नाट्यशास्त्रम् (प्रथम भाग - अभिनवभारती एवं हिन्दी टीका सहित)
Natyashastra of Bharata Muni with Hindi Commentary (Vol 1)
भरत मुनि / आचार्य अभिनवगुप्त द्वारा
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]
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
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.
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.
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.
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
- 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
-
A corpulent person is to walk with the feet raised slowly and he is to drag on his body with great effort.
-
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
-
The Gait of persons with light (lit. young) and medium intoxication will be reeling, with the two feet [sometimes going] backwards.
-
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
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
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.
-X.III 146 ] THE DIFFERENT GAITS 227
limbs, due to words and due to the costume and make-up. Of these the ugly and big teeth, baldness, hunch on the back, lameness and, distorted face will be objects of laughter due to limbs. When one walks like a crane looking up and looking down and with wide strides, this too becomes an object of laughter due to limbs.
140-141. Talking incoherently, meaninglessly, unnaturally and uttering obscene words are to be known as [objects of] laughter due to words.
141-142, A person covered with tattered clothes or skin, or smeared with ink (or lamp-black), ashes or yellow ochere is [an object of] laughter due to the costume and make-up. Hence the [Jester] after considering the characters [he will be confronting] should carefully (lit. essentially) assume [one or more of] these states.
143-146. The Gait of the Jester should be distinguished according to his different conditions. [For example] in his natural Gait he is to carry the Kuṭilaka (kuṭila) in his left hand and to show the Catura (gesture) with the right hand. Besides this he is lower by turns one of his sides, head, hands and feet observing proper tempo and Tāla. The Gait other than this which is natural, will be abnormal. His Gait on having some food which was difficult to get, will be arrested.
Gait of the menials
146-148. The Gait to represent the walking of servants of lower order or other persons of the inferior type should be as follows : in the walking of servants, one of their sides or head or a hand or a foot is to be lowered and their eyes are to move to [different] objects.
² For vakavat G. reads khagavad.
140-141 (B.XII.140b-141a, G.139). ¹ For vākyahāsyam B.G. reads kāvyahāsyam.
141-142 (B.XII.141b-142, G.140-141a).
143-146 (B.XII.143-146a, G.141b-144). ¹ B. reads 146a as alābhalābhād bhuktasya etc.
146-148 (B.XII.146b-147, G.145-146).
228 THE NATYASASTRA [XIII. 148-
Gait of the Śakāra
148-149. The Gait of the Śakāra will consist of proud but ordinary steps, and while walking he will touch his clothes and ornaments and often look at them, and from the unnatural motion of his body his garlands, and suspended parts of the clothes are to move to and fro.
Gait of lowly persons
- Persons of inferior birth are to walk with eyes looking around, protecting their limbs from the contact of other people.
Gait of the Mleccha tribes
- The Gait and movements of the men of different Mleccha tribes such as the Pulindas and the Śabaras should be made according to the lands they inhabit.
Gait of birds
- The Gait of birds, beasts of pray and other animals is to be made according to the character natural to them.
Gait of lions, bears and monkeys
- The Gait of lions, bears and monkeys is to be made [like that] which was assumed by the lord Viṣṇu incarnated as the Man-lion. [It is as described below].
154-155. [In this Gait] after assuming the Ālīḍha Sthāna (posture) with limbs conforming to it, that is, one hand on the knee and the other on the breast, one is to look all around and put one’s chin on one’s shoulder and to walk with feet placed five Tālas apart.
- The Gait should be applied to [represent] lions and such other animals at the time of personal combat as well as in entering the stage.
148-149 (B.XII.149-150a, G.147)
¹ G. omits 141a.
150 (B.XII.150b-151a, G.148). 151 (B.XII. 151b-152a, G.149).
152 (B.XII.152b-153a, G.150). 153 (B.XII.153b-154a, G.151).
154-155 (B.XII.154b-156a, G.152-153).
156 (B.XII.156b-157a, G.154). ¹ Lions etc. here indicate actors with the mask of these animals.
-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
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).
280 THE NATYASASTRA [ XIII. 167-
anxiety, amorousness, sportiveness, grace, the Erotic and the like [Sentiments] and looking towards the way of someone [coming or going] this Sthāna is to be used.
167-168. Aśvakrāntā : The Sthāna in which one foot is raised and the other is resting on its fore-part and [ready for] the Sūcī or the Āviddhā Cārī is called Aśvakrāntā¹.
168-169. (Uses) : This Sthāna is to be assumed in taking hold of the branch of a tree, plucking a cluster [of flowers] or in the taking of rest by goddesses or women for any purposes.
