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The rules laid down relating to ordinary walking, do not apply when one is in excitement, chaotic condition and in anger.

补测补峁� vidhistu 办补谤迟补惫测补岣� 蝉惫补肠肠丑补苍诲补驳补尘补苍补峁� prati |
蝉补峁僢丑谤补尘辞迟辫腻迟补谤辞峁�e峁�u 辫谤补尘腻峁嘺峁� na vidh墨yate ||^[1]

The actor should represent the gait in accordance with the nature of the characters emulated like the superior, middling and lower type of persons. In a different condition or situation, two 尘腻迟谤补蝉, in the place of four or one 尘腻迟谤补, can be accepted at the time for the gait and in other items of representation.

While the superior type of characters adopt a gait of four 尘腻迟谤补蝉 the middle type takes only two, if the superiors takes two 尘腻迟谤补蝉 then the middle takes only one. A low person takes only half 尘腻迟谤补 while middle takes one 尘腻迟谤补. Thus, proportion is half of the higher type for the lower ones, especially in the case of those with lower grade of intelligence.

The gait pertaining to a superior person should not be applied to a middle type person and the gait of middling character should not be assigned to a person of the inferior variety.

The gait of a person who has covered a long distance should be slow. His limbs should be emaciated and fatigued while his joints of knee should rub each other. The stout person should appear as dragging his body with great effort and should put down his steps slowly after raising the same with effort. This can be performed by 补诲丑测补谤诲丑颈办腻 肠腻谤墨.^[2] Such a person should place one of his hands on his hip, let out deep sighs and walk with a slow pace. His body should also sweat in the effort of walking.

In the case persons afflicted with fever, distressed by hunger, weary due to penance, possessed by fear, feeling dismay, affected by dissimulation, feeling anxiety, affected by sentiments of love or sorrow and who are making an easy walk the gait should be in the vilambita鈥搒low pace. More than four 尘腻迟谤补蝉 may also be taken in such cases if it is needed.

When one is in extreme passion, running away in panic, in agitation, in happiness, in executing action in haste, on hearing bad news, making insult, on seeing wonderful things, in necessity of executing an urgent task, in searching an enemy, in following a culprit and running after a wild animal and the like, the gait is not conditioned by 尘腻迟谤补蝉 and one should follow appropriate course on such occasions.

Abhinava states that in the case of fever, love, sorrow the gait can be slow, for a step it is four 尘腻迟谤补蝉, meaning it can be five, 腻濒腻蝉测补 laya is slower than vilambita.^[3]

1. Gait in cold

The gait of women and men of the lower type suffering cold or drenched by rain should be shown by the actor in an appropriate manner. The whole body becomes stiff, limbs trembles excessively; the hands are placed at the chest, which is bent; the teeth chatter, lips throb and chin quivers. Such a person walks slowly. This is the gait of persons in the cold region. These can be performed by kampita of 补峁単补蝉 and up补峁単补蝉.

2. Gait in darkness.

While moving about in darkness, the feet should be placed as if groping the way i.e. 肠奴谤峁嘺辫补诲补, and the hands should be stretched out in front.

膧viddha and apaviddha bahu can be used here.

bh奴mau visarpitai岣� p膩dairhastairm膩rgatradar艣ibhi岣� |^[4]

Abhinava says that sarpita 办补谤补峁嘺 can be used for this gait.^[5] This can be performed with short and scratching steps.^[6]

3. Gait in vehicles

To imitate the action of the occupant of a chariot one has to make a series of movements jumping up and down.

Before doing this, one must take the stance in the 蝉补尘补辫腻诲腻 position.

谤补迟丑补蝉迟丑补蝉测腻辫颈 办补谤迟补惫测腻 gati艣肠奴谤峁嘺辫补诲补iratha ||
蝉补尘补辫腻诲补峁� tatha 蝉迟丑补苍补峁� 办峁泃惫腻 rathagati峁� vrajet |^[7]

Furthermore, one should take a bow in one hand and catch the pole of the chariot by the other. The driver of the chariot should hold a whip in his hand as also the reins. The actor has to adopt a series of quick and straight gait in 蝉补尘补辫腻诲补 肠腻谤墨 and druta gati.^[8] Abhinava pictures the horse or camel can be drawn and it should be held by the actor playing the charioteer.

4. Gait in aerial sphere.

The gait of one riding of aerial chariot is similar to that of the ordinary rider of a chariot. While boarding the chariot one has to hold one鈥檚 body up and for alighting one has to show an opposite movement. The actors who represent the movement like travelling the sky should look down and make circular movement. Taking a 蝉补尘补辫腻诲补 stance and making jumps in succession and should represent the descent from the sky.

When one falls from the sky, one should show the movements like straight, forward, up and down and zigzag while shaking the hands in apaviddha of arms.

峁沯v膩yatonnatanatai岣� ku峁璱l膩vartitairatha |
bhra艣yata艣ca tath膩k膩艣膩dapaviddhabhuj膩 驳补迟颈岣� ||^[9]

The cloth should appear as fluttering in the sky and the actor should gaze down in the earth. Abhinava says the arms should move out and fall in 岣峯濒腻.

