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The three types of characters in a dramatic performance are divya-divine, divya 尘腻苍耻峁�as emi-divine and 尘腻苍耻峁�a-human.

iha prak峁泃ayo 诲颈惫测腻 divya尘腻苍耻峁�y补 eva ca |
尘腻苍耻峁�y补 iti vij帽ey膩 n膩峁瓂an峁泃takriy膩峁� prati ||^[1]

The nature of gods is of divine, that of kings is semi-divine and for others it is human. The kings mentioned in Vedas and the Upanishads, are of divine origin and so sometimes their gait can be similar to that of Gods.

When same type of persons move along with each other, the pace should be of four 办补濒腻蝉, two 办补濒腻蝉 and one 办补濒腻 according to the inclination. But, when superior persons move about with middle and lower type characters, the superior character should adopt the gait of four 办补濒腻蝉 and the others two and one respectively. Devas, asuras, 测补办峁�a蝉, 谤腻箩腻蝉, 苍腻驳腻蝉 and 谤腻办峁�a蝉补蝉 should adopt a pace with distance of four 迟腻濒补蝉. Generally, all celestials should move in a medium gait two 迟腻濒补蝉, but the haughty types among them should follow the gait of gods, four 迟腻濒补蝉.

Abhinava says,

sarv膩s膩峁� prak峁泃墨n膩峁�, gatiriti 办补濒腻layat膩l膩艣rit膩 |^[2]

When different characters move together they can move according to their gaits. Therefore, gait depends on 办补濒腻, laya and 迟腻濒补. All these together form the gati. When uttama is four, madyama is two and adhama one, when uttama is two, madyama is one and adhama half. These characters can be classified as uttama, madhyama and adhama varieties. Bharata describes the stance of the character and their gait according to 办补濒腻, 迟腻濒补 and laya, i.e. time, distance and tempo respectively.

The characters belonging to the types of superior and middling classes should assume the stance called 惫补颈峁ａ箛补惫补 while entering the stage.

蝉迟丑补苍补峁� tu 惫补颈峁ａ箛补惫补峁� 办峁泃惫腻 hyuttame madhyame 迟补迟丑腻 |
蝉补尘尘耻苍苍补迟补峁� 蝉补尘补峁� caiva caturasramuras迟补迟丑腻 ||^[3]

Vai峁ａ箛ava 蝉迟丑腻苍补 should be done with one foot is placed in the normal position and the other is turned a little and made into a triangle. The chest should be in the 肠补迟耻谤补艣谤补 position without protruding too much and without bending in front. The shoulders should hang down at ease without any stiffness and the neck should be held high like a peacock with a raised head. There should be a distance of eight 补峁単耻濒补蝉 between the earlobes and shoulders and a distance of four 补峁単耻濒补蝉 between the chin and the chest.

Abhinava says,

sthanamiti trya艣re'rdhadvika迟腻濒补bh膩giti 惫补颈峁ａ箛补惫补峁� samamanyat samunnatam |^[4]

The left hand should be placed at the hip and the right hand at the navel. This is the stance of the superior - uttama and middle - madhyama type of characters. This is similar to the 办补峁�墨s补尘补尘 办补谤补峁嘺 given by Bharata.^[5] 痴补颈峁�n补惫补 蝉迟丑腻苍补 is to be assumed by the 蝉奴迟谤补诲丑腻谤补 while invoking the jarjara in the 辫奴谤惫补谤补峁単补.

The normal distance between the feet should be two and a half 迟腻濒补蝉. One 迟腻濒补 refers to the distance between the pointing finger and the thumb. This is similar to the 惫补颈峁ａ箛补惫补 蝉迟丑腻苍补.^[6] The height of putting down a step should be according to one鈥檚 own stature. Generally, the measurements are four 迟腻濒补蝉; two 迟腻濒补蝉 and one 迟腻濒补.

For gods and kings it is four 迟腻濒补蝉; for characters of middle type it is two 迟腻濒补蝉 and for women and characters of the low type it is one 迟腻濒补.

catust膩lo dvi迟腻濒补艣c膩pyeka迟腻濒补蝉tathaiva ca |
catus迟腻濒补蝉tu dev膩n膩峁� p膩rthiv膩n膩峁� tathaiva ca ||
dvi迟腻濒补艣caiva madhy膩n膩峁� 迟腻濒补岣� str墨苍墨肠补li峁単in膩m |^[7]

The time taken for placing the steps is specified as four, two and one 办补濒腻 for superior type, middling and low types of persons respectively.

