Gati used for the delineation of Bh膩va and Rasa

Gati in Theory and Practice

by Dr. Sujatha Mohan | 2015 | 88,445 words

This page relates 鈥楪ati used for the delineation of Bhava and Rasa鈥� of the study on the Theory and Practice of Gati (鈥済ait鈥�) which refers to the 鈥渕ovement of a character on the stage鈥�, commonly employed (as a Sanskrit technical term) in ancient Indian Theatrics and the Dramatic arts, also known as Natya-shastra. This thesis explores the history and evolution of Gati and also investigates how the various Gatis are employed in regional performance traditions.

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Gati used for the delineation of Bh膩va and Rasa

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-) yena ru峁ａ弓ena pa艣y膩mi 艣at膩k墨r峁嘺miv膩grata岣� |
迟补迟补岣� pravi艣ati dhanurb膩峁嘺p膩峁噄rlak峁a峁嘺岣� |^[1]

Gait of 尝补办峁补峁嘺 in anger is described by 搁腻尘补 who tells that 尝补办峁补峁嘺 is coming in fury mutipled into hundred forms. Then 尝补办峁补峁嘺 enters with bow and arrow. His knitting eyebrows (产丑谤耻办耻峁�) are explained as that which will burn the three worlds.

Here his gait should be in 辫腻谤艣惫补办谤腻苍迟补尘办补谤补峁嘺, which is performed for raudra gati along with facial expression with kruddha 诲峁涐梗峁璱^[2] and 产丑谤耻办耻峁� is used in krodha.

krodhasthane峁 d墨pte峁 yojayet 产丑谤耻办耻峁� 产耻诲丑补岣� |^[3]

-) patatyuth膩ya cottth膩ya h膩 hetyuccairlapan muhu岣� |
诲颈艣补峁� pa艣yati t膩meva 测补测腻 y膩to ragh奴dvaha岣� |^[4]

Gait of 顿补艣补谤补迟丑补 in 艣辞办丑补 is described here.

鈥淗e gets up with effort but falls down helpless, starts crying loud often, all the time gazing at the direction by which Raghu had passed鈥�

The gait in 办补谤耻峁嘺 can be with limbs suggesting extreme fatigue and weeping loudly.

b膩峁膩mburuddhanayana岣� sannag膩trastathaiva ca |^[5]

-) 办补尘补辫测补谤迟丑补峁� 肠颈谤补峁� 诲丑测腻迟惫腻 vaktu峁� prasphurit膩dhar膩岣� |
产腻峁补蝉迟补尘产丑颈迟补办补峁囜弓丑补迟惫腻诲补苍耻办迟惫补颈惫补惫补苍补峁� 驳补迟腻岣� ||^[6]

Gait of 搁腻尘补, 尝补办峁补峁嘺 and 厂墨迟腻 going to forest is described by Sumantra to 顿补艣补谤补迟丑补. They are stuck in their gait collecting their thoughts to speak with trembling lips, throat choked with tears but without speaking anything they enter the woods. On hearing this king falls into a deep swoon. All the s膩ttvika 产丑腻惫补s such as kampa, stambha, 蝉惫补谤补蝉腻诲补, 补艣谤耻, are perfomed here and 顿补艣补谤补迟丑补 should perform the act of pralaya the last s膩ttvika 产丑腻惫补 that means fainting. Bharata says sorrow should be represented change of voice, trembling lips, falling on the ground, and so on.^[7]

In the gait if 办补谤耻峁嘺 rasa one should walk 补诲测补谤迟丑颈办腻肠腻谤墨.

gacchettath膩dhyardhikay膩 pratyagr膩priyasa峁兣況aye |^[8]

Which denotes a move of the legs backwards, i.e. which gives a picture of 艣辞办补 due to which they are not able to walk forward.

savyasya p峁涐梗峁璦tov膩艣cara峁嘺stu yad膩 bhavet |
tasy膩pasarpa峁嘺峁� caiva j帽ey膩 s膩dhyardhik膩budhai岣� ||^[9]

-) 办颈帽肠颈诲 gatv膩valokya.... pravi艣y膩valokya...^[10]

Gait of Bharata on seeing the 辫谤补迟墨尘腻 (statues) is to be performed here. Bharata enters the hall, takes a few steps and looks around in wonder.

