.IX. 126 ] THE GESTURES OF HANDS 181

117-118. (Uses) : It is used to represent the making of offerings in worshipping a deity, bud of a lotus or a water-lily, throwing a kiss (viṭa-cumbana), contempt, miscellaneous things, taking meals, counting of gold coins, narrowing of the mouth, giving away [anything], quickness and buds of flowers,

119-120. Ūrṇanābha (spider)—the fingers of the Padmakośa hand [further] bent.

(Uses) : It is used to represent the combing of hair, receiving stolen goods, scratching one's head, skin disease, lions, tigers and such other animals, and taking up [touch]—stone.

121-122. Tāmracūḍa (lit. copper-crest i.e. cock)—the middle finger and the thumb crossed, the fore-finger bent, the remaining [two fingers] at the palm.

(Uses) : It should fall down with a sound to represent rebuke, beating time, inspiring confidence, quickness, and making signs.

123. This hand is to be used to indicate small fractions of time such as Kalā, Kāṣṭhā, Nimeṣa and Kṣaṇa as well as talking to a young girl and inviting her.

124. When the fingers in a hand are close to one another, bent and the thumb is set on them, the same is [also] called the Tāmracūḍa hand.

125. By this hand are to be indicated hundred, thousand and lac of gold coins, and when the fingers in it are suddenly made to move freely it will represent sparks or drops.

126. O the best of Brahmins, these are the single hands described by me. Now hear about the combined hands which I am going to describe.

---

117-118 (B.118-112, G.118-119). ¹ viṭacumbanaṃ svābhiprāyaṃ āvī-ṣkartuṃ svahastam eva mukulitaṃ vitaś cumbatīti viṭacumbanam (Ag.).

119-120 (B.120-121, G.120-121). ¹ Cf. Ag's explanation of cauryagraha.

121-123 (B. 122-124, G.122-123). 123 (B.124, G.124).

124 (B.125. G.125). 125 (B.126, G.126). 126 (B.127, G.127).

182 THE NATYASASTRA [IX. 127-

127. Añjali—Putting together of the two Patāka hands is called Añjali.

(Uses) : It is used to greet gods, venerable persons (guru) and friend¹.

128. In greeting gods it is to be held on the head, in case of venerable persons it is to be held near one's face, and for greeting the friends it is to be placed on the breast, and in case of the remaining persons there is no fixed rule.

129. Kapota (pigeon)—The two (Añjali) hands meeting on one of their sides will make the Kapota hand. Listen about its uses.

130. (Uses) : It is to be used to indicate an approach with inimical attitude, bowing and talking to a venerable person. To indicate cold and fear, women are to hold this hand on their breasts.

131. The hands [showing the Kapota gesture] released after the meeting of fingers will indicate anxious words, or 'This much can be done' or 'Nothing more can be done.'

132. Karkaṭa (crab)—When the fingers of the hands are interlocked the Karkaṭa hand is produced.

133. (Uses) : It is used to indicate the bees-wax, massaging of the limbs, yawning just after awakening from sleep, a big body, supporting the chin and holding a conch-shell [for blowing it].

134. Svastika—The two Arāla hands upturned and held together at the wrists will form the Svastika. It is to be used by women.

135. (Uses) : When the hands are separated from the Svastika position, it will indicate directions, clouds, the sky, forests, seas, seasons, the earth and similar [other] extensive things.

---

127 (B.128, G.128).
128 (B.129b-30a, G.129). ¹ B. adds one additional hemistich after this.
129 (B.130b-131a, G.130).
130 (B.131b-132a, G.131). 131 (B.132b-132a, G.132).
132 (B.133b-134a, G.133). 133 (B.134b-135a, G.134).
134 (B.135b-136a, G.135). 135 (B.136b-137a, G.136).

-IX, 144 ] THE GESTURES OF HANDS 183

136. Kaṭakāvardhamānaka—When one Kaṭakā (mukha) hand is placed on [the wrist of] another Kaṭakā [mukha] hand the Kaṭakāvardhamānaka hand will be produced.

(Uses) : It is to be used in movements connected with love-making and in bowing [to a person].

137. Utsaṅga—When the Arāla hands are contrarily placed and are held upturned and bent, the Utsaṅga hand will be the result.

(Uses) : It is used to indicate the feeling of touch.

138. It is also used to indicate anything to be done with great effort, acts, of anger and indignation, squeezing [anything] and women's acts of jealousy.

