Appendix
Karaṇaviniyoga
Name of the Kara‘a: Description in NŚ
1. Talapuśpapuṭa The hands are in Puxpaputa Samyuta
Hasta on the left side, one foot is
kept in Agratalasañcara, one hip is
in Sannata.
Vāme puxpaputah pārśve pādah
agratalasañcarah
tathā ca sannatam pārśvam
talapuxpaputam bhavet
2. Vartita The hands are bent at the wrists and
move in Āv•tta and Pariv•tta.
Afterwards they are put on the thighs
with the palms turned outwards
Kuñcitau manibhande tu vyav•tta
parivartitau hastau nipatitau ca
urvah avartitam kara‘am tu tat
3. Valitoru The hands are kept in Śukatu‘da.
The fingers move in Āv•tta and
Pariv•tta, while the thighs are in
Valita.
Meaning of the name (MW) Use (Abhinavabhāratī)
TALA: surface, level, flat roof of a house, ---
the part underneath, lower part, base,
bottom, the palm of the hand, the sole of According to NR: to be used in
the foot, the forearm the beginning of the dance, to
PUX-: to thrive, prosper, flourish, greet the gods with a handful of
increase, promote, develop, unfold, flowers
display, gain, obtain, possess, enjoy
PUXPA: a flower, a blossom, the
menstrual flux, disease of the eyes, a spot
on the nails and teeth, gallantry,
politeness, decoration of love, a kind of
perfume, the vehicle of Kubera,
blooming, expanding, name of a serpent-
demon, name of topaz
PUTA: a bag or cup filled with flowers,
the hands arranged in the shape of a calyx
of flowers
VARTITA: turned, rounded, turned about, With the Patāka hands turned
rolled (as a wheel), caused to be or exist, upwards: in representing a
brought about, accomplished, prepared, sentence of which the meaning
spent, passed (as time or life) is jealousy
With the Pātaka hands turned
downwards or rubbing each
other: in representing a sentence
the meaning of which is rage
VALITA: (mfn) bent round, turned, turned To represent the type of woman
back again, broken forth, appeared, called mugdhā, “innocent”
surrounded or accompanied by, connected
with; wrinkled; (m) a particular position

Śukatundau yadā hastau
vyāv•ttaparivartitau ūru ca valitau
yasmin valitorukam ucyate
4. Apaviddham One hand is held on the thigh in
Śukatu‘da while the other is on the
chest.
Āvartya śukatu‘dākhyamūrup•xthe
nipātayet vāmahastam tathā
vakxasyapaviddham tu tadbhavet
5. Samanakham The feet touch each other with the
toes at the same level on the ground.
The hands hang down in Pralambita
and the body holds a natural position.
Śliṣṭau samanakhau pādau karau
cāpi pralambitau dehaḥ svābhāviko
yatra bhavet samanakhaṃ tu tat
of the hands in dancing; (n) black pepper
ŪRU: (m) the thigh, shank; name of an
Āngirasa and author of a Vedic hymn;
name of a son of Manu Chākxuxa
APAVIDDHA: (mfn) pierced; thrown In representing a sentence of
away, rejected, dismissed, removed which the meaning is jealousy
VIDDHA: (mfn) pierced, perforated, or anger
penetrated, stabbed, struck, wounded,
beaten, torn, hurt, injured; cleft, split,
burst asunder; impaled; opposed,
impeded, thrown, sent, stung, incited, set
in motion; filled or affected or provided
or joined or mixed with; (n) a wound.
VYADH-: to pierce, transfix, hit, strike,
wound; to open a vein, bleed; to pelt with;
to inflict, attach to, affect with, to shake,
wave, to fix the position of a heavenly
body; to cling to
APA: (ind) as prefix to nouns and verbs
express: away, off, back (opposed to upa,
anu, sam, pra), down (opposed to ud)
SAMA: (mfn) even, smooth, flat, plain, Used in nṛtta at the first
level, parallel, same, equal, similar, like, entrance on the stage
equivalent, like to or identical or
homogenous with, always the same,
constant, unchanged, fair, impartial
towards, even (not odd), having the right
measure, regular, normal, right, straight,
equable, neutral, indifferent, equally
distant from extremes, ordinary, common,
just, upright, good, straight, honest, easy,
convenient, full, complete, whole, entire
NAKHA: finger nail, toe-nail, talon, the
spur of a cock, part, portion
6. Līna The hands form Patakāñjali Samyuta
Hasta at the chest. The neck is
extended and the shoulders are a
little bent in Nikuñcita
Patākāñjalivakṣaḥsthaṃ
prasāritaśirodharam
nikuñcitāṃkuṭam ca tallīnam
karaṇam smṛtam
7. Svastikarecita The hands perform Svastika, then
they make Recita and Āviddha and
are then placed on the waist.
Svastikau recitāviddhau viślixthau
katisamsthitau yatra tat kara‘am
jñeyam budhaih svastikarecitam
LĪNA: clung or pressed closely together, To be used when the theme to be
attached or devoted to, merged in, represented is praying to
sticking, lying or resting on, staying in, someone very dear (here the
lurking, hiding, dissolved, absorbed in, hands are held on the chest,
disappeared, vanished, the clining to, while for praying to the gods,
being dissolved or absorbed in, the hands should be placed over
disappearence the head)
LĪ-: to adhere, to obtain, to melt, liquefy,
dissolve, to remain sticking, to lie, to express a request made for
recline, alight or settle on, hide or cover any object
down, disappear, vanish, to deceive, to
obtain honour, to humble
SVASTIKA: (m) a kind of bard (who utters To be used when nṛtta is
words of welcome or eulogy), any lucky dominating to represent overjoy
or auspicious object, a kind of mystical
cross or mark made on persons or things
to denote good luck, the crossing of the
arms or hands on the breast, a bandage in
the form of a cross, a dish of a particular
form, a kind of cake, a triangular crest-
jewel, the meeting of four roads, a
particular symbol made of ground rice
and formed like a triangle, a species of
garlic, a cock, a libertine, name of a
serpent-demon, one of Skanda's
attendants, name of a Dānava, name of a
poet, a mansion or temple of a particular
form, Marsilea Quadrifolia, a particular
mode of sitting practiced by Yogin-s in
which the toes are placed in the inner
hollow of the knees
RECITA: emptied, purged, cleared, left,
abandoned, (m) name of a particular
position of the hands in dancing, (f)
contraction of the eyebrows, (n) name of
a horse's paces
8. Maṇḍalasvastika Having held the Svastika of the
hands with palms facing outwards
and turned upwards in symmetrical
position, perform the Ma‘dala
Sthāna
Svastikau tu karau k•tvā
prānmukhordhvatalau samau tathā
ca ma‘dalam sthānam
ma‘dalasvastikam tu tat
9. Nikuṭṭana The hands bent upwards and
downwards (Nikuttaka) near the
shoulders and head and the feet are
also bending upwards and
downwards in the same way
(Nikuttaka)
Nikuttakau yadā hastau
svabāhuśiraso'ntare pādau nikuttitau
caiva jñeyam tattu nikuttakam
10. Ardhanikuṭṭana One arm in Kuñcita is placed on the
head and the fingers are extended.
One foot is in Nikuñcita.
Kuñcito bāhu śirasi
MADALA: circular, round, a disk, To be used in representing
anything round, a circle, globe, orb, ring, sentences in which someone's
circumference, ball, wheel, the path or dignity is lowered
orbit of an heavenly body, a halo round
the sun or moon, a ball for playing, a
circular bandage in surgery, cutaneous
eruption or leprosy with circular spots, a
round mole or mark on the body, a
circular array of troops, a particular
attitude in shooting, a district,
arrondissement, territory, province,
country, a surrounding district or or
neighbouring state, the circle of a king's
near and distant neighbours, a multitude,
group, band, collection, whole body,
society, company, a division or book of
the Ṛgveda, a kind of snake, a particular
oblation or sacrifice
MAD-: to deck, adorn, to distribute or to
clothe, to adorn, decorate, to glorify,
extol, rejoice, exhilarate
KUTT-: to crush, bruise, grind or pund, To be used in representing
paw (the ground), to strike slightly, to sentences in which the
multiply, censure, abuse, to fill glorification of oneself is the
KUT-: to become crooked, to bend, curve, predominant theme
curl, to be dishonest, to cheat, to break
into pieces, tear asunder, divide, to speak
indistinctly, to be warm, to burn
NI (preposition): in, down
ARDHA: half, halved, forming a half, one To be used when self
part, the other part, one part of two glorification is the predominant
theme and when the meaning of
the sentence is not well
expressed (?)
 hastastvabhimukhāṅguliḥ
nikuñcitaśca pādaḥ syād
bhavedardhanikuṭṭakam
11. Kaṭicchinna The waist moves round in a pleasantKATI: (f) the hip, buttocks; the entrance To be used in the representation
way, while the hands in Pallava of a temple; an elephant's cheek; long of a sentence in which wonder is
Hasta are kept on the head. The pepper the predominant mood. In this
movement is repeated many times CHINNA: (mfn) cut off, cut, divided, case the Pallava Hasta is to be
torn, cut through, perforated; opened (a used first to proclaim the
Paryāyaśaḥ kaṭicchinnā bāhvoḥ wound); interrupted, not contiguous; predominance of wonder in this
śirasi pallavau punaḥ punaśca disturbed; limited by; taken away or out situation
karaṇam kaṭicchinnam tu tad bhavet of; disappeared; decaying or exhausted by
CHID-: to cut off, amputate, cut through,
hew, chop, split, pierce; to divide,
separate from; to destroy, annihilate,
efface, blot out
12. Ardharecita The hand in Sūci Hasta is held in ARDHA: half, halved, forming a half, one To be used repeatedly in the
Apaviddha, one foot is moving up part, the other part, one part of two representation of a sentence in
and down (Nikuttita) and the side in
RECITA: emptied, purged, cleared, left, which ātmasambhāvana (?) is
Sannata abandoned, (m) name of a particular the main theme
position of the hands in dancing, (f)
Apaviddhaḥ karaḥ sūćyā pādaścaiva contraction of the eyebrows, (n) name of
nikuṭṭitaḥ sannatam yatra pārśvam a horse's pace
ca tadbhaverdharecitam

