CHAPTER TWELVE

THE MAṆḌALA MOVEMENTS

The Maṇḍalas

1. I have now properly described the Cārīs in connexion with the use of weapons (lit. release of missiles). [Now] learn about the Maṇḍalas arising out of a combination of the Cārīs.

2-3. The aerial Maṇḍalas are: Atikrānta, Vicitra, Lalitasañcara, Sūcividdba, Daṇḍapāda, Vihṛta, Alāta, Vāmaviddha, Lalita and Krānta¹.

3-5. The earthly Maṇḍalas are Bhramara, Āskandita¹, Āvarta, Samotsarita, Eḍakākrīḍita, Aḍḍita, Śakaṭāsya, and Cāṣagata. [Now] listen about their description.²

The aerial Maṇḍalas

6-9. Atikrānta—the right foot [to be moved successively] in the Janitā Cārī and [the Śakaṭāsyā Cārī in which the breast is] Udvāhita, the left foot in the Alātā Cārī and the right foot in the Pārśvakrāntā Cārī. (next) the left foot in the Sūcī Cārī and the right foot in the Apakrāntā Cārī, [again] the left foot [successively] in the Sūcī Cārī and [the Bhramarī Cārī by] turning the Trika¹, (then) the right foot in the Udvṛtta Cārī and the left foot in the Alātā Cārī which should be changed (lit. divided) to the Bhramarī Cārī, again this left foot in the Alātā Cārī and the right foot in the Daṇḍapādā Cārī.

10-13. Vicitra—the right foot [successively to be moved] in the Janitā Cārī and in the Talasañcara¹ (Nikuṭṭana), manner

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1 (B.XI.1, G.1).
2-3 (B.XI.2-3, G.2-3). ¹ B. adds one additional hemistich after this.
3-5 (B.XI.4-6, G.3-5). ¹ Mss. sometimes gives this name as āspandita which seems to be a corruption for āskandita. See the Cārī of this name XI. 7-9.
² B. reads 5b. differently.
6-9 (B.XI.7, 8b-11, G.6-2). ¹ See Ag.
10-13 (B.XI.11b-12a, 13a, 13-15, G.10-13). ¹ See Ag.

208 THE NATYASASTRA [ XII. 14-

(then) the left foot in the Syanditā Cārī, the right foot in the Pārśvakrāntā Cārī², (again) the left foot in the Bhujaṅgatrasitā Cārī and the right foot [successively] in the Atikrānā and Udvṛttā Cārīs, (next) the left foot in the Sūcī Cārī, the right foot in the Vikṣitpā (Ākṣiptā) Cārī and the left foot in the Apakrāntā Cārī.

14-17. Lalitasañcāra—the right foot with the knee raised [to move] in the Sūcī Cārī, (next) the left foot in the Apakrānta Cārī and the right one in the Pārśvakrāntā Cārī (again) the left foot [successively] in the Sūcī and the Bhramari Cāsīs [this latter by turning round the Trika] and the right foot in the Pārśvakrāntā Cārī and the left foot in the Atikrāntā Cārī which to be changed (lit. divided) into the Bhramari Cārī¹.

18-19. Sūcīviddha—the left foot [to be moved] in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika round], the right foot in the Pārśvakrāntā Cārī the left foot in the Atikrāntā Cārī, next the right foot in the Sūcī, the left foot in the Apakrāntā Crāi and the right foot again in the Pārśvakrāntā Cārī.

20-22. Daṇḍapāda—the right foot to be moved in the Janitā and the Daṇḍapāda Cārīs, the left foot in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika], (next) the right foot in the Ūrūdvṛttā Cārī and the left foot in the Alātā Cārī, (again) the right foot in the Pārśvakrāntā Cārī and the left foot [successively] in the Bhujaṅgatrastā and the Atikrāntā Cārīs to meet the right foot in the Daṇḍapādā Cārī and the left foot [successively] in the Sūcī and the Bhramari Cārīs [the latter by turning the Trika].

23-26. Vihṛta—the right foot [to be moved] in the Janitā Cārī (then) its Nikuṭṭana, (next) the left foot in the Syanditā Cārī and the right foot in the Ūrūdvṛttā Cārī, (then) the left foot in the Alātā Cārī and the right foot in the Sūcī Cārī, again the left

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• B. reads one additional hemistich after 10.
  14-17 (B.XI.16-17, 19, G.14-16, 18). ¹ B.G. reads one additional couplet after 16.
  • 18-19 (B.XI.20-21, G.19-20). 20-22 (B.XI-22-24, G.21-23).
  23-26 (B.XI.25-28, G.24-27).

