Chapter 8 - Forty-four Glances

The following Glances are mentioned elsewhere:

1. Sama,
2. Pralokita,
3. Snigdha,
4. Srṅgara,
5. Ullokita,
6. Adbhuta,
7. Karuṇa,
8. Viṣmaya,
9. Tṛpta,
10. Viṣanna,
11. Bhayānaka,
12. Sāci,
13. Dṛta,
14. Vīra,
15. Raudra,
16. Dūra,
17. Iṅgita,
18. Vilokita,
19. Vitarkita,
20. Saṅkita,
21. Abhitapta,
22. Avalokita,
23. Sūnya,
24. Hṛṣṭa,
25. Ugra,
26. Vibhrānta,
27. Sānta,
28. Mīlita,
29. Sūcana,
30. Lajjita,
31. Malina,
32. Trasta,
33. Mlāna,
34. Mukula,
35. Kuñcita,
36. Ākāśa,
37. Ardhamukula,
38. Anuvṛtta,
39. Vipluta,
40. Jihma,
41. Vikośa,
42. Madira,
43. Hṛdaya,
44. Lalita.

Sama: looks like those of the women of the gods (not winking, etc.). Usage: normal circumstances.

Pralokita: casting glances on both sides. Usage: looking on both sides.

Snigdha (tender): the look that is associated with joy, pleasant anticipation, things after one’s own heart, having an inner radiance, expressing the surge of love passion. Usage: in affection.

Sṛṅgāra (love): born of great joy, in the toils of love—raising the eyebrows and looking out of the corners of the eyes. Usage: mutual glances of those who are fast bound by amorous desires.

Vilokita: looking upwards. Usage: tall things, previous births.

Adbhuta: the ends of the eyelids slightly curved, the eyebrows raised in wonder, the eyes shining. Usage: the marvellous.

Karuṇa: a downcast glance, half-vouchsafed, with tears, benevolent, the black pupil slowly moving, regarding the tip of the nose. Usage: the pathetic.

Viṣmaya (astonishment): quickly raised, straight-staring. Usage: astonishment.

Tṛpta (satisfaction): steady, wide-opened, the pupil motionless, keeping its place. Usage: resolution (utsāhd).

Viṣaṇṇa: the eyelids wide apart, eyelashes recurved, the pupil fixed. Usage: dismay, anxiety.

Bhayānaka (inspiring fear): the eyelids raised and fixed, the pupil bright and fluttering. Usage: great fear, the terrible.

Sāci: looking persistently out of the corners of the eye. Usage: secret purpose.

Dṛta (fish?): both pupils moving. Usage: excitement.

Vīra (heroic): radiant, direct, open, rather majestic, self-controlled, the pupils at rest. Usage: the heroic.

Raudra (cruel): unfriendly, red, cruel, the pupils fixed and the lids not moved, the brows contracted and raised. Usage: the cruel.

Dūra (far): slightly raised. Usage: things at a distance.

Iṅgita: sidelong glances expressing joy. Usage: secret thought.

Vilokita: looking back. Usage: things or places behind.

Vitarkita (deliberation): direct, wide-opened, the eyelids separated, the pupils fixed as if in fear. Usage: consideration (ūhā).

Śaṅkita (apprehensive): a little moved, a little at rest, slightly raised and moved to and fro, the pupils partly hidden. Usage: hesitation.

Abhitapta (burnt): the eyelids moving, the pupils gazing languidly. Usage: indifference (i. e. regarding a thing, but without interest).

Avalokita: looking down. Usage: study (paṭhanā), reflection (vicāra).

Śūnya (vacant): eyelids level, pupils visible, motionless, gaze vacant. Usage: misunderstanding (bāhyārtha grahaṇa).

Hṛṣṭa (merry): fluttering, pleasant, twinkling. Usage: laughter.

Ugra (fierce): very wide open, a little red at the corners. Usage: ferocity.

Vibhrānta (wandering): the pupils moving, rolling, unconstrained, between tears and laughter; the wandering glance of excitement.

Śānta (peace): gradually closing the lids, the eyes slightly moving, the pupils moving to the comers; the peaceful glance of dispassion.

Mīlita: nearly closed. Usage: conditions such as subjection to another’s will.

Sūcana: the eyes partly closed, following the movement of the (sūci) hand. Usage: pointing out.

Lajjita: the upper eyelid dropped, the pupil also lowered bashfully, the lashes meeting; this modest glance is used modestly.

Malina: the lashes partly closed as if by rheum, the pupils sunken; this unclean eye denotes women (i. e. dissipation).

Trasta (frightened): inwardly expanded, the pupil raised. Usage: fear and intoxication.

Mima (dull): the pupils moving languidly and slowly, squinting, the lashes seeming to touch; this dull eye indicates insipid matters.

Mukula: the lashes trembling and touching, the expression of the pupils mild, the upper lids lowered; this 'bud’ eye indicates bliss (ānanda).

Kuñcita (curved): the lashes a little recurved, the eyeballs a little sunk; dislike, or jealousy.

Ākāśa (sky): directed towards the sky, the pupil turned far back; indicating things moving above.

Ardhamukula: smiling, the pupils just visible under the lids; this ‘half-bud’ eye indicates bliss and rejoicing.

Anuvṛtta (following): repeated glancing; it is used in hurry.

Vipluta: the lids trembling, expanded, and then dropped; this ‘disordered’ eye indicates beauty in things of all sorts.

Jihma (oblique): bent back, a slow and hidden glance; used to convey secret meanings, and in envy.

Vikośa: without winking, the pupils moving, the lids wide apart; it is used in joy.

Madira: indirect, ranging, centred, unsteady, crooked; it is used to indicate the early stage of intoxication.

Hṛdaya: unsteady, flurried, the pupils moving somewhat (anaglulita), the lids recurved; it is used for mediocre things.

Lolita (graceful): the comers of the eyes closed by the movement of the brows, smiling because of the working of Love, direct; it is used in graceful posing (lalita), etc.