Kama Sutra Essay, Research Paper

PREFACE

IN the literature of all countries there will be found a certain number of works treating especially of love. Everywhere the subject is dealt with differently, and from various points of view. In the present publication it is proposed to give a complete translation of what is considered the standard work on love in Sanscrit literature, and which is called the `Vatsyayana Kama Sutra’, or Aphorisms on Love, by Vatsyayana.

While the introduction will deal with the evidence concerning the date of the writing, and the commentaries written upon it, the chapters following the introduction will give a translation of the work itself. It is, however, advisable to furnish here a brief analysis of works of the same nature, prepared by authors who lived and wrote years after Vatsyayana had passed away, but who still considered him as the great authority, and always quoted him as the chief guide to Hindoo erotic literature.

Besides the treatise of Vatsyayana the following works on the same subject are procurable in India:

The Ratirahasya, or secrets of love

The Panchasakya, or the five arrows

The Smara Pradipa, or the light of love

The Ratimanjari, or the garland of love

The Rasmanjari, or the sprout of love

The Anunga Runga, or the stage of love; also called Kamaledhiplava, or a boat in the ocean of love.

The author of the `Secrets of Love’ was a poet named Kukkoka. He composed his work to please one Venudutta, who was perhaps a king. When writing his own name at the end of each chapter he calls himself `Siddha patiya pandita’, i.e. an ingenious man among learned men. The work was translated into Hindi years ago, and in this the author’s name was written as Koka. And as the same name crept into all the translations into other languages in India, the book became generally known, and the subject was popularly called Koka Shastra, or doctrines of Koka, which is identical with the Kama Shastra, or doctrines of love, and the words Koka Shastra and Kama Shastra are used indiscriminately.

The work contains nearly eight hundred verses, and is divided into ten chapters, which are called Pachivedas. Some of the things treated of in this work are not to be found in the Vatsyayana, such as the four classes of women, the Padmini, Chitrini, Shankini and Hastini, as also the enumeration of the days and hours on which the women of the different classes become subject to love, The author adds that he wrote these things from the opinions of Gonikaputra and Nandikeshwara, both of whom are mentioned by Vatsyayana, but their works are not now extant. It is difficult to give any approximate idea as to the year in which the work was composed. It is only to be presumed that it was written after that of Vatsyayana, and previous to the other works on this subject that are still extant. Vatsyayana gives the names of ten authors on the subject, all of whose works he had consulted, but none of which are extant, and does not mention this one. This would tend to show that Kukkoka wrote after Vatsya, otherwise Vatsya would assuredly have mentioned him as an author in this branch of literature along with the others.

The author of the `Five Arrows’ was one Jyotirisha. He is called the chief ornament of poets, the treasure of the sixty-four arts, and the best teacher of the rules of music. He says that he composed the work after reflecting on the aphorisms of love as revealed by the gods, and studying the opinions of Gonikaputra, Muladeva, Babhravya, Ramtideva, Nundikeshwara and Kshemandra. It is impossible to say whether he had perused all the works of these authors, or had only heard about them; anyhow, none of them appear to be in existence now. This work contains nearly six hundred verses, and is divided into five chapters, called Sayakas or Arrows.

The author of the `Light of Love’ was the poet Gunakara, the son of Vechapati. The work contains four hundred verses, and gives only a short account of the doctrines of love, dealing more with other matters.

`The Garland of Love’ is the work of the famous poet Jayadeva, who said about himself that he is a writer on all subjects. This treatise is, however, very short, containing only one hundred and twenty-five verses.

The author of the `Sprout of Love’ was a poet called Bhanudatta. It appears from the last verse of the manuscript that he was a resident of the province of Tirhoot, and son of a Brahman named Ganeshwar, who was also a poet. The work, written in Sanscrit, gives the descriptions of different classes of men and women, their classes being made out from their age, description, conduct, etc. It contains three chapters, and its date is not known, and cannot be ascertained.

`The Stage of Love’ was composed by the poet Kullianmull, for the amusement of Ladkhan, the son of Ahmed Lodi, the same Ladkhan being in some places spoken of as Ladana Mull, and in others as Ladanaballa. He is supposed to have been a relation or connection of the house of Lodi, which reigned in Hindostan from A.D. 1450-1526. The work would, therefore, have been written in the fifteenth or sixteenth century. It contains ten chapters, and has been translated into English but only six copies were printed for private circulation. This is supposed to be the latest of the Sanscrit works on the subject, and the ideas in it were evidently taken from previous writings of the same nature.

The contents of these works are in themselves a literary curiosity. There are to be found both in Sanscrit poetry and in the Sanscrit drama a certain amount of poetical sentiment and romance, which have, in every country and in every language, thrown an immortal halo round the subject. But here it is treated in a plain, simple, matter of fact sort of way. Men and women are divided into classes and divisions in the same way that Buffon and other writers on natural history have classified and divided the animal world. As Venus was represented by the Greeks to stand forth as the type of the beauty of woman, so the Hindoos describe the Padmini or Lotus woman as the type of most perfect feminine excellence, as follows:

She in whom the following signs and symptoms appear is called a Padmini. Her face is pleasing as the full moon; her body, well clothed with flesh, is soft as the Shiras or mustard flower, her skin is fine, tender and fair as the yellow lotus, never dark coloured. Her eyes are bright and beautiful as the orbs of the fawn, well cut, and with reddish corners. Her bosom is hard, full and high; she has a good neck; her nose is straight and lovely, and three folds or wrinkles cross her middle – about the umbilical region. Her yoni resembles the opening lotus bud, and her love seed (Kama salila) is perfumed like the lily that has newly burst. She walks with swan-like gait, and her voice is low and musical as the note of the Kokila bird, she delights in white raiments, in fine jewels, and in rich dresses. She eats little, sleeps lightly, and being as respectful and religious as she is clever and courteous, she is ever anxious to worship the gods, and to enjoy the conversation of Brahmans. Such, then, is the Padmini or Lotus woman.

