140 THE NĀṬYAŚĀSTRA [ VII. 83-

Fever and similar other illnesses are special varieties of it. Fever is of two kinds, viz. that with a feeling of cold (śīta) and that with a feeling of heat (dāha). Fever with a feeling of cold should be represented by Consequents such as shivering, tremor of the entire body, bending [the body], shaking of the jaws, narrowing down the nasal passage, dryness of the mouth, horripilation, lamentation and the like. And that with a feeling of heat, is to be represented by throwing out clothes, the hands and the feet, desire [to roll on] the ground, [use of] unguent, desire for coolness, lamentation, crying and the like. The other types of sicknesses are to be represented on the stage by Consequents such as narrowing down the mouth dullness of the body, [deep] breathing, making [peculiar] sounds, crying, tremor and the like.

There is a Śloka on this point :

83. Sickness in general should be represented on the stage by looseness of the limbs, throwing out the limbs and narrowing down the mouth due to illness.

Insanity

Insanity (unmāda) is caused by Determinants such as death of beloved persons, loss of wealth, accidental hurt, derangement of [the three humours] : wind (vāta), biles (pitta), phelgm (śleṣman), and the like. It is to be represented on the stage by laughing, weeping, crying, talking, lying down, sitting, running, dancing, singing, and reciting [something] without any reason, smearing [the body] with ashes and dust, taking grass, Nirmālya¹, soiled cloth, rags, potsherd, earthen tray as decoration [of the body], many other senseless acts, and imitation of others.

There are two Āryās on this point :

84. Insanity occurs owing to death of beloved persons, loss of wealth, accidental hurt, wind (vāta), biles (pitta), phlegm (kapha) derangement of the mind in various ways.

---

83 (B.130-131, G.81. ¹ Remains of a flower-offering to a deity, which is supposed to purify a person who takes it with reverence.
84 (B.132, G.82).

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144 THE NATYASASTRA [ VII. 100.

Among these,

Perspiration

95. Perspiration (sveda) occurs as the result of anger, fear, joy, shame, sorrow, toil, sickness, heat, exercise, fatigue, summer and massage.

Paralysis and Trembling

96. Paralysis (stambha) occurs as being due to joy, fear, sickness, surprise, sadness, intoxication and anger, and Trembling (kampa=vepathu) due to cold, fear, joy, anger, touch [of the beloved] and old age.

Weeping

97. Weeping (asru) occurs as being due to joy, indignation, smoke, collyrium, yawning, fear, sorrow, looking with a steadfast gaze, cold and sickness.

Change of Colour and Horripilation

98. Change of Colour (vaivarṇya) occurs as being due to cold, anger, fear, toil, sickness, fatigue and heat, and Horripilation (romāñca) due to touch, fear, cold joy, anger and sickness.

Change of Voice and Fainting

99. Change of Voice (svara-sāda) occurs as being due to fear, joy, anger, fever, sickness and intoxication, and Fainting (pralaya) due to too much toil, swoon, intoxication, sleep, injury, astonishment and the like.

Representation of the Temperamental States

100. These are to be known by the wise as the eight Temperamental States. I shall speak afterwards about actions which will represent these States.

---

95 (B.149, G.93).	96 (150, G.94).
97 (B.151, B.95).	98 (B.152, G.96).
99 (B.153, G.97).	100 (B.159, G.98).

-VII, 108] THE EMOTIONAL AND OTHER STATES 145

101. Paralysis should be represented on the stage by being inactive, motionless, smileless, like an inert object, senseless, and stiff-bodied.

102. Perspiration should be represented on the stage by taking up a fan, wiping off sweat as well as looking for breeze.

103. Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and touching the body.

104. Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering.

105. Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependant on the limbs.

106 Weeping should be represented on the stage by rubbing the eyes and shedding tears, and Loss of Consciousness by falling on the ground.

Application of the States to the different Sentiments

107. These are the fortynine States (bhāva) of the three kinds mentioned by me. Now you ought to hear of the different Sentiments to which they are applicable.

108. All the (fortynine) States except indolence, cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name).

109. Weakness, apprehension, envy, weariness, inconstancy, dreaming, sleeping dissimulation are the States applicable to the Comic Sentiment.

