-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.

---

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.

---

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.

---

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.

---

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

.VIII. 159 ] THE GESTURES OF MINOR LIMBS 167

Vidhuta—the obliquely open (mouth). Vinivṛtta—spread out (the mouth). Nirbhugna—(the mouth) lowered. Bhugna = Vyābhugna—(the mouth) slightly spread out. Vivṛta—the mouth with the lips kept apart. Udvāhī—(the mouth) turned up.

Uses of the mouth

Vinivṛtta—in women's envy, jealousy, anger, contempt and bashfulness and the like.

Vidhuta—in restraining, saying 'not so' and the like.

Nirbhugna—in looking into depth and the like.

Bhugna—in being ashamed, discouragement, impatience, anxiety, discipline and consultation. It is natural for the ascetics.

Vivṛta—in laughter, sorrow and fear.

Udvāhī—in sportiveness and pride of women, in saying 'go away', and disregard, in saying 'so indeed' and angry words.

156-157. The experts should also use the mouth in conformity with the varieties of Glances such as Sama and Sācī and the like mentioned by others.

The colour of the face

157-158. The colour of the face according to the circumstances (lit, meaning) is of four kinds : natural (svābhāvika) bright (prasanna), reddened (rakta) and dark (śyāma).

Uses of the colour of the face.

159-160. Natural face—in a natural and indifferent (mood).

Bright face—in wonder, laughter and love.

Reddened face—in intoxication and in the Heroic the Terrible and the Pathetic Sentiments.

---

156-157 (B.160b-161a, G.158).
157-158 (B.161b-162a, G.159).
159-160 (B.162b-164, G.160-162a).

168 | THE NATYASASTRA | [ VIII. 161-

Dark face—in the Terrible and the Odious Sentiments.

161-162. The colour of the face should be thus used to represent the States and the Sentiments. The acting done with the Gestures of the Śākhā¹, the Aṅga and the Upāṅga is good, but without proper colour of the face it will not be charming (lit.) beautiful.

162-163. Even a few Gestures when combined with the proper colour of the face will double their charm (lit. beauty) just as the moon [rising] at night will.

163-164. Glances too when combined with the proper colour of the face will clearly express the different States and the Sentiments, and on this (i.e. the colour of the face) the Histrionic Representation rests.

164-165. The colour of the face suitable to the representation of the States and the Sentiments, should follow every gestures of the eye (Glance), the eyebrow and the mouth. So much about the colour of the face which is the basis of the States and the Sentiments.

The neck

166-167. I shall now tell you, O Brahmins, about the gestures of the neck. They are of nine kinds : Samā, Natā, Unnatā, Tryasrā, Recitā, Kuñcitā, Añcitā, Valitā, and Vivṛttā.

Description and uses of the neck gestures

167-171. Samā—the natural neck. (Uses) : in meditation, natural pose, and muttering of Mantras.

Natā—(neck with) face bent down. (Uses) in wearing (lit. binding) ornaments, putting ones arms round (lit. taking) somebody's neck.

---

161-162 (B.165b-166a, G.162b-163). ¹ See 11 and 15 above.
162-163 (B.166-167a, G.164).
163-164 (B.167b-168a, G.165).
164-165 (B.168b-169, G.166-167a).
166-167 (B.170, G.167b-168a).
167-171 (B.171-175, G.168b-173a).

.VIII. 172] THE GESTURES OF MINOR LIMBS 169

Unnata—neck with the face upturned. (Use) : in looking up.

Tryasra—neck with the face turned sideways. (Use) : in carrying weight on the neck, and sorrow.

Recita—the neck shaken or moved. (Uses) : in feeling (bhāva), churning and dance.

Kuñcita—the neck with the head bent down. (Uses) : in pressure of weight and in protecting the neck.

Añcita—the neck with the head turned back. (Uses) : in hanging (to death), arranging hair and looking very high up.

Vāhita—the neck with the face turned sideways. (Uses) : in looking with the neck turned round.

Vivṛtta—neck with the face towards the front. (Use) : in (indicating) going towards one's own place.

172-173. These are the many varieties of the neck gestures according to their [expressing different] customary states of men. Gestures of the neck are all to follow the gestures of the head and the head gestures also are reflected in those of the neck. So much about the description of the gestures of the head and the connected minor limbs (upāṅga) and their uses. Now listen about the gestures of the remaining limbs (aṅga), which I am going to describe.

Here ends Chapter VIII of Bharata's Nāṭyaśāstra, which treats of the Gestures of Minor Limbs.

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172-173 (B.176-177, G.173b-175).

22

CHAPTER NINE

THE GESTURES OF HANDS

Bharata speaks

1-3. So much about the minor limbs such as head, eyes, eyebrows, nose, lips and cheecks, and their description that I was to tell you. I shall now define you for the gestures of hands, breast, sides, belly, waist, thighs and feet and [explain] their proper use¹. In this connexion I shall [first of all] explain the gestures of hands and the like, that are used in the production of a play. You are to listen how they are to be applied [in acting].

Sixtyseven gestures of the hand

4-7. Gestures of single hands (asaṁyuta-hasta)¹ are twenty-four in number : Patāka, Tripatāka, Kartarīmukha, Ardhacandra, Arāla, Śukatuṇḍa, Muṣṭi, Śikhara, Kapittha, Kaṭakāmukha², Sūcyāsya (Sūcīmukha), Padmakośa, Sarpasiraḥ, Mṛgaśīrṣa, Kāṅgula, Alapadma (Alapallava), Catura, Bhramara, Haṁsāsya, Haṁsapakṣa, Saṁdaṁśa, Mukula, Ūrṇanābha and Tāmracūḍa.