13. Vakxahsvastika Recita The legs are crossed in Svastika, VAKXA: (n) the breast, bosom, chest; (m) To be used when the
while the hands are held on the chest an ox, bullock representation of bashfulness
in Recita. The torso is bent forwards. VAKX-: to grow, increase; to be strong or and remorse is predominant
powerful; to be angry
Svastikau cara‘au yatra karau SVASTIKA: see above
vakxasi recitau nikuñcitam tathā RECITA: see above
vakxo vaksahsvastikameva tat
14. Unmatta One foot is Añcita (heel touching the UNMATTA: (mfn) disordered in intellect, To represent a situation where
ground) and the hands are in Recita distracted, insane, frantic, mad, drunk, one is very proud on account of
intoxicated, furious, (m) the thorn-apple, natural gifts
Añcitena tu pādena recitau tu karau Datura Metel and Fastuosa,
yadā unmattam karaṇam tattu Pterospermum Acerifolium, name of a
 vijñeyam nāṭyakovidaiḥ rakxasa, name of one of the eight forms
of Bhairava
15. Svastika Both the hands and the feet are SVASTIKA: see above To be used when there is a
crossed in Svastika forceful negation, according to
SR also indicates impetuosity,
Hastābhyāmatha pādābhyām pursuing of the enemies, talking,
bhavatah svastikau yadā tat fighting
svastikamiti proktam kara‘am
kara‘ārthibhih
16. P•xthasvastika The hands are Vikxiptākxipta, the legs P”XTHA: (n) the back, the hinder part or Some say that the Svastika of
are in Svastika. The feet perform rear of anything, the upperside, surface, both hands is made at the back
Apakrāntā Cārī and Ardhasūcī Cārī top, height, flat roof, a page of a book, to represent a man turning away
name of a particular arrangements of from the battle
Vikxiptākxiptbāhubhyām svastikau Sāman-s, name of various Sāman-s
cara‘au yadā SVASTIKA: see above
apakrāntārdhasūcibhyām tat
p•xthasvastikam bhavet
17. Diksvastika The hands and the feet are crossed in DIŚ: (f) quarter or region pointed at, To represent a change in the
Svastika. The hips move forwards direction, cardinal point, quarter, region, music. According to SR, it
direction, place, country, foreign country, indicates the movement of the
Pārśvayoragrataścaiva yatra abroad, space, numeral 10, hint, body while singing
ślixtak•to bhavet svastiko reference, instance, example, precept,
hastapādābhyām tad order, manner, mark of a bite, name of a
diksvastikamucyate river
DIŚ-: to point out, show, exhibit, produce,
bring forward, promote, effect,
accomplish, assign, grant, bestow upon,
pay tribute, order, command, bid

18. Alāta The legs perform Alāta Cārī and the ALĀTA: (n) a fire-brand, coal To be used when gentle dance is
right hand is extended down the main theme.
(Nitamba), then Ūrdhvājanu Cārī is
performed

Alātam caraṇam kṛtvā vyaṃsayed

 dakṣiṇam karamūrdhvajānukramam
kuryādlātakamiti smṛtam
19. Kaṭisama The feet are released from the
Svastika position. The hands are
placed on the navel and hip
respectively. One hip is lifted
Svastikāpasṛtaḥ pādaḥ karau
nābhikatīsthitau pārśvamudvāhitam
caiva karaṇam tat katīsamam
20. Ākxipta Recita The left hand is held at the chest,
while the right is in Ākxipta Recita
performing Recita and Apaviddha
movements
Hasto yadi bhavet vāmaḥ
savyaścākṣiptarecitaḥ
recitaścāpavidvaśca tat
syādākṣiptarecitam
21. Vikxiptākxipta The hands and feet move in Vikxipta VI: (ind) apart, asunder, in different
KATI: (f) the hip, buttocks; the entrance To be used by the sūtradhāra
of a temple; an elephant's cheek; long when consacrating the jarjara
pepper
SAMA: (mfn) even, smooth, flat, plain,
level, parallel, same, equal, similar, like,
equivalent, like to or identical or
homogenous with, always the same,
constant, unchanged, fair, impartial
towards, even (not odd), having the right
measure, regular, normal, right, straight,
equable, neutral, indifferent, equally
distant from extremes, ordinary, common,
just, upright, good, straight, honest, easy,
convenient, full, complete, whole, entire
Ā+KXIP-: to throw down upon or To be used to represent the act
towards, to strike with a bolt, to convulse, of giving and receiving from
to cause to tremble, to draw or take off or one another
away, to withdraw from, to chase, to drive
out of a place, to disperse, to put into, to
point to, refer to, hint, indicate, to refuse,
object to, to insult, to deride, to excel so
as to put the shame, to challenge, call or
dispute, to cause to throw down
ĀKXIPTA: (mfn) cast, thrown down,
thrown on the beach (by the sea), caught,
seized, overcome by beauty, curiosity,
etc., charmed, transported, hung out or
exposed to view (as flags etc.), put into,
pointed or referred to, indicated, refused,
left (as the right path), insulted, reviled,
abused, challenged, called to a dispute,
caused, effected, produced
RECITA: see above
In representing a sentence of
 repeatedly shaken directions, to and fro, about, away, away which the main theme is coming
from, off, without; through, between and going
Vikxiptam hastapādam ca ĀKXIPTA: see above
tasyaivākxepanam punah yatra tat
kara‘amjñeyam vikxiptākxiptakam
dvijāh
22. Ardhasvastika The legs are in Svastika. The right ARDHA: half, halved, forming a half, one ---
hand is in Karihasta, while the left is part, the other part, one part of two
kept on the chest SVASTIKA: see above

Svastikau cara‘au k•tvā karihastam

ca dakxi‘am vakxahsthāne tathā
vāmamardhasvastikamādiśet
23. Añcita The hand is in Vyāv•tta then AÑCITA: (mfn) bent, curved, curled, To be used in representing the
Pariv•tta and then in Añcita at the tip arched, handsome; gone, walked in, meaning of a sentence where
of the nose reverenced, honoured; distinguished when svātiśaya (?) is the main
AÑC-: to bend, curve, incline, curl; to theme, according to SR is used
Vyāv•ttapariv•ttastu sa eva nu karo reverence (with inclined body), to honour; to indicate elation of one own
yadā añcitau nāsikāgre tu to tend, move, go, wander about, to superiority
tadañcitamudāh•tam request
24. Bhujangatrāsita Bend the leg and lift it to form a BHUJAṂ-GA: (m) a serpent, snake, According to SR, it indicates the
triangle with the thigh. The waist and
serpent-demon; name of the number state of a person frightned by a
the knee move in Vivarta (or eight; the paramour of a prostitute; the snake
Vivṛtta). dissolute friend of a prince, any constant
companion of a prince; a lover, the keeper
Kuñcitam pādamutkśipya of a prostitute; a species of Dandaka
tryaśramūrum vivartayet metre; name of a man; (ī) a serpent
kaṭijānuvivartaśca bhujaṅgatrāsitam nymph; a kind of shrub; (n) tin or lead
bhavet BHUJ-: to bend, curve
TRĀSA: (m) fear, terror, anxiety
TRĀSANA: (mf(ī)n) terrifying, alarming,
frightening
25. Ūrdhvajānu Bend the knee at lift the leg at the ŪRDHVA: (mf (ā)n) rising or tending ---
level of the breast. Tha hands move upwards, raised, elevated, erected,
accordingly upright, high, above; (n) height, elevation;
 anything placed above or higher; (am)
Kuñcitam pāsam utkṣipya (indecl.) upwards, towards the upper part,
jānustanasamam nyaset aloft, above, in the upper regions, higher;
prayogavaśagau hastāvūrdhvajānu in the sequel, in the later part, subsequent,
prakīrtitam after; in a high tone, aloud
JĀNU: (n) the knee
26. Nikuñcita Having turned backwards one leg, NIKUÑCITA: (mfn) contracted In presenting a sentence of
keep (the left) hand on the side. The NI+KUÑC-: to draw in, contract (opp: to which the main meaning is
right hand touches the tip of the nose stretch out) contemplating with the face
KUÑC-: to make crooked; to bend or looking up at the sky. According
V•ścikam cara‘am k•tvā karam curve, move crookedly; to curl, crisp, to SR, it indicates jumping up,
pārśve nikuñcayet nāsāgre dakxinam frounce eagerness.
caiva jñeyam tattu nikuñcitam
27. Mattalli A circular, serpentine movement is MATTA: (mfn) excited with joy, In representing extreme
executed by the right and left overjoyed, delighted, drunk, intoxicated; intoxication
legs.The hands move in Udvextita excited by sexual passion or desire, in rut,
and Apaviddha ruttish (as an elephant); furious, mad,
insane; (m) a buffalo; the Indian cuckoo;
Vāmadakṣiṇapādābhyām a drunkard; a ruttish or furious elephant; a
ghūrṇamānopasarpaṇaiḥ madman; a thorn-apple; name of Rāksasa;
udveṣṭitāpaviddaiśca (ā) (f) any intoxicating drink, spirituous
hastairmattallyudāhṛtam or vinous liquor, name of a metre
28. Ardhamattalli The feet are tripping (Skhalita) and ARDHA: see above In representing intoxication in a
Apasṛta. The left hand moves in MATTALLI: see above young person
Recita. The right hand is placed on
the waist