139-140. Niṣadha—The left hand holding the [right] arm above the elbow and the right hand similarly touching the left arm with a clenched fist will make a Niṣadha hand.¹

141. (Uses) : It is to indicate patience, intoxication, pride, elegance, eagerness, valour, arrogance self-conceit, haughtiness motionlessness, steadiness and the like.

142. Dola—When the two shoulders are at ease in a Karaṇa and the two Patāka hands are hanging down the Dola hand is produced.

143. (Uses) : It is to be used in indicating hurry, sadness, fainting, fit of intoxication, excitement, state of illness and wound by a weapon.

144. Puṣpapuṭa—The two Sarpaśiraḥ hands with their fingers close to one another meeting on one side very closely will give rise to the Puṣpapuṭa hand.

---

136 (B.137b-138a, G.137). 137 (B.139, G.138). 138 (B 140, G.139).
139-140 (B 144-145). ¹ G. omits this passage and 141, and read them differently, but in the footnote to lines 11-16 the definition occurs, and the uses too. B. also gives an additional definition and uses of the Niṣadha in B.141 143.
141 (B.146). ¹ See note 1 to 139-140.
142 (B.148, G.142). 143 (B.149, G.143).
144 (B.150, G.144). 145 (B.151, G.145).

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IX. 165 ] THE GESTURES OF HANDS 185

described briefly may be used elsewhere also in conformity with the rules laid down here.

General rules regarding the use of hand gestures

156. In acting, hand [gestures] should be selected for their form, movement, significance, and class according to the personal judgement [of the actor].

157. There is no gesture (lit. hand) that cannot be used in indicating [some] idea. I have profusely described whatever forms (lit. gestures) are usually seen [to be associated with different ideas].

158. There are besides other popular gestures (lit. hand) connected with other ideas, and they also are to be freely used along with the movements inspired by the Sentiments and the States.

159. These gestures should be used by males as well as females with proper regard to place, occasion, the play undertaken and a suitability of their meaning.

Different movements of hand gestures

160. I shall now describe the varied movements which these gestures (lit. hands) [should] have in connexion with the [different] Sentiments and States.

161-163. [These movements are] : drawing upwards, dragging, drawing out, accepting, killing, beckoning, urging, bringing together, separating, protecting, releasing, throwing, shaking, giving away, threatening, cutting, piercing, squeezing and beating.

164. Hand gestures according to the theory of Histrionic Representation are to have three kinds of general movements, viz. upwards, sideways and downwards.

165. These movements of hands should at the time of their use, be embellishad by means of [suitable] expressions in the eyes, the eyebrows and the face.

---

156 (B.161, G.154).	157 (B.162, B.G.155).
158 (B.163, G.156).	159 (B.164, G.157).
160 (B.165, G.158).	161-163 (B.166-168, G.159 161).
164 (B.169, G.173).	165 (B.170, G.162).

24

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-IX. 183 ] THE GESTURES OF HANDS 187

175. At the time of verbal acting (i.e. when the actor will enunciate his part) the eyes and the look are to be directed to points at which the hand gestures are moving, and there should be proper stops so that the meaning may be [clearly] expressed (lit. seen)¹.

176. The movements of hands in dancing and acting will be of five kinds, viz. palms kept upwards, downwards or oblique, fingers pointing upwards or downwards.

177. These are the hand gestures connected with the various kinds of Histrionic Representations. I shall now speak of Dance-hands (i e. gestures to be used in dance).

The Dance-hands

178. Caturasra—two Kaṭakāmukha hands held forward eight Aṅgulis apart [from each other] on one’s breast, the two shoulders and elbows on the same level.

179. Udvṛtta—the two Haṁsapakṣa hands waved like a palm-leaf (fan). Its alternative name is the Tālavṛnta (palm-leaf).

180. Talamukha—the two hands from the Caturasra position to be held obliquely facing each other.

181. Svastika—the Talamukha hands crossed at the wrists; but released after this they are called Viprakīrṇa.

182. Arālakaṭakamukha—the two Alapallava (Alapadmaka) hands with palms upwards changed into Padmakośa hands. Its another name is Arālakaṭaka.

183. Āviddhavaktraka—The two hands are to have a graceful (kuṭila) movement after touching [successively] the opposite shoulder, elbow and hands, and the palms [of the hands] moved are to turn towards the back.

