VII. 55 ] THE EMOTIONAL AND OTHER STATES 131

movement of [a particular] limb, falling down, reeling, not seeing properly and the like.

There is a Śloka on this point :

52. Due to seeing a robber in an unexpected place or from panic of different kinds distraction occurs to a man when he finds no help [near by].

There is also an Āryā on this point :

53. Distraction occurs due to adversity, accidental injury, memory of past enemity. It is to be represented on the stage by suspension of the activity of all senses.

Recollection

Recollection (smṛti) is remembering every condition of happiness and misery. It is caused by Determinants such as impairment of health, disturbed nightly sleep, seeing and speaking with a level head, thinking, constant practice and the like. It is to be represented on the stage by Consequents such as nodding of the head, looking down, raising up the eyebrows and the like.

On this point there is a Ślokā and an Āryā :

54. One is said to be recollecting something when one remembers past happiness and misery which were either conceived in mind or did actually occur and was forgotten.

55. Recollection arising from impaired health, or relating to the Vedas and Darśanas is to be represented on the stage by raising or nodding of the head and raising the eyebrows.

Contentment

Contentment (dhṛti) is caused by [Determinants such as] heroism, spiritual knowledge, learning, wealth, purity, good conduct, devotion to one's superiors, ¹getting excessive amount of money, enjoying sports, and the like. It is to be represented on the stage by Consequents such as enjoyment of objects gained, and not

---

52 (B.79, G.51). 53 (B.80-81, G.52).
54 (B.82, G.53).
55 (B.83-84, G.54). ¹ Omit manoratha (B.G.) after adhika.

132	THE NATYASASTRA	[ VII. 56-

grumbling over objects unattained, past, partially enjoyed, lost and the like.

On this point there are two Āryās :

56. Contentment arising from spiritual knowledge, purity, wealth and power, is always to be represented on the stage by an absence of fear, sorrow and sadness.

57. When one enjoys attained objects such as [sweet] sound, touch, taste, form and smell, and is not sorry over their non-attainment one is said to have Contentment.

Shame

Shame (vrīḍā) has improper action as its basis. It is caused by Determinants such as humiliation and repentance on account of transgressing words of superiors or disregarding them, nonfulfilment of vows and the like. It is to be represented on the stage by Consequents such as covered face, thinking with downcast face, drawing lines on the ground, touching clothes and rings, and biting, the nails, and the like.

There are two Āryās on this point :

58. When a man, after he has done anything improper, is seen by those who are pure, he becomes repentant and is ashamed.

59. The ashamed man will cover his face, draw lines on the ground, bite the nails and touch clothes and rings.

Inconstancy

Inconstancy (capalatā) is caused by Determinants such as love, hatred, malice, impatience, jealousy, opposition and the like. It is to be represented on the stage by Consequents such as harsh words, rebuke, beating, killing, taking prisoner, goading and the like.

There are two Āryās on this point.

---

56 (B.85, G.55).	57 (B.86-87, G.56).
58 (B.88, G.57).	59 (B 89-90, G.58).

.VII. 62] THE EMOTIONAL AND OTHER STATES 133

60. When a man does anything like killing or imprisoning any one without any forethought he is said to be inconstant because of his not being definite in his action.

Joy

Joy (harṣa) is caused by Determinants such as attainment of the desired object, union with a desired, trusted and beloved person, mental satisfaction, favour of gods, preceptor, king, and husband (or master), receiving [good] food, clothing and money and enjoying them, and the like. It is to be represented on the stage by means of Consequents such as brightness of the face and the eyes, using sweet words, embracing, ¹horripilation, tears, perspiration and the like.

There are two Āryās on this point :

61. Joy is caused to a man when he has attained any object or obtained anything which was unobtainable or has met his beloved one or has his heart’s desire fulfilled.

62. It is to be represented on the stage by brightness of the eyes and the face, loving words, embrace, delicate movement of the limbs, and perspiration and the like.

Agitation

Agitation (āvega) is caused by Determinants such as portents, wind or rains, [outbreak] of fire, running about of elephants, hearing very good or very bad news, stroke of adversity and the like. In this connexion portents include [a stroke of] lightning and [falling] of meteors or shooting stars, eclipse of the sun and the moon, and appearance of comets. It is to be represented on the stage by looseness of all the limbs, sadness, distraction of the mind, loss of facial colour, surprise and the like. [Agitation] due to violent winds is to be represented by veiling [the face], rubbing the eyes, collecting [the ends] of clothes [worn], hurried going and the like. [Agitation] due to [heavy] rains is to be represented by lumping

---

60 (B.91-92, G.59). ¹ Omit pulakita after kaṇṭakita (B.G).
61 (B.93, G.60).
62 (B.94-94, G.61).

