5. Pride and Penitence The distressed heroine sits on a terrace, helped by her maids to get ready for a rendezvous. Her bent head, downcast eyes and limp arms, however, suggest resentment and reluctance. An elderly maid, who is gently touching her arm, apparently begs her to relent and forgive her lover, who is shown calmly waiting for her in another building beyond the wall. The lady has apparently tossed the jars of perfume, lying pell-mell on the small table next to the cosmetic bowl and box, away in anger. A maid stands behind her, fanning and holding a folded cloth ready to refresh her mistress. The depressing heat was probably not so much due to the weather as to the lady's anger against her seemingly unconcerned lover. This is evidently cooling down, while her pride gradually gives way to penitence. She allows a maid to put on her anklets as the last touch of her toilet provisions, indicating thereby her readiness to go to meet him. The attitude of the heroine conforms to the definition of 'Manini Nayika', which covers a wide range of emotions such as pride, resentment, and jealousy, that may harden the heart of a woman in love . Since the beloved is around and she has agreed to go, the bent head is this case indicates the lingering stubbornness rather than any other emotion. Dabs of colours give guidelines as to those to be used to complete the painting, while a line of writing records the instruction for the decorative patterns. In spite of its unfinished state, the thinly and swiftly applied colouring gives the scene an opaque tint and an extraordinary dream-like quality.