Detailed descriptions then follow of the Chitrini or Art woman; the Shankhini or Conch woman, and the Hastini or Elephant woman, their days of enjoyment, their various seats of passion, the manner in which they should be manipulated and treated in sexual intercourse, along with the characteristics of the men and women of the various countries in Hindostan. The details are so numerous, and the subjects so seriously dealt with, and at such length, that neitINTRODUCTION

IT may be interesting to some persons to learn how it came about that Vatsyayana was first brought to light and translated into the English language. It happened thus. While translating with the pundits the `Anunga Runga, or the stage of love’, reference was frequently found to be made to one Vatsya. The sage Vatsya was of this opinion, or of that opinion. The sage Vatsya said this, and so on. Naturally questions were asked who the sage was, and the pundits replied that Vatsya was the author of the standard work on love in Sanscrit literature, that no Sanscrit library was complete without his work, and that it was most difficult now to obtain in its entire state. The copy of the manuscript obtained in Bombay was defective, and so the pundits wrote to Benares, Calcutta and Jeypoor for copies of the manuscript from Sanscrit libraries in those places. Copies having been obtained, they were then compared with each other, and with the aid of a Commentary called `Jayamangla’ a revised copy of the entire manuscript was prepared, and from this copy the English translation was made. The following is the certificate of the chief pundit:

`The accompanying manuscript is corrected by me after comparing four different copies of the work. I had the assistance of a Commentary called “Jayamangla” for correcting the portion in the first five parts, but found great difficulty in correcting the remaining portion, because, with the exception of one copy thereof which was tolerably correct, all the other copies I had were far too incorrect. However, I took that portion as correct in which the majority of the copies agreed with each other.’

The `Aphorisms on Love’ by Vatsyayana contain about one thousand two hundred and fifty slokas or verses, and are divided into parts, parts into chapters, and chapters into paragraphs. The whole consists of seven parts, thirty-six chapters, and sixty-four paragraphs. Hardly anything is known about the author. His real name is supposed to be Mallinaga or Mrillana, Vatsyayana being his family name. At the close of the work this is what he writes about himself:

`After reading and considering the works of Babhravya and other ancient authors, and thinking over the meaning of the rules given by them, this treatise was composed, according to the precepts of the Holy Writ, for the benefit of the world, by Vatsyayana, while leading the life of a religious student at Benares, and wholly engaged in the contemplation of the Deity. This work is not to be used merely as an instrument for satisfying our desires. A person acquainted with the true principles of this science, who preserves his Dharma (virtue or religious merit), his Artha (worldly wealth) and his Kama (pleasure or sensual gratification), and who has regard to the customs of the people, is sure to obtain the mastery over his senses. In short, an intelligent and knowing person attending to Dharma and Artha and also to Kama, without becoming the slave of his passions, will obtain success in everything that he may do.’

It is impossible to fix the exact date either of the life of Vatsyayana or of his work. It is supposed that he must have lived between the first and sixth century of the Christian era, on the following grounds. He mentions that Satakarni Satavahana, a king of Kuntal, killed Malayevati his wife with an instrument called kartari by striking her in the passion of love, and Vatsya quotes this case to warn people of the danger arising from some old customs of striking women when under the influence of this passion. Now this king of Kuntal is believed to have lived and reigned during the first century A.D., and consequently Vatsya must have lived after him. On the other hand, Virahamihira, in the eighteenth chapter of his `Brihatsanhita’, treats of the science of love, and appears to have borrowed largely from Vatsyayana on the subject. Now Virahamihira is said to have lived during the sixth century A.D., and as Vatsya must have written his works previously, therefore not earlier than the first century A.D., and not later than the sixth century A.D., must be considered as the approximate date of his existence.

On the text of the `Aphorisms on Love’, by Vatsyayana, only two commentaries have been found. One called `Jayamangla’ or `Sutrabashya’, and the other `Sutra vritti’. The date of the `Jayamangla’ is fixed between the tenth and thirteenth century A.D., because while treating of the sixty-four arts an example is taken from the `Kavyaprakasha’ which was written about the tenth century A.D. Again, the copy of the commentary procured was evidently a transcript of a manuscript which once had a place in the library of a Chaulukyan king named Vishaladeva, a fact elicited from the following sentence at the end of it.

`Here ends the part relating to the art of love in the commentary on the “Vatsyayana Kama Sutra”, a copy from the library of the king of kings, Vishaladeva, who was a powerful hero, as it were a second Arjuna, and head jewel of the Chaulukya family.’

Now it is well known that this king ruled in Guzerat from 1244 to 1262 A.D., and founded a city called Visalnagur. The date, therefore, of the commentary is taken to be not earlier than the tenth and not later than the thirteenth century. The author of it is supposed to be one Yashodhara, the name given him by his preceptor being Indrapada. He seems to have written it during the time of affliction caused by his separation from a clever and shrewd woman, at least that is what lie himself says at the end of each chapter. It is presumed that he called his work after the name of his absent mistress, or the word may have some connection with the meaning of her name.

This commentary was most useful in explaining the true meaning of Vatsyayana, for the commentator appears to have had a considerable knowledge of the times of the older author, and gives in some places very minute information. This cannot be said of the other commentary, called `Sutra vritti’, which was written about A.D. 1789, by Narsing Shastri, a pupil of a Sarveshwar Shastri; the latter was a descendant of Bhaskur, and so also was our author, for at the conclusion of every part he calls himself Bhaskur Narsing Shastri. He was induced to write the work by order of the learned Raja Vrijalala, while he was residing in Benares, but as to the merits of this commentary it does not deserve much commendation. In many cases the writer does not appear to have understood the meaning of the original author, and has changed the text in many places to fit in with his own explanations.

A complete translation of the original work now follows. It has been prepared in complete accordance with the text of the manuscript, and is given, without further comments, as made from it.

her time nor space will permit of their being given here.

One work in the English language is somewhat similar to these works of the Hindoos. It is called `Kalogynomia: or the Laws of Female Beauty’, being the elementary principles of that science, by T. Bell, M.D., with twenty-four plates, and printed in London in 1821. It treats of Beauty, of Love, of Sexual Intercourse, of the Laws regulating that Intercourse, of Monogamy and Polygamy, of Prostitution, of Infidelity, ending with a catalogue raisonn?e of the defects of female beauty.

Other works in English also enter into great details of private and domestic life: The Elements of Social Science, or Physical, Sexual and Natural Religion, by a Doctor of Medicine, London, 1880, and Every Woman’s Book, by Dr Waters, 1826. To persons interested in the above subjects these works will be found to contain such details as have been seldom before published, and which ought to be thoroughly understood by all philanthropists and benefactors of society.

After a perusal of the Hindoo work, and of the English books above mentioned, the reader will understand the subject, at all events from a materialistic, realistic and practical point of view. If all science is founded more or less on a stratum of facts, there can be no harm in making known to mankind generally certain matters intimately connected with their private, domestic, and social life.

Alas! complete ignorance of them has unfortunately wrecked many a man and many a woman, while a little knowledge of a subject generally ignored by the masses would have enabled numbers of people to have understood many things which they believed to be quite incomprehensible, or which were not thought worthy of their consideration.

