.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.

---

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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160 THE NATYASASTRA [ VIII. 99-

Samudvṛtta (raising up)—the raising up of the eyeballs.

Niṣkramaṇa (going out)—going out [as it were of the eyeballs.]

Prākṛta (natural))—eyeballs in the natural (glance.)

Uses of the eyeballs

99-101. Now listen about their uses in [different] Sentiments and States.

Bhramaṇa (moving round), Valana (turning) and Samudvṛtta (raising of eyeballs)—in the Heroic and the Furious Sentiments.

Niṣkramaṇa (going out), and Valana (turning of the eyeballs)—in the Terrible Sentiment.

Sampraveśana (drawing of the eyeball)—in the Comic and the Odious Sentiments.

Pātana (relaxed eyeballs) in the Pathetic Sentiment.

Niṣkramaṇa (going out of the eyeballs)--in the Marvellous Sentiment.

Prākṛta (natural) eyeballs—in the remaining Sentiments (lit. States).

Vivartana (turning sideways of the eyeballs)—in the Erotic Sentiment.

102. These are the natural gestures of eyeballs based on the popular practice. They are to be applied [suitably] to all the different States.

The additional Glances

103-107. I shall speak about the varieties of Glances in special relation of these (lit. there). These are of eight kinds, viz. Sama (level), Sāci (sidelong), Anuvṛtta (inspecting), Ālokita (casual), Vilokita (looking round), Pralokita (carefully looking), Ullokita (looking up), and Avalokita (looking down).

---

99-101 (B.101b-104a, G.100b-102a).
102 (B.104b-105a, G.102b-104a).
103-107 (B.105b-110a, G.104-109a).

.VIII. 108 ] THE GESTURES OF MINOR LIMBS 161

Sama (level)—the eyeballs are in a level position and at rest.
Sācī (side-long)—the eyeballs are covered by eyelashes.
Anuvṛtta (inspecting)—Glance which carefully observes any form.
Ālokita (casual)—(the eyeballs) in suddenly seeing any object).
Vilokita (looking round)—(eyeballs) in looking back.
Pralokita (carefully looking)—turning (eyeballs) from side to side.
Ullokita (looking up)—(turning the eyeballs) upwards.
Avalokita (looking down)—(turning the eyeballs) towards the ground.

These are the gestures of the eyeballs in relation to all the Sentiments and the States.

The eyelids

108-111. Now listen about the gestures of the eyelids follow which the movements of eyeballs They are : Unmeṣa (opening), Nimeṣa (closing), Prasṛta (expanding), Kuñcita (contracted), Sama (level), Vivartita (raising up), Sphurita (throbbing), Pihita (resting), and Vitāḍita (driven).

Unmeṣa (opening)—separating the eyelids
Nimeṣa (closing)—bringing together the eyelids.
Prasṛta (expanding)—separating the eyelids widely.
Kuñcita (contracted)—contracting the eyelids.
Sama (level)—eyelids in a natural position.
Vivartita (raising up)—raising up the eyelids.
Sphurita (throbbing)—when the eyelids are throbbing.
Pihita (resting)—when the eyelids are at rest (lit. closed).
Vitāḍita (driven)—when struck the eyelids are struck accidentally.

---

108-111 (B.110b-114a, G.109b-113a).
21

162 THE NATYASASTRA [ VIII. 112

Uses of the eyelids

112-115. Now listen about their uses in different Sentiments and States :

Vivartita (raising up)—in anger.

Nimeṣa (closing)—in anger.

Unmeṣa (opening)—in anger.

Prasṛta (expanding)—in objects causing wonder, joy, and heroism.

Kuñcita (contracted)—in seeing undesired objects, (sweet) scent, flavour and touch.

Sama (level)—in love.

Sphurita (throbbing)—in jealousy.

Pihita (resting)—in dreaming, fainting, affliction due to storm, hot smoke, rains and collyrium and eye-disease.

Vitāḍita (driven)—in accidental injury.

These are the uses of the eyeballs and the eyelids in expressing the Sentiments and the States.

The eyebrows

116-120. Now, listen about the gestures of eyebrows, which accord with those of the eyeballs and the eyelids. (They) are seven in number and are as follows : Utkṣepa (raising), Pātana (lowering), Bhrukuṭi (knitting), Catura (clever), Kuñcita (contracted), Recita (moving) and Sahaja (natural).

Utkṣepa (raising)—raising of eyebrows simultaneously or one by one.

Pātana (lowering)—lowering of eyebrows simultaneously or one by one.

Bhrukuṭi (knitting) - raising the root of the eyebrows.

Catura (clever)—slightly moving and extending the eyebrows in a pleasing manner.

---

112-115 (B.114b-118a, G.113b-117a).
116-120 (B.118b-123a, G.117b-122a).

.VIII. 126 ] THE GESTURES OF MINOR LIMBS [163

Kuñcita (contracted)—slightly bending of eyebrows one by one or the both at once.

Recita (moving)—raising of one of the eyebrows in an amorous way.

Sahaja (natural)—the position which the eyebrows maintain by nature.

Uses of the eyebrows

121-125. Now I shall speak about their uses in (expressing) the Sentiments' and the States.

Utkṣepa (raising)—in anger, deliberation, passion, sportiveness, in seeing and hearing only one eyebrow is raised, and in surprise, joy and violent anger both the eyebrows are raised up.

Pātana (lowering)—in envy, disgust, smile, and smelling.

