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तदा स्थितं भवेद्युग्मं तस्य पातविधिस्त्वयम् । शम्यापि द्विकला कार्या तालोऽपि द्विकलः स्मृतः ॥ २५६॥
Then it becomes even (in rhythm), and this is said to be the rule of its beats. The Shamya should be of two Kalās, and the Tāla too is regarded as of two Kalās.
english translation
चतुष्कलः सन्निपातः प्रवृत्तमत इष्यते । अस्य तु द्विकला शम्या तथैवैककला पुनः ॥ २५७॥
The Sannipāta consists of four Kalās and is considered to belong to the Pravṛtta type. In this, the Shamya has two Kalās, and the Tāla again has one Kalā.
english translation
चञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
चञ्चत्पुटश्च तालादिः सन्निपातस्ततः परम् । स्थितं तालेन कर्तव्यं महाजनिकमस्य तु ॥ २५८॥
The Tāla begins with a quick movement (Cañcatpuṭa), followed by the Sannipāta. The stationary part (Sthita) should be performed with the Tāla, which in this case is of the Mahājanika type.
english translation
निवृत्ततालः कर्तव्यः प्रवृत्तस्यापि तत्त्वतः । अत्र तालविधिः श्रेष्ठः प्रायः समुपवर्तनम् ॥ २५९॥
The Nivṛtta Tāla (ending rhythm) should be performed even for one that has been commenced. In this context, the proper rule of Tāla is that it generally involves a return movement (Samupavartana).
english translation
आप्तमुद्धटकः कार्यः परिवर्तक एव च । युग्मे हि मिश्रतालत्वाद्युग्मे ह्यन्तः प्रयुज्यते ॥ २६०॥
Before it, the Udghaṭṭaka (raising movement) and the Parivartaka (turning movement) should be performed. Since the Yugma is of a mixed Tāla, it should be applied in the concluding (Anta) part.
english translation