CHAPTER 1

PREFACE

Salutation to Dharma, Artha and Kama

IN the beginning, the Lord of Beings created men and women, and in the form of commandments in one hundred thousand chapters laid down rules for regulating their existence with regard to Dharma,1 Artha,2 and Kama.3 Some of these commandments, namely those which treated of Dharma, were separately written by Swayambhu Manu; those that related to Artha were compiled by Brihaspati; and those that referred to Kama were expounded by Nandi, the follower of Mahadeva, in one thousand chapters.

Now these `Kama Sutra’ (Aphorisms on Love), written by Nandi in one thousand chapters, were reproduced by Shvetaketu, the son of Uddvalaka, in an abbreviated form in five hundred chapters, and this work was again similarly reproduced in an abridged form, in one hundred and fifty chapters, by Babhravya, an inheritant of the Punchala (South of Delhi) country. These one hundred and fifty chapters were then put together under seven heads or parts named severally

1. Sadharana (general topics)

2. Samprayogika (embraces, etc.)

3. Kanya Samprayuktaka (union of males and females)

4. Bharyadhikarika (on one’s own wife)

5. Paradika (on the wives of other people)

6. Vaisika (on courtesans)

7. Aupamishadika (on the arts of seduction, tonic medicines, etc.)

The sixth part of this last work was separately expounded by Dattaka at the request of the public women of Pataliputra (Patna), and in the same way Charayana explained the first part of it. The remaining parts, viz. the second, third, fourth, fifth, and seventh, were each separately expounded by

Suvarnanabha (second part)

Ghotakamukha (third part)

Gonardiya (fourth part)

Gonikaputra (fifth part)

Kuchumara (seventh part), respectively.

Thus the work being written in parts by different authors was almost unobtainable and, as the parts which were expounded by Dattaka and the others treated only of the particular branches of the subject to which each part related, and moreover as the original work of Babhravya was difficult to be mastered on account of its length, Vatsyayana, therefore, composed his work in a small volume as an abstract of the whole of the works of the above named authors.

PART I: INTRODUCTORY

1. Preface

2. Observations on the three worldly attainments of Virtue, Wealth, and Love

3. On the study of the Sixty-four Arts

4. On the Arrangements of a House, and Household Furniture; and about the Daily Life of a Citizen, his Companions, Amusements, etc.

5. About classes of Women fit and unfit for Congress with the Citizen, and of Friends, and Messengers

PART II: ON SEXUAL UNION

1. Kinds of Union according to Dimensions, Force of Desire, and Time; and on the different kinds of Love

2. Of the Embrace

3. On Kissing

4. On Pressing or Marking with the Nails

5. On Biting, and the ways of Love to be employed with regard to Women of different countries

6. On the various ways of Lying down, and the different kinds of Congress

7. On the various ways of Striking, and of the Sounds appropriate to them

8. About females acting the part of Males

9. On holding the Lingam in the Mouth

10. How to begin and how to end the Congress. Different kinds of Congress, and Love Quarrels

PART III: ABOUT THE ACQUISITION OF A WIFE

1. Observations on Betrothal and Marriage

2. About creating Confidence in the Girl

3. Courtship, and the manifestation of the feelings by outward signs and deeds

4. On things to be done only by the Man, and the acquisition of the Girl thereby. Also what is to be done by a Girl to gain over a Man and subject him to her

5. On the different Forms of Marriage

PART IV: ABOUT A WIFE

1. On the manner of living of a virtuous Woman, and of her behaviour during the absence of her Husband

2. On the conduct of the eldest Wife towards the other Wives of her Husband, and of the younger Wife towards the elder ones. Also on the conduct of a Virgin Widow remarried; of a Wife disliked by her Husband; of the Women in the King’s Harem; and of a Husband who has more than one Wife

PART V: ABOUT THE WIVES OF OTHER PEOPLE

1. On the Characteristics of Men and Women, and the reason why Women reject the Addresses of Men. About Men who have Success with Women, and about Women who are easily gained over

2. About making Acquaintance with the Woman, and of the efforts to gain her over

3. Examination of the State of a Woman’s mind

4. The Business of a Go-Between

5. On the Love of Persons in authority with the Wives of other People

6. About the Women of the Royal Harem, and of the keeping of one’s own Wife

PART VI: ABOUT COURTESANS

1. Of the Causes of a Courtesan resorting to Men; of the means of Attaching to herself the Man desired, and the kind of Man that it is desirable to be acquainted with

2. Of a Courtesan living with a Man as his Wife

3. Of the Means of getting Money; of the Signs of a Lover who is beginning to be Weary, and of the way to get rid of him

4. About a Reunion with a former Lover

5. Of different kinds of Gain

6. Of Gains and Losses, attendant Gains and Losses, and Doubts; and lastly, the different kinds of Courtesans

PART VII: ON THE MEANS OF ATTRACTING OTHERS TO ONE’S SELF

1. On Personal Adornment, subjugating the hearts of others, and of tonic medicines

2. Of the means of exciting Desire, and of the ways of enlarging the Lingam. Miscellaneous Experiments and Receipts

Footnotes

1

Dharma is acquisition of religious merit, and is fully described in Chapter 5, volume III, of Talboys Wheeler’s History of India, and in the edicts of Asoka.

2

Artha is acquisition of wealth and property, etc.

3

Kama is love, pleasure and sensual gratification. These three words are retained throughout in their original, as technical terms. They may also be defined as virtue, wealth and pleasure, the three things repeatedly spoken of in the Laws of Manu.

CHAPTER 2

ON THE ACQUISITION OF DHARMA, ARTHA AND KAMA

MAN, the period of whose life is one hundred years, should practise Dharma, Artha and Kama at different times and in such a manner that they may harmonize together and not clash in any way. He should acquire learning in his childhood, in his youth and middle age he should attend to Artha and Kama, and in his old age he should perform Dharma, and thus seek to gain Moksha, i.e. release from further transmigration. Or, on account of the uncertainty of life, he may practise them at times when they are enjoined to be practised. But one thing is to be noted, he should lead the life of a religious student until he finishes his education.

Dharma is obedience to the command of the Shastra or Holy Writ of the Hindoos to do certain things, such as the performance of sacrifices, which are not generally done, because they do not belong to this world, and produce no visible effect; and not to do other things, such as eating meat, which is often done because it belongs to this world, and has visible effects.

Dharma should be learnt from the Shruti (Holy Writ), and from those conversant with it.

Artha is the acquisition of arts, land, gold, cattle, wealth, equipages and friends. It is, further, the protection of what is acquired, and the increase of what is protected.

Artha should be learnt from the king’s officers, and from merchants who may be versed in the ways of commerce.

