Kama Notes 4t6gx

Samarapradipika 11-12. First, the characteristics of men are described. This is followed by the features of the penis as well as descriptions of the yoni. After careful observation of the sites of the body most sensitive to touch, sixteen types of frontal postures with six adaptations, including two with the woman on top, are arrived at. 13-14. Some of these postures should be performed exclusively with beautiful women. There are also various kinds of foreplay and oral intercourse, and six postures suited to women from different regions of the Indian subcontinent. Knowledge of women's signs and gestures, women who act as messengers or dutis, eight types of nayikas, and of how to conceive a male child can be ascertained from this text. 15. Now the characteristics of men. There are four categories into which men can be classified—hare, deer, bull and horse. 16-17. The hare: The symbolism here is self explanatory and takes its cue from nature. The man who is a hare is gentle, calm, well mannered and delicate limbed. He who is well dressed, the epitome of goodness and who is truthful can be classified as a hare. He is sweet tongued and devoted to the arts, music, dance and literature. He is respectful towards the gods and his teachers, is popular and has a wide circle of friends. He is controlled by his wife, but is nonetheless comfortable and enthusiastically seeks the company of women. His penis is six digits width long. A handsome man who exhibits all these qualities should be called a hare. 18-19. Now the deer. The characteristics of a deer are as follows: one who speaks pleasantly and makes for good company, whose eyes are tinged red and who is well behaved, though with vacillating moods. The deer man is timid and engages in sexual intercourse rather hastily. His stomach is flat, his waist is thin, his lips are full and his teeth are long; his face and arms are long as well. He is brave, eats sparingly and is pious and honest. He is handsome with an eight-digit long penis. If a person exhibits these characteristics, he is known as a deer. 20-21. Now the bull. The bull is one whose stomach is flat, whose waist and face are thin, whose shoulders droop slightly and whose entire body is golden hued and pleasantly proportioned. He who speaks haltingly with some effort is known as a bull. He exercises control over women and interacts easily and enthusiastically with them. He is an accomplished man with many good qualities and possesses great strength. He has elongated eyes, is proud and helpful, and engages in altruistic activities. Such a man is pragmatic, but often greedy and miserly with his time. He is not known to be completely truthful, but is fearless. He whose penis is ten

digits' width long and who is slightly overweight with fat deposits on his body is known as the bull. 22-23. Now the horse. The man who is classified as a horse has the following characteristics: his stomach is flat, his waist is thin and his body is hard as iron; his chest is broad, full and muscular; his neck, teeth, face and navel are long, and his lips are full and sensuous. He is a greedy and miserly man, and also a liar. Such a person, who is fearless and very clever, and whose penis is twelve digits' width long, is known as a horse. Thus ends the four-fold classification of men. Now begins the categorization of women. 24. Just as men are classified into groups, women too are classified according to their physical attributes and behaviours as Pi, Chitrini, Shankini and Hastini. The metaphors used here are less obvious then those for men. The Pi, for instance, is described as a lotus in bloom, the Chitrini is considered whimsical, the Shankini is compared to a fairy and the Hastini is supposed to be vigorous and sensual. 25-27. Now the Pi. A Pi's face is as pleasing as the full moon; her ample body is well dressed; and her finely textured skin is as soft as the shiras or mustard flower and as fair as the yellow lotus. A Pi's complexion is never dark. Her eyes are bright and beautiful, like the orbs of a fawn, and are well shaped and with red tinges at the corners. Her breasts are firm, full and high; her neck is long and her nose is straight and lovely; she has the sensuous three folds over her waist. Her yoni resembles a fresh lotus bud and her love seed [kama salila] is perfumed like a lily that has just burst into bloom. She walks with a swanlike gait, her voice is low and musical like the song of the kokila bird, and she delights in wearing white, richly decorated clothes and fine jewellery. She eats little, sleeps lightly and is always as respectful and religious as she is clever and courteous. She is ever anxious to worship the gods and converse with Brahmans. Such then are the characteristics of the Pi or lotus woman. 28-30. Now the Chitrini. The Chitrini is neither very tall nor very short. Her fair nose resembles a sunansaa flower. Her body is smooth and delicate, and her eyes are like lilies. She has firm, high breasts and is well practised in the art of intercourse. She is cunning, but is accomplished and intelligent, and possesses many good qualities. Fair in complexion and free from bashfulness, she likes foreplay when she lies facing her man. She does not like to engage in too much actual intercourse. She is warm inside and her voice sounds like the delicate cooing of a pigeon. Her limbs are smooth and emit the smell of flesh. Her waist is thin, her buttocks are heavy and she has breasts shaped like the shriphalaa or wood apple.

31-33. Now the Shankini. She is tall and light-eyed. Her upper lips and her hips are wide. Fond of clothes, she usually dresses in gossamer garments that cover her fully. She is beautiful, delicate and warm with long lustrous hair. Being neither too fat nor too thin, her limbs are delicate and her flesh emits the smell of milk. The Shankini is clever and fair with a sharp nose and big breasts. She is dedicated to her lover, and though cruel at times, and she has all the qualities of a competent lover. 34-37. Now the Hastini. A boisterous and big-built woman with firm, large breasts; who is cruel and neither warm nor cold; and who has pale complexion and a wide nose is the Hastini. Rather short, she smells of wine and other intoxicants. Her hips are heavy and she is ever eager for sex. She is greedy and haughty, and likes to make love rigorously when she is held tightly. Such are the characteristics of the Hastini. 38-40. The Pi's voice is like that of a cuckoo, the Chitrini's voice is soft. The Shankini speaks harshly, while the voice of the Hastini is like that of a thunder cloud. The Pi is well known for the beauty of her feet, the Chitrini for the beauty of her hair, the Shankini for the beauty of her face and the Hastini is best known for the beauty of her waist. The Pi smells of lotus, the Chitrini emits the smell of flesh, the Shankini smells of milk, and the Hastini smells like wine. 41-43. A Pi woman sleeps like a lotus, the Chitrini sleeps for long, the Shankini falls into deep slumber and the Hastini sleeps like an elephant. The Pi likes to have intercourse in the lotus position, the Chitrini prefers sex in a position known as the Naga Bandha, the Shankini favours the fish pose -- Mina Bandha -- and the Hastini prefers the union of elephants. The Pi likes to have sexual intercourse that lasts only for a short period of time. The Chitrini too is satisfied with short intercourse. The Shankini likes to have repeated sex and the Hastini likes to make love like an elephant. 44-45. The hare-male should have intercourse with a Pi; the Chitrini mates best with the deer male. The Shankini should consort with a bull, while the Hastini likes the horse for a mate. When one enjoys sex with a partner who has the same frame of mind and physique, the union is a balanced one. When there is balanced sexual union, postures do not matter. If, however, thereis inequality, intercourse can cause pain and injury, especially to women. These classifications come with a warning. In fact, all Kamashastra texts carry a word of caution: Wise men should bear in mind that all these characteristics are not well defined and their proportions can be known only by experience. Great study is required to judge the absence or presence of these signs in women, for without such informed judgment, the consequences of congress will not be satisfactory. Thus the student is

warned that several distinctions of women are seldom pure, and that it is a man's duty to learn the proportions in which they combine. Thus ends the classification women. Now follows descriptions of the male organ. 46-47. There are of two kinds of penises—the bulky one is like a musala or a club and the other is known as the rangaviraka or the organ of a brave warrior. The second form is neither too short nor long, but is solid or better still, thick. The top of the penis should always be luminous. Now the features of the vagina. 48-50. The vagina may be shaped like the back of a tortoise or the shoulder of an elephant or raised like the central portion of the lotus. It should be clean, hairless, soft and wide. Those who know the doctrine of sexual conduct, that is, those who are learned in the Kamashastras describe six auspicious types of vulvas. The yoni can be cool or warm or moist or rough. A yoni that is cool inside is the giver of great pleasure. The warm one is known to be fairly good. The one that is hot is most comfortable, while the one that is rough is the destroyer of life. Women can be divided into three kinds according to the depth of their yonis as the Mrigi (also called Harini), the deer woman; the Vadava or Ashvini, mare woman; and the Karini, or elephant woman. Now the areas of the body that are sensitive to sexual stimulation. 51-52. The toes, feet, heels, inside the vulva, navel, breasts, armpit, throat, lips, cheeks, ears, eyes and top of the head are the spots that are sensitive to stimulation. These spots are located on the right side of the body for men and on the left for women during the krishnapaksha or the dark half of a fortnight and vice versa. Foreplay should begin at the top of the head during the bright half of the fortnight, while in the dark fortnight, foreplay should begin in the reverse order, that is, at the feet. 53-54. The man should use his fingernails to scratch and graze the vulva and massage the region around the navel. A ionate man should kiss the woman's cheeks, eyes and forehead, and softly strike her breasts with his hands while biting her lower lips with his teeth. 55. From the earliest times, it has been known that the phases of the moon affect women's menstrual cycles as well as their sexual desires. Different categories of women respond to different phases, for example, intercourse with the Pi or lotus woman is most auspicious when the moon is in its fifth phase called the Indu. The Chitrini feels fulfilled when intercourse takes place on the third, fourth and eighth days of the lunar cycle. Shankinis are best enjoyed on the fourth and eleventh days of the

lunar cycle, and all other days are suitable for cohabitation with Hastini women. 56-58. The top of the head, where a woman's hair is parted, her eyes, lips, throat, nipples and navel are the abode of sexual delight, as are her toes, feet, heels, slope of thighs, lower belly, breasts and armpits, all of which are to be kissed. Follow the woman's glances as she will keep indicating her preferred areas for stimulation. Begin from the top of her head and descend downwards ing her forehead, eyes, cheeks, lips, throat and ears. 59. Stopping for a while at her abode of sexual pleasure, men should initiate the game of love like an elephant does—by striking the thighs, toes, feet and heels of their lover before commencing intercourse. Thus ends the list of all the places that bring pleasure to women. Now the places where ion resides in women. Shuklapaksha [the phase of the waxing moon to the bright fortnight]. During the bright fortnight, a woman can be aroused by: Pressing her toes Rubbing her feet Scratching her vulva with fingernails Rubbing her breast and leaving nail marks on them Leaving nail marks in her armpits Kissing her lips Kissing her eyes Pulling the hair on her body Striking her thighs Rubbing her navel Striking her chest Leaving nail marks on her throat Kissing her cheeks Asking her to pull the penis gently from its base Gently pulling the hair on her head Krishnapakshe [the phase of the waning moon or the dark fortnight]

Pressing her toes Rubbing her feet Scratching her vulva with fingernails Rubbing her breast and leaving nail marks on them Leaving nail marks in her armpits Kissing her lips Kissing her eyes Pulling the hair on her body Striking her thighs Rubbing her navel Striking her chest Leaving nail marks on her throat Kissing her cheeks Asking her to pull the penis gently from its base Gently pulling the hair on her head Now the areas which are the most erogenous in women during the bright half of the month. the head the forehead the nose the eyes the lips the tongue the throat the cheeks the armpits Kuche: the breasts the navel inside the vulva the buttocks

the thighs the feet And during the dark half of the month: the back the eyes the throat the left hand the armpit the chest the stomach the navel below the navel inside the vulva the buttocks the shanks the thigh the feet the toe of the right foot The man who properly stimulates the erogenous zones of his lover during the bright and dark fortnights of the phases of the moon is able to satiate his desires and dispenses accumulated lust just as a slab of butter melts when touched by fire. Thus ends the advice about the sensuous areas that arouse desire. Ratimanjari I. Characteristics of Woman 3. There are four categories women by birth: Pi, Citrini, Sankhini and Hastini. There are four categories of men: Hare, gazelle, bullock and stallion. 4. The characteristics of pi (lotus) woman include: eyes resembling lotus, narrow nostrils, round breasts a little apart, glowing and soft hair,

slim body, sweet voice, well-tempered, musical, always beautifully clothed, and lotus scented. 5. The characteristics of citrini (fancy) woman include: expert in love, not too tall, not too short, pretty nose like sesame flower, eyes like blue lotus, hard breasts that meet each other, elegantly beautiful, wayward and wellmannered. 6. The characteristics of sankhini (chank-shell) woman include: body very tall; big eyes, very beautiful, neck adorned with three folds, fond of pleasures of love and well versed in love-play. 7. The characteristics of hastini (elephant) woman include: lips plump and well developed, fingers plump, breasts well developed, simple and gentle by nature, greedy for love, enjoys ionate love and hard to satisfy. Matching 8. This is how men and women match: pi with hare, citrini with gazelle, sankhini with bullock, and hastini with stallion. Smell 9. Women can also be classified on the basis of their smell: pi smells of lotus; citrini like fish; sankhini smells like very sharp, and hastini smells like alcohol. Age-wise group of women 10. Women can also be classified on the basis of their ages: bala (young teenager); taruni (maturing); praudha (fully matured); and vrddha (old, aged). The sexual is advisable with them by addition or utilisation of qualities or specific merits), since they (women belonging to different groups) themselves become hypnotically seduced. 11. A woman remains bala up to 16 years of age; taruni up to 30 years; proudha up to 55 years; and a woman falls in category of vrddha after crossing age of 55 years. Measures for Attracting women. 12. Bala is fond of food, flowers and sweet things. Taruni is given to love play. Proudha likes exchange of love and affection. Vrddha likes tactfulness or hard knocks. Effect and result of sexual intercourse with women of various age groups 13. In love-play, bala gives a man vitality or breadth of life. Taruni draws out breadth of life. Proudhâ invokes old age. Vrddha takes life or invites death.