---

175 (B.180, G.172). ¹ B. repeats here 164 (B.169)
176 (B.182, G.175).    177 (B.183, G.176).
178 (B.184, G.177).    179 (B.185, G.178).
180 (B.186, G.179).    181 (B.187, G.180).
182 (B.188, G.181). ¹ B.G. read after this a variant of this definition.    183 (B.190, G.183).

183 THE NĀṬYAŚĀSTRA [ IX. 184-

184. Sūcīmukha—The two Sarpaśiraḥ hands with their thumbs touching middle fingers are to stretch their tips obliquely.

185. Recita - the two Haṁsapakṣa hands swiftly moving with the palms facing upward This is like the ordinary Recita [of the hands].

186. Ardharecita—The left hand should be as in the Caturasra and the right hand as in the Recita.

187. Uttānavañcita—The two Tripatāka hands are slightly bent obliquely and the shoulders and the elbows are moved.

188. Pallava—the two Patāka hand joined at the wrist.
Nitamba—the two Patāka hands taken out from the shoulder [to the hip].

189. Keśabandha—the two hands moved out from the hair-knot (keśabandha) and held on the sides.

190. Latā—the two hands to be obliquely stretched sideways.

191. Karihasta—the Latā hand held up and swung from side to side and the Tripatāka hand held on the ear.

192. Pakṣavañcitaka—one Tripatāka hand placed on the waist and another on the head.

193. Pakṣapradyotaka—the Pakṣavañcitaka hands changing places (i.e. the hands placed on the waist to be put on the head and vice versa).

194. Daṇḍapakṣa—the two Haṁsapakṣa hands moved alternately and then held out like a staff.

195. Ūrdhvamaṇḍalī—the two hands to have circling movement near the upper region (i.e. the upper part of the body).

---

184 (B.191, G.184). ¹ B.G. read after this a variant of this definition.
185 (B.193, G.186). 186 (B.194, G.187).
187 (B.195, G.188). 188 (B.196, G.189).
189 (B.197, G.190). 190 (B.198, G.191).
191 (B.199, G.192). 192 (B.200, G.193).
193 (B.201, G.194). 194 (B.202, G.195). 195 (B.203, G.196).

-IX. 206] GESTURES OF HANDS 189

Pārśvamaṇḍalī—the same movement made on one side.

196. Uromaṇḍalī—after circling movements one hand to be raised up and the other to hang down, and movements to take place near the breast.

197. Uraḥpārśvārdhamaṇḍala—the Alapallava (Alapadmaka) and Arāla hands moved by turns above the breast and on the sides.

198. Muṣṭikasvastika—the two Kaṭakāmukha hands bent at the wrists and moved round.

199. Nalinīpadmakośa the hands to be moved by turns with Vyavartita and Parivartita Karaṇa.

200. Allapallava—the two hand to have the Udveṣṭita Karaṇa in their movements.

Ulbana—the two hands to be stretched up and waved.

201. Lalita—two [Ala]-pallava (Alapadmaka) hands to be moved above the head.

Valita—the two Latā hands crossed at their elbows.

202. The Dance-hands are to be used in forming Karaṇas and hands such as the Patāka should be used in representing the meaning [of words].

203. [But] sometimes, out of necessity their uses are interchanged, and the names given are due to their predominant use in drama and dance.

204. The Dance-hands are of two kinds : single and combined. I shall now speak of hands in relation to the Karaṇas.¹

The four Karaṇas of the hand

205-206. Instructors of hand gestures are to note carefully the four classes into which all such gestures are grouped. The four classes are : Āveṣṭita, Udveṣṭita, Vyavartita and Parivartita.

---

196 (B.204, G.197). 197 (B.205, G.198). 198 (B.206, G.199).
199 (B.207, G.200). 200 (B.208, G.201). 201 (B.209, G.202).
202 (B.210). ¹ G. omits this. 203 (B.211). ¹ G. omits this.
204 (B.212, G.203). ¹ This Karaṇa is evidently differently from the K. mentoned in NŚ. IV. 62ff. 205-206 (B.213-214, G.204-205).

190 THE NATYASASTRA [ XI. 207-

207. Āveṣṭita : When the fingers beginning with the first one (the forefinger) are gradually pointing inwards at the time [the hand] moves round, the Karaṇa [thus produced] is called Āveṣṭita.