The gait in wonder can be the leg thrown out in flourish.

vismaye caiva har峁 ca vik峁ptapadavikram膩 |^[11]

Abhinava says 补帽肠颈迟补办补谤补峁嘺 can be performed for the 惫腻办测腻谤迟丑补 of wonder.

etasya... ati艣ayakautukapradh膩na v膩ky膩rthe 辫谤补测辞驳补岣� |^[12]

-) ubhau 苍颈测耻诲诲丑补峁� 办耻谤耻迟补岣� |^[13]

Fight between 痴腻濒墨 and 厂耻驳谤墨惫补 in anger is depicted here. 痴腻濒墨 rushing forth should be in fast tempo. (drutamupagamya) Both start fighting with their fists.

Rama says:

鈥淏iting his lower lip his eyes bloodshot in fierce, with tight fists and teeth raised 痴腻濒墨 starts fighting.鈥�

sanda峁ａ弓o峁ａ弓ha艣ca峁囜笉asa峁價akta netro

Here the anger is shown through facial expression.

Bharata says 蝉补苍诲补峁ａ弓补办补 action of lips and chin should be used in krodha.

蝉补苍诲补峁ａ弓补峁� krodha karmasu |^[14]

The fighting with fists can be performed with 辫腻谤艣惫补箩腻苍耻办补谤补峁嘺.

eka岣� samasthita岣� 辫腻诲补奴谤耻p峁涐梗峁環e sthito'辫补谤补岣� |
尘耻峁ａ弓颈丑补蝉迟补艣肠补惫补办峁岣� 蝉迟丑补岣� 辫腻谤艣惫补箩腻苍耻 taducyate ||^[15]

搁腻尘补 releases the arrow on 痴腻濒墨 and here 辫谤补迟测腻濒墨岣峢补 and 腻濒墨岣峢补 can be performed.

-) sam膩patitasant膩pa岣� pray膩mi 艣ithilakrama岣� |^[16]

Gait of 础峁単补诲补 in 艣辞办补 (惫颈峁Ｄ乨补) after hearing the news of 痴腻濒墨鈥� s death is described as walking with tottering steps and falling down.

Bharata describes the gait as

vigh奴r峁噄ta艣ar墨r膩 ca gati艣c奴r峁嘺padairatha |^[17]

-) tvaritamabhipatatyasau saro峁 |^[18]

搁腻惫补峁嘺 enters in anger after seeing the forest destroyed by Hanuman, with fierce eyes, rushing forth in terrific rage. Here his gait should be in drutalaya along with mukhaja abhinaya.

-) ki峁� tva峁� bhayena parivartitasaukum膩ry膩 n峁泃tepade艣avi艣adau cara峁嘺u k峁pant墨 udvignaca帽calaka峁乲峁nivi峁ａ弓a诲峁涐梗峁璱岣�... ||^[19]

You are graceful charm in fear your steps tripping though trained in the art of dancing why run like a gazelle chased by a tiger with frightened tremulous glances sideways. Here she can perform the bhaya gati with bhaya 诲峁涐梗峁璱. The 别岣峚办腻办谤墨岣峣迟补肠腻谤墨 can be performed for the faltering gait.

-) 蝉腻蝉奴测测奴测测补尘 |^[20]

Queen Iravati, who stands in a hidden place, sees the king approaching 惭腻濒补惫颈办腻 and speaking to her. This creates envy in her. Then she suddenly approaches and starts finding fault with the king and finally walks out in anger.

Here the 惫测补产丑颈肠腻谤颈产丑腻惫补 is 补蝉奴测腻 (jealousy).

Bharata says,

鈥淭he transitory feeling called jealousy is generated by the 惫颈产丑腻惫补蝉 such as offences, hatred, and the like, and it should be represented by the 补苍耻产丑腻惫补蝉 such as finding fault, showing disrespect, condemning, staring with envious looks, eyebrows suggesting ferocity, and so on.鈥�

辫补谤补蝉补耻产丑腻驳补测别艣惫补谤补迟腻尘别诲腻濒墨濒腻蝉补尘耻肠肠丑谤补测补苍诲峁涐梗峁璿腻 |
utpadyate hy补蝉奴测腻 k峁泃膩par膩dho bhavedya艣ca ||
产丑谤耻办耻峁玨u峁璱lotka峁璦mukhai岣� ser峁膩krodhapariv峁泃tanetrai艣ca |
gu峁嘺n膩艣anavidve峁istatr膩bhinaya岣� prayoktavya岣� ||^[21]

This can be depicted through 办耻帽肠颈迟补 and kruddha诲峁涐梗峁璱.

