CHAPTER THIRTEEN

THE DIFFERENT GAITS

1. So much about the formation of the Maṇḍalas by a combination of the Systems of Cārī (cārī-vyāyāma). I shall hereafter describe the Gaits suitable for (lit. existing in) different characters [in a play].

Entrance of dramatis personae

2-3. After the Upavahana in accompaniment of drums and other musical instruments has been performed by observing Kalās suitable to the Mārga [adopted in it], and the Dhruvās [to be sung] at the entrance of dramatis personae, have commenced and the curtain has been drawn away, the actors who are to develop the Sentiments in the various items [of a play] should enter (lit. be made to enter) the stage.

Posture for superior and middling characters at the entrance

4-7. In case of characters of the superior and the middling types [the actor] should assume the Vaiṣṇava Sthāna, his breast being raised, Sama and Caturasra, shoulders at rest and not raised very much, the neck as graceful as that of a peacock, the shoulders eight Aṅgulas apart from the ears, the chin four Aṅgulas apart from the breast, and the two hands (the right and the left) respectively at the navel and at the left waist.

The interval of their feet

8-9. [In the posture described above] the interval between the two feet [of the actor] should be two Tālas and a half. Steps

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1 (B.XII.1, G.1). ¹ On the Gait Ag. says : "The Gait is to be prescribed with a view to the person, Sentiment, situation, place and occasion".
2-3 (B.XII.2-3, G.2-3). ¹ - It seems that upavahana gave rise to upohana (Pkt.) which afterwards was adopted in its place; for upohana see NŚ. (Ch) XXXI. 235ff. It is defined by Ag. as follows : upohyante samāsa-vyāsataḥ padakalātālasamabhihitāḥ svarā yasminn aṅge tat tathoktam (I.p.186).
4-7 (B.XII.4-7, G.4-7).
8-9 (B.XII.8-9, G.8-9).