-VI, 60] THE SENTIMENTS 111

Laughter (apahasita) and Excessive Laughter (atihasita). Two by two they belong respectively to the superior, the middling and the inferior types [of persons].

53. To persons of the superior type belong the Slight Smile (smita) and the Smile (hasita), to those of the middling type the Gentle Laughter (vihasita) and the Laughter of Ridicule (upahasita) to those of the inferior type the Vulgar Laughter (apahasita) and the Violent Laughter (atihasita).

There are Ślokas on this subjects :

54. The Slight Smile (smita) of the people of the superior type should be characterised by slightly blown cheeks und elegent glances, and in it the teeth should not be visible.

55. Their Smile (hasita) should be distinguished by blooming eyes, face and cheeks, and in it the teeth should be slightly visible.

Of persons of the middle type

56. The Gentle Laughter (vihasita) should have slight sound, and sweetness, and should be suitable to the occasion and in it the eyes and the cheeks should be contracted and the face joyful.

57. During the Laughter of Ridicule (upahasita) the nose should be expanded, the eyes should be squinting, and the shoulder and the head should be bent.

Of persons of the inferior type

58. The laughter on occasions not suitable to it, the laughter with tears in one's eyes, or with the shoulder and the head violently shaking, is called the Vulgar Laughter (apahasita).

59. The Excessive Laughter (atihasita) is that in which the eyes are expanded and tearful sound is loud and excessive, and the sides are covered by hands.

60. Comic situations which may arise in the course of a

---

53 (B.62, G.53).	54 (B.65, G.54).	55 (B 66, G.55).
56 (B.68, G.56).	57 (B.69, G.57).	58 (B.71, G.58).
59 (B.72, G.59).	60 (B.73, G.60).

112 THE NATYASASTRA [V. 25-

play, for persons of the superior, middling or inferior type are thus to be given expression to.

61. This Comic Sentiment is of two kinds : self-centred and centred in others; and it relates to the three types of persons : superior, middling and inferior, and has thus [on the whole] six varieties.

The Pathetic Sentiment

$^1$Now the Pathetic (karuṇa) Sentiment arises from the Dominant State of sorrow. It grows from Determinants such as affliction under a curse, separation from dear ones, loss of wealth, death, captivity, flight [from one's own place], [dangerous] accidents or any other misfortune. This is to be represented on the stage by means of Consequents such as, shedding tears, lamentation, dryness of the mouth, change of colour, drooping limbs, being out of breath, loss of memory and the like. Transitory States connected with it are indifference, langour, anxiety, yearning, excitement, delusion, fainting, sadness, dejection, illness, inactivity. insanity, epilepsy, fear, indolence, death, paralysis, tremor, change of colour, weeping, loss of voice and the like.

On this point there are two Āryās :

62. The Pathetic Sentiment arises from seeing the death of a beloved person, or from hearing something very unpleasant and these are its Determinants.

63. This is to be represented on the stage by Consequents like weeping loudly, fainting, lamenting and bewailing, exerting the body or striking it.

The Furious Sentiment.

$^1$Now the Furious (raudra) Sentiment has as its basis the Dominant State of anger. It owes its origin to Rākṣasas, Dānavas and haughty men, and is caused by fights. This is created by

---

61 (B.74, G.61). $^1$ The original of this passage till the beginning of 62 is in prose. 62 (B.76, G.62).
63 (B.77, G.63). $^1$ The original of this passage till the beginning of 64 is in prose.

-VI. 66 ] THE SENTIMENS 113

Determinants such as anger, rape, abuse, insult, untrue allegation, exorcizing, threatening, revengefulness, jealousy and the like. Its actions are beating, breaking, crushing, cutting, piercing, taking up arms, hurling of missiles, fighting, drawing of blood, and similar other deeds. This is to be represented on the stage by means of Consequents such as red eyes, knitting of eyebrows, defiance, biting of the lips, movement of the cheeks, pressing one hand with. the other, and the like. Transitory States in it are presence of mind, determination, energy, indignation, restlessness, fury, perspiration, trembling, horripilation, choking voice and the like.