208. Udveṣṭita : When the fingers beginning with the first one [forefingers] are gradually pointing outwards at the time [the hand] moves round, the Karaṇa thus produced is called Udveṣṭita.

209. Vyavartita : When fingers beginning with the last one (the little finger) are gradually pointing inwards at the time [the hand] moves round the Karaṇa thus produced is called Vyavartita.

210 Parivartita : When the fingers beginning with the last one (tho little finger) are gradually pointing outwards at the time [the hand] moves round, the Karaṇa thus produced, is called Parivartita.

211. Hand gestures in their [various] movements when applied in drama and dance should be followed by Karaṇas having [appropriate expression of] the face, the eyebrows and the eyes.

The movements of arms

212-213. Persons dealing in drama and dance have prescribed ten [movements] of arms : Tiryak, Ūrdhvagata, Adhomukha, Āviddha, Apaviddha, Maṇḍala, Svastika, Añcita, Kuñcita and Pṛṣṭhaga.

214. O Brahmins, I have now finished the brief description of rules regarding the Karaṇas and shall speak afterwards about the movements of the breast, the belly and the sides.

Here ends Chapter IX of Bharata's Nāṭyaśāstra which treats of the Gestures of Hands.

---

207 (B.215, G.206).	208 (B.216, G.207).
209 (B.217, G.208).	210 (B.218, G.209).
211 (B.219, G.210).	212 (B.220, G.211).
213 (B.221, G.212).	214 (B.222, G.213).

CHAPTER TEN

THE GESTURES OF OTHER LIMBS

The breast

1. The breast is known to be of five kinds : Ābhugna (slightly bent), Nirbhugna (unbent), Prakampita (shaking), Udvāhita (raised) and Sama (natural).

2. Ābhugna (slightly bent)—(the breast) lowered, back high, shoulders slightly bent and at times loose (not stiff).

3. (Uses) : in hurry, despair, fainting, sorrow, fear, sickness, broken heart, touching of cold objects, rains and being ashamed of some act.

4. Nirbhugna (unbent)—(the breast) stiff, back depressed, shoulders not bent and raised.

5. (Uses) : in paralysis, having resentment, look of surprise, assertion of truth, mentioning oneself haughtily, and excess of pride.

6. Prakampita (shaken)—the breast incessantly heaved up [and down].

7. (Uses) : in laughter, weeping, weariness, panic, [fit of] asthma, hiccough, and misery.

8. Udvāhita (raised)—the breast raised up.
   (Uses) : in (representing) deep breathing, viewing some lofty [object], and yawning.

9. Sama (natural)—All the limbs being in the Caturasra and with Sauṣṭhuva the breast will be called Sama (natural).

---

1 (B.IX.223, G.1).	2 (B.IX.224, G.2).
3 (B.IX.225, G.3).	4 (B.IX.226, G.4).
5 (B.IX.227, G.5). ¹ B.G. read after this an additional couplet.
6 (B.IX.229, G.7).	7 (B.IX.230, G.8).
8 (B.IX.231, G.9).	9 (B.IX.232, G.10).

192 THE NATYASASTRA [ X. 10-

The sides

10. I have properly described the variety of the breast movements. And I shall now define here the two sides.

11. The sides are of five kinds, viz., Nata (bent), Samunnata (raised), Prasārita (extended), Vivartita (turned round) and Apasṛta (drawn away).

12-15. Nata (bent)—the waist slightly bent, one side slightly bent, one shoulder drawn away slightly.

Unnata (raised)—The other side [on the assumption of the Nata position] will be Unnata (raised), [because in relation of it] the waist, the side, the arm and the shoulder will be raised.

Prasārita (stretched)—the stretching of the sides in their (respective) directions.

Vivartita (turned round)—the Trika (sacrum) is to be turned round.

Prasṛta (drawn away)—the side restored to its original position from the Vivartita movement [described above].

These are the definition of the various kinds of sides.

Uses of the sides

16-17. Nata (bent)—in approaching any body.

Unnata (raised)—in going backwards.

Prasārita (stretched)—in joy and the like.

Vivartita (turned round) —in turning about.

Apasṛta (drawn away)—in returning.

These are the uses of sides. Now listen about those of the belly

The belly

18. The belly is of three kinds : Kṣāma (thin), Khalva (depressed), and Pūrṇa (full). Of these, the thin (belly) is Kṣāma, the bent is Khalva and the full belly is Pūrṇa.