-XII. 38 ] THE MANDALA MOVEMENTS 209

foot in the Pārśvakrāntā Cārī and the right foot in the Ākṣiptā and the Bhramarī [this by turning the Trika] and the Daṇḍapādā Cārīs, (then) the left foot in the Sūcī and the Bhramarī Cārīs [the latter by turning the Trika] again the right foot in the Bhujaṅgatrasitā Cārī and the left foot in the Atikrāntā Cārī.

27-29. Alāta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot in the Alātā Cārī, after moving by turn in the these [two] Cārīs six or seven times with graceful steps, again the right foot in the Aprakrāntā Cārī and the left foot [successively] in the Atikrāntā and the Bhramarī Cārīs.

30-33. Vāmaviddha—the right foot [to be moved] in the Sūcī Cārī, the left foot in the Apakrāntā Cārī, (then) the right foot in the Daṇḍapādā Cārī and the left foot in the Sūcī Cārī and right foot in the Bhramarī [this by turning the Trika] and the Pārśvakrāntā, Cārīs, (next) the left foot in the Ākṣiptā Cārī and the right foot in the Daṇḍapādā and the Ūrūdvṛttā Cārīs, (then) the left foot [successively] in the Sūcī, the Bhramarī [this by turning the Trika] and the Alātā Cārīs, (next) the right foot in the Pārśvakrāntā Cārī and the left foot in the Atikrāntā Cārī.

34-37. Lalita—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, (then) the right foot in the Pārśvakrāntā and the Bhujaṅgatrasitā Cārīs, (then) the left foot in the Atikrāntā Cārī and the Ūrūdvṛttā Cārīs the left foot and the Alātā Cārī, and the right foot in the Pārśvakrāntā Cārī, next the left foot in the Atikrāntā Cārī with graceful steps.

38-40. Krānta—the right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā Cārī, then the right foot in the Pārśvakrāntā Cārī and the left foot too in the same Cārī (Pārśvakrama), moving round alternately in these Cārīs in all directions, again the left foot in the Sūcī Cārī and the right foot in the

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27-29 (B.XI.29-30, 31b-32a, G.28-30).
30-33 (B.XI.32b-36a, G.31-34).
34-37 (B.XI 36b-37a, 38-40a, G.35-37). ¹ G. omits 35a and 36b.
38-40 (B.XI.40b-43a, G.38-40).

27

210	THE NATYASASTRA	[ XII. 41-

Apakrāntā Cārī. This Maṇḍala is prescribed for the natural gait. Hence it is called Krānta i.e. going.

41. These are the aerial Maṇḍalas. Now I shall describe those on the earth.

The earthly Maṇḍalas

42-44. Bhramara—the right foot [to be moved] in the Janitā Cārī and the left foot in the Skanditā (Āskanditā) Cārī, then the right foot in the Śakaṭāsyā Cārī and the left foot to be stretched, (next) the right foot in the Bhramarī Cārī [by turning the Trika], again the left foot in the Skanditā (Āskanditā) Cārī and the right foot in the Śakaṭāsyā Cārī, then the left foot in the Apakrāntā (Apasarpi) Cārī and the Bhramarī Cārī by turning about the back.

45-47. Āskanditā—the right foot [to be moved] in the Bhramarī Cārī and the left foot in the Aḍḍitā and the Bhramarī Cārīs [the latter by turning the Trika], then the right foot in the Ūrūdvṛttā Cārī and the left foot in the Apakrāntā (Apasarpitā) and the Bhramarī Cārīs [the latter by turning the Trika then] the right foot in the Skanditā Cārī, (next) the left foot in the Śakaṭāsyā and the same foot to violently strike the ground.

48-50. Āvarta—the right foot [to be moved] in the Janitā Cārī and the left foot in the Talasañcara (Nikuṭṭaka) Cārī, then the right foot in the Śakaṭāsyā and the Ūrūdvṛttā Cārī, (next) the right foot the Atikrāntā (Apasarpi) Cārī turning backwards and the Cāṣagati Cārī, then the right foot in the Skanditā (Āskanditā) Cārī and the left foot in the Śakaṭāsyā Cārī, again the right foot in the Bhramarī Cārī with the Trika turned round, and the left foot in the Apakrāntā (Apsarpi) Cārī.