110. Discouragement, anxiety, depression, weakness, weeping, stupor and death are the States applicable to the Pathetic Sentiment.

---

101 (B.155, G.100).	102 (B.156, G.99).
103 (B.157, G.102).	104 (B.158, G.101).
105 (B.159, G.103-104a)	106 (cf. B.160-161, G.105).
107 (B.162, G.106).	108 (B.169, G.107).
109 (B.171, G.108).	110 (B.172, G.109).

146 THE NATYASASTRA [ VII. 111-

111. Arrogance, envy, energy, agitation, intoxication, anger, inconstancy and cruelty are the States applicable to the Furious Sentiment.

112-113. Presence of mind, energy, agitation, joy, assurance, cruelty, indignation, intoxication, horripilation, change of voice, anger, envy, contentment, arrogance and deliberation are the States applicable to the Heroic Sentiment.

114. Perspiration. trembling, horripilation, choking voice, fear, death, change of colour are the States applicable to the Terrible Sentiment.

115. Epilepsy, insanity, despair, intoxication, death, sickness and fear are the States applicable to the Odoius Sentiment.

116. Paralysis, perspiration, loss of consciousness, horripilation, astonishment, agitation, stupper, joy and fainting are the States applicable to the Marvellous Sentiment.

117. These¹ Temperamental States which depends on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays.

118-119. No play in its production can have one Sentiment only. If in an assemblage of the many¹ States, Sentiments, Styles (vṛtti) and Local Usages (pravṛtti) [in the production of a play] any one item has varied representation it should be considered the Dominant Sentiment and the rest the Transitory ones².

120. That which stands on the principal theme [of the play] and is combined with Determinants, Consequents and Transitory States is the Dominant Sentiment.

---

111 (B.173, G.113).
112-113 (B.174-175, G.110-111).
114 (B.176, G.114).
115 (B.177, G.115).
116 (B.178, G.115).
117 (B.179, G.116).
¹ ye tvete (cānye. B).
² nānābhinayasaṁśritāḥ B.
118-119 (B.180-181, G.117-118).
¹ bahūnāṁ (sarveṣāṁ G.). samavetānām.
• ² After this B. reads one additional couplet.
120 (B.183, G.119).

.VII. 124 ] THE EMOTIONAL AND OTHER STATES 147

121. ¹This Dominant Sentiment should be represented with an exuberence of the Temperament, but the Transitory States by mere gestures and postures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel² it].

122. [An equally full representation of] a variety [of Sentiments] does not please [the spectators], and such a variety is rare in practical life (lit. amongst people). But a mixture of different Sentiments will however, bring pleasure [to the spectators] when such is carefully represented.

123. In [the production of] a play the Dominant, the Temperamental and the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male¹ characters².

124. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play].

Here ends Chapter VII of Bharata’s Nāṭyaśāstra which treats of the Representation of the States.

---

121 (B.184, G.120). ¹ A disregard of this principle is liable to cause undue prominence to a minor character in a play and thereby to frustrate the principal object of the playwright.
² After this B. reads some additional couplets (B.185-189a) which include a variants of 122 a (B.189a) and 122b (B.186b) and a repetition of 118a (B.186a) and 118b (B.187a).

122 (B.184 foot-note, 9, G.121).

123 (B.189b-190a, G.122). ¹ puṁsānukīrṇāḥ (puṣpāvakīrṇāḥ B.G.).
² An analysis of the plays of the best kind, known to us seems to explain this rule. For in almost all of them superior roles are assigned to men who can better be made the vehicle of different and complex psychological states.

124 (B.190bc, G.123).

CHAPTER EIGHT

THE GESTURES OF MINOR LIMBS

The sages question.

1-2. Through your kindness we have heard in due order everything relating to the origin of the States (bhāva)¹ and Sentiments (rasa)².– We shall now like to know also what the experts say about the different kinds of Histrionic Representation, their meanings and different subdivisions.

3. O the blessed one, you are also to teil us accurately what kinds of Histrionic Representation are to be applied to which [places or occasions] by persons aiming at the Success.