134 THE NĀṬYAŚĀSTRA [ VII. 136

together of all the limbs, running, looking for some covered shelter, and the like. [That] due to [an outbreak of] fire is to be represented by eyes troubled with smoke, narrowing down all the limbs, or shaking them, running with wide steps, flight and the like. That due to running about of elephants is to be represented by hurried retreat, unsteady gait, fear, paralysis, tremor, looking back and the like. [That] from hearing something favourable is to be represented by getting up, embracing, giving away clothes and ornaments, weeping, horripilation and the like. That due to hearing anything unpleasant is to be represented by 'falling down on the ground, lamentation, rolling about [even] on a rough surface, running away, bewailing, weeping and the like. And that due to popular rising (prakṛti-vyasana) is to be represented by sudden retreat, taking up weapons and armour, mounting elephants and horses and chariots, striking¹ and the like.

63. Agitation of these eight kinds has hurry as its basis. This is characterised by patience on the part of persons of the superior and the middling types; but agitation of persons of the inferior type is marked by flight.

On this point there are two Āryās :

64. Agitation occurs over an unpleasant report, disregard of instruction, throwing a missile and panic.

65. Agitation due to an unpleasant report has as its Consequents assuming a sad look, and that due to a sudden appearance of enemy is to be represented by clash of weapons.

Stupor

Stupor (jaḍatā) is caused by Determinants such as cessation of all activity, hearing of a much desired thing or a [very] harmful thing, sickness and the like. It is to be represented on the stage by Consequents such as not uttering any word, speaking indistinctly, remaining absolutely silent, looking with steadfast gaze, dependence on others and the like.

---

¹ sampraharaṇa (pradhāraṇa B. G.).
63 (B.96, G.62). 64 (B.98, G.63). 65 (B.99-100, G.64).

.VII. 66 ] THE EMOTIONAL AND OTHER STATES 185

There is an Āryā on this point :

66. A man is called stupid when due to senselessness he cannot distinguish between good and bad as well as happiness and misery, and remains silent and dependent on others.

Arrogance

Arrogance (garva) is caused by Determinants such as kingship, noble birth, personal beauty, youth, learning, power, attainment of wealth and the like. It is to be represented on the stage by Consequents such as contempt$^1$ [for others], harassing [people], not giving reply [to one's question], not greeting [others], looking to shoulders, roaming [at large], contemptuous laughter, harsh words, transgressing [commands of] the superiors, insulting [others] and the like.

There is an Āryā on this point :

67. Arrogance of persons of the inferior type due to learning, youth, beauty, royalty and attainment of wealth is to be represented by movement of the eyes and the limbs.

Despair

Despair (viṣāda) is caused by Determinants such as inability to finish the work undertaken, accidental calamity and the like. It is to be represented on the part of persons of the superior and the middling types by Consequents such as looking for allies, thinking about means, loss of energy, absent-mindedness, deep breathing and the like. And on the part of persons of the inferior type it is to be represented by running away, looking down, drying up of the mouth, licking the corner of the mouth, sleep, deep breathing, meditation and the like.

There are two Āryās on this point :

68. Despair arises from nonfulfilment the work begun, being taken at the time of committing theft, and giving offence to the king and the like.

---

66 (B.101-102, G.65). $^1$ Omit asūyā before avajñā.
67 (B.103-104, G.66). 68 (B.105, G.67).

136 THE NATYASASTRA [ VII. 59-

69. In case of persons of the superior and the middling types this is to be represented by thinking about various means, and in case of persons of the inferior type sleep, deep breathing, and meditation are to represent it.

Impatience

Impatience (autsukya) is created by Determinants such as separation from beloved persons, remembering them, sight of a garden and the like. It is to be represented on the stage by Consequents such as sighs, thinking with downcast face, sleep, drowsiness, desire for lying down and the like.

There is an Āryā on this point :

70. Impatience arises from the loss of beloved persons or from remembering them. This is to be represented on the stage by thinking, want of sleep, drowsiness, dullness of the body and desire to lie down and the like.