鈥淭he eyelashes, the eyelids and pupil of the eyes are contracted in this mode of glance called 办耻帽肠颈迟补.鈥�

膩ni办耻帽肠颈迟补pak峁膩gr膩 pu峁璦ir膩办耻帽肠颈迟补istath膩 |
sanni办耻帽肠颈迟补t膩r膩 ca 办耻帽肠颈迟腻诲峁涐梗峁璱ri峁ate ||^[22]

鈥�Kruddha, the angry glance is characterized by harsh and protruding eyelids, bulging pupils, bent and crooked brows.鈥�

谤奴办峁Ｄ� sthirodv峁泃tapu峁� ni峁ａ弓abdhodv峁泃ta迟腻谤补办腻 |
ku峁璱la产丑谤耻办耻峁� 诲峁涐梗峁璱岣� kru ddh膩 krodhe vidh墨yate ||^[23]

鈥淜nitting of the eyebrows should be done by the action called 产丑谤耻办耻峁璱 where both the brows are brought to the center of the forehead.鈥�

bhruvorm奴lasamutk峁p膩t 产丑谤耻办耻峁� parik墨rtit膩 |^[24]

-) bhr奴bha峁単abhinnatilaka峁� sphurit膩dharo峁ａ弓ha峁僺膩s奴yam膩nanamita岣� parivartayanty膩 |
k膩ntapar膩dhakupite峁anay膩 vinetu岣� sa峁僤ar艣iteva lalit膩bhinayasya 艣颈办峁Ｄ� ||^[25]

鈥淏y her jealously turning away from the direction, her face, the frontal mark on which is furrowed by the knitting of the eye-brows and the lower lip of which is throbbing, was exhibited, as it were, the instruction received from her preceptor in graceful acting when under fits of anger at the fault of a lover.鈥�

Here the vyabhi肠腻谤颈产丑腻惫补 enacted is 补蝉奴测补 (jealousy).^[26] This 产丑腻惫补 can be depicted through 办耻帽肠颈迟补 and kruddha 诲峁涐梗峁璱.^[27] Throbbing of lips can be depicted by kampana movement.^[28] Knitting of the eyebrows should be performed by 产丑谤耻办耻峁璱.^[29] Her face is turned away in a movement known as 惫颈苍颈惫峁泃迟补.

This action is employed in jealousy, anger, and the like.

惫颈苍颈惫峁泃迟补m补蝉奴测腻y膩m墨卯ry膩kopak峁泃e峁 ca ||^[30]

Here the stance of 惭腻濒补惫颈办腻 can be 腻测补迟补.^[31]

-) iti savr墨岣峚vadan膩'帽jali峁� karoti |^[32]

鈥淪he folds her hands in supplication, her face full of shy.鈥�

The commentator says that 惫谤墨岣嵞� can be taken as shyness. Here 惫谤墨岣嵞� can also be considered as a 惫测补产丑颈肠腻谤颈产丑腻惫补 as Bharata says,

鈥淒oing what should not have been done is the basis of the feeling called shame.鈥�

办颈帽肠颈诲ak膩rya峁� kurvan yo hi naro d峁浥泍ate 艣ucibhiranyai岣� |
pa艣c膩ttapena yuto vr墨岣峣 ta iti veditavyo'sau ||^[33]

碍腻濒颈诲腻蝉补 says 惭腻濒补惫颈办腻 depicts 补帽箩补濒颈丑补蝉迟补. She also feels bad for showing jealousy towards the picture of the king. Here the 办补谤补峁嘺 called 濒墨苍补 can be performed.

Abhinavagupta recommends this 办补谤补峁嘺 for depicting the 惫腻办测腻谤迟丑补 abhinaya of 鈥�辫谤颈测补辫谤腻谤迟丑补苍腻鈥�.