51-53. Samotsaritā—assuming first of all the Samapāda Sthāna, then stretching the two hands with their palms turned upwards, (next) their intermittant Āveṣṭana and Udveṣṭana movements, [then putting the left hand] on the waist, the right hand moved in the Āvartita manner [next the right hand to be put on

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41 (B.XI.43b-44a, G.41).
42-44 (B.XI.44b-47a, G.42-44). 45-47 (B.XI.47b-50a, G.45-47).
48-50 (B.XI 50b-53a, G.48-50). 51-53 (B.XI.53b-56a, G.51-53).

-XII. 63 ] THE MANDALA MOVEMENTS 211

on the waist] and the left hand moved in the Āvartita manner, moving round alternately with this Cārī will rise to the Samotsarita Maṇḍala.

54-55. Eḍakākrīḍita—the two feet on the ground [to be moved successively] in the Sūcī and the Eḍakākrīḍita Cārīs, (next) the swift moving Bhramarī Cārī by turning the Trika, (then) moving [the feet] round alternately in the Sūcī and the Āviddha Cārīs. This will give rise to the Khaṇḍa-maṇḍala named Eḍakākrīḍita.

56-58. Aḍḍita—the right foot [to be moved] in the Udghaṭṭita manner and then [simply] moved round, next [to be moved] in the Syanditā (Āsyanditā) Cārī and the left foot in the Śakaṭāsyā Cārī, next the right foot to be moved backwards in the Apakrāntā (Apasarpi) and the Cāṣagati Cārīs, (then) the left foot in the Aḍḍitā Cārī and the right foot in the Apakrāntā (Apasarpitā) Cārī. (next, the left foot in the Bhramarī Cārī and the right foot in the Syanditā (Āsyanditā) Cārī and to violently strike the ground.¹

59-60. Śakaṭāsya—The right foot [to be moved] in the Janitā Cārī and next it to move in the Talasañcara (Nikuṭṭaka) manner, the same foot in the Śakaṭāsyā Cārī and the left foot in the Syanditā (Āsyanditā) Cārī, moving round in this manner alternately with the Śakaṭāsyā Cārī. This Cārī Maṇḍala named the Śakaṭāsya is to be used in fight.

61-62. Adhyardha—the right fooot [to be moved successively] in the Janitā and Syanditā Cārīs, then the left foot in the Apakrāntā (Apasarpitā) Cārī and the right foot in the Śakaṭāsyā Cārī. Moving around alternately in these Cārīs, will be the Cārī Maṇḍala named the Adhyardha to be used in personal combat.

63-64. Piṣṭakuṭṭa—The right foot [to be moved] in the Sūcī Cārī and the left foot in the Apakrāntā [then] the right foot in

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54-55 (B.XI.56b-58a, G.54-55). ¹ This khaṇḍamaṇḍala seems to be another name for eḍakākrīḍita.

56-58 (B.XI.58b-61a, G.56-58). ¹ āsphoṭana—padatalena bhūmi-tāḍana (Ag.).

59-60 (B.XI.61b-63a, G.59-60). 61-62 B.XI.63b-65a, G.61-62).

63-64 (B.XI.65b-67a, G.63-64).

212 THE NATYASASTRA [ XII. 65-

the Bhujaṅgatrasitā Cārī and the left foot too in the same Cārī. Thus going round in the Bhujaṅgatrāsitā Cārī is known as the Cārī Maṇḍala named the Piṣṭakuṭṭa known to be used in personal combat.

65. Cāṣagata—Going round with feet in the Cāṣagatā Cārī is called the Cārī Maṇḍala named Cāṣagata. It to be used in personal combat.

66. Here I have described in brief the Maṇḍalas arising out of the various Cārīs. Now I shall describe the Sama Cārīs.

67. The use of the Sama Cārīs are known as Sama Maṇḍalas. [An actor] using them is to follow the instruction of the master actor (ācāryabuddhi).

68. These Maṇḍalas to be used in fight and personal combat, are to be performed with sportiveness and graceful movements of limbs, and should be accompanied by [suitable] instrumental music.

Here ends Chapter XII of Bharata's Nāṭyaśāstra, which treats of the Rules about the Maṇḍalas.

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65 (B.XI.67b-68a, G.65). 66 (B.XI.68b-69a, G.66).
67 (B.XI.69b-70a, G.67). 68 (B.XI.79b-71a, G.68).