Sites (location) of sexual instinct in different parts (organs) of women 14. Sites considered to be vital points of sex impulse in a woman include: thumb, foot, ankle, knees, lower back, thighs, heart, throat, cheeks, lips, eyes, ears, front head, eyebrows, and head. Flow of sexual impulse ascends in black half of the moon calendar of the month and descends in bright half of the month. 15. There are other sites in a woman which preserve sex stimuli equally during both halfs of the month: hair parting Eyes Lips Throat Axila Breast points-nipples Umblicus Waist Vagina or vulva Knees Thighs Cheeks Ankle Footsole Foot finger Foot thumb 16. Kama resides in kanistha finger of left foot (leg) on pratipadâ tithi ofsukla and krsnapaksa during the month. Similarly, Kama resides in below site of kanistha finger (anguli) of left foot (leg) in krsnapaksa. 17. Kama resides in right part of body in case of men (pun-sa savye) during gukla paksa while it changes location in female body as kama resides in left part in physique of women (value gukle). But, the position becomes just reverse during krsna paksa of the male body and right part of female body. Thus, the peoples interested in enjoying sex should always know about sex-sites where Kama prefers to reside on different time or dates during the month in order to activate the sex stimuli in perfect manner for sexual

satisfaction at its climax -- by libidinously enjoying the extreme pleasure of coitus in systematic way -- comprising sex stimulation, excitement and orgasm ultimately. Ratimanjari V. Characteristics of Vagina and Penis Characteristics (qualities) of Vagina: 32. There are five types or kinds of vagina or vulva (bhaga-yoni) which are appreciated for qualities (guna) or suitability, five kinds with prime characters as follow: Vagina resembling back of tortoise ( kûrmaprstham); Vagina resembling shoulder of elephant ((gajaskandham); Vagina odorous (fragrant) resembling lotus scent (pagandham) sugandhim; Vagina free of hairs or pubic hairs-excutcheon (alomakam) Vagina in broad and wide-developed (vistirna) 33. There are four types (characters) of kinds indicating disqualities (dosa) of vagina or vulva which are specified by authorities of sexology and erotic. Four kinds with prime characters follow: Cold Deep low rather concave Very high, bulging rather convex or projected Rough like cows tongue Characteristics of Penis : Linga Laksana (Gùna-Dosa) 34. There are two types of penis (linga) of man (nâyaka), namely müsala and vamgakavîra. Obese or thick (sthnla) penis is known as musala type of penis, while lengthy (dirgham) penis is called as vamsakavîra. VI. Characters of Man There are four types of personalities among men (nâyakas) which follow: Sasaka Mrga Vrsabha Asva

The profiles showing major characteristics of man (purusa) are given in brief. 35. Sasaka (srisasako matah) Who is submitted to women (strijita)-men abide by woman; Who is singer (gayaka); Who is truth-speaker or speaks fact to woman (nârisatyaparah); Who is happy (sukhi); and Whose penis is six angula long (sadafigula sarirasca). 36. Mrga Who is excellent (gresthastu); Who is religious (dharmikab); Who is financial sound possessing auspicious.. -laksmivân (§rïmana); Who speaks truth (satyavâdi); Who is soft spoken and. sweet-spoken (priyamvadah); Who is handsome (rdpavân); and Whose penis is eight angula long (astângu1a arlragca). 37. Vrsabha Who is ever favouring or graceful (generous) to - others (upakâraparo nityam); Who is willing or submissive towards woman (strijit) or winr.,r of heart of a woman; Who is of body constitution with predominance of kapha (slesmanah); Who is 'happy (sukhï); and Whose-penis is ten angula long (dasângulà sarigca). 38. Asva Who is stout as hard-wooden body; Who is rigid, cunning and deceit (dhrsta); Who is liar (mithyâvâkah); Who is fearless (nirbhayah);

Who is financially poor suffering from inauspiciousness (alaksmisrihïna); and Whose penis is twelve angula long (dvâda§ângulalingasca). Ratiratnapradipika II. DESCRIPTION OF CLASSES (JATI VIVARANA) Men and women can be divided into three classes on the basis of the length and depth of their respective genitals. (1) . Female sexual organs consist of the external vulva and the inner vagina. The vulva includes a pair of lips, the labia majora which cover and protect the more delicate inner lips known as the labia minora. At the front of the entrance to the vagina is a bud of erectile tissue called the clitoris. This is well supplied with nerves making it the most sensitive part of the female genitalia. One could say that the clitoris plays the most central role in sexual arousal and probably contributes more to enjoyment that the coitus itself. It is most aptly called the `Cupid's parasol' (Kama-atapatra) in traditional Indian erotic literature. Opening from the vulva is the short tube called the vagina. This tube is lined with mucus membrane which lubricates the delicate tissue and provides a suitable environment for the male sperm to survive on its journey to the unfertilized egg. The vagina is separated from the vulva by the thin piece of membrane known as the hymen. This is said to break at first penetration and is a sign of virginity. However this folklore idea is not entirely true. So many things can tear a hymen; it can be easily stretched or pushed aside even by using internal sanitary towels. The uterus or womb is ed to the top of the vaginal tube through a narrow channel called the cervix. The pair of ovaries are ed to the uterus by the Fallopian tubes, one on each side. The Fallopian tubes transport the unfertilized egg cells as they are released from the ovaries. The male penis is a tube that serves the dual function of urination and delivery of sperm at the time of sexual intercourse. The tip of the penis is a sensitive portion called the glans. This, like the female clitoris, is well supplied with nerves and is the chief source of pleasurable sensation during sexual arousal. When not circumcised, the glans is covered with prepuce or foreskin. Inside the penis are three areas of soft spongy tissue which fill up with blood causing the penis to swell and become erect. Through the length of the shaft runs the urethral tube which conducts urine from the bladder as well as the sperm produced in the testicles. Inside the testicles are fine tubes coiled tightly and held hanging outside the body in a flexible sac called the scrotum. The testicles produce sperm at the rate of 200 million or more each day. There is much myth and fantasy surrounding the size of the penis and the depth of the vagina. In actual fact the length of the penis is tremendously

variable, ranging from four centimetres to twenty-one centimetres in the flaccid state. This variation can be seen even in individuals from the same racial, social and family backgrounds. Physiologically the size of the penis has no importance or consequence. The female vagina is about ten centimetres in depth but is capable of stretching to accommodate a baby or any size of penis (Ward, 1984) . The three classes of women are: gazelle (mrgi), mare (vadava) and elephant (hastini). Men also belong to three classes: hare (sasa), bull (vrsa) and horse (asva). Their characteristics, in order: (2) A proportionate body; glossy, dark, curly and thick hair; narrow waist; delicate, even and firm teeth; small nose and nostrils; lotus eyes; proud; slim, delicate arms; rosy lips, palms and soles; long ears, neck and forehead; hidden ankles; fleshy, firm thighs; gait like an intoxicated elephant; glistening skin; quick mind; hot temper; clever in love play; moderate diet; love fluid the smell of flowers; straight, long and even fingers; guileless; amorous but lazy; gregarious; soft spoken and with a vagina that is six fingers deep: these are the qualities of a doe-eyed gazelle woman. (3-8a). A woman of the mare class has a head that leans slightly forward; eyes that look like lotus buds; straight, firm and dense hair; large breasts; thick, long face, temples and teeth; even fleshy arms; enormous lips; slender belly; soft lotus-like palms; ample breasts; deep honey bee-like voice; envious nature; lethargic disposition; deep navel; attractive appearance; tortuous hips and small thighs; broad waist; slight stoop on of the heavy breasts; sluggish gait; fickle mind; clear speech; soft but dirty body; love for food, sleep and men; satisfied quickly in sex; determined mind; has plenty of love fluid that smells of sour curds; and a vagina that is nine finger breadth deep. (8b-14). The characteristics of an elephant woman are: wide and drooping cheeks, ears and temples; short and fat ankles and arms; secretive and evil mind; slightly bent, short, fleshy neck; protruding teeth; compact dark hair; deep voice like that of an elephant; ever ready for sex; rough skin; big breasts and lips; very ionate disposition; low and reddish eyes; elephant ichorlike love secretions; love for rivers; sadistic nature; and a house of the love god twelve fingers deep. (15-19a) . A man of the hare class has large eyes that are slightly reddish; teeth that are small and even; round face; long, thin, soft and shining hair; well built arms and long fingers; pink palms and ankles; soft fingers that cling together; cultured speech; long neck and arms; amiable nature; straight shanks; small appetite; mildly ionate and not very keen on sexual satisfaction; lucky; respectable; ejaculates quickly but has semen that is thick and plentiful; his penis is six finger breadths long. (19b-23a) .

Broad teeth and forehead; big face; fleshy ears; muscular neck; round tortoise-like torso; wide, strong and swollen chest; red ankles and palms; eyes that are like red lotuses with steady long eyelashes; swinging, playful gait; energetic disposition; soft speech; capable of enduring pain; slightly corpulent; powerful but given to sleeping a lot; shameless when excited; phlegmatic; pungent body odour; fleshy body; much loved by women and a penis nine fingers long: these are, according to scholars, the characteristics of a bull man. (23b-28a). A man of the horse class has lean and long ears, face, head, teeth and lips. His hair is thick and soft and his armpits are padded with fat. He can become fiercely jealous. His shanks are tortuous and his fingers, fingernails and eyes are elongated. He is mature but given to sleep and laziness. His voice is soft, deep and sweet and he is well spoken. He walks very fast and has muscular thighs. He is ablaze with desire and loves sensual pleasures. He ejaculates a lot of yellowish and pungent smelling semen. His penis is twelve finger breadths long. (28b-32a). This classification of men and women on the basis of genital size can apply even to those who do not conform to absolute standards. The hare-gazelle classification has many intermediate types that show all (uttama), half (madhya) or very few (adhama) standard characteristics. In all classifications many individuals may differ from the standard. A wise scholar should understand classification basis of the largest number of common traits. (32b-34a). Vatsyayana has described the various possible combinations for sexual intercourse between individual men and women of the various classes. Ideally the lotus woman should unite with the hare man. The woman of talent and the conch-shell woman should have sexual intercourse with the bull man. The elephant woman should copulate with the horse man. (34b35). There has been a little misapplication here. After specifying attributes for the gazelle and hare classes the author has given pairing between the three classes of hare-bull-horse men and the earlier fourfold classification of Gauniputra. The pairing between the threefold genital size groups is described in the fourth section, just before sexual postures. Now, according to the work known as Gunapataka, women can be flaccid (slatha), not too flaccid and not too firm or middling (madhya) and firm (ghana). (36). Slim, dark, with a low waist and long separated from her lover: these are the basic attributes of a flaccid woman. (37). The five traits of a firm woman are: fat, fair, short, high waist and always ready for sex. Those with mixed features are called middling. (38).

The flaccid and firm types of women can be further divided into seven categories based on age. At eight she is a virgin (kanya), at nine she becomes a virgin who has just started menstruating (rohini). At ten she is the fair maid (gauri). She is a girl (bala) until the age of sixteen. From the sixteenth to the thirtieth year she is known a youth (taruni). From thirty to fifty she is known as mature (praudha). After that she is an old woman (vrddha). (39-41a). There is an obvious error here. According to all other texts she is a maid (gauri) at nine and the virgin who has just started menstruating (rohini) at ten. Now, the methods of seducing women belonging to different age groups. A fair maid can be won over with fruits such as bananas, bread fruit, and mangoes. A girl can be allured with fragrant flowers, betel nuts and camphor-like perfumes. A virgin who has just started menstruating can be wooed with betel nuts, garlands, gentle embraces and kisses. A youth can be easily attracted with gifts of ornaments and clothes and petting (outer love play). A mature woman likes imaginative intercourse and sadistic games. An old woman can be approached through her children and grandchildren or sweet conversations about domestic and religious matters. (41b-45a). There is another obvious error here in the text. The methods of seducing a girl (bala) and a virgin who has just started menstruating (rohini) have been interchanged. I have however corrected the text before translating. The flaccid woman likes petting and foreplay while the firm woman prefers active coitus. The middling woman likes both, petting and intercourse. It is said by scholars of erotica that a young girl is pleased with petting, a mature woman with copulation and an old woman with imaginative sex play. (45b-47a) . Now we come to the three temperaments of the different classes of men and women. They are: phlegmatic (slesmala), bilious (pittala) and flatulent (vatala). (47b-48a). Body ts and ankles of a phlegmatic woman are hidden by fat. She is proud but soft spoken. Her teeth, eyes and nails are shining. She is reliable in love and very gentle. Her house of the love god is deep, cold and fleshy. She has a small appetite and little thirst but she is frequently troubled by heat. Her arms are long. She is pure, truthful and clever. She has a fancy for hare's testicles, lotuses, gold and yellow orpiment. She is tall, dark and has thick black hair. She is good at friendly conversations. She is secretive and spiteful. Her voice resembles the call of a goose and cuckoo. She walks like a goose and is far sighted. Though she eats little she has a soft corner for astringent, bitter, dry, hot and spicy food. She has large eyes that are slightly red at corners and have tender eyelashes. She is loyal, honourable and modest. She is always drowsy. She generally sees lotuses,