Bharata answers.

4. On these words of the sages, Bharata spoke thus relating to the four kinds of Histrionic Representation.

5. “O sages, I shall now speak to you in detail so that the Histrionic Representation becomes properly explained to you.

¹We shall speak of [the fact that] the abhinaya (Histrionic Representation) is of four kinds. The question is, “Why is it called the abhinaya ?” It is said in reply to this that the abhinaya is derived from the prefix abhi, and the verbal root nī meaning ‘to cause to get’ (to attain), and the sufix ac attached to these two. Hence a [full] answer to this should be made after a consideration of the root and its meaning.

There is a Śloka on this point :

6. As the root nī preceded by abhi means ‘carrying the performances (prayoga) of a play [to the point of direct] ascertainment

---

1-2 (B.G. same). ¹ See NŚ. VIII. ² See NŚ. VI.
3 (B.G. same). 4 (B.G. same).
5 (B.5-6, G.5). ³ This portion till the beginning of 6 is originally in prose. 6 (B.7, G.6).

.VIII. 13 ] THE GESTURES OF MINOR LIMBS 149

of its meaning,' so [the word made out of them] becomes abhinaya (carrying towards).

The meaning of abhinaya

7. Abhinaya is so called because in the performonce [of a play] it together with the Śākhā¹, the Aṅga² and the Upāṅga³ explains the meaning of different [things].

The four kinds of abhinaya

8. O Brahmins, the Histrionic Representation of a play takes place in four ways, and on this (Representation) the plays of different types rest.

9. O Brahmins, this Histrionic Representation is known to be fourfold : Gestures¹ (āṅyika), Words (vācika) Dresses and Make-up (āhārya) and the Temperament (sāttvika).

The Gesture : its three varieties

10. Of these, the Temperament has been described before, along with the States ; now listen first of all about the Gestures (āṅyika).

11. The Gesture is of three kinds, viz. that of the limbs (śārīra), that of the face (mukhaja) and that related to [different] movements of the entire body (ceṣṭākṛta) including the Śākhā, the Aṅga and the Upāṅga.

12. Dramatic performance in its entirety relates to the six limbs including the major and the minor ones such as head, hands, lips, breast, sides and feet.

13. The six major limbs (aṅga) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (upāṅga) are eyes, eyebrows, nose, lower lip and chin.

---

7 (B.8, G.7). ¹ See 15 below. ² See 13 below. ³ See 13 below.
8 (B.9, G.8).
9 (B.10, G.9). ¹ More properly 'gestures and postures.'
10 (B.11, G.10). 11 (B.12, G.11). 12 (B.13, G.12).
13 (B.14, G. 13).

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-VIII. 30 ] THE GESTURES OF MINOR LIMBS 151

21. The Kampita head is applicable (lit. desired) in anger, argument, understanding, asserting, threatening, sickness and intolerance.

22. Dhuta and Vidhuta : A slow movement of the head is called the Dhuta, and when this movement is quick, it is called the Vidhuta.

23. (Uses) : The Dhuta head is applicable in unwillingness, sadness, astonishment, confidence, looking sideways, emptiness and forbidding.

24. The Vidhuta head is to be applied in an attack of cold, terror, panic, fever and the first stage of drinking.

25. Parivāhita and Udvāhita : When the head is alternately turned to the two sides it is called Parivāhita, and when it is once turned upwards it is known as Udvāhita :

26. (Uses) : The Parivāhita head is applicable in demonstration, surprise, joy, remembering, intolerance, cogitation, concealment and [amorous] sporting.

27. The Udvāhita¹ head is to be applied in pride, showing height, looking high up, self-esteem and the like.

28. Avadhuta : When the head is once turned down it is called Avadhuta. (Uses) : It is to be applied in [communicating] a message, invoking [a deity], conversation and beckoning [one to come near].

29. Añcita : When the neck is slightly bent on one side the Añcita head is the result. (Uses) : It is applicable in sickness, swoon, intoxication, anxiety and sorrow.

