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SAHRDAYĀLOKA Bhoja says gāyana-sahókti-yukta. That this type has dance also is plain from the words "uddhata-karana-prāya”. The dance is generally 'tāndava' i.e. having karanas and angahāras which are forceful."
The next verse viz. "sama-viśrāmair dvipathair...” etc. is read in BP. with a little difference. For "viśrāmair dvipathair”, Śā. has "viśramair vividhaiḥ” - 'Vividhaih' seems to be better as in the third foot of the stanza in both Bhoja and Sä. We have, "gāthāmātrā-dvipathaka-pathyenā'lamkrto lalitaḥ.” Thus if dvipathaka' is read in the third foot of the stanza., it is better to read 'vividhair' in the second. The idea is that 'lalita' or graceful bhāna is decorated by 'identical (sama), viếrāmas' of many types (= vividhaih), in the fifth 'parivartana'. It is also beautified by 'gāthā'; 'mātrā' and 'dvipathaka-pāěhya'. We had noted that there are 'seven viśrāmas' i.e. seven sections in a bhāna. Details concerning these are now given by Bhoja and Śā. Bhoja has 'sabhagnatālā tvanantaram gāthā.' But Sā. has "sabhagnatālāvanantaram" (lau+ana.); meaning with two bhagnatālas followed by gāthā. The meaning in Bhoja seems to be that in the first viśrāma (i.e. section), we have varna, matta-pālī,
agnatāla, (bhagnatālā is an adjective of matta-pālīfollowed by gāthā, then (anu)-bhagna-tāla and mātra, and also a bhagnatāla.
In the second section, (dvitīye viśrame), it has gāthā, dvipathaka (Bhoja has "dvipada), and vasantaka used. Sā. reads : "gāthā-dvipatha-vasantā viếrāme syur dvitīye tu." But Bhoja reads, "gāthā-dvipada-vahanto” (for, vasantāḥ of Śā.). Šā. reads better. Again for Bhoja's “mātrā-vişama-cchinnā sa-bhagnatālā'tha bhavati radhvā ca" we may observe that the end of this line is not clear. But Sa has, "mātrā-visama-cchinnā sa-bhagnatālā bhaved vrddhyā.” The idea seems to be that in the second section (dvitīye viśrāme), there is use of gāthā, dvipathaka, and vasantaka. Through 'vřddhi' i.e. extention or addition, from visama mātrā, 'vicchinna sa-bhagna-tāla' is derived. We do not know much about this but 'vrddhyā' seems to make sense in place of Bhoja's 'radhvā'.
Then Bhoja reads - "mārganikety evam syāt tāla-vidhānam trtīye tu.” Śā. reads - “māgadhikā sādhyā syāt tāla-vidhāne tļtīye tu.” Bhoja means - "In the third section there is this mārganikā, as formation of tāla." BP. seems to suggest that in the third composition of tāla, 'māgadhika' is to be achieved. What this 'māgadhika' (= a musical effect popular in Magadha ?) is, we do not know.
The next half of the verse reads differently in both Bhoja and Śā. Bhoja has : "mātrā-dvipatha-vahanto radhvästhāpanam caturthe syuh.” BP. has "rathyā dvipatha-vasantaka-rathyā-tālāś caturthe syuḥ.” The meaning here is clear and it is
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