Sleeping

Sleeping (nidrā) is caused by Determinants such as weakness, fatigue, intoxication, indolence, [too much] thinking, too much eating, [soporific] nature and the like. It is to be represented on the stage by Consequents such as heaviness of the face, ¹rolling of the body, rolling of the eyes, yawning, massaging of the body, deep breathing, relaxed body, closing the eyes and the like.

There are two Aryās on this point :

71. Sleep comes to a man through weakness, fatigue, exertion, [too much] thinking, natural {tendency [to sleep] and keeping awake throughout the night.

72. It is to be represented on the stage by Consequents such as heaviness of the face, closing the eyes, or their rolling, stupor, yawning, massaging of the body and the like.

---

69 (B.106-107, G.68).
70 (B.108-109. G.69). ¹ śarīra-lolana (avalokana B.).
71 (B.110, G.70).
72 (B,111-112, G.71).

.VII. 75 ] THE EMOTIONAL AND OTHER STATES 137

Epilepsy

Epilepsy (apasmāra) is caused by Determinants such as being possessed by a god, a Nāga, a Yakṣa, a Rākṣasa, a Piśāca and the like, and a memory of such beings, eating food left after somebody's partaking of it, staying in a deserted house, non-obser-vation of proper time [in taking food, in sleeping etc.], derangement of humours (dhātu)$^1$ and the like. It is to be represented on the stage by Consequents such as throbbing, trembling, running, falling down, perspiration, foaming in the mouth, hiccough, licking [the lips] with the tongue, and the like.

On this point there are two Āryās :

73. Epilepsy occurs in a person when he is possessed by Bhūtas and Piśācas, when he remembers these beings, [eats] Ucchiṣṭa$^1$, stays in a deserted house, disregards for proper time [for taking food etc.], and is impure [in body].

74. Falling down suddenly on the ground, trembling, foaming in the mouth, and rising up while senseless, are condi-tions during Epilepsy.

Dreaming

Dreaming (supta) is caused by Determinants such as inter-ruption of sleep, enjoying objects of senses, infatuation [of any kind], spreading the bed on the ground, dragging the bed over the ground and the like. The dreaming which occurs in sleep is to be represented by Consequents such as deep breathing, dullness of the body, closing the eyes, stupefaction of all the senses, dreams and the like.

There are two Āryās on this point :

75. Dreaming occurs due to interruption of sleep, enjoying objects of senses and infatuation [of any kind]. It is to be

---

$^1$ They are three in number please viz. wind (vāyu), bile (pitta) and phlegm (kapha).

73 (B.113, G.72).$^1$ That which is left over in one's plate after he has finished his meal.

74 (B.114-115, G.73). 75 (B.116, G.omit).

18

138 THE NATYASASTRA [VII. 76-

represented on the stage by closing the eyes, deep breathing, dreaming dreams and talking while asleep.

76. Dreaming is to be represented on the stage by deep breathing, imperfectly closing eyes, stupefaction of all senses and absence of all activity.

Awakening

Awakening (vibodha) is the break of sleep, and it is caused by Determinants such as digestion of food, bad dreams, loud sound, sensitive touch and the like. It is to be represented on the stage by Consequents such as yawning, rubbing the eyes leaving, the bed, and the like.

There is an Āryā on this point :

77. Awakening is caused by digestion of food, [loud] sound, [sensesitive] touch and the like. It is to be represented on the stage by yawning, rubbing the face and the eyes, and the like.

Indignation

Indignation (amarṣa) is caused to persons abused or insulted by those having superior learning, wealth or power. It is to be represented on the stage by Consequents such as shaking the head, perspiration, thinking and reflecting with a downcast face, determination, looking for ways and means and allies, and the like.

There are two Ślokas on this point :

78. Indignation grows in energetic men who have been abused or insulted in an assembly by those having superior learning and wealth.

79. It is to be represented on the stage by energy, determination, reflection with a downcast face, shaking the head, perspiration and the like.

Dissimulation

Dissimulation (avahitthā) is the concealment of appearance. It is caused by Determinants such as shame, fear, defeat, respect,

---

76 (B.117-118, G.74).
77 B.119-120, G.75).
78 (B.121, G.76).
. 79 (B.122-123, G.77).