Skhalitāpasṛtau pādau
vāmahastaśca recitaḥ savyahastaḥ
kaṭisthaḥ syādardhamattalli tat
smṛtam
29. Recita Nikuttita The right hand is in Recita; the right RECITA: see above In representing a coming and
foot is Nikuttita and the left hand NIKUTTITA: see above going movement
Dolā
 Recitao dakṣiṇo hastaḥ pādaḥ savyo
nikuṭṭitaḥ dolā caiva bhaved
vāmastad recitanikuṭṭitam
30. Pādāpaviddha Both the hands are placed on the
navel facing outwads in
Khatakāmukha Hasta. The feet
execute Sūcī Cārī and Apakrānta
Cārī
Kāryau nābhitate hastau
prānmukhau katakāmukhau
sūcīvidvāpakrāntau pādau
pādāpaviddhake
31. Valita One hand is in Apaviddha, while the VALITA: bent round, turned, turned back ---
feet are kept in Sūcīpāda and hips again, broken forth, appeared, surrounded
(trika) is rotated
Apaviddho bhaved hastah
sūcīpādastathaiva ca tathā trikam
viv•ttam ca valitam nāma tad bhavet drawn or attached towards, be attached to,
PĀDA: (m) the foot (of men and animals), ---
(the pl. sometimes added to proper names
or titles in token of respect); the foot or
leg of an inanimate object, column, pillar;
a wheel; a foot as measure; the foot or
root of a tree; the foot or a hill at the foot
of a mountain; the bottom; a ray or beam
of light (considered as the foot of a
heavenly body); a quarter, a fourth part
(the foot of a quadruped being one out of
four); (pl.the 4 parts, i.e. all things
required for); a verse or line (as the fourth
part of a regular stanza); the caesura of a
verse; the chapter of a book (originally
only of a book or section of a book
composed of 4 parts)
or accompanied by, connected with, a
particular position of the hands in
dancing, black pepper
VAL-: to turn, turn round, turn to, to be
to move to and from, to go, approach,
hasten, to return (come back home), to
return (depart or go away again), to break
forth, to appear, to increase, to cover,
enclose, to be covered, to cause to move
or turn or roll, to cherish

32. Ghūr‘ita The right hand is in Vartita and GHŪR-: to move to and from, to shake, ---
Ghur‘ita or Parivartita, while the to be agitated, to roll about, to cause to
left is in Dola Hasta. The feet move move to and from or shake
 in Svastika
Vartitāghūrṇitaḥ savyo hasto
vāmaśca dolitaḥ svastikāpasṛtaḥ
pādaḥ karaṇam ghūrṇitam tu tat
33. Lalita The left hand is Karihasta, while the
right hand is turned the other way
(Apavartita). One foot hits the
ground repeatedly (Nikuttita)
Karihasto bhaved vāmo
dakṣiṇaścāpavartitaḥ bahuśaḥ
kuṭṭitaḥ pādo jñeyam tallalitam
budhaiḥ
34. Daṇḍapakṣa Having taken the Ūrdhvajānu
posture, place on the knee the hand
in Latā Hasta
Ūrdhvajānu vidhāyātha tasyopari
latām nyaset daṇḍapakṣam tu tat
proktam karaṇam nṛttavedibhiḥ
LALITA: sported, played, playing, To be used in a graceful dance
wanton, amorous, voluptuous, artless,
innocent, soft, gentle, charming, lovely,
wished for, desired, quivering, tremolous,
a particular position of the hands in
dancing, (in music) a particular rāga, a
wanton woman, any woman, musk, name
of various metres, sport, dalliance, grace,
charm, languid gestures in a woman
(expressive of amorous feelings, lolling,
languishing)
LAL-: to play, sport, dally, frolic, behave
loosely or freely, to loll or wag the
tongue, to cause to sport or dally, caress,
fondle, foster, cherish, to wave, flourish,
to favour, to desire
DADA: (m) a stick, staff, rod, pole, ---
cudgel, club; a stalk, stem; the staff of a
banner; the handle; the stem of a plough;
the cross-bar of a lute which holds the
strings; the stick with which a lute is
played; a churning stick; a pole as a
measure of lenght; name of a measure of
time; name of a staff-like appearance in
the sky; name of a planet, name of a
constellation; a form of military array; a
staff or sceptre as a symbol of
sovereignty, application of power,
violence; power over, control, restraint;
embodied power, army; the rod as a
symbol of judicial authority and
punishment, punishment; pride; (m) a
horse; Punishment (son of Dharma and
Kriyā), Yama, Śiva; name of an attendant
of the Sun, name of a man with the patr.
Aupara; name of a prince slain by Arjuna;
name of a Rākxasa; (ā) (f) Hedysarum
Lagopodioides
PAKXA: a wing, pinion; a symbol; name
of the number two; a feather, the feathers
on both sides of an arrow; the fin of a
fish; the shoulder; the flank or side of the
half of anything; the side or wing of a
building; the wing or flank of an army;
the half of a lunar month; a side, party,
faction; multitude; number, troop, set,
class of beings; partisan, adherent,
follower, friend; side, i.e. position, place,
stead; quantity; one of two cases or one
side of an argument, an alternative; a
point or matter under discussion, a thesis,
a particular theory, a position advanced or
an argument to be mantained; an action or
lawsuit; (in logic) the proposition to be
proved in a syllogism; any supposition or
view, motion, idea, opinion; the sun;
name of sev. men; (in alg.) a primary
division or the side of an equation in a
primary division; the wall of a house or
any wall; an army; favour; contradiction,
rejoinder; the ash-pit of a fire-place; a
royal elephant; a limb or member of the
body; the feathers of a tail of a peacock, a
tail; proximity, neighbourhood; a bracelet;
purity, perfection
35. Bhujangatrāsitarēcita Having taken the Bhujangatrāsita
position, perform Recita of both
hands and place both the hands on
the left side
Bhujaṅgatrāsitam kṛtvā latābhāvapi
recitau vāmapārśvasthitau hastau
bhujaṅgtrastarecitam
36. Nūpura Having turned the hips (trika)
around, the hands are kept in Latā
Recita. One foot performs Nūpura
Cārī
Trikam suvalitam kṛtvā latārecitakau
karau nūpuram ca tathā pādam
karaṇe nūpure nyaset
37. Vaiśākha Recita Both hands and feet are moving in
Recita. The waist and the neck are
also in Recita. Vaiśākha Sthāna is
performed
Recitau hastapādau ca kaṭī grīvā ca
recitā vaiśākhasthānakenaitad
bhaved vaiśākharecitam
BHUJAŒ-GA: see above ---
GAM-: to go, to move
TRĀSA: see above
RECITA: see above
NŪPURA: (mn) an ornament for the toes ---
or ankles or feet, an anklet; (m) name of a
descendant of Ikxvāku
VAIŚĀKHA: (m) one of the 12 months of ---
the Hindu lunar year (answering to April-
May and in some places, with Caitra,
reckoned as beginning of the year); a
churning stick; the seventh year of the 12
years' cycle of Jupiter, (ā) (f) name of a
lioness; (ī) (f) the day of full moon in the
month Vaiśākha; a kind of red-flowering
Punarnavā, name of a wife of Vāsudeva;
name of a particular attitude in shooting;
name of a town; (ī) (mfn) related to the
month Vaiśākha
ŚĀKHĀ: (f) a branch, a limb of the body,
arm or leg; a finger; the surface fo the
body; a door-post; the wing of a building;
a division, subdivision; the third part of
an astrological Saṃhitā; a branch or
school of the Veda-s
VI: apart, asunder, in different directions,