Here the arm movement called apaviddha can be performed finally ending in samyuta hasta called 岣峯濒腻.

apaviddho tvarita岣峯濒腻k膩rap膩to bhujau yasy膩m |^[10]

5. Gait in ascending palace.

Ascending and descending of palaces, trees hills and negotiating rivers as of uneven places are to be represented by the learned taking into account the nature of the objects. While ascending a mansion the feet should be lifted up and the body should held straight in the course of negotiating the steps of the stairs. Similarly, the descent also can be shown with a bent body and lifting one foot while the other foot may be placed pressing the stairs with the heels and raising the forepart of the palm. While climbing a hill the same actions employed in ascending the mansion may be resorted to. First, one should raise the feet and then the body. To represent the climbing of a tree the feet should be followed by the 肠腻谤墨s of 蝉奴肠墨惫颈诲诲丑补, 补辫补办谤腻苍迟补 and 辫腻谤艣惫补办谤腻苍迟补. All these come under 腻办腻艣补 肠腻谤墨 where the foot is lifted and dropped.

6. Gait in water.

The same movements in regard to the mansions are to be employed in the representation of descending in water. However, in order to decide upon the gait in water, one should know the quantity or the depth of the water. If the water is less, one should lift up the tip of the cloth.

The hands should be employed in a swimming action and the body should be bent slightly, to enable one to cross it.

ki帽cinnat膩grak膩y膩 tu prat膩re gatiri峁�yate ||
..... pras膩rya b膩humekaika峁� muhurv膩rivikar峁�a峁嘺i岣� |^[11]

础迟颈办谤腻苍迟腻 肠腻谤墨 can be employed in this situation. While swimming one should stretch out ones arm and push the water repeatedly using the palm one after another. The body should be placed horizontally and it should look like as though it is being carried away by the water. The whole body should have movement while the face is turned to each side shaking away the drops of water. The actions of one sitting in a canoe should consist of quick jumps with as forward surge. One should follow such prescriptions in the matter of movements in a performance. These should be represented by imitative gestures. Abhinava says 腻诲丑奴迟补 and 辫补谤颈惫腻丑颈迟补 艣颈谤补蝉 should be performed at this juncture.^[12]

7. Gait of an elephant rider and horse rider

By holding an elephant driver鈥檚 hook, an elephant may be represented; by holding the reins of a horse and by taking a whip, a chariot can also be shown. In this way, other items can also be represented without actually showing them on the stage or by creating fictitious things for the stage. In order to represent the gait of horse feet may be kept apart and moved about in the vai艣膩kha sth膩na involving short jumping in quick succession. This can be performed by vai艣膩kha recita 办补谤补峁嘺.^[13]

8. Gait of intoxicated persons

In the case of a person whose state of inebriatedness is slight or medium a staggering step with the feet swerving now and then should be adopted. The left and right foot should move in the opposite direction. When the intoxication is less the feet should falter and the body should swerve. This can be performed with 尘补迟迟补濒濒墨 and ardha尘补迟迟补濒濒墨 办补谤补峁嘺s.^[14]

9. Gait of lunatic persons

In the gait of a lunatic, the steps should be irregular. He should move about in different 肠腻谤墨s imitating the action seen around him. A mad fellow should have rough and disheveled hair and body covered with dust. He babbles incoherently and speaks too much in an unnatural way. He also shows different emotions.

The lunatic sings, laughs without any provocation, does not show any regards, even if affection is shown to him, dances hilariously playing instruments. Sometimes he runs fast and sometimes, remains quiet and unmoved. At times, he squats down and at times, he lies down on the ground. He wears tattered rags of different types and remains on the footpath of the highway, braving the weather. These are the gaits of a lunatic person.

The mode of representation of his gait is as follows: The gait of a lunatic person involves movements such as sitting in 苍奴辫耻谤补辫腻诲腻, stretching of feet in front, sitting with transposed legs, transposing of elbows in salutation, making a circular movement (on the stage), turning or whirling quickly moving to the corner of stage, turning of the sacrum, hanging down the hands in a loose manner, and so on. This can be performed by 辫谤别峁卥丑辞濒颈迟补 karana.^[15] The hands should make appropriate movement along with those of the feet, but, it should be in a negative or diverse direction.

Footnotes and references:

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[1]:

Ibid.XII.29.

[2]:

Supra 2.5.1.1.

[3]:

Ibid.XII.com.p.100

[4]:

Ibid.XII. 88.

[5]:

Ibid.IV.com.p.129.

[6]:

Ibid.XII. 88.

[7]:

Ibid. XII.89.

[8]:

Ibid. XII.com.p.110.

[9]:

Ibid. XII.95.

[10]:

Ibid. XII.com.p.111.

[11]:

Ibid.XII. 99-101.

[12]:

Ibid.XII.com.p.112.

[13]:

Ibid.IV. 97.

[14]:

Ibid.IV. com.p.110.

[15]:

Ibid.IV.com.p.130.