39709231 Anangrang Another Kamsutra

U IV

I~ I MAltA' ~ I ~ A~ GAHAN GA AN INDIAN EROTIC

CHAUKHAMBHA ORIENTAL RESEARCH STUDIES NO. 24

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17 ALYANAMALLA'S ANANGARANGA • AN INDIAN EROTIC ( Sanskrit Text with English Translation)

S. N. PRASAD M. A., D. Phil.

Birla Institute ojTechnoiogy and Science, Pilani

Publisher I CHAUKHAMBHA ORIENTALIA P. O. Chaukhambha, Post Box No. 32 Gokul Bhawan, K. 37/109, Gopal Mandir Lane VARANASI-221001 (India) Telephone: 63354 Telegram : Gokulotsav

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PREFACE Ever since I became aware of the vital role of sex in human relationship I have been fascinated by the masterly treatment of making Jove in the Anatiga Ranga of Kalya1)amalla. Though this significant work was produced in early ] 6th century, its insight and wisdom retain freshness and what was stated there is valid even to·day. Human nature in its essentials seldom changes much, and this is especiall y so in the case of instincts, natural urges} and intuitions which exercise a deep impact on the at t of making love. Kalya1)amalia's Alla/igaRanga is the last important treatise in the tradition of Kokkoka Pandit. Kalya1)amalla conceives sexual Jove both as a science and an art and therefore he lays almost equal emphasis on its technique, power and pleasure. The opening chapter which is in the nature of an introduction is fullowed by an exhaustive treatment of errogenous zones in the female body-a knowledge of which is essential for the sex foreplay to arouse and warnJ up the partner. \Vith great knowledge and experience he proceeds to classify women into different categories and describts the periods and duration of the sexual fxcitement of each and the best ways and means of handling each situation effectively. The second chapLer treats the subject with further details. In the third chapter il fresh classification of male and fcmale on the basis or tbe size and depth of their orgaus is given. The climax of the treatment of the theme l1aturally follows n~xt. Coitus and sex congress are discussed in minute details .. Kalyal}.amalla gives as 'many as' nine categories of coitus on the basis of its intensity-vigorous, gentle and moderate. Again coitus has been fU.l'~her classified on the basis of its duration and intensity of passion. It is ~nteresting to observe that he has developed titillation of the female organ into a fine art. lIe' is the first to insist 011 titillation by the male ul'gau (liligak,wblzalla) and not by fiugers alone, as bad beell suggested in the earlier texts. And this gives him an occasion to desL:ribe the structure, figure, and general built of women coming from different pal ts and regions of the country. Orgasm, naturally is the end and climax of all sexual union, a means to fullest sexual delight and fulfilment. KalyaI,lamalla, therefore, pays special attention to discussing the ways of achieving orgasm. Being aware of the limitations of human strength and virility and the many impairments, caused to the sexual organs by self-abuse and other wrong practices, he describes the artificial aids, specialised drugs and magical preparations which become necessary in such cases. They serve as aids to repair damages and build up vitality and also act as agents for contraction and expansion of female organ for the added pleasure which the coitus gives. Kalya~lamalla believes that aphrodisiacs may be necessary for both the sexes and so tries to administer to their needs.

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Female vanity and sex appeal of female body receives his attention next. Recipes are given for developing breasts, making them shapely, rounded, plump and hard and medicinal ingradients are suggested for removig unwanted hair, and for nourishing the growth of glossy hair of the head which have through the ages constituted a necessary part of Hindu female beauty. KalyaJ;lamalla puts special emphasis on the female sensitivity and response to lover's fondling, embraces, caresses and other modes of arousal. The range of the volume in fact is so wide that it covers almost the entire gamut of sexul relations-the selection of marriage partners, the conduct and bearing of the newly weds, the extra marital relations and function amI modus operandi of the messenger and the go-between. Though a little freedom to browse in the neighbour's green pasture is permitted, rank promiscuity is disapproved and sex taboos are clearly mentioned. In the last chapter as a summation of all that has gone before he com,entrates on the sexual congress, its various tcchniques, postures-supine (uttiina) , sideways ( tiryakabandha), standing (iisthita), sitting (asita), bending ( nata), and in the inverse ( puruffiiyita ) female riding the male. KalyaJ;lamalIa reveals the significance of sex in human life as perhaps no other writer has done. An eruuite scholar as he was, Kalyal}.amalla with rare insight observed that in this world of passing shadows there is but one reality, and that is the pleasure of the company of woman. He rates it equal to the pleasure of the union with the Infinite. According to him sublimation of the sexual desire is as essential for the happiuess and weJlbeing of man as food. He cautions that, howsoever, heavenly the uelights of sex may be, over-indulgence is self.defeating and fraught with dangers.

Dated J 4-4-83

S. N, Prasad

ACKNOWLEDGEMENTS The authorities quoted in the text are duly acknowledged in footnotes. However special mention should be made of Mulk Raj Anand,I W. G. Archer 2, N. N. BhattacharyyaS, S. K. De·, Devangana Desai6 , M .S. Randhawa!;, and S. C. Upadhyaya7 and other scholars from whom I have drawn heavily in this work for illustrations and other useful information. The monographs have been of immense help to me. It is my pleasant duty to acknowledge my deep debt of gratitude to these authors.

1. Mulk Raj Anand, Kama Kala--Some Notes on the Philosophical Basis oj Hindu Erotic Sculpture' Geneva, 1958.

2. W. G. Archer, Indian Painting jrnm the Punjab Hills, London, 1973. 3. N. N . Bhattacharyya. History of IncUan Erolic Literatare, Delhi. 1975. 4. S. K. De, Ancient Indian Ero/ics and Erotic Literature, Calcutta, 1959. 5. Devangana Desai, Erotic Sculptures oj India, Delhi, 1975. 6. M. S. Randhawa, Kangra Paintings on Love, Delhi, 1962.

7. S. C. Upadhyaya, Kuml1sutra ajVatsyliyana, Bombay, 1961.

INTRODUCTION The theme of love is universal phenomenon but what is more significant is that in ancient India this universal theme was studied in a scientific manner and the scholars, saints, seers and philosophers developed this study as a separate branch of learning entitled Kamaliistra. Besides ancient Indian Eroties the treatment of love occupied unique place both in the pre-classical and classical literature of India. The earliest known love-poems in the world are mentioned in the Samvada hymns of the lJg-veda 1 • It is a poem of eighteen stanzas in which there is a dialogue between Puriiravas and a divine damsel, Urvasl. This romantic theme had attracted several classical writers of subsequent ages 2 • Even a poet like Kalidasa used this story for his finest drama Urvasr.yam. When in despair, Pururavas speaks of self.destruction and wants to throw himself from the rocks to the fierce wolves the heartless Urvasi only replies: "With women there can be no lasting friendship ~ Hearts of hyenas are the hearts of women !" Another romantic poem in the same text is the dialogue of Yam a and Yamis. In this poem the sister of Yama, Yami, attempts to enthrall the love of her brother, Varna. She is persuading her brother that the gods themselves desire that he should unite himself with her so that the human race may not die out. It seems that the ancient myth of descent of human race from the primeval twin underlives the conversation : -

"I, Yami, am possessed by love of Yam a, That I may rest on the same couch beside him, I as a wife would yield myself to my husband, Like car wheels let us speed in the same task." Rllt Yama repulses her advances as a sin which the ever watchful gods would condemn:

They stand not still, they never close their eyelids, Those sentinels of gods who wander round us. Not me,-go quickly, wanton, with another Whirl round with him like the wheels of a chariot. To which she replies with more passion than reason: Is he a brother when she hath no lord ? Is she a sister when destuction coineth ? 1. ~V., X. 95. 2. Satapatha BrahmaQa; 11. 5. 1 ff, Klithakam, 8. 10. 3. Harjvamsa PUra1J4, 2. 29~ Vif!'u PuraIJ4, 4.6. 19 VifIJu PuraQa, 4. 6. 19ff, K. S. S., 17. 4.

3. ~V., X.IIO.

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Forced by my love these many words I utter Come near me and hold me in thy close embrace. And on his repeated refusals she bursts forth: Alas, thou art indeed a weakling Yama; We find in thee no trace of heart or spirit. As round thee the woodbine clings, Another, and not J, girdle-like will cling round thee. There is, however, no indication in the lJ-gveda that sexology had yet become the subject of special study. But erotic imagery is freely used in the lJ-gveda. The act of consummation is openly described in which the husband says to his wife to spread out her thighs where within he can eagerly thrust his organl • Moreover, the ~gvedic gods were not sexually moral (in the present sense of the term ). There are several stories of rapes 2 • This reflects the society of that time. It took many centuries to get the whole of the lJ-gveda being composed, and this period had obviously seen a historic transformation from pre-class to class societys. In Upani~adic literature the sex problems, mainly in genetics, and rules for approaching a woman have been discussed with interest. The Brhadara'l}yaka Upani~ad provides m some knowledge pertaining to sexology: He who desires that woman concerned should show ardour in the coitus should intimately contact and touch by mouth the vulvar cleft and the pubes and then insert his penis·. He who desires that pregnancy should not take place through the coitus performance, shall withhold his breath so that the semen may not be dischargedll • He who desires that the coitus should lead to conception must discharge his semen with simultaneous orgasm of the other into the receptacle(l. The SUtra literature is directly connected with the Brah m31)a literature. Sexual life has been treated as a part of religious life, the main purpose of which is to raise offsprings. Woman was considered as a cultivable land ( k~etra ) under the exclusive monopoly of the farmer ( man). This group of texts give emphasis on domestic aspect of sex life and impose strict prohibitions on sexual relations outside of marriage. This shows that unsettled nomadic life of the Aryans had completely settled and rna intained a peaceful harmonious domestic life. The sexual rituals of Brahmal)a literature have been reinterpreted with a different viewpoint. It was realised to pinpoint clearly the social norms and values to keep, protect and compact the social order of the society, to remove inbalances and to provide checks and balances. Then the codification of laws took place, and Manu and other later Dharmasastras developed. There is certainly no room for love in the Dharmsastras. Women were treated as instruments of gross sexual pleasure. 1. RV•• X. 85. 2. ibid. II. 15.6; IV 30, 8--11. X. 73. 6; X. 138.5 See also D. D. Kosambi, JBBRAS, Vol. XXVlIj pp. 19ff. 3. N. N. Bhattacharya, History oj Indian Erotic Literature, p. 35. 4. Brhadlira!'yaka Upani~ad, VI 4. 9. S. Ibid, VI. 4. 10. 6. Ibid, VI. 4. 11.

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It will be correct to point out that misogynistic ideas were designed to serve as the theoretical basis for the establishment of male dominated society!. But before that no one bothered about female chastity. The special enthusiasm to introduce these ideas clearly shows that previously women had sexual liberty, and this liberty was snatched and crushed by force in order to establish patriarchy. It is interesting to mention PaI,lQu-Kuntl dialogue from the Ma/zii,bhiirata. PaI,l<;lu said to Kunti: 'Women formerly were not immured within the house but were dependent on husband and, other relatives. They used to go about freely, enjoying as best as they liked. They did not adhere to their husbands faithfully and yet they were not regarded sinful, for that was the sanctioned usage of the times. This practice is even today viewed with respect amongst the northern Kurus. The present practice, however, of women being confined to one husband for life, was established by Svctaketu outof sheer anger. Beholding his mother taken away by another person for sxual purpose, Svetaketu became angry but his father counselled him saying that, that was the practice sanctioned by antiquity; the women of all orders in this world were free. S~aketu, however, dissatisfied with the usage, established in the world the present system. It had also been heard by us that MadayanU, the wife of Sudasa, commanded by her husband to raise offspring went to the sage Vasi~tha ...... "Thou knowest, a timid girl, how we ourselves for the perpetuation of the Kuru race were begotten by KnI,la Dvaipayana ...... It hath also been said by those acquainted with the rules of morality that a wife when her season cometh must ever seek her husband, though at other times she deserveth liberty"z. This passage indicates the evolution of pastilocal marriage. In the Udyogaparva of the Mahabhiirata, Galava, a disciple of the sage Visvamitra. promised that he would offer eight hundred steeds, each of which should be as white as the rays of the moon and should have one ear black, to his guru. He went to King Yayati and bcggeu of him eight hundred steeds of that type. But the king unable to fulfil his request gave him his daughter Madhavi and advised him to use her as a means to obtain his desired steeds. From this stay it seems that life long submission to one man only became the social law after the complete establishment of patriarchy. But before that no one hardly cared and bothered about female pudty. We learn from the Maftiibhiirata that sufficient sexual freedom was enjoyed by the tribes of ancient India. For Bahikas KarI,la says, "In intercourse they are absolutely without any restraint, and in all other matters they act as they like. Maddened with drink, they call upon one another using many endearing epithets. Addressing many drunken exclamations to their husbands and lords, the fallen wonen among the Bahikas, without observing restrictions even on sacred days, give themselves up to dancing"3. During the classical period of the Sanskrit literature erotic expession bloomed in its fulness. Since its inception love became a dominant theme. Patanjali mentions at least once erotic description of the morning: 1. N. N. Bbattacharyya. l1istory of Indian Erotic, p. 38-39. 2. P. C. Ray's tr. It 122. is partly followed. 3. MM, VIII 40. P. C. Ray's tr.

'0 pair-limbed one, the cocks unite to proclaim'.

K~emcndra has fortunately

supplied this full verse about twelve centuries later in his Aucitya-viciira :

o pair-limbed one, timid of the first union, leave your lover,

abandon the close embrace: The cocks unite to proclaim that here is now the break of dawn. However, erotic expressions are not profuse in the earliest !'pecimens of classical Sanskrit literature because these authors are very conscious of the moral aspects of their workmanship. It was so perhaps that the male dominated society was not an antique phenomena and it was an age of codification of moral value system. For instance, Asvagho~a in the episode of Nanda and Sundar! gives a beautiful desciption of the love of the young couple. But his moralist aspect gets the upper hand and he never misses the opporluuit y of echuing the denunciation of women as the source of all evil l :

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Passionate women cause intoxication: women without passion cause fear. Since they bring unly leal' ami trouble, why should one resort to them? Asvagho~a raises his voice of warniug that In the words of women there is honey : In their heart there is deadly poison. Thus we 11a ve observed that in early Sanskrit Literature there is no fl ee pIa y of el otic selltiments. But in folk-literature, the element of love must have formed an absorbing theme. Specially in the Prakrit and Pali literature the love constitutes the prominent theme. As in the Pali Gatha, the earliest erotic poetry of the classical period is to be found in Prakrit. It is significant to observe that erotic emotions must have survived to some extent in Prakrit poetry. Perhaps one of the largest collections of such early erotic verses are to be found in the Giihii-Satasai of Hala. The tradition of erotic expreSSIOns goes back to the early vedic literature. These are the expressions of popular feelings. This tradition of erotic emotions must have survived through centuries as a strong under-current. 2 It is perhaps because of this factor that the earliest erotic poetry of the classical time is abundantly available in the Prakrit literature. Later on, it paved its way in the literature written in Sanskrit.

It is, however, difficult to trace out the exact origin of the erotic expressions but love is ubiquitous in classical literature. It is almost exclusively predominant in Sanskrit drama. In the Sanskrit Mahakavyas this sentiment has almost overshadowed the other sentiments. Even begotten Hindu and Jaina authors have given a vivid description of amorous love hunt. The Sanskrit love poetry of classical period is basically different from its prototype. The authors have truly followed the Kamasastra (Erotics). They are not motivated by the love as such but they are concerned with the art of love. It seems that classical writers were lost in the obli vion of erotics simply to show their verstality of erotics. It becomes merely hectic act of gymastics of love. The free current which we have observed 1. Mbh, Vin 40. P.C. Ray's tr. 2. De, S. K., A. 1. E. E. L, p. 14.

( xiii ) in certain stray references of the early vedic literature was mlssmg, and an attempt of didactic drift is clearly visible. It has been rightly pointed out by Dr. De that new poetry has taken the form of miniature painting not in its simplicities but in its niceties 1 , not in its large and direct exaltations but in its moments and moods of delicate subtility. There is no element of doubt that the Erotics had indeed a profound influence on theory and practice of the poetry of this period but at the same time it would be erroneous to believe that the classical love poetry is pornography. The Kamasastra, like every other sastra, developed in close connection with religion. It is significant Lo observe that most of the technical arts and sciences were at first shaped and preserved within individual Vedic schools as specialised forms of ~aered knowledge necessary for the Vedic ritual. In due course of time these arts and sciences extended their scope, as issues and topics multiplied, they cut across the schools and became separate and secular studies by tbelllselves. Thus grammar, etymo!ogy, phonetics and prosody, astronomy, geometry, algebra, medicine, dharmasaslra, arthasastra and kamasastra began and developed in due cuurse of time. The tistras like Artha and Kama ( wealth and love) more than that of Dharma or Duty, would naturally spread beyond the frontiers of ritualism. It became more secularised and specialised to face the real life situations. The esoteric knowledge is foreshadowed in the Brhadara~1Jaka U pani;5ad and in the Afvalayana Grhyasutra. This within the predominating bulk of the Vedic love we actually find a glimpse of the origin of the Kamasastra. The holy sage Svetaketu became in course of time a recognised authority of this Sastra. However, the schematic enunciation of the Tri-varga, namely dharma, artha and kama (virtue, profit and pleasure ), is not found in the early Vedic texts 2 • It seems that the concept of Tri-varga has not been accepted in the Ramaya~za and the Mahabha,ata, but it is established in the PuraJ}.as, and the Smrtis of Vi~J}.u and Manu and in the classical Sanskrit literature. The study of Kamasastra as a separate specialised branch of learning was a remarkable intellectual pursuit of knowledge in anciet India. It is therefore possible to assume that primitive Kamasastra was taught in schools, quite as seriously as the Dharma and Arthasastras:;. Like other sastras, the literature on love is believed to be of divine origin. It is said that the Creator wrote a work of 100,000 chapters dealing with the three prime objects of life, Those portions of the work pertaining to Dharma were dharma, artha and kama. summarised by Manu in his Nlanusmrti, Brhaspati abridged chapters dealing with Artba into a handy volume which is unfortunataly not available now. And Lord Siva'S borine charger, Nandi, condensed those chapters on kama and wrote a treatise of 1,000 chapters. As Nandi's volume was found too lengthy for men, the sage Svetaketu, son of Uddalaka abridged it into a treatise of 500 chapters. When this was also found voluminous, a scholar 1. De., op; cit., p. 15. 2. The HirOf)yakesi-Gfhasutra ( 11. 19. 6) recognises the set, Kama is said to be the essence, in which Dharma and Artha are included. 3. S. K. De, Ancient Indian Erotics and ErotiC Literature. p. 91.