Now one enquires, “Is it to be assumed from the [above] statement about Rākṣasas that they only give rise to the Furious Sentiment, and that this Sentiment does not relate to others ?” [Reply]. “No, in case of others too this Sentiment may arise. [But in case of Rākṣasas] it is to be understood as their special function. They are naturally furious, ²for they have many arms, many mouths, standing and unkempt hairs of brown colour, and prodigious physical frame of black complexion. Whatever they attempt, be it their speech, movement of limbs or any other effort, is by nature furious. Even in their love-making they are violent³. It is to be easily inferred that persons who imitate them give rise to the Furious Sentiment from their fights and battles.

On these points there are two Āryās :

64. The Furious Sentiment is created by striking, cutting, mutilation and piercing in fights, and tumult of the battle and the like.

65. It should be represented on the stage by special acts such as the release of many missiles, cutting off the head, the trunk and the arms.

66. Such is the Furious Sentiment viewed [by experts] ; it is full of conflict of arms, and in it words, movements and deeds are terrible and fearful.

---

² G. considers this passage till the end of this sentence as an āryā (G.64).
³ Cf. Bhaṭṭikāvya, VIII. 98.
64 (B.79, G.65). 65 (B.80, G.66). 66 (B.81, G.67).
15

114 THE NATYASASTRA [ VI. 67-

The Heroic Sentiment

¹Now the Heroic (vīra) Sentiment, relates to the superior type of persons and has energy as its basis. This is created by Determinants such as presence of mind, perseverance, diplomacy, discipline, military strength, agressiveness, reputation of might, influence and the like. It is to be represented on the stage by Consequents such as firmness, patience, heroism, charity, diplomacy and the like. Transitory States in it are contentment, judgement, pride, agitation, energy (vega), ferocity, indignation, remembrance, horripilation and the like.

There are two Āryās [on these points] :

67. The Heroic Sentiment arises from energy, perseverance, optimism, absence of surprise, and presence of mind and [such other] special conditions [of the spirit].

68. This Heroic Sentiment is to be properly represented on the stage by firmness, patience, heroism, pride, energy, agressiveness, influence and censuring words.

The Terrible Sentiment

¹Now the Terrible (bhayānaka) Sentiment has as its basis the Dominant State of fear. This is created by Determinants like hideous noise, sight of ghosts, panic and anxiety due to [untimely cry of] jackals and owls, staying in an empty house or forest, sight of death or capitivity of dear ones, or news of it, or discussion about it. It is to be represented on the stage by Consequents such as trembling of the hands and the feet, horripilation, change of colour and loss of voice. Its Transitory States are paralysis, perspiration, choking voice, horripilation, trembling, loss of voice, change of colour, fear, stupefaction, dejection, agitation, restlessness, inactivity, fear, epilepsy and death and the like.

On these points there are two traditional Āryās :

69. The Terrible Sentiment is created by hideous noise,

---

¹ The original of this passage till the beginning of 67 is in prose.
67 (B.83, G.68).
• 68 (B.84, G.69). ¹ The original of this passage till the beginning of 69 is in prose.
69 (B.86, G.70).

-VI. 74] THE SENTIMENTS 115

sight of ghosts, battle, entering an empty house or forest, offending one's superiors or the king.

70. Terror is characterised by looseness of the limbs, the mouth and the eyes, paralysis of the thighs, looking around with uneasiness, dryness of the drooping mouth, palpitation of the heart and horripilation.

71. This is [the character of] natural fear; the artificially shown fear also should be represented by these conditions. But in case of the feigned fear all efforts for its representation should be milder.

72. This Terrible Sentiment should be always represented by tremor of the hands and the feet, paralysis, shaking of the body, palpitation of the heart, dryness of the lips, the mouth, the palate and the throat.

