bestiality. Further up are single sculptures of women, courting couples and amorous ones, totally absorbed in themselves, in various erotic poses. 0f these capture the fine nuances Of human emotions; a lover presents a gift tO his beloved but makes her first cover her eyes; another mischievously encourages a monkey in order tO draw hiS nervous companion closer. The serene expressions Of the participants are in striking contrast tO the physical abandon and acrobatic postures Of some figures. ln the recesses occur some orgiastic scenes involving complicated poses, Often explained as tantric rituals and practices. There are different theories regarding the fluid bends and curves shown by some figures to a seemingly impossible degree. WhiIe some scholars attribute these tO yoga and calisthenics, Others suggest that the artisan gave full vent tO his imagination, going even further than was prescribed by the ん〃わ召 . A highly convincing theory is one which claims that these so- called picture-positions' on the walls were due to the constructional needs Of the temple which required that the images be placed on a vertical axis, even if they were conceived and carved in a lying-down position. Visualized horizontally arranged, many of these compositions, with their tortuous and difficult poses, immediately shed all their mystery. The temples built in the prosperous days of the Chandela dynasty, such as the Lakshman, Parsvanath, Devi Jagdamba and Kandariya Mahadev, display manifold variations on the erotic theme, while the later ones like the Chaturbhuj and the Adinath are less erotically oriented. ln the Duladeo, the erotic element is totally absent. Though the erotic sculptures of Khajuraho have received the maximum exposure, they form only a part of an entire range of carvings. ln addition to these categories are the beautiful sculptural bands which adorn the outer and inner wall surfaces Of the temples and the ornate motifs on the pillars and ceilings inside the temples, which exhibit intricate workmanship. The わー〃〃 6 / 召カ ceiling of the Lakshman temple is considered one of the best in central lndia. 1 This page: ⅱ s わ〃″ / 〃わな尾召 / 〃 7. ・召〃 / 〃 7 カ尾ル e sc ″の々〃℃ OJ 、 the P / ℃ s の 7 で as イ中 / c イ″ん〃 4 わ rac た / 〃 the ゆ力の・ わ 4 〃イツ、 the 〃 0 席わ″Ⅵ〃可 Devi 、 g イ 4 〃 7 わ 4 OverIeaf: S わル 4 / 〃わな 4 、汐 e は召わ召 / ん , な尾 cog 〃に e イ the 、〃 7 〃 / 4 だな / わ曜 es ツ、 召な / イ e 〃 / ・ 4 〃イ 4 s 〃召た e 0 ″ g わわ〃 70 ″〃 4 the わ″〃 Na 〃硎わわ〃 replaced の , 4 イ og. 乃なわ rac イ、 / な″尾なノん〃 7 召た紡〃〃花〃巵 Page 引 : 爿、 / 〃〃 70 e だ go イイ e , ⅱ観 Devi, ⅵ〃 7 〃召だの the 〃 / 〃イ″ go イイ e ツ、 / ea 川 / 〃 g , Saras 4 ″ . 召 0 are イ印たセイ 肥″わ the 乙℃ e 〃 4 ( s な・ / 〃 ge イ〃〃バ / c 召 / / 〃 s な″〃 ze 〃なわ 00 たを 4 / 0 々バ 4 〃イ 4 カ 0 た 7 力なわⅢ c イ / 〃 zage なノん〃 7 the / 0 の・ わ 4 〃イ可尸 4 〃襯わ花〃 / e's ″ノ c / 〃 g 2 9

The わ ac た″Ⅵ〃可 Devi 、々 g イ 4 〃 7 わ 4 花〃 / e , 、朝〃 g 肥 e 新わ召 s as 添カ〃 c の 4 / c わ arac the 〃 / 〃イ″なゾ〃 / り , , 6 / g 臾 / c イ / 〃 召 SO 〃れ , カ 4 ー″〃″ S ″ 4 / 〃 74 〃〃 er. 7 カ e ノ / g ″′℃ / 〃 the / 0 ″℃ r わ召〃イ is ツ、 Va 〃〃 4 , the イ肥 4 、 / 〃 C4777 召〃 0 〃 OJ 、一 'is わ〃″ , ・ the ce 〃な 4 / わ 4 〃イカ / / 〃わな盟仼″の観朝〃 e わ 0 わ as co 〃尾イイ e の〃 ta 〃冰〃 0 〃 , ・ the ″カカ e だわ召〃イ召 ra わ〃 74 肥″わわな CO 〃 SO 54 房 / 7 ツ . on the march and processions marked by gaiety and revelry. These include some remarkable representations Of real and mythical animals. Of special interest are the 訪 cn ″ / , the lion, the cosmic boar and the rat. Elephants are shown in combat and in a playful mood, one pulling the leg 0f the other with its trunk. Camels, though rare, can be seen on the Vishvanath temple. The 訪 cn ″ / , a fabulous beast, is a popular theme at Khajurah0 and has rich symbolic significance. lt is always a combination Of tWO animals, with the lower half mainly that of a horse, while the upper part could be a horned lion, elephant, boar or even a peacock. Then there are the 〃 7 / ″〃を the erotic couples or groups which, strictly speaking, belong t0 the category Of secular themes. Friezes on some IO ℃ r panels, Often accompanying scenes Of armies on the march, depict 28

