नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

52 THE NATYASASTRA [ IV. 88.

right hand making the Karihasta gesture, and the left one lying on the breast.

84. Añcita—in the Ardhasvastika the Karihasta to be alternately in Vyāvartita (Vyāvṛttā) and Parivartita movement, and then bent upon the tip of the nose.

85. Bhujaṅgatrāsita—the Kuñcita feet to be thrown up, the thighs to have an oblique Nivartana (Nivṛtta)¹ movement, the hip and the thigh also to have the same movement.

86. Ūrdhvajānu—a Kuñcita foot to be thrown up, and the knee to be held up (lit. stretched) on a level with the breast, and the two hands to be in harmony with the dance.

87. Nikuñcita—feet to be moved as in the Vṛścika K., two hands to be bent at the sides, the right hand to be held at the tip of the nose

88. Matalli—making a whirling movement while throwing back the two feet (left and right), and moving hands in the Udveṣṭita and Apaviddha movement.

89. Ardhamatalli—feet to be drawn away from the position in the Skhalita K., left hand Recita, and afterwards to be put on the hip.

90. Recitanikuṭṭita—the right hand to be Recita, left foot Udghaṭṭita (= Nikuṭṭita), and the left hand with Dolā gesture.

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84 (B.84, G. 81).

85 (B.84, G.82). ¹ For nivartayet, B. G. read vivartayet, and for nivṛttam B. vivṛttam and G. vivartac.

86 (B.86, G.83).

87 (B.87, G.84). ¹ For vṛścika karaṇa, B.G. read vṛścika caraṇa. But NŚ. does not know any caraṇa or cārī of this name, while a K. of this name occurs, and one karaṇa is very often used to define another karaṇa; see texts for 84 above, 103 and 107 below. In all these cases some mss. read karaṇa instead of caraṇa.

88 (B.88, G.85).

89 (B.89, G.86). ¹ skhalitāpasṛtān pādān feet drawn away from the position of the skhalita K.

90 (B.90, G.87). ¹ According to Ag. udghaṭṭita = nikuṭṭitā for which see above 70 note.