Kama is the enjoyment of appropriate objects by the five senses of hearing, feeling, seeing, tasting and smelling, assisted by the mind together with the soul. The ingredient in this is a peculiar contact between the organ of sense and its object, and the consciousness of pleasure which arises from that contact is called Kama.

Kama is to be learnt from the Kama Sutra (aphorisms on love) and from the practice of citizens.

When all the three, viz. Dharma, Artha and Kama, come together, the former is better than the one which follows it, i.e. Dharma is better than Artha, and Artha is better than Kama. But Artha should always be first practised by the king for the livelihood of men is to be obtained from it only. Again, Kama being the occupation of public women, they should prefer it to the other two, and these are exceptions to the general rule.

Objection 1

Some learned men say that as Dharma is connected with things not belonging to this world, it is appropriately treated of in a book; and so also is Artha, because it is practised only by the application of proper means, and a knowledge of those means can only be obtained by study and from books. But Kama being a thing which is practised even by the brute creation, and which is to be found everywhere, does not want any work on the subject.

Answer

This is not so. Sexual intercourse being a thing dependent on man and woman requires the application of proper means by them, and those means are to be learnt from the Kama Shastra. The non-application of proper means, which we see in the brute creation, is caused by their being unrestrained, and by the females among them only being fit for sexual intercourse at certain seasons and no more, and by their intercourse not being preceded by thought of any kind.

Objection 2

The Lokayatikas1 say: Religious ordinances should not be observed, for they bear a future fruit, and at the same time it is also doubtful whether they will bear any fruit at all. What foolish person will give away that which is in his own hands into the hands of another? Moreover, it is better to have a pigeon today than a peacock tomorrow; and a copper coin which we have the certainty of obtaining, is better than a gold coin, the possession of which is doubtful.

Answer

It is not so. 1st. Holy Writ, which ordains the practice of Dharma, does not admit of a doubt.

2nd. Sacrifices such as those made for the destruction of enemies, or for the fall of rain, are seen to bear fruit.

3rd. The sun, moon, stars, planets and other heavenly bodies appear to work intentionally for the good of the world.

4th. the existence of this world is effected by the observance of the rules respecting the four classes of men and their four stages of life.2

5th. We see that seed is thrown into the ground with the hope of future crops.

Vatsyayana is therefore of opinion that the ordinances of religion must be obeyed.

Objection 3

Those who believe that destiny is the prime mover of all things say: We should not exert ourselves to acquire wealth, for sometimes it is not acquired although we strive to get it, while at other times it comes to us of itself without any exertion on our part. Everything is therefore in the power of destiny, who is the lord of gain and loss, of success and defeat, of pleasure and pain. Thus we see that Bali3 was raised to the throne of Indra by destiny, and was also put down by the same power, and it is destiny only that call reinstate him.

Answer

It is not right to say so. As the acquisition of every object presupposes at all events some exertion on the part of man, the application of proper means may be said to be the cause of gaining all our ends, and this application of proper means being thus necessary (even where a thing is destined to happen), it follows that a person who does nothing will enjoy no happiness.

Objection 4

Those who are inclined to think that Artha is the chief object to be obtained argue thus. Pleasures should not be sought for, because they are obstacles to the practice of Dharma and Artha, which are both superior to them, and are also disliked by meritorious persons. Pleasures also bring a man into distress, and into contact with low persons; they cause him to commit unrighteous deeds, and produce impurity in him; they make him regardless of the future, and encourage carelessness and levity. And lastly, they cause him to be disbelieved by all, received by none, and despised by everybody, including himself. It is notorious, moreover, that many men who have given themselves up to pleasure alone, have been ruined along with their families and relations. Thus, king Dandakya, of the Bhoja dynasty, carried off a Brahman’s daughter with evil intent, and was eventually ruined and lost his kingdom. Indra, too, having violated the chastity of Ahalya, was made to suffer for it. In a like manner the mighty Kichaka, who tried to seduce Draupadi, and Ravana, who attempted to gain over Sita, were punished for their crimes. These and many others fell by reason of their pleasures.4

Answer

This objection cannot be sustained, for pleasures, being as necessary for the existence and well being of the body as food, are consequently equally required. They are, moreover, the results of Dharma and Artha. Pleasures are, therefore, to be followed with moderation and caution. No one refrains from cooking food because there are beggars to ask for it, or from sowing seed because there are deer to destroy the corn when it is grown up.

Thus a man practising Dharma, Artha and Kama enjoys happiness both in this world and in the world to come. The good perform those actions in which there is no fear as to what is to result from them in the next world, and in which there is no danger to their welfare. Any action which conduces to the practice of Dharma, Artha and Kama together, or of any two, or even one of them, should be performed, but an action which conduces to the practice of one of them at the expense of the remaining two should not be performed.

Footnotes

1

These were certainly materialists who seemed to think that a bird in the hand was worth two in the bush.

2

Among the Hindoos the four classes of men are the Brahmans or priestly class, the Kshutrya or warlike class, the Vaishya or agricultural and mercantile class, and the Shoodra or menial class. The four stages of life are, the life of a religious student, the life of a householder, the life of a hermit, and the life of a Sunyasi or devotee.

3

Bali was a demon who had conquered Indra and gained his throne, but was afterwards overcome by Vishnu at the time of his fifth incarnation.

4

Dandakya is said to have abducted from the forest the daughter of a Brahman, named Bhargava, and, being cursed by the Brahman, was buried with his kingdom under a shower of dust. The place was called after his name the Dandaka forest, celebrated in the Bamayana, but now unknown.

Ahalya was the wife of the sage Gautama. Indra caused her to believe that he was Gautama, and thus enjoyed her. He was cursed by Gautama and subsequently afflicted with a thousand ulcers on his body.

Kichaka was the brother-in-law of King Virata, with whom the Pandavas had taken refuge for one year. Kichaka was killed by Bhima, who assumed the disguise of Draupadi. For this story the Mahabarata should be referred to.

The story of Ravana is told in the Ramayana, which with the Mahabarata form the two great epic poems of the Hindoos; the latter was written by Vyasa, and the former by Valmiki.

CHAPTER 3

ON THE ARTS AND SCIENCES TO BE STUDIED

MAN should study the Kama Sutra and the arts and sciences subordinate thereto, in addition to the study of the arts and sciences contained in Dharma and Artha. Even young maids should study this Kama Sutra along with its arts and sciences before marriage, and after it they should continue to do so with the consent of their husbands.

Here some learned men object, and say that females, not being allowed to study any science, should not study the Kama Sutra.