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).

214 THE NĀṬYAŚĀSTRA [ XIII. 9-

that he will take should according to his own measure [of the hand] be four or two Tālas or one Tāla wide.

9-10. In case of [characters such as] gods and kings the steps should be four Tālas wide, of the middling [type of characters] two Tālas, and of women and persons of the inferior type one Tāla wide.

The time for their steps

10-11. [And the time required for the steps should be] four or two Kalās or one Kalā only. [Steps] of the superior [characters] should take four Kalās, those of the middling type two Kalās and those of the inferior type one Kalā only.

The tempo of their Gait

12. An expert in the theatrical art should apply three kinds of tempos—slow, medium and quick—to the Gait [of different characters] according to their nature.

13. The Gait of the superior [characters should be] slow, that of the middling [characters should have] the medium [tempo, while the Gait of] the inferior [characters should be] quick and copious. [Thus] should be applied the three tempos according to the spirit [of the different characters].

14. So much about the rules regarding the timing and tempo [of the steps]. O the sinless ones, listen now about the manner of taking steps [suitable to different characters].

The natural Gait

15. In his natural [Gait] a superior [character] is to raise his knee up to the height of the waist and in case of Cārīs to be used in fighting the same (i.e. the knee) is to be raised up to the height of the breast.

16-19. With the graceful steps of the Pārśvakrāntā Cārī and

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9-10 (B.XII.9-10, G.9-10). 10-11 (B.XII.10-11, G.10-11).
12 (B.XII.12, G.12). ¹ B. reads layam budhaḥ
13 (B.XII.13, G.13). ¹ sattvam—cittavṛttiḥ (Ag.).
14 (B.XII.14, G.14). 15 (B.XII.15, G.15).
16-19 (B.XII.16-19, G.16-19).

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-XIII. 45 ] THE DIFFERENT GAITS 217

34. The Gait of superior persons is not to be applied to that of the middling type, and the Gait of the middling characters is not to be applied to that of the inferior type.¹

Tempo of Gaits under special conditions

35-37. In case of an attack of fever, hunger, fatigue, due to austerities, [excessive] terror,¹ dissimulation, uneasiness, love [in separation], sorrow and in the sick persons' walking the Gait should be of slow tempo lasting more than four Kalās. But in case of anxiety the Gait should be of four Kalās' [duration].²

37-40. In case of concealed (lit. uneasy) love, panic, fright, agitation, joy, hurried action, hearing of unwelcome news, haughtiness or insult, sight of portentous objects, urgent work, distress, search for enemies, pursuit of an offender and pursuit by a ferocious animal, the wise [actor] should have Gaits with steps of two Kalās' [duration].

Gait in the Erotic Sentiment

41-44. The Gait in ordinary love-making should be graceful. [The lover] is to enter the stage with the female Messenger (dūtī) showing the way. He is to act his part (lit. meaning connected with the play) by means of the Sūcā¹. He should be adorned with lovely garments, perfumes, ornaments² and garlands of various sweet-scenting flowers. He should walk with graceful steps in the Atikrāntā Cārī, and his limbs should have the Sauṣṭhava, and he should move with proper tempo and Tāla. His hands should always follow the feet. The former should be raised along with the falling of the latter and with the raising of the latter the former should fall (lit. vice versa)³.

45-48. Now listen about the Gait in case of concealed love. After dismissing his servants (lit. men) the lover is to walk

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34 (BXII.39b-40a, G.34).
35-36 (B.XII.34-35, G.35-36). ¹ vismaye G. vīkṣate. ² G. omits 37a.
37 (B.XII.34-36a, G.35-36). 37-40 (B.XII.26b-39a, G-37-39).
41-44 (B.XII.40b-44, G.40b-44a). ¹ See NŚ. XXIV.43.
² Read hṛdyair gandhair tathā vastrair alaṃkāraiś ca.
³ G. omits 44b. 45-48 (B.XII.45-48a, G.44b-47).

28

218 THE NATYASASTRA [ XIII. 48-

[at night] along with the female Messenger as his guide. He is to put out the lamp. He is to be dressed in [simple] clothes suited to the time day and is to not make his toilet elaborately. In making love secretly a person is to walk with slow and silent steps, and from [any] sounds [heard at the time] he is constantly to look around and tremble in his body and to have a faltering Gait.