---

10 (B.IX.233, G.11).
11 (B.IX.234, G.12).
12-15 (B.IX.235-238, G.13-16). ¹ B reads nivartita.
˙16-17 (B.IX. 239-240, G.17-18).
18 (B.IX.241, G.19).

-X. 25 ] THE GESTURES OF OTHER LIMBS 193-

Uses of the belly

19-20. Kṣāma, (thin) : in laughter, weeping, inhalation and yawning.

Khalva (depressed) : in sickness, penance (tapas), weariness and hunger.

Pūrṇa (full) : in emitting breath, fatness, disease, too much eating and the like.

These are the uses of the belly. Now listen about that of the waist.

The waist

21-24. The waist in dance and drama is of five kinds, viz. Chinnā (turned aside), Nivṛttā, (turned round), Recitā (moved about), Prakampitā = Kampitā (shaken) and Udvāhitā (raised).

Chinnā (turned aside)—in turning the middle of the waist.

Nivṛttā (turned round)—in turning to the front from the reverse position.

Recitā (moved about)—in moving in all directions.

Prakampitā (shaken)—in obliquely moving up and down.

Udvāhitā (raised)—in raising the two sides of the waist slowly.

These are the movements of the waist. Now listen about their uses.

Uses of the waist

25-26. Chinnā (turned aside) : in exercising [the limbs], hurry and looking round.

Nivṛttā (turned round) : in turning round.

Recitā (moved about) : in movements [of the general type].

Prakampitā (shaken) : in the walking of hunch-backs and persons of the inferior type.

---

19-20 (B.IX.242-243a, 244a, G.20-21). ¹ B.G. read an additional hemistich between 20a and 20b.
21-24 (B.IX.244b-248a, G.22-25). ¹ B.G. read differently.
25-26 (B.IX.248b-250a, G.26-27).
25

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.X. 41 ] THE GESTURES OF OTHER LIMBS 195

Āvartita (turned)—the left foot turning to the right and the right [one] to the left.¹

Nata (bent)—the knee bent.

Kṣipta (thrown out)—shank thrown out.¹

Udvāhita (raised)—raising [a shank] up.

Parivṛtta (turned back)—the turning back [of a shank].

Uses of the shank

38-40. Āvartita (turned) : in the Jester's walking.

Nata (bent) : in assuming Sthāna (standing) and Āsana (sitting) postures,

Kṣipta (thrown out) : in the exercise [of limbs] and the Class Dance.

Udvāhita (raised) : in movements like quick (āviddha) walking.

Parivṛtta (turned back) : in Class Dance and the like.

These are the movements of the shank. Now listen about the movement of the feet.

The feet and their uses

41-50. The feet are of five kinds, viz. Udghaṭṭita, Sama, Agratalasañcara, Añcita and Kuñcita.

Udghaṭṭita—standing on the fore part of the feet and then touching the ground with the heels.

(Use) : In practice this is to follow the Udghaṭṭita Karaṇa and this should be applied once or more in the high or medium speed.

Sama (natural)—[feet] naturally placed on an even ground. It relates to representing a natural posture.

(Use) : It should be kept still in representing the natural

---

38-40 (B.IX.262b-263a, G.39).
41-50 (B.IX.265b-270a, 273b-278a, G.42-45, 47-52). ¹ B. adds three additional couplets after 45, and G. adds one additional couplet after 44.
² B. reads sthita for kṣata meaning 'wound'.

196 THE NATYASASTRA [ X. 51-

position of the body in connexion with the various Karaṇas, but in the Recaka movement of the feet it should be moved.

Agratalasañcara—the heels thrown up, the big toe put forward and the other toes bent.

(Uses) : This [is to be used] in urging, breaking, standing posture (sthānaka), kicking, striking the ground, walking, throwing away [something], various Recaka movements and walking on the forepart [of the foot] due to an wound at the heel.

Añcita—the heels on the ground, the forepart of the feet raised and all the toes spread.

(Uses) ; It is to be applied in representing a movement with wound at the forepart of the foot, turning round in every way, foot being struck [by something] and in various Bhramarī movements.

Kuñcita—the heels thrown up, toes all bent down and the middle of the feet too bent.

51. (Uses) : It is to be used in aristocratic (udātta) going, turning round to the right and vice versa and the Atikrāntā Cārī.