30-31. Nihañcita : When two shoulders are raised up with

---

21 (B.22, G.21). 22 (B 24, G.22).
23 (B.25, G.23). 24 (B.26, G.24).
25 (B.27, G.25), ¹ G. reads one additional hemistich between 25a and 25b, and names the head movement as ādhūta.
26 (B.28, G.26).
27 (B.29, G.27). ¹ B. reads the name as ādhūta.
28 (B.30, G.28). 29 (B.31, G.29).
30-31 (B.32-33, G.30-31).

152 THE NATYASASTRA [ VII. 38-

the neck bent on one side the Nihañcita head is produced. (Uses) : It is to be used by women in pride, Amorousness (vilāsa)¹, Light-heartedness (lalita)² Affected Indifference, (bibboka)³, Hysterical Mood, (kilakiñcita)⁴, Silent Expression of Affection (moṭṭāyita)⁵, Pretended anger, (kuṭṭamita)⁶, Paralysis and Jealous anger (mānā).

32. Parāvṛtta : When the face is turned round, the Parāvṛtta head is the result. (Uses) : It is to be used in turning away the face and looking back and the like.

33. Utkṣipta : When the face is [slightly] raised the Utkṣipta head is the result. (Uses) : It is used in lofty objects and application of divine weapons.

34. Adhogata : The head with the face looking downwards is called Adhogata. (Uses) : It is used in shame, bowing [in salutation] and sorrow.

35. Parilolita : When the head is moving on all sides, it is called Parilolita. (Uses): It is used in fainting, sickness, power of intoxication being possessed by an evil spirit, drowsiness and the like¹.

36. Besides these there are many other gestures of the head, which are based on popular acting. These are to be used according to the popular practice (lit. nature).

37. I have spoken about the thirteen gestures of the head. Now I shall discuss the characteristics of the Glances.

The thirtysix Glances

38. The Glances expressing the Sentiments¹ are Kāntā, Bhayānakā, Hāsyā, Karuṇā, Adbhutā, Raudrī, Vīrā, and Bībhatsā.

---

¹ See NŚ. XXIV. 15.
² See ibid 22.
³ See ibid 21.
⁴ See ibid 18.
⁵ See ibid 19.
⁶ See ibid 20.
32 (B.34, G.32).
33 (B 35, G.33).
34 (B.36, G.34).
35 (B.37, G.35). ¹ B. reads after this an additional couplet.
36 (B.39, G.36).
37 (B.40, G.37).
38 (B.41, G.38). The AD. too has only eight glances, see ed. M. Ghosh, 66-78, and A. K. Coomaraswamy, MG. p. 40. But curiously enough the names of the eight glances in the AD. even if referred by

-VIII. 47] THE GESTURES OF MINOR LIMBS 158

39. The Glances to be used in the Dominant States are Snigdhā, Hṛṣṭā, Dīnā, Kruddhā, Dṛptā, Bhayānvitā, Jugupsitā and Vismitā.

40-42. The Glances to be used in the Transitory States such as Śūnyā, Malinā, Śrāntā, Lajjānvitā, Glānā, Śaṅkitā, Viṣaṇṇā, Muktā, Kuñcitā, Abhitaptā, Jihmā, Lalitā Vitarkitā, Ardhamukulā, Vibhrāntā, Viplutā, Ākekara, Vikośā, Trastā and Madirā, make up their number thirtysix¹.

The Glances to express the Sentiments

43. I shall now explain the characteristics of these Glances in connexion with the various Sentiments and the States, and shall describe their functions.

44. Kāntā : When with a feeling of love a person contracts his eyebrows and castes a sidelong look, he is said to have a Kāntā (pleasing) Glance which has its origin in joy and pleasure. It is used in the Erotic Sentiment.

45. Bhayānakā : The Glance in which the eyelids are drawn up and fixed, and the eyeballs are gleaming and turning up is called Bhayānakā (terrible). It indicates a great fear and is used in the Terrible Sentiment.

46. Hāsyā : In the Hāsyā (smiling) Glance the two eyelids are by turns contracted, and they open with the eyeballs moving and slightly visible ; it should be used in representing jugglary.

47. Karuṇā : The Glance in which the upper eyelid has descended, the eyeball is at rest due to mental agony, and the gaze is fixed at the tip of the nose, and there is tear, is called Karuṇā (pathetic).