169-171. The Sthāna will be [maintained by a dancer] till any movement begins. For during a dance the Sthāna is at an end when the Cārī has begun (lit., is present). This is the rule of the Sthāna for women and for men as well. I shall now describe women’s Gait in relation to their nature.
Gait of young women
171-176. [Such a Gait will serially include the following Sthāna and movements] : The Avahittha Sthāna, the left hand pointing downwards, the right hand with the Kaṭakāmukha gesture placed on the navel, the right foot raised gracefully up one Tāla and thrown on the left one and simultaneously with that the left hand with the Latā gesture placed on the navel and the right side bent, placing the right hand on the hip and the Udveṣṭita movement of the left hand, then the left foot put forward, the right hand with the Latā gesture, [After assuming this Sthāna and movements] they are to walk five steps with the body slightly bent and the head gracefully held in the Udvāhita posture.
176-177. The rules for going about on the stage which have been prescribed for men will apply also for women.
167-168 (B.XII.172b-173a, G.167). ¹ B. reads two additional couplets after this.
168-169 (B.XII.175b-176a, G.168).
169-171 (B.XII.176b-178a, G.169-170).
171-176 (B.XII.178b-183a, G.171-175).
176-177 (B.XII.183b-184a, G.176).
-XIII. 184 ] THE DIFFERENT GAITS 231
Gait of young women
177-179. The steps of women should not be made of six or eight Kalās duration. Such a step will be irksome for them. This will be the Gait of women in their youth. I shall speak [now] about the Gait of women who are aged (sthavīyasī).¹
Gait of aged women
179-181. After assuming the Avahittha Sthāna and putting the left hand on the waist and the right hand with the Arāla gesture upturned, placed between the navel and the breasts, they are to walk gradually with their body neither relaxed nor stiff nor [much] moved about.
Gait of handmaids
181-183. The Gait of hand-maids should be made bewildered (udbhrāntā). They are to walk with slightly raised body and flourishing arms, after assuming the Avahitta Sthāna with the left hand pointing downwards and the right hand showing the Kaṭakāmukha hand held on the navel.
Gait of half-women
183-184. The Gait of the half-women, an admixture of that of men and of woman will consist of stately but graceful movement of limbs and playful steps (lit. feet).
184-186. The time required for the Gait which has been prescribed for persons of the superior type will be halved in case of women and the inferior types of men. And the Gait [prescribed for persons] of the superior, the middling and the inferior types will apply in case of women [of those types] except for the footsteps which will be graceful [for the latter].
177-179 (B.XII.184b-186a, G.177-178). ¹ B.G. read sthāniyā yā striyas tāsām for sthavīyasīnām etāsām. The word sthavīyas may well be a comparative degree form of sthavira. Cf. davīyas for dūra.
179-181 (B.XII.186b-188a, G.179-180).
181-183 (B.XII.188b-190a, G.181-182).
183-184 (B.XII.190b-191a, G.183).
184-186 (B.XII.191b-193a, G.184-185).
232 THE NATYASASTRA [ XIII. 186-
Gait of children
186-187. The Gait of children will be according to their will and no Sauṣṭhava and [fixed] measrement will be required.
Gait of hermaphrodites
187-188. The third type of persons will be hermaphrodites in whose case women's Gait to the exclusion of their [partial] male character, should be applied.
Gait in the change of role
188-189. A change [of their role] by men, women and hermaphrodites should be represented by assumption on their part of Gaits suitable to those [new roles] to the exclusion of their own [original] character.
Gait of persons in disguise
189-191. For disguise, sports or deception [of others] a woman assumes the role of a man, and a man that of a woman. [In such cases] the woman should play the role of a man with patient and liberal spirit and intelligence, and with acts as well as dress, words and movement suitable to that [character].
191-192. To play the role of a woman a man is to wear her clothes, speak like her and look at things and abstain from looking at these as she does, and is to assume a delicate and slow Gait.
Gait of the tribal women
192-193. Women of inferior birth and of the Pulinda and the Śabara tribes are to have Gaits natural to their community.
Gait of women ascetics
193-194. In case of observing a vow or practising austerities or bearing the mark [of religious sects,] or staying in the sky the Samapada Cārī is to be used [as their Gait].
186-187 (B.XII.193b-194a, G.186).
187-188 (B.XII.194b-195a, G 187).
188-189 (B.XII.195b-196a, G.188).
189-192 (B.XII.196b-199a, G.189-191).
192-193 (B.XII.199b-200a, G.192).
193-194 (B.XII.200b-201a, G.193).
