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The chapter on 辫谤补办峁泃颈 惫颈肠腻谤补 explains the types of characters in a drama according to their age, nature and character. Men according to their nature are classified as uttama, madhyama and adhama. In dramas, there are four classes of heroes as belonging to the superior and middling types possessing different characteristics.

They are known as:

1. 诲丑墨谤辞诲诲丑补迟补鈥攙ehement in nature,
2. 诲丑墨谤补濒补濒颈迟补鈥攂rave and light hearted,
3. 诲丑墨谤辞诲腻迟迟补鈥擭oble in nature,
4. 诲丑墨谤补辫谤补艣腻苍迟补鈥攕elf-controlled and calm.

According to Bharata, Gods are 诲丑墨谤辞诲诲丑补迟补鈥檚, kings are 诲丑墨谤补濒补濒颈迟补鈥檚, commanders, ministers are of the 诲丑墨谤辞诲腻迟迟补 classes, Brahmins, and merchants are classified as 诲丑墨谤补辫谤补艣腻苍迟补鈥檚.

The four types of heroines are:

1. divya鈥攃elestial one,
2. 苍峁沺补辫补迟苍墨鈥�queen,
3. 办耻濒补蝉迟谤墨鈥攍ady of nobility and
4. 驳补峁噄办腻鈥攃辞耻谤迟别蝉补苍.

Bharata says,

鈥淎fter taking to consideration the aspects like gait, speech, movements of limbs, actions, mental fortitude and nature of the character (of the play), the experts should employ particular persons for that role.鈥�^[1]

There are three types of characters in 苍腻峁瓂补. They are:

1. 补苍耻谤奴辫补鈥搉atural, when female actors put on the role of women and men take the role of men;
2. 惫颈谤奴辫补鈥搖nnatural, when a male puts on the role of an old man and vice versa; and
3. 谤奴辫腻苍耻蝉腻谤颈峁嚹�鈥揑mitative, when a male puts on the role of a female.

Gait of characters are described in many instances by Bhoja and Kalidasa in their dramas:

madasalalitag膩m墨 mattam膩ta峁単al墨la岣�^[2]

贬补苍耻尘腻苍 explains the gait of 搁腻惫补峁嘺 like an elephant in rut. Thus, 搁腻惫补峁嘺 enters and walks around 厂墨迟腻.

mattam膩ta峁単al墨la岣� salilanicayamabhy膩dutthitastve峁�a 艣墨ghramavanatamiva^[3]

Gait of 痴补谤耻峁嘺 described by 尝补办峁�m补峁嘺. He says 痴补谤耻峁嘺 rises up in haste from the ocean and walks like a tusker in rut.

These gaits can be performed by madaskhalitakam 办补谤补峁嘺.^[4]

辫补谤颈箩补苍补惫补苍颈迟腻办腻谤腻谤辫颈迟腻产丑颈岣� 辫补谤颈惫峁泃补 e峁�a vibh膩ti d墨pik膩bhi岣� |
giririva gatim膩napak峁�alop膩danuta峁璦pu峁�pitakar峁噄k膩raya峁ａ弓i岣� ||^[5]

Gait of the King 笔耻谤奴谤补惫补蝉 is described beautifully. 碍腻濒颈诲腻蝉补 says the king鈥檚 gait looks like a mountain possessed of motion because of its wings not being cut off. Bharata says kings are semi divine beings. So, their gait is like that of gods. In the gait of superior persons, the knee should be lifted upto the level of the hip. He should move about in the 肠腻谤颈 called 辫腻谤艣惫补办谤腻苍迟腻.

Bharata describes it as,

鈥淩aise the bent foot high so that knee is placed on a level with the breast and then place it on the ground hitting the same with the heel to form 辫腻谤艣惫补办谤腻苍迟腻.鈥�

办耻帽肠颈迟补峁� 辫腻诲补尘耻迟办峁�i辫测补 箩腻苍耻 stanasama峁� nyaset |
udgha峁�峁璱tena p膩dena 辫腻谤艣惫补办谤腻苍迟腻 vidh墨yate ||^[6]

