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狈补苍诲颈办别艣惫补谤补, author of 础产丑颈苍补测补诲补谤辫补峁嘺, which is comparatively a later text, deals with varieties of gaits based on the movements of birds, animals and human. The gatis are almost different from those of 狈腻峁瓂补艣腻蝉迟谤补. The author has written nearly sixty-five verses based on the feet movements along with their uses. He classifies them as 尘补峁囜笉补濒补蝉, utplavana, 产丑谤补尘补谤墨 and 辫腻诲补肠腻谤墨办腻. 惭补峁囜笉补濒补蝉 are ten in number and some of these such as 蝉迟丑腻苍补办补, 腻濒墨岣峢补 and pray腻濒墨岣峢补 are similar to the 蝉迟丑腻苍补蝉 of the 狈腻峁瓂补艣腻蝉迟谤补. However, they are not connected with the 尘补峁囜笉补濒补蝉 of the 狈腻峁瓂补艣腻蝉迟谤补 that are used as gait in fighting sequences. He again classifies the simple standing postures called 蝉迟丑腻苍补办补 as six namely 蝉补尘补辫腻诲补, 别办补辫腻诲补, 苍腻驳补产补苍诲丑补, aindra, 驳补谤耻岣峚 and brahma. Except for 蝉补尘补辫腻诲补 others are different from the 蝉迟丑腻苍补蝉 given in 狈腻峁瓂补艣腻蝉迟谤补.

Utplavana is defined as leaps and is of five types. Here the author has described some leaps such as that of horse - 补艣惫辞迟辫濒补惫补苍补 and alagotplavana. 叠丑谤补尘补谤墨 is the whirling movement and it is of seven varieties. Floor and air related spiral movements are described where 驳补谤耻岣峚 产丑谤补尘补谤墨 is explained by the author as one variety. Other than these, all are beautiful bouncing (utplavana) and spiral (产丑谤补尘补谤墨) movements can be employed in 苍峁泃迟补驳补迟颈 i.e. the movement or gait in dance.

笔腻诲补肠腻谤墨办补 is a variety where the author brings in various 肠腻谤墨 and gati movements. These movements can be used for walking in dance and drama.

These are of eight varieties.

膩dautucalana峁� prokta峁僷a艣c膩c肠补峁卥谤补尘补峁嘺峁� tath膩 |
蝉补谤补峁嘺峁� 惫别驳颈苍墨肠补颈惫补 办耻峁�峁�补苍补峁� ca tata岣�param ||
濒耻峁环颈迟补峁� 濒辞濒颈迟补峁� caiva tato惫颈峁�a尘补蝉补帽肠补谤补岣� |
肠腻谤墨bhed膩'm墨a峁ａ弓auprokt膩bharatavedibhi岣� ||^[1]

Calana肠腻谤墨鈥�

Walking normally, taking a foot from its natural place and keeping it forward is calana.

svasthan膩t svasya p膩dasya calan膩ccalana峁� bhavet ||^[2]

Ca峁卥rama峁嘺肠腻谤墨鈥�

A gait made by two feet carefully raised up and thrown sideways alternately, as a leap is 肠补峁卥谤补尘补峁嘺.

S膩ra峁嘺肠腻谤墨鈥�

Moving like leeches by joining one heel with another at every step holding 辫补迟腻办补 hands is 蝉补谤补峁嘺.

Vegin墨肠腻谤墨鈥�

Walking swiftly, running on the heels, toes or by the entire sole, and holding alapadma and tri辫补迟腻办补 hands alternatively is 惫别驳颈苍墨.

Ku峁�峁璦na肠腻谤墨鈥�

Pounding or striking the earth with the heel or the forepart of a foot or the entire sole, is called 办耻峁�峁�补苍补.

Lu峁環ita肠腻谤墨鈥�

Performing 办耻峁�峁�补苍补 or pounding with the legs crossed in svastika posture is called 濒耻峁环颈迟补.

Lolita肠腻谤墨鈥�

After performing 办耻峁�峁�补苍补 if a foot slowly moved without touching the earth it is called lolita.

Vi峁�amasa帽cara肠腻谤墨鈥�

Keeping the left foot to the right side of the right one, and the right foot to the left side of the left one alternately while walking it is called 惫颈峁�a尘补蝉补帽肠补谤补岣�.

惫别峁ａ弓补测颈迟惫腻 诲补办峁�i峁噀苍补 惫腻尘补峁� v膩mena dak峁�i峁嘺m |
办谤补尘别峁嘺 辫腻诲补峁� vinyasya bhaved 惫颈峁�a尘补蝉补帽肠补谤补岣� ||^[3]

Here it has to be understood that the 肠腻谤墨 is a method of moving which is to be performed in general and gati describes the gait of a particular bird, animal or human. So, these 肠腻谤墨s can be used for depicting the gati. For example, 蝉补谤补峁嘺 肠腻谤墨 can be used for bhuja峁単墨 gati. These 肠腻谤墨s can also be identified in 补岣峚惫耻蝉 of 产丑补谤补迟补苍腻峁瓂补.