One should adopt three types of layas (tempo) like vilambita (slow), madhya (middle) and druta (rapid) in regard to gaits depending upon the nature of characters.

蝉迟丑颈迟补峁� 尘补诲丑测补峁� 诲谤耻迟补峁� caiva samavek峁�ya layatrayam |
yath膩prak峁泃in膩峁瓂aj帽o gatimeva峁� prayojayet ||^[8]

Abhinava adds vilambita, madhya and druta should be used by uttama, madhyama and 苍墨肠补 characters respectively.

The superior characters should adopt vilamba gati suggestive of their boldness while the middle type should take to a madhya gati. Inferior鈥檚 characters should adopt druta gati, which is rapid in nature. The three tempos should be appropriate with the gait of the three types of persons. This is also referred by Bharata in 诲丑谤耻惫腻蝉.^[9]

Abhinava says entry is to be done with the 蝉迟丑腻苍补 and after that gati should be performed according to the situation, 办腻濒补, desa and characters. Sometimes it may change if a King or deva does any 苍墨肠补 actions or 苍墨肠补 does any uttama action. Both 办腻濒补 and 办补濒腻 are same.

Abhinava adds that kings are treated as devas. Females are treated as inferior characters, not because of their gender but due to their common traits. Uttama characters take four 办补濒腻蝉 to keep the raised foot on the ground, two 办补濒腻蝉 for madhyama and one 办补濒腻 for 苍墨肠补 characters. The 蝉腻尘腻苍测补 濒补办峁�a峁嘺 of 办补濒腻 is 苍颈尘别峁�a, i.e. five 尘腻迟谤补蝉.

Kohala states Uttama can move in 诲惫颈辫补诲墨, which has four gurus, and for which going up and down will take each two 办补濒腻蝉.

sy膩duttam膩n膩峁� 诲惫颈辫补诲墨 caturgurusamanvit膩 |
tatrotk峁�epanip膩t膩bhy膩峁� yasm膩t辫腻诲补dvaya峁� bhavet ||^[10]

Dhairya and 驳补尘产丑墨谤补 qualities take vilambita laya. 痴颈诲耻峁�a办补 though a Brahmin has druta laya. 颁颈迟迟补惫峁泃迟颈 is less for 苍墨肠补 characters but even for them if it is 艣辞办补 they have vilambita. 罢腻濒补 should go along with gati. Manthara gati is of four 迟腻濒补蝉, 蝉惫补产丑腻惫补 is three 迟腻濒补蝉 and 诲墨辫迟补 is five 迟腻濒补蝉.^[11] These are 濒补办峁�a苍补 of gati in dhruvas. In 辫腻谤艣惫补办谤腻苍迟补 肠腻谤颈, the knee should be in line with the waist for normal and superior characters in 惫墨谤补. In yuddha, knee should be in line with the chest.

In the natural gait of the superior type of persons, the knee should be lifted up to the level of the hip. However, in the gait at the time of battle, the knee should raise to the level of breast.

The character should proceed to the corner of the stage in the 肠腻谤颈 called 辫腻谤艣惫补办谤腻苍迟补 dragging five steps with graceful movements to the accompaniment of the musical instruments.

蝉惫补产丑腻惫腻迟迟奴迟迟补尘补驳补迟补耻 办腻谤测补峁� j膩nu办补峁�墨s补尘补尘 |
yuddha肠腻谤墨prayoge峁�u j膩nustana蝉补尘补峁� nyaset ||
辫腻谤艣惫补办谤腻苍迟补i岣� salalitai岣� 辫腻诲补irv膩dy膩nvitairatha |
r补峁単补ko峁噊nmukha峁� gacchet samyak pa帽capad膩ni ca ||^[12]

Then putting the left foot inwards in 惫腻尘补惫别诲补 (which refers to 蝉奴肠颈 pada or pointing the foot inside)^[13] and whirling the right foot, he should turn about and move to the second corner (located at south-west) placing five steps. Then again, he should put his left foot inwards and move forward with a flourish of the right foot to the place where the instruments are arranged. Here he is to put five steps in his movement.

Thus, he should move about to and from and tread about twenty-one steps. Again, he is to place his left foot backwards and move the right foot forward with a stretch.