Bharata also describes the gait of a man of superior nature. He says,

鈥淎ssuming the stance called avahittha the left hand is turned downwards and placed near the naval while the right hand is posed in the 办补峁璦办腻尘耻办丑补. The right foot is gracefully lifted at a distance of a 迟腻濒补 and placed over the left foot. Now the left hand is to be hung down as a creeper and swung to and fro. The right side is to be bent and the right hand is placed at the hip near the naval. The left hand is then made to enclose the other hand. The left foot is then put forward and the right hand swung down. With gracefully shaking the head, move forward with a slightly bent body. Five strides may be thus taken. This is the gait assigned to men of superior caliber.鈥�^[7]

iti v峁沰峁�asecana峁� r奴payati |^[8]

鈥�艢补办耻苍迟补濒腻 gesticulates watering the trees.鈥�

R膩ghavabha峁�峁璦, the commentator says,

鈥淭丑别 hands are to be kept in 苍补濒颈苍墨辫补诲尘补办辞艣补 and by bending the body slightly and bringing down the hand, this action of watering the trees are to be done鈥�.

苍补濒颈苍墨辫补诲尘补办辞艣补 is a 苍峁泃迟补丑补蝉迟补.

鈥淭丑别 hands assumed as 辫补诲尘补办辞艣补 are to be turned down for 苍补濒颈苍墨辫补诲尘补办辞艣补.鈥�

辫补诲尘补办辞艣补u yad膩 hastau vy膩v峁泃taparivartitau |
苍补濒颈苍墨辫补诲尘补办辞艣补u tu 迟补诲腻 j帽eyau prayokt峁沚hi岣� ||^[9]

Bending the body should be done by the nata movement of the 辫腻谤艣惫补 (sides).

鈥泪苍 nata, the waist is slightly bent and the shoulder is drawn away a little.鈥�^[10]

Her gait can be in the nitamba 办补谤补峁嘺 here.^[11]

丑补濒腻 艣akuntale atraiva t膩vanmuh奴rta峁� 迟颈峁ａ弓丑补 y膩vattvayopagatay膩 濒补迟腻san膩tha iv膩ya峁� kesarav峁沰峁�aka岣� pratibh膩ti |^[12]

艢补办耻苍迟补濒腻 turns when she is asked by her friend to stand for a while near the tree. This can be performed by the thigh movement called nivartana wherein the heels are drawn in. Bharata recommends this for a quick movement.^[13] 艢补办耻苍迟补濒腻 just stands for a while near the kesara tree. This can be done by taking the stance of 补艣惫补办谤腻苍迟补, as Abhinava recommends this for the stance of hanging on to a bough of a tree.^[14]

She is holding the water pot on one side of the waist and her body weight is on that side. The foot can be in 蝉奴肠墨 on the toes and other hand can be hang down as 濒补迟腻丑补蝉迟补, which holds the bough of the tree. Taking the support of the bough is due to her quick turn. 鈥淲hen the hands are extended horizontally and hung on the sides it is called 濒补迟腻鈥�^[15] This gait-and-stance should be performed by her. Here, just a pose of 艢补办耻苍迟补濒腻 makes her look very beautiful. On seeing her in that picturesque pose, 顿耻峁�y补苍迟补 describes her beauty.

Thus, the gati and sthiti are described here by 碍腻濒颈诲腻蝉补, which can be enhanced by the leg movement given by Bharata.

艣akuntal膩 r膩j膩namavalokayant墨 savy膩ja峁� vilambya saha sakh墨bhy膩峁� ni峁�kr膩nt膩 |^[16]

艢补办耻苍迟补濒腻 after taking leave of the king, delays her exit in some pretext in order to have a look at the king for few more minutes.

She started walking a few steps and she stops suddenly saying that her foot has been pricked by a darbha grass and her garment was tangled in the branch of a tree.

诲补谤产丑腻峁卥耻谤别峁嘺 肠补谤补峁嘺岣� 办峁�a迟补 颈迟测补办腻峁囜笉别 迟补苍惫墨 蝉迟丑颈迟腻 katicideva pad膩ni 驳补迟惫腻 |
膩s墨dviv峁泃tavadan膩 ca vimocayant墨 艣膩kh膩su va毛kalamasaktamapi drum膩峁嚹乵 ||^[17]

The king describes her gait to 痴颈诲奴峁�a办补;

鈥淗aving gone only a few steps, the slender only suddenly stopped, alleging that her foot was pricked by a blade of darbha; and she stood with her face turned pretending to disentangling her bark-garment, through it was not caught in the branches of trees.鈥�

Here the gait of 艢补办耻苍迟补濒腻 can be visualized by the 办补谤补峁嘺 called 办谤腻苍迟补 and 辫补谤墨惫峁泃迟补.

