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The gati of a person is very much important for rasotpatti, the production of aesthetic experience. Each character should move about on the stage keeping in mind of the 产丑腻惫补 and rasa competent to that particular scene. Generally, a drama consists of many persons taking the roles of different characters. Gaits for types of characters vary according to their age, situation, and the like. Suitable roles will be given to the actors, where they bring out the traits of the characters through proper gaits. 鈥淭he dress should be suitable to the age, the gait and movements to the dress, words follow the gait and gesticulation is done according to the words.鈥�^[1] Bharata enlists nearly twenty varieties of gatis to be performed in dramas.

The researcher suggests some more occasions for the performance of gaits and its nature in Sanskrit dramas. Thus, the researcher has taken examples of different characters and situations from various dramas and visualizes their gaits based on elements seen in the 狈腻峁瓂补艣腻蝉迟谤补.

Gati becomes an important aspect in the dance elements of dramas. Gati is generally based on the rhythmic sequences in dance. The instruments can be played based on the structure of the song, the svaras or the mnemonic syllables and for which the 苍峁泃迟补驳补迟颈 can be performed.

This varies based on dramas and the characters.

飩� 迟补迟补岣� pravi艣atyac膩ryapratyavek峁�yam膩峁嚹佱箙gasau峁ａ弓hav膩 m膩lavik膩 |^[2]

碍腻濒颈诲腻蝉补 says:

鈥�惭腻濒补惫颈办腻 enters the dancing hall maintaining her 蝉补耻峁ａ弓补惫补 posture. She is a dancer and so her structure has to be in 蝉补耻峁ａ弓补惫补, which is a basic body position where the gait and the dance is to be done. Persons of middle and superior type should always present this since dance, drama and everything is dependent upon 蝉补耻峁ａ弓补惫补.鈥�

ka峁�墨kar峁嘺u samau yatra k奴paro峁�'sa艣irastath膩 ||
蝉补尘耻苍苍补迟补尘耻谤补艣肠补颈惫补 蝉补耻峁ａ弓丑补惫补峁� 苍腻尘补 tad bhavet |^[3]

The talent of a student is vividly explained by 碍腻濒颈诲腻蝉补 in this 艣濒辞办补: 骋补峁嘺诲腻蝉补, the dance teacher of 惭腻濒补惫颈办腻 says,

鈥淲hatever action expressive of sentiment is taught by me to her in the way of acting, she teaches me the same in return by her superior performance of it.鈥�

yadyatprayogavi峁�aye bh膩vikamupadi艣yate 尘补测腻 tasyai |
tattadvi艣e峁�akara峁嚹乼pratyupadi艣at墨va me 产腻濒腻 ||^[4]

Here, the word 鈥�办补谤补峁嘺鈥� means performance. But it can also be taken as the 办补谤补峁嘺s referred in the 狈腻峁瓂补艣腻蝉迟谤补. The teacher, 骋补峁嘺诲腻蝉补, has taught the 产丑腻惫补s which has to be exhibited and the student, 惭腻濒补惫颈办腻, embellishes that with the 办补谤补峁嘺s appropriate to that particular expression.

According to Bharata, one has to first express the song through abhinaya and then should perform the 苍峁泃迟补 for that song.

辫谤补迟丑补尘补峁� tvabhineya峁� sy膩t 驳墨迟补kesarvavastukam ||
tadeva ca punarvastu n峁泃ten膩pi pradar艣ayet |^[5]

Here, 苍峁泃迟补 can be done through the 苍峁泃迟补 办补谤补峁嘺s. The teacher has to teach her the abhinaya of the song and due to the great talent of 惭腻濒补惫颈办腻 she dances the song by adding appropriate 办补谤补峁嘺s. K膩峁璦yavema, in his commentary, mentions that this dance is known as 苍峁泃测补, as it has both 苍峁泃迟补 and abhinaya elements.