( xiv) of Panchala country, named Babhravya, further summarised the work of Uddalaka into 150 chapters and divided the subject of Kama into seven parts, i.e.: (i) general, ( ii ) sexual union, ( iii) courtship, ( iv) married love, ( v) extra marital relationship, (vi) venal love, ( vii) secret instructions. On each of these parts different authors have written treatises. Thus CharayaI}.a wrote a book on the first section, SuvarI}.anabha on the second, Ghotamukha on the third, GoraI}.<;leya on the fourth, GOI}.ikaputra on the fifth, Daltakacharya on the sixth and Kuchamara on the seventh. It is most unfortunate that little is known of the other six writers save ab0ut Dattakacharya who was commissioned by the courtesans of Pa1aliputra ( Patna ) to write an authentic text on the profession of courtesans for the use of novices. None of these treatises are available now. As this science suffered sevcral auriJgcl11cnts in the antiquities, each one of them dealt with a particular part, and as the WOl k of Babhravya of Panchala was very difficult to be understood by the layman, Vatsyayana himself took the task for the case-loving and pleasure seeking members of the society and wrote bis famous monumental text entitled Kamsfltra 1 • The Kamasiltra, in its present form, is a comprehensive work on love aud sex. He wrote his famous work in the third or fourth century of the Christian era. Since then upto the Seventeenth century so many treatises on Kama had been composed) but there has been no increase in the knowledge of sex during one thousand and five hundred years of time. IIowever, despite its numerous shortcomings, Kamasutra became a standard work. Vatsyayana's authority is so great that hc is considered a ~~i. He wrote this work with scientific detachment. He himself says that his interest in the subject is objective. The Kiimasiltra not only eclipsed all previous authors on sex and love but also diminished the significance to great extent of all later texts on Kama. The Ratirahasya stands next to Kamasiltra in popularity among the people. It is popularly known after the author, viz., Koka-.Siistra. Kokkoka writes in the first chapter that it was king Vainya (Vaishya V. 1) Datta who commisioned him to write it since he had a curiosity to know about the science of love. He wrote this work after the study of previous works on the subject. Among the later works on Kama, Hati Raharya of Kokkoka PaQ.<;iita occupies a significant place. It was composed in about 11th or 12th century A.D. It has followed Vatsyayana closely, but because of his vast personal experience he claims to have added and enhanced his study considerably. For unlike the ~~i Vatsyayana, Kokkoka was a man of mundane world. He is reputed to have been an exceptionally virile man. He was a courtier and one day a naked Yak~1 (a supernatural female, notorious [or lustful activities) burning with passion entered in the open court before the king. The king enquired about her bashful behaviour. The Yak~i told him that she had been moving in vain through the fourteen worlds in search of a male who could provide her sexual gratification. Many men, gods and even rak~asas (evil spirits) had tried but had failed miserably. 1. KumasutrtJ, 1. 1. 6 to 1. 1. 86.

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And now she presents herselfin the royal assembly to see if she could get sexual gratification and a mate equal to her passion. The king, the possessor of a vast sergalio, shrank back and many a noble hune his head in shame. Now our Kokkokn PaI;t9ita rose from the durhar and he took the Yak~i to an ante-chamber, and before the cour:.t dispersed brought her back to the king well dressed, weeping with fatigue by repeated congress with the celebrated master of the art and science of sex. Kokkoka's Ratirahasya was as popular with the Muslims as with the Hindus. Kokkoka and later writers have emphasised on the concept of kamasthanas or the erogenous zones in the bodies of women of all the four types. In this regard Kokkoka has definitely followed a different tradition on which Vatsyayana was silent. Vatsyayana's classification on the basis of size and depth of sexual organs have been followed by all authors of the Kama!iistra. Another novelty which deserves special attention is regarding d~ssification. It was developed by Kakkoka and subsequent authors of Kamasastra. But KoHoka has evolved another type of classification based on figure, duration, nature, temperament, food habits, gait, etc. and on this basis he divided women into Padminl, Sailkhini, CitriQ-i and Raslini types l • The act of titillating the clitoris has been mentioned by Kokkoka (X. 5-6), but not by Vatsyayana. For exciting the females the inner chamber of female organ are to be rubbed with fingers. Though the Ratirahasya has mainly followed Kiimasutra, it a]so provides some additional information like the new classification of women, the centers of erogenous zones, and na0lk~obhana (the act of titillating the clitoris). It is significant to observe that except Virabhadra, all later authors on Kama like Padmasri, jyotirisvara, Devaraja, Jayadeva, KalyaQ-amalla and others followed Kokkoka in the scheme and subject-matter of their works. All these authors have excluded prostitution and oral congress from the scope of their discussion. Next important text on Kama was written by a Buddhist author, Padmasri, entitled 'Nagarasarvasva'. He was advised by a BrahmaQ-a called Vasudeva to write a treatise on sex. It followed the pattern of Vatsyayana and Kokkoka but Padmasri introduced some new topics also which are not found in other works. Among his novelties mention my be made of a chapter on Gemology in which he describes the merits and demerits of jewels and in the thirty-eight i.e. the last chapter he describes how to have children. In the fourth chapter he elaborately describes recipes for cosmetics. This topic was cursorily dealt with by previous authors. He has given special attention to the act of titillating the interior of vagina. In chapters 18th and 19th na0ik~obhana has been elaborately described. 1. It is interesting to observe that possibly this classification owes its origin to the Na!yasastra ( XXII) of Bharata and is followed by later authors of the Kama$astra.

( xvi ) Padmasri is perhaps the only writer who has nicely dealt with the important subject of external union in the chapter thirty-fifth. Regarding the actual sexual union, Niigarasarvasva follows the tradition of Kamasfltra and Ratirahasya. It is difficult to mention exactly the date of Nagarasarvasva. However, text appears to have been written between the 10th and 12th century A. D. The Panchasayaka of Jyotirlsa alias Kavisekhara is another significant later treatise on Erotics. The text is divided into five Sayakas or Arrows of Cupid. He claimed to have condensed the science of Erotics in his Panchasayaka after studying the works of previous authors like ISvara, Vatsyayana, GOI)ikaputra, Muladeva, Babhravya, Nandikdvara Rantideva and K~emendra. The treatise is more or less in the line of the previous texts on Kama. The area of cosmetics and aphrodisiacs of Jyotirisvara is definitely wider than previous writers. KamasUtra's main emphasis was on the recipes for increasing the virility of male and Vatsyayana had very little for female. Jyotirisvara is an exception in this regard. Only for the contraction and expansion of female organ he has a prescription. 1 He suggests treatment for shapely development of breats, menstruation, impregnation sterility and allied problems common to women. For depilation and growing hair also he commends certain prescriptions. It is interesting to observe that depilation of female was never considered as an essential measure for enhancing the beauty of the female body. However, in Graeco-Roman civilizations this was considered a significant measure for beautification of female body. It is possible for us to decide the possible date of this text in a more precise manner. He has mentioned K~emendra in his first chapter. We know that K~emendra flourished in the first half of 11th century A. D. His patron was Arasinha who faught with Ghiyasuddin Tuglaq (1320-4). So he must have flourished in the first half of the 14th century. Among the works on Erotics, Ratimanjari of Jayadeva comes next in the chronolngicaI sequence. It is the shortest treatise on Kama consisting of sixty verses only. It was written between the fourteenth an,d the sixteenth centuries A.D. It would be erroneous to presume that he was the same celebrated Jayadeva, who wrote Gztagovinda because our author was a Saivite and not the devotee of Lord Krg1a. The text has followed the previous authors closely. It emphasises the characteristics of male and female organs. Jayadeva is perhaps the only author who mentions two types of male organs. Regarding female organs, he, however, follows the four traditional types as discussed by the previous authors on Kama. Another noted author on Kama was Devaraja. He wrote Ratiratnapradipikii. It is a text on Erodes divided into seven chapters. The work is an elaboration of the Ratirahasya of Kokkoka PaI)c;1ita. The author calls himself Sri Prauc;1ha Devaraja. Some scholars are of the opinion that he was no other Devaraya II of Vijayanagara who flourished between 1422 to 1466 A. D. Sridhara's Saritgadharapaddlzati ( c 1400 ) contains verses mentioning types of women in terms of god and demi-gods, etc. He was probably an author on Kamasastra, but at the present moment we do not know anything about his works. J, VII. 2, 36-37.

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( xvii ) Kokkoka PaJ.}.<;lita's Ratirahasya was popular among Muslims as well. Its translations and adaptations found their way into Arabic and Persian languages and paved the way for Kalyal).amalla's famous treatise Ananga Ranga. Kalyal).amalla lived in the 16th century under the patronage of a Muslim nobleman of the Lodi dynasty named La<;lakhana1 • After worshiping Kama (Anailga) he says that be wrote this Ananga Ranga for pleasing LaQakhana, son of the king Ahmad of the Lod! dynasty. The author is none other than king Kalyal).amalla. Because of l\fuslim patronage the work got wide circulation. Muslim authors have translated this work in free style in Arabic, Persian and Urdu languages. It was the last important work on Erotics in the tradition of Kokkoka Pal).Qila. The text is divided into ten Sthalas ( Chapters )2. It is interesting to observe that Kalyal).amalla was the only genius and to some ~tent original author on Erotics. He was the solitary author who insisted on Lingak~obhana i.e. titillation by the male organ and not by fingers alone. He also brings some innovations in describing the female sexual organ by laying emphasis on their variations ill different parts of the country. Kalyal).amalla observed that in this world of passing shadows there was but one reality, and that was the pleasure of the company of woman. He was of the opinion that it was equal to the pleasure of union with Infinite. Sublimation of the sexual desire is as essential for happiness and well-being of men as food. Over indulgence is fraught with dangers and is to be avoided. Ananga Ranga is the last but most comprehensive text of the its class. The sage Vatsyayana has nothing but contempt for those pale, lean and thin ascetics who condemn all contact with women as sinful, and for fools who perpetually tell us that woman is a cause of misery. Besides these important works on the Kamasastra, there are several other popular works on erotics. It also includes commentaries on the erotic treatises. Kiimasutra itself has five commentaries, i.e. (1) Jayamangalii of Yasodhara, ( 2) Commentary by Bhaskara, ( 3 ) Commentary by Malladcva, (4) Kandarpa-chudiima~zi by king Virabhadra of the VagheIa dynasty. It is an amplified but faithful, meritical exposition in seven chapters of the Kiimasfltra, ( 5 ) Commentary by an anonymous writer. The famous Kashamiri author K~emendra summadsed the KamasUtra in his Viitryiiyana Sutra Siira. The Rati Rahasya has four commentaries, i.e. (1) Kanchi Natha's commentary, ( 2) Avancha Ramachandra, ( 3 ) Ka vi Prabhu and ( 4 ) Harihara. Of recent texts mention may be made of RatUiistra of Nagarjuna with Samaratattvaprakiisikii, a commentary of RavaJ.}.aradhya, the Srngiiramanjari of Ali Akbar Shah ( a Telugu work of eighteenth century) which has been Sanskritised, and some oLher texts which are still in manuscript forms. 1. Keith, History of Sanskrit Literature, p. 470. 2. See the contents of the text.

iii An .

CHAPTER I

GENERAL DESCRIPTION OF WOMEN

I. Salutation to Kiimadeva1-Kamadeva whose dalliance and love sports are pleasing, who resides in all animate beings ( the desire of copulaion is common in all living creatures) and who takes pleasure in the dual combat of courtship, who killed 'Sambarasur2 " whose handsome personality finally gives peace to RatP, who gets pleasure in destroying the false arrogance of his rivals ( i.e. those who are practising celebacy like ascetics, sanyasls etc.) by . forcibly making them indulge in the sensual pleasure of courtship 2. Introduction qf the Author: Hail La<;iakhana" the son of king Ahamada, the jewel of the LO<;li dynasty who killed his rivals, dipped horses in the tears of the wives of his enemies, who was proficient in the art of the Kama·sastra, and whose feet used to be brushed as the homage was paid by his tributaries to his majesty's feet. 3. The creation of this magnificent work is a perpetual source of delight and pleasure for amorous people. It is due to the entreaties from La<;iakhana the ocean of virtues that it has seen the light. 4-5. Trailoka Chandra born in the Lunar dynasty was the greatest among all Lunar rulers. He was most renowned and liberal king who by the prowess of his arm uprooted all the enemies. He had the virtuous son Maharaja5 Gajamalla whose fame like the rays of moon radiated throughout all quarters. He had always defeated his enemies in the battle field. Sri Mana Rajar~i6 MahakavF KalyaI;1amaIla was the son of Gaja Malia who was proficient in Sixty Four Arts. 8 He wrote this popular Ananga Ranga for pleasing La<;iakhaua.

6.

I. He is the most handsome god of the Hindu mythology of sensual pleasure and enjoys perpetual youth.

He has sugar-cane for his bow, humming bees for his bow-strings and he wounds by flower shafts. The parrot, his charger, is the Indian love bird. 1. A demon. See Bhagawat Pur(1)a, X, 55. 3. The wife of Kamadeva. 4. C. H. I., Vol. Ill, Ch. IX, pp. 229-230. 5. The title of Maharaja was a feudatory title. It shows that he was not an Independent ruler but was a feudatory King of the Lodi dynasty. 6. The author is none other than King Kalyiil,lamalla. 7. The great poet who is author of an Epic. But, however, unfortunately so far we do not know about his other work of Epic type. 8. The Sixty-four Arts which are auxiliary to Kamasastra ( The art of love) are enumerated below: I. Vocal music. 2. Instrumental music. 3. Dancing. 4. Painting. 5. Cutting of different designs on the Bhurja leaf for gadorn in the forehead. 6. Making various designs with rice-grains and flowers ( in temples of Sarasvati, Kamadeva, etc., or on floors set with jewels ). 7. Arrangements of flowers ( in temples and homes ). 8. Colouring teeth, garments, hair, nails, body and other toiletries. 9. Fixing coloured tiles on the floor. 10. Arrangement of the bed, the settee, the divan (according to bed-time mood and food partaken). 11. Creating musical sounds with water (Jala-taranga). 12. Splashing and squirting with water ( Jalakrlda). 13. The various secret formulas and mantras and their appli-

4

KALYA~AMALLA'S ANANGARANGA

cation (other than those mentioned by Kuchumara). 14. Making various garlands ( for worshipping deities and adorning one's self with). 15. Making head-decorations known as Shekharaka and Apida ( the Shekharaka garland hangs down from the top of the head. The Apida is worn round the head and supported by a wooden frame). 16. Dressing and deco rating the body (according to time and place). 17. Making designs called Kan;lapatra ( with ivory and conch materials for additional decoration to costumes). 18. The preparation and proper use of perfumes. 19. Making ornamen t8 ( joined or stringed ones such as necklaces with jewels and pearls; whole ones such as bracelets, round earrings, etc.). 20. Magic and creating illusions. 21. Preparation of ointments (for additional physical charm and virility. These recipes are expounded by Kuchumara ;. 22. Deftness in manual work ( for instance, in games where throwing and snatching money and other things are included). 23. Cooking and similar culinary arts. ( It is interesting to note that food and drink were divided into four sections, viz. Bhak~ya ( eating ), Bhojya ( chewing ), Lehya ( licking) and Peya t drinking). 24. Preparing sherbats and drinks. 25. Needlework ( including making new garments and mending of old ones, darning, making mats, etc.). 26. Creating patterns from yarns or threads (such as the parrot motif, flower motif, tassels and so forth ). 27. Playing on tbe VeeQa and the drum called Damaruka. 28. Composing and solving riddles and rhymes (for play and discussion). 29. A game in which one party recites a verse and the opposite party recites another which begins with the same letter as tbat on which the last verse ended. 30. Reciting verses difficult to repeat, tongue-twisters and so on. 31. Recitation from books ( generally from the Epics). 32. Knowledge of dramas and stories. 33. Composing other lines when one is given ( This takes the form of a game in which one person is given the last out of four lines and is challenged to compose the first three on the spot). 34. Caning of wood-frames of cots, chairs and so forth. 35. Making of mechanical aids (This refers particularly to those recommended for use during congress, and which are usually made of silver, ZOld, steel, bone, or ivory). 36. Carpentry ( making wooden furniture for sitting, reclining and sleeping). 37. Knowledge of architecture and house-construction. 38. Knowledge of precious metals and precious stones ( specially the ability to distinguish between genuine and fake gems ). 39. Knowledge of metals ( extracting. refining, alloying, etc.). 40. Knowledge of jewels, colours and mines ( Crystals are coloured for sale, while knowkdge of mines is considered important for purposes of income) , 41. Horticulture and gardening (This includes sowing and growing plants in a nursery). 42. Art of cock fighting, ram fighting and quail fighting ( This is one of the games of wagering where animate things. are made use of). 43. Training parrots and mynas to speak and sing ( If trained properly, these birds can memorise messages and carry them where their owner wishes). 44. Proficiency in pressing, shampooing and dressing hair. 4;. The art of understanding writing in cipher, and the writing of words in a peculiar way. 46. Talking in a language with deliberate transposing of words or letters (1 his takes various forms: for instance, when the beginning and the end of words are interchanged, or when unnecessary letters are adderi in between syllables ofa word and so on). 47. Knowledge of languages of other provinces and of various dialects. 48. Art of making flower-carriages, Ootis, Palakbis, etc. 49. Art of addressing spells, charms, auspicious and bad omens, etc. 50. Constructing mechanical aids ( such as those for riding, drawing water from well and for use in warfare, etc.). 51. Memory-training. 52. Recitation of verse (This game is palyed in company with others, while one recites from a book, another recites it alongside him purely by hearing). 53. Deciphering by code ( when a message or verse is left incom' plete but with designs of flowers, etc.). 54. Knowledge of etymology (of Sanskrit, Prakrti and Apabhramsha). 55. Knowledge of lexicography. 56. Prosody and Rhetoric. 57. Art oflmpersonation (Deceiving others by impersonating and assumed personality: Shurpanakha and Bhima did this successfully). 58. Wearing garments artfully ( in a way that will conceal torn or illfitting garments). 59. Various games to be played with the dice. 60. The game of dice called Akarsha (Nala and Yudhisthira, history tells us, lost in this game because they did not know the niceties and intricacies of the game. It is to be played on a board). 62. Knowledge of proper behaviour ( In other words, knowledge of etiquette in public and in private gatherings. In another sense, 'Vainayiki' also implies the training of elephants and other domestic animals). 63. Knowledge of the science of victory ( Knowledge of 'Aparajita Vidya' is essential for divine purposes, while knowledge of the science of warfare is essential for the purposes of this world. ). 64. Physical culture.