The Odious Sentiment

¹Now the Odious (bībhatsa) Sentiment has as its basis the Dominant State of disgust. It is created by Determinants like hearing of unpleasant, offensive, impure and harmful things or seeing them or discussing them. It is to be represented on the stage by Consequents such as stopping the movement of all the limbs, narrowing down of the mouth, vomitting, spitting, shaking the limbs [in disgust] and the like. Transitory States in it are epilepsy, delusion, agitation, fainting, sickness, death and the like.

On these points there are two traditional Aryās :

73. The Odious Sentiment arises in many ways from disgusting sight, tastes, smell, touch and sound which cause uneasiness.

74. This is to be represented on the stage by narrowing down the mouth and the eyes, covering the nose, bending down the head and walking imperceptibly.

---

70 (B.87, G.71). 71 (B.88, G.72).
72 (B.89, G.73). ¹ The original of this passage till the beginning of 73, is in prose.
73 (B.92, G.74). 74 (B.93, G.75).

116 THE NATYASASTRA [ IV.

The Marvellous Sentiment

¹The Marvellous (adbhuta) Sentiment has as its basis the Dominant State of astonishment. It is created by Determinants such as sight of heavenly beings or events, attainment of desired objects, entrance into a superior mansion, temple, audience hall (sabhā), a seven-storied palace and [seeing] illusory and magical acts. It is to be represented on the stage by Consequents such as wide opening of eyes, looking with fixed gaze, horripilation, tears [of joy] perspiration, joy, uttering words of approbation, making gifts, crying incessantly hā, hā, hā, waving the end of dhoti or sārī, and movement of fingers and the like Transitory States in it are weeping, paralysis, perspiration, choking voice, horripilation, agitation, hurry, inactivity, death and the like.

On this point there are two traditional Āryās ;

75. The Marvellous Sentiment is that which arises form words, character, deed and personal beauty.

76. This is to be represented on the stage by a gesture of feeling [sweet] smell, joyful shaking of limbs, and uttering of hā, hā, hā, sounds, speaking words of approbation, tremor, choking voice, perspiration and the like.

The three kinds of the Erotic, the Comic and the Terrible Sentiments

77. The Erotic Sentiment is of three kinds, viz, of words, dress, and action. And the Comic and the Terrible Sentiments are likewise of three kinds, viz, of limbs, dress and words.

The three kinds of the Pathetic Sentiment

78. The Pathetic Sentiment is of three kinds, viz. that rising from obstruction to lawful deeds, from loss of wealth and from bereavement.

The three kinds of the Heroic Sentiment

79. The Heroic Sentiment is likewise of three kinds, viz.

---

¹ The original of this passage till the beginning of 75, is in prose.

*75 (B.95, G.76).	76 (B.96, G.77).	77 (B.97, G.78).
78 (B.98, G.79).	79 (B.99, G.80).

.VI. 83 ] THE SENTIMENTS 117

that arising from making gifts, from doing one's duty (dharma) and from fighting [one's enemy].

The three kinds of the Terrible Sentiment

80. The Terrible Sentiment is also of three kinds, viz, feigned fear, fear from a wrong action, and fear from an apprehension of danger.

The three kinds of the Odious Sentiment

81. The Odious Sentiment is of three kinds, viz. nauseating, simple, and exciting. Of these the Sentiment from a sight of stool and worms is nauseating, and the sight of blood and similar objects is exciting.

The three kinds of the Marvellous Sentiment

82. The Marvellous Sentiment is of two kinds, viz. celestial and joyous. Or these the celestial is due to seeing heavenly sights, and the joyous due to joyful happenings¹.

83. These are the eight Sentiments and their definitions, I shall hereafter speak of the characteristics of the States.

Here ends Chapter VI of Bharata's Nāṭyaśāstra which treats of the Sentiments.

---

80 (B.100, G.81). 81 (B.101, G.82).
82 (B.102, G.83). ¹ B. adds here a spurious passage on śānta rasa.