flying birds, cranes, geese, demons, angels, gods such as Indra and Varuna, egrets, horses and elephants in her dreams. (48b-55). Prominent ts and ankles; fair complexion; warm body; ample and pale breasts; reddish eyes, nails and soles of the feet; black or tawny hair; tremendous thirst and appetite; a liking for ointments, ornaments and garlands; guileless, cheerful, intelligent and adventurous; a predilection for cold and a dislike for hot things; an oblique gait; saline sweat; low libido and quick satisfaction in sex; rough, warm and slack vagina; fondness for white clothes; fickle mind; heavy and flaccid body and limbs; partiality for astringent, spicy, sweet, cold and sour food; dream visions of great conflagration, meteors, palasa (Butea frondosa) trees, and the pericarp of lotuses; short eyelashes, red, cool and attractive eyes; a very lazy disposition: these are some of the attributes of a bilious woman. (56-62a). A woman of flatulent nature is infatuated by the company of men and talks about nothing else. Her body is firm. Her complexion, eyes and nails are dark. Her hair looks like a frayed feather. Her house of love is as rough as a cow's tongue. She has a lot of faults. She does not like anything cold. Her mind and memory are fickle. However, she looks upon all with genuine affection and has sympathy for the weak and poor. Her phlegm and bile are very low. She sleeps very little. Her voice is tremulous and tormented and she always has a wet runny nose. She es her time dancing, joking, hunting, and singing. She relishes meat, sweets, sour and bitter things. She is thin, tall and walks slowly. She is difficult to understand but she is both fertile and loyal to her lover. She dreams of mountains, plains, clouds, elephant rides, flying, dogs, jackals, camels, cows, vultures and many other birds. She is frequently very lucky. (62b-69a). Visual imagery that we experience during sleep is known as dreams. According to modern sleep research an average person starts dreaming about an hour after falling into deep, non-dreaming sleep. After this, we generally dream every ninety minutes, each dream phase lasting from ten to thirty minutes. The dream period is recognized by rapid eye movement referred to as REM sleep. Other physiological changes also take place during this dream period. The brain becomes more active, the pulse rate becomes less regular than during deep sleep, blood pressure changes and there is quick shallow breathing. However, the part of the brain known as pons inhibits muscle movement during dreams to prevent our bodies from moving and actually acting out our dreams. Just as deep sleep is essential for physical growth and well-being, dreams are indispensable for mental development. Though there has been much academic research on dreams they are not properly understood. There are many theories ranging from those that claim dreams to be of purely physical origin (Thomas Hobbs 1588-1679) to those of Sigmund Freud (1865-1939) who concluded that dreams were expressions of repressed sexual frustrations. None of the so-called

scientific theories proposed so far satisfactorily explain the mysterious phenomena of dreaming. According to occult and spiritual beliefs dreams arise when the ego barriers of waking consciousness are lowered and perception goes beyond rational boundaries. Dreams can be experiences of the subtle or etheric body (suksma or linga sarira) on an astral plane. Dreams can be symbolic and can foretell coming events as when princess Mayadevi dreamt of a white divine elephant entering her womb before the birth of Gautama Buddha. Dreams of flying can symbolize spiritual freedom. There have been many instances where great saints and prophets have been initiated into divine knowledge or received divine revelations through dreams. According to Vyasa's Yoga-bhasya (on sutra III, 22), the oldest (probably 4th century A.D.) commentary on the Yoga-sutras of Patanjali dreams are a source of omens (arista). These omens can be of three kinds: those generated by oneself (adhyatmika), those that come from outside sources (adhibhautika) and those that are inspired by divine beings (adhidaivika). The dreams that men and women of the `temperament' classification see probably refer to the concept of dreams being a source of good or bad omens. On the other hand, it is also possible that the author of our text has the ideas of the two well known Indian physicians Caraka and Susruta (both about 1st century B.C.) in mind. Caraka and Susruta believed that dreams symbolism can help in the diagnosis of diseases. There are women who have mixed traits and natures. As these do not fall into any clearly defined class one should determine their nature on the basis of the largest number of common characteristics. (69b-70a). Women can be further divided on the basis of their inner dispositions (sattva bheda). These overlap the traits of all the other classes. (70b) . A clean fragrant body, smiling serene face, prosperous with a lot of friends and servants, peaceful and unsullied intellect, religious and devotional: these are the attributes of women of divine disposition (deva-sattva). (7172a) . Women of human disposition (nara-sattva) are kind hearted and gifted. They love to entertain guests. They are inclined towards religious matters and like to fast and make vows. (72b-73a) . Women who are fair, have a wanderlust, are lazy but get very agitated sleep during which they sigh and yawn a lot, and have a body odour of coconuts are known to belong to the snake disposition (naga-sattva). (73b74). According to sage Vatsyayana, women of nature-spirit disposition (yaksasattva) are shameless and have a predilection for drunken parties, and picnics in gardens, on hills and near lakes. They are hot tempered but love

sexual intercourse. They are ionate and given to offering sacrifices to please deities. (75-76a) . Women of heavenly-being disposition (gandharva-sattva) are calm, generous and charming. They wear bright garments and enjoy perfumes and flowers. They are usually skilled in music, dancing, singing and hunting. (76b-77) . Plain erect body, undignified behaviour, fondness for intoxicating drinks and flesh, given to futile laughter, inclined to magical offerings at crossroads: these are the qualities of women who belong to the devilish disposition (paisaca-sattva). (78-79a) . The wise men say that women whose eyes roll from side to side; who are always hungry and unsteady of mind; who like high places and enjoy secret coitus; who are obstinate, farsighted and have a habit of hoarding are of the crow disposition (kaka-sattva). (79b-81a). Wandering eyes, partiality for biting and scratching, fickle mind, love for jumping and climbing, cantankerous , weakness for sweet fruits of all kinds, thin body and timid nature belong to the poetic disposition (kavisattva). (81b-83a). Women of donkey-like disposition (khara-sattva) are rude and use rough language. They are sadistic and prefer the company of rogues. They have tremendous endurance and eat anything that comes their way but are rarely satisfied. (83h-84). Women of demonic disposition (raksa-sattva) are violent, fearless and have a hatred for learned men, elders and divine beings. They are partial to meat and wine and have cruel red eyes. (85-86a). Accomplished in many branches of learning, intelligent and full of enthusiasm, firm mind, but harsh speech and a dislike for divine beings: these are the characteristics of antigod-like disposition (danava-sattva). (86b-87). Women who eat a lot, are strong and arrogant, walk as if intoxicated, have small half-closed eyes, are gluttonous and bad tempered but dignified, are of the elephant disposition (gaja-sattva). (88-89a). There are many such dispositions, but afraid of making this work too long, end here. (89b).

Ratiratnapradipika First the physical classification of women (jati-nirdesa); then the qualities of a hero (nayaka laksana); then outer and inner love play (bahya-antara rati); then a section on one's own and other men's wives (sva-anya dara

adhikara); and then, in proper order, a section on courtesans and prostitutes (varanari adhikara). (1-2a). Though the beginning verses of the Sanskrit texts give a list of only five sections (adhikara), the printed text has seven sections. These however do not follow the order given in the introductory verses. The actual order in the printed (Iyengar, 1922) text is: (1) The influence of the phases of the moon on the sexual desire of women according to the system of Gauniputra (Gauniputra-mate sukla-krsnapaksa-kridaadhikara); (2) Types of women (Jati-vivarana); (3) Outer love play between men and women (Nayika-nayaka bahya surata); (4) Inner love play (Abhyantara-rati) ; (5) Postures of inner sex play (Abhyantara-ratau karana); (6) Superior or `oral' sex (Auparistaka); and (7) All forms of love making (Sarva-surata) . So, even though K. Rangaswami Iyengar, the editor of the text, says that "I have been able to bring out this edition of the whole work" (1922, p. 1) , the printed Mysore version is far from complete. The existing work stops at all `forms of love making'. The sections on one's own and other men's wives and on courtesans, which the author mentions in the first verse, are missing. It is possible that, being a practical manual, several versions of the work were in circulation and the manuscript material is mixed up. such as `a body as soft as a lotus bud', `vaginal secretions and body odour are like the perfume of lotus flowers', `clitoris (love's parasol) that looks like the carpel of a budding lotus' and so on are used in classifying women. The fourfold classification suggested by Nandisa and Gauniputra is as follows: (2b-4). That which is known by such fancy poetic as `the love fluid' (smarodaka) or the `sweat of the goddess of love' (Rati-sveda) is the liquid secreted from the vaginal walls, by the Bartholins glands, during sexual arousal. This acts as a natural lubricant to the movement of the penis. These secretions are very essential for smooth penetration during intercourse. Some women may not lubricate naturally in which case sexual enjoyment becomes difficult. This is the reason why writers on traditional Indian erotica recommend long and extended foreplay before intercourse. The clitoris is a small bud of tissue at the front of the vulva. This is the exact counterpart of the male penis and is responsible for sexual arousal. It swells up and becomes hard, like the penis, on sexual stimulation. Lotus-like woman (Pi), woman of talent (Citrini), conch-shell like woman (Sankhini) and elephantine woman (Hastini). These are considered progressively less and less desirable. (5). PI Eyes slightly red at the corners; gait like that of a goose; breasts like ripe coconuts; nose like the delicate sesame flower; respected by elders of society; complexion either fair, like the camphor flower, or evenly dark like

the blue lotus; sharp eyes like those of a gazelle pursued by hunters; three folds marking her belly; well dressed; demeanour like that of a swan; soft, meagre and clean diet; shy; dignified; a weakness for fair lower lips; full of ion on the second, third and fifth day of the lunar month; sexual desire aroused fully in the third quarter of the night and a liking for the lotus posture in intercourse: these are the qualities of a lotus-like woman. (6-10). CITRINI The characteristics of a woman of talent are: she is neither too tall nor too short; her body is lean and slender; she walks gracefully; her breasts and hips are fleshy but her shanks are thin; her voice is like that of a parrot; she has protruding lips and round conch-shell shaped neck; her love fluid is plentiful and smells of honey; she is usually an accomplished dancer and musician and has a flair for the fine arts; she loves external stimulation; her pubic region is soft and raised and is covered with very light hair; she has quick roving eyes; her sexual desire becomes intense during the first quarter of the day and night and on the sixth, eighth, tenth and twelfth day of the lunar month and enjoys intercourse in the `urban' (nagarika) position. (11-15). SANKHINI A woman who adores blood red garlands and clothes; who is very quick and hot tempered; whose speech is indistinct; whose pubic region is covered with thick, shaggy hair; whose love fluid is pungent; who is thin and fair and eats in moderation; who likes to make profuse nail marks during intercourse; who is of bilious disposition and treacherous by nature; who becomes sexually aroused in the third watch of the day and night and on the eleventh and thirteenth day of the lunar month belongs to conchshell class. (16-19). HASTINI An ungainly gait; corpulent and fleshy body; fickle mind; brownish hair; short stout neck; cruel, sadistic and shameless; throaty voice; love fluid as stringent, bitter and muddy as the secretions of a rutting elephant; large protruding lips; pubic region covered with minute fur-like hairs; gaping house of the love god (vagina); delight in rough sex; arousal during the third quarter of the day and night and on the fourth, seventh, ninth, fourteenth and fifteenth day of the lunar month; preference for the feet on shoulder coital posture; these qualities are that of an elephantine woman. (20-24). The characteristics of the four classes of women described here are very broad and general. In practical life, to determine the class to which a woman belongs, one has to consider the sum total of all qualities. (25).

Attempts to classify men and women on the basis of their physical and mental traits go back a long way into human history. Though such classifications cannot be considered either very scientific or accurate many schemes have been put forward by philosophers, astrologers, sexologists, medical doctors and psychologists over the centuries. The Greek physicians Hippocrates (about 400 B.C.) divided human beings into two groups: phthisic (wasting) and apoplectic (struck). Phthisic people were understood to be thin and tall with a tendency towards diseases such as tuberculosis. Apoplectic were said to be big-made, heavy and fat and usually susceptible to heart ailments. Ayurvedic system of Indian medicine classified human beings into three categories based either on quality (guna)—sattva (equilibrium), rajas (activity) and tamas (inertia) or nature (prakrti) -- vata (wind), pitta (bile) and kapha (phlegm). More recent (1940s) characterization of men is suggested by the psychiatrist William Sheldon (18981970). He isolated three primary physical or somato types: endomorphic, ectomorphic and mesomorphic. The endomorphs tend to be round, soft and fat with very small penises, sometimes completely hidden in the pubic hair. Ectomorphs are thin, fragile and delicate with genitals that appear to be large in comparison to the rest of the body. The middle mesomorphs are muscular, athletic, square and hard with well developed (whatever that means!) penises and thick and firm scrotums. Temperamentally, endomorphic people love comfort, are sociable and like to eat much (viscerotonia). Ectomorphic people like physical adventures and action (somatotonia) while mesomorphics are inhibited and restrained (cerebrotonia) . The sexual interests of Sheldon's three somatotypes are also said to differ. Endomorphics tend to go in more for friendship and companionship than actual physical sex. Ectomorphics have an intense sex drive. Mesomorphics like physical sex but are very matter of fact about it and lack much imagination (Sheldon et al., 1954) . Like many other human typologies Sheldon's deals primarily with males. Other modern classifications include those of analytical psychologist Carl Jung (18751961) and behavioural psychologist Hans Eysenck (born 1916) . Jung divided human beings into extroverts, who tend to be out-going and sociable, and their diametrically opposite introverts. Eysenck developed and altered this further into a fourfold classification: (1) extrovertedunstable or the warrior; (2) introverted-unstable or the recluse; (3) extroverted-stable or the ruler; and (4) introverted-stable or the philosopher. However, it should be made clear that from my point of view all attempts at standardizing men and women into classes can be neither accurate nor cover the vast variety of human beings on this planet. It is simply an intellectual exercise (see Gregersen, 1982 and Walker, 1977) .