鈥淧lacing both the hands on the chest in the pose called 辫补迟腻办补. Holding the neck high and bending the shoulder a little is the 办补谤补峁嘺 called 濒墨苍补.鈥�

pat膩k膩帽jali惫补办峁岣tha峁� pras膩rita艣irodharam |
pi办耻帽肠颈迟腻峁僺ak奴峁璦峁� ca tal濒墨苍补峁� 办补谤补峁嘺峁� sm峁泃am ||^[34]

笔补迟腻办补 is a single hand gesture. 础帽箩补濒颈 is a combined hand gesture where two 辫补迟腻办补 hands join.^[35]

-) r膩j帽a岣� p奴j膩mabhin墨ya 辫谤腻帽箩补濒颈岣� 辫谤补峁噄辫补迟测补 |^[36]

鈥淕别蝉迟颈肠耻濒补迟别蝉 worshipping the king and bows with folded hands.鈥�

Here she should perform the 办补谤补峁嘺 called 濒墨苍补.^[37] Abhinavagupta notes that this 办补谤补峁嘺 can be performed in prostrating to persons.

-) 迟补迟补岣ravi艣ati rath膩r奴岣峢o 谤腻箩腻 s奴ta艣ca citralekh膩valambit膩 bhayanim墨lit膩k峁Ｄ� corva艣墨 |^[38]

弄谤惫补艣墨 and Citralekha are rescued from the demon 碍别艣颈苍 by the king 笔耻谤奴谤补惫补蝉. 弄谤惫补艣墨, her eyes closed in terror is supported by her friend. She has not regained consciousness. Representation of the state of bhaya is defined by Bharata in many aspects. He says the feeling of bhaya (fear) is generally applicable to ladies and people of low type. Generally, he advises wide-open and tremulous eyes for fear, but also closed eyes in case of 迟谤腻蝉补. Sa帽肠腻谤颈产丑腻惫补 called 迟谤腻蝉补 (alarm) is produced by hearing terrible sound, and the like. It should be represented by closing of the eyes.鈥�

-) iti 办辞辫补峁� n膩峁璦yitv膩 prasthit膩 |^[39]

鈥楪esticulating anger, she starts to go鈥�. Here the queen is angry with the king, as she comes to know about the love affair with 弄谤惫补艣墨.

Bharata says, anger is of five types, one among them is originated due to love.

鈥淎nger is earned by determinants like insult, dispute, and the like, and are to be represented by swelling of the nostrils, rolling of the eyes, biting of lips and throbbing of the cheeks.鈥�

krodho 苍腻尘补膩d丑补谤峁峁嚹乲ru 峁ａ弓akalahaviv膩dapratik奴l膩dibhirvi产丑腻惫补i岣� samutpadyate |
asya 惫颈办峁涐梗峁璦n膩s膩pu峁璷dv奴ttanayanasanda峁ａ弓o'峁ａ弓hapu峁璦ga峁囜笉asphura峁嚹乨ibhiranu产丑腻惫补i岣� 补产丑颈苍补测补岣� prayoktavya岣� ||
ripujo guruja艣caiva pra峁嘺yaprabhavastath膩 |
bh峁泃yaja岣� k峁泃aka艣caiva 办谤辞诲丑补岣� 辫补帽肠补惫颈诲丑补岣� sm峁泃a岣� ||^[40]

The 产丑腻惫补诲峁涐梗峁璱 called kruddha and rasa诲峁涐梗峁璱 called raudri, actions of eyebrows called 耻迟办峁辫补 and 产丑谤耻办耻峁璱, actions of eyelids known as 耻苍尘别峁, 苍颈尘别峁 and vivartita, actions of nose such as 惫颈办峁涐梗峁璦 (blown nasal lobes), 蝉补苍诲补峁ａ弓补办补 (biting of lips) and kampana (shaking) of cheeks are to be depicted in representation of krodha. So, here all the 耻辫腻峁単补蝉 of the face are to be activated to bring out anger. After performing these facial actions the queen starts to move.

-) ti峁ａ弓hetkopava艣膩tpra产丑腻惫补pihit膩诲墨谤驳丑补峁� na s膩 kupyati ||^[41]

Again the king is separated from 弄谤惫补艣墨 and he roams about in search of her. Here the causes for separation are thought by the king. He did not know that she has been transformed into a creeper. He looks on all directions and sighs. In the course of his search, he passes through the garden. The beauty of various natural surroundings in the garden such as clouds, peacock, cuckoo, trees, lake, and swan are described, but they all become the cause for vipralambha 艣峁涐箙驳腻谤补 of the king. Here many vyabhi肠腻谤颈产丑腻惫补s, such as nirveda, 艣补峁卥丑腻, dainya, 肠颈苍迟腻, 蝉尘峁泃颈, 惫颈峁Ｄ乨补, autsukya, 耻苍尘腻诲补, vitarka, etc. are brought in. Finally, when he embraces a creeper, which transforms as 弄谤惫补艣墨, 丑补谤峁 occurs. Both the vipralambha and sambhoga 艣峁涐箙驳腻谤补 happens in this act.

