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siva.sh/natyashastra/8/166

166

एवं भावरसार्थेषु मुखरागं प्रयोजयेत् । शाखाङ्गोपाङ्गसंयुक्तः कृतोऽप्यभिनयः शुभः ॥ १६६॥

The colour of the face should be thus used to represent the States and the Sentiments. The acting done with the Gestures of the Śākhā, the Aṅga and the Upāṅga is good.

english translation

evaM bhAvarasArtheSu mukharAgaM prayojayet | zAkhAGgopAGgasaMyuktaH kRto'pyabhinayaH zubhaH || 166||

siva.sh/natyashastra/8/167

167

मुखरागविहीनस्तु नैव शोभान्वितो भवेत् । शरीराभिनयोऽल्पोऽपि मुखरागसम्न्वितः ॥ १६७॥

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

english translation

mukharAgavihInastu naiva zobhAnvito bhavet | zarIrAbhinayo'lpo'pi mukharAgasamnvitaH || 167||

siva.sh/natyashastra/8/168

168

द्विगुणां लभते शोभां रात्राविव निशाकरः । नयनाभिनयोऽपि स्यान्नानाभावरसास्फुटः ॥ १६८॥

will double their charm (lit. beauty) just as the moon will enhance the charm of the night. Eye expressions too become distinct in conveying various states and sentiments.

english translation

dviguNAM labhate zobhAM rAtrAviva nizAkaraH | nayanAbhinayo'pi syAnnAnAbhAvarasAsphuTaH || 168||

siva.sh/natyashastra/8/169

169

मुखरागान्वितो यस्मान्नाट्यमत्र प्रतिष्ठितम् । यथा नेत्रं प्रसर्पेत मुखभूदृष्टिसंयुतम् ॥ १६९॥

Since dramatic representation is established through facial expression, the movement of the eyes should be accompanied by the appropriate color of the face and glance.

english translation

mukharAgAnvito yasmAnnATyamatra pratiSThitam | yathA netraM prasarpeta mukhabhUdRSTisaMyutam || 169||

siva.sh/natyashastra/8/170

170

तथा भावरसोपेतं मुखरागं प्रयोजयेत् । इत्येवं मुखरागस्तु प्रोक्तो भावरसाश्रयः ॥ १७०॥

Thus, the facial color should be applied in accordance with the bhāvas and rasas. In this way, the facial color has been described as the basis of the bhāvas and rasas.

english translation

tathA bhAvarasopetaM mukharAgaM prayojayet | ityevaM mukharAgastu prokto bhAvarasAzrayaH || 170||