗᴗ  ᴗᴗ_     ᴗᴗ
=8,6                            =8,6
yajña kariẏāche dakṣa śuna tār marma / āmāre nā dibe bhāg ei tār karma //
ᴗᴗ   ᴗᴗᴗᴗ      ᴗᴗ    ᴗᴗ  _  ᴗᴗ      ᴗᴗᴗ   ᴗ  ᴗᴗ   _   _  _  ᴗᴗ
=8,6                           =8,6
satī kan mahāprabhu hena nā kahibā / bāp-ghare kanyā yete nimantraṇ kibā//
ᴗᴗ  _  ᴗᴗᴗᴗ        ᴗᴗ   ᴗ  ᴗᴗᴗ     _  ᴗᴗ    ᴗᴗ    ᴗᴗ  ᴗᴗ_       ᴗᴗ
=8,6                            =8,6

M/12
Chaṛā
dalbr̥tta
4,4,4,2 ^*1   
WAV 44k

chāgale khāila latā-pātā
ᴗᴗᴗ    ᴗᴗ     ᴗᴗ  ᴗᴗ        =5,4
poke khāila dhān,
ᴗᴗ   ᴗᴗ     ᴗ               =4,1 (4,2)^*2
māchi maśāẏ śeṣ karila
ᴗᴗ    ᴗᴗ     ᴗ  ᴗᴗᴗ         =4,4
gājipurer dhān /
ᴗᴗᴗᴗ      ᴗ                 =4,1 (4,2)

*1 Composition in 4,4,4,2 is a typical verse form of chara, but in chara, we often find a line which does not exactly fit the form. Here, the first line becomes 5,4, not 4,4. However, the verses of dalbr̥tta and especially of chara, are recited rapidly with intonation, and that makes the verse sound almost as if it were composed in 4,4,4,2 verse form. In this case, the intonation will be: 
̗̗             ̗         
chāgale khāila latā-pātā
̗           ̗          
poke khāila dhān,
̗         ̗               
māchi maśāẏ śeṣ karila
̗        ̗                  
gājipurer dhān /
*2 “dhān” should be 1 matra in dalbr̥tta, but one-syllable words at the end of a line, are often counted as 2 matras.

M/13
Chaṛā,
dalbr̥tta
4,4,4,2   
WAV 44k

br̥ṣṭi paṛe ṭāpur ṭupur nadī ela bān,
ᴗᴗ   ᴗᴗ  ᴗᴗ    ᴗᴗ   ᴗᴗ   ᴗᴗ  ᴗ      =4,4,4,1 (4,4,4,2)^*1
śibṭhākurer biẏe hala tin kanye dān /
ᴗᴗᴗᴗ       ᴗᴗ   ᴗᴗ  ᴗ  ᴗᴗ    ᴗ       =4,4,3,1 (4,4,4,2)
ek kanye rãdhen bāṛen, ek kanye khān,
ᴗ  ᴗᴗ    ᴗᴗ     ᴗᴗ    ᴗ ᴗᴗ    ᴗ      =3,4,3,1(4,4,4,2)
ek kanye nā kheẏe bāper bāṛi yān /
ᴗ  ᴗᴗ    ᴗ  ᴗᴗ    ᴗᴗ   ᴗᴗ  ᴗ         =3,3,4,1(4,4,4,2)

*1 Here all the one-syllable words at the end of a line, such as “bān”, “tin”, “dān”, “ek”, “khān”, “nā” and “yān”, are usually recited longer to be counted as 2 matras.

M/14
Chaṛā
dalbr̥tta
irregular^*1   
WAV 44k

ulu ulu mādārer phul
ᴗᴗ  ᴗᴗ  ᴗᴗᴗ    ᴗ        =4,4
bar āsche katadūr /
ᴗ   ᴗᴗ   ᴗᴗᴗ            =3,3
barer māthāẏ cãpār phul
ᴗᴗ   ᴗᴗ      ᴗᴗ   ᴗ      =4,3
kaner māthāẏ ṭākā
ᴗᴗ    ᴗᴗ     ᴗᴗ          =4,2
eman barke biẏe deba
ᴗᴗ    ᴗᴗ   ᴗᴗ   ᴗᴗ       =4,4
tār gõpjoṛāṭi pākā /
ᴗ  ᴗᴗᴗᴗ     ᴗᴗ          =5,2
bhāla to beṇī biniẏece rāni
ᴗᴗ    ᴗ  ᴗᴗ  ᴗᴗᴗ     ᴗᴗ  =5,5
beṇīr āgāẏ sonār jhãpā
ᴗᴗ   ᴗᴗ   ᴗᴗ    ᴗᴗ       =4,4
mājhe mājhe tār kanak cãpā /
ᴗᴗ    ᴗᴗ    ᴗ  ᴗᴗ    ᴗᴗ  =5,4

*1 This verse can hardly be analyzed according to any regular pattern of verse form.  Still, verses in dalbr̥tta have a basic rhythm of repetitions of 4 and a reader usually tries to bring it close to the pattern of dalbr̥tta, which should be either 4,4,4,2 or 4,4,4,3 or 4,4,4,4.