नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

58 THE NATYASASTRA [ IV. 146

146. Nitamba—arms to be first thrown up and hands to have their fingers pointing upwards and the Baddhā Cārī to be observed.

147. Skhalita - after observing Dolāpāda Cārī, hands with Recita gesture to be turned round in harmony with this.

148. Karihasta—the left hand is to be placed on the breast, the palm of the other hand to be made Prodveṣṭitala, the feet to be Añcita.

149. Prasarpitaka—one hand to be Recita and the other with Latā gesture, and feet to be Samsarpitatala (= Talasañcara).

150. Siṁhavikrīḍita—after observing the Alāta Cārī one is to move swiftly and hands to follow the feet.

151. Siṁhākarṣita—one foot to be stretched backwards and hands to be bent and turned round in the front and again to be bent.

152. Udvṛtta—hands, feet and the entire body to be moved violently (lit. thrown up) and then Udvṛtta Cārī to be observed.

153. Upasṛtaka—observing Akṣipta Cārī and hands in harmony with this Cārī.

154. Talasaṁghaṭṭita—observe the Dolāpāda Cārī two palms will clash with each other and the left hand to be Recita.

155. Janita—one hand to be on the breast, the other hanging loosely and observing Talāgrasaṁsthita (Janita) Cārī.

156. Avahitthaka—after observing Janita K. raising hands with fingers spread out and then letting them fall slowly.

157. Niveśa—the two hands will be on the breast which should be Nirbhugna and the dancer should assume Maṇḍala Sthāna (posture).

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146 (B.146, G.143). 147 (B.147, G.144). 148 (B.148, G.145). 149 (B.149, G.146). 150 (B.150, G.147). 151 (B.151, G.148). 152 (B.152, G.149). 153 (B.153, G.150). 154 (B.154, G.151). 155 (B.155, G.152). ¹ According to Ag. Talāgrasaṁsthita pāda means Janita cārī. 156 (B.156, G.153). 157 (B.157, G.154).