.VII. 82 ] THE EMOTIONAL AND OTHER STATES 139

deceit and the like. It is to be represented on the stage by Consequents such as speaking like another person, looking downwards, break in the speech, feigned patience and the like.

There is a Śloka on this point :

80. Dissimulation is due to boldness, deceit, fear and the like. It is to be represented by carelessness about an action, and not speaking much in reply or in addressing [others].

Cruelty

Cruelty (ugratā) is caused by Determinants such as arrest of robbers, offence to kings, offending words and the like. It is to be represented on the stage by Consequents like killing, imprisoning, beating, rebuking and the like.

There is an Āryā on this point :

81. Cruelty occurs when a robber is arrested or the king is given offence. It is to be represented on the stage by Consequents such as killing, imprisoning, beating, rebuking and the like.

Assurance

Assurance (mati) is caused by Determinants such as thinking about the meaning of many Śāstras and considering the pros and cons of things. It is to be represented on the stage by Consequents such as instructing pupils, ascertainment of [any] meaning, removal of doubt and the like.

There is a Ślokā on this point :

82. Assurance comes to men when they are well-versed in the meaning of many Śāstras. It is to be represented on the stage by Consequents such as instructing pupils and explaining the meaning [of Śāstras].

Sickness

Sickness (vyādhi) owes it origin to [an attack of three humours such as] wind (vāta), biles (pitta) and phlegm (kapha).

---

80 (B.124-125, G.78). 81 (B.126-127, G.79).
82 (B.128-129, G.80).

140 THE NĀṬYAŚĀSTRA [ VII. 83-

Fever and similar other illnesses are special varieties of it. Fever is of two kinds, viz. that with a feeling of cold (śīta) and that with a feeling of heat (dāha). Fever with a feeling of cold should be represented by Consequents such as shivering, tremor of the entire body, bending [the body], shaking of the jaws, narrowing down the nasal passage, dryness of the mouth, horripilation, lamentation and the like. And that with a feeling of heat, is to be represented by throwing out clothes, the hands and the feet, desire [to roll on] the ground, [use of] unguent, desire for coolness, lamentation, crying and the like. The other types of sicknesses are to be represented on the stage by Consequents such as narrowing down the mouth dullness of the body, [deep] breathing, making [peculiar] sounds, crying, tremor and the like.

There is a Śloka on this point :

83. Sickness in general should be represented on the stage by looseness of the limbs, throwing out the limbs and narrowing down the mouth due to illness.

Insanity

Insanity (unmāda) is caused by Determinants such as death of beloved persons, loss of wealth, accidental hurt, derangement of [the three humours] : wind (vāta), biles (pitta), phelgm (śleṣman), and the like. It is to be represented on the stage by laughing, weeping, crying, talking, lying down, sitting, running, dancing, singing, and reciting [something] without any reason, smearing [the body] with ashes and dust, taking grass, Nirmālya¹, soiled cloth, rags, potsherd, earthen tray as decoration [of the body], many other senseless acts, and imitation of others.

There are two Āryās on this point :

84. Insanity occurs owing to death of beloved persons, loss of wealth, accidental hurt, wind (vāta), biles (pitta), phlegm (kapha) derangement of the mind in various ways.

---

83 (B.130-131, G.81. ¹ Remains of a flower-offering to a deity, which is supposed to purify a person who takes it with reverence.
84 (B.132, G.82).

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144 THE NATYASASTRA [ VII. 100.

Among these,

Perspiration

95. Perspiration (sveda) occurs as the result of anger, fear, joy, shame, sorrow, toil, sickness, heat, exercise, fatigue, summer and massage.

Paralysis and Trembling

96. Paralysis (stambha) occurs as being due to joy, fear, sickness, surprise, sadness, intoxication and anger, and Trembling (kampa=vepathu) due to cold, fear, joy, anger, touch [of the beloved] and old age.

Weeping

97. Weeping (asru) occurs as being due to joy, indignation, smoke, collyrium, yawning, fear, sorrow, looking with a steadfast gaze, cold and sickness.

Change of Colour and Horripilation

98. Change of Colour (vaivarṇya) occurs as being due to cold, anger, fear, toil, sickness, fatigue and heat, and Horripilation (romāñca) due to touch, fear, cold joy, anger and sickness.

Change of Voice and Fainting

99. Change of Voice (svara-sāda) occurs as being due to fear, joy, anger, fever, sickness and intoxication, and Fainting (pralaya) due to too much toil, swoon, intoxication, sleep, injury, astonishment and the like.