GENERAL DESCRIPTION OF WOMEN

5

7. I have studied the works of previous writers on Erotics1 and then summarised their essence in this treatise. Therefore those men who are well versed in the art of love should.. read this book with great regard. These Sixty-four Arts are an essential part of the Science of Klimaglistra. (A list of 64 Mulakallis ( The knowledge of which is essential is given: There are 24 Arts which are technically called Karmiishraya, i.e. which require some use of technical skill and physical exertion. They are: 1 ) Vocal music, 2 ) Dancing, '3 ) Instrumental music, 4 ) Script of other provinces,S ) Graceful speech, 6) Painting, 7) Doll making, 8 ) Cutting Bhurja leaves according to designs, 9) Making garlands and bouquets. 10 ) Cookery with specialk knowledge of mixing of tasty ingredients. 11 ) Distinguishing genuine gems from fake ones, 12) Needlework, 13 ) Preparing colours and dyeing garments, 14) Keeping ready required quantity of flour, etc., before cooking, 15) Weights and Measures, 16) Source of daily and future livelihood, 17 ) Veterinary Science, 18 ) Magic, jugglery and tricks, 19) Proficiency in games, 20) Knowledge of other people, 21 ) Cleverness, 22) Shampooing, 23) Toilet, 24 ) Hairstyles and adorning the forehead. There are 20 arts based on wagering. Out of these, 15 are Nirjiva and 5 Sajiva. They are: 25 ) the game of three dice, 26) The art of jingling them and playing by scattering them advantageously on the floor, 27) Holding out the closed fist full of dice and questioning the quantity concealed there in, 28) Knowledge of the places of their movements, 29) Extracting money from the husband when the replys correct. 30) Giving correct and indisputable decision, 31) Snatching the amount placed as wager, 32) Different wagering games, 33 ) Keeping the amount in the fist and questioning about its quantity and then showing it, 34) Settling of accounts-loss and gain, 35) Taking away the money won, without loss of time, 36 ) Account of the amount won, 37 ) Carefully proceeding further at each turn in the game, 38 ) Misguiding the other party, 39) Giving away the amount (which is wrongfully taken). These fifteen ( 25-39 ) are Nirjlva as the things played with are inanimate. Now there are 5 Sajiva dealing with animate things, such as 40 ) Keeping ready the birds or animals for games, 41 ) Encouraging their mutual fight, 42) Calling them by particular sounds and cries, 43 ) Releasing them for the actual action, e.g., flying or fighting, etc., 44 ) Making them dance. There are 16 Bedroom Arts. They are: 45 ) Knowing the mood of the other person, 46) Expressing one's sentiments, 47 ) Offering one's self physically, 48) Teeth-and nail-marks, 49 ) Unloosening of the waistband, 50) Physical contact, 51) Dexterity in love-sport, 52) Giving extreme pleasure to the other person, 53 ) Obtaining complete satisfaction and reciprocating it, 54 ) Encouraging the other person in love-sport, 55 ) Showing slight anger and continuing the love-sport 56). Controlling aQger properly at the right time, 57 ) Propitiating the angry person, 58 ) Leaving the sleeping partner, 59 ) The way of sleeping last ( or the last sleep ), 60) Sleeping with the body properly covered. There are four Uttarakallis, i.e. those which are to be done last. They are: 61 ) Exchanging words with tears, 62 ) Putting one's name before the husband, as a means to let him refrain from undertaking a journey, 63) Following him if not refraining from separating, 64 ) Looking in his direction if going away without hearing her appeals. There are 518 Antarakallis in these 64 Mulakallis. In the Kama Sutra ( Part I, Ch. Ill, SutraXVI ), 64 Aupayiki Kallis are enumerated by manipulation of the first 44 Mulakalas. The remaining 20 Mulakalas are described in the Karnaslitra ( Part II) dealing with Sexual Union. The sixty-four Panchalika Arts, however, are different from these six ty-four mentioned above. 1. Previous writers of Kamagastra. Prajlipati after creating the Beings, prepared a treatise running into 1,00,000 Adhyliyas. Nandi, the attendent of Siva, separated the portion of the text which dealt with Klima into 1000 Adhyiiyas. Auddalaki abridged this text into 500 Adhyliyas. Pliflchiila Babhravya further abridged it into 150 Adhyayas and covering the whole subject into Seven Adhikara~as. It was Dattaka who separately dealt with the 6th Adhikara~a. Ghotakamukha, Gonardiya, Go~ikliputra and Kuchumlira similarly dealt with the remaining six Adhikara~as. As the work of Babhravya was very difficult to be understood by ordinary persons, Viitsyliyana wrote his well-known Klima SzUra.

KAL YA~AMALLA'S ANANGARANGA

6

THE SIGNIFICANCE OF THE STUDY OF KAMASASTRA 8. In this world of passing shadows there is but one reality and that is the pleasure of the company of women. 1 It was equal, he wrote, if not superior to the pleasure of union with Infinite, the bliss of the ascetic and the mystic. 2 9. A man who is well versed in the art of love easily gets the pleasure of several ladies because he knows how to please them sexually. For him love becomes a sp~rt and not a tedious affair. ( Those who are not acquainted with the knowledge of Kamasastra are not able to derive the maximum pleasure in congress because they are not aware of the types of women, erogenous zones and Naikshobhana. Therefore their life is like an animal. Because due to, the lack of the knowledge of erotics they are not able to understand the psychology of women, their sentiments, their likings and nature therefore they utterly fail in the amorous love game which consequently leads to frustration, chaos and fimilly divorce. But this process goes on and on because of the lack of.the knowledge of Kama-sastra which deals with the psycho· metal and physical understanding of both sexes. This knowledge will provide the reader a harmonious married and sexual life full of vigour and zeal ). ON DIFFERENT TYPES OF WOMEN lO. Women are of four types. They are Padmini (Lotus woman ), Chitri:t;li ( Art Woman ), SaIikhini (Conch woman), and Hastini (Elephant woman). Their salient features are discussed in the same order. 11-12. CHARACTERISTIC OF PADMINI TYPE OF WOMAN (OR LOTUS WOMAN): She is most desirable type of woman, she has beautiful eyes like those of the fawn, with reddish corners. Her face is charming like full moon, neck smooth and graceful, and bossom full and elevated~ She has a well-shaped, delicate nose. Three exquisite folds encircle her navel. Her voice is sweet and musical. Her skin is soft as the petals of a Siri~a blossom, and her complexion golden like the Champaka flower. Her gait is like the swan's. Her secretions have the perfume of the lotus. Padmini's mental traits are as agreeable as her appearance. She is bashful, generous, loyal, religious and dignified. Her favourite colour is white. 13-14. CHITRIJfl OR ART WOMAN: Of medium stature but slim) ChitriJ;li has black luxuriant hair and restless eyes. Her lips are full like the Himba fruits. Her conch shaped neck is round and graceful, waist slender, hips large, breasts plump and heavy, and body supple. Her voice is like the cooing of the peacock~ While walking she has the majestic swing of an elephant. Her fluid secretions smell of honey. 1. "The union of the sexes is equivalent to the mystic syllable AUM. When the two sexes come together each fulfils, the desire of the other". UIn the embrace of his beloved a man furgets the whole world-everything both within and without, in the very same way, he who embraces the self knows neither within nor without", Brhadiio r01)yaka Upani~ad.

3. Viitsyiiyana has nothing but contempt for those lean ascetics who condemn all contact with women as sinful, and for fools who perpetually tell us that woman is a cause of misery. Gratification of the sex urge is an essential for the happiness and wellbeing of men as food. Over indulgence is fraught with dangers and is to beavoided; but it is no argument in favour of celibacy or asceticism.

GENERAL DESCRIPTION OF WOMEN

7

Less spiritual than Pad mini, ChitriI].1 is the refined, cultured type with a taste for music, painting and literature. She is fond of beautiful clothes and ornaments, and is flattered by attentions of admiring men. She delights in courtship and love play but dislikes violence in love. She has too refined sense of aesthetics to be much enamoured of the actual sex act. ChitriI)l is social and amiable. A good conversationalist, she is liberal in her views and skilful in the management of domestic affairs. 15-16. SANKHINI OR CONCH WOMAN: She is not much to look at. She is thin, tall and stout. Her blood is warm, and the blue veins are visible through the tawny skin. She has long legs and arms, a thick waist, small breasts, deep vagina and body full of hairs. Her secretions have the perfume of alkali and has a long tilted face to match. Her voice is harsh and gait precipitate. Her favourite colour is red. Though selfish she is capable of making a show of generosity. Cunning, she has polite manners and is ever on the look out for chances to enhance her own interests. Hardhearted, malicious and vicious by nature, she is clever enough to hide her real nature and appear pleasant and obliging. When roused she is violent and delighted to inflict nail marks on her lover. She eats and talks much. 17. HASTIlVl OR ELEPHANT WOMAN: She is the lowest sexual type, and men of refined tastes and habits avoid her. She is short, fat and ugly. Her lips are thick, neck short and mouth broad, and she is bent, if long. Her eyes are red and small, and hairs golden when with fair complexion, she appears rather anemic and lustreless. She is slow of foot and walks ungainly on crooked feet and toes. She is shameless and cruel and has an insatiable capacity for love. EROGENOUS ZONES ACCORDING TO THE VARTING DIGITS OF THE MOON Padmini is the most excitable on the first five days ( excepting the third one) of the lunar fortnight. (both bright and dark )1, Chitrh,ll on four even dates commencing from the sixth, eighth, tenth and twelfth, Saftkhinl on the third, seventh, eleventh and thirteenth and Hastiru 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 Padmini gives immense pleasurell to her and she easily gets gratification. ChitriI].i may be tackled in the begining of the night 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. KalyaQamalla 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 definate 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 moon day 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 ChandrakaUi 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

8

KAL YA~AMALLA'S ANANGARANGA

( 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. Padmini, 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 passionate 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 signt of rising sun. l

hopes to derive full pleasure out of the act, therefore the time which is most amenable to the pleasuro of sex may be understood. 1. It is high time to check up the truth of these pedantic assertions. however, are hints 00 courtship.

More interesting and helpful.

APPENDIX NO. 1

The following dates are based according to the varying Digits oj the Moon. These dates are most Amenable to the Pleasure oj Sex for Ladies. 1

I

I 21 4 I 5 1 On these dates Padminl is most excitable.

6 \ 8 / 10 112

7/11

I On these dates ChitriQ.l is most excitable. - -

13 1 On these dates Saftkhini is most excitable.

3

I

9

I 14 I 15 \ 30 I On these dates Hastini is most excit~~e~~ _

1

APPENDIX NO. 2

Following is the chart which will show that during night at what time Women are most amenable for Courtship.

I PADMINI

I Part (6-9 P. M.)II Part (9-12 P.M·)I III Part(12-3AM.) \ IV Part (3-6A.M.) of the night I of the night of the night of the night

I

I

0

CHITRI~I I SANKHINI

I

M. A.

I I

HASTINI

I

M. A.

I

M. A.

9

I

0

0

I

0

Most Amenable-

r

M. A.

I I

M! A.

I

o

--~------------~------------~------------~~------------ I

0 M. A.

I I

o M.A.

M. A. : Most amenable. APPENDIX NO. 3

During the day time when the Ladies are most Willing. I Part

{ 6-9 A. M . PADMINI

I

M.A.

CHITRI~I I

0

SANKHINl i

0

I

HASTINI

I

0

I I I

II Part 9-12 A. M.

I

III Part 12-3 P. M.

(

IV Parr-3-6 P. M.

M.A.

I

M.A.

I

M . A.

0

I

0

I I

0

I I

0

I

0

I

I

0

I

I

M.A.

I I

0 -----~

M.A.

Here ends Chapter I entitled "General Description oj Woman" of KalyaI}.a Mana's Ananga Ranga written for the pleasure of Sri Malla LaQ,a Khana.

2

CHAPTER II

COMMON EROGENOUS ZONES l. 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 passion 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 passionately; if it is in neck or ann· pit, it should be marked with naiF If in the breast 2 , 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).3 If in the chest it should be beaten (Ta<J.ana) 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. PADMI.Ni'S SHIFTING EROGENOUS ZONES ON THE BASIS OF VARYING DIGITS OF THE MOON 4. [ The amout of amorous urge centred round a Chandrakala is not, however, equal for all women on a particular day. ] [ Padmini is most excitable on the first five days (exce pting the third) of the lunar fortnight ( both bright and dark). Having found out wh ich type the lady belongs to, 1. For better understanding of nail work we will have to consider the essential phenomena of courtship in' animals. It is well known that love inflicts and even seeks to inflict pain. This pain has a power· full stimulating effect and hence the partners in the love combat willingly submit to temporary unpleas· antness which would enable them to enjoy subsequent sexual excitement. This pain becomes the sevrant of pleasure by supplying it with surplus stored force. Man, in his love·play, has not failed to imitate mammals and birds and perhaps improved upon the ways and means of the love combat. lhere are various references of love·bites in the literatures of the world. Heine has described the marks of love' bites on Harold where by he was recognised by Edith. Shakespeare makes Cleopatra refer to amorous pinches. Indian writers like Kalidasa (Kumara, VIII, 18), Bharavi (Kir71ta, IX, 49, 59,62) Magba (SiShu, VI, 58-59) Kumardasa ' (Janakihara!'a VIII, 19, 15, 47, 52, X, 86, 198, 101, Jayadeva ( Gitagovinda, II, 6-6, XII, 23-) have deah Nakhachclzhedy in detail. S. C. Upadhyiiy, Vatsyayan's Kamasflt ra, p. 14-15.

2. There is a couplet in Sanskrit which says that if curds, betel-leaf, breasts, cotton, sugar, etc. undergo mardana, the result is that Gu!,a in each ease. Harihara in his Smaradipika gives a list of six anatomi· cal parts that should undergo Mardana. They are the two arms, the two breasts, the female organ and the navel. 3. It is apposition of the mouth to the female Pudendum. These practice derive a part of their attractioJl. more especially in some individuals from predilection for the odours of sexual parts.

COMMON EROGENOUS ZONES

the studious man of pleasure will do well to learn the nature of shifting erogenous zones women. ]

11 In

On the first day of the lunnar month ( both bright and dark) the studious man of pleasure should embrace the neck of the Padmini 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 passionately. In order to arouse romance ( to keep her in good humour) she should be roused to a pitch so thZlt she will essily 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 passion in this manner she will be easily gratified. 6. On the fourth day of the lunar month her passion 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 2 and nipple should be caught with right hand and her locks with left hand. Her passion should be roused in this fashion.

CHITRI.Jfl'S SHIFTING EROGENOUS ZONES ON 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 passion ChitriQ.i 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 anJ when she gets pleasu,'e her both breasts should be pressed and Mardana-k;hobhana is to be done ill the smaramandira by hand or fingers:{. Thus by acting in the aforesaid ways the Art women easily gets satisfaction and leave secrelions like a water fall. 1. When love becomes intense, scratching the body of one's lover with one's nails is practised. It is done only on certain occasions: a.t the time of the first union, or on returning from a journey, or on embar-

king on a journey. or when the woman is placated after a quarrel, or When she is intoxicated after a party. This amorous sport is not agreeable to people with small or middling passion, nor is the sport involving marking with teeth. 2. In Mardana hand is used very prominently. In the process of Mardana both the parties get pleasure. Harihara in his Smaradipika gives a list of six parts that should undergo Mardana. They are the two arms. the two breasts; the female organ and the navel. 3. Vatsyayana ( Kamasutra, II, 7-10) says that this should be done before Yantrayoga. Yasodhara explains i~ 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.

12

KAL YA~AMALLA'S ANANGARANGA

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 ChitriI;ll will easily leave her secretions. l I O n 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 ( Sitkrta ) and get exhausted, THE CONCH WOMAN'S SHIF11NG EROGENOUS ZONES ON THE BASIS OF THE VARYING DIGITS OF THE MOON. 12 On the third day, the Conch woman (Sailkhini) 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. On the eleventh day she should be embraced, and her lips should be kissed and 14 sucked and vagina shoul 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. HASTIJvl'S SHIFTING EROGENOUS ZONES ON THE BASIS OF THE VARYfNG 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. Here ends chapter II entitled Common Erogenous Zones of KalyaI;lamalla's Ananga Ranga written for the pleasure of Sri Malla Lada Khana. 1. This is a natural result of Prahal;tana which involves sound thrashing, thumping, fisting and even punching. S. C. Upadhyaya, Vatsyayana's Kamasutra, p.24. Kaly8.l;ta MalIa (Anariga Rariga, X, 45 to 50 ) gives five varieties. He describes Sitakrta as being like the hiSSing of a serpent, as Pbmkrta as the sound very like the one produced by a drop of rain falling in water.

