नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XIII. 109 ] THE DIFFERENT GAITS 228

The Gait in [case of coming down from the top of] a palace will apply only in crossing [a river].

The Gait of a person moving in the river will be according to the depth (lit. measure) of the water. In shallow water, with the tucking up of one's clothes, and in the deep [water] with the throwing out of hands one is to move with the fore part of one's body slightly bent. And in case of a person's being carried away by the current (lit. water) he is to stretch out his arms one by one to push forward water repeatedly and during this movement all his limbs are to be busily engaged and the mouth filled up [with water].

Gait in travelling by boat

105. The Gait of a person travelling by a boat should be made up of quick steps. According to these rules (lit. this rule) one should observe the various Gaits and movements.

106-107. All these [conveyances] are to represented (lit. made) by [suggestive] tokens (saṃjñā) only. [If you ask] "why", [the reply will be the question], "Will the actors (lit. producers) have to die when the character [to be represented] is said to be dead ?" The elephant will be represented by taking up a goad, the horse by a bit and the other conveyances by a whip.

Gait in riding a horse

108. The Gait of a person riding a horse will consist of the Vaiśākha Sthāna and simple foot steps of the various kinds.

Gait of serpents

109. The Gait of serpents will be by the Svastika feet. [To represent it the actor] is to move in the Pārśvakrāntā Cārī and then make a Recaka of the Svastika feet.

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105 (B.XII.102a, 105b, G.102b, 105a).

106-107 (B.XII.106-107, G.105-106). ¹ G. reads 106b as tasmān nṛtta iti prokte kiṃ kartavyaṃ prayoktṛbhiḥ. This passage shows that use of painted scenery was not indispensible in the ancient Indian stage On this point Ag. says : तेन चित्रपटादिवियोगेऽपि रथगमनाद्यभिनयनं न(१)युक्तम् । नौकार्याषु तत्करणमपि युक्तम् ।

108 (B.XII.108, G.107). 109 (B.XII.109, G.108).