Representation of the Temperamental States

100. These are to be known by the wise as the eight Temperamental States. I shall speak afterwards about actions which will represent these States.

---

95 (B.149, G.93).	96 (150, G.94).
97 (B.151, B.95).	98 (B.152, G.96).
99 (B.153, G.97).	100 (B.159, G.98).

-VII, 108] THE EMOTIONAL AND OTHER STATES 145

101. Paralysis should be represented on the stage by being inactive, motionless, smileless, like an inert object, senseless, and stiff-bodied.

102. Perspiration should be represented on the stage by taking up a fan, wiping off sweat as well as looking for breeze.

103. Horripilation should be represented on the stage by repeated thrills, hairs standing on the end, and touching the body.

104. Change of Voice should be represented by broken and choking voice, and Trembling by quivering, throbbing and shivering.

105. Change of Colour should be represented by alteration of colour of the face by putting pressure on the artery, and this is dependant on the limbs.

106 Weeping should be represented on the stage by rubbing the eyes and shedding tears, and Loss of Consciousness by falling on the ground.

Application of the States to the different Sentiments

107. These are the fortynine States (bhāva) of the three kinds mentioned by me. Now you ought to hear of the different Sentiments to which they are applicable.

108. All the (fortynine) States except indolence, cruelty and disgust are applicable to the Erotic Sentiment (lit. raise the Erotic Sentiment by their own name).

109. Weakness, apprehension, envy, weariness, inconstancy, dreaming, sleeping dissimulation are the States applicable to the Comic Sentiment.

110. Discouragement, anxiety, depression, weakness, weeping, stupor and death are the States applicable to the Pathetic Sentiment.

---

101 (B.155, G.100).	102 (B.156, G.99).
103 (B.157, G.102).	104 (B.158, G.101).
105 (B.159, G.103-104a)	106 (cf. B.160-161, G.105).
107 (B.162, G.106).	108 (B.169, G.107).
109 (B.171, G.108).	110 (B.172, G.109).

146 THE NATYASASTRA [ VII. 111-

111. Arrogance, envy, energy, agitation, intoxication, anger, inconstancy and cruelty are the States applicable to the Furious Sentiment.

112-113. Presence of mind, energy, agitation, joy, assurance, cruelty, indignation, intoxication, horripilation, change of voice, anger, envy, contentment, arrogance and deliberation are the States applicable to the Heroic Sentiment.

114. Perspiration. trembling, horripilation, choking voice, fear, death, change of colour are the States applicable to the Terrible Sentiment.

115. Epilepsy, insanity, despair, intoxication, death, sickness and fear are the States applicable to the Odoius Sentiment.

116. Paralysis, perspiration, loss of consciousness, horripilation, astonishment, agitation, stupper, joy and fainting are the States applicable to the Marvellous Sentiment.

117. These¹ Temperamental States which depends on the various kinds of Histrionic Representation are included into all the Sentiments by experts in the production of plays.

118-119. No play in its production can have one Sentiment only. If in an assemblage of the many¹ States, Sentiments, Styles (vṛtti) and Local Usages (pravṛtti) [in the production of a play] any one item has varied representation it should be considered the Dominant Sentiment and the rest the Transitory ones².

120. That which stands on the principal theme [of the play] and is combined with Determinants, Consequents and Transitory States is the Dominant Sentiment.

---

111 (B.173, G.113).
112-113 (B.174-175, G.110-111).
114 (B.176, G.114).
115 (B.177, G.115).
116 (B.178, G.115).
117 (B.179, G.116).
¹ ye tvete (cānye. B).
² nānābhinayasaṁśritāḥ B.
118-119 (B.180-181, G.117-118).
¹ bahūnāṁ (sarveṣāṁ G.). samavetānām.
• ² After this B. reads one additional couplet.
120 (B.183, G.119).

.VII. 124 ] THE EMOTIONAL AND OTHER STATES 147

121. ¹This Dominant Sentiment should be represented with an exuberence of the Temperament, but the Transitory States by mere gestures and postures (lit. form), for they are to support the Dominant Sentiment [and as such should not excel² it].

122. [An equally full representation of] a variety [of Sentiments] does not please [the spectators], and such a variety is rare in practical life (lit. amongst people). But a mixture of different Sentiments will however, bring pleasure [to the spectators] when such is carefully represented.