CHAPTER SEVEN

THE EMOTIONAL AND OTHER STATES

Bhāvas (States) explained

0. Now I shall;speak of the bhāvas (States). An enquiry in this connexion is, “Why are the bhāvas (States) so called ? Is it because they bhāvayanti (pervade) and are hence called bhāvas (States)?” It is said in reply that bhāvas (States) are so called because through Words, Gestures and the Representation of the Temperament, they bhāvayanti (infuse) the meaning of the play [into the spectators]. $^{1}$ Bhāva is ‘cause’ or ‘instrument’, for words such as, bhāvita, vāsita and kṛta are synonymous. An expression like, ‘O, all these things are bhāvita (pervaded) by one another’s smell or moistened by one another’s juice,’ is established even amongst the common people. Hence the root bhāvaya means ‘to pervade’. Ont his point there are the following Ślokas :

1. When the meanings presented by Determinants and Consequents are made to pervade (gamayte) [the heart of the spectators] they are called bhāvas (States).

2. As in these the inner idea of the playwright (kavi) is made to pervade [the mind of the spectators] by means of Words, Gestures, colour of the face and the Representation of the Temperament they are called bhāvas (States).

3. As they cause the Sentiments relating to varioūs kinds of Histrionic Representation to pervade [the mind of the spectators], they are called bhāvas (States) by those who produce a drama.

Vibhāvas (Determinants) explained

“Now, why is the word vibhāva used ?” [Answer] : “The word vibhāva is used for the sake of clear knowledge. It is

---

0 (B.G. same).
1 (B.1-2, G.1). $^{1}$ We read bhāva iti kāraṇa(m) sādhanam yathā etc.
2 (B.3, G.2). \qquad\qquad 3 (B.4-5, G.3).

-VII. 6] THE EMOTIONAL AND OTHER STATES 119

synonymous with kāraṇa, nimitta and hetu. As Words, Gestures and the Representation of the Temperament are vibhāvayte (determined) by this, it is called vibhāva (Determinant). Vibhāvita (also) means the same thing as vijñāta (clearly known).

On this point there is a Śloka :

4. As many things are vibhāvyate (determined) by this through Words, Gestures and the Representation of the Temperament it is named vibhāva (Diterminant).

Anubhāvas (Consequents) explained

"Now, why is the word anubhāva used ?" (Answer) "Because the Histrionic Representation by means of Words, Gestures and the Temperament are anubhāvyate (made to be felt) by this, it is called anubhāva (Consequent).

On this point there is a Śloka :

5. As in it the spectators are anubhāvyate [made to feel] things by means of Words and Gestures it is called anubhāva and it relates to words as well as to [gestures and movements of] major and minor limbs.

Now we have explained that the States (bhāva) are related to Determinants (vibhāva) and Consequents (anubhāva). Thus are the States (bhāva) created. Hence we shall discuss the definitions and examples of the States together with their Determinants and Consequents. Of these, the Determinants and the Consequents are well-known among people. They being connected with the human nature, their definitions are not discussed. This is for avoiding prolixity.

On this point there is the Śloka :

6. Determinants and Consequents are known by the wise to be things which are created by human nature and are in accordance with the ways of the world.

The three kinds of States : Dominant, Transitory and Temperamental

Now the Dominant States (sthāyi-bhāva) are eight in number. The Transitory States (vyabhicāriṇaḥ) are thirtythree and

---

4 (B.6, G.4).
5 (B.7-8, G.5). ¹ We read with B.
6 (B.9, G.6).

120 THE NATYASASTRA [VII. 7-

the Temperamental States are eight in number. These are the three varieties of the States. Hence we are to understand that there are fortynine States capable of drawing out the Sentiment from the play. The Sentiments arise from them when they are imbued with the quality of universality (sāmānya, lit. commonness).

On this point there is a Śloka :

7. The State proceeding from the thing which is congenial to the heart is the source of the Sentiment and it pervades the body just as fire spreads over the dry wood.

