नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-IV. 247 ] DESCRIPTION OF THE CLASS DANCE 65

234-235. Acchurita—assuming Nūpura K. and turning the Trika round, assuming Vyamsita K. and again turning round the Trika, then assuming successively Alātaka¹ K. from the left [side] and Sūcī, Karihasta and Kaṭicchinna Karaṇas.

236-238. Ākṣiptarecita—Svastika feet to be in Recita and so the Svastika hands, then with the same (i.e. Recita) movement they should be separated, and with the same Recita movement they are to be thrown up, then assuming successively Udvṛtta, Ākṣipta, Uromaṇḍala, Nitamba, Karihasta and Kaṭicchinna Karaṇas.

239-241. Sambhrānta— assuming Vikṣipta K. throwing out the left hand with Sūcī gesture, the right hand placed on the breast, Trika to be turned [in the Bhramarī Cārī] then assuming successively Nūpura, Ākṣipta, Ardhasvastika, Nitamba, Karihasta, Uromaṇḍala and Kaṭicchinna Karaṇas.

242-243. Apasarpita—observing Apakrānta Cārī and assuming Vyaṁsita K. with the hands moving in Udveṣṭita manner, then assuming successively Ardhasūcī, Vikṣipta, Kaṭicchinna, Udvṛtta Ākṣiptaka, Karihasta and [again] Kaṭicchinna Karaṇas.

244-245. Ardhanikuṭṭaka --observing swiftly Nūpurapādikā Cārī, hands to move in harmony with the feet and Trika to turn round [in the Bhramarī Cārī], then hands and feet to make Nikuṭṭita movement, afterwards assuming Uromaṇḍala, Karihasta, Kaṭicchinna and Ardhanikuṭṭaka Karaṇas.

The Recakas

246. I have spoken of these thirtytwo Aṅgahāras ; I shall now describe the four Recakas¹ ; please listen about them :

247. Among the Recakas the first is that of the foot (pāda),

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234-235 (B.238-239, G.233-234). ¹ Read vāmaṁ cālātakam for pādaṁ cālātakam in B.
236-238 (B.240-242, G.235-237). 239-241 (B.243-245, G.238-240).
242-243 (B.246-247, G.241-242). 244-345 (B.248-249, G.243--244).
246 (B.250, G.245). ¹ For the relation between Recakas and the Aṅgahāras and the use of the Recakas see Ag.
247 (B.251, G.246).