नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

66 THE NATYASASTRA [ IV. 248-

the second is that of the waist (kaṭi), the third is that of the hand (hasta) and the fourth is that of the neck (grīvā).

248. The term Recita [relating to a limb] means moving it round separately (i.e. not in any Karaṇa or Cārī) or its drawing up or its movement of any kind separately.

249. Pāda-recaka—Going from side to side with wavering feet or with differently moving feet, is called their Recaka.

250. Kaṭi-recaka—Raising up the Trika and the turning of the waist as well as its drawing back, is called the Kaṭi-recaka.

251. Hasta-recaka—Raising up, throwing out, putting forward, turning round and drawing back of the hand is called its Recaka.

252. Grīvā-recaka—Raising up, lowering and bending the neck sideways, and other movements of it are called its Recaka.

253-254. Seeing Śaṁkara (Śiva) dance with Recakas and Aṅgahāras, Pārvatī too performed a Gentle Dance (lit. danced with delicate forms)¹, and this dance was followed by the playing of musical instruments like Mṛdaṅga,¹ Bherī, Paṭaha, Bhambhā², Diṇḍima, Gomukha, Paṇava and Dardura.

255. [Besides on this occasion] Maheśvara (Śiva) danced in the evening after the break-up (lit. destruction) of Dakṣa's sacrifice¹ with different Aṅgahāras and in conformity with proper time beat (tāla) and tempo (laya).

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248 (B.252, G.247).	249 (B.253, G.248).
250 (B.254, G.249).	251 (B.255. G.250).
252 (B.256, G.251).

253-254 (B.257-258, G.252-253). ¹ Read nṛtyantī sma ca pārvatī Ag. I. p. 203.

² mṛdaṅga, bherī, paṭaha. bhambhā, diṇḍima, dardura and paṇava are drums of different sizes and shapes, and made of different materials such as clay, wood etc. Of these bherī, paṇava and gomukha (possibly a horn) have been mentioned in the Bhagavad-gītā, ch. I.13.

• B. read jhañjhyā (pa. bambhā).

255 (B.259, G.254). ¹ The story of the break-up of Dakṣa's sacrifice occurs in two different forms in the Bhāgavata and the Varāha P. See JK. under Dakṣa.