Gait in the Terrible Sentiment

48-54. [In treating the Gait] in the Terrible Sentiment I shall speak only with regard to Daityas, Rākṣasas and Nāgas. O Brahmins, the Terrible Sentiment only is dominant in their case. And this Terrible Sentiment is of three kinds, viz. Terrible in make-up, Terrible in limbs and Terrible by nature. [An example of] the Terrible in make-up is [a Rākṣasa] with his body dripping in blood, mouth moistened with it and having pieces of flesh in the hands. An example of the Terrible in limb is a very tall [Rākṣasa] with a prodigious physical frame, many heads, and many hands holding weapons of various kinds. And an example of the Terrible by nature, is a person with red eyes, tawny hair, black complexion and rough voice and a person who is always scolding [others] and who stands with feet four Tālas apart and take steps four Tālas wide. This is the Gait which [characters] resembling them are to have.

Gait in the Odious Sentiment

54-56. The Gait [of a person walking] on the ground which is either a place of cremation or a place gruesome on account of a battle [having taken place there] should be used in acting in connexion with the Odious Sentiment. The feet in the Eḍakākrīḍitā Cārī falling in quick succession sometimes close to and sometimes wide apart from each other, with the hands following them, will constitute the Gait in the Odious Sentiment.

Gait in the Heroic Sentiment

57. The Gait in the Heroic Sentiment should consist of swift footsteps in the various Cārīs.

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• 48-54 (B.XII.48b-54, G.48-53).
• 54-56 (B.XII.55-57a, G.54-55).
• 57 (B.XII 57b-57a, p145, G.56).

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220 THE NATYASASTRA [ IX. 70.

draw all their limbs together, to shiver greatly, to put their two hands on the breast, to bend their body, and their teeth are to clatter and lips are to throb and the chin is to quiver, and in representing an attack of cold the Gait should be slow.

Gait in the Terrible Sentiment

70-75. In the Terrible [Sentiment] the experts should make the Gait of women, and men of the inferior type who are lacking in spirits, suitable to their nature (lit. in that manner).

[In the Terrible Sentiment] they are to have wide open and moving eyes, the Vidhuta head and the look awe-stricken and turned alternately to sides, and holding the Kapota hand they are to walk with quick steps, trembling body and faltering Gait. This [kind of movement] should be resorted to when a person is pursued [by an enemy], threatened or frightened [by any one]. [And the same rule will apply] when they see anything dreadful or hear any dreadful sound. In the terrified state the Gait suitable for women, and men who are cowards (lit. have renounced prowess) will consist of movement of the feet in the Eḍakākrīḍitā Cārī falling in quick succession sometimes close to and sometimes at a distance from each other, and the hands are to follow them.

Gait of merchants and ministers

76-78. The Gait of merchants and ministers is to be made natural. They should walk in the Ātikrāntā Cārī with steps two Tālas wide. Their [left hand] showing the upturned Kaṭakāmukha should be on the navel, and the right [lit. the first hand] showing the upturned Arāla should be on one side away¹ [from the left one]. They should not make their limbs drooping, motionless or excessively moving.

Gait of ascetics and sectarians

79-86. Yatis, Śramaṇas, these practising austerities and those observing the vow of Brahmacarya are to have a [special]

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70-75 (B.XII.70-75, G.69-74).
76-78 (B.XII.76-78, G.75-77). ¹ B. reads stanāntare for 'tadantare (G. tathāntare).
79-86 (B.XII.79-86, G.78-85). ⁴ Pidhāva (B. vidhāya).

-XIII. 88 ] THE DIFFERENT GAITS 221

Gait. [In acting their part] a wise [actor] should have immobile eyes looking only four cubits [in the front], a ready memory, the entire body in steadiness and he is to keep the mind at rest, to assume the marks belonging to his sect and to have modest clothes generally dyed in dark red, and to stand with the Samapāda feet and to assume the Sthāna of the same name. Then he should make two Catura hands one of which is to be stretched. And assuming a serene appearance in conformity with the performance he should perform the Ātikrānt (Atikrama) Cārī with natural (lit. not drooping) limbs. The best ascetics of the great vow are to be connected with these qualities or others contrary to them. As for the rest of the ascetics they according to the vow [enjoined by their own sects] are to have a Gait confused or stately or sober or mild. And in case of the ascetics of the Paśupata sect they should walk in the Śakaṭāsyā and Atikrānt³ Cārīs with haughty steps.

Gait of a person in darkness or of a blind man

87. The Gait [of a person] in darkness or the Gait of a blind [man] should consist of the feet drawn over the ground and the hands groping for the way.