But Vatsyayana is of opinion that this objection does not hold good, for women already know the practice of Kama Sutra, and that practice is derived from the Kama Shastra, or the science of Kama itself. Moreover, it is not only in this but in many other cases that, though the practice of a science is known to all, only a few persons are acquainted with the rules and laws on which the science is based. Thus the Yadnikas or sacrificers, though ignorant of grammar, make use of appropriate words when addressing the different Deities, and do not know how these words are framed. Again, persons do the duties required of them on auspicious days, which are fixed by astrology, though they are not acquainted with the science of astrology. In a like manner riders of horses and elephants train these animals without knowing the science of training animals, but from practice only. And similarly the people of the most distant provinces obey the laws of the kingdom from practice, and because there is a king over them, and without further reason.1 And from experience we find that some women, such as daughters of princes and their ministers, and public women, are actually versed in the Kama Shastra.

A female, therefore, should learn the Kama Shastra, or at least a part of it, by studying its practice from some confidential friend. She should study alone in private the sixty-four practices that form a part of the Kama Shastra. Her teacher should be one of the following persons: the daughter of a nurse brought up with her and already married,2 or a female friend who can be trusted in everything, or the sister of her mother (i.e. her aunt), or an old female servant, or a female beggar who may have formerly lived in the family, or her own sister who can always be trusted.

The following are the arts to be studied, together with the Kama Sutra:

 Singing

 Playing on musical instruments

 Dancing

 Union of dancing, singing, and playing instrumental music

 Writing and drawing

 Tattooing

 Arraying and adorning an idol with rice and flowers

 Spreading and arranging beds or couches of flowers, or flowers upon the ground

 Colouring the teeth, garments, hair, nails and bodies, i.e. staining, dyeing, colouring and painting the same

 Fixing stained glass into a floor

 The art of making beds, and spreading out carpets and cushions for reclining

 Playing on musical glasses filled with water

 Storing and accumulating water in aqueducts, cisterns and reservoirs

 Picture making, trimming and decorating

 Stringing of rosaries, necklaces, garlands and wreaths

 Binding of turbans and chaplets, and making crests and top-knots of flowers

 Scenic representations, stage playing Art of making ear ornaments Art of preparing perfumes and odours

 Proper disposition of jewels and decorations, and adornment in dress

 Magic or sorcery

 Quickness of hand or manual skill

 Culinary art, i.e. cooking and cookery

 Making lemonades, sherbets, acidulated drinks, and spirituous extracts with proper flavour and colour

 Tailor’s work and sewing

 Making parrots, flowers, tufts, tassels, bunches, bosses, knobs, etc., out of yarn or thread

 Solution of riddles, enigmas, covert speeches, verbal puzzles and enigmatical questions

 A game, which consisted in repeating verses, and as one person finished, another person had to commence at once, repeating another verse, beginning with the same letter with which the last speaker’s verse ended, whoever failed to repeat was considered to have lost, and to be subject to pay a forfeit or stake of some kind

 The art of mimicry or imitation

 Reading, including chanting and intoning

 Study of sentences difficult to pronounce. It is played as a game chiefly by women, and children and consists of a difficult sentence being given, and when repeated quickly, the words are often transposed or badly pronounced

 Practice with sword, single stick, quarter staff and bow and arrow

 Drawing inferences, reasoning or inferring

 Carpentry, or the work of a carpenter

 Architecture, or the art of building

 Knowledge about gold and silver coins, and jewels and gems

 Chemistry and mineralogy

 Colouring jewels, gems and beads

 Knowledge of mines and quarries

 Gardening; knowledge of treating the diseases of trees and plants, of nourishing them, and determining their ages

 Art of cock fighting, quail fighting and ram fighting

 Art of teaching parrots and starlings to speak

 Art of applying perfumed ointments to the body, and of dressing the hair with unguents and perfumes and braiding it

 The art of understanding writing in cypher, and the writing of words in a peculiar way

 The art of speaking by changing the forms of words. It is of various kinds. Some speak by changing the beginning and end of words, others by adding unnecessary letters between every syllable of a word, and so on

 Knowledge of language and of the vernacular dialects

 Art of making flower carriages

 Art of framing mystical diagrams, of addressing spells and charms, and binding armlets

 Mental exercises, such as completing stanzas or verses on receiving a part of them; or supplying one, two or three lines when the remaining lines are given indiscriminately from different verses, so as to make the whole an entire verse with regard to its meaning; or arranging the words of a verse written irregularly by separating the vowels from the consonants, or leaving them out altogether; or putting into verse or prose sentences represented by signs or symbols. There are many other such exercises.

 Composing poems

 Knowledge of dictionaries and vocabularies

 Knowledge of ways of changing and disguising the appearance of persons

 Knowledge of the art of changing the appearance of things, such as making cotton to appear as silk, coarse and common things to appear as fine and good

 Various ways of gambling

 Art of obtaining possession of the property of others by means of muntras or incantations

 Skill in youthful sports

 Knowledge of the rules of society, and of how to pay respect and compliments to others

 Knowledge of the art of war, of arms, of armies, etc.

 Knowledge of gymnastics

 Art of knowing the character of a man from his features

 Knowledge of scanning or constructing verses

 Arithmetical recreations

 Making artificial flowers

 Making figures and images in clay

A public woman, endowed with a good disposition, beauty and other winning qualities, and also versed in the above arts, obtains the name of a Ganika, or public woman of high quality, and receives a seat of honour in an assemblage of men. She is, moreover, always respected by the king, and praised by learned men, and her favour being sought for by all, she becomes an object of universal regard. The daughter of a king too as well as the daughter of a minister, being learned in the above arts, can make their husbands favourable to them, even though these may have thousands of other wives besides themselves. And in the same manner, if a wife becomes separated from her husband, and falls into distress, she can support herself easily, even in a foreign country, by means of her knowledge of these arts. Even the bare knowledge of them gives attractiveness to a woman, though the practice of them may be only possible or otherwise according to the circumstances of each case. A man who is versed in these arts, who is loquacious and acquainted with the arts of gallantry, gains very soon the hearts of women, even though he is only acquainted with them for a short time.

Footnotes

1

The author wishes to prove that a great many things are done by people from practice and custom, without their being acquainted with the reason of things, or the laws on which they are based, and this is perfectly true.

2

The proviso of being married applies to all the teachers.