as part Of the war scenes. These small sculptures also frequently display a remarkable sense of humour. Here are orgies, scenes Of sexual perversion and more. Within the circumambulatory of the Lakshman temple, if one were tO lOOk at the lowest band of minute sculptures along the floor (you may have to lie down tO see some Of these), there are some rarely-viewed scenes Of sexual perversion, especially relating tO the woman being made love tO by an assortment Of animals ranging from the tiger to the wild boar. Above the balconies along the faqade of the Vishvanath temple (you will have to stand at the far edge of the platform tO try tO see these) is a profusion Of erotic sculptures that is easily missed because it is not at eye- level. Khajuraho iS the domain Of woman in her varied expressions, but her male counterpart has not been ignored on the canvas 0f the sculptured walls. The male divinity and the male consort both lend a semblance of balance to the profusion of female images. Along with these, there is some depiction 0f scenes of battle and everyday life, and it is her ℃ that the largest number of animal figures have been shown. The friezes depict elephants on the march; the elephant is singled out for particular representation. ln a historical and religious context, the elephant has always been closely associated with the lndian psyche; at Khajurah0, its body contours are perfectly chiselled whatever its activity, whether on the march, in battle or as part Of a procession. The artist has fl ℃ quently taken the liberty 0f endowing it with a sense 0f humour and Other endearing characteristics. During a march, one elephant tries tO trip another before it, while elsewhere a laughing elephant shares the erotic exploits Of a couple. The treatment of the horse is pragmatic, without the fine detail attendant to the elephant sculptures, for the Chandelas were not equestrian warriors, though the army did have its cavall ・ y. The horse is often used in examples of bestiality, and t0 depict the 訪″ / , the mythical beast whose lower half resembles that 0f a The 肥 e 肥 4 / / ツ、 the so ″ー肥 e co 川 e だツ、 207 なの観 / 可 4 s 叩ん / c 砒 e イ couple 0 曜、ルだ 4 肥 4 / た . The ″の襯尾な〃 0 わ / e 、ル the c / e ゆ尾 / 0 〃を the 市平 / の , 可、 0 川 4 襯 e 〃な 4 〃イわりた s 召〃イ the ア″ 襯 0 乙℃襯 e 〃な Of the わ″襯 4 〃わ 04 ) , ,. 47

shadows which change their texture and effect from dawn tO dusk in countless moments and moods. The sculptural treasures created at the behest of the Chandela rulers can be divided into seven categories : Tbe c 財″ images ー〃わ e $ 4 〃 c れを川 The first category contains the cult images of Shiva, Vishnu , Surya, the Jain Tirthankaras, and so on, installed in the sanctum for worship. These are carved in StriCt accordance With the canons and injunctions laid down for the purpose, with their prescribed form and figure, bearing specific weapons and symbols and accompanied by their secondary deities. The largest sanctum image is that Of the Dakshinmurti Shiva in the Chaturbhuj temple. 