He says 苍峁泃测补 is defined by later authorities as:

膩峁単ik膩bhinayapr膩yamalpa惫腻肠颈办补蝉腻迟迟惫颈办补m |
产丑腻惫腻苍腻尘腻蝉辫补诲补峁� 苍峁泃测补峁� pad膩rthavya帽jan膩tmakam ||^[6]

id膩n墨meva pa帽ca峁単膩bhinayamupadi艣ya 尘补测腻 vi艣ramyat膩mityabhihit膩 d墨rghik膩valokanagav膩k峁�agat膩 prav膩tam膩sevam膩n膩 ti峁ａ弓hati |^[7]

碍腻濒颈诲腻蝉补 refers to a dance called 辫补帽肠腻峁単补 abhinaya. This dance is taught by 骋补峁嘺诲腻蝉补 to 惭腻濒补惫颈办腻. K膩峁璦yavema in his commentary says, abhinaya, which comprises of five parts is also called as 笔谤别谤补峁嘺. He refers to 狈峁泃迟补谤补迟苍腻惫补濒墨, which mentions the five limbs 苍峁泃迟补, 办补颈惫腻谤补, ghargara, 箩腻驳补谤补 and 驳墨迟补. For few others, the actions of the five limbs are citta, 补办峁�i, 产丑谤奴, hasta and 辫腻诲补. According to 痴腻肠补蝉辫补迟颈, it can also include 腻峁単颈办补, 惫腻肠颈办补, 腻丑腻谤测补 and 蝉腻迟迟惫颈办补.

This is also known as calitaka苍峁泃迟补, which is concluded with 辫补帽肠腻峁単补 abhinaya.^[8]

deva 肠补迟耻峁�p补诲辞诲产丑补惫补峁� 肠补濒颈迟补峁� du峁�prayojyamud膩haranti |^[9]

碍腻濒颈诲腻蝉补 refers to a special kind of dance called Calita, which is danced by 惭腻濒补惫颈办腻. K膩峁璦yavema in his commentary says, 鈥淭his is a kind of dance, wherein the incident taken place earlier, is exhibited by the dancer indicating her mind.

Calita contains the four abhinayas and it is of 箩腻迟颈 and svara comprising of 艣峁涐箙驳腻谤补 and laya.鈥�

tadevatacca(ccha)lita峁� 苍腻尘补 s膩k峁Ｄ乨yadabhin墨yate |
惫测补辫补诲颈艣测补 辫耻谤腻惫峁泃迟补峁� sv膩bhipr膩yaprak膩艣akam ||^[10]

This dance is mainly of the 艣峁涐箖g膩ra rasa and is based on 肠补迟耻峁�p补诲补, a song consisting of four parts. This dance is considered to be the most difficult to be enacted and what 惭腻濒补惫颈办腻 performs here is a catu峁１枘寤宀� calita composed by 艢补谤尘颈峁ａ弓腻.

Bharata describes thus: 颁补迟耻峁�p补诲补 is the dance, which begins with delicate movements and relates to the erotic sentiment and has been created by goddess 笔腻谤惫补迟墨. This should be performed by women, mostly in madhya laya.

A song with four vastus is a 肠补迟耻峁�p补诲补.

ekavastu 诲丑谤耻惫腻 j帽ey膩 dvivastu 辫补谤颈驳墨迟颈办腻 |
trivastu 尘补诲谤补办补峁� 箩帽别测补峁� caturvastu 肠补迟耻峁�p补诲腻 ||^[11]

Here, the 苍峁泃迟补驳补迟颈 can be performed by the 补峁単补丑腻谤补蝉 of 蝉耻办耻尘腻谤补 variety in medium tempo.

Sthiti or 蝉迟丑腻苍补 is important for a gati. Only when the character stands in perfect 蝉迟丑腻苍补, the gati will be beautiful. The posture of 惭腻濒补惫颈办腻 is beautifully described by 碍腻濒颈诲腻蝉补.

