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Gait of characters are described thus in 痴颈峁ａ箛耻诲丑补谤尘辞迟迟补谤补辫耻谤腻峁嘺 in the third 办腻峁囜笉补. The authorship of this work is unknown. The researcher feels that the author of this work should have been influenced by Bharata鈥檚 狈腻峁瓂补艣腻蝉迟谤补, as almost all the aspects seen here are similar to that of the 狈腻峁瓂补艣腻蝉迟谤补. He has given the 办补谤补峁嘺蝉 as in the 狈腻峁瓂补艣腻蝉迟谤补 and has not added any 诲别艣墨 forms. Therefore, this must be a work written before 诲别艣墨 forms had been popularized.

厂惫补产丑腻惫补驳补迟颈鈥�

In natural gait, the knees should be raised up to the waist and in the gait for fighting the knees should be raised near the chest.

蝉惫补产丑腻惫墨苍辞迟迟耻峁単补驳补迟补耻 办腻谤测补峁� j膩nuka峁�墨samam |
yuddha肠腻谤墨 prac膩re峁�u j膩nustanasama峁� nyaset ||^[1]

Sthiragati鈥�

The slow and steady gait is to be performed when one is suffering from fever, one is very hungry, is exhausted by penance, is suffering from any disease, in wonder, in dissimulation (avahittha), full of eagerness, in 艣峁涐箙驳腻谤补, in 艣辞办补 and in walking at sweet will.

艢颈驳丑谤补驳补迟颈鈥�

quick gait is to be used when one is uneasy, trembling, in fear, in terror, in fury, in joy, in the actions to be done quickly, in hearing unpleasant things and in seeing wonderful things in urgent actions, in lurching the enemy, in perusing the guilty and chasing the beasts of prey.

艢峁涐箙驳腻谤颈峁嚹玤补迟颈鈥�

The gait in the erotic sentiment should be adopted when there is a case of 蝉惫补蝉迟丑补办腻尘颈迟补 not secret but open love.

In this gait, one is to be dressed in the handsome style and walk with rhythmic steps and the performance should make the movements of the arms in accordance with the legs.

驳补迟颈岣� 艣峁涐箙g膩ri峁嚹� 办腻谤测腻蝉惫补蝉迟丑补办腻尘颈迟补sambhav墨 ||
诲奴迟墨dar艣itam膩rgastuth峁沝yave艣aparikrame ||
sasau峁ａ弓avasam膩yuktairlayat膩lava艣onugai岣� ||^[2]

The way should be shown by the female messenger the 诲奴迟墨. In 笔谤补肠肠丑补苍苍补办腻尘颈迟补, secret love while going to meet the lover, one is dressed black and should not wear many ornaments, walks with slow steps, is often suspicious at every sound, has a trembling body and falters repeatedly.

Raudragati鈥�

Gait in terrible sentiment is said to be of three kinds: in 补峁単补 (body/limbs), in 蝉惫补产丑腻惫补 (nature) and in nepathya (makeup). In 补峁単补 raudra the body is wet with blood and it carries part of intestines in the form of lotus. The raudra in which many weapons are carried is called raudra-nepathya. The raudra in which one is rough, speaks ferocious words and is cruel, is called 蝉惫补产丑腻惫补 raudra. In these different forms of raudra, the stress in the gait is given on the steps four 迟腻濒补蝉 wide.

叠墨产丑补迟蝉补驳补迟颈鈥�

The gait in the ground of cemetery or a battlefield on which one walks is unpleasant and when the feet close or wide apart the gait is 产墨产丑补迟蝉补.

痴墨谤补驳补迟颈鈥�

The heroic persons should adopt 惫颈办峁�i辫迟补-pada-vikrama in the mood of wonder and joy. In this gait the footsteps are swift.

碍补谤耻峁嘺驳补迟颈鈥�

In the pathetic sentiment the steps are steady. 厂补耻峁ａ弓补惫补 of the body need not be observed. In feeble gait of weakness, one should walk with stiff and the rolling body.

When one is severely wounded, one should walk with contracted body.

驳补迟颈岣� sthirapad膩 prokt膩tathaiva karu峁嚹乺ase ||
na tatra sau峁ａ弓ava峁� 办腻谤测补峁� na 辫谤补尘腻峁嘺峁� tath膩vidham ||
vigh奴r峁噄ta艣ar墨r膩 ca stabdh膩 ca 艣ithil膩 驳补迟颈岣� ||^[3]

叠丑补测腻苍补办补驳补迟颈鈥�

In the sentiment of terror the gait should become quick and stiff according to the purpose.

When a deformed creature is seen, one should walk with eyes wide open. The gait of the ascetics is slow. In the darkness, the gait is slow on account touching with hands like finding the way.