0 右わ e go イ $ , goddesses 4 れイイ加わ〃〃 e $ Hindu mythology in all its richness and variety finds expression on the walls 0f the Khajurah0 temples. There are all the gods and goddesses of the Hindu pantheon: Brahma, Vishnu and Shiva, depicted with The 〃 / 〃市 / カ 4 〃 eo 〃ツ、 go ホ 4 〃イ their spouses and in their various incarnations and goddesses イ夜力で s 、 / ん〃 7 the な / 〃 / り , ″カ / c わ forms. There are demi-gods, イのな (regents of the . / 〃バ the 臾〃 c の cos 〃 lic 尾 e ツ、 quarters), め観イわ 4 バ (angels) attending the gods and e 0 / 〃〃 0 〃 , CO 〃 s な〃〃 g OJ 、召召わ襯 4 the C 尾 4 のⅱ s わ〃″ the Preserver 召〃イ S わル 4 ga 〃イわ art 観 s (celestial musicians). There are the the Destroyer. 加 this so ″ノ c / 〃 g powerful dwarf ganas (cherubs) and the た″〃 s イ eco イ niche / 〃 the 〃カカ催わ 4 〃イ (load-bearing, four-armed dwarfs) supporting 0 わ″ gt ゆ花〃 / e , 召 ra ん na なイ / c イ structures with uplifted hands. Together with the 肥″わわな CO 〃 SO S 召だ as 肥 4 〃 . 7 わ e 〃 7 カ / e celestial beauties , they create the illusion Of heaven. 4 な 0 わ召 s 〃 7//mつ〃 tages ツ、 / , . c / 〃 g The figures in the niches remain formal, like the cult e 新召〃イ訪〃″ , 、 c / 〃 g 〃 0 ん images, but those sculptured on the walls are less SO. ln fact, they can only be distinguished from the human Overleaf: 7 カ e カ 4 〃 e な、 / ん〃 7 the so ″ー 肥 e 肥 4 〃 D ″ / 4 0 花〃屮 / e カ叩 - , わ0 〃 tage figures by their peculiar headdress, their mounts or の S わル 4 / 〃召〃″〃 7 わ er Q / な c 〃のな〃℃ s special attributes, a suggestion Of the diamond on the 中 / c 〃 g わな襯 0 召 cc 印ルだ〃 7 ″わわな chest or a long necklace. ln most cases, the gods dress CO 〃 SO 尸召観″ . 7 わ e ノ冫 g 〃尾 0 〃 the left / 〃 as the humans d 〇 . the 〃 7 襯 e カ 4 〃 e / な砒ツ、 Va 訪″ or Na 〃イ / S わル召 's 〃 70 ″〃 4 肥わ〃 e ) 朝〃 74 な カ os ″ / 0 〃 e イ、 / ″ / 0 ) ' 2 〃な the GO イツ、 〃 e 襯わ . 7 カ e ″カカ e だわ 4 〃イ co 〃 s ななツ、 The next class consists Of the 4 カ s 召だ as (celestial ア 04 ⅲ zg celestial bei 〃 gs た〃 0 〃 as dancers), 立〃観バ″〃イ 4 s (celestial beauties) and 〃の・ , / た as (beautiful women). The apsaras and sura- s ″〃イ召だな exist as the entertainers Of the gods. These マとにプにミ ( ( ツ ~ 公、′ / つ、ゞノレ、ツ冫 21 心 ヾ 0 いヾ 0 0 ヾヾで℃い j なツヴグッヴケグツり「 4 25

立々 / 尽可夜でりの , とわ砒℃ bee 〃 4 市・ 0 ″イ ea 〃肥″わ / 〃 the 、 /riezes 召川″〃イ the 〃屮 / e & 7 ん s カ 4 〃 e / イ印 / c the sc ″ののバ goi 〃 g 4 わ 0 ″乙 e な s た , c ん / 〃〃 g 4 〃 e / 中わ 4 厩尹 0 襯召わ / oc たツ、 0 〃尹 0 〃 7 the 〃 0 わーカ / 4 グ初 7 〃ップ召なん〃 4 〃 14 KHAJURAHO EXERCISES THE MIND, FIRES THE imagination. Hundreds Of miles from civilization, deep in the hinterlands 0f central lndia where the tiger still has its domain and where the shadows Of the forests hold their own secrets is a small clearing. Here : a village, modest by any standards; a tank, ambitiously called a lake; groups Of ancient temples, some in ruins. For most people, Khajuraho continues tO remain an enigma, a question mark in the arena Of world-art. What is the significance of its temples? What pattern did they fit intO in the ancient past, and why were temples used as an art gallery? If there was a kingdom here, Where are the remains Of grand mansions and grander palaces? Why is it that only temples have been discovered?Were these temples religious in nature? If SO, hOW does one justify the presence Of some Of the most graphic representations Of sexual scenes the world has ever known? Art historians have tried for years tO seek a solution tO the mystery Of Khajuraho, but all attempts to do so must eventually be reduced tO conjecture, for there are no records tO reveal the purpose for the building 0f these temples. Perhaps we 引 1 never kno what is certain, however, is that Khajuraho will continue to draw homage from travellers and art-lovers, as it has done ever since itS reviva l. Ancient dynasties ar ℃ Often shrouded in a veil Of mystery, largely because written records are rare and as is often the case in lndia, myth and legend