CHAPTER 4

THE LIFE OF A CITIZEN

HAVING thus acquired learning, a man, with the wealth that he may have gained by gift, conquest, purchase, deposit,1 or inheritance from his ancestors, should become a householder, and pass the life of a citizen.2 He should take a house in a city, or large village, or in the vicinity of good men, or in a place which is the resort of many persons. This abode should be situated near some water, and divided into different compartments for different purposes. It should be surrounded by a garden, and also contain two rooms, an outer and an inner one. The inner room should be occupied by the females, while the outer room, balmy with rich perfumes, should contain a bed, soft, agreeable to the sight, covered with a clean white cloth, low in the middle part, having garlands and bunches of flowers3 upon it, and a canopy above it, and two pillows, one at the top, another at the bottom. There should be also a sort of couch besides, and at the head of this a sort of stool, on which should be placed the fragrant ointments for the night, as well as flowers, pots containing collyrium and other fragrant substances, things used for perfuming the mouth, and the bark of the common citron tree. Near the couch, on the ground, there should be a pot for spitting, a box containing ornaments, and also a lute hanging from a peg made of the tooth of an elephant, a board for drawing, a pot containing perfume, some books, and some garlands of the yellow amaranth flowers. Not far from the couch, and on the ground, there should be a round seat, a toy cart, and a board for playing with dice; outside the outer room there should be cages of birds,4 and a separate place for spinning, carving and such like diversions. In the garden there should be a whirling swing and a common swing, as also a bower of creepers covered with flowers, in which a raised parterre should be made for sitting.

Now the householder, having got up in the morning and performed his necessary duties,5 should wash his teeth, apply a limited quantity of ointments and perfumes to his body, put some ornaments on his person and collyrium on his eyelids and below his eyes, colour his lips with alacktaka,6 and look at himself in the glass. Having then eaten betel leaves, with other things that give fragrance to the mouth, he should perform his usual business. He should bathe daily, anoint his body with oil every other day, apply a lathering substance7 to his body every three days, get his head (including face) shaved every four days and the other parts of his body every five or ten days.8 All these things should be done without fail, and the sweat of the armpits should also be removed. Meals should be taken in the forenoon, in the afternoon, and again at night, according to Charayana. After breakfast, parrots and other birds should be taught to speak, and the fighting of cocks, quails, and rams should follow. A limited time should be devoted to diversions with Pithamardas, Vitas, and Vidushakas,9 and then should be taken the midday sleep.10 After this the householder, having put on his clothes and ornaments, should, during the afternoon, converse with his friends. In the evening there should be singing, and after that the householder, along with his friend, should await in his room, previously decorated and perfumed, the arrival of the woman that may be attached to him, or he may send a female messenger for her, or go for her himself. After her arrival at his house, he and his friend should welcome her, and entertain her with a loving and agreeable conversation. Thus end the duties of the day.

The following are the things to be done occasionally as diversions or amusements:

 Holding festivals11 in honour of different Deities

 Social gatherings of both sexes

 Drinking parties

 Picnics

 Other social diversions

Festivals

On some particular auspicious day, an assembly of citizens should be convened in the temple of Saraswati.12 There the skill of singers, and of others who may have come recently to the town, should be tested, and on the following day they should always be given some rewards. After that they may either be retained or dismissed, according as their performances are liked or not by the assembly. The members of the assembly should act in concert, both in times of distress as well as in times of prosperity, and it is also the duty of these citizens to show hospitality to strangers who may have come to the assembly. What is said above should be understood to apply to all the other festivals which may be held in honour of the different Deities, according to the present rules.

Social Gatherings

When men of the same age, disposition and talents, fond of the same diversions and with the same degree of education, sit together in company with public women,13 or in an assembly of citizens, or at the abode of one among themselves, and engage in agreeable discourse with each other, such is called a Sitting in company or a social gathering. The subjects of discourse are to be the completion of verses half composed by others, and the testing the knowledge of one another in the various arts. The women who may be the most beautiful, who may like the same things that the men like, and who may have power to attract the minds of others, are here done homage to.

Drinking Parties

Men and women should drink in one another’s houses. And here the men should cause the public women to drink, and should then drink themselves, liquors such as the Madhu, Aireya, Sara and Asawa, which are of bitter and sour taste; also drinks concocted from the barks of various trees, wild fruits and leaves.

Going to Gardens or Picnics

In the forenoon, men having dressed themselves should go to gardens on horseback, accompanied by public women and followed by servants. And having done there all the duties of the day, and passed the time in various agreeable diversions, such as the fighting of quails, cocks and rams, and other spectacles, they should return home in the afternoon in the same manner, bringing with them bunches of flowers, etc.

The same also applies to bathing in summer in water from which wicked or dangerous animals have previously been taken out, and which has been built in on all sides.

Other Social Diversions

Spending nights playing with dice. Going out on moonlight nights. Keeping the festive day in honour of spring. Plucking the sprouts and fruits of the mango trees. Eating the fibres of lotuses. Eating the tender ears of corn. Picnicing in the forests when the trees get their new foliage. The Udakakashvedika or sporting in the water. Decorating each other with the flowers of some trees. Pelting each other with the flowers of the Kadamba tree, and many other sports which may either be known to the whole country, or may be peculiar to particular parts of it. These and similar other amusements should always be carried on by citizens.

The above amusements should be followed by a person who diverts himself alone in company with a courtesan, as well as by a courtesan who can do the same in company with her maid servants or with citizens.

A Pithamarda14 is a man without wealth, alone in the world, whose only property consists of his Mallika,15 some lathering substance and a red cloth, who comes from a good country, and who is skilled in all the arts; and by teaching these arts is received in the company of citizens, and in the abode of public women.

A Vita16 is a man who has enjoyed the pleasures of fortune, who is a compatriot of the citizens with whom he associates, who is possessed of the qualities of a houseliolder, who has his wife with him, and who is honoured in the assembly of citizens and in the abodes of public women, and lives on their means and on them. A Vidushaka17 (also called a Vaihasaka, i.e. one who provokes laughter) is a person only acquainted with some of the arts, who is a jester, and who is trusted by all.

These persons are employed in matters of quarrels and reconciliations between citizens and public women.

This remark applies also to female beggars, to women with their heads shaved, to adulterous women, and to public women skilled in all the various arts.

Thus a citizen living in his town or village, respected by all, should call on the persons of his own caste who may be worth knowing. He should converse in company and gratify his friends by his society, and obliging others by his assistance in various matters, he should cause them to assist one another in the same way.

There are some verses on this subject as follows:

`A citizen discoursing, not entirely in the Sanscrit language,18 nor wholly in the dialects of the country, on various topics in society, obtains great respect. The wise should not resort to a society disliked by the public, governed by no rules, and intent on the destruction of others. But a learned man living in a society which acts according to the wishes of the people, and which has pleasure for its only object is highly respected in this world.’