Ratirahasya -- Embrace 1. When the body of a woman, who approaches a man from opposite reaches the body of the man, who comes under the pretext of another purpose, those who know the sexual union, call this embrace as the "touching one'. 2. When a large-buttocked woman, while fetching something, with unsteady eyes pierces a man, who is standing or sitting with her breasts, and he firmly takes hold of her, it is called the “piercing” embrace. 3. When during a procession, at a festival or in dense darkness both man and woman go together and a of their bodies takes place for a long time then it is called the "rubbing" embrace. But the same is called the "pressing" embrace, when she is a pressing against a wall. 4. Thus the play of embracing is [only] fourfold for those who have not yet enjoyed sexual union, in order to know the feelings of women; but for those, who have already enjoyed sexual union, it is employed only for increasing the ion, and [as such] explained by the sages as eightfold. 5. When a straight-bodied woman, imitating the grace of a creeper and softly making 'sit’ encloses the beloved one like a tree, and herself being bent, bends his face to kiss it heartily with amorous weeping, it is called the "creeper-wine embrace. 6-7. When a woman, having placed her foot on the foot of her lover, and by depressed sighings, having resorted with the other loot to his thigh, es one of her arms round his back and bends his shoulder by the other arm, and in order to kiss him wishes to climb up to her lover, as if he were a tree, it is called the “climbing of a tree” embrace. These two kinds of embrace have been mentioned with regard to a standing husband; now the various kinds of embrace are just now to be enumerated, when [both] are lying. 8. When the pair, repeatedly performing the play of very close embraces, so as to invert their thighs and arms in an emulating manner as it were, and without any loving, vanish in the body of each other, then the lord of sages calls it the "sesamum and rice" embrace. 9. When a woman in front of a man is sitting on his lap or on the bed and the lover performs a sweet, close embrace, and then both enter, as it were into each other's bodies, the discrimination vanishing on of the ion of the intense arising love, it is called the milk and water embrace. 10. When the husband having completed the stage of the Bodiless one (i.e. having reached the consummation of his amorous ion), presses the two thighs of the woman who is waving from the effects of the Mind-

born one (i.e. love) by the application of the tongs of his own thighs opened a little wide, this is called by those who know the meaning of the Muni(s) the "thigh-embrace”. 11. When a woman, with her hair and upper garment hanging downs holds, by her jagbana, the hips of lover, and mounts upon him longing for the practice of the nails and teeth or for kissing, then the lord of sages calls it the “hip embrace". 12. When the fairlimbed one going upwards to the breast of the lover, places on it the burden of her own breasts, it is called the "breast embrace". When [either of the lovers], placing mouth on mouth, eyes on eyes, presses the forehead by the forehead, it is called the "foreheadembrace"

Ananga Ranga: Eight Ways of Embracing 3. Tree climbing embrace: The woman standing on one leg on the right foot of the man raises her right leg and twines it round his thighs and raises herself for a kiss, like a man climbing a tree. (Her one arm, in the act of tree climbing hol is the lover by the shoulder and with the other, pressed at his waist, she heaves herself upward. This difficult embrace is resorted to by women who wish to wake up dull lovers). 4. Rice-sesamum embrace: When lover's have established so intimate physical that their shoulders and thighs are twining it is called rice-sesamum embrace 5. Forehead embrace: The eyes, nose, mouth, cheeks and bosom meet in close the foreheads touching each other and remain standstill blinded with ion. 6. Hip-thigh embrace: In this embrace, the woman covers up the man with her hair dishevelled, and her jaghana (i. e., the part of the body from the navel downwards to the thighs ) pressed with her lifted thighs, inviting the man for the union. 7. Breast pressure embrace: The woman who es her lover who is sitting while closing his eyes ( either in front of or behind him ) brushing her bosom against him and who also embraces her while holding. 8. Pincer embrace: When during intense ion man presses his thighs with the thighs of her darling, the thighs of one locking those of another is known as the pincer embrace.' 9. Milk and water embrace: When man either on the bed or the lady sitting in his lap in front of man and holds his phallus in the vagina of woman and embraces her so tightly that they clasp each other, it is called milk and

water embrace, (under urge of intense ion it seems as it they want to unite themselves into one.) 10. Creeper embrace: The woman embraces her lover as a creeper entwining a tree.

Ratiratnapradipika: Twelve Ways of Embracing A woman approaches her lover with the intention of starting love play. She sportingly clings to him like a creeper caresses a tree. She then brings his face closer to her mouth and kisses him with the `sit' sound. This is known as the `clinging like a creeper' embrace. (8-9). She puts her first step on his foot and the second one on his thigh. She embraces him with one arm behind his back, and attempts to climb him by placing the other hand on his shoulder. She then kisses him with the `sit' sound. This is the `climbing a tree" embrace which is best done while the man is standing. (10-12). When the couple lie on a bed and hold each other tightly in their arms, it becomes the `sesame and rice' embrace. (13) . A couple sit facing each other either on a bed or one lover on the lap of the other. They are both incited by ion and hug each other so tightly that it looks as if they are trying to enter each other in a `milk and water' embrace. (14-15a). When a sexually excited lover caresses and squeezes his beloved's thighs with his own thighs it is called the `encircling the thighs' embrace. (15b16) . A woman, who is so fired by ion that her clothes have fallen away and her braided hair has become dishevelled, slowly mounts her supine lover with the excuse of kissing him. Instead she firmly holds his pubic region between her thighs. This is the `enclosing the waist' embrace. (17-18). Similarly, if a woman who has mounted her supine lover presses her breasts against his chest it becomes the `caressing the breasts' embrace. (19) . When a lustful woman, lying on top of her lover, presses her mouth against his mouth, her eyes against his eyes and her forehead against his forehead it becomes the `clasping the forehead' embrace. (20-21a). On a formal occasion, when a man and woman are walking close to each other and their bodies happen to touch, this is the `touching' embrace. (21b-22a).

To find out what is in the mind of the man she fancies, she makes an excuse to rub her breasts against him while his attention appears to be elsewhere; and the man reciprocates by stroking her breasts. This is the `piercing' embrace. (22b-24a) . During a fair, or on a long pilgrimage, or in total darkness, or in a secluded place if the bodies of a man and a woman happen to touch for a short while, this is known as the `rubbing' embrace by the great sage Vatsyayana. (24b-26a). When, under circumstances similar to the ones above, if the man and woman happen to get squeezed against a wall then the embrace is called the `squeezing'. (26b-27a). In the last two embraces the couple may not even know each other, but lust incites them. (27b).

Ratirahasya by Kokkoka II. Section: The Moon's digits 1. In the big toe, the foot, the ankle, the knee, the nates the navel, the breast, the bosom, the sides, the neck, the cheek the lips, the eyes, the forehead and the head—in these of the deer-eyed ones is the residence of Ananaga1, according to the light and dark fortnights. Beginning with the left side, when the moon is waxing and downwards she is to be observed in the two fortnights. 2. [The lovers] seize the hair in the bead; they kiss forehead and eyes; they press the teeth-cover with teeth and lip; they often kiss the ground of the cheeks; they scratch with nails the arm-pit, neck and sides; they vehemently seize the breasts; they gently beat the bosom with the fist; and softly pat the navel with open Palm. 3. In Smara's mansion2, they perform the play of the elephant's finger; again and again they beat the woman's knees, ankles, big toe and foot, by these of their own. [The lovers] who thus know the digit of the moon, when embracing their beloved one, plunge into her as it were, into a puppet made of moon-stone, a that has been touched by the moonbeams. 4. Well known are Smara's five arrows, connected with the sounds e, o, Hari, Haraja, and Hara;4 their aims successively are heart, bosom, eyes, head and privities. When despatched by the how of man's own eyes, they strike those vulnerable points, like burning fire, and the drops of the Kamawater of the beautiful woman begin to flow. 5. Thus from the doctrine of Nandiketivara the truth has been concisely picked out; now the detailed description, as uttered by Goniputraka, is shortened as follows. [Madana] resides in the head, the bosom, the left and right hand, the breasts, the two legs, the navel, the privities, the forehead, the stomach, the hip the back, 6. the armepit, the buttocks and the arms. Beginning with the dark first day of the lunar fortnight, Madana goes down5 beginning with the light fortnight he gradually mounts to the head. In those of the deereyed one [the lovers], skilled in the commencement of the mind-born one, pay attention the sixteen parts that are very much like lightening sparks. 7. On the first day of the fortnight the lovers cause the young women to flow, who slowly make sit6; they closely embrace their neck, they kiss their head they press their two lips with the points of the teeth, they kiss the two cheeks, they make a small nail-mark on the back and the two

sides, so that there is horripilalion, and they honour the front-part of the buttocks with the soft points of the finger-nails. 8. On the second day the lover causes the woman to flow, while he, being delighted by the meeting with her breast, kisses the margin of the cheek, the eyes, and the two breasts; he tickles the sides by the nail-points; he licks the lip, while his nail-points move at the arm-pit, and he closely embraces her. 9. On the third day he very closely embraces her, so that she shows horripilation; again and again he softly scratches the side of the arm-pit by the finger-nails; he presses her neck with his arm; he extensively enjoys her tooth-cover, he begins the churitam' new her bosom and so confines the slender one. 10. On the fourth day [the lovers] plainly embrace [the woman]; they violently press the breasts; they bite the bimba-lip6; they scratch by the nails the tract of the left leg; at the arm-pit they repeatedly perform the churitam9 and thus they amuse themselves on the body of the lotus-eyed one by the waters of the cataract of the river of the smara-liquid.10 11. On the fifth day he pulls the hair by the left band bites the lip, at the nipples playfully produces horripilation; and amorously kisses the two breasts. On the sixth day the excited one firmly embraces the body, kisses the lip, performs the churita at the navel-ground, and by his finger-nails scratches the slopes of the two legs. 12. On the day of the Sun11 be rubs Madana’s mansion12 he licks the tooth-cover; with the nails scratches the border of the neck, the breasts and the cheeks; be firmly embraces [her] and then, having thus prepared the stage of the Bodiless one, brings the mistress into the state of weakness. 13. On the eighth day be embraces the neck; he repeatedly pinches the navel with the nails; he bites the lip, and producing horripilation by rubbing violently, he kisses the slope of the breasts. On the ninth day his hands are tossing at tbe navel-ground; he bites the lip, he presses the breasts; he rubs the house of Madana and with the nails scratches the side. 14. On the tenth day they awaken Smara by kissing the forehead, by scratching the neck with the nails,and by causing the left hand to stir at the hips, breasts, bosom and the back. 15. On the eleventh day they scratch the neck with the finger-nails; firmly embrace; and being some-what desirous to such again and again drink the tooth-cover; they again and again smile and strike the heart, and their bands move playfully to open the seal of Manmatha's mansion,12 so that they render moist the loving woman.

16. On the twelfth day he firmly embraces; he repeatedly kisses the cheeks; be causes the sit-making woman to close the eyes, and bites her tooth-cover. On the Mind-borns's tithi13 he kisses the cheeks; he rubs the breasts, so that she makes sit, and softly scratching the neck by the finger-nails, quickly causes the beloved one to become moist. 17. On the tithi of Kandarpa's enemy14 they kiss the eyes; their nails move at the arm-pit; like an elephant, they introduce the finger into Kama's mansion,13 and thus they amuse themselves on the body of the beloved one. At the day of new moon and at the tithi of full moon they have the nails dancing on the stage of the shoulder-ground, and render the woman delirious, by bending the hands towards the house of Ananga and the nipples. Here ends in the Ratirahasya the second Section, namely the Chapter on the moon's digits. Ananga Ranga EROGENOUS ZONES ACCORDING TO THE VARYING DIGITS OF THE MOON Pi is the most excitable on the first five days (excepting the third one ) of the lunar fortnight. ( both bright and dark )1, Chitrini on four even dates commencing from the sixth, eighth, tenth and twelfth, Sakhini on the third, seventh, eleventh and thirteenth and Hastini on the remaining two days of the fortnight and on the full moon and new moon days. 18-20 It is in the last quarter of the night that courtship with Pi gives immense pleasure2 to her and she easily gets gratification. Chitrini may be tackled in the beginning of the night (between 6 to 9 P. M. ) and Sankhini in the third part of the night ( 12 to 3 P. M.) and Hastini from midday till next sunrise. Pi, we are told, is most amenable to the pleasure of sex. She gets pleasure not only in the courtship during the night, but also remains ionate for sexul intercourse throughout the day because it is her nature. Even in the day time courting with a child she derives full pleasure just as lotus flower blossoms at the sign of rising sun. 1. Having found out which type she belongs to studious man of pleasure will do well to learn the nature of the shifting erogenous zones in women. Kalyanamalla describes in detail a mysterious connection between the varying digits of the moon and the changing erogenous zones in women. In other words, each day of the lunar month is supposed to have a definite bearing on the exact position of the erogenous zone in a women. Speaking generally, from the full moon day the Chandrakala ( as the erogenous zone is termed ) descends by the left side of the woman from the forehead through the eyes, cheeks, lips, chin, neck, shoulder, arm-pit, breast, the side, hip, public, region, genitials, knee, ankle, and the foot; on the new moonday it starts its upward course by the right side in a like manner and

