Gītā-mālā

(1)
vibhāvita rati yabe, kriyāpara ha’ye tabe
anubhāva haya ta’ udita
citta-bhāva udghāṭiyā, kare bāhya su-vikriyā
yakhana ye haya ta’ ucita

When rati, stimulated by vibhāva, becomes active in this way, then anubhāva arises. It manifests as external transformations when the emotions of the heart are opened, producing appropriate outward expressions according to the particular ecstasy within.

(2)
nṛtya gīta luṇṭhana, krośana tanu-moṭana
huṅkāra jṛmbhana ghana-śvāsa
lokānāpekṣita mati, lālā-srāva ghūrṇa ati
hikkādayā aṭṭa-aṭṭa hāsa

The thirteen anubhāvas are dancing, singing, rolling on the ground, crying out, stretching the body, loud roaring, yawning, deep breathing, disregard for public opinion, salivation, intense dizziness, hiccups, and loud, uncontrolled laughter.

(3)
gātra-citta yata saba, alaṅkāra su-vibhāva
nigadita viṁśati prakāra
udbhāsvara nāma tā’ra, dhammilyā saṁsraṇa āra
phulla-ghrāṇa nīvayādi vikāra

It is said there are twenty alaṅkāras—decorative transformations of body and mind. Among them, udbhāsvara includes letting down the hair, smelling flowers, and adjusting garments such as the waistcloth, along with other spontaneous bodily transformations.

(4)
vilāpa alāpa samlāpa, pralāpa o anulāpa
apalāpa sandeśātideśa
apadeśa upadeśa, nirdeśa o vyapadeśa
vācika-anubhāvera viśeṣa

There are also twelve vācika-anubhāvas: lamentation, playful speech, conversation, incoherent speech, repetition, speaking with altered meaning, sending messages to a distant lover, saying “his words are my words,” indirect suggestion, instruction, clarification, and speaking under a covering expression while revealing the heart.