नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

280 THE NATYASASTRA [ XIII. 167-

anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthāna is to be used.

167-168. Aśvakrāntā : The Sthāna in which one foot is raised and the other is resting on its fore-part and [ready for] the Sūcī or the Āviddhā Cārī is called Aśvakrāntā¹.

168-169. (Uses) : This Sthāna is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in the taking of rest by goddesses or women for any purposes.

169-171. The Sthāna will be [maintained by a dancer] till any movement begins. For during a dance the Sthāna is at an end when the Cārī has begun (lit., is present). This is the rule of the Sthāna for women and for men as well. I shall now describe women’s Gait in relation to their nature.

Gait of young women

171-176. [Such a Gait will serially include the following Sthāna and movements] : The Avahittha Sthāna, the left hand pointing downwards, the right hand with the Kaṭakāmukha gesture placed on the navel, the right foot raised gracefully up one Tāla and thrown on the left one and simultaneously with that the left hand with the Latā gesture placed on the navel and the right side bent, placing the right hand on the hip and the Udveṣṭita movement of the left hand, then the left foot put forward, the right hand with the Latā gesture, [After assuming this Sthāna and movements] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvāhita posture.

176-177. The rules for going about on the stage which have been prescribed for men will apply also for women.

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167-168 (B.XII.172b-173a, G.167). ¹ B. reads two additional couplets after this.
168-169 (B.XII.175b-176a, G.168).
169-171 (B.XII.176b-178a, G.169-170).
171-176 (B.XII.178b-183a, G.171-175).
176-177 (B.XII.183b-184a, G.176).