---

Coomaraswamy's text to the Bharataśāstra, does not occur in the NŚ. which has no less than thirtysix glances. Besides the eight glances Coomaraswamy's text records (loc. cit) fortyfour glances which include those mentioned in the NŚ. 39 (B.42, G.39).

40-42 (B.43-45, G.43-42). ¹ See note 1 to 38 above.
43 (B.46, G.43). 44 (B.47 G.44).
45-46 (B.48-49a, G.45-46a). 47 (B.49, G.46b).
20

154 THE NATYASASTRA [ VIII. 48-

48. Adbhutā : The Glance in which eyelashes are slightly curved at the end, eyeballs are raised in wonder, and the eyes are charmingly windened till the end, is called the Adbhutā (of wonder).

49. Raudrī : The pitiless Glance in which the eyeballs are rough, red, raised, and the eyelids are still and the eyebrows knitted, is called Raudrī (cruel), and it is used in the Furious Sentiment.

.50. Vīrā : The Glance which is bright, fully open, agitated, serious, and in which eyeballs are at the centre of the eye (lit. level) is called Vīrā (heroic), and it is used in the Heroic Sentiment.

51. Bībhatsā : The Glance in which the corners of the eyes are nearly covered by eyelids, the eyeballs are disturbed in disgust and the eyelashes are still and close to each other, is called Bībhatsā (odious).

The Glances to express the Dominant States

52. The Glances defined here are known to occur in relation to the Sentiments. I shall now explain the Glances relating to the Dominant States.

53. Snigdhā : The Glance which is not much widened (lit. medium widened), is sweet, and in which eyeballs are still, and there are tears of joy, is called Snigdhā (loving); it is used in love (lit. grows out of love).

54. Hṛṣṭā : The Glance which is moving, slightly bent and in which eyeballs are not wholly visible (lit. entering), and there is winking, is called Hṛṣṭā (joyful); it is used in laughter.

55. Dīnā : The Glance in which the lower eyelid is slightly fallen, eyeballs are slightly swollen, and which is moving very slowly, is called Dīnā (pitiable); it is used in sorrow.

---

48 (B.51, G.48). 49 (B.52, G.49).
50 (B.53, G.50).
51 (B.54, G.51). ¹ B.G. add after this one couplet defining the śāntarasa.
52 (B.56, G.53). 53 (B.57, G.54). 54 (p.9, B.55, G.55).
55 (p.9, B.56, G.56).

.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).

---

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).

156	THE NATYASASTRA	[ VIII. 64

64. Śrāntā : The resting Glance in which eyelids have been let down due to fatigue, corners of the eyes are narrowed, and the eyeballs are fallen, is called Śrāntā (tired).

65. Lajjānvitā : The Glance in which ends of the eyelashes are slightly bent, the upper eyelid is descending in shyness, the eyeballs are lowered due to shame, is called Lajjānvitā (bashful).

66. Glānā : The languid Glance in which the eyebrows and the eyelashes are slowly moving and eyeballs are covered [under the eyelids] due to fatigue, is called Glānā (lazy).

67. Śaṅkitā : The concealed Glance which is once moved, and once at rest, slightly raised, obliquely open and in which the eyeballs are timid, is Śaṅkitā (apprehensive).

68. Viṣaṇṇā : The bewildered Glance in which eyelids are drawn wide apart in dejection, and there is no winking and the eyeballs are slightly motionless, is called Viṣaṇṇā (dejected).

69. Mukulā : The Glance in which eyelashes are slightly trembling, the upper eyelids are of the Mukula type and the eyeballs are opened in happiness, is called Mukulā.

70. Kuñcitā : The Glance in which ends of eyelashes are bent due to the eyelids being contracted and the eyeballs are also contracted, is called Kuñcita (contracted).

71. Abhitaptā : The Glance in which the eyeballs are slowly moving due to the movement of the eyelids, and which indicates much distress and pain, is called Abhitaptā (distressed).

72 Jihmā : The Glance in which the eyelids are hanging down and slightly contracted and the eyeballs are concealed, and which casts itself obliquely and slyly is called Jihmā (crooked).

