नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-IV. 100] DESCRIPTION OF THE CLASS DANCE 53

91. Padāpaviddhaka—the Kaṭakāmukha hands with their back against the navel, and feet to be in Sūcī and [then] the Apakrānta Cārī

92. Valita—hands to be Apaviddha, feet to be in Sūcī Cārī Trika turned round [in the Bhramarī Cārī].

93. Ghūrṇita—the left hand in Valita and moved round, the right hand with Dolā gesture, and the two feet to be drawn away from each other from the Svastika position.

94. Lalita—the left hand with Karihasta gesture, the right one to be again turned aside (Apavartita), two feet to be moved up and down.

95. Daṇḍapakṣa—observing Ūrdhvajānu Cārī, Latā hands to be placed on the knee.

96. Bhujaṅgatrastarecita—the feet to be in Bhujaṅgatrasta Cārī, the two hands to be Recita and moved to the left side.

97. Nūpura—the Trika to be gracefully turned round, [in the Bhramarī Cārī] the two hands to show respectively Latā and Recita gestures, and the Nūpurapāda Cārī with the feet.

98. Vaiśākharecita—hands and feet to be Recita, so the hip and the neck, and the entire body in Vaiśākha Sthāna (posture).

99. Bhramaraka—Svastika feet in Ākṣipta Cārī, hands in Udveṣṭita movement, and Trika¹ turned round [in the Bhramarī Cārī].

100. Catura—the left hand with Añcita, (i.e. Alapallava)¹ gesture, the right hand is with Catura gesture, the right feet in Kuṭṭita (i.e. Udghaṭṭita) pose.

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91 (B.91, G.88). 92 (B.92, G.89).
93 (B.93, G.90). ¹ For valita. BG read vartita.
94 (B.94, G.91). ¹ See NŚ. IX. 191.
95 (B.95, G.92). 96 (B.96, G.93). 97 (B.97, G.94).
98 (B.98, G.95).
99 (B.99, G.96). ¹ Trika used here and many times afterwards means the trikāsthi (sacrum) the lowest point in the vertebral column where the two other bones of the legs meet.
100 (B.100, G.97). ¹ This is Ag's interpretation of Añcita.
² This is Ag's interpretation.