Difference between the Dominant and the other States

It is said in this connexion : "If the fortynine States being represented by Determinants (vibhāva) and Consequents (anubhāva) coming into contact with one another become Sentiments when they are imbued with the quality of universality, how is it that Dominant States only are changed into Sentiments (and not Determinants and Consequents) ?" [In reply to this] it is said : "Just as among persons having same characteristics and similar hands, feet and belly, some, due to their birth, [superior] manners, learning and skill in arts and crafts, attain kingship, while others endowed with an inferior intellect become their attendants, in an identical manner, the ¹Dominant States become masters because on them Determinants (vibhāva), and Consequents (anubhāva) and Transitory States (vyabhicārin) depend. Similarly some of the other States (e.g. Determinants and Consequents) have the qualities of [king's] local officers, and [hence] Transitory States (vyabhicārin) become attendants to these (Determinants and Consequents) because of their [superior] quality. Now it may be asked, "Is there any parallel instance ?" [Answer.] "Just as only a king surrounded by numerous attendants receives this epithet [of king] and not any other man, be he ever so great, so the Dominant States (sthāyi-bhāva) only foliowed by Determinants, Consequents and Transitory States receive the name of Sentiment. [On this point] there is a traditional Śloka :

---

7 (B.10-11, G.7). ¹ विभावानुभाव-व्यभिचारिणः स्थायिभावानुपायिता भवन्त्याश्रयत्वात् स्वामीभूताः स्थायिनो भावाः, तदन् स्थानीयपुरुषगुणीभूता अन्ये भावास्तान् गुणवत्तयाश्रयन्ते परिजनभूता व्यभिचारिणो भावाः.

-VII. 10 ] THE EMOTIONAL AND OTHER STATES 121

8. Just as a king is superior to other men, and the preceptor (guru) is superior to his disciples, so the Dominant States (sthāyi-bhāva) are superior to the other States (Determinants, Consequents and Transitory States).

The Dominant States

Characteristics of these which are known as the Sentiments have been mentioned before. Now we shall discuss the marks of the States common to them. First of all we shall take up [the case of] the Dominant States (sthāyi-bhāva).

Love

Love (rati) which has pleasure as its basis is caused by Determinants like seasons, garlands, unguent, ornaments, dear ones, enjoyment of a superior residential house and absence of opposition [from any one]. It is to be represented on the stage by Consequents such as a smiling face, sweet words, motion of eyebrows, and glances and the like.

There is a Śloka [on this point]

9. Love arises from the attainment of desired objects, because of its agreeableness. It is to be represented on the stage by sweet words accompanied by [suitable] gestures and movements of limbs.

Laughter

Now Laughter (hāsya) is caused by Determinants such as mimicry of others' actions¹, incoherent talk, obtrusiveness, foolishness and the like. It is to be represented on the stage by means of Smile and the like.

On this point there is a traditional Śloka :

10. Laughter arises from a mimicry of other people's actions. It is to be represented on the stage by the learned with Smile, Laughter and Excessive Laughter.

---

8 (B.12-14, G.8).
9 (B.14-15, G.9). ¹ B. adds kuhaka after paraceṣṭā.
10 (B.16-17, G.10).
16

122
THE NATYASASTRA
[ VII. 11-

Sorrow

Sorrow (śoka) is caused by Determinants such as death of the beloved one, loss of wealth, experience of sorrow due to any one's murder or captivity, and the like. It is to be represented on the stage by Consequents such as shedding tears, lamentation, bewailing, change of colour, loss of voice, looseness of limbs, falling on the ground, crying, deep breathing, paralysis, insanity, death and the like. Weeping in this case is of three kinds : [weeping of joy, [weeping] of affliection and [weeping] due to jealousy. On these points there are traditional Āryās :

11. ¹Weeping in which the checks are blooming in joy, the body is horripilating, there are words² of remembrance and tears are not concealed is called weeping of joy.

12. Weeping in which there is a loud sound, copious shedding of tears, uneasiness of the body, want of steady movements and efforts, lamentation after falling on the ground and rolling on the earth is called weeping due to affliction.

13. Loud weeping of women in which the lips and the cheeks are throbbing and the head is shaking, the eyebrows and the glances are moving in anger, is called weeping due to jealousy.