鈥淧lace one foot forward after bending the other and holding it backwards, hold both the hands without extending outside and this is 办谤腻苍迟补.鈥�

p峁涐梗峁環ata岣� 办耻帽肠颈迟补峁� kury膩dati办谤腻苍迟补krama峁� 迟补迟补岣� |
腻办峁�i辫迟补u ca karau k膩ryau 办谤腻苍迟补kekara峁噀 诲惫颈箩腻岣� ||^[18]

R膩ghavabha峁�峁璦 quotes 搁补迟颈惫颈濒腻蝉补,^[19] where it is mentioned that delaying should be done by turning back and looking.

This can be done with 辫补谤腻惫峁泃迟补 艣颈谤补蝉.

鈥淲hen the turning of the face is emulated it is called 辫补谤腻惫峁泃迟补. This is employed in turning the face away, looking behind, and the like鈥�

辫补谤腻惫峁泃迟补nukara峁嚹乼 辫补谤腻惫峁泃迟补峁� 艣颈谤补岣� sm峁泃am |
tatsy膩nmukh膩pahara峁噀 p峁涐梗峁環ata岣� prek峁�a峁嚹乨i峁�u ||^[20]

Abhinava says, in the 辫补谤腻惫峁泃迟补 办补谤补峁嘺 body should be turned back.

tato'pi bhramarikay膩 迟谤颈办补峁� parivartitam膩hu岣� |

So this suits the gait of 艢补办耻苍迟补濒腻 here.

gatibha峁単a峁� r奴payitv膩 (iti par膩vartate)^[21]

鈥淕别蝉迟颈肠耻濒补迟颈苍驳 obstruction to her walking and turns round.鈥�

A little doe clings to 艢补办耻苍迟补濒腻鈥檚 garment, impeding her movement. This can be portrayed by 奴谤奴诲惫峁泃迟补 办补谤补峁嘺 continued by 辫补谤颈惫峁泃迟补 办补谤补峁嘺. While performing 奴谤奴诲惫峁泃迟补 one leg is in the back, which looks as though someone is pulling her back.

In 辫补谤墨惫峁泃迟补 body is turned back through which she can see the doe clinging to her.

鈥淪tand placing one foot forward and the other backward, put the hand on the hip and keep the shanks apart and straight that is 奴谤奴诲惫峁泃迟补.鈥�

karam膩v峁泃ta办补谤补峁嘺m奴rup峁涐梗峁環e'帽cita峁� nyaset |
ja峁単h膩帽cit膩 tathodv奴tta hy奴谤奴诲惫峁泃迟补峁� tu tad bhavet ||^[22]

鈥淲hen hands are raised high entwined together and held in the reverse direction; sacrum is turned round and feet transposed resting on the toe that is 辫补谤颈惫峁泃迟补.鈥�^[23]

迟补迟补岣� pravi艣ata岣� kusum膩vacaya峁� 苍腻峁瓂补ntyau sakhyau |^[24]

Two friends representing the gathering of flowers enter the stage. R膩ghavabha峁�峁璦 says, gathering flowers can be represented by keeping the left hand turned up to hold the flowers and right as 补谤腻濒补丑补蝉迟补 to pick the flowers. Here the left hand can be in 蝉补谤辫补艣墨谤峁�a hasta to hold the flowers. They can perform appropriate 肠腻谤墨蝉 and the 办补谤补峁嘺 of nitamba for plucking the flowers and 迟补濒补辫耻峁�p补辫耻峁璦 for gathering the flowers.^[25]

Gait of 办补帽肠耻办墨

parikramy膩valokya ca |^[26]

碍补帽肠耻办墨 walks around enjoying the evening scene. Here the chamberlain is middle aged. This is because, later at a place while seeing the name written on the arrow, he says he had become old. His gaits should differ.

Bharata says

鈥淭丑别 gait of a chamberlain should be represented in accordance with his age and other conditions. If he is not old, the actor should represent it as follows; the feet are to be kept raised at a height of half a 迟腻濒补. It should look like as if the body is carried forward by someone. The feet should appear slow, as if they are stuck in mud.