1. Gait of merchants and ministers

Gaits of merchants and ministers may be represented as natural. Brahmins should move about lifting their bent foot and placing it two 迟腻濒补蝉 apart.

atikr膩ntai岣� padairvipr膩 dvit膩l膩ntarag膩mibhi岣� |^[14]

They should place their left hand with an upward palm near the navel in the hasta called 碍补峁璦办腻尘耻办丑补 while their right hand with an open palm should be kept firmly before their breast in the hasta called 补谤腻濒补. Their body should not be bent, protruded, or made stiff in their movements.

2. Gait of ascetics and Buddhist mendicants.

Ascetics, Buddhists mendicants, persons engaged in penance, as also those who take the vow of celibacy should adopt a suitable gait. In general, they should look toward to a distance of two yugas (a distance of four hastas), show a sense of recollection and keep the whole body on the move. They should proceed with a firm and fixed mind, wearing the marks belonging to their sect and put on modest cloths such as saffron-colored cloth. First, they assume the 蝉补尘补辫腻诲补 posture and extent one hand with grace.

Their face should be pleasant and appropriate to the context of representation and they should move forward without bending their body and with long strides.

ani峁�a峁囜箛ena g膩tre峁嘺 驳补迟颈峁� gacched vyatikram膩t |^[15]

What has been already narrated is the gait of superior ascetics who perform great vows. For others these gaits should be used with diverse characteristics as applicable to them. In the case of other ascetics, too the gait should be suitable to their sect. It could be confused, stately, confused but concealed as needed.

The gait of the 辫腻艣耻辫补迟补蝉 should suggest haughtiness and the feet should be bent as in 艣补办补迟腻蝉测补 and raised to make long strides with force.

艣aka峁�膩syasthitai岣� 辫腻诲补iratikr膩ntaistathaiva ca |^[16]

3. Gait of lame, cripple and dwarf.

Three kinds of gaits should be assigned to 碍丑补帽箩补 (one who could not set his heals on the ground on account natural lameness or due to the piercing of a thorn on his foot). 辫补峁単耻 (one who walks with a lameness on account of one leg being shorter than the other or due to the curved shape of shanks) and 惫腻尘补苍补 (one who is a dwarf in all his limbs). In the case of all the three, they should represent the deformity of the limbs. In the gait of 办丑补帽箩补, one leg should always be stiff and motionless. This can be performed by sthambhana 奴ru. The forepart of the other foot alone could be pressed to the ground.

Bharata describes this as 补驳谤补迟补濒补蝉补帽肠腻谤补 辫腻诲补.

eka岣� 办丑补帽箩补gatau 苍颈迟测补峁� stabdhau vai cara峁噊 bhavet ||
迟补迟丑腻 诲惫颈迟墨测补岣� k膩ryastu p膩do'gratalasa帽cara岣� ||^[17]

He should have his body heaved up and down as in prakampita 耻谤补岣� by the force of the stiff foot. While he moves with the other foot, he should bend down almost into a sitting position as in nata 箩补峁僩丑腻. The gait of lame person should show an up and down movement of the body as a whole. This gait should be adopted in case a thorn is stuck into the palm of the foot or injured due to other cause also. The gait of crippled person is by placing the front foot on the ground with a slant and with the body pressed down and shanks bent down. This can be performed by 蝉奴肠墨 and nata 箩补峁僩丑腻. The dwarf moves about with the contraction of the various limbs. He should not lift his foot nor should whirl his feet in front. He could jump up and down and move forward with a ludicrous gait. For this, he can adopt 别濒补办腻办谤墨岣峣迟腻 肠腻谤墨.^[18]

4. Gait of 痴颈诲奴峁�a办补

The gait of the 痴颈诲奴峁�a办补 should be laughter provoking in three different ways. They are called:

1. 补峁単补箩补鈥攑rovoked by limbs,
2. 办腻惫测补箩补 or 惫腻办测补箩补鈥攑rovoked by words and
3. nepathyaja鈥攑rovoked by the costume.

If he is represented with protruding teeth, baldhead, a hunchback, lameness and distorted face, it is called 补峁単补箩补.

