Agni Purana

तापसादेः प्रहसनं परिहासपरं वचः । मायेन्द्रजालयुद्धादिबहुलारभटी स्मृता ।। ३४०.

Prahasana is the speech of ascetics and others, focused on jesting; the Ārabhaṭī is known for its abundance of magical illusions, battles, and the like.

सङ्‌क्षिप्तकारपातौ च वस्तूत्थापनमेव च ।। ३४०.

Also, saṅkṣiptakārapāta and the establishment of the subject matter.

अग्निरुवाच चेष्टाविशेषमप्यङ्गप्रत्यङ्गे कर्म्म चानयोः । शरीरारम्भमिच्छन्ति प्रायः पूर्व्वोऽवलाश्रयः ।। ३४१.

Agni said: Distinctive gestures and actions of the limbs and their parts are called bodily movements; generally, the beginning is based on the subordinate.

लीला विलासो विच्छित्तिर्विभ्रमं किलकिञ्चितं । मोट्टायितं कुट्टमितं विव्वोको ललितन्तथा ।। ३४१.

Play, grace, variety, confusion, kilakiñcita, moṭṭāyita, kuṭṭamita, vivvoka, and also lalita—these are named.

विकृतं क्रीड़ितं केलिरिति द्वादशधैव सः । लीलेष्टजनचेष्टानुकरणं संवृतक्षये ।। ३४१.

Distorted, cruel, sportive—thus, there are twelve; imitation of the gestures of playful people is included when the act is concealed.

विशेषान् दर्शयन् किञ्चिद्विलासः सद्भिरिष्यते । हसितक्रन्दितादीनां सङ्करः किलकिञ्चितं ।। ३४१.

Showing distinctions in some way is considered grace by the wise; the mixture of laughter, weeping, and the like is called kilakiñcita.

विकारः कोपि विव्वोको ललितं सौकुमार्य्यतः । शिरः पाणिरुपः पार्श्वङ्गटिरङ्‌घ्रिरिति क्रमात् ।। ३४१.

Vikāra is a certain transformation; vivvoka and lalita are due to delicacy; head, hand, side, waist, and foot, in order.

अङ्गनि भ्रूलतादीनि प्रत्यङ्गान्यभिजानते । अड्गप्रत्यङ्गयोः कर्म्म प्रयलजनितं विना ।। ३४१.

The limbs, such as the brows and others, and the subsidiary limbs are recognized; but the actions of the limbs and subsidiary limbs do not arise without deliberate practice.

न प्रयोगः क्कचिन्मुख्यन्तिरश्चीनञ्च तत् क्कचिच् । आकम्पितं कम्पितञ्च१ धूतं विधूतमेव च ।। ३४१.

There is never a principal application anywhere, and in some cases, it is oblique; trembling, shaking, swaying, and vigorous shaking are also described.

परिवाहिनमाधूतमवधूतमथाचितं । निकुञ्चितं परवृत्तमुत्‌क्षिप्तञ्चाप्यधोगतम् ।। ३४१.

Flowing, gentle shaking, strong shaking, and gathering; contraction, turning away, lifting up, and also lowering down.

ललितञ्चेति विज्ञेयं त्रयोदशविधं शिरः । भ्रूकर्म्म सप्तधा ज्ञेयं पातनं भ्रूकुटीमुखं ।। ३४१.

Thus, the head is to be understood as having thirteen kinds of movements, and the action of the brows is known to be sevenfold: lowering, frowning, and other expressions.

दृष्टिस्त्रिधा रसस्थायिसञ्चारिप्रतिबन्धना । षट्‌त्रिंशद्‌भेदविधुरा रसजा तत्र चाष्टधा ।। ३४१.

The gaze is threefold, relating to the stable emotion, the moving emotion, and the obstructed one; the emotional expressions are thirty-six in variety, and there are eight types arising from emotion.

नवधा तारकाकर्म्म भ्रमणञ्चलनादिकं । षोढ़ा च नासिका ज्ञेया निश्वासो नवदा मतः ।। ३४१.

The action of the pupils is ninefold, including circling, moving, and so on; the nose is said to have sixteen types, and exhalation is considered to be ninefold.

षोढौष्ठकर्म्मकं पापं सप्तधा चिवुकक्रिया । कलुषादिमुखं षोढ़ा ग्रीवा नवविधा स्मृता ।। ३४१.

The action of the lips is sixfold, the movement of the tongue is sevenfold; the mouth, beginning with impurity, is sixfold, and the neck is remembered as ninefold.

असंयुतः संयुतश्च भूम्ना हस्तः प्रमुच्यते । पताकस्त्रिपताकश्च तथा वै कर्त्तरीमुखः ।। ३४१.