All these 惫测补产丑颈肠腻谤颈产丑腻惫补s strengthen the sth膩yi产丑腻惫补 called rati to bring out the rasa of 艣峁涐箙驳腻谤补. For this 办补谤补峁嘺s like 办谤腻苍迟补, ati办谤腻苍迟补, diksvastika, mattalli, ardhamattalli, skhalita, madaskhalita, sarpita, 蝉补尘产谤腻苍迟补, etc. can be used by the king to roam about in the garden with various thoughts brought out through facial expressions in search of 弄谤惫补艣墨. Then he can depict the gati of 丑补峁僺补, peacock, etc. to show the animals. Finally, svastikarecita can be performed for 丑补谤峁 to show the happiness in union with 弄谤惫补艣墨.^[42]

-) gr墨v膩bha峁単膩bhir膩ma峁� muhuranupatati syandane datta诲峁涐梗峁璱 ||^[43]

鈥淔linging a glance ever as anon at the pursuing chariot in a way graceful on account of the bending of his neck, having with the major portion of his hinder part entered the fore part of his body through the fear of the descent of an arrow and strewing his path with half-chewed darbha grass dropping from his mouth gapping through exhaustion, behold how he, on account of his lofty bounding, traverses more through the sky, and less on the ground.鈥�

碍腻濒颈诲腻蝉补 describes in this verse the frightened gait of the deer when it is chased by 顿耻峁补苍迟补 riding on the chariot. Here the deer looks back and forth at the chariot and the path, turning its neck. Major portion of its hinder part entering the fore part the deer is gasping due to fear and so traverses more through the sky and less through the ground.

R膩ghavabha峁弓a in his commentary says in this gait of deer, bhaya is the sth膩yi产丑腻惫补, deer looking at the chasing 顿耻峁补苍迟补 is 膩lambanavi产丑腻惫补, and shooting of arrows is uddh墨panavi产丑腻惫补. Anu产丑腻惫补s are bending of neck, dropping of grass from the mouth, dryness of lips and change of colour due to fright, contracting of limbs, and so on. Here the 惫测补产丑颈肠腻谤颈产丑腻惫补s are 迟谤腻蝉补, 艣谤补尘补, 艣补峁僰丑腻 and 腻惫别驳补. Kampa is the s膩ttvika产丑腻惫补 felt here. These 产丑腻惫补s are combined together to bring out the 产丑补测腻苍补办补谤补蝉补.

The gait in the sentiment of 产丑补测腻苍补办补 as explained by Bharata is as follows; women and the people of lower caste, when they are frightened, their eyes become wide open and tremulous and they have furtive looks on both sides. They move around with unstable and jumping steps, their body starts quivering and their lips dry.

While this is presented on stage, a person has to take up the role of the deer. Here the actor can jump with hari峁嘺plut膩办补谤补峁嘺 in which the feet is extended and then contracted.^[44] This makes the actor move in a faster pace, just as the frightened deer. Here the head should move in 辫补谤腻惫峁泃迟补 along with the neck turning in 惫颈惫峁泃迟补 looking back and forth with kampana of the body and prakampita 耻谤补岣�, which denotes gasping. S膩ttvika产丑腻惫补s such as dryness of lips, change of colour of face and trembling of limbs should be felt and enacted. All these together would bring out the gait of frightened deer. Though Bharata has not mentioned any specific gait for the fright of animals, in general extended foot for moving quickly and trembling of the body goes with the gait of fear. Thus, the frightened gait of the deer can be enacted.

-) 迟补迟补岣ravi艣atyak膩艣ay膩nena s膩numat墨 n膩m膩psar膩岣� |
iti n膩峁瓂en膩vat墨rya sthit膩ityud啷峛hr膩ntakena ni峁r膩nt膩 |^[45]

鈥淭hen enter by the heavenly path a nymph, 厂腻苍耻尘补迟颈.鈥�

Here her gait will be in v峁浥沜ika办补谤补峁嘺.

b膩hu艣墨r峁Ｄ伱眂itau hastau 辫腻诲补岣� p峁涐梗峁環膩帽citastath膩 |
d奴rasannap峁涐梗峁環a峁� ca 惫峁浥沜颈办补峁� tat prak墨rtitam ||^[46]

鈥淕别蝉迟颈肠耻濒补迟别蝉 descent.鈥�

This can be depicted by 濒补迟腻惫峁浥沜颈办补办补谤补峁嘺.

