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He stand with both feet firmly planted on the ground in a wide lunge., the body shifting from forward to back. The elbows are gummed to the hips the bent arms helds forward horizontally with the palms turned out. (When this monkey accent' is done by the aloes monkeys the left hand is held under the breast with the elbow pointing back while the right hand in front of the cheast holds out the sapoet) Sugriva's head moves to and fro in measured, eager movements. There is great deliberation, nobility, and in wardness in his voice and movements.,combined with something very primitive.
It would be tedious to continue in the detail through the repertory of movements peculiar to each particular monkey, though they are as exactly formulated as those of the human or rakshasa actors

We will only allude to the quick triplets and widely placed steps, the during looks and preparation for obeisance of hanuman, the slow rocking hops and curious pushing step, accompanied by quick circling glances, of Nala and Singa, the lions, the wide spring with two feet together of Goaksa and Vinata, the birds, the little zigzagging steps and high rising on toes with a sigh, the coy twisting springs and furtive gestures of Harina and Menda, the deer, the stealty steps with high-rised feet pauses curves and peering glances of Bawimoeka and Asiboda, the dog and pig, the curvetting step and rearing neck of Droeo, the snake,and the dipping roll of Asti, the elephant. Each movement has its name, and each monkey keeps within the role its mask, though to general view their swift-changing, vibrating spurts of motion appear without sequence or sense.

A fine performance in which the monkeys played a preponderant part was Sanoer, a village close to the sea, which the formerly had one of the finest puppet-masters in Bali and therefore one of the best shadow-plays. On this occasion all the first part of action showed the monkeys, led by Sugriva, making obeisance to Rama, with n infinite variety of beautifully capering and slow posturing saluting him with careful mudra. Avery old dancing master played Toealen and very small boy Merda. There was something enchantingly wild and moving in the tutored dance of all these demon monkeys round the majestic Rama the beauty of the dance lying in constantly shifting pattern woven by their extravagance round his serenity. The second part of the action to place in Lanka where Rama and his monkey host had arrived for the defeat of Ravana but though the Rakshasa appeared in all his splendour with his demon general his army wa represented only by a few wild men of the woods, and the heroic action only up its head occasionally out of a welter of farcical encounters between them and the comic attendants on both sides.

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