weave their way over time intO the history Of their origin and their reign. And when the dynasty leaves a legacy as contradictory as the Khajuraho temples, with their mix Of the religious and the sensuous, the web is woven Of brighter threads, the accompanying legends more colourful. Khajuraho or Khajur-vahika' (bearer of date-palms), also kno as Khajjurpura' in ancient times, evidently derives its name from the golden date palms (khajur) that adorned its city gates and, if the varied legendary versions are tO be believed, 0 ℃ S itS existence tO an enchanting maiden named Hemvati. According tO the account Of the medieval court poet, Chandbardai, in the Mahoba-khand of his 乃 nit 厖ゾ /

7 力なカ e c 尹の〃 4 〃 e / 尹 0 〃 7 the 市〃砒わ花〃 / e イ印 / c な 4 〃 / 〃 0 席 4 〃ー pe バ 0 〃 age being 4 〃イ e イわ施な″ 0 バ カア e か尾平 ec パ his office 0 だのプな e. 46 the letter with her lover's village mentioned on it, and requesting them tO carry her letter tO him over a journey only two hours long. Some images 0f gods and goddesses are placed far above eye level, and visitors must make an effort tO stand at the edge 0f temple platforms and survey the upper reaches Of the temples tO spot some for instance, the beautiful depiction Of masterpieces Lord Ram with a bow and arrow in the Lakshman temple; or Agni, the fire god, in minute detail. The higher end of the Vishvanath temple has a sculpture 0f Vishnu in hiS universal form as recounted in the epiC 召わ ag Ⅲイ G ″ 4. Again, there are some very good examples Of divinities tO be seen at the highest levels of the ambulatories, difficult t0 spot because 0f the very soft natural light filtering in through the windows. The Lakshman temple has the complete ん S わ〃 4 L / 4 depicted along the upper end of the circumambulatory; this Often escapes attention as ℃Ⅱ . some of the best hidden' sculptures deal with erotics. One should spend time looking for these in the small friezes along the temple walls, especially

as a tourist destination. But hOW was it tO be displayed on the tourism map of the world? Khajurah0 was 52 miles from the nearest town; 62 miles from a railway station; no flights came even close tO it. ln January 1966 , the foundation stone of Khajuraho's first modern hotel was laid in the presence of 105 members Of the international travel trade attending a conference in Delhi. Their arrival made history; five aircraft landed here for the first time on a fi ℃ shly-made fair-weather airstrip. One can imagine the bewilderment of the villagers who saw these c わ / ー ga 召市 (bird-cars) as they landed, and out of whose bellies emerged strange men and women with golden yellow and even red hair. The delegates, meanwhile recieved their first taste Of Khajuraho's backwardness as they tried tO disembark —in the absence of an airport there was no step-ladder and a makeshift one had tO be procured from the construction site of the hotel. The struggle had just begun—for an air-service, better roads, water, telephones and other basic facilities required Of a tourist resort. Statistically, the village 0f Khajuraho was a poor contender for these 乙 ' なー 4 ー乙 , な Other towns, but Shyam Poddar's enthusiasm ensured that the resurrection got underway. Today Khajuraho has luxury hotels, a modern runway and airport, shops, banking and communication facilities , swimming pools and health clubs, air- conditioned restaurants and car-hire companies. ThiS iS one lndian village where signs are posted in three foreign languages; its temples have been declared 'World Heritage' monuments by the United Nations. 