reaches the forehead on the full moon day. The amount of amorous urge centred round a Chandrakala is not, however, equal for all woman on a particular day. 2. It is not, however, enough to catch the shifting zone at the correct spot on the correct day, but it must be caught at the eorrect time. For love making is an exact science and the perservering voluptuary should bear in mind the time of sexual congress and the type of woman he conscorts with before he hopes to derive full pleasure out of the act, therefore the time which is most amenable to the pleasure of sex may be understood. Ananga Ranga CHAPTER II: COMMON EROGENOUS ZONES 1. Speaking generally from the full moon day the Chandrakala descends by the left side of the woman from the forehead through the eyes, cheeks, lips, chin, neck, shoulder, arm-pit, breast, the side, hip, pubic region, genitals, knee, ankle and foot; on the new moon day it starts its upward course by the right side in a like manner and reaches the forehead on the full moon day. 2-3. When the position of the erogenous zone in a woman is in her locks, her ion should be roused by gently touching the hair like a comb; if it is in the eyes, cheeks and lips then eyes, cheeks, and lips should be kissed ionately; if it is in neck or arm-pit, it should be marked with nail. If in the breast, waist, the side and hip these portions should be pressed with firm hands. Navel should be petted with palm, if in genitals the tongue should be pressed inside the vagina and it should be sucked (Cunnilingus). If in the chest it should be beaten slowly, pubic region with pubic, thumb with thumb, feet should be pressed with feet. By arousing the erogenous zones the man who is well-versed in the art of love will enslave the woman and both will derive maximum pleasure. PPS SHIFTING EROGENOUS ZONES ON THE BASIS OF VARYING DIGITS OF THE MOON 4. [The amount of amorous urge centred round a Chandrakala is not, however, equal for all women on a particular day.] [ Pi is most excitable on the first five days ( excepting the third ) of the lunar fortnight ( both bright and dark ). Having found out which type the lady belongs to, the studious man of pleasure will do well to learn the nature of shifting erogenous zones in women.] On the first day of the lunnar month ( both bright and dark ) the studious man of pleasure should embrace the neck of the Pi type of woman with one hand and with other hand he should hold her cheeks; hip, back and armpit should be marked with teeth; lips should be sucked and forehead should be kissed ionately. In order to arouse romance ( to

keep her in good humour ) she should be roused to a pitch so that she will easily be gratified by hissing. 5. The studious man of pleasure should excite the Lotus type of woman on the second day of lunar month by kissing her lips, making nail marks on both the breasts ( arm-pits ) and on feet. By arousing her ion in this manner she will be easily gratified. 6. On the fourth day of the lunar month her ion should be excited by light embrace, pressing both breasts and sucking the lips and by making Churitaka ( Lineal ) type of various nail marks on her thighs. By arousing such ways the learned man of pleasure will enslave the Lotous type of woman. 7. On the fifth day of the lunar mouth both lips ( upper and lower ) should be sucked and breasts should be churned' arid nipple should be caught with right hand and her locks with left hand. Her ion should be roused in this fashion. CHITRINI’S SHIFTING EROGENOUS ZONES 0N THE BASIS OF VARYING DIGITS OF THE MOON. 8. On the sixth day the sensuous man should kiss the lower lips, embrace her neck and make the nail marks on her hips. Thus by arousing her ion Chitrikri should be easily gratified in the congress. 9. On the eighth day her neck should be embraced, her naval should be touched with nails, lips should be kissed and when she gets pleasure her both breasts should be pressed and Mardana-kshobhana is to be done in the smaramandira by hand or fingers'. Thus by acting in the aforesaid ways the Art women easily gets satisfaction and leave secretions like a water fall. (( Vatsyayana ( Kamasfitra, 11, 7-10) says that this should be done before Yantrayoga. Yagodhara explains it by saying that the male should do it before he performs the union. In order to satisfy the excessive itching sensation of the female organ, the hand should be rubbed against the same till the female gets orgasm. However, all the writers on Erotics are of the opinion that the male indulges in this to increase the sexual excitement of the female.)) 10 On the tenth day ears, breasts, back and vagina should be constantly touched by the hands and nail- marks should be put on her neck and forehead should be kissed frequently. Thus Chitrirti will easily leave her secretions. 11 On the twelfth day the Art woman should be embraced, cheeks should be kissed, lower lips be sucked. Ears and lips should be nailmarked, and her locks should be touched by closing the eyes in great pleasure. By doing so the Art woman in such a moment of great

excitement easily gets satisfied by creating the sound ( Sitkita ) and get exhausted, THE CONCH WOMAN'S SHIFTING EROGENOUS ZONES ON THE BASIS OF THE VARYING DIGITS OF THE MOON. 12 On the third day, the Conch woman ( ankhitti ) should be embraced with hand. Her lips should be sucked with teeth, heavy nail marks should be inflicted in the armpits. Breasts should be marked with the Churitaka nail-marks. Thus the Conch woman after getting excessive orgasm leaves her secretion in the madness of intemperate urge of sexuality. 13 On the seventh day along with a tight hug, breasts, neck, cheecks and ears should be nail marked. Mouth to mouth lips should be sucked and vagina of the Conch woman should be pressed and it should be churned with membrum virile by holding it with his own hand. By doing so she gets easily gratified and leaves her secretions. 14 On the eleventh day she should be embraced, and her lips should be kissed and ucked and vagina should be heavily stroked with phallus and the upper part of the vagina should be softly touched by nails. By doing so she should be easily captivated. 15 On the thirteenth day of the lunar month, the neck should be nail marked and by doing sitakrta (female shrieks in pain ) both breasts should be caught. She will be easily gratified. HASTINI’S SHIFTING EROGENOUS ZONES ON THE BASIS OF THE VARYING DIGITS OF THE MOON. 16. On the ninth day, phallus should be placed in the vagina of the Elephant type of woman and then churned by holding phallus with hand or with fingers and quickly placing hands on the naval. Lips should be sucked, arm-pits nail marked and breasts molested. She loves the man who acts accordingly immensely. 17. On the fifteenth day (of bright and dark fortnights) Elephant type of woman should be kissed and embraced in different ways. Her armpits, thighs and breasts should be nail marked, and her nipples and vagina should be pressed with ( his ) close hands. By pressing her in this fashion, her body becomes loose and she leaves her secretions immediately. Ratiratnapradipika I. THE INFLUENCE OF THE PHASES OF THE MOON ON THE SEXUAL DESIRE OF WOMEN Sexual Calendar (kama-kala) Now to consider the seats of ion according to the waxing and waning of the moon. During the bright half of the lunar month a woman's ion-

centre moves upward from left toe to the top of the head. In the dark half of the lunar month the erogenous spots on a woman's body descend from the head to the toe on the right side of the body. (26-27). On the first day of the bright half press her toe with your toe. On the second day press her foot with your foot. On the third day touch her ankles with your ankles. On the fourth day rub against her thighs with your thighs. On the fifth day play the elephant trunk game with your fingers in her vagina. On the sixth day massage her navel with your palm. On the seventh day smack her breasts with your fist. On the eighth day playfully rub her breasts. On the ninth day make nail marks in her armpit. On the tenth day mark her neck with your nails. On the eleventh day kiss her cheeks again and again. On the twelfth day press her mouth with your lips and teeth. On the thirteenth day kiss her eyelids gently. On the fourteenth day slap and kiss her forehead. On the fifteenth day pull her hair. Women can do the same things to the right side of the man's body during the bright half of the lunar month. (28-35). In traditional erotica, many methods of stimulating the yoni (the clitoris and the vagina) are described. Ray (1964, p. 58) mentions the names of some of these and says that these were recommended by ancient authors so that women can achieve orgasm at the same time as the man. He calls them Angulipravesa (finger-entry) and gives a list of descriptive names: karikara-krida (elephant trunk game), phanibhoga (serpent's hood), kamankusa (Cupid's goad), pravesana (entry), kanaka (golden), pataka (banner), trisula (trident), kamayudha (Cupid's weapon), kamausadha (love's medicine) and Manmatha-pataka (Cupid's flag). Three fingers—ring, middle and index—together form the elephant trunk gesture (karikaramudra) . Tickling the yoni with fingers held in this gesture is the elephant trunk game. During the dark half of the lunar month sites of Cupid (erogenous zones) on a woman's body should be stimulated in the reverse order. Titillation of these zones makes the woman wet with joy. (36). When a man looks at his beloved, his ionate sight should fall on her heart, breasts, eyes, head and the hidden place, like the five powerful burning arrows released from the bow of Cupid; arrows that cause a sea of sensual doom like the one let loose at the end of time by Siva, enemy of the love god. (37-39) . Kamadeva, the ancient Indian god of love and sexual desire is very much like Eros and Cupid. Eros, the Greek god of love, is said to have been born from the union of Heaven and Earth. He is represented as a young man who awakens love in the hearts of gods and humans with the help of his bow and arrow. Cupid, the Roman counterpart of Eros, is depicted as a winged youth holding a bow and arrow. He is the son of the planetary deities Mars and Venus. The Indian love god Kamadeva is also represented

as a young, handsome man with a bow and five arrows. His bow is the stalk of fresh sugarcane and his arrows are of five different flowers: aravinda (lotus), asoka (Saraca indica), cuta (mango), navamallika (jasmine) and nilotpala (blue lotus) . These arrows have symbolic names that stand for the emotional states that one experiences in young love: unmada (excitement), tapana (burning), sosana (desiccation), stambhana (cessation of all activity) and sammoha (intoxication). Kamadeva rides on a parrot, the symbol of spring. He has many consorts but the chief among them is Rati (love) . Kamadeva is known by names that either describe his effect on human sexuality or his iconographic form. Some of most commonly used epithets are Manmatha (mind agitator), Manobhu and Manasija (mind born) , Madana (ion), Puspa-dhanva (one with floral arrows), Pancasayaka (holder of five arrows), Kusumayudha (one who has floral weapons), Minaketana (one whose banner is marked with a fish) and the most interesting of all `Kandarpa' (whom should I inflame?, a question he is supposed to have asked at birth of his creator Brahma). According to the Siva-purana (Sati khanda) Brahma sent Kamadeva to disturb Siva's penance, awaken ion in him and divert his mind to Parvati so that Siva would marry her and get a son who would destroy a fierce demon called Tarakasura. At first Kamadeva succeeded in disturbing Siva and awakening his dormant libido. But unfortunately Kamadeva became the victim of Siva's cosmic anger which not only burnt the god of love to ashes but also started a universal catastrophe (Rao, 1989) . In the opinion of Gaunikaputra women are of four kinds. Now, a discussion about that which is special about the erogenous zones and their relation to the phases of the moon (kama-kala). (40). During the dark half of the lunar month sexually sensitive sites on a woman's body move down in the following order: head, breasts, hands, nipples, thighs, navel, house of love (vagina), forehead, the three folds on the belly, buttocks, armpits, neck, hips and arms. Beginning from the first day of the bright half of the lunar month the erogenous zones move upward. (41-43a) . Now imagine that these fourteen stations of the love god are the fourteen vowels, including the aspirate (visarga). And each is nasalized with the addition of the dot (bindu). These are the sites to be stimulated to excite her and make her lubricate. Beginning with the first lunar day and taking one vowel for each day the lover should arouse her at the appropriate sites. (43b-45). Here is an interesting instance of punning by using from grammar to convey erotic meaning. There are thirteen vowels (svaras) in the Sanskrit phonetic alphabet. These are: five simple vowels a, i, u, r, 1r; four diphthongs e, ai, o, au; and four long varieties, aa, ii, uu, and rr, of the simple vowels. Added together we have a total of thirteen vowel sounds. Add the aspirate sound of visarga and the total comes up to fourteen. . A

nasal sound (anu-svara = that which is pronounced after a vowel) is added to vowels and consonants in the formation of words. Technically it is not a pure vowel but in writing it is generally represented as a `dot' or bindu. Our author here has punned on the words `bindu'which means both the nasal dot and semen and `visarga'—meaning both the aspirate sound and ejaculation. The use of grammatical for sexual symbolism is not entirely new in Sanskrit literature and Abhyankar and Shukla (1986, p. 2) quote an interesting example. Visarga is generally written as two dots or circles one above the other. Durgasimha sees this as a graphic symbol of a woman's breasts (`Katantra-sutra-vrtti', I, 1, 16). On the first day of the lunar month playfully sniff the upper part of her body and press her neck. Later nibble at her lips and kiss her cheeks. Thrill her back and give her goose-pimple. Gently make nail marks on her body uttering the erotic `sit' sound. (46-47). The erotic `sit' sound is produced by drawing air between closed teeth. The different varieties of love sounds are discussed in the seventh chapter of this work. On the second day massage her breasts and kiss her cheeks and lips. Scratch and leave nail marks on her neck, eyelids and nipples. Then embrace her tightly. (48-49a) . The third day should begin with a tight embrace. Make goose-flesh in her armpits and on her buttocks by gently scratching with nails. Embrace her again and kiss her lips making the `sit' sound. The man who knows the art of love should then leave nail marks, known as `churita', on her breasts. (49b-51a). Nail marking is given in the third chapter of this work. On the fourth day of the lunar month embrace and massage her breasts. Bite her lower lip and make nail grooves on her left breast. Mark her armpits with the `churita' nail mark, and if the man is clever he can lie on top of her. (51b-52). For the fifth day hold her hair by the left hand and bite her lips. Stroke her nipples so that her hair stand on end. Then kiss her breasts with a great show of pleasure. (53-54a). On the sixth give her a tight embrace and bite her lips. Make light `churita' marks on her navel and deep nail marks on her thighs. Then a man who knows the science of desire should make his own arousal very obvious to her. (54h-55). Start the seventh day by titillating her house of the love god with fingers held in the elephant trunk manner. Then kiss her lips and put love marks on her throat, cheeks and breasts. Embrace her firmly. (56-57a).