鈥淓xit with a jump in the sky.鈥�

Jump in sky can be depicted beautifully by the vidyutbhr膩nta 办补谤补峁嘺.

辫峁涐梗峁环补迟辞惫补濒颈迟补峁� 辫腻诲补峁� 艣irodh峁涐梗峁璦峁� pras膩rayet |
sarvato ma峁囜笉al膩viddha峁� 惫颈诲测耻诲产丑谤腻苍迟补峁� taducyate ||^[47]

-) iti bhramarab膩dh膩峁� r奴payati |^[48]

鈥淕别蝉迟颈肠耻濒补迟别蝉 annoyance from a bee.鈥�

艢补办耻苍迟补濒腻 is frightened on seeing the bee, which springs out from a creeper due to the sprinkling of water. R膩ghavabha峁弓a, says,

鈥淭his can be enacted by performing the head movement called vidhuta, the throbbing lip movement, out turned 辫补迟腻办补hasta shivering in front of the face.鈥�

Vidhuta is a movement of the head used for bhaya.

艣墨ta峁僩raste bhay膩rte ca tr膩site jvarite tath膩 |
p墨tam膩tre tat膩 madye 惫颈诲丑耻迟补峁� ca bhavecchira岣� ||^[49]

Kampana is the throbbing of the lips.

vik奴r峁噄ta峁� vivartastu 惫别辫补苍补峁� 办补尘辫补苍补峁� sm峁泃am |^[50]

笔补迟腻办补 is the abhinaya hasta which can be used here.

肠补濒腻辫腻峁単腻峁� 诲峁涐梗峁璱峁� sp峁浥沘si bahu艣o vepathumat墨rahasy膩khy膩y墨va svanasi 尘峁沝耻 kar峁嚹乶tikacara岣� |
karau vy膩dhunvatya岣ibasi ratisarvasvamadhara峁僾aya峁� tattv膩nve峁Ｄ乶madhukara hat膩stva峁� khalu 办峁泃墨 ||^[51]

艢补办耻苍迟补濒补鈥檚 movements are described here. The coquettish movements of the eyes can be due to love or fear. Now he feels a bit jealous. She tries to drive away the bee. This is described beautifully by the word 鈥榢arauvy膩dhunvatya岣モ€�. R膩ghavabha峁弓a comments that there is a reference in 碍腻尘补艣腻蝉迟谤补 in the context of kissing which says 鈥榢araudhun膩n膩navapallav膩k峁泃i鈥�.

So here the use of pallava 苍峁泃迟补丑补蝉迟补 can be made use off.

鈥淲hen two 辫补迟腻办补hastas are turned and crossed in the wrist it is pallavahasta.鈥�^[52]

顿耻峁补苍迟补 while expressing his feelings in this verse says 艢补办耻苍迟补濒腻 moves her eyes tremulously due to fear and her body also trembles and in spite of waving her hands, the bee is trying to drink her lips. The actions of 艢补办耻苍迟补濒腻 will be 迟谤腻蝉补诲峁涐梗峁璱, her eyes move in vilokita position and kampana of 奴谤耻.

Vepathu is the s膩ttvika产丑腻惫补 to be experienced when the sth膩yi产丑腻惫补 is fear.

鈥淢oving a step and glancing.鈥�

pad膩ntare sthitv膩 | sa诲峁涐梗峁璱k峁pam |^[53]

Frightened by the sight of the bee she moves around with faltering steps.

This is advised by Bharata for the frightened gait and it should be performed with bhay膩nvita诲峁涐梗峁璱.

visph膩ritobhayapu峁� bhayakampita 迟腻谤补办腻 |
ni峁０彀宀猿俨筸adhy膩诲峁涐梗峁璱stu bhayabh膩ve 产丑补测腻苍惫颈迟腻 ||^[54]

Looking on to the trouble created by the bee, 顿耻峁补苍迟补 comes near 艢补办耻苍迟补濒腻. He addresses 艢补办耻苍迟补濒腻 as a 尘耻驳诲丑腻, innocent girl. This shows that she is even more frightened as she is young, timid and innocent.