38. Bhramaraka One foot performs Ākxipta Cārī and
Svastika. The hands are Udvextita.
The hips (trika) are turned
Ākṣiptaḥ svastikaḥ pādaḥ karau
cedveṣṭitau tathā trikasya valanam
caiva jñeyam bhramarakam tu tat
to and fro, about, away, away from, off,
without; as preposition with accusative to
denote " through" or "between". As prefix
to verbs or nouns and other parts of the
speech to express "division",
"distinction", "distribution",
"arrangement", "order", "opposition",
"deliberation". It can be used to form
compunds in which it may express
"difference", "change", "variety",
"intensity", "manifoldedness",
"contrariety", "deviation from the right",
"negation" or "privation"
RECITA: see above
BHRAMARA: (m) a large black bee, a To be used when the main
kind of humble bee, any bee; a gallant, theme is moving around with
libertine; a young man, lad; a potter's arrogance, According to SR it
wheel; a particular position of the hands; indicates moving round and
name of a man; (ā) a kind of creeper; (ī) round.
(f) a bee; a sort of game; a species of
Oldenlandia; a species of creeper; name
of an Apsaras
BHRAMARAKA: (mn) a curl on the
forehead; (m) a bee; a ball for playing
with; a whirlpool; (ikā) (f) wandering in
all directions; (n) a humming-top; honey
of a large black bee
BHRAM-: to wander or roam about, rove,
ramble; to fly about (as bees); to roll
about (as eyes); to wag (as the tongue); to
quiver (as the fetus in the womb); to
move to and fro or unsteadily, flicker,
flutter, reel, totter; to move round,
circulate, revolve (as stars); to spread, be
current (as news); to waver, be perplexed,
doubt, err
39. Catura The left hand is in Añcita, while the CATURA: swift, quick, dexterous, clever, In representing the wonder
right hand is in Catura Hasta. The ingenious, shrewd, charming, agreeable, a expressed by the vidūṣaka
right foot is Kuttita round pillow, a particular position of the
hand, an elephant’s stable
Añcitaḥ syāt karo vāmaḥ
savyaścatura eva tu dakṣiṇaḥ
kuṭṭitaḥ pādaścaturam tat
prakīrtitam
40. Bhujangañcita The right foot performs BHUJAŒ-GA: see above ---
Bhujangatrāsitā Cārī. The right handAÑCITA: (mfn) bent, curved, curled,
is in Recita and the left in Latā arched, handsome; gone, walked in,
Hasta reverenced, honoured; distinguished
AÑC-: to bend, curve, incline, curl; to
Bhujangatrāsitah pādo dakxino reverence (with inclined body), to honour;
recitah karah latākhyaśca karo vāmo to tend, move, go, wander about, to
bhujangāñcitakam bhavet request
41. Da‘dakarecita One hand and one leg are in Vikxipta DADA: see above In representing delight
stretched in front like a stick and RECITA: see above (according to others in
perfoming Recita movements representing arrogance)

Vikṣiptam hastapādam tu
samantādyatra daṇḍavat recyate
taddhi karaṇam jñeyam
daṇḍakarecitam
41. V•ścika Kuttita Having put one leg in V•ścika, the
hands should be in Nikuttita
Vṛścikam caraṇam
kṛtvādvāvapyātha nikuṭṭitau
vidhātavyau karau tattu jñeyam
vṛścikanikuṭṭitam
43. Katibhrānta On should execute Sūci and
Āpaviddha of the right leg, while the BHRĀNTA: (mfn) wandering or roaming in music
waist is in Recita
V”ŚCIKA: (m) a scorpion; the zodiacal In representing a sentence of
sign Scorpio; the month when the sun is which the main theme is the
in scorpio; a kind of caterpillar covered desire of going through the sky,
with bristles; a sort of beetle found in wonder, etc.
cow-dung; a centipede; Boeharvia
Procumbens; (ī) (f) a female scorpion; (ā)
(ī) (f) an ornament for the toes
KUTT-: see above
KATI: see above To be used in filling the pauses
about; having wandered about or through;

Sūcīm datvāpaviddhm ca dakṣiṇam
caraṇam nyaset recitā ca
kaṭībhrāntam taducyate
44. Latāv•ścika One foot is Añcita and the left hand
is in Latā Hasta with the palm and
fingers turned upward
Añcitaḥ pṛṣṭhaḥ pādaḥ
kuñcitordhvatalāṅguliḥ latākhyastu
karo vāmastallatāvṛścikam bhavet
45. Cchinna The hands in Alapadma are placed in
the region of the waist. The waist is
bent rythmically on the sides. Then
Vaishākha Sthāna is performed
alapadmaḥ kaṭīdeśe cchinnā
paryāyaśaḥ kaṭī
vaiśākhasthānakeneha tacchinnam
karaṇam bhavet
46. V•ścikarecita Having done V•ścika of the legs, put V”ŚCIKA: see above
the hands in Svastika. Then the hands RECITA: see above
perform Recita and Viprakīrna N•tta
Hasta
Vṛścikam caraṇam kṛtvāsvastikau ca
karāvubhau recitau viprakīrṇau ca
karau vṛścikarecitam
47. V•ścika The hands in Añcita touch the
shoulders, while a leg is lifted far
wandered about or through; moving about
unsteadily, rolling, reeling, whirling;
perplexed, confused, being in doubt or
error; (m) an elephant in rut; a species of
thorn-apple; (n) roaming about, moving to
and fro; a particular mode of fighting;
error, mistake
BHRAM-: see above
LATĀ: (f) a creeper, any creeping or In representing falling from the
winding plant or twining tendril; name of sky
different plants; musk-creeper; a slender
woman, any woman; the thong or lash of
a whip, whip; a string of pearls; a streak,
line; a kind of metre; name of an Apsaras;
name of the daughter of Meru and Ilāv•ta
V”ŚCIKA: see above
CHINNA: (mfn) cut off, cut, divided, In representing the stretching
torn, cut through, perforated; opened (a out of the limbs and the stroking
wound); interrupted, not contiguous; of the cymbals (to keep the
disturbed; limited by; taken away or out time)
of; disappeared; decaying or exhausted by
CHID-: see above
In representing celestial chariots
V”ŚCIKA: see above In representing walking in the
sky, Airāvaṇa etc.
 backwards
Bāhuśīrṣāñcitau hastau pādau
pṛṣṭhāñcitastathā
dūrasannatapṛṣṭham ca v•ścikam tat
prakīrtitam
48. Vyaṃsita Having assumed the Āliḍhā Sthāna,
the hands are held on the chest in
Recita and move up and down in
Viprakīrna N•tta Hasta
Ålīḍham sthānakam yatra karau
vakṣasi recitau ūrdhvādho
viprakīrṇau ca vyaṃsitam karaṇam
tu tat
49. Pārśvanikuttaka The hands are Svastika, while the
feet are Nikuttita
Hastau tu svastikau pārśvo tathā
pādo nikuṭṭitaḥ yatra tatkaraṇam
jñeyam budhaiḥ pārśvanikuṭṭitam
50. Lalātatilaka Having done V•ścika of one leg, the
toe put the tilaka mark on the
forehead
VI +AṂS-: to cheat, deceive In representing rolling around,
AṂSA: (m) the shoulder, shoulder-blade; whirling, etc. According to SR,
corner of a quadrangle; name of a king; a it represents the movements of
share (for aśa) big monkeys like Hanumān.
AṂŚA: (m) a share, portion, part, party;
partition, inheritance; a share of booty,
earnest money; stake (in betting); a lot;
the denominator of a fraction; a degree in
latitude or longitude; a day; name of an
Āditya
VI: see above
PĀRŚVA: the region of the ribs, side, In presenting a sentence of
flank, the side, nearness, proximity, which the main theme is
towards, at the side, near, a curved knife, bringing near what is visible and
a side of any square figure, the curve or what is concealed, according to
circumference of a wheel, a multitude of SR, it represents showing or
ribs, the thorax, the extremity of the fore- moving about.
axle nearest the wheel to which the
outside horses of a four-horses chariot are
attached, a fraudolent or crooked
expedient, (m) the side horse of a chariot,
name of an ancient buddhist teacher,
(with Jaina-s) name of the 23rd Arhat of
the present Ava-Sarpi‘i and of his servant,
heaven and earth, near, proximate
KUTT-: see above
LALĀTA/KA: (n) the forehead, brow In representing the walking of
TILAKA: (m) Clerodendrum phlomolides; the Vidyādhara-s
a freckle; a kind of skin eruption; name of
a Dhruvaka song; a kind of horse; name
 Vṛścikam caraṇam kṛtvā of a prince of Kampanā; a mark on the
pādasyāṅguṣṭhakena tu lalāṭe forehead (made with coloured earths,
tilakam kuryāt lalāṭatilam tu tat sandal-wood or unguents); the ornament
of anything; the right lung; black sochal
salt; alliteration; a metre of 6×4 syllables;
a kind of observance; a kind of necklace
51. Krāntaka One leg is extended backwards in KRĀNTA: (mfn) gone, gone over or In representing the walking of
Kuñcita and then perform Atikranta. across; spread, extended; attacking, an arrogant person
The hands are Ākxipta invading, gone to or against; overcome
(as by astonishment); surpassed; (m) a
Pṛṣṭhaḥ kuñcitam horse; declination; (ā) (f) name of a plant;
kuryādatikrāntakramam tataḥ a species of the Atyaxti metre; (n) a step;
ākṣiptau ca karau karau kāryau name of a ceremony; (in astronomy) a
krāntake karaṇe dvijāḥ certain aspect when the moon is in
conjunction with a planet
52. Kuñcita The right foot is bent and the right KUÑC-: see above In representing the god filled
hand is in Kuñcita. The left hand in with extreme bliss
Uttāna moves to the side

