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उत्तमोत्तमकं प्रोक्तं हेलानृत्यविभूषितम् । कोपप्रसादबहुलं सविक्षेपैरुपक्रमैः ॥ ३२६॥
The Uttamottamaka is described as being adorned with graceful dance movements (helā-nṛtya), abounding in expressions of anger and delight, and commenced with various gestures and dramatic beginnings.
english translation
संलापरचितैर्नित्यमुक्तप्रत्युक्तमिष्यते । वज्रार्धेन प्रकर्यास्तु तस्य तालविधिः स्मृतः ॥ ३२७॥
It is always performed through dialogues and counter-dialogues, and its rhythm or time-measure (tāla) is prescribed to be executed in the half measure of the Vajra rhythm.
english translation
ततस्तु शीर्षकं कार्यं संयुक्तं पञ्चपाणिना । उक्तप्रत्युक्तमेवं हि यथोक्तं परिकीर्तितम् ॥ ३२८॥
Then the śīrṣaka (concluding section) should be performed in combination with the pañcapāṇi rhythm. Thus, as stated before, it should consist of dialogues and counter-dialogues.
english translation
एवमेतद्बुधैर्ज्ञेयं माणं तालप्रमाणतः । तद्गाथापाणिकादीनां सप्तरूपं प्रकीर्तितम् ॥ ३२९॥
Thus, this measure should be understood by the learned according to the standard of rhythm (tāla). The seven forms, beginning with gāthā and pāṇika, are declared in this manner.
english translation
यस्तु तालं न जानाति न स गाता न वादकः । तस्मात्सर्वप्रयत्नेन कार्यं तालावधारणम् ॥ ३३०॥
He who does not know the rhythm (tāla) is neither a singer nor an instrumentalist. Therefore, the understanding and mastery of rhythm should be pursued with all effort.
english translation