234 THE NATYASASTRA [ XIII. 200-
Sitting in shame and sleep etc.
200-201. When a person is ill, ashamed, asleep or in meditation he is to lump together his limbs between legs and knees.
Sitting on ceremonial occasions
201-202. In offering a libation of water to the spirits of deceased parents, muttering of Mantras, saying the Sandhyā prayers and making Ācamana, one is to assume the sitting posture with the hump raised, in which the hip and the heels come together.
Sitting in pacifying a beloved woman
202-203. In appeasing [the anger of] a beloved woman and pouring ghee into the sacrificial fire and doing similar other acts, a person is to put one of his stretched knees on the ground [from the sitting posture mentioned above].
Sitting in worshipping a deity
203-206. Downcast face and the sitting posture with the two knees on the ground (i.e. kneeling down) is to be assumed in adoring a diety, pacifying the angry [superiors], bitterly crying for sorrow, seeing a dead body, the fear of persons of low spirits, the begging of something by lowly persons and servants, and, attendance during the Homa and the sacrificial work. Ascetics (muni) while practising austerities are [also] to assume this sitting posture (lit. rule about sitting).
Seats for different characters
206-207. Now the seats (lit. rules regarding the seats) for males and females in a drama are twofold : public (bāhya) and private (ābhyantara). [These two terms] public and private relate to the royalty (lit. the king).
200-201 (B.XII.207b-208a, G.200).
201-202 (B.XII.208b-209a, G.201).
202-203 (B.XII.209b-210a, G.202).
203-206 (B.XII.201b-213a, G.203-205).
206-207 (B.XII.213b-214a, G.206).
-XIII. 216 ] THE DIFFERENT GAITS 235
Seats for male characters
208-210. O Brahmins, gods and kings are to be given the Lion-seat (i.e. throne), the priests and the ministers the cane-seat, the commander of the army and the crown-prince the Muṇḍā-seat, the Brahmins the wooden seat and the other princes the carpet-seat. This rule of seats should be observed in the royal court.
Seats for female characters
210-214. I shall now speak of the rule of seats for women. The chief queen should be given the Lion-seat, the female relatives and wives of the king other than the chief queen the Muṇḍā-seat, the wives of priests and ministers the cane-seat, the concubines [of the king] the seat consisting of cloth, skin or carpet, the wives of Brahmins and female ascetics the seat made of wood (paṭṭa), the wives of Vaiśyas the seat of pillow (cushion), and for the remaining women the ground will be the seat. So much about the rule of seats in the inner appartments as well as in public places. While residing in one's own house one can take any seat according to one's liking.
Seats for ascetics and sectarians
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The seats for the ascetics should be according to the rules [of the order] they are observing. For the members of different sects with special marks the seats will be according to their vows.
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While pouring ghee into the sacrificial fire or doing the sacrificial duty in general or offering a libation of water to the departed parents one is to sit on a Vṛṣī¹, Muṇḍa-seat or cane-seat.
208-210 (B.XII.214b-217a, G.207-210a). ¹ A cane-chair.
² muṇḍāsana is probably nothing other than Bengali moḍā.
210-214 (B.XII.217b-221, G.210b-214).
215 (B.XII.222, G.215). ¹ For example, some have tiger-skin as their seat, some deer-skin or a piece of woolen blanket.
216 (B.XII.223, G.216). ¹ a seat made of kuśa grass (Apte).
236 THE NATYASASTRA [ XIII. 217-
General rules about seats
217. Other local people (sthānīya) who are of [high] birth and possess [great] learning should be honoured by the king by [an offer of suitable] seats.
218. To his equals he (i.e. the king) the is to offer seats equal in height to that of his own, to persons of medium importance, the seats of middling height, and to persons who are superior to him, should be given a more elevated seat, while the lowly persons are to be seated on the ground.
219. Before the preceptor, the king or the spiritual guide (guru) wise persons are to sit on the ground or on an wooden seat.
220. Sitting together with the spiritual guide, the preceptor or the king in a boat, on an elephant or in a chariot, is allowed (lit. not to be objected to).
Lying-down postures
221. Postures in the bed are known (lit. proclaimed) as Ākuñcita, Sama, Prasārita, Vivartita, Udvāhita and Nata.
222. Ākuñcita : Lying down with limbs narrowed down and the two knees sticking to the bed is called the Ākuñcita posture. It is to be used in representing persons attacked with cold.
223. Sama : Lying down with the face upwards and the hands free and turning downwards is called the Sama posture. It is the posture in deep sleep.