Ādyah pādo natah kāryah

savyahastaśca kuñcitah uttāno
vāmapārśvasthastat
kuñcitamudāh•tam

53. Cakrama‘dala The arms are hanging down with the CAKRA: (n) the wheel (of a carriage, of In representing an arrogant gait.
body bent. The feet move outwards the Sun's chariot), of Time; a potter's According to SR, it representing
(Apaviddha) wheel; a discus or sharp circular missile the actions of worshipping the
weapon (esp. that of Vix‘u); an oil mill; a gods and vigorous movements.
Pralambitābhyām bāhubhyām yad circle; an astronomical circle; a mystical
gātreṇāntena ca circle or diagram; a cycle, cycle of years
abhyantarāpaviddham syāt or of seasons; a form of military array (in
tajjñeyam cakramaṇḍalam a circle); circular flight (of a bird); a
particular constellation in the form of a
hexagon; a circle or depression of the
body; name of a metre; a circle or a
similar instrument used in astronomy; a

54. Uroma‘dala The feet move from Svastika
outwards (Apaviddha). The hands are MADALA: see above
in Uroma‘dala Hasta
Svastikāpasṛtau
pādāpaviddhakramau yadā
uromaṇḍalinau
hastāvuromaṇḍalakam tu tat
55. Ākxipta The hands and feet should perform
Āxipta Cārī quickly
Ākxiptam hastapādamca kriyate
yatra vegatah ākxiptam nāma
kara‘am vijñeyam tadvijottamāh
troop, moltitude; the whole number of; a
troop of soldiers, army, host; a number of
villages, province, district; range,
department; the wheel of a monarch's
chariot rolling over his dominions,
sovereignty, realm; the winding of a river,
a whirpool; a crooked or fraudulent
device; the convulsions or spiral marks of
the Śāla-grāma or ammonite; name of a
medicinal pant or drug; name of a Tīrtha;
the ruddy goose or Brāhmany duck; name
of a Nāga, name of one of Skanda's
attendants; name of a mountain
MADALA: see above
URAS: (n) the chest, breast, bosom ---
Ā+KXIP-: to throw down upon or In representing the walking of
towards, to strike with a bolt, to convulse, the Vidūṣaka
to cause to tremble, to draw or take off or
away, to withdraw from, to chase, to drive
out of a place, to disperse, to put into, to
point to, refer to, hint, indicate, to refuse,
object to, to insult, to deride, to excel so
as to put the shame, to challenge, call or
dispute, to cause to throw down
ĀKXIPTA: (mfn) cast, thrown down,
thrown on the beach (by the sea), caught,
seized, overcome by beauty, curiosity,
etc., charmed, transported, hung out or
exposed to view (as flags etc.), put into,

56. Talavilāsita One foot is kept with the sole and the
toes upwards and extended upwards
at the side. The palms of the hands
are Añcita
Ūrdhvāṅgulitalaḥ pādaḥ
pārśvenordhvaprasātitaḥ
prakuryādañcitatalau hastau
talavilāsite
57. Argala Move forward a foot from behind
and keep it two and half tāla-s apart
from the other. The hands follow (the
movement of the foot) in front.
Pṛṣṭhaḥ prasṛtaḥ pādo dvau
tālāvardhameva ca tasyaiva cānugo
hastaḥ puratastvargalam tu tat
58. Vikxipta One hand and one foot move in
Vikxipta backwards and sideways in
the same way
Vikxiptam hastapādam ca p•xthatah
pārśvato'pi vā ekamārgagatam yatra
tadākxiptamudāh•tam
59. Āvarta Having extended a Kuñcita foot,
quickly put it back in a swirl. The
hands move accordingly
Prasārya kuñcitam pādam
punarāvartayed drutam
pointed or referred to, indicated, refused,
left (as the right path), insulted, reviled,
abused, challenged, called to a dispute,
caused, effected, produced
TALA: see above When characterized by the
VILĀSA: shining forth, appearance, lifting of the foot, this karaṇa is
manifestation; sport, play, pastime, used to represent the
pleasure, diversion; coquetry, affectation Sūtradhāra
of coyness, wantonness (a form of
feminine gesture considered as indicative
of amorous sentiments); liveliness,
joviality; wantonness, lust; grace, charm,
beauty
ARGALA: (mfn) a wooden bolt or pin for ---
fastening a door or the cover of a vessel; a
bar, check, impediment; a wave; name of
a hell
KXIP-: see above In representing walking with an
VI: see above arrogant gait
Ā+V”T-: to turn or draw round or back or To be used at the occasion such
near; to turn or go towards; to turn, round as the hero soflty approaching,
or back, return, revolve binding Sāgarikā through a
ĀVARTA: (m) turning, winding, turning noose (?). According to SR to
round, revolving; whirl, gulf, whirpool; represent creeping with fear.
deliberation, revolving (in the mind); a
 prayogavaśagau hastau
tadāvartamudāh•tam
60. Dolāpāda One Kuñcita foot is lifted and should DOLĀ: (f) litter, hammock, palanquin,
swing from one side to the other. The swing; fluctuation, incertitude, doubt
hands follow the movement
Kuñcitam pādamutkṣiptha pārśvāt
pārśvam tu dolayet prayogavaśagau
hastau dolāpādam taducyate
61. Viv•tta One hand and one foot are Ākxipta.
lock of hair that curls backwards
(especially on a horse considered lucky);
a curl; the two depressions of the
forehead above the eyebrows; a crowded
place where many men live together; a
kind of jewel; name of a form of cloud
personified; name of a river; (am) (n) a
mineral substance, pyrites, marcasite
V”T-: to turn, turn round, revolve, roll; to
move or go on, get along, advance,
proceed, take place, occur, be performed,
come off; to be, live, exist, be found,
remain, abide, stay, abide, dwell; to live
on, subsist by; to pass away (as time); to
depend on; to be in a particular position,
to be engaged in or occupied with, to be
intent on, attend to; to stand or be used in
the sense of; to act, conduct one's self,
behave towards; to act or deal with,
follow a course of conduct, show, display,
use, act in any way towards; to tend, turn
to, prove as; to be or exist or live at a
particular time, be alive or present; to
continue; to hold good, continue in force,
be supplied from what precedes; to
originate, arise from or in; to become; to
associate with; to have illicit intercourse
with
---
DOLA: (m) swinging, oscillating
PĀDA: see above
VI+V”T-:to turn round, revolve; to roll, In representing an arrogant gait
 The hips (trika) are Vivartita. Then wallow; to writhe in convulsions,
the hands move in Recita. struggle; to turn hither or thither, move
about (as clouds); to turn back or away,
Ākxiptam hastapādam ca trikam depart, part, sever; to go astray; to be
caiva vivartatam recitau ca tathā parted (as hair); to change one's place; to
hastau viv•tte kara‘e dvijā go down, set (as the sun); to come forth
from; to expand, develop; to turn upon,
set upon, attack; to turn round; turn, roll;
to turn, make or produce by turning; to
cause to turn away, remove, withdraw; to
keep asunder; to leave behind; to cast off
(a garnment); to accomplish, execute
62. Viniv•tta Having performed Sūcī Viddha VI+NI+V”T-: to turn back, return; to turn ---
Kara‘a, the hips (trika) are turned away, desist, cease from; to cease, end,
and released in Viniv•tta. The hands disappear; to be extinguished (as fire); to
execute Recita be omitted
VI-NIV”TTA: (mfn) turned back,
Sūcīviddham vidhāyātha trikam tu returned, retired, withdrawn; turned away,
vinivartayet karau ca recitau kāryau averted, adversed from; freed from;
viniv•tte dvijottamāh desisting from, having abandoned or
given up; disappeared, ended, ceased to
be
63. Pārśvakrānta Having executed the Pārśvakrānta PĀRŚVA: see above In representing wrath, like in the
Cārī, fall in front while the hands KRĀNTA: (mfn) gone, gone over or walking of Bhīmasena
follow the movements of dance across; spread, extended; attacking,
invading, gone to or against; overcome;
Pārśvakrāntakramam kṛtvā surpassed
purastādatha pātayet
prayogavaśagau hastau
pārśvakrāntam taducyate
64. Niśumbhita One leg is bent backwards and the NI+ŚUBH: to harm, to injure; to tread In representing Maheśvara
chest is raised. One hand is placed at down
the place of the tilaka mark on the NIŚUMBHA: (m) killing, slaughter
forehead