Footnotes

1

Gift is peculiar to a Brahman, conquest to a Kshatrya, while purchase, deposit, and other means of acquiring wealth belongs to the Vaishya.

2

This term would appear to apply generally to an inhabitant of Hindoostan. it is not meant only for a dweller in a city, like the Latin Urbanus as opposed to Rusticus.

3

Natural garden flowers.

4

Such as quails, partridges, parrots, starlings, etc.

5

The calls of nature are always performed by the Hindoos the first thing in the morning.

6

A colour made from lac.

7

This would act instead of soap, which was not introduced until the rule of the Mahomedans.

8

Ten days are allowed when the hair is taken out with a pair of pincers.

9

These are characters generally introduced in the Hindoo drama; their characteristics will be explained further on.

10

Noonday sleep is only allowed in summer, when the nights are short.

11

These are very common in all parts of India.

12

In the `Asiatic Miscellany’, and in Sir W. Jones’s works, will be found a spirited hymn addressed to this goddess, who is adored as the patroness of the fine arts, especially of music and rhetoric, as the inventress of the Sanscrit language, etc. etc. She is the goddess of harmony, eloquence and language, and is somewhat analogous to Minerva. For farther information about her, see Edward Moor’s Hindoo Pantheon.

13

The public women, or courtesans (Vesya), of the early Hindoos have often been compared with the Hetera of the Greeks. The subject is dealt with at some length in H. H. Wilson’s Select Specimens of the Theatre of the Hindoos, in two volumes, Trubner and Co., 1871. It may be fairly considered that the courtesan was one of the elements, and an important element too, of early Hindoo society, and that her education and intellect were both superior to that of the women of the household. Wilson says, `By the Vesya or courtesan, however, we are not to understand a female who has disregarded the obligation of law or the precepts of virtue, but a character reared by a state of manners unfriendly to the admission of wedded females into society, and opening it only at the expense of reputation to women who were trained for association with men by personal and mental acquirements to which the matron was a stranger.’

14

According to this description a Pithamarda would be a sort of professor of all the arts, and as such received as the friend and confidant of the citizen

15

A seat in the form of the letter T.

16

The Vita is supposed to represent somewhat the character of the Parasite of the Greek comedy. It is possible that he was retained about the person of the wealthy and dissipated as a kind of private instructor, as well as an entertaining companion.

17

Vidushaka is evidently the buffoon and jester. Wilson says of him that he is the humble companion, not the servant, of a prince or man of rank, and it is a curious peculiarity that he is always a Brahman. He bears more affinity to Sancho Panza, perhaps than any other character in western fiction, imitating him in his combination of shrewdness and simplicity, his fondness of good living and his love of ease. In the dramas of intrigue he exhibits some of the talents of Mercury, but with less activity and ingenuity, and occasionally suffers by his interference. According to the technical definition of his attributes he is to excite mirth by being ridiculous in person, age, and attire.

18

This means, it is presumed, that the citizen should be acquainted with several languages. The middle part of this paragraph might apply to the Nihilists and Fenians of the day, or to secret societies. It was perhaps a reference to the Thugs. CHAPTER 5

ABOUT THE KINDS OF WOMEN RESORTED TO BY THE CITIZENS, AND OF FRIENDS AND MESSENGERS

WHEN Kama is practised by men of the four castes according to the rules of the Holy Writ (i.e. by lawful marriage) with virgins of their own caste, it then becomes a means of acquiring lawful progeny and good fame, and it is not also opposed to the customs of the world. On the contrary the practice of Kama with women of the higher castes, and with those previously enjoyed by others, even though they be of the same caste, is prohibited. But the practice of Kama with women of the lower castes, with women excommunicated from their own caste, with public women, and with women twice married,1 is neither enjoined nor prohibited. The object of practising Kama with such women is pleasure only.

Nayikas,2 therefore, are of three kinds, viz. maids, women twice married, and public women. Gonikaputra has expressed an opinion that there is a fourth kind of Nayika, viz. a woman who is resorted to on some special occasion even though she be previously married to another. These special occasions are when a man thinks thus:

This woman is self-willed, and has been previously enjoyed by many others besides myself. I may, therefore, safely resort to her as to a public woman though she belongs to a higher caste than mine, and, in so doing, I shall not be violating the ordinances of Dharma.

Or thus:

This is a twice-married woman and has been enjoyed by others before me; there is, therefore, no objection to my resorting to her.

Or thus:

This woman has gained the heart of her great and powerful husband, and exercises a mastery over him, who is a friend of my enemy; if, therefore, she becomes united with me she will cause her husband to abandon my enemy.

Or thus:

This woman will turn the mind of her husband, who is very powerful, in my favour, he being at present disaffected towards me, and intent on doing me some harm.

Or thus:

By making this woman my friend I shall gain the object of some friend of mine, or shall be able to effect the ruin of some enemy, or shall accomplish some other difficult purpose.

Or thus:

By being united with this woman, I shall kill her husband, and so obtain his vast riches which I covet.

Or thus:

The union of this woman with me is not attended with any danger, and will bring me wealth, of which, on account of my poverty and inability to support myself, I am very much in need. I shall therefore obtain her vast riches in this way without any difficulty.

Or thus:

This woman loves me ardently, and knows all my weak points; if therefore, I am unwilling to be united with her, she will make my faults public, and thus tarnish my character and reputation. Or she will bring some gross accusation against me, of which it may be hard to clear myself, and I shall be ruined. Or perhaps she will detach from me her husband who is powerful, and yet under her control, and will unite him to my enemy, or will herself join the latter.

Or thus:

The husband of this woman has violated the chastity of my wives, I shall therefore return that injury by seducing his wives.

Or thus:

By the help of this woman I shall kill an enemy of the king, who has taken shelter with her, and whom I am ordered by the king to destroy.

Or thus:

The woman whom I love is under the control of this woman. I shall, through the influence of the latter, be able to get at the former.

Or thus:

This woman will bring to me a maid, who possesses wealth and beauty, but who is hard to get at, and under the control of another.

Or lastly thus:

My enemy is a friend of this woman’s husband, I shall therefore cause her to join him, and will thus create an enmity between her husband and him.

For these and similar other reasons the wives of other men may be resorted to, but it must be distinctly understood that is only allowed for special reasons, and not for mere carnal desire.

Charayana thinks that under these circumstances there is also a fifth kind of Nayika, viz. a woman who is kept by a minister, or who repairs to him occasionally; or a widow who accomplishes the purpose of a man with the person to whom she resorts.

Suvarnanabha adds that a woman who passes the life of an ascetic and in the condition of a widow may be considered as a sixth kind of Nayika.

