नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-IV. 223 DESCRIPTION OF THE CLASS DANCE 63

208-210. Gatimaṇḍala—after assuming Maṇḍala Sthānaka and making the hands Recita and the feet Udghaṭṭita assuming successively Matalli. Ākṣipta, Uromaṇḍala and Kaṭiccheda Karaṇas.

210-212. Paricchinna—after the Samapāda Sthān¹ assuming Paricchinna (i.e. Chinna) K then with Aviddha foot assuming Bāhya Bhramarakā¹ and with the left foot assuming Sūcī K. and than observi· (successively) Atikrānta, Bhujaṅgatrāsita, Karihasta and Kaṭicch· ṇa Karaṇas.

212-216. Parivṛttakarecita—holding on the head hands in loose Svastika form and them after bending the body the left hand to be made Recita, and raising the body, again the same hand to be made Recita, after this hands to show Latā gesture and assuming successively Vṛścika, Recita, Karihasta Bhujaṅgatrāsita, Ākṣiptaka Karaṇas then have Svastika foot; all this to be repeated after turning back completely, then assume (successively) Karihasta.

216-219. Vaiśākharecita—along with body the two hands to be made Recita and all this is to be repeated with the body bent then observe Nūpurpāda Cārī and Bhujaṅgatrāsita, Recita, Maṇḍalasvastika, afterwards bending shoulder Urūdvṛtta, Ākṣipta Uromaṇḍala Karihasta¹ and Kaṭicchinna Karaṇas are to be assumed.

219-221. Parāvṛtta—assuming Janita K. and putting forward a foot, then assuming Alātaka K. and turning the Trika, [in the Bhramri Cārī] afterwards the left hand bend and to on the cheek, then assuming Kaṭicchinna Karaṇa.

---

208-210 (B.212b-214a, G.208-209).

210-212 (B.214b-216a, G.210-211). ¹ According to Ag (I.p.152) bāhya bhramaraka seems to mean a cārī of that name. But it seems that by this bhramaraka, the movement known as bhramarī has been meant. See M. Ghosh AD. 289ff. also A. K. Coomaraswamy. MG. p.74.

212-216 (B.216b-220a, G.212-215).

216-219 (B.220b-223a, G.216-218).

219-221 (B.223b-225a, G.219-220).