Pṛṣṭhaḥ kuñcitaḥ pādo vakṣaścaiva

 samuttamam tilake ca karaḥ
sthāpyastanniśumbhitamucyate
65. Vidyudbhrānta One leg is bent backwards and the VIDYUT: (mfn) flashing, shining, In representing an arrogant gait
chest is raised. One hand is placed at
glittering; (f) lightening, flashing
the place of the tilaka mark on the
thunderbolt
forehead BHRĀNTA: (mfn) wandering or roaming
about; having wandered about or through;
Pṛṣṭho valitam pādam śiroghṛṣṭam wandered about or through; moving about
prasārayet sarvato maṇḍalāviddham unsteadily, rolling, reeling, whirling;
vidyudbhrāntam taducyate perplexed, confused, being in doubt or
error; (m) an elephant in rut; a species of
thorn-apple
66. Atikrāntā Having done the movement ATI: beyond, over To be used exclusively in
Atikrāntā Cārī, extend (the leg) KRĀNTA: see above representing going about with
forward. The hands follow the gaits
movement

Atikrāntakramam kṛtvā purastāt

samprasārayet prayogavaśagau
hastavatikrānte prakīrtitau
67. Vivartita One hand and one foot are Ākxipta. VI+V”T-: see above ---
The hips are Vivartitam. The other
hand moves in Recita

Ākxiptam hastapādam ca trikam

caiva vivartatam dvitīyo recito hasto
vivartitakameva tat
68. Gajakrīdita The left hand Añcita (bent) on the
ear, while the right hand is in
Lātahasta. The legs execute
Dōlapādā Cārī
GAJA: (m) an elephant In representing what the name
KRĪDITA: played, sport, play indicates (i.e. the sport of an
KRĪD-: to play, sport, amuse one's self, elephant)
frolic, gamble, dally, to jest, to joke with

Karṇe'ñcitaḥ karo vāmo

latāhastaśca dakṣiṇaḥ
dolāpādastathā caiva
 gajakrīḍitakam bhavet
69. Talasaṃsphotita Having lifted a foot quickly, let it fall TALA: see above According to SR, it represents
in front. The hands are in SAMSPHOTA: (m) clashing together, what the name indicates (i.e.
Talasamsphotita war, battle clapping the hands)

Drutamutkṣipya caraṇam
purastādatha pātayet
talasaṃsphoṭitau hastau
talasaṃsphoṭite matau
70. Garudapluta The legs are extended backwards, GARUDA: (m) devourer, name of the To represent what the name
while the hands are Kuñcita and vehicle of Vix‘u indicates (i.e. the flying of
Recita. The chest is well raised G”Ī-: to swallow, devour, eat; to emit or Garuda)
eject from the mouth
Pṛṣṭhaprāsaritau pādau kuñcitau PLUTA: (mfn) floated, floating or
recitau karau samunnatamuraścaiva swimming in, bathed, overflowed,
garuḍaplutakam bhavet submerged, covered or filled with;
protracted, prolated or lenghtened to 3
mātrā-s; flown; leaped, leaping
PLU-: to flow, swim; to bathe; to go or
cross in a boat, sail, navigate; to sway to
and fro, hover, soar, fly; to blow (as the
wind); to pass away, venidh by degrees;
to be lenghtened or prolated (as a vowel);
to hop, skip, heap, jump, spring from
71. Ga‘dasūcī One foot is Sūcī, the side is Nata and GADA: (m) the cheek, whole side of the In representing the main
one hand rests on the chest. The face including the temple; the side; a ornament attached to the cheek
other hand is Añcita on the cheek bubble, boil, pimple; a goitre or any other
excrescence of the neck; a joint, bone; the
Sūcīpādo natam parśvameko bladder; a mark, spot; an astronomical
vakṣaḥshitaḥ karaḥ dvitīyaścāñcito period
gaṇḍsūci taducyate SŪCĪ: (f) a needle or any sharp-pointed
instrument, sharp point or tip of anything,
sharp fle or column, index, table of
contents, a triangle formed by the sides of
a trapezium produced till they meet, a
cone, (in astronomy) the earth's disc in

72. Pariv•tta The hands are stretched downwards
(Āpavextita) and lifted. One foot in
Sūcī is reversed (Apavartita). The
hips (trika) are turning around
Ūrdhvāpavextitau hastau
sūcīpādo'pavartitah pariv•ttam
trikam caiva pariv•ttam taducyate
computing eclipses or the correct
diameter of the earth, gesticulation,
dramatic action, kind of coitus, sight,
seeing, a maker of winnowing basket
PARI+V”T-: to turn round, revolve, move ---
in a circle or to and fro, roll or wheel or
wander about, circumambulate; (hrdaye)
to run in a person's mind; to return, to go
or come back to; to be reborn in; to
change, turn out different; to abide, stay,
remain; to act, proceed, behave; (caus) to
destroy, annihilate

73. Pārśvajānu One foot is in the Sama position, PĀRŚVA: see above In representing fighting with
while the other is placed on the JĀNU: (n) the knee weapons and fighting with
thigh. One hand is placed on the hands.
chest in Muxtihasta

Ekaḥsamasthitaḥ pāda ūruprṣṭhe

sthito'paraḥ muṣṭihastaśca
vakṣasthaḥ pārśvajānu taducyate
74. G•dhrāvalīnaka One foot is extended backwards with G”DHRA: (mfn) desiring greedly or ---
a slightly bent knee. The arms are fervently; eager for, desiderous of
stretched out. G”DH-: to endeavour, to gain; to covet,
desire, strive after greedily, be desiderous
Pṛṣṭhaprasāritaḥ pādaḥ of or eager for
kiñcidañcitajānukaḥ yatra AVA+LĪ-: to stick to; to bow, stoop; to
prasāritau bāhū tat syād hide one's self in
gṛdhrāvalīnakam AVALĪNA: (mfn) sitting down (as a bird);
cowering down in; hiding one's self in;
engaged in; beginning to
75. Sannata Having jumped, place the legs in SANNA: set down, sitting at, occupied In representing a gentle
front in Svastika. The hands are bent with, sunk down in, depressed, low, approach due to the
downwards in Sannata Hasta languid, exhausted, decayed, perished, announcement of an inferior
lost, dead, shrunk, contracted, resting, [character?]
 Utplutya cara‘au kāryāvagratah
svastikasthitau sannatau ca tathā
hastau sannatam tadudāh•tam
76. Sūcī Having lifted an Añcita foot, place it SŪCĪ: see above
on the ground in front. The hands
move in a suitable way
motionless, weak, low, apeased, satisfied, According to SR, it represents
destruction, loss, the action of running away from
SAD-: to sit down (especially at a bad characters
sacrifice), sit upon, in, at, sit down before,
besiege, lie in wait for, watch, sink down,
sink into despondency or distress, become
fainted or wearined or dejected or
lowspirited, despond, despair, pine or
waste away, perish
NATA: (m) bent, bowed, curved, inclined,
inclining, bowing to, saluting, depressed,
sunk, flat, deep, hanging down, bent
down by, turned towards, cerebralized,
Tabernaemontana Coronaria; (n) zenith
distance at meridian transit, hour angle or
distance in time from meridian,
inclination
---

Añcitam pādamutkṣīpya
kuryādgrasthitam bhuvi
prayogavaśagau hastau sā sūcī
parikīrtitā
77. Ardhasūcī The left foot is held at the level of SŪCĪ: see above ---
the head. The right foot is Sūcī ARDHA: see above

Alapadmaḥ śirodeśe sūcīpādaśca

dakṣiṇaḥ yatra tat karaṇam
jñeyamardhasūcīti nāmataḥ
78. Sūcīviddha One foot in Sūcī and is placed near SŪCĪ: see above In representing worry
the second foot. One hand is kept on VIDDHA: see above
the waist and the other on the chest VYADH-: see above

Pādasūcyā yadā pādo dvitīyastu

 pravidhyate kativakxahsthitau hastau
sūcīviddham taducyate
79. Apakrānta Having turned round (Valita) of the APAKRĀNTA: (mfn) gone away ---
thigh, one foot executes the APA+KRAM-: to go away, retreat, retire
movement called Apakrānta from; to glide away, to measure off by
Cārī.The hands follow the movement steps
of dance

Kṛtvoruvalitam pādampakrāmam
nayet prayogavaśagau
hastāvapakrāntam taducyate
80. Mayūralalita Having done V•ścika of the leg, MAYŪRA: (m) a peacock ---
move the hands in Recita. The sides LALITA: see above
(trika) is turned around LAL-: see above
(Vivartana/Viv•tta)