14. Sorrow relates to women, persons of the inferior type, and it has its origin in affliction [of any kind]. With relation to it, persons of the superior and the middling types are distinguished by their patience and those of the inferior type by their weeping.

Anger

Anger (krodha) is caused by Determinants such as insolence, abusive language, quarrel, altercation, opposing [persons or objects] and the like. It is to be represented on the stage by Consequents such as swollen nose, upturned eyes, bitten lips, throbbing cheeks and the like.

---

11 (B.19, G.11). ¹ B. reads one additional couplet (B.18, before this).
² Read sānusmaraṇāṁ vāganibhṛtāsram.
12 (B.20, G.12). 13 (B.21, G.13). 14 (B.22-23, G.14).

.VII. 20 ] THE EMOTIONAL AND OTHER STATES 123

15. Anger is of five kinds, viz., anger caused by enemies, superior persons, lovers, servants, and feigned anger.

On this point there are traditional Āryās :

16. One should show anger against resistance by the enemy with knitting of eyebrows, fierce look, bitten lips, hands clasping each other, and touching one's own head and breast.

17. One should show anger against control by superiors with slightly downcast eyes, wiping off slight perspiration and not expressing any violent movement.

18. One should show one's anger to the beloved woman by a very slight movement [of the body], by shedding tears, and knitting eyebrows and with sidelong glances, and throbbing lips.

19. Anger to one's servants should be represented on the stage by means of threat, rebuke, dilating the eyes and casting contemptuous looks of various kinds.

20. Anger which is artificially shown with a view to the realisation of an ulterior motive and which mostly betrays marks of effort is called feigned anger, and it relates to two¹ Sentiments.

Energy

Energy (utsāha) relates to persons of the superior type. It is caused by Determinants such as absence of sadness, power, patience, heroism and the like. It is to be represented on the stage by Consequents such as steadiness², munificence, boldness of an undertaking, and the like.

On this point there is a Śloka :

---

15 (B.24, G.omits). 16 (B.26, G.15). 17 (B.27, G.16).
18 (B.28, G.17). 19 (B.29, G.18).
20 (B.30-31, G.19). ¹ ubhayarasa (dvirasa, G.).
² Omit dhairya after sthairya.
21 (B.32-33, G.20). ¹ Omit śvāpada before śūnya.
² Omit kāntāra before durdina.

124 THE NATYASASTRA [ VII. 25

21. Energy which has effort as its basis and which grows out of alertness and such other qualities, should be represented on the stage by acts of vigilance and the like

Fear

Fear (bhaya) relates to women and persons of the inferior type. It is caused by Determinants such as acts offending one's superiors and the king¹, roaming in a forest, seeing an elephant and a snake, staying in an empty house, rebuke [from one's superiors], ²a dark rainy night, hearing the hooting of owls and the cry of animals that go out at night, and the like. It is to be represented on the stage by Consequents such as, trembling hands and feet, palpitation of the heart, paralysis, dryness of the mouth, licking the lips, perspiration, tremor, apprehension [of danger], seeking for safety, running away, loud crying and the like.

On this point there are Ślokas :

22. Fear arises from an embarassment due to offending one's superiors and the king, seeing terrible objects and hearing awful things.

23. This is to be represented with tremor of the limbs, panic, drying up of the mouth, hurried movement, widely opened eyes and such other gestures and actions.

24. Fear in men arising from terrifying objects should be represented on the stage by actors (lit. dancers) with slackened limbs and suspended movement of the eyes.

There is also an Āryā on this point :

25. This (fear) should be represented on the stage with tremor of hands and feet, and palpitation of the heart, paralysis, licking the lips, drying up of the mouth, loosened limbs and sinking (viṣaṇṇa) body.

---

22 (B.34, G.21). 23 (B.35, G.22),
24 (B.36, G.23).
25 (B.37-38, G.24).

-VII. 37] THE EMOTIONAL AND OTHER STATES 125

Disgust

Disgust (jugupsā) relates to women and persons of the inferior type. It is caused by Determinants such as hearing and seeing¹ unpleasant things, and the like. It is to be represented on the stage by Consequents such as, contracting all the limbs, spitting, narrowing down of the mouth, heartache and the like.

