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siva.sh/natyashastra/31/51

विधिष्चतुष्कलो ज्ञेयः प्रागुक्ताङ्गुलिभिः कृतः । द्विकलश्चतुष्कलश्च पादभागः प्रकीर्तितः ॥ ५१॥

The proper method (of playing) with the previously mentioned fingers is to be known as consisting of four kalās; Two-kalā and four-kalā divisions are referred to as the quarter portion (pāda-bhāga).

english translation

vidhiScatuSkalo jJeyaH prAguktAGgulibhiH kRtaH | dvikalazcatuSkalazca pAdabhAgaH prakIrtitaH || 51||

siva.sh/natyashastra/31/52

चत्वारः पादभागाश्च ?? हि परिनाट्यते । चञ्चत्पुटस्य तालस्य तथा चञ्चूपुटस्य च ॥ ५२॥

The four pāda-bhāgas are indeed applied in the case of a cancatpuṭa tāla as well as in a cancūpuṭa tāla.

english translation

catvAraH pAdabhAgAzca ?? hi parinATyate | caJcatpuTasya tAlasya tathA caJcUpuTasya ca || 52||

siva.sh/natyashastra/31/53

पञ्चबाणैश्च विज्ञेया भेदा ह्येते पृथक्पृथक् । एवमेष मया तालः समासात्परिकीर्तितः ॥ ५३॥

The varieties of these (tālas) should be understood as distinguished by the five Bāṇas. Thus, the tāla has been described by me in a summarized form.

english translation

paJcabANaizca vijJeyA bhedA hyete pRthakpRthak | evameSa mayA tAlaH samAsAtparikIrtitaH || 53||

siva.sh/natyashastra/31/54

आसारिते वर्धमाने गीतेष्वपि हि यः स्मृतः । अथासारितकानां तु सम्प्रवक्ष्यामि लक्षणम् ॥ ५४॥

In the Āsārita and Vardhamāna songs also, that (Tāla) is considered applicable. Now I shall explain the characteristics of the non-Āsārita types.

english translation

AsArite vardhamAne gIteSvapi hi yaH smRtaH | athAsAritakAnAM tu sampravakSyAmi lakSaNam || 54||

siva.sh/natyashastra/31/55

भेदश्चञ्चत्पुटस्यादौ तथा गुरुलघुप्लुतैः । पञ्चपाणिं ततः कुर्याद्द्विरभ्यस्तं प्रयोगवित् ॥ ५५॥

At the beginning, the variation of the Cañcatpuṭa is made using heavy, light, and prolonged syllables; then, the expert in application should perform the Pañcapāṇi, repeating it twice.

english translation

bhedazcaJcatpuTasyAdau tathA gurulaghuplutaiH | paJcapANiM tataH kuryAddvirabhyastaM prayogavit || 55||