Verses in the Udāna always come as little four-line gāthā stanzas, each locked into one of the tried-and-true Pāli metres. The most commonly spotted pattern is Indravajrā—roughly eleven syllables per line with a natural pause after the fourth, giving it a jaunty yet measured feel. Every now and then Upendravajrā slips in with its own eleven-syllable groove, or the spring-tinged Vasantatilakā pops up, reminding listeners of new beginnings.

This metrical play-book made it easier for wandering monks to memorize and chant these “inspired utterances” on the go—no parchment required. Fast-forward to today, and these same rhythmic footprints echo through chanting sessions in Sri Lankan temples or marshaled in digital-humanities projects (like the recent mapping of Pāli metre at SOAS). The enduring appeal of those closing gāthās proves that a 2,500-year-old beat can still resonate, tying ancient insight to every chant in modern practice.