He says,

鈥淗er standing attitude is lovelier than her dancing in which the upper half of her body is straight, drawn up and she has placed the left hand on her hip her, with its bracelets sticking motionless to the joint of the wrist and made the other hang down loosely like a branch of the 艣测腻尘补 creeper. She is casting her eye on the pavement and the flowers are being gently pushed aside by her toe.鈥�

惫腻尘补峁� 蝉补峁僤丑颈蝉迟颈尘颈迟补惫补濒补测补峁� nyasya 丑补蝉迟补峁� nitambe 办峁泃惫腻 艣y膩m膩vi峁璦pasad峁浥沘峁� srastamukta峁僤vit墨yam |
p膩d膩峁単u峁ａ弓h膩lulitakusume ku峁�峁璱me p膩tit膩k峁�a峁儾葬箾t迟补dasy膩岣� sthitamatitar膩峁� k膩ntam峁沯v膩yat膩rdham ||^[12]

The sthiti always leads to the gati and the vice-versa.

This stance of 惭腻濒补惫颈办腻 is the avahittha 蝉迟丑腻苍补, which is one of the female 蝉迟丑腻苍补s mentioned by Bharata.

鈥淎 foot is bent at the knee as a triangle and moved forward. The other foot in the sama posture is moved backwards at a distance of one 迟腻濒补 and placed there. The back of the hip is raised a little; one hand is suspended freely while the other is placed on the waist. Such a posture is called as avahittha. This is used in the amorous dalliance like 惫颈濒腻蝉补 (sportiveness), 濒墨濒腻 (dalliance) and bimboka (indifference through pride) as well as in the sentiment of 艣峁涐箙驳腻谤补. It is also used in gazing at the road in expectation of the arrival of the husband.鈥�

puro 惫颈肠补濒颈迟补蝉迟谤测补艣谤补蝉迟补诲补苍测辞'辫补蝉峁泃补岣� 蝉补尘补岣� | 辫腻诲补st膩l膩ntaranyastastrikam墨峁�at samunnatam ||
p膩峁噄rlat膩khyo yatraikastadanyastu nitambaga岣� | 补惫补丑颈迟迟丑补峁� 蝉补尘腻办丑测腻迟补峁� sthanam膩gamabh奴峁�a峁嘺i岣� ||
惫颈濒腻蝉补濒墨濒腻bi峁僢oka艣峁涐箙g膩r膩dinir奴pa峁噀 | sthanametat prayoktavya峁� tath膩 m膩rg膩valokane ||^[13]

Though many scholars refer this pose as 腻测补迟补 蝉迟丑腻苍补, the slight movement of 惭腻濒补惫颈办腻鈥檚 toe makes it clear that it is avahittha 蝉迟丑腻苍补. Moreover, 艣峁涐箙驳腻谤补 rasa is depicted in the verse, which she danced earlier and still she is in the same mood, so this pose will suit the occasion. Her shyness is brought out through her eye movements, which is downcast.

This should be depicted by the 诲峁涐梗峁璱 called 蝉腻肠颈.

pak峁Ｄ乶ugatat膩ra峁� yat 迟谤测补办峁�a峁� 蝉腻肠墨办峁泃补峁� tu tat ||^[14]

Thus, the sthiti of Malavika, after performing the gati in 苍峁泃迟补, should be enacted.

Footnotes and references:

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[1]:

狈补峁�膩峁叞斐芘洸�

[2]:

惭腻濒补惫颈办腻gnimitra A-I. V-16

[3]:

狈腻峁瓂补艣腻蝉迟谤补 X. 92,93.

[4]:

惭腻濒补惫颈办腻gnimitra A-I. V-5.

[5]:

狈腻峁瓂补艣腻蝉迟谤补 IV.299, 300.

[6]:

惭腻濒补惫颈办腻gnimitra I. com.p.15.

[7]:

Ibid. I.

[8]:

Ibid. A.I.Com.p.16.

[9]:

Ibid. A-I.

[10]:

Ibid. A.I. Com.p.6.

[11]:

狈腻峁瓂补艣腻蝉迟谤补 XXX.II. 7.

[12]:

惭腻濒补惫颈办腻gnimitra A-II. V-6.

[13]:

狈腻峁瓂补艣腻蝉迟谤补 XIII.164 -166.

[14]:

Ibid. XIII.107.