नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)

-XIII. 165 ] THE DIFFERENT GAITS 229

157. As for the rest of animals the Gait and the Sthāna (posture) for them when entering the stage or carrying any one or anything on the back should be made suitable to the occasion.

158. These [different] Gaits are thus to be used by wise [actors]. The Gaits that have not been described by me, are to be adopted from [the practice of] people.

Walking postures of women

159-160. I shall now speak of the Gaits and movements of women. The Sthāna (posture) of women in walking and speaking [to others] will be Āyata, Avahittha and Aśvakrānta.

160-161. Āyata : In the Āyata Sthāna (posture) the right foot will be Sama, the left (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised.

161-164 (Uses) : This Sthāna is to be used in invocation, dismissal, observing carefully, thinking and dissimulation. And first appearance on the stage, scattering handfuls of flowers on the stage, anger due to jealous love, twisting the forefinger, prohibition, pride, profundity, silence, fit of resentment (māna) and looking to the horizon are also to be represented from this Sthāna¹.

164-165. Avahittha : The left foot will be Sama and the right (lit. the other at the side) foot Tryaśra (obliquely placed) and the left waist raised up.

165-167. (Uses) : This Sthāna is known (lit. remembered) as natural for women during conversation [with anyone], in determination, satisfaction and conjecture In representing

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157 (B.XII.157b-158a, G.155). 158 (B.XII.158b-159a, G.156).
159-160 (B.XII.159b-160, G.156c-157). ¹ B. reads five additional hemistichs after this.
160-161 (B.XII 163b-164a, G.158).
161-164 (B.XII.164b-167a, G.159-161).
164-165 (B.XII.167b-168a, G.162) ¹ B.G. read two additional couplets after this.
165-167 (B.XII.171b-172a, 170b 171a, G.165-166).