On this point there is a Śloka.

26. Disgust is to be represented on the stage by covering the nose, contracting all the limbs, [general] uneasiness and heartache.

Astonishment

Astonishment (vismaya) is created by Determinants such as illusion, magic, extraordinary feats of men, great excellence in painting, art-works in parchment¹ and the like. It is to be represented on the stage by Consequents such as wide opening of the eyes, looking without winking of the eyes, [much] movement of the eyebrows, horripilation, moving the head to and fro, the cry of "well, done," "well done," and the like.

On this point there is a Śloka :

27. Astonishment arising from joy due to extraordinary acts should be represented by means such as joy tears, fainting and the like.

The Transitory States

The Dominant States¹ are to be known as described here. We shall now explain the Transitory States (vyabhicāri-bhāva). It is questioned, "Why are these called vyabhicāriṇaḥ?" [In answer] it is said that vi and abhi are prefixes, and the root is caru meaning 'to go', 'to move'. Hence the word vyabhicāriṇaḥ means 'those that move in relation to the Sentiments towards different kinds of objects. That is, they carry the Sentiments which are connected with Words, Gestures and the Temperament. It is questioned, "How do they carry [the Sentiments] ?" In answer it is said, "It is a popular

---

¹ Omit parikīrtana after śravaṇa.
26 (B.40-41, G.25). ¹ Omit vidyā after śilpa.
27 (B.42-43, G.26). ¹ Omit rasasaṃjñāḥ (B) after sthāyino bhāvāḥ.

<!-- Blank or illustration plate: Page 211 -->

.VII. 35 ] THE EMOTIONAL AND OTHER STATES 127

On this point there are two Āryās :

31. Weakness grows out of vomitting, purgation and sickness, penance, and old age. It is to be represented on the stage by thinness of the body, slow gait and tremor [of the limbs].

32. Weakness is to be represented on the stage by a very weak voice, weakness of the eyesight, poor gait, constant slackness of the limbs.

Apprehension

Apprehension (śaṅkā) has doubt as its basis and it relates to to women and persons of the inferior type. It is caused by Determinants such as theft, giving offence to the king and the like. It is to be represented on the stage by Consequents such as constantly looking on, hesitating movement (arākuṇṭhana), dryness of the mouto, licking the lips, change of facial colour, tremor, dry lips, loss of voice and the like.

There is a Śloka on these points :

33. Apprehension in the Terrible Sentiment is due to robbery, and the like, and in case of the Erotic Sentiment it is due to [a possible] deception on the part of the lover.

Some authorities prescribe (lit. desire) in this case a concealment of appearence which is to be characterised by [adoption of] clever tricks and gestures.

There are two Āryās in this connexion :

34. Apprehension is of two kinds : viz. that arising from one's ownself and that arising from another person. That arising from one's own self is to be known from one's eyes and efforts.

35. A man with Apprehension has a dark face, a thick and protruding tongue, slightly trembling limbs, and he constantly looks sideways.

Envy

Envy (asūyā) is caused by Determinants such as various offences, hatred, other people's wealth, good luck, intelligence,

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31 (B.49, G.30). 32 (B.50-51, G.31). 33 (B.52-53, G 32).
34 (B.54, G.33). 35 (B.55-56, G.34).

128 THE NATYASASTRA [ VII, 36-

sports, learning and the like. It is to be represented on the stage by Consequents such as finding fault with others, decrying their virtues, not paying any heed to these, remaining with downcast face, knitting eyebrows in disparagement and abusing others in the assembly [of men].

On these points there are two Āryās :

36. Envy arises in a person who is displeased to see other people's good fortune, wealth, intelligence, and exuberence of sportiveness.

37. It is to be represented by a distorted face, knitting eyebrows, face turned away in jealous anger, decrying other people's virtues and showing hatred towards them.

Intoxication

Intoxication (mada) is caused by drinking of liquor and smilar other things. It is of three kinds and has five Determinants. There are the following Āryās on this point :

38. Intoxication is of three kinds, viz. light, medium and excessive. It has five causes which should be represented on the stage.