Gait of one riding a chariot

88-92. The Gait of a person riding a chariot should consist of simple (cūrṇa) steps. From the Samapāda Sthāna (posture) he is to make a mimicry of the being carried in a chariot (lit. go the movement of a chariot), and with the one [hand he is to take up] the bow and with the other the pole [of the chariot]. And his charioteer is to remain busy with the whip and the reins, and the draught animals according to the class [of the vehicle] should be represented differently. And with quick and simple steps he is to enter the stage. The Gait of one in a celestial car (vimāna) should be made like that of one riding a chariot. One who is about to

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²liṅgam i.e. japabhasmakaupīnādi (Ag.).
³ Gacched—atikramād (B. gacched vyatikramād, G. gacched yatikramād).
87 (B.XII.87, G.86). ¹ andha-yāne (B.G. read atha yāne).
88-92 (B.XII.88-92, G.87-91).

222 THE NATYASASTRA [ XIII. 92-

mount [these vehicles] is to hold his body up and with opposite of this [motion] one is to make one's discent [from them].

Gait while moving in the sky

92-95. The Gait of a character moving through the sky is to include the aerial Cārīs and looking downwards, and [besides this] one is to move [first] from the Samapāda Sthāna (posture) with simple steps. The Gait of one who desends from the sky is also to be of this kind. This Gait is to consist of steps straight and wide or high and low, or irregular and round about.

The Gait of a person falling from the sky is to include the Apaviddha arms, scattered ends of clothes and eyes set on the ground [below].

Gait in ascending any lofty palace

96-98. [In a play sometimes] there is necessity of ascending [stairs of] a palace, tree or hill or any other high object and descending from them or getting down into a river or some lower region and getting up from it. In ascending [the stairs of] a palace a person should move the feet in the Atikrāntā Cārī, and with the body held up he should put forward his steps in [the flight of] stairs. In descending from the same, the body should be slightly bent and one foot should be in the Atikrāntā Cārī and the other in the Añcita movement.

98-100. This Gait suited to ascending [the stairs of] a palace should be applied in climbing hills. But in the case of hills the limbs are to be thrown up. The climbing of trees [should be represented] by steps in the Atikrāntā, Sūcī, Apakrāntā and Pārśvakrāntā Cārīs.

Gait in getting down into lower places

101-104. This should also be the Gait in coming down [from the trees] and the same should apply in case of getting down into a river.

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92-95 (B.XII.92-95, G.91b-94).
96-98 (B.XII.96-98a, G.95-97). $^1$ gātram ānamya (B. gātram asyaiva).
99-100 (B.XII.103-104, G.103 104).
101-104 (B.XII.105a, 98b-101, G.98-101).

-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).

224 THE NATYASASTRA [XIII. 110

Gait of a Parasite

110. The Gait of a Parasite (viṭa) should be made graceful. [An actor] is to represent (lit. go) the Gait of a Parasite by putting forward Ākuñcita (Kuñcita) feet within one Tāla and holding the Kaṭakāvardhamāna hands with the proper Sauṣṭhava and letting [these] hands follow the feet

Gait of the Kāñcukīya

112-113. [The Gait] of the Kāñcukīya (armour-bearer)¹ should be made [suitable] to his particular age and condition. When he is not old² his Gait should be as follows : With the feet raised half a Tāla high and simple steps he should walk carrying his limbs like one who is treading (lit. touching) upon mud.

114. But in case of his being [thoroughly] old he should walk with the trembling body and raise the feet slowly and with [every] step he is to take his breadth.

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110 (B.XII.110, G.109). 111 (B.XII.110, G.110).

112-113 (B.XII.112-113, G.111-112). ¹ The word kañcukīya (kañcukin) should be translated as 'armour-bearer' and not as 'chamberlain' which term should be used for sannidhātṛ; see Kauṭilya's Arthaśāstra (2. 4. 23). BhP. (p. 292) defines the Kāñcukīya as follows :

अकामा ब्राह्मणाश्चैव कञ्चुकोष्णीषवेत्रिणः । ज्ञानविज्ञानसम्पन्ना कञ्चुकीया स्मृता बुधैः ॥

(Passionless Brahmins who have knowledge and wisdom being in charge of (the king's) armour and crown, and holding the cane-stick (as symbol of their authority), are called Kāñcukīyas by the wise).