嶬宝 h Khajuraho becoming increasingly popular, the potential 0f its rich surroundings is also unfolding. The Panna diamond mines, Rajgarh Palace and the Pandav and Raneh Falls form easy excursions out Of Khajurah0. A little further, the ancient fortress of Kalinjar and the beautiful monuments of Orchha are also coming into the limelight. The jungle which once overgrew the temples has receded a few kilometres tO form the Panna NationaI Park, a wildlife sanctuary. 4 7 カ e だ go イイ e Ga 〃 ga ( 7 ( 呶 ) 4 〃イ 4 イ″ , 召、肥″わ 4 CO 〃 / 〃 e だ Q / 、〃 ec だ ( -a わ 0 乙で - ). 7 カ e 乙℃ G 召〃 g 召 4 〃 ) 〃 7 ″〃召 4 だ e CO 〃ⅵイ e 尾イ c 尾イ々ア〃 / 〃イ″ s 召〃イ召尾 ua 娵カ / ace イ the e 〃乙Ⅲ〃 ce the 〃 / e. 7 カ e ″の襯尾 s 召尾ノん〃 7 the 」イ″ se ″〃 7. 89

」を celestial nymphs and their earthly counterparts, the 〃ゾた as , all blessed with grace, youth, beauty and charm, form an extremely important and really attractive element Of the sculptural decoration at Khajurah0. As heavenly dancers, they are shown in intricate dancing poses; as attendants Of higher divinities, they carry the lOtus flower, ornaments and the like as offerings. Portraying different moods and emotions, these beauties can be seen rinsing water from their hair, removing a thorn, writing a letter, singing, playing the flute or decorating themselves in various ways. Free from any iconographical compulsions, they are pure and simple works Of art 力のマエ ce 〃 e 〃 ce. ln hundreds 0f beautiful figures, forms and postures, they appear on the interiors Of brackets and niches in the 襯召〃イ 4 カ s , in the circumambulatory and, on a much larger scale and h greater emphasis, around the exterior—each on her own pedestal and with irresistible individual appeal. ゞ c 〃ー〃 e $ イ e カた〃 $ ec 財賞わ e 川 e $ Friezes and stray pieces Of sculpture pertaining tO secular themes cover different subjects like domestic life, groups 0f teachers and disciples, dancers and musicians, scenes Of rituals and ceremomes and SO fO れ h. These provide an interesting insight into the lifestyle and society of medieval lndia. The 立な ra イわ 4 (architect) and s わ / の / 〃 (sculptor or artisan) are frequently depicted. On the jagati (platform) 0f the Lakshman temple, the master architect can be seen teaching a group 0f disciples; in the Vishvanath he supervises the temple-building, resting his chin and bent bOdy on a wooden staff. Yet another frieze shows a piece being sculpted with hammer and chisels and then transported on a pole by six carriers. ℃ stlers acrobats, gladiators and hunters are graphically represented. Scenes Of music and dance are C01 れ 1 れ〇 , with musicians generally being male; singers and dancers, female. Attendants carry bags slung from their shoulders and princes ride horses with footmen holding umbrellas over them. A couple is seen in serious discussion; another entertains a group Of friends. One mother tempts her child with a bunch 0f mangoes, another takes her infant from the lap 0f a servant. There are alSO numerous scenes Of the army 2 0 ユも 0 ーー ヾヾでヾヾ ( 物ラッ 2 クプ ? ぐ Top: large sc ″の尾ツ、 / 尹 0 〃 7 4 〃 0 わノ c / 〃 g 肥 4 〃 0 〃 4 立 / / 市 ary 訪〃 e ップ 4 愿わ〃〃花〃 / e. Above: 爿 4 イ 5 わル 4 、 0 〃 7 the 肥 e ー 、々朝〃 g ″カカ e だわ 4 〃イツ、 D ″ 0 花〃 / e. 27