APPENDIX NO. 4

Shifting Erogenous Zones qf Woman according to the Varying Digits of Moon, Bright Lunar Days 1 2 3 4 5 6 7 8

How Amorous urge is to be aroused

The left thumb of the feet The left leg The left clitoris

By rubbing and pressing with own thumb By pressing with own leg By rubbing with the glans penis By pressing with own knee By rubbing phalus in vagina By holding tightly Slap with open hand Slowly beating by fist By rubbing with fist with the helf of fingers By nail marks By nail marks By kissing By kissing and minor teeth marks By kissing Should be rubbed with fingers

Left knee Vagina Left locks Naval Pubic region Left breast

9

10

Left arm-pit Left neck Left cheeks Lips

11

12 13 14 15

Erogenous Zones

Erogenous Zones

Left eye Locks and forehead

Darks Lunar Days

The right thumb of the feet The right leg The right clitoris

15 14 13 12

Right knee Vagina Right locks Naval Pubic region Right breast

11 10

9 8

7 6 5 4

Right arm-pit Right neck Right cheeks Lips

3 2

Right eye Locks and forehead

1

APPENDIX NO.5

The Chart showing the Erogenous Zones qf the Lotus type qf Woman based on the Varying Digits qf the Moon. Places

I day

Neck Tight embrace Cheeks Soft nail marks Hips Inflict soft nail marks Back Soft nail-marks Arm pits Soft nail-marks Lips Teeth marks Forehead Kissing Body Rousing Romance The hinder parts 0 Feet 0 Breasts 0 Thighs 0 Arm pits 0 Both nipples 0 Locks 0

II day 0 Kissing 0 0 0 Kissing 0 0 Nail marks Nail marks Nail marks 0 0 0 0

IV day

V day

0 0 0 0 0 0 0 0 0 0 Teeth marks Teeth marks 0 0 0 0 0 0 Molesting 0 Molesting Rubbing Nail marks 0 Chchuritaka nail marks 0 0 0 Holding tightly Holding with love

APPENDIX No.6

The Chart showing the Chandrakala ( as the Erogenous Zone is Termed) oj the Art type oj Woman. Places

VI day

VIII day

XII day

X day

0 Pressing with right hand 0 Rubbing with fingers Vagina Inflicting teeth marks 0 0 Lower lip Kissing Embracing tightly Neck Embracing Embracing with hands Inflicting nail marks 0 0 0 Nail marks Hips 0 0 Nail marks 0 Navel 0 0 Teeth marks 0 Lips Violent pounding in the By rubbing 0 Breasts 0 middle by right hand Nail marks By touching with right hand 0 0 Ears 0 0 0 Rubbing with right hand Thighs 0 0 0 Back " Nail mark 0 0 Neck " Kissing 0 0 Cheeks 0 0 Kissing 0 Forehead 0 By seeing 0 0 0 Ears Pulling to and fl'O 0 0 0 Locks

APPENDIX No.7

The Chart showing the Chandrakala of the Conch Type

'-'- -" Places Body Lower lip Arm pits Breasts Chest Cheeks Neck Ears Feet Mouth Vagina Neck Breasts

III day

VII day

Tight embrace Teeth mark Nail mark Chchuritaka nail marks 0 0 0 0 0 0 0 0 0

Embrace 0 0 0 Nail mark

of Woman.

XI day

XIII day

0 Embrace 0 Teeth mark 0 0 0 0 0 0 Kissing 0 " 0 0 " 0 0 " 0 0 " By giving drinks 0 0 Placing phallus 0 0 0 0 Nail mark 0 Rubbing forcefully 0

15

APPENDIX

APPENDIX NO.8

The chart .showing the Chandrakalii oj the Elephant type oj Woman. Places

IX day

XIV day

Rubbing with By placing the penis pems 0 Naval Rubbing with hand 0 Teeth mark Lower lip 0 Arm pits By Rubbing 0 Breasts By Rubbing and pressing By Kissing Eyes 0 Nail marks Waist 0 0 0 Thighs 0 0 Breast-orb 0 0 Nipples 0 0 Body Vagina

XV day of the bright fortnight By placing penis with hand 0 0 0 0

0 Nail marks Nail marks Nail marks Rubbing By several means

XV day of the dark fortnight By placing penis with hand 0 0 0 0

0 Nail marks Nail marks Nail marks Rubbing By various means

CHAPTER III

CLASSIFICATION OF MAN AND WOMAN ACCORDING TO THE SIZE AND DEPTH OF THEIR GENERATIVE ORGANS:

1. Now we will describe different kinds of copulation. To facilitate such description men have been categorised into Sasa ( Rabbit type), Vr~abha (Bull type) and Asva (Horse type ), so also women's categories are Mrigi ( Deer type), Asva (Mare type) and Hastini ( Elephant type y. 2. Men are called the Rabbit type, the Bull type and the Horse type according as penis length is six angulas ( finger tips ), nine angulas and twelve angulas respectively. Correspon· dingly women are Dear type if vagina is six angulas deep, Mare if nine angulas deep and Elephant if twelve angulas. 3. Copulation of Rabbit with Deer, Bull with Mare and Horse with Elephant is match· ing and called excellent one.

EQUAL MEN

No· 1

I

WOMEN

1

Rabbit

Deer

2

Bull

Mare

3

Horse

r

Elephant

I

OPINION Excellent

" "

I

4. That between Bull and Deer, Mare and Horse, is of high degree, and between Rabbit and Mare or Bull and Elephant is of low type. 1. Brahma has crea ted a ma te for every Woman, for there are four types of men to go with the four types of women. The classification of the male is mainly based on the length of the memberum virile, The smaller and thinner the member, the better the man. They are Sasa or Hare, Mrga or Bqckman, VHhabha or Bullman and Asva or Stallion man,

CLASSIFICA liON OF MAN AND WOMAN

17

5. Among aforesaid listed varieties of copulations equal unions are excellent. The highest copulation is between horse and dear but between rabbit and elephant is oflowest type.l

UNEQUAL MEN

No· 1

I

WOMEN

I

OPINION

4

Rabbit

Mare

Low

5

Rabbit

Elephant

Lowest

6

Bull

Deer

High

7

Bull

Elephant

Low

8

Horse

Deer

Highest

9

Horse

Mare

High

,

I

6. Germ cells in the vaginal blood cause itching of different intensities in the vagina and arouse the desire for copulation. Some types of germs generate less desire, other medium, while the rest excite one for intense desire for intercourse. 7. This itching, in the case of women, is over only with a union whose phallus length matches fully with depth of vagina. Her union with a man of small phallus is most disgusting to her because it never provides the pleasure to her full satisfaction.

S. The inner part of the vagina being very delicate unions of persons with phallus length exceeding vaginal depth are painfu1. 2 1. Hewever, amongst all these unions, the equal ones are the best, while those between extremes in size, viz., highest and lowest, are the worst, The rest are normal, but even among these, high ones are better than the low ones. 2. Auddalaki says: 'The woman does not discharge in the same way as the man. Man by uniting with woman, is able to fulfil his passion, the woman takes pleasure in the consciousness of desire and this gives her the kind of pleasure that is totally different from the man.' Auddalaki further mentions'After the culmination of the union, the man ceases automatically, while woman does not', The woman's pleasure permeates like water spreading every where when a water-pot is broken. while the man experiences it when fluid is discharged. Another ancient authority on sex Babhravya writes"While the man experiences pleasure towards the end of the union, the woman's pleasure, however. continues throughout and when they have both shed their fluid, they desire its discontinuation.

3

KALYA~AMALLA'S ANANGARANGA

18

9-10.

The expert of sexology should keep the lady in good humour by various means (as laid down in the Kamasastras) with his long, erect and stout phallus, equal to the size and depth of the vagina of the woman. Only then he will be able to remove the itching of her vagina . after ejaculation of her fluid, she will be pleased and will be subjuga.ted by him completely. 11. In the end of the congress, when she is about to shed her fluid she becomes very much excited in the pleasure of union and she starts jumping, talks irrelevant words, starts weeping and finally closes· her eyes. After the copulation she gets so much exhausted that she cannot work any more. 12. 'f.here are eighteen kinds of unions based on the intensity of desire and duration of their individual passions. 'f.here are three types of men and women according to their passions viz. men and women of ~small (manda vega), middling (madhyama vega) and intense (chanda vega) passions. Again they have been further classified according to the duration of their individual passions-the short timed, the medium timed and the long limed ( and similarly, they give nine different combinations ). EQUAL

N

0. /

MEN

WOMEN 1

\

1

Small

Small

2

Middling

Middling

3

Intense

Intense

4

Small

Middling

5

Small

Intense

6

Middling

Small

7

Middling

Intense

8

Intense

Small

9

Intense

Middling

"

13-14. 'f.he scholars of the Kamasastra are of the opinion that men and women are categorised in three divisions according to their intensity of passions. In the proc.ess of the~ unions-they are of small, middling and intense passions. 'f.hus on the baSIS of their duration they are reckoned to have nine different combinations. 'f.hus there are twendy seven different kinds of copulations based on dimension, intensity and duration.

CLASSIFICA TlON OF MAN AND WOMAN

19

15. The man who belongs to the intense class of passion (chal)Qa vega) discharge his semen in large quantity. In the course of copulation he becomes very much excited and hence the intensity ( vega) of copulation also increases. When a man has little desire of passion (manda vega) for union with a woman, who does not exert himself much at the time, and whose flow is Scanty, he belongs to the category of small passion (manda vega). When a man has some force of passion, he belongs to the second class ( madhyama vega ).1 16. THE SALIENT FEATURE OF THE HARE TTPE OF MAN: He is of short stature, his hairs are soft and long, his face is round, has small and uneven teeth. His hands, legs, knees, thighs, neck, muscules are of red colour. Her is virtuos, of kind disposition and a man of pure and simple habits and he eats less. He likes less intercourse and his semen has a nice fragrance. Those persons who have these qualities are called sasa or hare type ofman.

17. THE SALIENT FEATURE OF THE BULL TTPE OF MAN: He is of quick temperament though he is generous by nature. His head is big, hands are strong, chest is broad, body is fat, his skin has a tevdency of drynes. His stomach is small, eyes are big and of red colour. His palm in also of red colour. The phallus of the bull type of man is of nine angulas. 18-19. THE SALIENT FEATURE OF THE HORSE TYPE OF MAN: He is an ugly type of man whh long coarse hair, big fickle eye .., teeth, ears, mouth and neck and hands and fingers are frail but long. His chest is broad. His nails, toes and ankles are fat and clumsy and he walks clumsily. He is of short temperament, greedy, lazy and sleeps much. He stares at people and is capable of serious speech and is cunning. He is fond of the company 1. Similarly, women are reckoned to have the three varying degrees of passion, and nine different

combinations, exactly like those based on dimensions.

.

Kllmasfltra, Part II, Ch. I, Sutra 15-16 Vatsyayana has given the synonyms of rati or the union between men follows: 1. Rasa: pleasure experienced physlcally . 2. Rati : that is experienced mentally. 3. Priti : pleasure due to contact of mind. 4. Bhava: when love is generated through physical union ( kamita bMva ). 5. Raga : when love fills the soul. 6. Vega : when the fluid drips during physical union. 7. Samapti : the culminating point for both parties.

and

women as

He has also given synonyms for the act of physical union:

1. Samprayoga 2.

Rata

3.

Rahah

4. Sayana 5.

Mohana

The pleasurable physical union of man and woman . The union of body and spirit alike. Mutual love of man and woman where other men and women are totally excluded. When, according to injunctions, the citizen moves himself from the usual . to the smaller bed nearby. When pleasure from union removes entirely the other occupations of the mind.

It will be seen therefore that since there are nine types of unions belonging to each of the three categories based on dimension. intensity of pleasure and duration, their total uumber is 243 x 3 729.

=

20

kAL YA~AMALLNS ANANGARANGA

of unchaste women and likes to copulate with fat women. He discharges fluid in large quantity and his semen smells like alkali. He is blessed with a phallus twelve angulas long. 20-21. THE FEATURE OF THE DEER TYPE OF WOMAN: Her head is slim but roundish, locks, thick, soft and curly! breasts plumb. Her eyes are beautiful like lotus, nostrils and belley small, lips, palms and feet red. Her thighs and vagina a re full of flesh, hands are delicate and ears big. She is jealous by nature. Her body is delicate, voice is like cuckoo's cooing. She is proficient in the art of courtship. Her secretions have the perfume of lotus. She eats less. Her lips are beautiful, fingers strait, mind fickle and while walking she has the majestic suring of an elephant. Her voice is full of love. Such woman is called the deer type of woman. The depth of her vagina is six angulas. She is a good mate for rabbit type of man. '

22·23 FEATURE OF THE MARE TYPE OF WOMAN: Her head is low and high, hair thick and eyes like blue lotus. Her neck, ear and face are long and delicate, waist and breasts fat. She has majestic swing and deep navel. Lower lips are slightly fat; hands are strong~ Her voice is harsh and hands and legs are like red lotus. She sleeps much and is fond of eating. She has broad and fat waist. She is fickle by nature but loves her husband much. The secretions have the perfume of meat which is discharged after long duration of intercourse. The depth of her vagina is nine angulas. Woman having such qualities are known as mare type ( asva ) of woman. 24-25. FEATURES OF THE ELEPHANT TYPE OF WOMAN: Her nose~ cheeks, neck and ears are fat, lips thick and short, eyes yellow, finger tips slightly curved, hairs thick but scanty and blue, legs, hands and shoulders fat and small. Her voice is harsh and gait per· cipitate, teeth pointed and thick. She is a voracious eater and eats several times, is of wicked character, shameless and cruel and has an insatiaeble capacity for love. Her secretions smen like the fluid that exudes from a rutting elephants temples. The depth of her vagina is twelve angulas. Woman having these features are known as the elephant type of woman. 26. Besides these defferent varieties of men and women, exception can not be ruled out. If these qualities are found largely they are considered the best, if little less medium and very little lowest. If qualities of the two vareties are to be found then it is known as of hybrid type. It is very difficult to have all the qualities as described above and therefore one should be very cautious in ascertaining ones type. Here ends the third chapter entitlled "Classification of Man and Woman According to the Size and Depth of their Generative Organs" of the Mahakavi KalyaI,la Mall's Ranga Written for the pleasure of Sri Laga Khana.

13-14. sategoriseL ions-they ation they are different kinds ,

CHAPTER IV

GENERAL CHARACTERISTIC FEATURES OF WOMAN 1. A woman fram eleven to. sixteen years is called bal~i. Fram sixteen to. thirty years of age is called tarut;li and from thirty to. fifty five is knawn as prau<;lha and abave fifty five vrddha. The studiaus man af pleasure need nat use the eragenaus zanes far exciting the woman abave fifty five years af age and he shauld never indulge in caurtship with such waman. 2. In darkness bala gets pleasure in caurtship (because she is shy by nature) and tam!)! gets pleasure in the caurtship dane in light (because naw she starts getting full pleasure af caurtship and she is nat shy). Prau<;lha gets equal pleasure in dark and light bath. One shauld nat indulge in caurtship with a lady abave fifty five because union with her is injurious to. health. 3. Bala is pleased with betel leaf, garland af flawers and scent, taru1),i with beautiful ornaments, prau<;lha with amaraus conversatian and vrddha anly with talks. ( Waman upto age af ten years is called kanya and frarn ten to. the age af twenty oneis called gauri ).1 Stri1Jfif(l Bfiladihhtda-pradarsakaf(l kofthakam

stri!)arp. var~a sankhya

11

var~arnara-

bhya 16

var~a-parya-

16 var~at 30 var~aparyantam

30 55

var~at

var~a

55 parya-

var~adiir-

dhvam

ntam

ntarn

-

-

vayabhedanamnama-bhedal)

bala

taru1),i

prau<;lha

vrddha

kama-vilasa-

yagya

yagya

yagya

ayagya

andhakare-ardharatre

prakase

andhakara prakasayal)

na kwapi ayu~yak~a ti kari 1),i

tarnbiila sragadibhi

alarhkaradibhil)

dr<;lhaprern1),a

prasansapurvakabhasa1),ail)

vI~aye

maithune'tirucil)

va~ya

1. This appears to be an interpolation in the Anatiga Ranga. of woman based on their ritual.

*

U seems that it is a Tiintric classification

22

KAL YA~AMALL'S ANANGARANGA

4. A woman who is of tall stature, of dark colour, thin, and who is separated from her husband for a considerable long period is known as slathailgi, she will not fall an easy prey to man. A woman who is fat, of fair complexion and short stature, such type of women fall an easy prey to man.

THE CHARACTERISTIC FEATURE OF WOMAN ACCORDING TO THEIR NATURE

5. A woman of cough nature is best, of bile nature is medium type and a woman of gastric ( wind) type is of lowest kind. Their characteristic features will be discussed hereafter. 6. Woman whose teeth, nails, eyes and feet are greasy, self respecting, loves her husband intensely and of slender shape, of dark complexion, vagina cold, soft, full of flesh is called cough type of woman. She is of firm determination and trustworthy.

7-8. Whose body is of fair complexion, eyes and nails are of reddish colour, of short temper and immediately becomes pleased, waist and breasts are slender and plump, sweats and leaves a bad odour, vagina hot, soft, and loose, expert in the art of courtship is known as bile type of woman.

9-10 Whose body is stout, locks dry, garrulous, flickering, eats much, eyes and nails are slightly blackish, of dark or wheatish colour, leaves her fluid with great difficulty, dryas the tongue of a cow, is known as wind or gastric type of woman.

CLASSIFICATION ACCORDING 70 THE DISPOSITION OF WOMAN 1 11-12. A woman who is always cheerful, contented, does pious works, of sweet speech and rich is called the goddess type of woman. A woman who is fond of music) scents and garland made of flowers, of good disposition, dressed with taste is known as gandharva type of woman. 13-14. A woman who is shameless, fond of flesh and strong drinks, of fair complexion) has fleshy breats, of angry disposition and who is looking for sexual pleasure with is called yakfi type of woman. A woman who is kind, hospitable and religious, amiable type. Though disliking sinful ad ventures, she is incapable of resistance if approached, she is called the human woman.

1. P~ychologically all women are not alike but of different attitudes. Women with disposition require different techniques. The fair ones according to their dispositions, are into nine categories by Kalyiit;lamalla.

GENERAL CHARACTERISTIC FEATURES OF WOMAN

15. Woman with short dark body, an ugly face, of unclean habits, cheerful, eats much, such woman is called devil type of woman.

23 IS

cruel but

16. A woman who is always in hurry, of fickle mind, breaths heavily, yawns frequently, of slimy habits, likes wandering, very fond of sleep, is known as snake type of woman.

17. A woman who frets over nothing, nous besides has the dispositon of the crow.

18.