123. In [the production of] a play the Dominant, the Temperamental and the Transitory States which are supporters of the Sentiments and which are accomplished through many objects and ideas, should be assigned to male¹ characters².

124. The Sentiments and the States in plays are thus to be created. One who knows this well will attain the best Success [in the production of a play].

Here ends Chapter VII of Bharata’s Nāṭyaśāstra which treats of the Representation of the States.

---

121 (B.184, G.120). ¹ A disregard of this principle is liable to cause undue prominence to a minor character in a play and thereby to frustrate the principal object of the playwright.
² After this B. reads some additional couplets (B.185-189a) which include a variants of 122 a (B.189a) and 122b (B.186b) and a repetition of 118a (B.186a) and 118b (B.187a).

122 (B.184 foot-note, 9, G.121).

123 (B.189b-190a, G.122). ¹ puṁsānukīrṇāḥ (puṣpāvakīrṇāḥ B.G.).
² An analysis of the plays of the best kind, known to us seems to explain this rule. For in almost all of them superior roles are assigned to men who can better be made the vehicle of different and complex psychological states.

124 (B.190bc, G.123).

CHAPTER EIGHT

THE GESTURES OF MINOR LIMBS

The sages question.

1-2. Through your kindness we have heard in due order everything relating to the origin of the States (bhāva)¹ and Sentiments (rasa)².– We shall now like to know also what the experts say about the different kinds of Histrionic Representation, their meanings and different subdivisions.

3. O the blessed one, you are also to teil us accurately what kinds of Histrionic Representation are to be applied to which [places or occasions] by persons aiming at the Success.

Bharata answers.

4. On these words of the sages, Bharata spoke thus relating to the four kinds of Histrionic Representation.

5. “O sages, I shall now speak to you in detail so that the Histrionic Representation becomes properly explained to you.

¹We shall speak of [the fact that] the abhinaya (Histrionic Representation) is of four kinds. The question is, “Why is it called the abhinaya ?” It is said in reply to this that the abhinaya is derived from the prefix abhi, and the verbal root nī meaning ‘to cause to get’ (to attain), and the sufix ac attached to these two. Hence a [full] answer to this should be made after a consideration of the root and its meaning.

There is a Śloka on this point :

6. As the root nī preceded by abhi means ‘carrying the performances (prayoga) of a play [to the point of direct] ascertainment

---

1-2 (B.G. same). ¹ See NŚ. VIII. ² See NŚ. VI.
3 (B.G. same). 4 (B.G. same).
5 (B.5-6, G.5). ³ This portion till the beginning of 6 is originally in prose. 6 (B.7, G.6).

.VIII. 13 ] THE GESTURES OF MINOR LIMBS 149

of its meaning,' so [the word made out of them] becomes abhinaya (carrying towards).

The meaning of abhinaya

7. Abhinaya is so called because in the performonce [of a play] it together with the Śākhā¹, the Aṅga² and the Upāṅga³ explains the meaning of different [things].

The four kinds of abhinaya

8. O Brahmins, the Histrionic Representation of a play takes place in four ways, and on this (Representation) the plays of different types rest.

9. O Brahmins, this Histrionic Representation is known to be fourfold : Gestures¹ (āṅyika), Words (vācika) Dresses and Make-up (āhārya) and the Temperament (sāttvika).

The Gesture : its three varieties

10. Of these, the Temperament has been described before, along with the States ; now listen first of all about the Gestures (āṅyika).

11. The Gesture is of three kinds, viz. that of the limbs (śārīra), that of the face (mukhaja) and that related to [different] movements of the entire body (ceṣṭākṛta) including the Śākhā, the Aṅga and the Upāṅga.

12. Dramatic performance in its entirety relates to the six limbs including the major and the minor ones such as head, hands, lips, breast, sides and feet.

13. The six major limbs (aṅga) are head, hands, breast, sides, waist and feet, and the (six) minor limbs (upāṅga) are eyes, eyebrows, nose, lower lip and chin.

---

7 (B.8, G.7). ¹ See 15 below. ² See 13 below. ³ See 13 below.
8 (B.9, G.8).
9 (B.10, G.9). ¹ More properly 'gestures and postures.'
10 (B.11, G.10). 11 (B.12, G.11). 12 (B.13, G.12).
13 (B.14, G. 13).

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