Along with the action of 耻辫腻峁単补 and hasta, gati should be performed. Frightened by the sight of the bee she starts moving around. This can be performed by edak膩kr墨岣峣ta 肠腻谤墨 with faltering steps as it is advised by Bharata for the frightened gait and 惫颈肠测补惫腻肠腻谤颈. Looking on to the trouble created by the bee 顿耻峁补苍迟补 comes near 艢补办耻苍迟补濒腻. 顿耻峁补苍迟补 who drives away the bee can take the 腻办峁辫迟补肠腻谤墨 and move around in 产丑谤补尘补谤墨办补谤补峁嘺.

Here this movement can be beautifully performed by a 办补谤补峁嘺 called bhramaraka.

腻办峁辫迟补岣� 蝉惫补蝉迟颈办补岣� 辫腻诲补岣� karau codve峁ａ弓itau tath膩 |
trikasya valan膩ccaiva 箩帽别测补峁� 产丑谤补尘补谤补办补峁� tu tat ||^[55]

Hands used in this 办补谤补峁嘺 are 耻诲惫别峁ａ弓颈迟补 hasta 办补谤补峁嘺,^[56] that have out-turned fingers with palm moving out of the body, so here his hands represent driving the bee.

The head should be rotated on all sides in search of bee in lolita 艣颈谤补蝉.

sarvato bhrama峁嚹乧caiva 艣颈谤补岣� sy膩t parilolitam |^[57]

The actor himself has to show the bee also, so here the 产丑谤补尘补谤墨办补谤补峁嘺 that has quick whirling movements will be apt.

On seeing the king, all appear little agitated. 蝉补谤惫腻谤腻箩腻na峁� 诲峁涐梗峁璿腻 ki峁� cidiva sa峁僢hr膩nt膩岣� |^[58] Here the 惫测补产丑颈肠腻谤颈产丑腻惫补诲峁涐梗峁璱 called 惫颈产丑谤腻苍迟补 should be used. In this glance the pupils are constantly on the move looking in different directions in a confused and agitated manner.

The eyes are fully blown and the pupils bulge out in the course of the glance.

anavasthitat膩r膩 ca 惫颈产丑谤腻苍迟腻kuladar艣an膩 |
vist墨r峁噊tphullamadhy膩 ca 惫颈产丑谤腻苍迟腻诲峁涐梗峁璱rucyate ||^[59]

On the sudden appearance of the king, 艢补办耻苍迟补濒腻 and her friends are agitated and dumb struck. Here, 产谤腻苍迟补 and stambha are two 惫测补产丑颈肠腻谤颈产丑腻惫补s. Thus, the state of 产丑补测腻苍补办补 can be visualized in 艢补办耻苍迟补濒腻鈥檚 action.

顿耻峁补苍迟补 approaches hastily.

satvaramupas峁泃ya |^[60]

Here the looks of the king can be in 诲峁沺迟腻 as Bharata refers this glance as a courageous look with wide-open eyes and starring pupils for the mood of 耻迟蝉腻丑补.^[61] Here the gait of the king can be 蝉补尘产谤腻苍迟补肠腻谤墨, in which one can move in haste.

Abhinavagupta says this 肠腻谤墨 should be used for the gait of moving around in haste.

sa峁僢hramaparikrama vi峁yametat |

-) 耻迟辫补办峁补峁噊谤苍补测补苍补测辞谤耻辫补谤耻诲诲丑补惫峁泃迟颈峁僢腻峁补峁� kuru sthiratay膩 virat膩nubandham |
asminnalak峁tanatonnatabh奴mibh膩ge m膩rge pad膩ni khalu te vi峁m墨bhavanti ||^[62]

艢补办耻苍迟补濒腻鈥檚 faltering gait and continuous tears in her eyes are the 补苍耻产丑腻惫补蝉. The sth膩yi产丑腻惫补诲峁涐梗峁璱 called 诲墨苍补 should be used here.

Bharata says,

鈥淚n this glance the upper lid of the eyes hang down, the pupil swimming in tears, move about gently suggesting the mood of 艣辞办补.鈥�

For this the movement of the pupil will be 辫腻迟补, letting it down, and the action of the eyelid will be 苍颈尘别峁 or pihita, closing or concealing.^[63] The gait will be faltering and slow according to the mood of 艣辞办补.