办补帽肠耻办墨yasya 办补谤迟补惫测腻 vayo'vasthavi艣e峁�ata岣� |
av峁沝dhasya prayogaj帽o gatimeva prayojayet ||
ardhat膩lotthitai p膩dairvi峁�ka峁僢hai岣� 峁沯ubhistath膩 |
samudvahanniv膩峁単膩ni pa峁卥alagna iva vrajet ||^[27]
腻肠腻谤补 ityavahitena 尘补测腻 g峁沨墨t膩y膩 vetraya峁ａ弓iravarodhag峁沨e峁�u r膩j帽a岣� |
办腻濒别 gate bahutithe mama saiva j膩t膩prasthanaviklavagateravalamban膩rth膩 ||^[28]

鈥淭丑别 staff which I took care to carry with me simply as a matter of firm, in the harem of the king, the same staff, after the lapse of considerable item, serves me whose gait falters while walking, as a support.鈥�

The gait of the 碍补帽肠耻办墨 differs according to his age and here he seems to be old.

Bharata says,

鈥泪苍 the case of an old chamberlain he should move about with shivering limbs and tottering steps leaning heavily on a long staff. The feet should be raised and put down slowly鈥�.

atha v峁沝dhasya 办补谤迟补惫测腻 驳补迟颈岣� kampitadehik膩 |
vi峁�kambhanak峁泃apr膩峁嚹� mandotk峁�iptapadakram膩 ||^[29]

Gait of 痴颈诲奴峁�a办补

迟补迟补岣� pravi艣ati 岣峣峁囜笉ikave峁�o 惫颈诲奴峁�a办补岣�^[30]

In pratij帽膩yaugadhar膩yana 惫颈诲奴峁�a办补 enters in the guise of a joker.

Here the 惫颈诲奴峁�a办补 can enter in 腻办峁�i辫迟补 or argalam 办补谤补峁嘺.

迟补迟补岣� pravi艣ati 驳补峁噄办腻sambhr膩nt膩 vi峁璭na 艣ak膩re峁嘺 c膩nugamyam膩n膩 |^[31]

Courtesan 痴补蝉补苍迟补蝉别苍腻 enters with great flury chased by 惫颈峁璦 and 艣补办腻谤补. Here 痴补蝉补苍迟补蝉别苍腻 can perform the sambr膩ntam 办补谤补峁嘺 and the other two characters have to move as the gait referred by Bharata for nica characters or by 别岣峚办腻办谤墨岣峣迟补 办补谤补峁嘺 referred by Abhinava.^[32]

Footnotes and references:

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[1]:

Ibid. XXXV.1-2.

[2]:

AN.II.9.

[3]:

Ibid.IV.15.

[4]:

Ibid.V.15.

[5]:

Vik. A-III.V-3.

[6]:

狈腻峁瓂补艣腻蝉迟谤补 XI.32.

[7]:

Ibid.XIII.172-176.

[8]:

Abh.S膩k. A-I.

[9]:

狈腻峁瓂补艣腻蝉迟谤补 IX. 197.

[10]:

Ibid.VIII.12.

[11]:

Ibid.IV.145.

[12]:

Ibid.IV.145.

[13]:

狈腻峁瓂补艣腻蝉迟谤补 IX.257.

[14]:

Ibid. XII.172.

[15]:

狈腻峁瓂补艣腻蝉迟谤补 IX 188.

[16]:

Abh.S膩k. A-I. PH

[17]:

Ibid.A-II.V-12.

[18]:

狈腻峁瓂补艣腻蝉迟谤补 IV.110.

[19]:

Ibid.A-II.com.p.76.

[20]:

狈腻峁瓂补艣腻蝉迟谤补 VIII. 33.

[21]:

Abh.S膩k. A-IV.

[22]:

狈腻峁瓂补艣腻蝉迟谤补 IV.157.

[23]:

Ibid.IV.133.

[24]:

Abh.S膩k. A-IV.

[25]:

狈腻峁瓂补艣腻蝉迟谤补 IV.61.

[26]:

Vik. A-II.

[27]:

狈腻峁瓂补艣腻蝉迟谤补 XIII. 111,112.1.4.5.14.

[28]:

Abh.S膩k. A-V.V-3.

[29]:

狈腻峁瓂补艣腻蝉迟谤补 XIII.113.

[30]:

P.Y.III.p.64.

[31]:

颁腻谤.滨.9.辫.415

[32]:

狈腻峁瓂补艣腻蝉迟谤补 IV.com.p.134.