नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

183 THE NĀṬYAŚĀSTRA [ IX. 184-

184. Sūcīmukha—The two Sarpaśiraḥ hands with their thumbs touching middle fingers are to stretch their tips obliquely.

185. Recita - the two Haṁsapakṣa hands swiftly moving with the palms facing upward This is like the ordinary Recita [of the hands].

186. Ardharecita—The left hand should be as in the Caturasra and the right hand as in the Recita.

187. Uttānavañcita—The two Tripatāka hands are slightly bent obliquely and the shoulders and the elbows are moved.

188. Pallava—the two Patāka hand joined at the wrist.
Nitamba—the two Patāka hands taken out from the shoulder [to the hip].

189. Keśabandha—the two hands moved out from the hair-knot (keśabandha) and held on the sides.

190. Latā—the two hands to be obliquely stretched sideways.

191. Karihasta—the Latā hand held up and swung from side to side and the Tripatāka hand held on the ear.

192. Pakṣavañcitaka—one Tripatāka hand placed on the waist and another on the head.

193. Pakṣapradyotaka—the Pakṣavañcitaka hands changing places (i.e. the hands placed on the waist to be put on the head and vice versa).

194. Daṇḍapakṣa—the two Haṁsapakṣa hands moved alternately and then held out like a staff.

195. Ūrdhvamaṇḍalī—the two hands to have circling movement near the upper region (i.e. the upper part of the body).

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184 (B.191, G.184). ¹ B.G. read after this a variant of this definition.
185 (B.193, G.186). 186 (B.194, G.187).
187 (B.195, G.188). 188 (B.196, G.189).
189 (B.197, G.190). 190 (B.198, G.191).
191 (B.199, G.192). 192 (B.200, G.193).
193 (B.201, G.194). 194 (B.202, G.195). 195 (B.203, G.196).