The gait of one sitting in the chariot should be shown by slow steps. The movement of the chariot should be shown by 蝉补尘补辫腻诲补 蝉迟丑腻苍补, in one hand the bow and in the other the pole of the chariot should be held. The charioteer should be shown as if holding the whip, which is the same as in the 狈腻峁瓂补艣腻蝉迟谤补.

The gait of one sitting in a celestial car should be joyful. Going up and coming down should be indicated by movements of upward and downward look respectively. Moreover, going through the sky should be shown by turning circularly. The descent from the sky should be indicated by straight and raised feet. Ascent to a high place should be shown by 补辫补办谤腻苍迟补 肠腻谤墨. The descent should be done with steps away from one another as if one is suspicious. The gait in the water should be shown by upward movement of the legs. The climbing of a tree should be shown by upwards movement of the hands. And the movement of an elephant should be shown by steps moving sideways and away from one another in the form of 蝉奴肠墨惫颈诲诲丑补 and by holding the goad and in case of the horse by holding the reins. The movement of other animals should be depicted by holding the bit of a bridle. The gait of horse riding should be done by vai艣膩kha蝉迟丑腻苍补ka.

The gait of the serpents should be shown by feet in svastika.

a艣vay膩ne 驳补迟颈岣� 办腻谤测腻 vai艣膩khasthanakena ha ||
pannag膩n膩峁� 驳补迟颈岣� 办腻谤测腻 padai岣� svastikasa峁儁utai岣� ||^[4]

The gait of 痴颈峁璦 should be shown with graceful steps. vi峁璦sy膩pi tu 办补谤迟补惫测腻 gatirlalitavikram膩 |^[5] The gait of 碍补帽肠耻办颈 should be unsteady, and stumbling. In the gait of a lean and weak person, the breath should be obstructed. The gait of a person seized with disease or one tired after penance should be also like that. The gait of one who has walked a long way should be shown by slow and weak steps. The gait of drunken person should be shown by stumbling on both the sides. The gait of a mad man should be shown by irregular steps. He would be talking irrelevantly and he should be dirty and shaggy. The gait of a crippled should be acted in accordance with his defects and purpose. The gait of a fat man should be shown as if dragging the body.

The gait of a 惫颈诲奴峁�a办补 should be such as to cause laughter and he should hold a bent stick.

惫颈诲奴峁�a办补sya 办补谤迟补惫测腻 gatirh膩syaprad膩 tath膩 ||
蝉惫补产丑腻惫补j膩ta峁� vinyasya 办耻峁璱濒补峁� v膩makekare ||^[6]

In the gait of 肠别峁璦 the eyes would be crooked thinking of something.

The gaits of persons of different countries should be shown according to their natural peculiarities.

n膩n膩de艣asamudbh奴t膩 puru峁Ｄ佱箛膩峁� 蝉惫补产丑腻惫补ta岣� ||^[7]

The gait of the beasts of prey and other animals also should be according to their nature and the gaits of the remaining should be acted in accordance with the meaning to be expressed. From this, it is understood that the gait should be according to the situation and theme of the story.

The gait of the persons of highest class should be slow and firm, of middle class middling and of the low class quick and frequent. The rhythm of these three should be acted according to their nature, vilambita, druta-vilambita and druta.

The movements of the steps on the stage should be always made looking to the area and the form of the stage.

ra峁僩e vik峁泃ta tu n峁沺apradh膩na gat膩gatai岣� p膩dagatiprac膩ra岣� ||
办腻谤测腻 va艣膩deva g峁沨assya 苍颈迟测补峁� 蝉补尘墨办峁�y补 r补峁単补峁� tu yath膩nur奴pam ||^[8]

The gait of women should be with graceful steps and of men should be steady or proud.

str墨峁嚹佱箖 驳补迟颈岣� sy膩llalitaprac膩r膩 诲丑墨谤腻 nar膩峁嚹佱箖 ca tathoddhat膩 sy膩t ||^[9]

Thus, the gaits should be exhibited in accordance with meaning, the dress should in accordance with the age, the gait should be in accordance with the dress, the recitation of speech should be according to the gait, and the acting should be in accordance with recitation.

vayonur奴pa岣� prathamastu ve艣o ve艣膩nur奴pa艣ca gatiprac膩ra岣� ||
gatiprac膩r膩nugata峁� ca 苍腻峁瓂补峁� 苍腻峁瓂腻苍耻谤奴辫辞'产丑颈苍补测补艣肠补 办腻谤测补岣� ||^[10]

Footnotes and references:

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[1]:

VDP: III.29.1,2

[2]:

Ibid.III.29.7,8

[3]:

Ibid.III.29.15,16

[4]:

Ibid.III.29.27

[5]:

Ibid.III.29.28.

[6]:

Ibid.III.29.33.

[7]:

Ibid.III.29.34

[8]:

Ibid.III.29.37.

[9]:

Ibid.III.29.38.

[10]:

Ibid.III.29.39.