73. Lalitā : The Glance which is sweet, and contracted at the end [of the eye] and which is smiling and has movement of the eyebrows, and shows signs of love is called Lalitā (amorous).

---

64 (B.65, G.65).	65 (B.66, G.66).	66 (B.67, G.67).
67 (B.68, G.68).	68 (B.69, G.69).	69 (B.70, G.70).
70 (B.71, G.71).	71 (B.72, G.72).
72 (B.73, G.73).	73 (B.74, G.74).

.VIII. 83 ] THE GESTURES OF MINOR LIMBS 157

74. Vitarkitā : The Glance in which the eyelids are turned up for guessing, the eyeballs are full blown and moving downwards is called the Vitarkitā (conjecturing).

75. Ardhamukulā : The Glance in which owing to joy the eyelids are of the Ardhamukula type, the eyeballs are half-blown and slightly mobile is called Ardhamukulā.

76. Vibhrāntā : The Glance in which the eyeballs are moving, and so are the eyelids, and the middle [of the eye] is wide open, and full-blown, is called Vibhrāntā (confused)¹.

77. Viplutā : The Glance in which the eyelids [first] tremble and then become motionless and the eyeballs are [again] disturbed, is called Viplutā (disturbed).

78. Ākekarā : The Glance in which the eyelids and the corner of the eyes are slightly contracted and joined together and is half-winking, and the eyeballs are repeatedly turning up, is called Ākekarā (half-shut).

79. Vikośā : The joyful Glance in which the two eyelids are wide open and there is no winking and the eyeballs are not immobile, is called Vikośā (full-blown).

80. Trastā : The Glance in which the eyelids are drawn up in fear, the eyeballs are trembling and the middle of the eye is full-blown due to panic, is called Trastā (frightened).

81. Madirā : The Glance in which the middle of the eye is rolling, the ends of the eyes are thin, the eyes are bent, and the corners of the eyes are fully widened, is called Madirā (intoxicated). It is to be used in representing light intoxication.

82. In medium intoxication this Glance should have its eyelids slightly contracted, the eyeballs and the eyelashes slightly mobile.

83. In excessive (lit. the worst) intoxication the Glance

---

74 (B.75, G.75). 75 (B.76, G.76)
76 (B.77, G.77). ¹ B.G. read 76b. differently.
77 (B.78, G.78). 78 (B.79, G.79). 79 (B.80, G.80).
80 (B.81, G.81). 81 (B.82, G.82). 82 (B.83, G.83).
83 (B.84, G.84).

158 THE NATYASASTRA [ VIII. 84-

should have [either too] much winking or no winking at all, and the eyeballs in it should be slightly visible, and it (the look) should be turned downwards.

84. These are the thirtysix Glances due to the Sentiments and the Dominant States described by me. Now listen about their uses.

Uses of the Glances expressing the Transitory States

85. The Glances due to the Sentiments are to be used in representing them, while Glances due to the Dominant (States) should be used in expressing these. Now listen about the uses of the Glances due to the Transitory States in representing these (States),

86-93. Śūnyā (vacant)—in anxiety and paralysis (motionlessness).

Malinā (pale)—in discouragement, change of colour.

Śrāntā (tired)—in weariness and depression.

Lajjānvita—(bashful)¹—in shame.

Glānā (lazy)—in epilepsy, sickness and weakness.

Śaṅkitā (apprehensive)—in apprehension.

Viṣaṇṇā (dejected)—in depair.

Mukulā—in sleeping, dreaming and happiness.

Kuñcita (contracted)—in envy, undesirable object, objects visible with difficulty and pain in the eye.

Abhitaptā (distressed)—in discouragement, accidental hurt and distress.

Jihmā (crooked)—in envy, stupor and indolence. Lalitā (amorous)—in contentment and joy.

Vitarkitā (conjecturing)—in recollection and deliberation.

Ardhamukulā—in joy due to an experience of [sweet] smell or touch.

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84 (B.85, G.84). ¹ We adopt G's reading.
. 85 (B.86, G.85).
86-93 (B.87-94, G.87-94). ² lajjitā (lalitā, B.).

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