The hand is expressed in two ways: unjoined and joined, in many forms; patāka, tripatāka, kartarīmukha,

अर्द्धचन्द्रोत्करालश्च शुक्तुण्डस्तथैव च । मुष्टिश्च शिखरश्चैव कपित्थः खेटकामुखः ।। ३४१.

Ardhacandra, utkarāla, śukatuṇḍa likewise; muṣṭi, śikhara, kapittha, kheṭakāmukha,

सूच्यास्यः पद्मकोषो हि शिराः समृगशीर्षकाः । कांमूलकालपद्मौ च चतुरभ्रमरौ तथा ।। ३४१.

Sūcyāsya, padmakoṣa, śirā, mṛgaśīrṣa; kāṃmūla, ālapadma, and also catura-bhramara.

हंसास्यहंसपक्षौ च सन्दंशमुकुलौ तथा । उर्णनाभस्तात्रचूडश्चतुर्विंशतिरित्यमी ।। ३४१.

Haṃsāsya, haṃsapakṣa, sandaṃśa, mukula; urṇanābha, tātracūḍa—these are counted as twenty-four.

असंयुतकराः प्रोक्ताः संयुतास्तु त्रयोदश । अञ्जलिश्च कपोतश्च कर्कटः स्वस्तिकस्तथा ।। ३४१.

These are called unjoined hand gestures; the joined ones are thirteen: añjali, kapota, karkaṭa, and svastika,

कटको वर्द्धमानश्चाप्यसङ्गो निषधस्तथा । दोलः पुष्पपुटश्चैव तथा मकर एव च ।। ३४१.

Kaṭaka, vardhamāna, asaṅga, niṣadha; dola, puṣpapuṭa, and likewise makara.

गजदन्तो वहिस्तम्भो वर्द्धमानोऽपरे कराः । उरः पञ्चविधं स्यात्तु आभुग्ननर्त्तनादिकम् ।। ३४१.

Gajadanta, vahistambha, vardhamāna—these are other hand gestures; the chest is fivefold: embracing, dancing, and so on.

उदरन्दुरतिक्षामं खण्डं पूर्णमिति त्रिधा । पार्श्वयोः पञ्चकर्म्माणि जङ्घाकर्म च पञ्चवा ।। ३४१.

The abdomen is threefold: sunken, emaciated, and full; the sides have five actions, and the actions of the thighs are also five.

अग्निरुवाच आभिमुख्यन्नयन्नर्थान्विज्ञेयोऽभिनयो बुधैः । चतुर्द्धा सम्भवः सत्त्वावागङ्गाहरणाश्रयः ।। ३४२.

Agni said: The wise should understand that abhinaya (expression) is to be recognized as conveying meanings directly; it arises in four ways: from emotion, speech, body, and appropriation.

स्तम्भादिः सात्त्विको वागारम्भो वाचिक आङ्गिकः । शरीरारम्भ आहार्य्यो बुद्ध्यारम्भप्रवृत्तयः ।। ३४२.

The sāttvika (emotional) begins with stillness, the vācika (verbal) with speech, the āṅgika (bodily) with movement of the body, and the āhārya (costume) with the activity of the intellect.

रसादिविनियोगोऽथ कथ्यते ह्यभिमानतः । तमन्तरेण सर्व्वेषामपार्थैव स्वतन्त्रता ।। ३४२.

The application of rasa and the like is described according to the sense of identification; without that, the independence of all is indeed meaningless.

सम्भोगो विप्रलम्भश्च श्रृङ्गारः स चतुर्विधः । पूर्व्वानुरागमानाख्यः प्रवासकरुणात्मकः ।। ३४२.

Union and separation are the two forms of erotic sentiment, and it is fourfold: the first is called prior attachment, the second is longing, the third is expectation, and the fourth is sorrow due to separation.

विप्रलम्भाभिदानो यः श्रृङ्गार उपचीयते । आलम्वनविशेषैश्च तद्विशेषैर्न्निरन्तरः ।। ३४२.

That form of erotic sentiment which is known as separation increases continuously through various special supports and their particular distinctions.

एतेभ्योऽन्यतरं जायमानसम्भोगलक्षणम् । विवर्त्तते चतुर्द्धैव न च प्रागतिवर्त्तते ।। ३४२.

From these, one or the other arises, marked by the characteristics of union; it evolves in four ways and does not proceed otherwise.

स्त्रीपुंसयोस्तदुदयस्तस्य निर्विर्त्तिकारतिः । निखिलाः सात्त्विकास्तत्र वैवर्ण्यप्रलयौ विना ।। ३४२.

The arising of that sentiment between woman and man brings about fulfillment; all the sattvic states occur there, except for pallor and fainting.