On the eighth day of the lunar month caress her neck and make the `churita' nail mark on her navel. Then kiss the area around her lips and squeeze her breasts. (5713-58a). Make `churita' nail marks on her `mount of Venus' so that her pubic hair stands on end, on the ninth day of the lunar month. Then play the elephant trunk game in her secret chamber. The knower of erotica can then bite her lips and scratch her back with nails. (58b-59). On the tenth day kiss her forehead and make nail marks on her neck. Then fondle and press her breasts with the left hand. Tickle her vagina in the elephant trunk game. (60-61) . The eleventh day is for marking her neck with nail marks and cuddling her firmly. Then kiss her lips and pummel her breasts with the fist. The master of love play should then stroke her vagina in the elephant trunk manner. (62-63a). The twelfth day of the lunar month starts with repeated kisses on her cheeks. Then cover her eyes and suck her lower lip while making the `sit' sound. (63b-64a). On the thirteenth day kiss her face and cheeks making the `sit' sound. Pummel her breasts and make nail marks on her neck. (64h-65). On the fourteenth day kiss her eyes and make goose-flesh in her armpits. First fondle her breasts and then the knower of love should play the elephant trunk game in her vagina. (65b-66) . On the festival of the full moon mark her neck again and again with nail marks. Caress her tightly and excite her vagina with the arrow of love. (67). Arrow of love probably refers to the erect penis. Arousing a woman in the proper way on the appropriate days of the lunar calendar will make her wet with ion. This is the opinion of Gauniputra. Now let us look at Vatsyayana's theories. (68). Thus ends the first chapter on the influences of the phases of the moon on the sexual desire of women according to Gauniputra in the work called Rati-ratna-pradipika' by King Devaraja the Elder.

Sexual Love: Glorification of Kama NARMAKELIKUTUHALA SAMVADAM 1. Pierced by Kamadeva's arrows of love, the young lover said to the parkiya woman in a gentle voice:

Oh nubile lady! In this delightful season of love, I have already kissed your honey lips, touched your breasts, undressed you completely and even uncovered your breasts and thighs. Your rejection of intimacy is pointless now. It is just as futile as fretting that an elephant you just sold may be goaded with a hook. When you have already given everything away to me, what then is the point of denial? Your stubbornness is futile. 2. In this isolated bower, your dejection and languor is truly pointless. Oh powerless lover! When I touched your breasts, you said nothing; when we were locked in embrace, you did not utter a word of dissent; when I kissed you, not a sound escaped you; when I kissed your brows, then too you said nothing. In your silence was surrender and acceptance. Now, when my hand is placed on your temple of love, why do you turn away? It is just as futile as fretting that an elephant you just sold may be goaded with a hook. When you have already surrendered everything to me, what then is the point of debate? Your stubbornness is futile. 3. In Kamadeva's ion play, would it be right for you to stop my hand thus? Oh moon-faced one! When I unfastened your chunari and blouse, all I wanted was to experience the bliss of Brahma. This body of yours without garments needs my complete attention and your spontaneous surrender. Leave your obstinacy and me in the game of love. Your resistance is just as futile as fretting that an elephant you just sold may be goaded with a hook. When you have already given up everything, what then is the point of refusing to make love? Your stubbornness is futile. 4. Sumitra's son Lakshman complained to Sri Rama, lord of the world, ‘You gave away Ravan's empire, known for its wealth and prosperity, to his younger brother Vibhishan without regret, self interest or greed!’ On hearing this, Rama, the maryadapurushottam, the best amongst men, told his younger brother Lakshman, ‘Your expressing regret about this is just as futile as fretting that an elephant you just sold may be goaded with a hook. When you have surrendered everything to me, what is the point of coveting what is not yours? Of what use is an argument now?’ In much the same manner as Lakshman, my lover, you have already surrendered yourself completely to me, so let's make love. Rejecting love at Kamadeva's altar is entirely futile. Thus ends this dialogue on love known as Narmakelikutuhala Samvadam composed by Kaviraj Dandi.

Pururavasva Manasijasutam

1. Hereafter is the commentary of the Pururavasa Manasijasutram [where I will explain the aphorisms of the Mind-born One according to Pururavasa]. C: Kamadeva, like so many other gods in the Hindu pantheon, has several names. One of them is Manasija, that is, the mind-born one of Lord Brahma. This first sutra explains the need for a text on erotology. Hindu cosmology is based on the principle of cause and effect. Thus, without a cause, even a frog is unable to leap forward, for without purpose, everything is futile. [Ancient texts use similes and metaphors to exemplify a point and while some of these may appear quaint to modern minds, they, nonetheless, serve as illustrations.] The main purpose of this text is to impart complete knowledge of the Kamashastras. From them, human beings can comprehend the laws of nature, attain humaneness, realize their innate potential and absolve themselves of debts to their ancestors. By understanding the Shastras, human beings can engage in intercourse to produce progeny with good samskaras [traditions and culture], who will fulfill parental obligations. Only with correct knowledge of the Kamashastras is it possible for a person to follow the norms of intercourse and fulfil his desires. By applying the wisdom of these books, one can attain complete understanding of the hidden secrets of maithuna or sexual intercourse, experience ananda, beget children in the right manner and resolve sexual problems. And, by developing the right attitudes and sentiments, men and women gain practical knowledge about physical, mental, worldly and spiritual matters. As in Vatsyayana's Kamasutra, the principal aim is to combine the masculine and feminine aspects so they can seek the path of liberation together. 2. Knowledge of erotology is particularly useful when one is young. C: After turning eight, Brahmin boys undergo a rite of age known as upanayanam. They then a gurukula or school, where a guru or teacher instructs them in various disciplines, trains them to retain and use their strength, live simply, meditate and practise pranayama. On attaining adolescence, along with the other Shastras, these young boys are taught the Kamashastras to help them practice the ideals of love. They are taught matters of dharma and moksha only when they are older. Now follow descriptions of the principles of sexuality and ion, gender issues and other connected matters.

3. The first step to arousing Darpaka is drinking the nectar of the lips of a lovely woman. The first step towards arousing desire is kissing the lips of a beautiful woman. To arouse a sleeping woman, she must be kissed first and then woken up gently, for kissing is as sweet as honey. Just as biting into a loaf of bread leaves teeth marks, wherever a man kisses a woman, he should leave teeth marks. Embracing tightly, the two should begin drawing nectar from each other's mouths. Just as adding ghee to a fire sets the flames ablaze, kissing intensifies desire. The main places to kiss a woman are her forehead, hair, eyes, chest, breasts, the lips of her vagina, her tongue, the t of her groin and her navel. Having said this, people from different parts of the country may have different habits and expectations. 4. The bliss attained from sexual love involves the following procedures. Arousing ion leads to ratiananda or the bliss of ion. [The word ratiananda is a compound of two words—rati and ananda. Rati is Kamadeva's wife and the personification of ion, while ananda is bliss of the highest spiritual order. These two words come together as the definitive expression of the wholeness of sexual joy.] To attain this bliss, the nayak or hero should awaken the woman by kissing her and once awakened, the couple should continue kissing each other. When they come together, the combined energies from their bodies becomes manifested as ratiananda—the same bliss is attained only when prakriti (nature) and purusha (man) come together or when the atma (soul) merges with the paramatma (godhead). Kissing is the first of four stages for realizing bliss. 5. Pressing the woman's breasts against one's chest is the second stage. Foreplay is important: kissing, leaving nail and teeth marks, etc. There is no rule or sequence for these actions. This is because when there is ion, no order comes to mind. The man should embrace the woman in such a manner that his hands should remain glued to her breasts. 6. The third stage is fondling the woman's breasts. The man should hold the woman's breasts and fondle them. When done properly, the nipples become erect. At this stage, all the other senses of the woman are also heightened. The main reason for the engorgement of the penis is the fondling of a kishori's breasts. [According to the classification of women by age, a kishori is a very young woman, between thirteen or fourteen years of age, who has just attained puberty.] 7. An intimate embrace that resembles a bat tightly clinging to wood is the fourth stage.

According to sages such as Vatsyayana, kissing a woman's lips during intercourse is like tasting nectar and touching her breasts, nipples and the lips of her vagina feel like the attainment of heaven. The man and woman should cling together tightly much like a bat clinging to a tree. The act of inserting his penis into a woman's vagina makes a man lose himself completely and become one with her. Just as a man embraced by a woman he loves is oblivious to everything within or without, so also the person embraced by the atma becomes oblivious to everything. This complete immersion is ratiananda—the fourth stage. 8. The highest bliss can be attained by drinking the nectar of a woman's genitals. While the earlier sutras have extolled the virtues of kissing a woman's lips, here it is said that the bliss attained from kissing the lips of a woman's vagina is like attaining moksha. Vatsyayana says, ‘Nectar is on both places —on the lips of a woman as well as on her clitoris.’ 9. Deep penetration of the woman's temple of love is the cause and means of attaining brahmananda. After kissing the woman's vagina, the couple should strive to attain the next stage known as brahmananda. [This bliss is superior to ratiananda and refers to the highest god in Hinduism, Brahma. That is, although Indra is considered the king of gods, he is a lower god.] Sages explain that deep penetration of a woman's vagina by a man's penis leads to brahmananda. By inserting the penis and simultaneously meditating on the act, the man should strive to experience a bliss that cannot be attained from anything else in the world. 10. The bliss of lekharsabha is gained by half-insertion. After experiencing the bliss of brahmananda, the couple should attempt to replicate the experience by trying to attain lekharsabha or indrananda, the bliss of Indra. This sutra explains how to obtain indrananda by inserting one's penis halfway inside the woman's vagina. Compared to brahmananda, the indrananda experience is very subtle because of the halfway insertion. 11. Hardness of the penis is the obvious reason for engaging in intercourse. Having explained ways of attaining bliss, we move on to examining the various causes of desire. The hardness of the penis is regarded as the primary cause of intercourse. Having experimented with various ways of experiencing bliss, how can desire be rekindled again and again? How can a man ensure that he

experiences bliss repeatedly? How can he ensure that his woman remains excited? For the man who is filled with such fears, this text provides a solution—the couple should engage in foreplay. They should repeatedly kiss, embrace, leave nail and teeth marks on each other and caress each other's genitals. By doing so, the penis becomes erect and allows the man to enter the woman's temple of love. 12. The pleasure of entering a woman is beyond expression and thought. As a man enters a woman's vagina, they experience brahmananda. A woman's vagina is tightest when she is a virgin. As the man thrusts inside the woman's contracted vagina, her senses come alive and pleasure is heightened; the man too gets highly aroused and becomes impatient to continue. In this manner, the pleasure of sexual intercourse is beyond description. Words and emotions fail to communicate this sentiment and even the Vedas are incapable of articulating this experience. Just as there are different gods who represent Brahman, there are different kinds of techniques that lead to absolute rapture. 13. Striking against the sardagrdi is the primary cause for seeing the light of supreme consciousness. This verse is called the sardagrdi sutra. The sardagrdi is a place like a lily inside a woman's vagina, approximately four fingers deep inside the womb, right behind the navel. [The sardagrdi corresponds roughly to the G-spot.] A man's penis must be ten fingers' width long to strike it. If a man with this specific qualification is able to strike at the sardagrdi with force, he experiences the light of consciousness. Continuously palpating the spot and rubbing the penis against it makes one realize supreme pleasure. But, if for any reason the man is not fully aroused, he should rub the woman's vagina vigorously and examine it carefully. By doing so, he will experience continuous ananda without any effort. Thus, looking at each other and while completely exploring each other's bodies, the nayak and nayika should embrace. 14. Desire that is born out of sexual love is best consummated on a bed. If one wants to engage in the `battle of love', one should do so on a bed and not on the floor. Men should not engage in making love on the floor because the shastras prohibit it. The writer of the Natya and Rasashastras, Bharata Muni, also says that only on the bed and with one's own wife should one make love. He cites other authorities on this restriction and explains why the sages advised