The Cārīs

52. Persons practising [the Cārīs] should take up simultaneously the movements of the feet, the shanks and the thighs. [For] in the movement of feet are included all the movements of the shanks and the thighs.

53. The thighs follow the way in which the feet are moved, and these two [limbs] constitute together the Cārī of the feet.

54. These are the descriptions and uses of the [various] limbs. I shall now describe the System of the [different] Cārīs.

Here ends Chapter X. of Bharata's Nāṭyaśāstra, which treats of the Gestures of other Limbs

---

51 (B.IX.278-279a, G.53). ¹ B. reads after this three additional hemistichs wich define the Sūcī foot as follows : The [right foot with its] heel raised resting on the big toe and the left foot in the natural position constitute the Sūcī feet. It is used in dance and playing the Nūpura.
. 52 (B.IX.281, G.56). 53 (B.IX.282, G.57).
54 (B.IX.283, G.58).

CHAPTER ELEVEN

THE CĀRĪ MOVEMENTS

Definitions

1. As the Cārīs prescribed by rules and connected with [different] limbs relate to (vyāyacchante from vyā-yam, stretch out to) one another they constitute (lit. are called) a vyāyāma (System)¹.

2. Cārī : The movement [mainly] with a single foot, is called the Cārī.

   Karaṇa¹ : The two feet moving [together] is called the Karaṇa.

3. Khaṇḍa : A combination of the [three] Karaṇas is called the Khaṇḍa.

   Maṇḍala : Three or four Khaṇḍas combine to make up the Maṇḍala.

Uses of the Cārī

4. From the Cārīs proceed dance as well as movements [in general] and release of missiles ; and [the stage] fighting [in general] should be made with the Cārīs.

5. Whatever has been described as Histrionic Representation (nāṭya) is included in the Cārīs, and no part of it can take place without the same.

6. Hence I shall described the rules of the Cārīs which are to be used in dance, ordinary movements and fights [on the stage].

The thirtytwo Cārīs

7-9. The following sixteen are the earthly (bhaumī) Cārīs : Samapādā, Sthitāvartā, Śakaṭāsyā, Adhyardhikā, Cāṣagati, Vicyavā,

---

1 (B.X.2, G.2). ¹ B.G. read one additional couplet before this.
2 (B.X.3, G 3). ¹ This karaṇa should be distinguished from that mentioned in NŚ. IV. 30, 34-75, 63ff.
3 (B.X.4, G.4).
4 (B.X.5, G.5). 5 (B.X.6, G.6). 6 (B.X.7, G.7).
7-9 (B.X.8-10, G.8-10).

198 THE NATYASASTRA [ XI. 10

Eḍakākrīḍitā, Baddhā, Urūdvṛttā, Aḍḍitā, Utsyanditā,¹ Janitā, Syanditā², Apasyanditā³, Samotsarita-matalli and Matalli.

10-12. The aerial (ākāśikī) Cārīs are sixteen in number. They are as follows: Atikrāntā, Apakrāntā, Pārśvakrāntā, Ūrdhvajānu, Sūcī, Nūpurapādikā, Dolapādā, Ākṣiptā, Āviddhā, Udvṛttā, Vidyudbhrāntā, Alātā, Bhujaṅgatrasitā, Hariṇaplutā, Daṇḍā and Bhramarī.

The earthly Cārīs

13. Samapādā - the two feet close together, the nails [of the toes] meeting, and standing on the spot¹.

14. Sthitāvartā—one Agratalasañcara foot drawn up to cross the remaing foot and this movement repeated with another foot after separating the two.

15. Śakaṭāsyā—the body held upright, one Agratalasañcara foot put forward and the breast being Udvāhita.

16. Adhyardhikā—the left foot on the back (i.e. heel) of the right one, the latter to be drawn away [a Tāla and half a part].¹

17. Cāṣagati—the right foot put forward and then drawn back and at the same time left foot drawn back and put forward afterwards.