224. Prasārita : Lying down with one arm as the pillow and the knees stretched, is called the Prasārita posture. It is to be used to represent one enjoying a sleep of happiness.
225. Vivartita : Lying down with the face downwards is called the Vivartita posture. It is to be assumed in [representing
| 217 (B.XII.224, G.217). | 218 (B.XII.225, G.218). |
| 219 (B.XII.226, G.219). | 220 (B.XII.227, G.220). |
| 221 (B.XII.228, G.221). | 222 (B.XII.229, G.222). |
| 223 (B.XII.230, G.223). | 224 (B.XII.231, G224). |
| 225 (B.XII.232, G.225). |
-XIII. 228 ] THE DIFFERENT GAITS 237
wound from any weapon, death, vomitting, intoxication and lunacy.
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Udvāhita : Lying down with the head resting on the hand and making a movement of the knee, is called the Udvāhita posture. It is to be used in sports and on entrance of the master.
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Nata : Lying down with the legs (lit. shanks) slightly stretched and the two hands loosely resting is called the Nata posture. It is to be used in laziness, fatigue and distress.
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This is the [rule of] Gait and movements I was to tell you. Whatever remains unsaid should be devised according to the demand of circumstances. I shall hereafter speak about the division of the stage into Zones in connexion with going about on it.
Here ends Chapter XIII of Bharata's Nāṭyaśāstra which treats of the Gaits and other Movements.
226 (B.XII.233, G.226). 227 (B.XII.234, G.227).
228 (B.XII.235, G.228).
Chapter 14: Zones and Local Usages (कक्षाविभाग)
CHAPTER FOURTEEN
THE ZONES AND THE LOCAL USAGES ETC.
- One should fix the Zones [of the stage] after knowing the division of the three [kinds of] playhouse, that have been mentioned before by me.
The arrangement of drums
- The producer [of a play] should arrange the drums between the two doors of the tiring room, which I have described before.
The Zonal division
- The Zonal division¹ is to be indicated by going about on the stage. [When one is in a particular] Zone [of the stage, it] will change [lit. be another] with his walking out of it.
Utility of the Zonal division
4-6. [It is] from the [convention of] the Zonal division that one is to know [whether the place in which the scene has been laid] is a house, a city, a garden, a pleasure resort, a river, a hermitage, a forest, the earth, the sea, [any part of] the Three worlds, any one of the Seven great divisions of the earth or its continents, any of the different mountains, the sky (lit. light), the [surface of the] earth or the nether world (rasātala), the places of rest, cities or palaces of the Daityas¹.
- The Zones should be fixed with reference to places such as a city, a forest, a continent or a mountain in which the scenes have been laid (lit. the event occurs).
1 (B.XIII.1, G.1). ¹ See NŚ. II. 63ff.
2 (B.XIII.2, G.2).
3 (B.XIII.3, G.3). ¹ As modern devise of the change of scenes was absent in the ancient Hindu theatre, the convention of the Zonal division indicated the locality in which different characters met.
4-6 (B.XIII.4-6, G.4-6), ¹ B. reads daityanūgālayas for daityānām ālayas.
7 (B.XIII.7, G.7).
-XIV. 16] THE ZONES & THE LOCAL USAGES 239
Indicating relative location
8. [The Zonal] division should relate to location inside, outside or in the middle and to a place far or near.
9. According to the convention of the Zonal division those who have entered [the stage] earlier, should be taken as being inside [a house], while those entering it later are to be known as remaining outside it.
10. He who enters the stage with the intention of seeing them (i. e. those entering earlier) should report himself turning to the right.
The east on the stage
11. The direction which the drums and the two doors of the tiring room face, should always be considered as the east in course of the dramatic performance.
The rule of exit
12. If any person will go out from the place (lit. there i.e. inside the house) on any business he is to make his exit by the very door he used when entering¹.
13. If after going out he is to re-enter that house he will make his exit [if necessary] by the door through which the men [who enter later] came.
14-15. If out of necessity he goes along with latter, [re-] enters the house with the latter, or by himself alone, another Zone should be prescribed for the two. This other Zone will be indicated by their [order in] walking.
Indication of rank in group walking
16. With the equals, one is to walk side by side and with one's inferiors one is to walk surrounded [by the latter], and handmaids are to be known by their walking before [the master].
8 (B.XIII.8, G.8). 9 (B.XIII.9, G.9). 10 (B.XIII.10, G.10).
11 (B.XIII.11, G.11).
12 (B.XIII.12, G.12). ¹ B. reads the couplet differently.
13 (B.XIII.13, G.13). 14-15 (B.XIII 14, G.14).