IS

always hungry, has rolling eyes and is glutto-

Of slimy type, has rolling eyes, and i, gluttonous is known as monkey type of

woman.

19. A woman who is wicked and voluptuous, whose voice is as unpleasant and annoying as braying of an ass is known to possess ass like disposition. She dislikes water and washing, is called ass type of woman.

20.

These are the dispositions of women but among all these classifications of women the division based on the nature ( vata, pitta, and kapha ) is of great importance.

WOMAN WHO FALLS AN EASY PREY TO MEN

21. A woman separated from her husband and living in her father's house whose friends are of bad character, whose husband resides abroad, or old, a jealous woman, a restless woman, whose husband is not an earning member, or herself a poor widow, such woman fall an easy prey to men and men should guard their wives with such things.

22. The husband of such women who is miser (or of dark complexion), a man who chides his wife or neglects her, a chronic patient who is not capable of coitus, who is always busy in earning, of hot temperament, whose body stinks, ignorant about time of congress, who never goes to his wife due to the fear of elders, who suffers from delusive feelings, or poor, ugly, deformed or slovenly man, ill-treatment, unfounded suspicion, even virtuous woman at times develops a dislike for her husband and falls an easy prey to man.

FEATURES OF AVERSE TYPE OF WOMAN

23-24. A woman who neither glances at her husband nor answers the questions, who feels uneasy in his presence, who keeps her back while sleeping in the same cot, who wipes her face after the kiss of her husband who hates the. friends of her husband, has no ambition of getting respect from him. These are features of indifferent type of women.

24

t{ALYA~AMALtA'S ANANGARANGA

ON INTIMATION 25. Scholars of Kamasastra are of the opinion that friendship is of four types: (1) natural, ( 2 ) purpose oriented, ( 3 ) sarna ( equal) or ( analogous ), ( 4 ) abhyasiki. 26. The natural intimation (contact) of husband and wife cannot be achieved by abhyasa. The vi~ayaja contact is that which is increased by offering flowers, garlands, 27. ornament", eatable goods and the analogous intimation is that which is established by seeing the affinity of colour complexion, dress and ornaments, it is called sarna relationship. 28. The abhyasiki prHi is that which turns into deep contacts during the time of hunting, in the time of worship, in games and sports, in dancing and singing.

ON DIET AND OTHERS 29. Women eat double than men and have capacity of work four times than men. They are certainly six times more firm and have eight times more sexual desire than men.

DESCRIPTION OF VAGINA 30-31. The inside of vagina of women are of three types. Some vagina look like lotus flower, some are like small box, some look like a narrow passage from outside but broad from inside like fingers kept together. Some are as rough as tongue of a cow. Among all these varieties first is the best type and rest are in same sequence. 32. flows.

In the vagina there is a tubular orgah and when it is striken by phallus, the fluid

33. Above the vagina, there is an organ like nose popularly known as blzaganiisa. Here is a network of various veins and an expert of Kamasastra should know that while withdrawing phallus it should rub the clitoris and while striking it should touch the tubular organ inside vagina. 34-35. Accordin~ to the previous scholars of the Kamasastra that inside not very deep near the vagina there is a puraI}.a chandra vein which is full of excitement. is discharged from this organ it is known as fulfilment and complete sexual satisfaction.

WOArfEN WHO FAlL AN EASY PREY TO MEN 36. A woman who is tired due to long journey or some work, a woman from her husband for a long period, who has first month of her family way,

GENERAL CHARACTERISTIC FEATURES OF WOMAN

25

tired due to pregnancy, who has been recently in fever, who has left her anger recently, who has taken bath after her menses, who has recently experienced the enjoyment of courtship, In the cloudy weather, in autumn, such women fall an easy prey to men. 37. In the first courtship woman discharges and gets gratification later than man, but in the repeated congress she gets satisfaction quickly whereas man does not discharge easily. 1

THE SIGNS WHICH BETRAY DAWNING LOVE IN A MAID EN ARE

38-39. A woman who touches her hair and combs them, exposes her breasts, presses her lips with teeth, kisses or embraces a child when the lover is near by, is unable to look straight at the lover, blushes, casts side glances at the departing lover, laughs when the lover speaks even if his conversation is not particularly comic, embraces her friends, has a tendency to linger near the lover longer than necessary, talks loudly to companions on irrelevant subjects or teases them within the sight of the lover. After the lover has by these signs discovered dawning love in a maiden, he may arrange for a secret meeting. Here ends the fourth chapter of Anaftga Ranga of Kalyal}a Malla written for the pleasure of Sri La<;lakhana.

1. The difference between their respective attitudes is purely Na~ure's work. The man takes the active part whereas the woman's is the passive role. Vatsyayana, however, concludes therefore that the man takes pleasure in the belief tbat he is active, while the woman feels it in the knowledge that she Kamasutra, 11; I, 46- 49. is united with the man.

CHAPTER V

SOME REGIONAL PECULIARITIES OF WOMEN 1. Women of Madhyadda are moderate in expression of their desire. Their dresses are of different types. Their work is nice and they are proficient in them. They love flirting, courting and a strait union, but abhor all pervert and abnormal practices. They do not care for kissing, scratching and stroking but use to take great delight in embraces. 1 2. The women of Malva are very fond of being kissed, caressed and embraced, and can stand a goo::1 deal of biting and scratching provided these do not cause bruises or hurt. They are fond of protracted courtship and satisfied by fingering. 3. they

The women of Abhlra (Kuruk~etra etc. ) are fond of thrahing and embracing, but dis~ike teeth or nail marks. They like several repeated kisses.

4-5. ~he women of Vita are very passionate and enjoy shrieking and cooing softly. They have artistic and beautiful body and dance with joy at the prospect of meeting her lover. They are easily gratified by tight embrace. They are so passionate that they use to dance at the time of courtship. They also like perverted practices of sex, tolerate sadistic love sports, expert in jokes, shameless, perfect in making aphrodisiac. 6. The vagina of Kosala ladies itches much. expert in the technique of courtship.

They melt easily with hard blows and are

7. The women of Pataliputra and Mahara~tra are smiling beauties well versed in sixty four arts. They have, however, a strong sex urge and during congress indulge in strong language. Expert in the art of love, they take delight in petty quarrels. They dress with taste and are capable of bold behaviour when aroused. 8. The women of Bengal are delicate as flowers and sweet smelling. They are tender, soft spoken, fond of kissing and embracing but do not like scratching and biting. They take delight in soft blows. Their big eyes are f,::!U of water. 9. The women of Orissa are bold and fond of being scratched and hurt, and love to play the role of male in sexual congress. 1. The ancient Indian scholars of sexology have studied the variations in sexual life obtain ing among different peoples in India mainly with the object of instructing travellers and merchants who had to visit many lands and live among strange women.

28

KALYA~AMALLA'S ANANGARANGA

10. The women of Kamarupa are sweet in speech. They are extremely sensitive and melt at the mere touch of men. Though fond of caresses they dislike kissing, scratching, and biting and detest all forms of abnormal practices. The women of the country of east of KokaQ.a are of well built body, fond of exposing 11. the fault of others and are experts in hidinfj their own faults. 12. The women of Sindh, Ujjain, Vahljka are extremely passionate. They are of mdignant temperament. They are tough in congress and talk by rolling round their eyes. 13. The women of Gurjara have beautiful eyes and are fond of finery. pleasures of love but are easily satisfied with the wilder forms of love play.

They like the

14. The women of Tirabhukti are skillful in the art of love. They have lotus-like eyes. The very sight of these beautiful women is enough to raise the most violent passion m men, but they are very loyal, and libertines often get into trouble with them. 15. The women of Pu~papura, Allga, Madra and Tilanga are well versed in the technique of courtship. They are clever and shy. They are extremely passionate. They like kissing, caress and embracing. 16. The women of KarQ.ataka, south of Dravi<;la, Sauvira, Malayalama provinces are well-proportioned in their build, sweet of speech and enthusiastic in love. They are, however, capable of bold behaviour during sexual congress but dislike pervert practices, They reach their culmination rather easily. 17. The women of Kambhoja and PUQ.<;lra provinces are fond of rubbing their breasts in courtship. By nature they are harsh. Their sexual desire is very intense. They are not aware of the different ways oflove sports like nail and teeth marks. 18. The women of Kandhara, Kasmira and its nearby area are unaware about kissing, embracing and other techniques of love. Their body stinks. They are easily gratified in mild umon. 19. A man who unites after having the knowledge of type, province and nature of women easily gratifies them and they also adore him like their soul. Here ends the fifth chapter of the Anmiga Ranga of KalyaQ.a Malla written for the pleasure of Sri La<;l.akhana.

CHAPTER VI

THE WAYS OF EASILY GRATIFYING WOMEN 1. The very pleasure of inter-course is lost if woman does not discharge her fluid during courtship. Hence it is the duty of expert of the art of love to endeavour for the discharge of her fluid. (For this purpose knowledge of various types of women and of shifting of erogenous zones is useful. )

2. It is difficult to pin-point the particular type of women like padmini or chitri1J'i etc. Often we come across mixed lypes that is why it is not easy to ascribe properly the shifting erogenous zones among ladies. 3. Therefore it is for the happines of couples in the world that certain melhods for ejaculation by using medicines are being described. Thereby they will derive immense pleasure. 4. Mixture of dried ginger, black pepper and pepper longllm mixed in equal quantity with honey when applied in the vagina leads to discharge of woman before the man does. 5. A woman easily ejaculates her fluid if a paste prepared from mixing grandiflorum bailey and pure mercury is appiled in the vagina for a week their of in the shape of penis is put in the vagina. 6. The woman will soon be gratified by putting the pulp of imali t red oxide and honey in equal parts in the vagina. 7.

Camphor, red oxide and mercury in equal quantity should be grinded thoroughly with honey~ The parte should be applied on the phallus before intercouse. By doing so the woman will easily discharge her fluid and the doer will be loved py the female. 8. Red oxide should be grinded in the juice of agastya leaves and should be mixed with clarified butter and honey. This should be applied on the phallus before union. By doing so the lady will be easily discharged. 9. Old gu¢a (jaggery), the pulp of imali and trikutii taken in equal quantity, mixed with honey, when rubbed on membrum virile before copulation will make a woman discharge her fluid easily. 10. The mixture of black pepper, dhatura seeds, pipar, lodha, the ash of saniimakhi mixed in honey shouln be pasted on penis. By doing so even the most tough women be easily satisfied.

THE VARIOUS METHODS OF INCREASING SEXUAL VIRILITY IN MALES 11. As lustful people are deprived of all the sexual pleasure, if they get discharge in no time during intercourse; therefore for them some methods of virility are being described here. 1 1. In the works of the Kiimasastra this act is known as the act of turning penis into pillar (stambhana).

22

KAL YA~AMALLA'S ANA~GARA~GA

\

12. The root of liijavanti should be ground either in milk of cow or of sehu¢a. This paste should be applied at the bottom of the feet on the eve of the union. Thus the emission of semen will take ofter a prolong congress. The discharge will not be quick when oil of kusuma or the powder of punarnava 13. is put on the soles of the feet. Some are of the opinion that both should be mixed together and then pasted at the soles of the feet. 14. The sitiiyii flower, the root of kiikajanghii, and the pollen of the white lotus should be ground and mixed with honey. This will act as the object of stiffening. 15. The pulp of amalatiisa, the mercury and camphor should be taken in equal parts, ground and mixed with honey. This paste if applied on the navel before courtship will cause delayed emission of semen. The root of white kiikila and its seed if put together in a red piece of cloth and put 16. around the waist with red thread at the tim~ of pu~ya nak~atra will turn the phallus as stiff as pillar. 17. The seed of saptaparIJii should be plucked on Sunday and it should be kept the mouth during the time of courtship. It will prolong stiffening. 18. The root of white sharapankha collected in the pu~ya zodical sign and tied round the waist with the thread spun by a virgin girl, this will act as deterent of ejaculation. The seed of white pikii~a ground in the milk of baniyan tree should be kept 19. inside the mouth with the seed of karanja. This will turn penis into pillar. THE APPLICATION OF APHRODISIACS In case of general debility the act of stiffening is of no use therefore 20. of aphordisiacs ( act of strengthening physique) will be discussed here , The powder of vidarya kanda purified in its juice and it should 21. honey and purified butter. This will give the strength of courting ten women. 22. Keep the powder of iimala in its juice. Dry both of them together in sun. Repeat seven or if possible twenty one times. It should be taken with ghee, sugar and honey at night, will turn old into young. 23. Kapi, gok~ura, tiilamakhiinii, khariiti, gulasakari, satiivari mixed in equal parts and be ground and taken with milk. It will strengthen the body. 24-25. The diila of urada should be washed in the milk of cow mixed with then dried in sun. It should then be baked in ghee and eaten in the evening. so even old people will become young and enjoy with several women. The powder of mUlahathi if daily consumed with one tolii of honey followed 26. drinking milk will give strength to sport with hundred women. The seed of tiilamakhanii and the sii!hi rice be taken with honey during night. 27. will act as aphrodisiacs.

THE WAYS OF EASILY GRATIFYING WOMEN

23

28. To get strength, the ju~ce of satiivar'i and equal part of ghee cooked in ten times of water should be taken with honey and misri.

29.

The ash ofiron. triphllla, mulahathi's powder should be taken in the evening with honey and ghee. The man will defeat women in the game of courtsbip.

METHODS OF INCREASING PHALLUS 30. Women will not be gratified in the sex urge with thin and small phallus therefore it is essential for the happiness to increase the size of the membrum virile. The methods have been discussed below. 31-32. Kharaketi, gulasakan, ku;ta vacha, gajapipara, a1agandha, kanera should be taken in equal parts and ground. The paste of the powder of this mixture if applied on penis will make the thin and small phallus as strong as of the horse.

33.

The penis will be lengthened by applying the paste of the leaves of jasmine flower, mercury, manaha1ilil trikula, suhagii in lila oil. 34-35. Sendha salt, black pepper, kula, utakatera's root, pipari, yellow saraso, ugada be ground together. Their powder should be mixed with tila oil and honey. The use of this paste will enlarge the penis. If it is used in the ear, in the vagina or rubbed on the breasts, it will also enlarge them respectively.

36-37. Bhiliiwii, black salt, the leaves of lotus should be burned. Their ash derived in this process be mixed in the juice of the fruit of kateri. Firstly penis should be smeared with bulfalow dung foHowed by the application of this paste. The plallus will soon be enlarged both in thickness and in length.

38.

The massage of the pulp of lodha, kasila, nagavalii ( gulasaka,'i ) cooked in lila oil will increase the size of phallus, ears and vagina.

39A.

The fruit of kar;takarz, hhiliiwa and the scale of pomegranate fruit should be ground with water and then cooked in saraso's oil. The massage of this oil will definitely increase the length of the penis.

THE WArS OF SHRINKING VAGINA 39.

Certain factors playa prominent role in the stretching of the vagina like the advance age, the recent delivery to a woman and hence the male partner used to be devoid of getting complete sexual gratification. Therefore certain methods will be discussed in order to shrink the vagina to its normal size to provide fullest satisfaction and pleasure during coital.

40. The lotus flower with its twig should be ground in milk, the pulp should be made like a ball ( of the size of betel nut) and kept inside the vagina. By doing so even the vagina of an old women will become of a girl. 41. Devadaru, haldi, diiruhaldz, kamalakesara should be ground, this paste should be applied on the vagina. The vagina will considerably shrink. 1. The general belief is this that sexual virilty in male is proportionate to tile

si~

of p~nis.

---- --

24

KALYA~AMALLA'S ANA~GARA~GA

•42.

The seed of pikiisha ground in water and pasted on the vagma for some days continuously will make it tight.

43. Triphala dhlita flower, the skin of jiimuna tree, lavar lodha should be taken in equal parts and filtered finely. This should be mixed with honey and pasted inside and outside the vagina. The vagina even of an old woman will become like a girl. 44. The seeds of bitter tumbhi and lodha should be ground and pasted on the vagma The loose vagina even of a newly begetted woman will become stiff as of a girl.

45.

Asagandhii, vacha, so{ha, black pippali, haldi, kamal, kutha, should be ground in water. By pasting this paste the vagina will become stiff. 46. The vagina will become stiff if the wood of madhUka rubbed and mixed with honey and is pasted on the vagina. METHODS OF CREATING FRAGARANCE IN VAGI.NA 47. During the congress a pleasant odor will also come out when jasmine flower cooked at mild temperature with seasum oil and is smeared in the vagina. The devadiiru, tila) the scales of ritha and aniira fruit, black dhaturii should be ground 48. and thick pulp should be cooked in oil. The oil should be smeared on the vagina. It will become aromatic.

THE METHODS OF REMOVING HAIR 49. The powder of niigakesara be kept in katu tela and put in sunlight for seven days. The use of this ointment will remove the undesired hair from the vagina. 50. Th~ ash of conch kept in the water of banana plant and used ofter mixing haritiila will uproot the hairs of the vagina. 5!. hairs.

The ash of haritiila and paliisha if used in the water of banana will remove undesired

THE METHOD OF RESTORING BLOCKED MENSTRUATION 52. 'the fried lea ves of jyotismati and japa ( gu¢ahala ) flower should be mixed and ground in water if taken will restore the blocked menstruation and menses will regularly start. 53. Rice, devadiiru and dilrvii should be taken in equal parts and ground with water. drinking this medicine the stopped menses will again start.

HOW TO CHECK MENORRHAGIA

54. Pathya J rasan)ana, iimlii should be taken in equal parts and ground with water then filtered . This syrup if taken regularly for seven days will reduce considerably Pvr· ..... u~ blending in menses. 55. Kapittha and the bamboo leaves should be ground and taken with honey at intervals for seven days. The excess of bleeding will stop.

THE WAYS OF EASILY GRATIFYING WOMAN

33

HOW TO CONCEIVE A BABY

56.

The ash of silver, gold and copper should be mixed and taken with honey after the menses period is over for three days. This will clean the womb for conception. 57. One who takes after fourth day of menses after bathing, the powder of naga·kesara with ghee, will definitely conceive after courtship with her husband provided she eats only k§lra on that day.

58.