² a-vṛddhasya. This adjective of the kañcukīya contradicts the following (probably very late) definition : अन्तःपुरचरो वृद्धो विप्रो गुणगणान्वितः । सर्वकार्यार्थकुशलः कञ्चुकीत्यभिधीयते । जरावैकल्ययुक्तेन विशेद् गात्रेण कञ्चुकी । This passage has been wrongly ascribed to Bharata in Rucipati's commentary to the Anargharāghava (ed. in Kāvyamālā, p. 109). The kāñcukīya in the plays ascribed to Bhāsa (i.e. Svapna, Pratimā, Abhi. Pañca. Dūta. and Bāla.) does not show any trace of old age. The kañcukin in the Śak. deplores that the cane-stick which he had taken up as the symbol of his office, has become in old age the support of his body which he could move with difficulty (V.3.). From this it may be assumed that he was appointed before old age came upon him.

114 (B.XII. 144, G 113). ¹ For an old kañckin see Śak. loc. cit Mudrā, II, etc, 9. and III. 1.

-XIII. 123 ] THE DIFFERENT GAITS 225

Gait of emaciated, sick and fatigued persons

115-117. The Gait of an emaciated person should consist of slow steps. And in case of an attack of fever or other illness, or of fatigue due to austerities, or hunger, a person is to walk with lean and depressed belly, feeble voice, depressed cheek, lusterless eyes, slow movement of the hands and the feet, tremor and affliction of the limbs and with [every] step he is to emit breath.

Gait of a person walking a long distance

118. The Gait of a person walking a long distance is to consist of slow steps, narrowing of limbs and the rubbing of the knees.

Gait of a corpulent person

119. A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort.

120. A person going with [hurried] steps should be copiously breathing, and be covered with perspiration due to fatigue and his steps should be simple.

Gait of intoxicated persons

121. The Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two feet [sometimes going] backwards.

122. The Gait of persons heavily (lit. worst) intoxicated will consist of unsteady feet, reeling body and staggering steps.

Gait of a lunatic

123-130. The Gait of a lunatic will consist of irregular steps, many Cārīs in imitation of [various types of] men. He has unpolished and dishevelled hair and body covered with dust ; he talks without any reason and talks too much in an unnatural

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115-117 (B.XII.115-117, G.114-116).
118 (B.XII.118, G.117).
119 (B.XII.119, G.118).            120 (B.XII.120, G.119).
121 (B.XII.121, G.120).            122 (B.XII.122, G.121).
123-130 (B.XII.123-130, G.122-129).

29

226 THE NATYASASTRA [ XIII. 131-

manner; sometimes he sings and sometimes laughs and is not ready to accompany [any one]; and he [sometimes] dances in joy and [sometimes makes drumming [with any object he may find before him]. Once he runs swiftly and at other times stands still; [again] sometimes he is seated and sometimes lying down. He is to wear rags of different kinds and to make the public road his irregular dwelling place. A lunatic will be of the above description (lit. this man). His gait will be as follows :

After moving in the Baddhā Cārī he is to cross his feet. Then going round in all the four direction with this Cārī he is to perform the Bhramara Maṇḍala outwards and reach one corner of the stage. Then turning the Trika gracefully and holding the Latā hand with irregular movements he is to move with his feet.

Gait of lame men, cripples and dwarfs

131-136. The Gait of lame persons, cripples and dwarfs in connexion with the display of physical defects for the sake of the Comic Sentiment, will be of three kinds. In one [kind of] Gait of lame persons the feet are to remain stiff. In the second one, feet are to be made Agratalasañcara and the body is to held up (lit. raised) by the stiff foot. [And in the third] the body is to move on one foot, and to rest on another foot and setting feet in this order [the lame men] are to go. This will be one’s Gait when one has run a thorn in the sole of one’s foot. The Gait of cripples will consist of the Agratalasañcara and the Añcita feet, the steady body and the Nata shanks. During the Gait of dwarfs all their limbs are to be narrowed down and they should neither move [quickly] nor take [wide] steps.

Gait of the Jester

137-140. The Jester will have the same Gait consisting of simple laughable steps with feet raised high [and put forward]. And his Gait will relate to three kinds of laughter: laughter due to

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131-136 (B.XII.131-136; G.130-135a). $^{1}$ For trividha G. reads vividha and omits 133b.
137-140 (B.XII.137-140, G.135b-138). $^{1}$ For vākyakṛta B.G. read kāvyakṛta.