补迟丑腻迟谤补驳补迟颈产丑别诲腻苍腻峁� 濒补办峁�a峁嘺峁� vak峁�yate kram膩t |
丑补峁僺墨may奴r墨 ca 尘峁沢墨gajal墨l膩tura峁単i峁嚹� ||
si峁僪墨bhuja峁単墨ma峁囜笉奴 k墨gatirv墨r膩 ca 尘腻苍补惫墨 |
da艣aut膩 gatayo j帽ey膩 n膩峁瓂a艣膩stravi艣膩radai岣� ||^[4]

Ha峁僺墨 gati鈥�

One foot should be placed after another slowly at a distance of half a cubit and bending on both the sides alternatively and carrying kapittha with both hands, will resemble the gait of a female swan.

parivartya 迟补苍耻峁� 辫腻谤艣惫补峁� 惫颈迟补蝉迟测补苍迟补谤颈迟补峁� 艣补苍补颈岣� |
别办补颈办补峁� tat 辫补诲补峁� nyasa 办补辫颈迟迟丑补峁� karayorvahan |
丑补峁僺补vad驳补尘补苍补峁� yattu s膩 丑补峁僺墨 gatir墨rit膩 ||^[5]

Though the author has enlisted the 补蝉补峁儁耻迟补 abhinaya hasta for 丑补峁僺补 like 丑补峁僺腻蝉测补 and 丑补峁僺补pak峁�a he doesn鈥檛 use those gestures here.

May奴r墨 gati鈥�

The gait of a peacock is to be performed by standing on toes with kapittha in both the hands and to move both the knees alternately. This again does not mention the use of 尘补测奴谤补 hasta that had been given by the author himself as a hand gesture depicting peacock.

M峁沢墨 gati鈥�

Running forward or sideward like a deer with tri辫补迟腻办补 on both hands will be known as the gait of a deer.

尘峁沢补惫补诲 驳补尘补苍补峁� veg膩t tripap膩kakarau vahan |
purata岣� p膩r艣vayo艣caiva 测腻苍补峁� 尘峁沢补gatirbhavet ||^[6]

狈补苍诲颈办别艣惫补谤补 has also given an abhinaya hasta called 尘峁沢补艣墨谤峁�a, which denotes the head of a deer, but that is not used here. From this, it is understood that the 尘峁沢墨 is shown with 尘峁沢补艣墨谤峁�ahasta but when 尘峁沢补 or deer is to be acted by an actor he should jump with two tri辫补迟腻办补 hastas as horns.

Gajal墨l膩 gati鈥�

To walk slowly with 蝉补尘补辫腻诲补 feet with hands holding 辫补迟腻办补 on both sides is to be the gait of an elephant.This 辫补迟腻办补hasta can be used to depict the ears of the elephant.

Tura峁単i峁嚹� gati鈥�

Right foot should be raised and jumps should be made in quick succession and left hand 艣颈办丑补谤补 and right 辫补迟腻办补 are the gestures to be used in the gait of a horse. Generally, in practice this gait is done with two 辫补迟腻办补 hastas.

Si峁僪墨 gati鈥�

Standing on toes and jumping forward swiftly with 艣颈办丑补谤补 held in both the hands will be the gait of a lion. Here the author had not suggested the 蝉颈峁僪补尘耻办丑补 hasta.

p膩d膩gr膩bhy膩峁� bhuvi sthitv膩 pura utplutya vegata岣� |
办补谤腻产丑测腻峁� 艣颈办丑补谤补峁� dh峁泃v膩 测腻苍补峁� 尘峁沢补gatirbhavet ||^[7]

Bhuja峁単墨 gati鈥�

Tri辫补迟腻办补hasta should be held on both the sides and the gait should be as in 蝉颈峁僪补 gati and it is said to be the movement of a snake. Here if it is taken as moving forward swiftly, then it should be understood in connection with the forward plunge of the snake.

Ma峁囜笉奴k墨 gati鈥�

If one holds 艣颈办丑补谤补 with both hands and steps almost like a lion, it is said to be gait of a frog.

V墨r膩 gati鈥�

Coming from a distance holding 艣颈办丑补谤补 with the left hand and 辫补迟腻办补 with the right one will be called the heroic gait.

惭腻苍补惫墨驳补迟颈鈥�

When the left hand is on the waist and the right holds 办补峁璦办腻尘耻办丑补 in a circular movement it is called the human gait.

It can be understood that the abhinaya hastas, which are used to depict these animals and birds, are not used here and instead the actual movements are performed with the whole body. For example, 尘峁沢墨gati does not use the 尘峁沢补艣墨谤峁�a hasta instead, the jumps are performed with tri辫补迟腻办补 hasta, which resembles the horns of the deer. Thus, these gaits can be utilized in dance and dramas accordingly, based on the explanations given in the 艣腻蝉迟谤补蝉.

Footnotes and references:

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[1]:

础产丑颈苍补测补-诲补谤辫补峁嘺 373-375

[2]:

Ibid. 301

[3]:

Ibid. 308

[4]:

Ibid. 384鈥�385

[5]:

Ibid. 311.

[6]:

Ibid. 313.

[7]:

Ibid. 317.