Asagandha, giloya, sajji (some are of the opinion that ginger) should be boiled and taken

after the fourth day of menses after taking bath. There is no room for doubt that the woman will definitely conceive after sexual dalliance with the husband. 5). Ginger, black pepper, katerl, plpara, kesara should be taken with the ghee of cow . It is said that even barren woman will conceive by drinking this medicine. 60. Husband should grind the root of lak;fmalJa extracted at the time of Pu;ya nak~atra. This drug should be taken with ghee by wife. She will definitely conceive provided she takes only milk on that day. 61. The seeds of bijapura be cooked in the milk and be taken constantly for three days with ghee after menstruation period is over. Then a woman will certainly conceive.

62-64. One tola each-the root of white bala and powder of mulahathi mixed with four tolii of misri should be cooked in the milk of cow who has a calf of unicolour. This should be taken when period is over and she should not eat any other thing on that day. She should court with her husband during night and take during breakfast only k;ira. Thus the woman will definitely conceive.

METHODS TO PREVENT REPEATED ABORTION

65.

The mud from the hand of potter should be taken with the milk of goat mixed with honey. The tendency of abortion will completely stop for ever.

66. Mulahathi, savara lodha, avalii should 1?e ground and taken with milk and gheeand mixed with honey and cooled down and should be taken for seven days. It will check abortion, vomiting, pain, swelling and trido;a and hereafter other diseases and defects will never take place. THE METHODS OF AVOIDING LABOUR: PAIN 69. The powder of matuhmga and madhuka should be taken with ghee and honey. The woman will soon beget child with great ease. 70. Soot of kitchen ( chimney) mixed with water and kept in the night for dissolving. This mixture, if taken by woman, will cause painless and easy delivery. 71. The root of gunjii extracted on Sunday should be tied in the waist and forehead of the lady in a blue ribbon . She will soon beget a child. 72. The mantra "Om Manmatha Matka Matka" should be recited for twenty one times to incant the water, That water should be given to a woman for quick and easy delivery.

4 --------~

KALYA~AMALLA'S ANANGARANGA

34

HOW NOT TO CONCEIVE 73. Four tolii three years old jaggery if taken daily for a fortnight (after the menses period is over) will make woman sterile for whole life. l 74. The root of chilli boiled with the scales of paddy taken by a woman ( after the period is over ), will cause sterility.

f01

three days

The fruit of kadamba, the legs of house flies if taken after period with hot water for 75. three days constantly will make a woman unproductive of any child. 76. The seed of rak~obhura taken with one tola of left over water in which rice has been washed for seven days after menses will lead to a woman's sterility.

THE HAIR REA UTIFY ING AIDS 77. Paste made by grinding tila flower with gokhura in cow's milk should be used for several days on the hair to make them long and thick.

78.

Both the root of dann and siivara lodha should be grinded into pulp form and then hoiled in til a oil and filtered. The llse of this oil will remove several diseases of hair like falling of hair and its weakness.

79. Gunjii fruit mixed in honey if pasted on the bald head will remove baldness and increase thick hairs.

81-82. The flower of mango, triphalli, arjuna's scale, pi1J.¢iiraka should be ground and boiled in oil. Constant massage of this oil on head will restore the original dark colour of the hair, The oil is termed as (dark oil'. It is pointed out in the praise of this oil that even if a swan dips in this oil, its feathers will become dark. 83. The miinjuphala, pipara, indigo, sendhii salt be ground in siira niilaka. paste will bring the original darkness of hail'.

The use of this

84. Four tolii of nimba oil if taken regularly for a month, the black hair will growth of black hair from root.

85. Gorochana, black tila, kakamachi, satavari is ground well and applied to hair to dark colour to hair.

THE WAYS OF MAKING HAIR WHITE 86. Hairs can be made white, if tila dipped in the milk of snuhi and dried and oil is extracted, if applied to hairs.

87. The mas:;age of powder of iimalaka dippect in the -milk of snuhi, if applied, hair will start falling. 1. We are living in an age of excess of population.

Here certain methods have been discussed checking the conception of unwanted baby. There are our purely scientific indigenous methods perhaps will have no side effects. However, after careful scientific exp~rimentation, these a should be propagated by our Family Planning Programme. These methods will have great and quick impact upon the Indian population.

----THE WAYS OF EASILY GRATIFYING WOMEN

35

HOW TO CURE PIMPLES 88-89. Pimp~es will be removed by application of ground vacha) savaralodha and dhania. If thorns of salmali mixed witb milk and ground and applied on pimples, they will be cured.

90.

Lodha, sendha salt) sarason and vacha mixed and ground and applied on pimples, will

clear them away.

HOW TO REMOVE BLACK AN/) BLUE SPOTS FROM SKIN 91. Paste made of tila, jtra, black j'ira and sarason mixed together in milk and ground, applied for seven days on the black and blue mark, will clear them away. The red ochre, the twig of SO~la flower, mllrahart, meghanada, daruhaldt ground in the 92. water of banana tree and applied for seven days will remove nilikii.

METHODS OF MAKING BREASTS ATTRACTIVE 93.

Asagandha, vacha, kula, tJZpara, kanera powdered together and made into a paste and app!ied with butter on the breasts will make breasts plumpy and heavy.

94. 'The pulp of the seed of bera, Aallera, nagakesara should be taken in equal parts and ground. The breasts of the ladies will become hard by rubbing this paste. 95. The breasts can be made hal'll and elevated if an ointment is prepared from the scale of srZ /Jarr;;;, ( four times more in quantity than oil) in oil and massaged gently on the breasts. 96. When the pulp of anllra fruit cooked in the sarason oil and massaged on the breasts, they will become beautiful, hard and bulging.

97-98. The tila oil, ghee of cow, madara's milk taken in eqm.1 quantity) kharati, anantamula, trikuta, lajavanti, haldi, daru haldi should be mixed and ground in form of pulp and cooked in low heat, and then the resulting fluid (in form of oil) is massaged on the breasts of the ladies. The breasts will become hard, pleasant, fat and rounded. 99. If a girl of sixteen years of age drinks this oil with the water in which rice has been washed, her breasts ( throughout her life) will never become loose and in exact. Here ends the sixth chapter of the Ananga Ranga of KalyaQ,a Malla written for the pleasure of Sri Lac;1akhana.

CHAPTER ViI

HO W TO ATTRACT OTHERS 1. Here for the pleasure of sensuous persons, certain alluring methods based on the techniques of Mantra Sastra will be discussed. 1

ON V ARIETY OF TILAKA

2-3. Lajjavati, murahari, ghee, the roots of lotus flower ground with ones own semen if used as tilaka on forehead makes a man fascinating. This yoga is given by Vatsyayana. 4-5. If the root of the white flowered sitarka, manji;&hii, vacha are ground with the blood of the menses of a woman and a tilaka of that paste is used, the man will be able to captivate the three worlds.

6-7. Tagara, piparamula, me~aspi.gi, pipara, jatamansi should be taken in equal parts and mixed with the five bad elements of man ( they are blood of the second finger, cough mixed with saliva of mouth, the wax of the eyes, and mucus of the nose, the sweat) and is used for tilaka by a man after bathing in honey on Tuesday. There is no doubt that whole world will be his slave. 8. The woman who puts gorochana in the blood of her menses and use it for the purpose of tilaka, her husband will become slave to his wife.

ON METHODS OF COLLYRIUM 9. In the midnight of the eighth day of the moon jf a man prepares the collyrium in the skull of a male at the burning ghata and uses that collyrium, the man will attract the whole world. 10. The collyrium prepared of gorochana, kesara) kanya, sillljUa if used by a man in his eyes, will attract the person who will come in his contact. 2 11-12. The talzsapatra, ku;tha, tagara should be taken in equal parts and placed on a silk cloth and wrapped in the form of flick and dipped in the mustard oil. The collyrium should be prepared in the skull of a male. By the use of this collyrium, the man will attract three worlds. 13. in the

The couples will be attracted towards each other if they use the collyrium prepared Pu~ya Nak~atra by red ochre, satavari and gorochana.

1. When a person is unable to fulfil his/her physical passions by the natural ways, he or she then have

recourse to other ways of attracting others to himself/herself. The ways described in this part are in relation to secret recipes, mY5terious charms, aphrodisiacs and also to enhance the original beauty with the aid of some medicinal plants. Here Kalyal)a Malia excells with other writers on Kamasastra. 2. These recipes and tonic medicines should only be used in consultation with the scholars of the Ayurveda.

HOW TO ATTRAct OTHE.RS

37

ON THE METHOD OF POWDER 14. The powder made of kakajangha, dUrva, the feathers of bhramara, kUta, lotus, the roots of tagara, if smeared on the body of a person will make that man attractive.

15.

The leaf driven by wind, the dirt of man ( any five dirt as mentioned earlier), the garland of a corpse, the feathers of bhramara, if powdered and put on the head, will be attracting other persons towards him.

If equal parts of saptacchada and rudrak~J. mixed in honey be put on the head, it will attract persons. ON THE METHOD OF TABLETS

16.

17-19. On Tuesday from the stomach of the khanjana bird, intestine should be taken out and man should put his semen in it and place it in between two earthen wares ( pots). This pot should be placed in a lonley place for seven days. After seven days it should be ground and prepared in form of tablets. The use of these tablets by couples will enhance their mutual love. ON PASTE METHOD

20.

A man who takes his semen in his left hand and pastes it in the left foot of the lady,

that woman will be under his spell and charm.

21.

A woman who after the union touches the phallus of her husband with her left leg,

will enslave him throughout his life.

22. Equal quantity of the excreta of pigeon, sindura and mahua ( murahathi or madhu ) should be taken and ground. If a man applies this paste on his phallus before he unites, the lady will be in his control. 23. The phallus of bear ground in camphor and mixed with honey, if this paste is applied on the phallus of man, the woman will be his slave.

24.

Woman will be under control of the man who cohabits with her after application of the paste of gorochana, kanaka, mercury, camphor and sandal on the phallus.

25-26 Sandal, kumkuma, kuta, tagara, lavanga, netravlilli, devadaru should be ground and mixed with honey and burned in fire. This preparation is known as ChintamatJi dhupa. The use of this dhupa will fulfil all the desires. 27.

Ilayachi, rala, sala, chandana, malakangan'i, vacha, srng'i's dhUpa will attract the whole

world.

ON K.JME'sWARA MANTRA2 28-30. The mantra "OM KL1.i1 KAME;,SWARA AMUKIM (here the name of the woman whom the man wants to win should be mentioned) A.NAYA ANAYA VASATAM --------------------------------~~--------------------------------

I. This experiment is also mentioned in the Ayurveda. The membrum virile of crocodile or dog ground on stone with scent and prepared in a form of paste. Its application on the pballus of man will provide excessive pleasure to the uniting couple and that woman cannot love any other man. 2. Instrument of thought. A mystical verse or magical formula ( some times personified ).

KALYA~AMALLA'S ANANGARANGA

38

KLIN" should be recited with a string of beads made of the flowers of kadarhba or palasa and recited ten thousand times. After the homa of thousand words of. this matra when flower is given after reading- this mantra, the lady will be attracted.

ON CHAMUlfJ)A MANTRA 31-33. 'OMCHAMUlfJ)E (here the name of his lover) MOHAYA VASATAM NAYA SWAHA' this mantra should be recited for one lakh times on the beads of paliisa and ten thousand limes on the time of homa, this will bring the desired results. A flower after reciting this mantra for seven times if given to the woman whom the man wants to win her love, the woman will be attracted to him.

HOW TO WIN-OVER PADMINI 34-35~ This prayer-COM KAMESWARA MOHAYA SWAHA' should be written on betel leaf with honey and flower on Sunday. A flower if presented on that day by reciting that speech for hundred times the lotus woman will be subjugated.

HOW TO WIN ART WOMAN 36-38. Jaliphala should be ground and soaked in water of the root of the banana tree and then dried in the sun. The powder of jatiphala should be given by enchanting this prayer OM OM VIHANGAMA VIHANGAMA KAMADEVAYA TASMAI SWAHA> betellea[ on Sunday. This will bewitch the art woman.

ON SUBJUGATING CONCH WOMAN 39-40. After reciting this magic sentence-COM NAMAl! OM SWAHA SWAHA', t~gara or sriphala should be given to the conch woman. In this way the woman will be sub· jugated. The previous writers on the science of sex have eloquently praised the efficacy of this prayer.

HOW TO SUBJUGATE ELEPHANT TYPE OF WOMA N The mantra 'OM DHIRI DHIRI KAMADEVAYA TASMAI SWAHA' should be ted while grinding the feather of pigeon and should be mixed with honey. Elephant ty of woman will be subdued by eating this honey.

41-4?

ON APPLICATION OF UNGUENTS OR COSMETICS TO THE BODY1. 43. Now I will discuss for the pleasure of the, skilled persons of the art of sex, .cosmetics. .

44.

Sandal, khasa, haritaki, lodhra, the unripe skin of mango tree should be

as a paste. ,and prepared .

The use of this paste as cosmetics will remove the bad odour . sweating and various foul .smells of .the body. 1. Adoring the body.

HOW TO ATTRACT OTHERS

39

45. The use of the paste of lodhra, haritaki, leaves of n'ima, scale of aniira, scale of salonli removes the foul smell of the bod y . 46. The use of the paste of imali, the fruit of kanja or the root of the creeper harUaki removes the bad odour of the body. 47. The paste made of niigakesara, agara, khasa, the seed of haira, netravalli and sandal removes the odour of sweat.

48.

Bp massaging on the hody the paste of mercury, flower of Pilu, the fruit of jam una taken

in equal quantity, the sweating during summer will be stopped. 49.

The excess sweating of the summer season will be stopped by using the paste made

from the leaves of nima, lotus, lodhra and the skin of dii4ima. 50. The paste of siri;a, kelara, khara, lodhra should be prepared by grinding, either massaged or taken during summer will check the sweating.

ON THE USE OF PERFUMED OIL

51-52. The tila oil getting it de-smelled through the process of the Ayurveda, the leaves of the hilva tree should be kept in it and the oil in the sun light. \-\Then the leaves become dried, it should be taken out. This process is repeated with the leaves of maruvli or with the leaves of lemon. When this process is over the flowers of asoka and then the flowers of kevarli should be placed. After it the oil should be filtered ( with fine cloth). oil is best for the use of men of pleasures.

This Mahaparima1a

ON MAKING BATHING vVATER FRAGRANT 53.

Iliiyachl, desi mothii, nakha nakh'i, niigalcesara, jatlimailst, camphor, tejapata should be

soaked in the bathing water.

The bath of this water will perfume the hair.

54.

The paste of iivata, ni'igakesara, motka, Maw, haruaki, ja{amaMi if applied on the body for a fortnight, the body and hair will be perfumed.

HOW TO PREPARE PERFUMES 55. The use of the paste made from equal parts ofsandal, ilayachi, kachUra, sahajana, harztaki, netravalli and mothli gives fragrance. 56. The use of paste made from the equal parts of camphor, kumkuma, titunera, nelravala, dell motha and khasa makes the body perfumed. 57.

The paste prepared from tejaplita, mIJthii, sandal, khara, black agara makes the body redolent.

HOW ~O PREPARE HIGHLY PERFUMED SCENTS 58-59. Kasturz, niigakesara, tagara, sailf:Ya, chandan a, the gum of t1lfpentine tree, camphor, jiiJaphala, thunera, karanja should be well ground and mixed in juice of betel leaf. The use of this paste provides effective perfume and is suitable for aristocrats.

40

KALYA~AMALLA'S ANANGARANGA

60-61. One part of matha, four parts of har'itakz, two parts of kflta, kar!Jilra and thunera, five parts of chharachharzlii, and nine parts of nakha should be ground to a paste. The use of this paste gives immense fragrance. 62-64. One, part of nakha, haritakz, khasa, kamala, jatiimiinsz, saunfa, karanja and niigakesara, malakiingani two parts, three parts of kapflra, agara, kastflri, jiiyaphala, thunera should be mixed and ground. The use of this paste provides universally pleasing fragrance. It is difficult to forget the pleasing smell of this paste.

HOW TO CREATE PLEASANT ODOUR IN MOUTH 65-66. Small tablets should be prepared from diilachznz, tejapiita, iliiyachi, nakha, niigakesara, jiiyaphala. (It should be used with betel leaves. ) The use of tablets made from kesara, kolamajjii, thunera and jiivitrz with honey will keep the mouth fragrant. The powder made from tal'isapatra, kamala, kesara, kula if taken in morning and 67. evening for a fortnight will doubtlessl y produce smell of camphor. 68. The powder of the seed of kiimbhajz and ku~!ha if taken with ghee and honey for a month or two, will produce fragrance. 69-70. The juice taken from the green leaves of the mango tree mixed with the alkali of aplmarga and dried in the sun, if taken in the morning with betel leaves, the mouth will be hagrant. This produces best p~easant odour in the mouth. l Here ends the seventh chapter of the Ananga Ranga of KalyaQ.a MalIa written for the pleasure of Sri LaQakhana.

1. Medicines about which the user has the slightest doubt ( regarding the exact measures and so fortb or which ca use physical harm, or which require killing of some living animal, or which mend the use of impure ingredients, must be avoided. Only those practices found effective after trial, approved of by the cultured people and blessed by Brahmins and friends, should be resorted Kamasutra , ch. I, part VII, sUlra L.

J

CHA PTER VIII

WHOM 10 MARRY

1.

The flawless girl should be married to such a person who is well known for his learning, prowess of arm, forbearance, purity and is follower of same religion. He should be born in a well to do rich family. A girl who is born in a good family and is married according to the rules and regulations of the sastras, is only worthy for love sport.