Vṛścikam caraṇam kṛtvā recitau ca

tathā karau tathā trikam vivṛttam ca
mayurālalitam bhavet
81. Sarpita The feet are Añcita, then they
separate. The head is Parivālitam.
The hands are Recita
Añcitāpasṛtau pādau śiraśca
parivāhitam recitau ca tathā hastau
tat sarpitaudāhṛtam
S”P-: to creep, crawl, glide, slink, move
gently or cautiously; to slip into; (in
ritual) to glide noiselesslyand with
bended body and hand in hand (from the
Sadas to the Bahishpavamāna)
SARPITA: a real snake bite
In representing the soft walk
due to passion executed with the
feet. According to SR, it
represents the coming near and
going away of an intoxicated
person

82. Da‘dapāda Having done Nūpuram Cārī of one DADA: see above In representing moving around
leg, stretch forward the other leg in PĀDA: see above with arrogance
Da‘da pāda Cārī

Nūpuram caraṇam kṛtvā

daṇḍapādam prasāret
 kṣiprāviddhakaram caiva
daṇḍapādam taducyate
83. Hari‘apluta Having performed the Atikrāntā HARIA: fawn coloured, yellowish, To be used at the occasion
Cārī, jump forward and descend tawny, greenish, green; a deer, antelope, indicated by the name (i.e. the
moving around with the shanks bent fawn, stag; an ichneumon; a goose; the flight of a deer)
sun; a minor division of the world
Atikrāntakramam kṛtvā samutplutya PLU-: to flow, swim; to bathe; to go or
nipātayet jaṅgāñcitā parikṣiptā tad cross in a boat, sail, navigate; to sway to
vidyāddhariṇaplutam and fro, hover, soar, fly; to blow (as the
wind); to pass away, vanish by degrees; to
be lenghtened or prolated (as a vowel); to
hop, skip, heap, jump, spring from
PLUTA: (mfn) floated, floating or
swimming in, bathed, overflowed,
submerged, covered or filled with;
protracted, prolated or lenghtened to 3
mātrā-s; flown; leaped, leaping
84. Prenkholita Having done the Dolāpāda Cārī, PRA+ĪNKH-: to tremble, shake, vibrate ---
jump forward and descend with the PRENKHOLA: (mfn) swinging, dancing,
hips rotated moving to and fro; (m) a swing
hammock; blowing (of the wind)
Dolāpādakram kṛtvā samutplutyā PRENKHA: (mfn) trembling, rocking,
nipātayet parivṛttatrikam caiva tat swaying, pitching
preṅkholitamucyate
85. Nitamba The arms are thrown upwards, the NITAMBA:(m) the buttocks or hinder ---
hands are kept with the fingers in the parts (especially of a woman, used in dual
same direction. Baddhā Cārī is number); the ridge or side or swell of a
executed mountain, the sloping bank or shore of a
river; the shoulder; the sounding board of
Bhujāvūrdhvaviniṣkrāntau hastau a vi‘ā; a particular position of the hands
cābhimukhāṅgulī baddhā cārī tathā in dancing
caiva nitambe karaṇe bhavet
86. Skhalita Perform Dolāpāda Cārī with both SKHAL-: to stumble, trip, totter, waver, ---
hands following the movement and fluctuate; to drop or slip down, trickle
moving in Recita and Ghūr‘ita down; to stammer, falter (as speech); to

Dolāpādakramam kṛtvāhastau
tadanugāvubhau recitau dhūrṇitau
cāpi skhalitam karaṇam bhavet
87. Karihasta One hand rests on the chest. The
other is in Prodvextitatala Nṛtta
Hasta. One foot execute Añcita
Eko vakṣaḥsthito hastaḥ
prodveṣṭitatalo'paraḥ
añcitaścaraṇaścaiva prayojyaḥ
karihastake
88. Prasarpita One hand in Recita, the other in
Latā. The feet are Prasarpita
(Prasarpa)
Ekastu recitao hasto latākhyastu
tathāparaḥ prasarpitatalau pādau
prasarpitakameva tat
89. Siṃhavikrīḍita Having performed Alātā Cārī with
one leg, the other moves swiftly. The the zodiacal sign Leo or ita Lagna; a hero
hands follow the movement
Alātam ca puraḥkṛtvā dvitīyam ca
drutakramam hastau pādānugau
cāpi siṃhavikrīḍite smṛtau
make mistakes, blunder, err, fail; to
gather, collect; to disappear
SKHALITA: (mfn) stumbling, tripping,
unsteady (as a gait); dropping, falling,
dripping, trickling down; intoxicated,
drunk; stammering, faltering; stopped,
checked, obstructed, impeded,
interrupted, frustrated, baffled;
confounded, perplexed by; incomplete,
deficient; erring, failing, blundering in;
(n) the act of tripping, stambling,
staggering; mistake, error, failure,
blunder, blundering in; loss, deprivation,
circumvention, stratagem
KARIN: doing, effecting; "having the ---
trunk", an elephant
HASTA: (m) the hand; an elephant's trunk;
the fore-arm; the 11th lunar asterism; a
species of tree
PRA+S”P-: to creep up to, to glide into; To represent flying in the air
advance, proceed, move towards; to
stream or break forth; to spread, extend,
be diffused; to set to work, act, proceed in
a certain way
PRASARPITA: crawling along
SIṂHA: (m) "the powerful one", a lion, In representing a furious gait
or eminent person; a particular for of
temple; a particular place prepared for
building a house; a Moringa with red
flowers; (in music) a kind of tune
KRĪD-: see above
 KRĪDITA: se above
90. Siṃhākarṣita One leg is stretched backwards and SIṂHA: see above In representing lions etc.
the hands are bent inwards. The Ā+K”X-: to draw towards one's self,
action is repeated attract, draw away with one's self; to
draw; to bend (a bow); to take off (as a
Pṛṣṭhaprasāritaḥ pādastathā hastau garment); to draw out of; to withdraw,
nikuñcitau punastathaiva kartavyau deprive of; take away; to borrow from
siṃhākarṣitake dvijāḥ ĀKARXITA: (mfn) drawn near to one's
self
91. Udv•tta The hand, the body and the foot are UD+V”T-: to go asunder, to burst open; ---
Ākxipta (thrown down). The body to go upwards, rise, ascend, swell; to
perform Udv•ttā Cārī bubble up, overflow; to be puffed up with
pride, become arrogant or extravagant; to
Ākxiptahastamākxiptadehamākxipta proceed from, originate; to fall down
pādakam UDV”TTA: (mfn) swollen up, swelling,
udv•ttagātramityetadudv•ttam prominent; excited, agitated, waving;
kara‘am sm•tam extravagant, ill-behaved, ill-mannered,
proud, arrogant; turned up, opened,
opened wide (as eyes); (m) a particular
position of the hands in dancing; (in
astronomy) the East and West hour circle
or six o'clock line
92. Upas•taka One leg is Ākxipta Cārī and one hand UPA+S”I-/UPA+Ś”I-: 1) to go towards, To represent approaching with
moves accordingly. The body is bent step near, approach, visit; to approach humility
(sexually); to set about, undertake; 2) to
Ākṣipiptaścaraṇaścaiko hastaścaiva lean against, support, prop; to cling to, fit
vaśānugaḥ ānatam ca tathā gātram closely (as an ornament); to place one's
taccopasṛtakam bhavet self near to, go towards; to accommodate
one's self to
UPA+Ś”ITA: placed near, brought to the
attention of; leaning towards or upon
93. Talasaṃghaṭṭita Having performed Dolāpāda Cārī, TALA: surface, level, flat roof of a house, In representing a sentence where
the hands are kept with the palms the part underneath, lower part, base, compassion prevails
joined. The left hand is Recita. bottom, the palm of the hand, the sole of
the foot, the forearm
 Dolāpādakram kṛtvā
talasaṃghaṭṭitau karau recayecca
karam vāmam talasaṃghaṭṭite sadā
94. Janita One hand rests on the chest, the other JANITA: (mfn) born; engendered,
is hanging down. One foot is
Agratalasañcara
Eko vakṣaḥsthito hasto dvitīyaśca
pralambitaḥ talāgrasaṃsthitaḥ pādo
janite karaṇe bhavet
95. Avahitthaka Perform the Janita Kara‘a and join
together the fingers of both hands.
Lower down the hands slowly
Janitam karaṇam kṛtvā hastau
cābhimukhāṅgulī śanairnipatitau
caiva jñeyam tadavahitthakam
96. Niveśa The body is in Ma‘dala Sthāna, both NI+VIŚ-: to enter or penetrate into, to
hands are held on the chest. The
torso is Nirbhugna
Karau vakṣaḥsthitau kāryāvuro
nirbhugnameva ca
maṇḍalasthānakam caiva niveśam
karaṇam tu tat
SAṂ+GHATTITA: (mfn) rubbed or struck
together or against; kneaded; collected,
assembled; the joined hands of bride and
husband
SAM+GHATT-: to strike or clasp or rub
together, knead, crush to pieces, bruise
---
begotten; produced, occasioned; occuring
AVA+STHĀ-: to go down into, reach In representing a sentence of
down to; to go away from; to be separated which the main meaning is a
from or deprived of; to take one's stand, secret; according to others in
remain standing; to stay, abide, stop at representing worry and
any place; to abide in a state or condition; weakness
to remain or continue (doing anything); to
be found, exist, be present; to fall to, fall
into the possession of; to enter, be
absorbed in; to penetrate (as sound or
fame);
AVAHITTHA: dissimulation
In representing killing etc.,
alight, descend; to come to rest, settle according to SR it indicates the
down or in a home; to encamp; o sit down riding of an elephant
upon; to resort to; to settle, take a wife; to
be founded (of a town); to be fixed or
intent on (of the mind); to sink down,
cease, disappear, vanish, sit down upon
NIVEŚA: (m) entering, settling in a place,
encamping, halting; a dwelling place,
habitation of any kind; founding a
household, matrimony; founding a town;
putting in order; arrangement; pressing
 against; impression, mark (of fingers);
depositing, delivering; military array;
ornament, decoration

