Within the Udāna, the verses are predominantly cast in the anuṭṭhubha (anuṣṭubh) meter, the familiar śloka-like form characterized by four pādas of eight syllables each. This meter, with its balanced structure, provides a steady rhythmic frame that supports the contemplative and often exalted utterances attributed to the Buddha. The choice of such a regular and widely used meter allows the verses to be both memorable and recitable, aiding their transmission in a living oral tradition. In this way, the formal pattern of the verse becomes a subtle vehicle for the teaching itself, shaping how it is heard, remembered, and reflected upon.

Alongside this primary use of the anuṭṭhubha meter, the Udāna also contains verses in other established Pali meters, such as Triṭṭhubh, Jagatī, Vaṃśastha (also known as Indravajrā), and Upajāti. These meters differ in the number of syllables per pāda and in their internal rhythmic patterns, introducing variations in cadence and emphasis. Such diversity of metrical form can be seen as mirroring the diversity of situations and temperaments to which the verses are addressed. While the anuṭṭhubha remains the prevailing pattern, the presence of these additional meters suggests a nuanced poetic sensibility, using shifts in rhythm to underscore shifts in meaning, mood, or doctrinal focus.

Taken together, this metrical landscape shows that the Udāna is not merely a collection of inspired sayings, but also a carefully shaped work of sacred poetry. The predominance of the anuṭṭhubha meter offers a kind of stable ground, while the occasional movement into other meters opens space for heightened expression and subtle inflection. For a practitioner or reader, attending to these metrical forms can deepen appreciation of how sound, rhythm, and meaning interpenetrate, allowing the verses to resonate not only as doctrinal statements but as living utterances that speak to the heart as well as to the intellect.