39. While intoxicated some sing, some laugh and some use hot words while other sleep.

40. Among these, persons of the superior type sleep, those of the middling type laugh and sing, and those of the inferior type cry or use hot words.

41. Light intoxication is characterised by smiling face, pleasant feeling, joyful body, slightly faltering words, delicately unsteady gait and relates to persons of the superior type.

42 Medium intoxication is characterised by drunken and rolling eyes, drooping arms or arms restlessly thrown about and irregularly unsteady gait, and relates to persons of the middling type.

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36 (B.57, G.35). 37 (B.58-59, G.36). 38 (B.60, G.37).
39 (B.61, G.38). 40 (B.62, G.39). 41 (B.63, G.40).
42 (B.64, G.41).

.VII. 47] THE EMOTIONAL AND OTHER STATES 129

43. Excessive intoxication is characterised by loss of memory, and incapacity to walk due to vomitting, hiccough and cough, and a thick protruding tongue and spitting, and relates to persons of the inferior type.

44. A character who [acts] drinking on entering the stage is to show that his intoxication is increasing, but the character who enters the stage as drunk should show that his intoxication is decreasing.

45. But the intoxication should be stopped by effort when there is panic, grief and increase of terror due to some cause.

46. On account of these special conditions, intoxication disappears quickly just as grief passes away on hearing the happy news of [sudden] prosperity.

Weariness

Weariness (śrama) is caused by Determinants such as travelling a long way, exercising of the limbs and the like. ¹ It is to be represented on the stage by Consequents such as gentle rubbing of the body, [deep] breathing, contraction of the mouth, belching, massaging of the limbs, very slow gait, contraction of the eyes, making Śītkāra and the like.

There is an Āryā on this point:

47. Weariness in man is caused by travelling [a long way] and exercising [the limbs], and it is to be represented on the stage by [deep] breathing, tired gait and the like.

Indolence

Indolence (ālasya) is caused by Determinants such as nature, lassitude, sickness satiety, pregnancy and the like. And it relates to women, and men of the inferior type. It is to be represented on the stage by Consequents such as aversion to any kind of work, lying down, sitting, drowsiness, sleep and the like. On this point there is an Āryā :

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43 (B.65, G.42). 44 (B.66, G.43). 45 (B.61, G.44).
46 (B.68-69, G.45). ¹ We follow the reading of the ms ḍa in B.
47 (B.70-71, G.46). ¹ adhvagati for nṛttadva° (B).
17

130 THE NATYASASTRA [-VII. 48-.

48. Indolence arising from lassitude as well as nature should be represented on the stage by discontinuance of all activity except taking food.

Dipression

Dipression (dainya) is caused by Determinants such as poverty, mental agony and the like. It is to be represented on the stage by Consequents such as want of self-command, dullness of the body, absent-mindedness, giving up of cleansing [the body] and the like.

There is an Āryā on this point :

49. Dipression of men proceeds from anxiety, eager expectation and misery. Different modes of representing it on the stage includes giving up of cleansing [the body] in any way.

Anxiety

Anxiety (cintā) is caused by Determinants such as loss of wealth, theft of a favourite object, poverty and the like. It is to be represented on the stage by [deep] breathing, sighing, agony, meditation, thinking with a downcast face, thinness of the body and the like.

There are two Āryās on this point :

50. Anxiety of men arises in various ways : from the loss of wealth, theft of a favourite object, and a heart full of expectation.

51. It is to be represented on the stage by sighing, deep breathing, agony, and absent-mindedness, giving up of cleansing [the body] and want of self-command.

Distraction

Distraction (moha) is caused by Determinants such as accidental injury, adversity, sickness, fear, agitation, remembering past enemity and the like. It is to be represented on the stage by Consequents such as want of movement, [excessive]

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48 (B.92-73, G.47).
49 (B.74-75, G.48).
50 (B.76, G.42).
51 (B.77-78, G.50).