97. Elakākrīḍita Jump with Agratalasañcara feet and ELAKĀ/EDAKĀ: (m) a kind of sheep, In representing the gait of low
come down. The body is bent and ram, wild goat characters
turned KRĪDITA: see above

Talasañcarapādābhyāmutplutya
patanam bhavet sannatam valitam
gātramelakākrīditam tu tat
98. Ūrūdvṛtta One hand is turned (Av•tta) and and
ŪRU: (m) the thigh, shank In representing affection, anger,
UD+V”T-: to go asunder, to burst open; impatience, desire etc.
put in Añcita at the back of the thigh.
The shanks are bent and perform to go upwards, rise, ascend, swell; to
Ūrūdv•tta Cārī bubble up, overflow; to be puffed up with
pride, become arrogant or extravagant; to
Karamāv•ttakara‘amūruprxthe'ñcita proceed from, originate; to fall down
m nyaset janghāñcitā tathodv•ttā
hyūrūdv•ttam tu tad bhavet
99. Madaskhalita The hands hang down (Pralambita) MADA: (m) hilarity, rapture, excitement, In representing a mild
and the head is Parivāhita. The legs
inspiration, intoxication; ardent passion intoxication
are turned (Valita) and perform thefor; desire or enjoyment, wantoness, lust,
Āviddha Cārī ruttishness, rut (esp. of an elephant);
pride, arrogance, presumption, conceit of
Karau pralambitau kāryau śiraśca or about; any exhilarating or intoxicating
parivāhitam pādau ca vālitāviddhau drink, spirituous liquor, wine, Soma;
madaskhalitake dvijāḥ honey; the fluid or juice that exudes from
a rutting elephant's temples; semen virile;
musk; any beautiful object; a river; name
of the 7th astrological mansion
SKHALITA: see above
100. Vix‘ukrānta One foot is stretched in front in VIXU: the god Vix‘u In representing the gait of Vix‘u
Kuñcita as if about to walk. The KRĀNTA: (mfn) gone, gone over or
hands are Recita across; spread, extended; attacking,
invading, gone to or against; overcome;
 Puraḥ prasāritaḥ pādaḥ kuñcito
gamanonmukhaḥ karau ca recitau
yatra viṣṇukrāntam taducyate
101. Sambhrānta Having done a whirl with the hand,
place it at the back of the thigh. The
thigh perform Āviddhā Cārī
Karamāvartitam kṛtvā hyūrupṛṣṭhe
nikuñcayet ūrūścaiva tathāviddhaḥ
sambhrāntam karaṇam tu tat
102. Viṣkambha One hand in Apaviddha Sūci and a
foot in moves up and down
(Nikuttita). The left hand is held at
the chest
Apaviddhaḥ karaḥ pādaścaiva
nikuṭṭitaḥ vakṣasthaśca karo vāmo
niṣkambhe karaṇe bhavet
103. Udghaṭṭita The feet make the Udghattita
movement; the hands are kept with
the palms joined together. The side is
Nata
Pādāvudghaṭṭitau kāryau
talasaṃghaṭṭitau karau natam ca
pārśvam kartavyam
budhairudghaṭṭite sadā
104. Vṛṣabhakrīḍita Having performed Alāta Cārī, move V”XABHA: (mfn) manly, mighty,
surpassed
SAM+BHRAM-: to roam, wander all In representing moving around
about, go quite astray; to be greatly in haste
confused, be perplexed or puzzled
SAMBHRĀNTA: (mfn) whirled about,
flurried, confused, perplexed, agitated,
excited; quickened, brisk, lively (gait)
VI+XKHAMBH-/SKAMBH-: to fix, ---
support, prop; to hurl, cast; to come forth,
escape; make firm, fix, establish
VIXKAMBHA: (m) a prop, support; the
bolt or bar of a door; the supporting beam
or pillar of a house; a post (around which
the string of a churning stick is wound);
width, extension; the diameter of a circle;
a mountain range; an obstacle
impediment; the first of the 27
astronomical periods called Yoga-s or the
leading star of the first lunar mansion; an
interlude or introductory scene; a
particular Yoga posture; a tree; action,
doing anything
UD-GHĀTTITA: (mfn) opened, In representing extreme joy
manifested; undertaken, commenced;
raised, hoisted, lifted up; done with effort,
exerted; stroked, tickled
In representing a bull, since it is
 the hands in Recita. The hands are
Kuñcita and Añcita
Prayujyālātakam pūrvam hastau
cāpi hi recayet kuñcitāvañcitau
caiva vṛṣabhakrīḍite sadā
105. Lolita The hands move in Recita and
Añcita. The head is rotated and
Lolitam
Recitāvañcitau hastau lolitam
vartitam śiraḥ ubhayoḥ
pārśvayoryatra tallolitamudāhṛtam
106. Nāgāpasarpita The feet are staggering (Skhalita) NĀGA: (m) a snake, a Nāga or serpent-
and Apasṛta, the head is Parivāhita.demon, name of the numbers 7 or 8, a
The hands move in Recita
Skhalitāpasṛtau pādau śiraśca
parivāhitam recitau ca tathā syātām kind, shark, cloud, name of several plants,
nāgāpasarpite
vigorous, strong; (m) a bull; the chief, used with a couple of [ horns?]
most excellent or eminent, lord or best
among; the zodiacal Taurus
KRĪDITA: see above
LUL-: to move to and fro, roll about, stir; ---
to disappear; (caus) to set in motion,
agitate, confound, disturb
LOLITA/LULITA: (mfn) moved or tossed
about; agitated, swinging to and fro,
dangling, fluttering,heaving, vawing,
tremoulous; touched by, come in contact
with; disarranged, dishevelled (as hair);
hurt, injured, crushed, destroyed;
fatigued, unnerved; agreeable, pleasing,
beautiful
In representing intoxication of a
young person
cruel man, one of the 5 airs of the human
body which is expelled by eructation, an
elephant, the best or most excellent of any
name of a serpent-demon, name of a
Sādhya, name of a teacher, name of
dynasty of 9 or 10 men, name of a
mountain, name of a district, name of a
metre, tin, lead, a kind of talc, a kind of
coitus, name of the third invariable
kara‘a, Sūrya, of the effects of that
period on everything happening during it,
of a district of Bharata-varxa, formed of
snakes, relating to serpents or demons,
snaky, serpentine, serpent-like, name of a
particular āsana
SARPITA: see above
107. Śakaṭāsya The body is lying, the leg is stretched ŚAKATA: (m) a cart, waggon, car, Used in a Bhaṇika (a type of
in Talasañcara. The chest is lifted. carriage; the five stars forming the dramatic performance) having a
asterism Rohi‘ī compared to a cart; (n) a object such a child's play etc.
niṣaṇṇāṅgastu caraṇam prasārya particular configuration of stars and
talasañcaram udghāṭitamuraḥ kṛtvā planets; (mn) a form of military array
śakaṭāsyam prayojayet resembling a wedge; (m) Dalbergia
Ougeinensis; Arum Colacasia; an
implement for preparing grain
ĀSYA: (n) mouth, jaws; (mfn) belonging
to the moutth or face, belonging to that
part of the mouth which is the organ of
uttering sounds or letters

108. Gaṅgāvataraṇa One foot is raised with the sole and

GANGĀ: (f) the river Gangā In representing the stretching of
AVA+T”Ī-: to descend into, alight from,
the toes turned up. The hands are in the leg of Viṣṇu Trivikrama or
Tripataka Hasta, turned downwards.
alight; to descend in (as a deity), the descent of the goddess
The head is Nata becoming incarnate; to betake one's self Gaṅgā
to, arrive at; to make one's appearance,
Ūrdhvāṅgulitalaḥ arrive; to be in the right place, to fit; to
pādastrīpatakāvadhomukhau hastau undertake; to overcome, overpower; to
śiraḥ ca gaṅgāvataraṇam tviti sink; (caus) to make or let one descend, to
bring or fetch down; to take down, take
off, remove, turn away from
AVATARAA: (n) descending, alighting;
rushing away, sudden disappearance