Ghotakamukha says that the daughter of a public woman, and a female servant, who are still virgins, form a seventh kind of Nayika.

Gonardiya puts forth his doctrine that any woman born of good family, after she has come of age, is an eighth kind of Nayika.

But these four latter kinds of Nayikas do not differ much from the first four kinds of them, as there is no separate object in resorting to them. Therefore, Vatsyayana is of opinion that there are only four kinds of Nayikas, i.e. the maid, the twice-married woman, the public woman, and the woman resorted to for a special purpose.

The following women are not to be enjoyed:

 A leper

 A lunatic

 A woman turned out of caste

 A woman who reveals secrets

 A woman who publicly expresses desire for sexual intercourse

 A woman who is extremely white

 A woman who is extremely black

 A bad-smelling woman

 A woman who is a near relation

 A woman who is a female friend

 A woman who leads the life of an ascetic

 And, lastly the wife of a relation, of a friend, of a learned Brahman, and of the king

The followers of Babhravya say that any woman who has been enjoyed by five men is a fit and proper person to be enjoyed. But Gonikaputra is of opinion that even when this is the case, the wives of a relation, of a learned Brahman and of a king should be excepted.

The following are of the kind of friends:

 One who has played with you in the dust, i.e. in childhood

 One who is bound by an obligation

 One who is of the same disposition and fond of the same things

 One who is a fellow student

 One who is acquainted with your secrets and faults, and whose faults and secrets are also known to you

 One who is a child of your nurse

 One who is brought up with you one who is an hereditary friend

These friends should possess the following qualities:

 They should tell the truth

 They should not be changed by time

 They should be favourable to your designs

 They should be firm

 They should be free from covetousness

 They should not be capable of being gained over by others

 They should not reveal your secrets

Charayana says that citizens form friendship with washermen, barbers, cowherds, florists, druggists, betel-leaf sellers, tavern keepers, beggars, Pithamardas, Vitas and Vidushekas, as also with the wives of all these people.

A messenger should possess the following qualities:

 Skilfulness

 Boldness

 Knowledge of the intention of men by their outward signs

 Absence of confusion, i.e. no shyness

 Knowledge of the exact meaning of what others do or say

 Good manners

 Knowledge of appropriate times and places for doing different things

 Ingenuity in business

 Quick comprehension

 Quick application of remedies, i.e. quick and ready resources

And this part ends with a verse:

`The man who is ingenious and wise, who is accompanied by a friend, and who knows the intentions of others, as also the proper time and place for doing everything, can gain over, very easily, even a woman who is very hard to be obtained.’

Footnotes

1

This term does not apply to a widow, but to a woman who has probably left her husband, and is living with some other person as a married woman, maritalement, as they say in France.

2

Any woman fit to be enjoyed without sin. The object of the enjoyment of women is twofold, viz. pleasure and progeny. Any woman who can be enjoyed without sin for the purpose of accomplishing either the one or the other of these two objects is a Nayika. The fourth kind of Nayika which Vatsya admits further on is neither enjoyed for pleasure or for progeny, but merely for accomplishing some special purpose in hand. The word Nayika is retained as a technical term throughout.

CHAPTER I

KINDS OF SEXUAL UNION ACCORDING TO DIMENSIONS, FORCE OF DESIRE OR PASSION, TIME

Kind of Union

MAN is divided into three classes, viz. the hare man, the bull man, and the horse man, according to the size of his lingam.

Woman also, according to the depth of her yoni, is either a female deer, a mare, or a female elephant.

There are thus three equal unions between persons of corresponding dimensions, and there are six unequal unions, when the dimensions do not correspond, or nine in all, as the following table shows:

EQUAL UNEQUAL

MEN WOMEN MEN WOMEN

Hare Deer Hare Mare

Bull Mare Hare Elephant

Horse Elephant Bull Deer

Bull Elephant

Horse Deer

Horse Mare

In these unequal unions, when the male exceeds the female in point of size, his union with a woman who is immediately next to him in size is called high union, and is of two kinds; while his union with the woman most remote from his size is called the highest union, and is of one kind only. On the other hand, when the female exceeds the male in point of size, her union with a man immediately next to her in size is called low union, and is of two kinds; while her union with a man most remote from her in size is called the lowest union, and is of one kind only.

In other words, the horse and mare, the bull and deer, form the high union, while the horse and deer form the highest union. On the female side, the elephant and bull, the mare and hare, form low unions, while the elephant has and the hare make the lowest unions. There are, then, nine kinds of union according to dimensions. Amongst all these, equal unions are the best, those of a superlative degree, i.e. the highest and the lowest, are the worst, and the rest are middling, and with them the high1 are better than the low.

There are also nine kinds of union according to the force of passion or carnal desire, as follows:

MEN WOMEN MEN WOMEN

Small Small Small Middling

Middling Middling Small Intense

Intense Intense Middling Small

Middling Intense

Intense Small

Intense Middling

A man is called a man of small passion whose desire at the time of sexual union is not great, whose semen is scanty, and who cannot bear the warm embraces of the female.

Those who differ from this temperament are called men of middling passion, while those of intense passion are full of desire.

In the same way, women are supposed to have the three degrees of feeling as specified above.

Lastly, according to time there are three kinds of men and women, the short-timed, the moderate-timed, and the long-timed; and of these, as in the previous statements, there are nine kinds of union.

But on this last head there is a difference of opinion about the female, which should be stated.

Auddalika says, `Females do not emit as males do. The males simply remove their desire, while the females, from their consciousness of desire, feel a certain kind of pleasure, which gives them satisfaction, but it is impossible for them to tell you what kind of pleasure they feel. The fact from which this becomes evident is, that males, when engaged in coition, cease of themselves after emission, and are satisfied, but it is not so with females.’

This opinion is however objected to on the grounds that, if a male be a long-timed, the female loves him the more, but if he be short-timed, she is dissatisfied with him. And this circumstance, some say, would prove that the female emits also.

But this opinion does not hold good, for if it takes a long time to allay a woman’s desire, and during this time she is enjoying great pleasure, it is quite natural then that she should wish for its continuation. And on this subject there is a verse as follows:

`By union with men the lust, desire, or passion of women is satisfied, and the pleasure derived from the consciousness of it is called their satisfaction.’

The followers of Babhravya, however, say that the semen of women continues to fall from the beginning of the sexual union to its end, and it is right that it should be so, for if they had no semen there would be no embryo.

To this there is an objection. In the beginning of coition the passion of the woman is middling, and she cannot bear the vigorous thrusts of her lover, but by degrees her passion increases until she ceases to t

Richard Burton