Bhrukuṭi (knitting)—in objects of anger, dazzling light.

Catura (clever)—in love, sportiveness, pleasing (object), (pleasing) touch¹ and awakening.

Kuñcita (contracted)—in manifestation of affection, pretended and hysterical mood.

Recita (moving)—in dance.

Sahaja (natural)—in simple (anāviddha) conditions.

The nose

126-128. Gestures of the eyebrows have been described; now listen about those of the nose. They are of six kinds: Natā, Mandā, Vikṛṣṭā, Socchvāsā, Vikūṇitā and Svābhāvikā.

Natā—lobes are constantly clinging (śliṣṭapuṭā)

Mandā—lobes are at rest.

Vikṛṣṭā—lobes are blown.

Socchvāsā—when air is drawn in.

Vikūṇitā—the contracted nose.

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121-125 (B-123b-126, 128-129a, G.122b-127a). ¹ B. reads 124 a differently and one additional hemistich after this.
126-128 (B.129b-132a, G.127b-130a).

164 THE NATYASASTRA [ VIII. 135-

Svābhāvikā—the natural nose.

Uses of the nose

129-132. This is the description of the gestures of the nose. Now listen about their uses :

Natā—in slight weeping at intervals.
Mandā—in discouragement, impatience and anxiety.
Vikṛṣṭā—in strange smell, breathing, anger and fear.
Socchvāsā—in sweet smell and deep breathing.
Vikūṇitā—in laughter, disgust and envy.
Svābhāvikā—in the remaining conditions.

The cheeks

132-134. Cheeks are of six kinds : Kṣāma (depressed). Phulla (blown), Pūrṇa (full), Kampita (trembling) and Kuñcita (contracted) and Sama (natural).

Kṣāma (depressed)—(cheeks are) fallen.
Phulla (blown)—(cheeks are) raised
Pūrṇa (full)—(cheeks are) expanded.
Kampita (trembling)—(cheeks are) throbbing.
Kuñcita (contracted)—(cheeks are) narrrowed down.
Sama (natural) - as (cheeks are) by nature.

Uses of the cheeks

135-137. Cheeks have been described. Now listen about their uses.

Kṣāma (depressed)—in sorrow.
Phulla (blown)—in joy.
Pūrṇa (full)—in energy and arrogance.

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129-132 (B.132b, 134-136a, G.130b-133). ¹ Instead of 129b, B. reads one couplet slightly different in content.
132-134 (B.136b-138, G.134-136a).
135-137 (B.139-141a, G.136b-138).

.VIII. 140] THE GESTURES OF MINOR LIMBS 165

Kampita (trembling)—in anger and joy.

Kuñcita (contracted)—in horripilation (sensitive) touch, cold, fear and fever.

Sama (natural)—in the remaining conditions.

The lower lips

137-139. Gestures of the lips are six in number. (They are) : Vivartana (narrowing), Kampana (trembling), Visarga (spreading out), Vinigūhana (concealing), Sandaṣṭaka (biting), Samudgaka (contracting).

Vivartana (narrowing)—lips narrowed down.

Kampana (trembling)—throbbing (of lips).

Visarga (spreading out)—to spread out (lips).

Vinigūhana (concealing)—drawing in (of lips).

Sandaṣṭaka (biting)—(lips) bitten by teeth.

Samudgaka (contracting)—the contraction of lips and keeping them at rest.

Uses of the lower lips

140-142. These are the gestures of the lips; now listen about their uses.

Vivartana (narrowing)—in envy, pain, contempt, laughter and the like.

Kampana (trembling)—in pain, cold, fear, anger, swiftness and the like.

Visarga (spreading out)—in women’s amors, affected indifference and painting of lips.

Vinigūhana (concealing)—in making efforts.

Sandaṣṭaka (biting)—in manifestation of anger.

Samudgaka (contracting)—in pity, kissing and greeting.

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137-139 (B.141b-143, G.139-141a). 140-142 (B.144-146, G.141b-144a).

166 THE NATYASASTRA [ VIII. 143

The chin

143-146. So much about the gestures of the lips ; now listen about those of the chin ; (they are) : Kuṭṭana, Khaṇḍana, Chinna, Cukṣita, Lehita, Sama and Daṣṭa.

Kuṭṭana—when the upper teeth are in conflict with the lower ones.

Khaṇḍana—when (the two lips) repeatedly come together with each other.

Chinna—when (the two lips) very closely meet each other,
Cukṣita—when (the two lips) are held widely apart.
Lehita—in licking the (lips) with the tongue.
Sama—when (the two lips) slightly parted from each other.
Daṣṭa—when the lower lip is bitten by the teeth.

Uses of the chin

146-149. Kuṭṭana—in fear, cold, attack of old age, and sickness.

Khaṇḍana—in mutterings prayers (japa), studying, speaking and eating.

Chinna—in sickness, fear, cold, (taking) exercise, and angry look.

Cukṣita—in yawning.
Lehita = Lehana—in greediness.
Sama—in a natural position.
Daṣṭa—in angry efforts.

So much about the gestures of the chin in relation to the teeth, the lips and the tongue.

The mouth

149-156. Gestures of the mouth are : Vidhuta, Vinivṛtta, Nirbhugna, Bhugna, Vivṛta and Udvāhī.

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143-146 (B.147-150a, G.144b-147).
146-149 (B.150b-153a, G.147-150a).
149-156 (B.153b-160a, G.150b-157).