Natyashastra

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siva.sh/natyashastra/12/11

चतुष्कलो ह्युत्तमानां मध्यानां द्विकलो भवेत् । तथा चैककलः पादो नीचानां सम्प्रकीर्तितः ॥ ११॥

The steps of superior characters should take four Kalās, those of middling characters two Kalās, and those of inferior characters only one Kalā, as is well established.

english translation

siva.sh/natyashastra/12/12

स्थितं मध्यं द्रुतं चैव समवेक्ष्य लयत्रयम् । यथाप्रकृतिनाट्यज्ञो गतिमेवं प्रयोजयेत् ॥ १२॥

An expert in dramatic art, having observed the three tempos—slow, medium, and fast—should apply the gait accordingly to the nature of the character.

english translation

siva.sh/natyashastra/12/13

धैर्योपपन्ना गतिरुत्तमानां मध्या गतिर्मध्यमसम्मतानाम् । द्रुता गतिश्च प्रचुराधमानां लयत्रयं सत्त्ववशेन योज्यम् ॥ १३॥

The gait of superior characters is marked by steadiness, the medium tempo suits those of middling nature, and quick, abundant steps characterize the inferior; these three tempos should be applied according to the nature of the characters.

english translation

siva.sh/natyashastra/12/14

एष एव तु विज्ञेयः कलाताललये विधिः । पुनर्गतिप्रचारस्य प्रयोगं श्रुणुतानघाः ॥ १४॥

This indeed is to be understood as the rule for the rhythm and tempo in art. Now, O sinless ones, listen to the application of the manner of walking.

english translation

siva.sh/natyashastra/12/15

स्वभावात्तूत्तमगतौ कार्यं जानुकटीसमम् । युद्धचारीप्रयोगेषु जानुस्तनसमं न्यसेत् ॥ १५॥

In their natural gait, superior characters should raise the knee to the level of the waist, and in the use of fighting Cārīs, the knee should be raised to the level of the chest.

english translation

Chapter 12

Verses 16-20