against having sex on the floor. He finally describes the appropriate place and conducive environment for sex. Other texts such as the Ratiramana describe different kinds of beds for different kinds of women—because the Pi woman has a soft body herself, she should lay down on a bed of flowers. The Chitrini, on the other hand, should be enjoyed on a bed well stuffed with cotton and sprinkled with perfume. 15-16. Desire makes a young woman look for sex. A man's desire depends on her. In the battle of love between the sexes, the ability to arouse desire primarily lies with the woman. Should a man's emotions take precedence or if the man takes the lead, sexual intercourse somehow becomes less exciting and is considered to be without rasa or flavour. In Hindu thought, the objective cause for creation is the feminine aspect of the divine. The onus of arousing ion lies on women as a man's desire is secondary to her needs. 17. The first encounter of love does not result in satisfaction for women. Although women are the primary cause of desire, this sutra says that they are not easily satisfied. For the woman eager for intercourse, one who is ready, perfumed and bedecked with jewels, there is rarely any satisfaction the first time she makes love. This is because the over-anxious man, especially at the first encounter, tends to ejaculate quickly and is therefore unable to satisfy her. This is also because women have eight times the capacity of men to have orgasms and are thus never easily satisfied. Desire is never properly quenched the first time and even if a woman does experience a modicum of satisfaction from foreplay, much more effort is required to fulfill her needs. Women gain satisfaction through intimacy rather than from the physical act of making love. It is therefore imperative for the man to display his skills and capabilities. A little rain is unable to quench the parched earth that has been dry for long and it requires more than one shower to quell the fire of the earth. Similarly, the woman is rarely satisfied at the first instance of making love. Engaging in intercourse the second time thus becomes necessary. And just as Rudra and other devatas [gods] were evoked to extinguish the fire of the earth, a man should use all his skills to please his woman. 18-19. The second time around, the woman is satisfied. However, it is the opposite for men. The second time around, though, is different. It is the innate characteristic of the female of the species that they are never satisfied the first time, although the second time, with better preparation, they can achieve

gratification. It is just the opposite for men. It has been observed that a young woman's expectations are quite contrary to those of men who become satisfied after the first time they make love. Then, because of the discharge of semen, the stress, heat and sweat, exertion and rapid breathing, the man does not get easily aroused again, and when he does, the seminal fluids in his body would have diminished. Foreplay can help create and keep the ion alive. In addition to the four categories already mentioned, there is a fifth variety of foreplay that can help in realizing paramananda or supreme bliss. 20. A special way of arousing sexual desire is placing one's hand on the woman's vagina. The word nivi, which usually translates as girdle, is used here to indicate the vagina. Placing one's hand on the vagina means moving one's fingers around and inside it. Besides embracing, kissing and pressing her breasts, the other areas to be touched for inciting a woman's ion are her vagina, waist and inner thighs. By his expertise at touching her sensitive parts, a man can heighten the woman's pleasure. An ancient sage called Harivijran devised a specific yogic asana known as the Harivikrama Bandha for experiencing intense pleasure. The sage said that youth is the most appropriate stage in a man's life, rather than adolescence and old age, to experiment with sexual positions. 21. Yogic positions like the Vyanata are best put to use by young people. It is important to gain knowledge and experience of sex while one is still young. There are three stages in a human being's life. The first is childhood, when sex does not matter. The second stage, that for some begins with puberty and for others at the age of sixteen, is the time when one is both eager to learn about love and can easily practise yogic positions. The third stage is when interest in sexual matters decreases because of diminished stamina and the wasting away of strength, intellect and beauty. Therefore, young people are most interested in matters pertaining to sex. 23. Stimulating the sardagrdi produces great joy both in men and women because the rasa is enjoyed by both. The word rasa in Sanskrit loosely means taste, but implies a highly developed sense of aesthetics in all the arts, as well as sexual sensibilities. This verse, as in the thirteenth verse, says that when a hard penis strikes the sardagrdi inside a woman, intense pleasure is enjoyed by both people equally.

After this, different lingams or penises, as well as different kinds of positions are described. To understand this, accomplished maharishis and men interested in the subject have researched and put forward a theory. 23. The moment of orgasm is the highest bliss. Of all the different forms of bliss described so far, this one is the greatest and is known as saayujyanand or merging into one another. For both the nayak and nayika, the experience has a profound emotional impact and is akin to experiencing the Paramabrahman or the ultimate divine form of the lord. It is believed that an orgasm most closely simulates the absolute bliss that human beings consciously or unconsciously strive for, and this pleasure, though ephemeral, creates a momentary state of balance and oneness with the higher being. Moments such as these, when one surrenders to sexual ecstasy completely, have to be experienced firsthand and can never be described completely in words. 24-25. Firm breasts are the immediate material cause of desire. If a woman's breasts are not firm, no one desires to hold them. Similarly, when a woman's breasts sag and droop, one does not feel like holding them just as one does not like to taste flavourless chutney. Indian aesthetes place great value on firm breasts, as is seen in literature, sculpture and painting. 26. In the battle between Kamadeva and his enemy, the demon Sambara, an erect penis is a prerequisite. Much in the manner of firm breasts, a man is able to have sex because of the firmness of his penis. This sutra extols the virtues of firmness, be it a woman's breasts or a man's penis. While expounding on the need for firmness, one must also consider whether these organs are lustful in themselves or whether they become desirable after being aroused. According to King Pururavasa, the penis has no intrinsic emotion. He attributes arousal to the balance of humours in the body. According to ancient Indian medical texts, there are five elements, seven dhatus or body tissues and three doshas or humours in the human body. Without a balance of all three, the penis cannot attain and, more importantly, retain its hardness. This is also the reason why a young and virile body is easily aroused and also why young men are able to have sex frequently. 27. An abundance of fluids leads to engorgement. Ayurveda believes that there are seven dhatus in the body—taste (rasa), blood (rakta), flesh (mamsa), fat (medas), bone (asthi), marrow (majja) and semen (sukra). These, collectively or independently, are believed to be the cause of desire. Without the presence of these humours in the body, the motivating force for desire is absent. The question about

lustfulness applies to breasts too. Merely looking at fully developed breasts can cause arousal, but what is the cause of the development of breasts as sexually sensitive organs? 28. Breasts develop with continued intercourse. When a man inserts his penis inside a woman, her breasts too get aroused. Thus, by extension, the primary reason for the arousal of a women's breasts is the man's penis. Till such time as a man continues to have intercourse with a woman, her nipples and breasts remain in a state of excitement. It is said that five days after the end of menstruation, a woman's breasts are almost luminous and intercourse at this time will make her breasts even more aroused. But if a man does not enter a woman, her radiance fades. Says the wise sage Vatsyayana, this is how women's bodies function. Men do not desire to see the breasts of pre-pubescent girls as they are not fully developed. It is better to view the developed breasts of sixteen-yearold girls. 29-30. The accumulation of blood in certain organs is the other reason for engaging in battle with Manmatha. The word prakrti-vikara literally means transformation of nature, but it also means woman. King Pururavasa uses this word because he views women as manifestations of nature. Nature reasserts herself through the menstrual cycles of women. Menstruating women, it is believed, are more easily aroused by kissing and when men taste the sweet nectar of their mouths, they get very excited. In this way, when and all doubts are removed, sexual desire grows stronger. Thus, a combination of menstruation in women and puberty and virility in men becomes the fundamental cause for desire in the human race. 31. Tasting the nectar of a woman's lips is experiencing the primary rasa. Kissing a woman on her lips and tasting the sweetness of her breath is the first step towards experiencing the other rasas. The sage Bharata, author of the Natyashastra, classified women according to different rasas or sense of aesthetics. Just as desire is one of the cornerstones of life, so is aesthetics, especially sringara or the erotic sentiment. Sringara is the most important of the nine kinds of rasas known as the navarasas. The Kamashastras too state that ecstasy comes after

developing a fine sense of aesthetics which is distinct from the mere enjoyment of loveliness. 32-34. Biting and embracing are the other causes of arousal. While symbols of ion such as biting and leaving nail marks enhace pleasure, embracing a woman like a bat clinging to a tree produces virarasa, the heroic aspect of man. Heroism and eroticism are seen as complementary and a man who exhibits valour on the battlefield is also spirited in bed. 35. Ironically, intercourse can also lead to aversion from the rasas. Men need to understand that after experiencing all the rasas, they may become weary of the world. This state of dision occurs following three events—listening to the scriptures, after sexual union and on returning from a cremation ground. This means that these three events almost always lead to contemplation. After listening to the scriptures one gets disillusioned with the ways of the world and after one has visited a cremation ground, one reflects on the transient nature of existence. In the same manner, after one has had an orgasm, the mind and body are momentarily satiated and weariness sets in. The period after ejaculation causes momentary aversion to sexual activity After climax, desire appears not just to have diminished, but disappeared. This is an illusion for interest is soon rekindled and the couple can once again become ionate. This sutra therefore concludes that ejaculation is the primary cause of disinterest after sexual union. 36. Aversion to further sexual activity disappears after a muhurtam of twenty-four minutes. After approximately twenty-four minutes, the weariness that sets in after intercourse becomes a thing of the past and desire is rekindled. This effectively ends momentary satiation that may have arisen in the couple. The pleasure of exploring a woman's body dispels all disinterest. [Muhurtam is the time taken for arousal to recur. The concept of muhurtam also occurs in Indian astrology as the most auspicious time for performing any activity. The concentrated energies of the planets and other astrological factors are considered to nullify evil influences and lead to fruitful results.] 38. Continued penetration ensures a man's potency. A man's potency or shakti is determined by the hardness of his penis. Making love intensifies pleasure, banishes weariness and once again gives rise to ion. Owing to renewed vigour following intercourse, a man is able to enter a woman and experience paramananda. But achieving this is

impossible if the man is sexually dysfunctional. During intercourse, if the man is devoid of strength, entering a woman becomes impossible. This is why at the very first instance, desire needs to be strong. 39-40. Without consent, the act of love is meaningless and the panchasara or the five arrows of Kama will not take effect. For a successful sexual encounter, consent is essential. The woman's willingness and participation is a very important factor, for without it, sex will be one-sided or, worse, will amount to rape. An enthusiastic woman is a prerequisite for sex. In the absence of consent, the act of love is derailed and becomes futile. So men should ensure that they make every effort to keep their women interested. There are, however, special times, months and seasons that are conducive for making love and the following verses explain this. These classifications of months here are based on the Hindu lunar calendar. 41. Sexual love is extremely pleasant in the month of Paush. Paush corresponds with winter and is, in India, a welcome change after the intense summer heat. The cold weather encourages cuddling, embracing and sleeping together, which, in turn, arouses sexual desire. 42. Making love is also pleasing when flowers bloom. In India, spring comes early in the year in March and this month in the Hindu calendar is known as Vasant. Vasant is personified as a close friend and associate of Kamadeva and his wife Rati. The three close friends are said to travel together and work their magic. Making love during spring is considered to be the most fulfilling and some texts even suggest that it is mandatory to make love in spring. The fecundity in nature is expected to affect humans and cause heightened desire for reproduction. 43. During the month of Kartik, one should engage in the battle of love. This month corresponds with October and November. As winter sets in, staying together is one way to fight the chill. Like the months of Paush and Vasant, women are believed to feel more sensual during Kartik. During this month, men and women cannot remain indifferent to each other. 44. This is the case too during the months of the Long-lived One, known as Margasirsa. Margasirsa corresponds with November and is considered to be a time when one should make love whenever one desires. 45. In the period of lowered splendour, foreplay should dominate.

Sharad or autumn is not too auspicious for making love and is known as a time of lowered splendour. During this period, only foreplay should be practised and actual intercourse should be avoided. This is because it is believed that the heat during these months burn a man's potency. 46. During summer, one can engage in battles of the Fish-flaggedone with intervals of five days. Almost all Indian texts recommend celibacy during the hot summer months. Due to excessive heat during the Vaishaka and Jyeshta months, a gap of at least five days between each sexual encounter is recommended. 47. In the monsoon, a ten-day interval between sexual encounters is advisable. King Pururavasa recommends making love every ten days during the monsoon. That is, from July to October, women must approach their men at ten-day intervals. Some texts and experts in erotology also list five ways to achieve sexual satisfaction during these days of abstinence. Next, the text looks at the various categories of women divided according to their ages. 48. Intercourse with a woman who is older than an atishyama is considered to be a source of janalokananda. Samprayoga or uniting on a bed to enjoy intercourse with an atishyama or an eighteenyear-old girl is said to result in janalokananda or the bliss of the world. By juxtaposing the bliss attained through sex with the experiences through which one can attain godhood, one can attempt to achieve either or both. After experiencing janalokananda, there arises a desire to know what instigates this, what forms it takes and, more importantly, what to expect after it occurs. 49. The condition of a woman is the reason for experiencing bliss. This sutra refers to a shyama or a woman who is sixteen years old and describes a level of bliss known as tapoloka; sex with an older woman is not as joyful or enjoyable as that with a younger woman. The main reason for experiencing the bliss of the world of tapas is a youthful woman. 50-51. Intercourse with a young woman is indescribably blissful. Being with a woman who is past her youth only gives satisfaction of the ordinary kind. Women are classified according to their ages as bala (younger than twelve years), upasyam (pubescent), shyama (between fifteen and sixteen years old) and taruni (between sixteen and thirty years old). The text states that making love to young girls inevitably leads to bliss of the highest degree. Sex with ordinary girls of an acceptable age, that is, with those who are neither too old nor too young, can be pleasurable too. Older women,

however, can only bring ordinary happiness. King Pururavasa recommends sexual intercourse with fifteen-to seventeen-year-old women, shyamas, as these experiences are the most joyous. 52. As one ages, it is best to practise the sport of sexual love according to one's desires. While desire may diminish with age, a woman should continue to make love when she feels like it. The shastras advise all men to have intercourse with their wives even if they are ageing as they too feel desire. 53. Accepting the hand of the daughter of time leads to the cessation of sexual activity. Resorting to accepted Indian theological norms, this text ends on a philosophical note. As described in the earlier sutras, women are daughters of nature. They are also daughters of time or kal kanyas. When women start ageing, they become disinterested in sex. The Vedas recommend that with old age, one should turn to spiritual matters. They say, ‘The old should stop’. The older woman must direct her mind to the three-fold path and by ‘hearing about, thinking about and meditating on the Highest Self,’ she should concentrate on the all-pervasive divine being with a view to seek samadhi or merger with it. She will then experience the bliss of Brahman and will go beyond sexuality. Thus ends Pururavasa's aphorisms on sexual love.