If one appears like a stork looking up and down with a slant head while moving forward with long strides, which also becomes 补峁単补 丑腻蝉测补.

yad膩 tu bakavat gacchedullokitavilokitai岣� |
any膩yatapadatv膩cca 补峁単补h膩syo bhavetsatu ||^[19]

This has to be performed with 腻办补尘辫颈迟补 and 补帽肠颈迟补 艣颈谤补 along with ullokita and vilokita 诲峁涐梗峁璱.

痴腻办测补箩补 consists of incoherent talk, meaningless and unconnected speech and mannerisms. It also includes the uses of obscure words. Nepathyaja is due to the humors appearance with tattered tags or cloths of bark or leather. He is also ludicrous because of the smearing of his body with lamp-black, ashes and yellow ochre.

The laughter-provoking gait of the 痴颈诲奴峁�a办补 is to be carefully adopted considering the character (hero and heroines) he has to contend with the situations. Thus, he has to assume one or more of states. In his natural role, he is to hold a long staff with a crooked handle in his left hand and walk about whirling the right hand with a flourish. In his gait, one of the limbs like the side, head, hand or leg should bent down with the rhythm of the movement. This is the natural gait of the 痴颈诲奴峁�a办补. There is a different gait when he is emotional. When happens to get such food and dress which are not usually available to him he assumes a gait of pride.

5. Gait of 痴颈峁璦 and 碍补帽肠耻办墨

The gait of 痴颈峁璦-a lecherous person may be shown as coquettish and graceful at a distance of one 迟腻濒补. In tune with the steps, one should show gestures of hand in 办补峁璦办腻惫补谤诲丑补尘补苍补办补 with equal charm.

The gait of 碍补帽肠耻办颈鈥揳 chamberlain should be represented in accordance his age and other conditions. If he is not old, the actor should represent as it follows: the feet are to be kept raised at a height of half a 迟腻濒补. It should like as if the body is carried forward by someone. The feet should appear slow, as if they are struck in mud. In the case of an old (Chamberlain) fellow, he should move about with shivering limbs performed by kampana movement and tottering steps performed by 别濒补办腻办谤墨岣峣迟腻 cari leaning heavily on a long staff. The feet should be raised and put down in his slow movement. In the representation of a lean person, a slow movement and holding of a staff is necessary. His stomach should be empty and shown as emaciated through the movement of khalvam udara with hollow cheeks and tired eyes. Hands and legs should be raised slowly and his limbs should always tremble, suggesting extreme difficulty in gait.

6. Gait of low characters

Different gaits should be adopted in the case of low characters like 肠别峁璦 and others who are classified as adhamas. They have different characteristics, which are peculiar to them. In the gait of 肠别峁璦, one of the limbs like the hip or side, head, hand or foot should be held in a lower position. Nata 辫腻谤艣惫补, 补帽肠颈迟补 艣颈谤补s, and 耻诲惫腻丑颈迟补 办补峁��� can be performed here. Their look also should be furtive and extending to half the usual distance. The gait of 艣补办补谤补 should be haughty and quick in strides. This can be done with 别濒补办腻办谤墨岣峣迟补 and 箩补苍颈迟腻 cari. He should always be fondling the tips of his cloths and ornaments. He should move his limbs with an emotional fervor.

Persons of inferior type and low caste should move about cautiously looking around keeping away their limbs from the contact of other people by shrinking and contracting their body. 膧产丑耻驳苍补 耻谤补岣� can be performed here. In the case of the members of the Mleccha tributes Pulindas and 艢补产补谤补蝉, they should be made to adopt the movements befitting the customs and manners in their regions.

Footnotes and references:

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[1]:

Ibid.XII.26

[2]:

Ibid.XII.com.p.100

[3]:

Ibid.XII.4

[4]:

Ibid.XII.com.p.94

[5]:

Ibid.IV.80.

[6]:

Supra Chapter 2.4.3.1.

[7]:

狈腻峁瓂补艣腻蝉迟谤补:XII.9,10

[8]:

Ibid.XII.12

[9]:

Ibid.XXII.368.

[10]:

Ibid.XII.com.p.96

[11]:

Ibid.XII.com.p.97

[12]:

Ibid.XII.15,16

[13]:

Ibid.XII.com.p.98

[14]:

Ibid.XII.79

[15]:

Ibid.XII.84

[16]:

Ibid.XII.86

[17]:

Ibid.XII.133

[18]:

Ibid.X.20.

[19]:

Ibid.XII.140.