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1-3 (B.1, 3, 2, G.1-3). ¹ This use relates to the two-fold Practice (realistic and coventional) on the stage (See NŚ. XIV. 62ff). The realistic Practice (lokadharmī) in this connexion is of two kinds, viz. (1) that reflecting one's emotion, as in arrogant reference to one's own-self, this (patāka) hand is to be raised on a level with the forehead (IX. 19), (2) that representing the external form of an object, as the use of the Padmakośa hand to represent lotus and similar flowers. The conventional Practice (nāṭyadharmī) is likewise of two kinds, viz. (1) that creating an ornamental effect, as the use of the four karaṇas of the hand (See NŚ. IX. 205-211 below), (2) that partially suggesting a popular behaviour, as the use of the tripatāka hand to represent words spoken aside (janāntika). See Ag.

4-7 (B.G. same). ¹ These hands gestures are ordinarily used singly ; but at times two hands showing one of these gestures are used simultaneously. But still these are called single (asaṁyuta) hands. For, combined (saṁyuta) hands are so called because they are always to be shown by both the hands ; see Ag.

² Some mss. read this name as khaṭakāmukha. Our reading is

-IX 17 ] THE GESTURES OF HANDS 171

8-10. Gestures of combined hands (saṁyuta-hasta)$^1$ are thirteen in number : Añjali, Kapota, Karkaṭa, Svastika, Kaṭakāvardhamānaka$^2$, Utsaṅga, Niṣadha, Dola, Puṣpapuṭa, Makara, Gajadanta, Avahittha and Vardhamāna.

10-17. Dance-hands (nṛtta-hasta)$^1$ are Caturasra$^2$, Udvṛtta Talamukha, Svastika, Viprakīrṇa, Arālakaṭakāmukha, Āviddhavaktra, Sūcyāsya, Recita, Ardharecita, Uttānavañcita, Pallava, Nitamba, Keśabandha, Latā, Karihasta, Pakṣavañcitaka, Pakṣapradyotaka, Garuḍapakṣa, Daṇḍapakṣa, Ūrdhvamaṇḍalī, Pārśvamaṇḍalī, Uromaṇḍalī Uraḥ-pārśvārdhamaṇḍalī, Muṣṭikasvastika, Nalinīpadmakośa, Alapallava, Ulbaṇa, Lalita and Valita.

These are the sixtyfour$^3$ gestures of hands.

Gestures of single hands

17-26. Now listen about their definition and uses.

Patāka (flag)—the fingers extended and close against one another, and the thumb bent.

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supported by the AD. (See ed. M. Ghosh, verse 124. A. K. Coomaraswamy MG. p. 50).

8-10 (B.G. same). $^1$ See note 1 to 4-7 above.

$^2$ Some mss. read this name as khaṭakā°; kaṭakāvardhana, is the name of a saṁyuta-hasta in the AD. (ed. M. Ghosh, 187 and A. K. Coomaraswamy, MG. p. 60).

10-17 (B.G. 10b-17a). $^1$ These gestures (dance hands, nṛttahasta) as their name implies, are ordinarily to be used in dance ; but in course of acting too they are often to be used along with other gestures (single and combined) to create an ornamental effect (See note 1 to 1-3 above). See Ag.

$^2$ In the Skt. text these names are given in dual number e.g. our caturasra stands as caturasrau. The reason for this is to be sought in the fact that unlike the single and combined hands which must represent one single idea or object, the hands in the dance-hand gestures are to be individually moved, not for representing any idea or object but for creating an ornamental effect in acting as well as in dance. See Ag.

$^3$ In actual enumeration hand gestures are sixtyseven in number (single 24, combined 13 and Dance-hands 30). Catuḥṣaṣṭhi in the text should be emended to saptaṣaṣṭhi. • 17-26 (B.18-25, 26a, G.18-25. 26a).

172 THE NATYASASTRA [ IX. 26.

(Uses) : To represent an administration of blows, scorching heat, urging, attainment of happiness and arrogant reference of one’s ownself¹ this hand is to be raised on a level with the forehead. To represent the glare of heat, torrential rain and shower of flowers two Patāka hands with the fingers separated and moving, are to be joined together. A shallow pool of water, present of flowers, grass and any design [lit. object] made on the ground are to be represented by two such hands separated from the Svastika position. The same Patāka hands with their fingers pointing downwards are to be used to represent anything closed, made open, protected, covered, dense or private (concealable). This very hand with its fingers pointing downwards and moving up and down, is to express the speedy movement of wind and [ocean] waves, [ocean waves] breaking against the shore, and flood. The Recaka of this hand should be used to represent encouragement, many [in number], a great crowd of men, height, beating of drums, and flight of birds upwards. And anything washed, pressed, cleansed, pounded, or holding up a hill or uprooting it, should be represented by the palms of two such hands rubbing each other. This is also the manner of representing man and woman².

26-32. Tripatāka (flag with three fingers)—the third finger of the Patākahand to be bent.

(Uses) : It is to be used in representing invocation, descent, bidding goodbye, prohibition, entrance, raising up [anything]¹, bowing [in salutation], comparing², suggesting alternatives, touching [the head with] auspicious objects or putting them on the head, putting on a turban or crown and covering the mouth or the ears. This very hand with its fingers pointing downwards and moving up and down is to be used in representing flight of small birds, stream, snake, bees and the like. And with the third finger of the

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¹ In saying ‘I too,’ ‘of me too’, ‘by me too’, in me too’ and the like (Ag).

² Ag. gives detailed rules about the use of the patāka hand in all the cases mentioned above.

26-32 (B.G. 26b-32) ¹ Ag. thinks that this relates to objects like one’s chin.

² nidarśanam upamānopameyabhāvam (Ag.).