ON AUSPICIOUS MARKS OF THE MAIDEN 2-3. Her complexion has the colour of the blue petals of the lotus flower or golden Her hair are jet black; her face resembles with moon ancI eyes like fawn, nose like tila flower. She has the full set of even pearl like teeth and long ears; a shapely neck like the conch shel1, her voice must be sweet like that of cuckoo's, lips should be red like the bimba fruit. She must have tender feet and palms with rose tint. She should be with auspicious marks like conch, wheel and fish, who eats less, her thighs should be smooth and round as the stem of banana tree, the buttocks should be elevated and heavy, deep navel, her gait must be like that of an elephant. She should be of calm disposition, talk and sleep less and should be virgin and tender. The man of distinction should marry with such a girl who has these auspicious signs and qualities. 1

ON MALEFIC SIGNS OF MAIDEN 4-6. A virgin of harsh temperament, blue eyes, grey hair, short stature, tall and too thin, long lips, fat neck, long teeth, garrulous, whose breasts are of odd sizes, who while walking appears to be jumping, who has triangular ears with rough and scaly skin, whose upper lip has hairs like mustache and body full of hairs, whose lips are stammering, while laughing dimples can be seen on her cheeks, whose finger next to the thumb of the feet is bigger than the thumb or whose little toe does not touch the ground (this indicates early widowhood) and whose first phalange of the middle finger is small. The girl having the the name of the mountain, bird, tree, star or having several names is considered inauspicious. Such maiden who is suffering from a prolonged disease, has protuberant brow, bashless, has deformed body or who,e character is questionable, is not suitable for marriage. Maiden with aforesaid features is not desirable for matrimonial alliance. 2

). (1.-

g

>.

J. Compare with the description of Ktilidtisa regarding the auspicious marks of a maiden. Innumerable specimens of female paintings, terracottas and sculptures point to one characteristic feature of womanly beauty, viz., full breasts pressing against each other without any intervening space betwecn them. Kiilidiisa refers to this feature in describing the beauty of Ptirvati's youthful body, saying that not even a filament of lotus would seplrate the two breasts. so closely they were pressing against each other. ( Kumar., 1. 40) 2. Viitsyiiyana has candidly remarked that. of course, the man must also possess the same qualities which he expects in his bride. f("limasfitra, part lIT, chapter I, sutra 11.

5

42

KALYAl':l'AMA LLA'S ANANGARANGA

ON QU ALlTIES OF A DESIRABLE TYPE OF SON-IN-LAW As the purity of the gold is tested by four ways viz., friction, cutting, heating in fire and by hammering so is the case of man. He is also examined in four ways, viz., scholarship, conduct, qualities and his work (nature of profession). According to the various scholars that man is desirable as son-in· law, who is, a renowned scholar, welI known for his prowess of arm, wealth, virtues, who follows the tradition of his family, born in a good family, sweet tongued, of kind disposition, sensuous, who has large family, he should be a man of firm nature and free from evils.

7-8.

7 HE UNDESIRABLE TYPES ARE 9. Who is old, of bad habits, merciless, diseased, a great sinner, impotent, born in a wicked family, slanderous, gambler, poor, or who is wealthy but miser, who is of fickle mind, who mostly resides abroad, who is in debt, beggar, who is devoid of love. The scholars are of the opinion that daughter should not be given to such persons.

ON GENERAL FEATURES OF QUALITIES DENOTED BY MARKS ON THE BODY OF MAN AND WOMAN 10. Now auspicious marks based on Samudrika Sastra will be discussed here which will bestow good fortune to both woman and man. 11. First of all the age of woman and man !ihould be determined otherwise auspicious or inauspicious marks will be of no use for short lived person.

ON MALE AUSPICIOUS MARKS 12. If there is a lille extending from the little toe to the base of the big toe, a life span of one hundred years. 13 . If there is a line extending from the little toe to the base of the middle finger, man will live for eighty years. 14. If the line starts from the base of the little toe and goes to the next finger, the will have a life of sixty years.

If there is unidentified line or several lines, it means he or she will suff er from mise' 15. less lines indicate that person will be poor. A man/woman who has four lines will e the pleasures of life. L The net of too many lines show that the person will be poor. 16. A man who has a line like barley in the middle phalange of his thumb will be ha and prosperous and will earn his livelihood by his prowess of arm. 17. The men having red eyes are graceful, whose eyes are yellow are wealthy sensuous, whose shoulders are long are prosperous ano renowned, and whose body is full flesh are happy. 18. A man who has broad chest will be happy and prosperous, who has big head become king, who has fat waist will have many wives and sons and who has long feet always be happy. l. They are tbe lines of education, longevity. wealth and of parents.

WHOM TO MARRY

43

19. A man whose palm is hard though he is not a labourer, a man who travels much yet his feet is soft, will always be a happy man

20.

A man with a long organ is destined to be poor, and one with thick penis is headed for unhappiness, while the man with lean and thin sexual organ will always be happy and short phallus will provide kingship to the owner.

ON GENERAL AUSPICIOUS MARKS 21.

A beautiful eyed man is lucky; the even teeth indicate that the person will enjoy

decellt food, the smooth skin shows that he will have the good cosy bed to sleep on, one with soft feet will get good vehicles to ride in.

ON AUSPICIOUS MARKS ON THE BOny OF MAIDEN

22.

The bride: with inauspicious marks will ruin her parents, brothers, husband and his brother and her whole family. Therefore man should only marry a bride with auspicious marks. 1 23. The marks of a circle, lotus, flag, umbrella, swastika, thunderbolt or anyone of them on girl's feet will make her queen. 24. A line extending from the little toe to the base of the big toe on the sole of a girl's foot indicates her early marriage and shall be dear to her husband. 25.

A girl whose little toe that does not touch the ground indicates early widowhood.

26. If a woman whose finger next to the thumb of the foot is longer than the thumb shows that that girl trifles with love in her early age and becomes a whore in her youth. 27. The woman whose chest has no hair, breasts bulging, heavy and smooth, thighs taper like an elephant's trunk is very fortunate. 28. The maiden who has a mole on her left breast, a black mole on ear or neck is beau·· tiful, she begets sons and gives much p!easure. 1. While selecting bride, the selector should take due care. Sitii, heroine of the Rlimayal)a, on hearing the false news of her husband's death then observes: "I do not see on my body the inauspicious marks that indicate widowhood, My hair is fine, glossy and dark. My temples are well proportion' ed and eyes auspicious, My teeth are even. My breasts are full, elevated and swollen up leaving no gap between, and nipples are deep set. My skin is smooth and transparent, and I stand fine on my ten toes and soles. So am I known as a woman with auspicious marks." Rlimliya1;la Kiilidlisa refers in describing the beauty of Plirvati's youthful body, saying that not even a filament of lotus would separate the two breasts, so closely they are pressing aganist each other. Kumarasa1J1bhava, 1.40.

Several specimens of Gupta female terracottas and sculptures point to this characteristic feature of womanly beauty, viz., full breas t5 pressing against each other without intervening space between them. V. S. Agrawala, Studies in Indian Art, p. 218.

44

kAL YA~AMALLA'S ANANG ARANGA

29. A lady who has long or short neck is merciless, cruel, garrulous ( loquacious) and poor. The lady whose neck is neither short nor long nor round and whose neck is decorated with three lines round her neck and looks like a conch having mouth in left direction is forlunate. 30. The woman in whose palm if there is an elevated line with symbols like fence ( enclosure ), and a triangle though she is born in a family of slave she is destined to become a queen of a king. 31. Whose palm has symbols like trident, sword, circle will be the consort of a king and she will have first child as son. The man of virtue should not marry a woman who has no parents, who is not of 32. his clan and who has no auspicious marks on her body. The sage Narada is of the opinion that a woman who is devoid of the auspicious 33. marks will kill her parents, brothers, father and mother-in-law, her husband's brother and her husband.

Here ends the physical features of men and women RELATIONS WITH WIVES OF OTHER MEN IS PROHIBITED 34. The man who seduces the wife of other man, looses his age, becomes an object of mockery, and is universally scandalised, and he looses his wealth and becomes ignonim· ous. He suffers even after his death. Therefore seduction of another man's wife is strictly forbidden but if owing to certain unavoidable reasons, it becomes necessary, then there is no harm to court with the wives of other men. 1 35. One should not even think of seducing the other man's wife because there are instances when seducers were killed, viz., Ra.va1}.a was killed because he kidnapped SUa, Bali was killed because he seduced the wife of his younger brother, Kichaka2 was killed ( by Bhima ) because he tried to seduce Draupadi.

REASONS OF SEDUCTION 36. According to Kalya1}.amalla there arc ten stages of love sickness, the last of which marks the imminence of the lover's death through despair. ( 1 ) The kindling of love at first sight which is discernible by a peculiar tenderness in the eyes of the lover. ( 2 ) Hallucinations and delusive feelings that the absent lady is near about. ( 3 ) Restlessness of mind arising out of planning schemes to get access to the lady. ( 4 ) Sleepless nights. ( 5 ) Loss of appetite and consequent undernourishment and ill health. ( 6) Raving and breaking all laws of decency and decorum. ( 7 ) Occasional expression, by word of mouth, of suicidal tendencies. ( 8) Mental imbalance and signs of insanity. 1. See verse XXXVI. 2. He was the brother of the queen of the King of Viratanagara.

WHoM TO MARRY

45

( 9) Fainting fits, the result of ill health and mental exhaustion. ( 10 ) Collapse indicating approaching death. l Therefore man should not try to seduce other man's wife for the sake of his own life. 37. King Pururava died because he became restless for the love of Urvashl. Therefore for the sake of his life man could seduce other man's wife but seduction should not be aimed at getting sexual gratification. 38. Vatsyayana is of the opinion that if a maiden does not get beautiful young man, she becomes mad and ultimately dies. Such passionate woman if comes to a man for courtship, man should once court with that woman but not always. 39. Vatsyayana is also of the opinion that even if a man is lovesick, he should not seduce the wife of a BrahmaQ.a, the scholar of Veda, Agnihotri, king, friend and relatives.

WOMEN WHO ARE NOT TO BE SEDUCED 40. Girl, nun, the wife of enemy, the wife of friend, diseased man, lady pupil, the wife of BramaQ.a, flirt woman, insane, the wife of relative, old woman, the pregnant women, the wife of teacher, a great sinner, the woman of yellow eyes, jet dark woman, these women are never to be seduced.

ON INTERMEDIARIES2 41.

A seducer should employ intermediaries among the following ladies: The wife of a gardner. An intimate lady friend. A widow. A governess. The wife of an actor. The wife of an artisan. A woman who is weII versed in the art of finery. A woman who always moves from one house to other. The wife of washerman. The wife of utensil cleaner. Female relatives. Maiden. Nuns. Female beggars.

1. In the last stage, the lover stops at nothing. 2. An unscrupUlous seducer always studies the causes that make women unhappy and fans the fire of revenge in an illtreated or suspected wife for the futherance of the designs. A seducer too, like a lover wooing a bride, employes intermediaries. These intermediaries are always women. P. Thomas, Kama-kalpa : The Hindu Ritual of Love, p. 96.

46

KALYAl':lAMALLA'S ANANGARANGA

The woman who sells milk and curd. The wife of a well known painter. THE WOMEN WHO FALL AN EASY PREY TO MEN

42.

( 1 ) A bashless widow; ( 2 ) A woman who is well versed in the science of erotic; ( 3) A woman who moves in club and societies; ( 4 ) A poor woman; ( 5 ) Whose husband is impotent; ( 6 ) A woman whose husband is fat. A vivacious young lady married to a potbellied man; ( 7 ) Whose husband is of hot temperament; ( 8 ) A woman whose husband is of short stature; ( 9 ) The young wife of an old man; ( 10 ) The wife of an ugly man; ( 11 ) One who is fond of standing on balconies or in front of doors for sightseeing in general and watching in particular; ( 12 ) A restless womam; ( 13 ) A barren woman; ( 14 ) An insulted wife seeking revenge; ( 15 ) A maiden; ( 15 ) A woman whose husband is abroad and who has not met with her husband for a long period. SOME OF THE SIGNS WHICH SHOW DAWNING LOVE IN A AJAIDEN ARE

43.

( 1 ) A woman who does not blush while looking straight at the lover; ( 2 ) Woman who remains looking at the face of the lover; ( 3 ) While standing who starts scratching the earth; ( 4 ) Adjusting robes in a manner to expose parts of the body or limbs; ( 5 ) Laughing when the lover speaks even if his conversation is not particularly comic; ( 6 ) Casting side glances at the lover. Man should know that these are the signs which show dawning love in a maiden.

44. A woman who even ~fter asking the matter still follows him with smile, talks loudly to companions on irrelevant subjects or teases them within the sight oflover, who tries to expose the parts of her body or limbs ( viz., armpit, stomach, breasts, thighs), then a man should know that these are the methods of expressing the amorous desire. l

45-48. If a woman establishes friendship with the friend of her lover, who is keen to know the beginning and end of any matter and starts questioning about it for several times, 1. A woman who dresses herself in tight-fitting jacket and pants so as to display the shapelines of her breasts, buttocks and thighs may also be considered a device of expressing her desire for congress.

WHOM TO MARRY

47

who is anxious to know as to how many beautiful maidens are in the house . of her lover and who is more dear to him, who after seeing her lover starts touching her breasts, who puts her finger on the mouth while opening the mouth wide, who never comes before dressing herself nicely before her lover, who beats with flowers, who shouts loudly, who rubs her shoulders with hands, who enters in the house of her lover with some pretext, who sweats while seeiug her lover, man llhould, with least hesitation, immediately send his messenger for getting such woman.

THE WOMEN WHO WOULD NOT BE EASILY SEDUCED 49.

The following women who would not be easily seduced are: ( 1 ) Who loves has husband much. ( 2 ) Whose husband is not a philanderer. ( 3 ) A woman of low sexual ardour. ( 4 ) Who is of jealous temperament. ( 5 ) Who has many sons. ( 6 ) Who is bashful. ( 7 ) Who values the "good name of her family. ( 8 ) Who fears her in-laws and teachers. ( 9 ) Who is of reserve nature. ( 10 ) Who is rich. ( 11 ) Who has no desire to talk with other men.

THE PLACES PROHIBITED FOR CONGRESS 50.

The following places are prohibited for courtship for wise people: ( 1 ) The fire place ; ( 2 ) Near the side of a Brahmal)a ; ( 3 ) Near the teacher; ( 4 ) In the river ; ( 5 ) In the temple ( in the abode of god ) ; ( 6) In the house of another person; ( 7 ) In the forest ; ( 8 ) In the day time; ( 9 ) In the time of Safnkriinti ; ( 10 ) On the day of Amiivasyii ( the last day of the month) ; ( 11 ) In the hot season of Sarada and Gri~ma ; ( 12 ) During fever; ( 13 ) On the days of fast or vow of abstinence; ( 14 ) In the morning; ( 15 ) In the evening ; ( 16 ) When feeling tired; It is not desirable to make love on aforesaid occasions.

48

KALYA~AMALLA'S ANANGARANGA

THE DESIRABLE PLACE OF CONGRESS 51. The house should be comodious, white washed, decorated with paintings, or on a big platform of his house when the incense of agaru is burning, the flowers are smelling, the whole atmosphere is fragrant, where music, dance and orchestra in being played, the man should indulge with his darling in the combat of equal congress step by step to that physical and mental condition in which she will seek with delight the satisfaction and culmination of her aroused desires. Here ends the aims of marriage, the eighth part of the Ananga Ranga written by KalyaI,la Malta for the pleasure of Sri La<;lakhana.

"','

CHAPTER IX

ON EXTERNAL MEANS OF COURTSHlpl The wise man should first indulge in external means of amorous love game and only then he is advised to cohabit ( physical union). Embrace is the fin:! act of external love act therefore scholars of sexology are of opinion that embrace is of eight types. 2. VTkliidhiru~haka or tree climbing embrace, tilata1)4ula or a complete fusion of man and woman, liilii/ika or forehead embrace, jiighana 01' highthigh embrace, viddhaka or breast pressure embrace, urUpagfi,4ha or the pincer embrace, kfiraniraka or milk and water embrace, 1118Vtllita or the creeper embrace, these are eight kinds of embraces.

ON EMBRACE VTkiildhirii~haka

or tree climbing embrace: The woman standing on one leg on 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 hoUs 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.

Tilatal)4ulaka or rice- sesamum embrace: When lover's have established so intimate

physical contact that their shoulders and thighs are twining it is called rice- sesamum embrace.2

5.

liilii#ka or forehead embrace: The eyes, nose, mouth, cheeks and bosom meet in

close contact the foreheads touching eacb other and remain standstill blinded with passion.s

6.

]iighaniili'ngana or 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.4

7.

Viddhaka or breast pressure embrace:

'f.he woman who passes. 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. 5 J. There are six auxiliary pleasures which give completeness to union. They are: embrace, kiss, scratching, biting, making inarticulate sounds, stroking with the hands. 2. Balls of unboiled rice coated or patted with sesamum seeds form offering to manes to Hindu funeral riles, and the lover'S intimate physical contact in this type of embrace suggested the name. P. Thomas, op. cit, p. 83. 3. This is a mild form of embrace. 4. The woman appears very beautiful in this embrace, displaying as she does the large and pleasing shape o( the jaghana. S. This is a secret physical contact but here it is the woman who takes the initiative. The woman dashes against her lover with her bosom, The man, on his part, pressin~ her Qolds her ti~htly in his embrace,

6

so 8.

KALYA~AMALLA'S A NANGARANG A

Urupagf4hiilingana or the pincer embrace: When during intense passion man pressel

his thighs with the thighs of her darling, the thighs of one locking those of another is known as the pincer embrace. 1

9. Kfiranira or 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 passion it seems as it they want to unite themselves into one. )2

Alingana-bheda-cakram ( Different varieties of embraces)

Lafiivef#ta or the creeper embrace:

The woman embraces her lover as entwining a tree with sukara sound is called latave~tita embrace. 3 10.

a:

ON KISSING 11-12. After embrace kissing comes in order of precedence. The lower lip, cheeks, head, inside mouth, both breasts, shoulders arc considered suitable places for kissing btl the people of Lata deSa once when their passion is aroused they also use to kiss both the 1. Both participants may practise this embrace. The pressure on the muscular parts result in mndl-=:',i pleasure, and the stronger thighs usually play the active part . . 2. This violent embrace usually precedes coitus. 3. Actually the woman takes the lead and she inflames the lover's passion. Texts on the science of Kama are of help only till passion is not excited, but once the wheel passion starts to roll , there is then no Sastra and no order. Klimasutra, ch. lI, sutra 32.

ON EXTtRNAL MEANS Of COURTSHIP

51

coul}try e maiden is forcibly pulled towards the man and his mouth is pressed .WIt 19"'_'- _" sbe does not herself do any thing, this kiss is known as milita cumbana.