KADAMBARI SWIKARANAKARIKA 1. Like the nectar obtained from the churning oceans, the extract of grapes is well known. This elixir of life, they say, enhances sexual desire. The nectar called kadambari, which is believed to make sexual encounters unforgettable. 2. This knowledge is extremely beneficial and makes a man capable and wise. The Kamasutra emphasizes the need for young people to study the Kamashastra texts prior to their initiation into sex. 3. Experiencing the bliss of sipping kadambari is highly recommended. Liquor is favoured because besides an elevated sense of well being, it also enhances sexual performance. [This is a departure from ancient and medieval texts that forbid having intoxicants before sex. This having been said, drinking liquor was rather commonplace amongst the nobility, ladies of the harem as well as commoners.] 4. This is especially true for women. A man should therefore offer his lady liquor and then consume a larger measure or two himself. Only after this should he proceed with embracing, kissing and touching the nayika.

5. A man and woman should drink together and relish the taste of liquor. When they have had a couple of drinks, the man should offer his lady a betel nut. It is believed that betel nuts combined with liquor heighten sexual pleasure. 6. Drinking helps rid one of inhibitions. After having consumed a few drinks, the man and woman become relaxed and begin enjoying each other. As the excitement deepens, the couple should commence foreplay. 7. At first, the man should hold and press the woman's breasts gently. Then, as their lips lock, he should run his hands all over her body and embrace her so tightly that their bodies become one. This embrace was called Brahma Alinganam by Bharata Muni. 8-9. To ensure that his lady's desire stays heightened, the nayak should continue to caress her lovingly. Then, beginning with her upper garment, he should start removing her clothes one by one; the sight of her exposed breasts will quicken his pulse. 10-11. After this, he should help her remove the rest of her clothes. After moving his hands gently all over her body, he should finally rest it over her vagina. Then as his pleasure intensifies, he should look at her with great delight. 12-13. Quickly removing his own clothes, he should say, ‘Oh my beloved, look at me! This has been made for your pleasure, not mine.’ Conversation between couples should be affectionate and loving. A woman who does not get the attention and emotional she deserves will tend to turn away from her man, slowly develop an intense dislike for him and ultimately, in anger and annoyance, will turn to other men. 14-15. The man should then say, ‘My love, do whatever I ask of you and the pleasure is yours.’ In this manner, gently and seductively cajoling his lady, he should part her thighs. They should then immerse themselves in the game of love. 16-17. Their actions should heighten mutual ion. That is why before beginning maithuna, they should hold each other tightly, almost as if they are glued to each other. 18-19. After inserting his penis into the woman, the man should stay absolutely still for a few seconds; this is known as the moment of tranquility. There should be no movement at this moment, only complete concentration and stillness. The man should hold this position as if in a yogic stance and lie quietly for a while. Holding the woman close to his chest, he should slowly begin moving. It has been said that when the man's movement stimulates the top of the vulva, a woman's pleasure is enhanced. Drawing upon her delight, the man too experiences heightened ion.

20-21. Both should then start moving with vigour and increased tempo. Just before climax, the couple should withdraw, let go of each other and take a few sips of wine. This will further enhance sexual ecstasy. 22-23. Knowledge of the Kamashastras and of the interplay between Rati and her lover, the god of love, Manmatha, can be put to good use by human beings. Heightened awareness raises the act of making love to the level of the gods. 24. The most common manner in which couples make love is by using the of the headrest of the bed, gently embracing each other, happy to reciprocate pleasure. 25-27. Having made love, the woman should rise slowly from the bed, coyly adjust her clothes and start cleaning up. Then, returning to the bed, she should lie down once again beside her lover. After this, the couple should lovingly feed each other figs, raisins and nuts. After making love, the lady should accept whatever the man gives her with grace and happiness. When the man expresses his desire to make love in a particular way or posture, she should comply willingly. 28-29. After the first flush of lovemaking, the couple may feel exhausted and spent, having exerted themselves completely; but slowly, they will start feeling ion again as the breeze starts drying their perspiration. 30. The woman should lightly fan her man. Gently wiping the sweat off the brow of her exhausted lover with a clean, soft towel, she should relax and enjoy her sexual energy slowly subsiding. 31-33. Getting up slowly, the woman should then languorously apply sandalwood paste all over her body. On seeing this, the man should hold her breasts firmly and apply sandalwood paste on her nipples. The cooling sensation of the sandalwood helps alleviate heat generated by intercourse. 34. The wise man or the man well versed in the techniques of lovemaking will also apply the soothing and fragrant sandalwood paste near her vagina and other sensitive body parts. The cooling and fragrant paste ensures that the nayika remains serene and satiated as a feeling of contentment washes over her. 35-37. The woman thus content should say, ‘Oh my lover, I am so very pleased with you; please listen to me carefully. The manner in which you have applied sandalwood paste all over my body is extremely pleasurable and is once again bringing me to the brink of desire. Troubled once again by longing, my body and heart grow heavy. 38-39. ‘The fragrant and cool sandal wood paste that you applied on my yoni and breasts brought a great deal of relief, but now since I am once again feeling the heat of ion, could you make love to me again? My

lover, it will give me great satisfaction. Come closer and hold my breasts, taste the nectar of my lips slowly, but do not bite me. Hold me tightly and make love to me so that my body can rid itself of this sexual despair! 40-43. ‘Oh my lover! Once again the god of love Kamadeva has struck and created anguish in my heart; my breasts are heavy with desire. To alleviate this pain, please hold them tightly. And in my yoni, where Kamadeva resides, I feel the intense heat of desire. Do what you will to assuage my pain. So, my lover, come and lie down over my body even as I will lie beneath you. Take me in your arms and hold me tight. I get immense pleasure from intercourse; so take me quickly in your arms and make love to me. 44-47. After listening carefully to his love, the man should get ready to do as the woman commands. Holding her thighs, he should proceed to do just as the lady desires. The man should position himself on top of the woman and shifting to the left, should slide into her. Gently holding her in a tight embrace, he should make love so that both their nipples touch each other. 48-51. To increase pleasure, the man should kiss her deeply and draw nectar from her lips; thus charged with longing, the couple should shed their inhibitions and freely explore each other. It is believed by Bharata Muni and other sages well versed in the Kamashastras that a woman's secretions are like nectar. 52-53. The man and woman should drink nectar from each other with great pleasure and make love yet again as the second time, the woman gets aroused immediately. Loosening the knot of her clothes, she should raise both her shoulders, shrug off her garments and expose her thighs. Thereafter, the man too should quickly remove his clothes. 54-55. If the woman has consumed liquor, her vagina would have shrunk slightly. This is why a man should not enter a woman the second time with a thrust as this may hurt her. He should thus enter her slowly, for failing to do so may be the cause of unhappiness between the couple. 56-57. Though the woman experiences overwhelming joy, she may keep saying, ‘No, no, let go, let go. I can't breathe—this is agony, you are relentless.’ If she continues to say this, it is better to rest and commence making love after a while. 58-60. When a woman wishes to continue making love, she will say, `Oh my love! Listen to me. You applied fragrant sandalwood all over my body so that I can experience no pain. But you're so strong and thick.' 61-63. When the man hears his woman talking thus and smiling slightly, he should embrace her tightly and immediately move away from her. Then, to please her, he should do exactly as she demands, and then withdraw again so that she asks for more.

64-66. After making love, the woman only asks to be cuddled and embraced. She should say, ‘Wait for me for a while and then do as you please and think appropriate. But you should know that I get greater pleasure from the way you hold my breasts and kiss my lips than when you hold me tightly when we make love.' Women thus get more enjoyment from being held tenderly. 67-69. The woman should say, `I am experiencing great pain. So, until my pain diminishes, do not make love to me. Instead, come sit by me, talk to me and embrace me tenderly. Oh my love! Make an attempt again only when my desire returns. I only desire to hold you!' 70-71. As the woman begins to feel aroused again, she should look iringly at her lover and say, `Oh my love, desire will vanish immediately if we make love. I will make no other demand of you ... just this ... which is what my heart desires.' Having heard this, the man should readily act as the woman desires. 72-74. The man should say, ‘Oh my dearest, listen to me carefully. I am willing to do whatever makes you happy in whichever position you desire. I am strong and erect and ready for you. Shed your shyness and hold me. Why should there be any hesitation to ask for what is one's own? 75-77. So, my beloved, without any hesitation, hold me and do what I tell you to do.' Saying this, the man should begin to undress. He should then ask the woman to hold and rub him gently. 78-80. The wife should do exactly as her husband commands, hold him tightly and move her hands over him gently. Satisfied with mere touch, the woman drifts off to sleep. On seeing his contented partner sleeping fitfully, the husband becomes overcome with desire and gets ready to make love once again. 81-83. Removing her clothes as she sleeps and raising her thighs, he should begin entering her. When he begins to do so, the woman should start moaning and protesting, but the man should nonetheless enter easily. Quite aware of what is happening, the woman should pretend to be asleep. It appears that this little deception further enhances sexual enjoyment. 84-86. When the man is fully inside her, the woman should give up the pretence of sleeping and say, ‘I am ready now that you are inside me. Take me quickly and forcefully, do not be gentle as this gives no pleasure; to feel complete pleasure you need to be forceful. Prolong my desire and stay inside me as long as possible. Oh! Do not let go of me until I am satisfied.’ 87-89. After saying this, the woman should raise both her hands over her head and thrust herself forward so that the man can hold her breasts.

The man should stay inside the woman as long she does not make an attempt to turn away. For as long as he stays in her, the man can feel the desire of the woman rise. If the man seems unable to gratify the lady, a made-to-measure dildo can always be used. Women are normally embarrassed to talk about sex, especially their needs, but are languorously happy when fulfilled they also tend to close their eyes at the time of intercourse, but keep making small sounds like ‘he he’ or ‘sssh issh’ and whisper endearments. They also raise their eyebrows, smile and make other facial contortions. 90-91. As desire mounts, men feel the urgency to complete the act so that they can climax simultaneously with the woman. At this point, women consider their lovers to be their friends and ers. This kind of bonding makes it possible for a man and wife to live together happily. 92-95. Rigorous in their pursuit of pleasure, women achieve orgasm rather easily, feeling intense pleasure again and again. They remain in a state of extreme pleasure even after making love and remain connected to their lovers. 96-97. Blissful when they reach orgasm, men soon begin to experience lethargy and tiredness. Even though the act of making love is intensely pleasurable, after the act, men want to experience a few moments of quietude and separateness. Women, however, do not feel this way and, on the contrary, want to be held tightly and embraced affectionately. 98-99. After intercourse, the man should withdraw from his lover and sit up facing the west; the man's body will be completely covered with sweat following the exertion of making love. It is advisable to have a fan handy. When the sweat from his brow evaporates, the man once again experiences tender affection towards his woman. The couple should then rest a while. 100-103. On waking up, the man should recite the shloka from the Kamasutra which ensures that the weariness that accompanies intercourse vanishes. He should then once again hold the woman tightly. Touching each other, they should continue sleeping. Even when asleep, the couple should be entwined, kissing each other like when they are awake. 104-107. Completely comfortable with each other, talking freely about sex and totally exhausted by continued intercourse, the couple will now sleep fitfully. 110-113

The woman rises early with the sun, but lets the man, exhausted by prolonged intercourse, continue sleeping. But while he sleeps, she should not look at him and neither should she try and do anything to arouse the man. Thus leaving behind her sleeping lover, the woman should go to her mother-in-law and the other women of the household to spend time with them. The woman should be prepared to do whatever household work the mother-in-law may ask of her. She should pay special attention to decorating the temple at home, first drawing rangolis, yantras and other special images around it. Only after this should she dust and clean the house thoroughly. 114-117. The woman should attend to daily household duties attentively and complete all the work that may be expected of her. She should take a bath, wash her hair and at all times keep herself clean. The husband, meanwhile, should rise as he does normally, but should refrain from seeking out his beloved while she performs her duties. 119-121. Keeping their emotions under control, the couple should mingle with family and friends. There should be no outward display of the intensity of their desire. 122-124. This book has been written for a man, who like Kamadeva understands the essence or swaroopa of love. Men and women who read these texts and undertake to live by its tenets attain god-like status. Sages such as Vatsyayana were able to compose these texts only through immense dedication. Kadambari Swikaranakarika is the essence of all texts written by sages. Every verse of the text has been written down as was revealed to Bharata Muni. 125-127. It is essential for every man and woman to read the Kamasutra, for those who don't do so cannot access the world of the apsaras of Indra's court. The Vedas and other Dharmashastras also have to be studied as they too say that only after having studied and experienced love can one hope to attain moksha or liberation. 128-130. Only after reading and understanding these texts should men and women make love; for the children conceived by such enlightened parents grow up to be knowledgeable, refined and god-like. The person who reads this text and uses it as a practical guide will definitely reside in Brahamalok and will achieve everything that his heart desires. Such a person will live long in Vaikunth—the abode of Lord Vishnu.