Vṛtta has no regulation or specification of tāla when composed in āryā, dvipatha, vṛtta, gāthā, dodhaka, and toṭaka metres.
"There is never a regulation (or specification of tāla in) vṛtta (composed
in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka."
TRANSLATION
<sup>209</sup>
prabandha svarārtha. Karaņa<sup>5</sup> has been said to be the fortieth, combined with
five (forty-five).
(377-378)
This varņasvara is known to be (numbered) forty combined with six
(forty-sixth); that which is muktāvalī should be known to be (numbered)
forty, combined with seven (forty-seven).
(379)
Pratāpavardhana is said to be the forty-eighth. Eight combined with
forty(forty-eight) are (the prabandhas) spoken of by the muni.
(380)
I shall speak of their characteristics in brief for the sake of scholars. They
should be sung by those adept in music in accordance with the rules related
to svara-tāla and the like as well as r\bar{a}gas^6.
(381)
[The description of Prabandhas]
[1. Kanda]
That which is bereft of tāla and is combined with pāṭas and birudas, that
is kanda, mixed with the pada (text) of the Karpāṭa<sup>7</sup> language and the like.
(382)
Prabandhas like kanda are verily well-known in practice.
[2. Vṛtta]
There is never a regulation (or specification of tāla in) vṛtta (composed
in) āryā, dvipatha, vṛtta, gāthā, dodhaka and similarly toṭaka. The prominence
of metre has been clearly specified in them, by the munis. In the end the
placing of svaras<sup>9</sup> is (prescribed), others hold it to be devoid of svara. Others
say that it is (formed) in the vitta metre; that is also acceptable.
(383-384)
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