नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.IV. 145] DESCRIPTION OF THE CLASS DANCE 57

136. Sannata—after jumping, the two feet are to be put forward in Svastika form and the two hands to show Sannata¹ (i.e. Dolā) gesture.

137. Sūcī—a Kuñcita foot to be raised and put forward on the ground, and the two hands to be in harmony with the performance.

• 138. Ardhasūcī—the Alapadma hand is held on the head, the right foot is in Sūcī (karaṇa) position.

139. Sūcīviddha—one foot of Sūcī Karaṇa being put on the heel of another foot, the two hands to be respectively put on the waist and the breast.

140. Apakrānta—after making the Valita thigh, Apakrānta Cārī is to be performed, the two hands to be moved in harmony with the performance.

141. Mayūralalita—after assuming the Vṛścika K. two hands to be Recita, and the Trika to be turned round [in the Bhramarī Cārī].

142. Sarpita—the two feet to be moved from the Añcita position and the head with Parivāhita gesture, and the two hands are Recita.

143. Daṇḍapāda—after the Nūpura Cārī, Daṇḍapāda Cārī should be observed and the āviddha (vaktra) hand should be shown quickly.

144. Hariṇapluta—after observing the Atikrānta Cārī one jumps and stops, and then one of the shanks are bent and thrown up.

145. Preṅkholitaka—after observing the Dolāpāda Cārī one is to jump and let the Trika turn round (in the Bhramarī Cārī and come at rest.

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136 (B.136, G.133). ¹ According to Ag. Sannata = Dolāhasta.
137 (B.137, G.134). 138 (B.138, G.135).
140 (B.140, G.137). 141 (B.141, G.138).
142 (B.142, G.139). 143 (B.143, G.140). 144 (B.144, G.141).
145 (B.145, G.142). ¹ Defined nowhere in NŚ.

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