there are tWO fine sculptures Of these in the 襯召わ 4 ー 〃〃イ 4 カ of the Lakshman temple, while the 〃 7 召わ 4 〃〃イ召カ of the Kandariya Mahadev temple has one very fine specimen. ln addition, the Museum has three s わ召 / わわ 4 卩 / / た as that merit attention. は行″〃 s or 方だ 0 〃 c Co 乙 / e & ・ There are two bodies of sexual representation in sculpture on the temple walls. The first deals with the amorous pairing of gods and goddesses, primarily Shiva-Parvati and Vishnu- Lakshmi, as well as some amorous couples on the upper bands representing sex as a bond, creating oneness, and depicting 襯 0 なわ 4. The more explicit sculptures reveal the lust essential tO sexual intercourse, over WhiCh humans must rise tO levels Of sublimity. WhiIe there is a reasonably large body of erotics, not all Of them manage tO convey the pleasure Of sexual union through facial expressions and through anatomical and ornamental detail. The best erotics are the following: Lakshman Temple : facing south, a large sculpture of a couple kissing, the body of the woman pressed against the man's; tO the north-west, in a small bracket, an amorous couple with passion evident not only on their faces but in the movement Of their bodies as well; and to the north-east, a touch of the humorous in a frieze that shows an elephant next tO a couple, laughing as it watches them make love. ln the Lakshman temple, which has the largest number Of erotic sculptures, a frieze outside the temple platform and small friezes around the main temple and inner sanctum contain orgiastic scenes and display naked lust, with the spirituality 0f sex missing. Chitragupta Temple: contains a beautiful depiction of a kiss, with the woman offering her body in total submission tO the man. Kandariya Mahadev: has few erotics, though it is regarded as the finest temple ⅲ Khajuraho for its attention tO architectural detail. lts best-known erotic sculpture suggests a yogic posture, with the figure 0f the man upside down, supported by two female assistants whO are part Of the orgiastic scene. According tO some, the figure shows signs Of tantric influences. Devi Jagdamba Temple: has the finest amorous : イ 7 カ e Ka 〃イ cn , 4 4 わ 4 イ夜 , , 花〃 / e な 4 尾わ″ ec 々〃 / ゆ the 襯 0 立 / カ e 0 だ / 〃 んわ 4 / ″ 7 観わ 0 , わ″乙肥″わ the 召な e 〃″ 0 〃 ℃ん c 襯 ra / イ e ″ , the sc ″の襯尾 s わ 4 尾〃 / 〃 e イ co 〃イ ary 召〃イ 4 尾ツ尾 ra 尾ゆ e 工 c 印〃 0 〃召 /. 7 カ e 、 / ″尾 s 尹 0 襯 the 〃 0 わ召 / / , . 々 c / 〃 g 新〃 7 ″ be / 〃市房市娵召カカ尾 c 液雇・ 0 〃 e 立カ〃 c 砒 / 〃 g ″わ 4 / e the 0 e / 0 / 〃 0 ″ g ん , / 4 〃 70 〃た々イ。 / 〃 g 4 ーわ夜・イ尾 s & 59

the Parsvanath, Vishvanath, Devi Jagdamba and Chitragupta , finally reaching its peak in the unrivalled Kandariya Mahadev. During the various stages Of development, the tWO- IOOP 〃 74 た 4 だイ 07 観〃 4 develops intO a 〃 4 Of five IOOPS, the plain 襯 4 〃イ 4 カ roofs become ornamental the flat walls give way to balconied windows and the simple s んたわ 4 だ becomes elaborate and striking with numerous subsidiary 訪わ 4 The simple, single cella becomes a five-shrine complex with an ambulatory around the sanctum. The simultaneous development Of sculpture is also evident as bare walls are filled with encircling bands Of sculptures and processional friezes on the base , in the recessions and on the projections. There is no further evolution beyond the Kandariya Mahadev. The Vaman, Adinath and Javari are smaller in scale but manage, nevertheless, tO maintain the same style. The decline in the art 0f Khajurah0 sets in with the Chaturbhuj and Duladeo temples which exhibit undue and monotonous emphasis on ornamentation. This page: 7 カ e c / 尾″〃〃 7 わ″ / 4 り , / 4 愿ん〃 4 〃花〃 / e has 4 〃″襯わ e だ可り , g00 イ sc 〃の襯尾 s 尾 4 / the イ印 / 〃の 肥わ / c わ the sc ″の襯尾肥召 s ca ℃イ / 〃 the ″〃イ . み g んな G 可召 / 召愿ん〃 / , 訪〃〃 's co 〃 so 肥わ施 the ア g Ⅲ℃″わ the わ is ツ、 g 〃 / , the Go イツ、角尾 . / 〃汐 e バ e イ 4 襯 0 〃 g these イル / 〃″た s 召尾 celestial 〃 1) , 〃わ s / 〃召〃Ⅲ〃わ夜・ツ、 カ 0 ″尾 & OverIeaf: 爿 e 肥ツ、〃″ / 4 イ eo 花〃ゆ / e 、 / ん〃 7 the わ ac た , ″わ the 尾 ora 〃 0 〃肥 0 イ 0 〃 e 0 〃 the 平 / 尾 s clearly な / わ巵〃 e 市 c 襯 e イの / , ″わ as 4 s んたわ 4 だ立〃ァ 0 ″〃イ e イの , / 0 〃 g わー〃〃イ 4 カ / ea 市〃 g / 〃 4 〃 0t4g0 〃 4 / 〃 7 召わ 4 ー〃 74 〃 6 ん . 79