The first pada of the definition is incomplete—in fact, the text has been torn off from either ends and what we have got is only a fragment. The portion available today gives one laghu, one guru, one laghu, then two guru matras and finally one laghu. The definition says that Tala Jaya is sung (recited) in the assembly of kings. Next comes the symbolic representation which is practically invisible. The chachakra and bolas are, as pointed out above, incomplete. The Samgita Sastra and Samgita Sara give other versions of Tala Jaya.
The return of the victorious. What more pleasant moment can the young woman recall than the safe return home of her husband ! She could not prevent him from jumping on his horse and rushing in the thick of the battle. But she knows full well that he would return to her the first moment he is out of it. And here he is, proudly riding his well-caparisoned charger, followed by a retainer with a scarf and a whisk. On the very doorsteps is his beloved welcoming him with a pancharati.
The liberal use of vermilion—red-ochre in the composition goes well with the general mood. But the stark blank faces, with no expression on them, do not. The lady is attired in the typical Maratha sadi, although the pallav is thrown across the right and not the left shoulder.