18. Vicyavā—seperating the feet from the Samapādā position and striking the ground with their fore part.

19. Eḍakākrīḍitā—jumping up and down with the Talasañcara feet.

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¹ G. reads these names as Utspanditā, Apaspanditā and Spanditā and B. as Utspanditā, Syandita, and Apasyanditā. I have been taken the root syand as the basis of all these names. Mss. erratically give syand and spand.
² see note 1 above.
³ ibid.
10-12 (B.X.11-13, G.11-13).
13 (B.X.14, G 14). ¹ On the appropriateness of this name Ag. writes : ननु समपादा कथं वा चारीत्याह – स्थानसंश्रयेति यदा समपाद एव स्थानान्तरं गच्छति तदा चरणचारी भवत्येव योग्यतया तथा व्यपदेशादिति भावः.
14 (B.X.15, G.15). 15 (B.X.16, G.16).
16 (B.X.17, G.17). ¹ The exact measure (1½ tāla) is given by Ag,
17 (B.X.18, G.18). 18 (B.X.19, G.19). 19 (B.X.20, G.20).

-XI. 31 ] THE CARI MOVEMEMTS 199

20. Baddhā—The sideways movement of the thighs when the two shanks are crossed.

21. Urudvṛttā—the heel of a Talasañcara foot placed outwards, one of the shanks to be slightly bent and the thigh turned up.

22. Aḍḍitā—one Agratalasañcara foot rubbing against the fore part or the back of another foot.

23. Utsyanditā—the two feet to move gradually side-ways (lit. in and out) in the manner of the Recaka.

24. Janitā—a Muṣṭi hand held on the breast and another hand moved round, and the feet to be Talasañcara.

25. Syanditā—one foot put forward five Tālas away from the other.

Apasyanditā—the reverse of the Syanditā Cārī (i.e. another foot being put forward five Tālas away from the other).

26. Samotsarita-matalli—going back with a circular move-ment and the feet being of the Talasañcara kind.

27. Mattalī—going back with a circular movement and hands being Udveṣṭita and motionless.

28. These are the Cārīs used in pesonal combat as well as in the Karaṇas. I shall now describe the aerial Cārīs.

The aerial Cārīs

29. Atikrāntā—a Kuñcita foot thrown up, put forward and caused to fall on the ground.

30. Apakrāntā—the Valana posture of the two thighs, a Kuñcita foot raised and thrown down sideways.

31. Pārśvakrāntā—one foot Kuñcita and another thrown up and brought near the side.

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20 (B.X.21, G.21),	21 (B.X.22, G.22).	22 (B.X.23, G.23).
23 (B.X.24, G.24).	24 (B.X.25, G.25).	25 (B.X.26, G.26).
26 (B.X.27, G.27).	27 (BX.28, G.28).	28 (B.X.29, G.29).
29 (B.X.30, G.30).	30 (B.X.31, G.31).	31 (B.X.32, Ġ.32).

200 THE NATYASASTRA [ XI. 32-

32. Ūrdhvajānu—throwing up a Kuñcita foot and its knee brought up to the level of the breast, and the remaining knee without movement and then this second foot thrown up in the manner of the first, and the first foot kept motionless.

33. Sūcī—a Kuñcita foot thrown up and brought above the knee of the remaining foot and then to let it fall on its fore part.

34. Nūpurapādikā—one Añcita foot raised up and taken behind another foot and then quickly caused to fall on the ground.

35. Dolapādā—one Kuñcita foot thrown up and moved from side to side and then caused to fall on the ground as an Añcita foot,

36. Ākṣiptā—one Kuñcita foot thrown off and then placing it quickly on an Añcita foot by crossing the shank of the remaining leg.

37. Āviddhā—one Kuñcita foot from the Svastika position stretching and falling on the ground quickly as an Añcita foot.

38. Udvṛttā—the (Kuñcita) foot of the Āviddha Cārī taken round [the thigh of the remaining leg] and thrown up and then caused to fall [on the ground].

39. Vidyudbhrāntā—one foot turned to the back and after touching its top part to be stretched and the head moved in a circle.

40. Alātā—one foot stretched backwards and then put in and afterwards caused to fall in its heel.

41. Bhujaṅgatrasitā—one Kuñcita foot thrown up and the waist and the knee being turned round and the thigh [of the remaining foot] to be turned round too.

42. Hariṇaplutā—the foot in the Atikrāntā Cārī to be caused to fall on the ground after a jump and the shank of an Añcita foot to be put in the Kṣiptā posture.

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32 (B.X.33, G.33).	33 (B.X.34, G.34).	34 (B.X.35, G.35).
35 (B.X.36, G 36).	36 (B.X 37, G.37).	37 (B X 38, G.38).
38 (B.X.39, G.39).	39 (B.X.40, G.40).	40 (B.X.41, G.41).
41 (B.X.42, G.42).	42 (B.X.43, G.43).