The verse of Sarala Dasa is simple, forceful and musical, without artificiality. Applying colloquial words for his poetical purpose, his writing was free from Sanskritisation. His work can be seen as adapting the popular oral conventions of earlier Odia folk songs which were used in folk dances such as the "Ghoda-nacha" (Horse Dance), "Dandanacha" and "Sakhinacha" (Puppet Dance). One metrical peculiarity of these songs is that both the lines of a verse do not contain an equal number of letters though the last letters of both the lines produce the same sound. All Sarala Dasa's wors were composed with this metrical peculiarity, and so the metre used by him can be regarded as a direct descendant of that used in the folk songs. By the fifteenth century the Odia language had assumed almost its modern form and had become ripe for literary compositions.