नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

.VIII. 63] THE GESTURES OF MINOR LIMBS 155

56. Kruddhā : The rough Glance in which eyelids are motionless and drawn up, eyeballs are immobile and turned up, and the eyebrows are knitted, is called Kruddhā (angry); it is used in anger.

57. Dṛptā : The steady and widely opened Glance in which eyeballs are motionless, and which shows forth (lit. emits) prowess is called Dṛptā (haughty); it is used in energy (lit. grows out of energy).

58. Bhayānvitā : The Glance in which the eyes are widely opened, the eyeballs are mobile in fear and are away from the centre [of the eye], is called Bhayānvitā (awe-stricken); it is used in fear.

59. Jugupsitā : The Glance in which eyelids are contracted but not joined together, and the eyeballs are covered and are turning away from the object coming in view (lit. the place in view) is called Jugupsitā (disgusting); it is used in disgust.

60. Vismitā : The level Glance which is fully blown and in which eyeballs are throughly turned up and the two eyelids are motionless, is called Vismitā (astonished); it is used in astonishment.

The Glances to express the Transitory States

61. These are the Glances relating to the Dominant States, that I have just defined. I shall now explain the characteristics of the Glances in the Transitory States.

62. Śunyā : The Glance which is weak and motionless and in which the eyeballs and the eyelids are in ordinary position (lit. level), and which turns to the space and is not attentive to external objects is called Śunyā (vacant).

63. Malinā : The Glance in which ends of the eyelashes are not shaking and ends of the eyes are pale, and which is characterised very much by half-shut eyelids, is called Malinā (pale).

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56 (p.9, B.57, G.57).	57 (p.9. B.58, G.58).	58 (B.59, G.59).
59 (B 60, G.60).	60 (B.61, G.61).	61 (B.62, G.62).
62 (B.63, G.63).	63 (B.64, G.64).