siva.sh

siva.sh/natyashastra/5/61

परिवर्ताश्च चत्वारः पाणयस्त्रय एव च । जात्या चैव हि विश्लोका तां च तालेन योजयेत् ॥ ६१॥

"The transitions are four, and the hands are three. The types are also differentiated by their verses, and they should be arranged with the rhythm."

english translation

parivartAzca catvAraH pANayastraya eva ca | jAtyA caiva hi vizlokA tAM ca tAlena yojayet || 61||

siva.sh/natyashastra/5/62

शम्या तु द्विकला कार्या तलो द्विकल एव च । पुनश्चैककला शम्या सन्निपातः कलात्रयम् ॥ ६२॥

"The two parts should be handled as one, and the same for the two beats. Similarly, the single part should be used, and the combination of three parts forms the total rhythm."

english translation

zamyA tu dvikalA kAryA talo dvikala eva ca | punazcaikakalA zamyA sannipAtaH kalAtrayam || 62||

siva.sh/natyashastra/5/63

एवमष्टकलः कार्यः सन्निपातो विचक्षणैः । चत्वारः सन्निपाताश्च परिवर्तः स उच्यते ॥ ६३॥

Thus, the eight parts should be used in combination, with four combinations referred to as the "Sannipāta" (the union of rhythms).

english translation

evamaSTakalaH kAryaH sannipAto vicakSaNaiH | catvAraH sannipAtAzca parivartaH sa ucyate || 63||

siva.sh/natyashastra/5/64

पूर्वं स्थितलयः कार्यः परिवर्तो विचक्षणैः । तृतीये सन्निपाते तु तस्या भाण्डग्रहो भवेत् ॥ ६४॥

Previously, the stationary rhythm should be used, and the change (Parivarta) is observed by the wise. In the third Sannipāta, the vessel (Bhāṇḍa) must be grasped accordingly.

english translation

pUrvaM sthitalayaH kAryaH parivarto vicakSaNaiH | tRtIye sannipAte tu tasyA bhANDagraho bhavet || 64||

siva.sh/natyashastra/5/65

एकस्मिन्परिवर्ते तु गते प्राप्ते द्वितीयके । कार्यं मध्यलये तज्ज्ञैः सूत्रधारप्रवेशनम् ॥ ६५॥

In the first Parivarta, when the second one has been completed, the task should be performed in the middle of the rhythm by those who are knowledgeable, with the entry of the Sutradhara.

english translation

ekasminparivarte tu gate prApte dvitIyake | kAryaM madhyalaye tajjJaiH sUtradhArapravezanam || 65||