SpW" or throbbing kiss: When man kisses the mouth of his darling but owing to the baabJblness she does respond to man's kiss by pressing her lower lips on the mouth

or man, without kissing.

2

15. Bandika or the probing kiss: When the girl covers the eyes of her lover with her palm and due to bashfulness she too closes her own eyes, takes the either lip of the lover between both her lips and caresses it with her probing tongue.:';

16.

When the man is sitting sideways to the woman and holds the chin of the lady and the lips of his darling it is known as tiryak kiss.

17.

When the passionate woman after pressing the lips of man bites and man in return

of it also bites the lips of his darling, this kiss is called uttaro}(ha kiss. Cumbaniipriisasta-sthiina-cakram ( Anatomical parts suitable for the purpose of kissing) Kak~advayam 1.

18.

Pi~ita or pressure kiss:

19.

Satrtputa or cupping kiss: Both the lips of one of the lovers are caught by those of

When woman with her two fingers holds the lip of her darling and caresses it with her tongue and bites it. the otber and retained in a kiss as long as he or she wishes. 1. When once a man's passion in aroused, these is no order of precedence among the various steps such as kissing, marknig with teeth and nails, etc. Kamas'lltTa, ch. Ill, sutra I. rhis isa restrained kiss. , This is the kiss of a bashful maiden almost forced out of her lips. It is a mild, gentle and, quick kiss, the ' coyness or nervousness of the girl not permitting of a Thomas, Kama Kalpa, p. 84. prolonged or passionate one. 2. The girl out of shyness or fear makes repeated efforts to withdraw her trembling lips from the vicious lock.

3. In this case, the shy girl is, after much coaxing, ' made to take the lead .

52 20. Pratibodha: When a man, acting from his own urge, gazes at the darling and becomes passionate at her beauty and kisses her. l 21. SamauJtha ,or tongue-tilting kiss: When a woman holds both the lips of man her lips and presses it, the tongue kisses and caresses each other and she becomes excited, it is called tongue tilting kiss. 2 Cumbanabheda-cakram ( On different types of kisses)

,

.

ON NAIL MARKS 22. ,The passionate lover with the intense urge of union makes nail marks on hands, thighs, muscles, breasts, armpits, bosom, back and cheeks. Such nail marks are to be inflicted during courtship, (but it is done only on certain occasions) at the time the first union, or on embarking on a journey, or on returning from a journey, or woman is placated after a quarrel, or when she is intoxicated after a party, during the of wealth, in the end of the congress.3 I., It accelerates lhe lady's passion when she wakes up and realizes this. '2. Every lover mllst reciprocate the darling's gesture with equal intensity. kiss by kiss and embrace embrace. (If there is no reciprocity. the beloved will feel dejected and consider the lover cold stone-pillar. It vl"ilI result in highly unsatisfactory union. To keep the passion alive and Klimasutra, ch. III, sutra 34. reciprocity is absolutely essential. ) 3. This amorous sport is not agreeable to people with small or middling passion, nor in the marking with the teeth.

ON iNTERNAL MEANS OF COURTSHIP

21

The scholars of erotics are of opinion that Dail-marks should not be in a deep line,

it should be clean, clearly visible, elongated, the line should not be broken and soft. 24.

The standard nail-marks are given below: Cchurita or the mild scratch: Exerling just enough pressure to arouse a hair-raising feeling but without leaving any scratch. l

25.

Ardhachandra and ma1J¢ala or the crescent and circle mark: The nails are applied

with sufficient pressure to cause a crescent shaped mark on the neck and on the breasts. Two crescents make a circle mark.

26.

Rekhli or the line scratch: The experts of the science of love are of opinion that if nail marks form a vertical line of two to three angulas on the head, the thighs, the vagina and

on the breasts it is called line scratch. 27. Mayflrapada and Sasaplutaka or peacock's foot and leaping rabbit marks:

This

Naklwpraharahheda-cakram ( Different types of nail marks)

1. The nail of all the five fingers are wildly applied on a sensitive part, preferably on the breasts of a woman with sufficient pressure to cause slight pain but not to leave allY mark. All women inclu· ding shy and bashful maidens not experienced in the game of love are said to love it.

54

KALYA~ANALLA'S ANANGARANGA

is a nail mark made round the loving one's nipples and is in shape like a peacock's Leaping rabbit mark is inflicted near the nipples with fingers. l 28. This is a token of remembrance. This nail mark is inflicted on back, buttocks vagina. This nail mark in shape looks like lotus. It is to be used by a lover prior his going on a long journey. 29, Actually, there is nothing more effective for arousing passion in a woman than effects of marks made by finger-nails by the sensuous person.

ON TEETH MARKS 30. The well versed scholars of the science of love are of the opinion that places proper biting or for teeth-marks are the same. But on the eve of biting it should be borne in mind that sitkara (sounds like hissing, clucking, moan etc.) should also be uttered, because it will increase passion. The maidens while listening such sounds become extensively passionate.

Dantak.fatabheha-cakram ( Varieties of teeth marks)

31. The good teeth should have the following qualities: Whose teeth are clean, shiny, of an attractive colouring, proportionate, close set, pointed out and even, should only inflict biting. Teeth are considered rather defective when they are blunt, protruding from the gums, laid uneven, stickly, broad and loosely set. Such persons should not bite.

32. Gu4haka or secret bite: This is a mild bite leaving a reddish mark scarcely visible to the naked c:-yes. 1. This is very suggestive, in its vigorous application of the leaping of a rabbit.

ON INTERNAL MEANS OF COURTSHIP

55

Ucchunaka or canine bite: When teeth are applied with sufficient pressure to cause a swelling, the bite is called canine.

33. PravalamatJ.i or the coral bite: When a bite is inflicted on the lower lip of the darling with the help of the upper teeth and lower lip and that is bitten with sufficient pressure to cause a red contusion on the lower lip is called the coral bite. This requires some practice. 34. Bindu or the dot: If bitten with two teeth on the lower lip leaving a pin prick mark not bigger than a dot on the skin. Bindumala or dot chain: A series of bindus make a bindumala. It is effected when teeth-marks are made in a row by an the teeth.l 35.

Khat}#bhraka or the broken cloud:

The result of biting in a circle on cheeks, bosom, neck and forehead is callad broken cloud. This looks very nice on the body of woman. 36. The deep biting line on the body of woman is inflicted by a lover prior to hig going on a long journey. This is called kolacharvita biting. ON HOLDING HAIR 37. The soft, thick, curly and black hairs of woman are considered good. Therefore during kissing man should also touch the long lock of his darling. This act will increase intensity of love. 2 38. If the lover kisses his beloved by holding her locks with both hands it is called sama· hastaka. If he kisses while holding the lock with one hand, it is known as tarangaranga. 39. Bhujailgavallz is that when the passionate lover twines her hair on his hand and kisses her darling.

Tarangaranga 3 ~

A

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9

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Kamavantasa~

If the passionate lovers kiss the hairs near dle ears, it is called klimlivatansa. So far I have only discussed the popular external means of courtship, the unpopular ways have not been discussed simply to extend the length of the book.

40. 41.

Here ends the ninth chapter of Ananga Ranga of Mahakavi KalyaQ.a MalIa written for the pleasure of SrI Lac;lakhana. 1. Bath .the 'jewel chain' and the 'coral chain' should be imprinted only on the neck, and sides and the

thigh-joints. 2. This act is not mentioned by Vatsyayana.

CHAPTER X

ON DIFFERENT COITAL POSTURES 1. The studious man of pleasure should loose the vagina of his beloved according to his taste by applying external excitable methods (embracing, kissing, by arousing passion through erogenous zones) then he should approach in the arena of coitus (cot, bed etc.) with his darling.l. 2. Even the tightest vagina becomes loose by keeping her legs wide apart and laos vagina becomes tight by keeping her legs as close as possible. , "

Surata-cakram ( Chart showing different postures for congress)

3. The courtships are of several types e. g. (I) uttana [ lying down in flat position 1 ( 2 ) tiryak [ lying crosswise, sideways or transversely], (3) asita [sitting], ( 4 ) rthita [ standing], (5) anata [ bending d6wn]. Now we shaH discuss different types of coital postures. 2 1. For love·making is an exact science and the persevering voluptuary should also bear in mind the time of sexual congress and the type of woman he consorts with before he hopes to derive fun pleasure out of the courtship. It is interesting to observe in this connection the shrewd remark Vatsyayana. He mentions that all the postures may prove of no avail to a man who in the grip the anarchic passion, he may invent his own postures which may defeat the imagination of the mos erudite scholar on erotics. He also observes that married unhappiness is often due to unequ sexual combination. 2. Viitsyayana describes some eighty-four coital postures. Ya~odhara, hi's commentator, maintains that there are exactly 729 possible coital postures from which the lovers can select those they consider best for themselves. Some of the postures have really scientific basis while the others are the offsprin~ of a fertile imagination.

ON DIFFERENT' COITAL' POSTURES

57

" SUPINE POSTURES The experts on the Kiimasiistra are o( the opinion that when the woman lies on her with her thighs in the lap of man, this kind of union is termed as samapiida. In some of the KiimaSiistra this posture is also termed as 'rustic.' The woman lying on her back with her thighs stretched across man's thighs reaching the waist of man allowing for intromission is called nagara posture. This pose gives iIIImense pleasure to the art woman.

6.

If one of her legs is on the ground and the other one is raised upto the head of the man and his both hands are on the ground and indulges in the intercourse, this posture is

called 'traivikrama'.l When a woman lies down on a bed and raises both her legs with the support of her bands while the hmband seizes the breasts and indulges in courtship, the pose is known as

roomapiida. 2 8. A posture where man is sitting in between the thighs of woman and keeps his hands on the ground is called 'samara chakra'. I t is liked by the sensuous people. 9. Avatarita posture is one where woman lies on her back and presses the chest of man with her legs and embraces him with her hands and man~ slightly bending his both thighs starts intromission. ' 10. When woman lies on her back and man sitting between her thighs embraces her, the old experts of the Kamasastra have called it 'saumya' posture. 11. When during actual congress the lotus eyed woman stretched and straighted her thighs in crosswise, this posture is called 1rmbhita'. This posture is much liked by woman. 12. When in 'the clasping position' ,the woman turns her left thigh to the right and the right one to the left, the mutual turoing of the thigh contracts the abdomen even more than in the pressing position results in 'veltita' the 'twining position'. 13. When a woman keeps one thigh on the shoulder of man and one thigh below and wide apart and starts intromission, the posture is called 've'lJu vidarita'. 14. When she lies on her back and raises her thighs and man courts with the woman embracing her both thighs, the posture is called 'udabhagna'. If both· thighs of woman are on the chest of man, it is known as csphu/a' posture. '

TIRYAGBANDHA (SIDE WARD) POSTURES 15. " When a man lie,S on' her side, and keeps 'one leg.of wife,' on his chest and the other leg on cot, and starts courting her in lying posture, jt is termed ,as 'Vi~lii' posture. Generally speaking· thi~posture :is ,very much Hked by experience~ and woman running in the age bracket of ,3D to 55 years. ' _

. .'

"-'

1. This 'P9s~pre;is ;achieved after much practice. 2. In some works it is also known as utphuUaka.

7

'

58

KALYA~AMALLA'S ANANGARANGA

Utt anaka-surata-bandha·bheda-cakram ( Varieties of supine congress)

16. The woman lying in the sidewards should be embraced passion. The ~an should side upon her and start courting her. This posture .is sarp,pu!a ( the clasping position ).1 17. When woman's legs are bent at the knees and wedged below the man's navel before congress, it is named 'karka!a' or the crab position.

THE TWINING POSITION 18. When the thighs are crossed so 'that the right foot is on the left thigh and the left on the right thigh it is named 'padmasana' or 'the lotus position'. In -the saine manner on one thigh one foot is kept it is known as 'half lotus' position. 1. When during actual congress, the legs of both the lovers are straightened :and stretched, !it is ·s01ppu(a'. It is also because the union of both is perfect, like s01pPula. These - can 'be of varieties: (a ) 'par§va', or 'sideways' when both the lovers lie on their sides facing each ( b ) 'uttana' or 'supine' when the woman lies on her back; however, when the man tbanges position, the posture comes to belong to another sub-variety. 'SaJl1puta' is ,differently: des Katyayana. The thighs, according to him, are kept separate, and so the abd?men cannot be tracted. Hence, this posture should not be used by the elephant type of woman in- 'low ~n 'equal union', however, it is practicable and quite popular, '

ON DIFFERENT COITAL POSTURES

59

Tiryagbimdha surat asya-bhed ii~ ( Types of side wards congress)

Karkata bandha 3. When woman places her both hands inside the thighs and man also places his hands his thighs and places his hands on the neck of woman and starts intercourse, it is known bandhurita position. When woman places her both hands on the neck of her husband and man also his hands through the ankles of his spouse on her neck and cohabits while embracing is known as 'phalJipiisa' posture. When man keeps the thighs of his spouse near his ankles and places his hand on the, Deck of his wife, this posture is called (sa1?2yama iisana'. When mouth is in the mouth of woman, arms are in her arms, thighs are in thighs and courtship starts, it is termed as (kflrmiisana' and if in this posture both the thighs are raised it is called (parivartita' posture.

If a woman contracts her legs and man also contracts his limbs and the expert of sexual art cohabits with his spouse it is known as 'yugmapada' posture. When woman embraces man by grabbing the waist of man~ and man also holds her waist by his ankles and courts, it is called vimardita posture. When both are doing this while facing each other it is called (marka(a' posture. •

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•

,

•

. ,

, STANDlNG POSTURES ,

'

Wlien the man embraces the neck of the standing woman and supports her thighs himself and cohabits it is known as 'jiinukfl.rpara' posture.

26. Wh~I,l.in t!Ie above posture \\loman raises one of her legs it is called hari-vikrama. This posture is'much liked by ' y'oun~ gir1~. '". . ~" - ,

27.

When woman embraces the neck of man with her hands and presses the back of man with~ berthjghs ' it is called 'kirti bandha' postUle: This , posture is suitable for the slim ladies, r, ; ". .. r' •• f

60

KAL YA~AMALtA'S ANANGARA~lGA

BENDING POSTURE 28. When a man is down on all fours and adopts the stance of a beast before uni with the woman from behind her, like a bull, it is called 'dhenuka' or 'the congress of and bull'.

I

Asitabandhabheda-cakram ( Chart showing varieties of twining position)

29. The woman keeps her forehead, breasts and mouth 011 the earth and lies down an man rides over her like elephant. It is known as aibha ( elephant) posture. 30. A man can similarly adopt the posture peculiar to the dog, the dear, the he goa fhe donkey, the cat, the tiger, the elephant, the boar, the horse or so. But they are n proper or commendable therefore they are not given here.

pURusArITABANDHA OR THE MAN SUPINE AND WOMAN ASTRIDE POSITION IN CONGRESS 31. If the husband being exhausted due to indulging in congress and dissa tisfaction the woman due to her passion not having subsided, the woman should remain astride and the

ON OIFFENT COITAL POSTURES

ring the congress is turned upside down so that he lies supme •

61

and

courts

1 .1_1L

When during union the man lies down and woman embraces him and holds . (pball1:1&in her vagina, then starts courtship with frequent movements of her waist, this EIa..-ess is known as vifJarita bandha ( woman assuming the man's role ). When woman is on the top of the man, holding his phallus in her yoni, and turning I'OUIld and round in a circle, it is 'bhramn.raka' meaning 'spinning of the top'. This is bieved only after some experience (Here the woman supports her own body with her bands placed on the man's body.). The man must lift up his thighs to help the woman in circular movements and continue congress. Sf. When the woman swings her hips and abdomen on all the sides ( back and fourth and side to side, or in a circular movement) with the help of any hanging object and holds his phallus in her vagina, it is named utkalita union. 35-36. In the man supine and woman astride position of congress when woman laughing gently tells with her husband, '0 wicked! now you are at my disposal, I have won in this combat of courtship, man should hold her locks and kiss her lower lips. By doing so the fatigued woman will close her eyes and will discharge her fluid. 37. When her body becomes inactive, she closes her lotus eyes, becomes almost sleepy and leaves the weight of her b0dy, these are the characteristic features of discharged woman. 38. Man must never allow the woman to act the man's part if she is of elephant type, if she has recently delivered a child, if she is mensturating, if she is pregnant, if she is too corpulent, if suffering from fever, and if she is below sixteen. 2

1. Vltsyayana has given psychological reasons for the women prererring this position: 1. The husband being exhausted due to indulging in congress more than once. 2. Woman's passion having not subsided. 3. Consent of the husband. 4. Curiosity of the husband at the innovation, a pleasant departure from the usual mode. This position seems to have been very old, and popular also, all over the world. The ancient authors of erotic literature in India have given minute details of i~s various stages and variations. 2. VAtsyiiyana writes that some scholars are of the opinion that in this position woman will not conceive. If she does conceive, the progeny is likely to have similar nature. It may also result in prolape of vagina in case the woman is of the deer-type. The bull and horse type of men may suffer from injury known as lavapatika' ( discussed in part Jr, chapter 6, sutra 9 of the Klimasutra). The pregnant woman may abort and the corpulent woman may be entirely incapable of doing any movement of whatsoever kind. This congress was also popular in the western countries. it was familiar to the Romans. Ovid in his Ars Amatoria ( III, 777-8 ) recommended it in case of woman of small stature. The Roman poet Marital is of the opinion that this is so normal and obvious that he could not conceive of Hector and Andromache in any other attitude. [Vande Velde. Ideal Marriage, p. 125]. The Greek writer Aristophanes referred to it in his works. Boccaccio has also mentioned this in his works. The Christian and Mahomedan theologicians did not approve of this position because of the superior position of the female herein, and they thought that it involved the subjection of the male as symbolic of moral subjection (Vande Vel de, Ideal Marriage, p, 125). ~1lis says that many people are decidely in favour of this congress because it enables the woman to obtain a better adjustment and greater control of the process and so frequentty to secure sexual satisfation which she may find it difficult in the normal position. (Ellis, Studies ill the Psychology af Sex, vol. II, p. 556 ).

62

KALYA~AMALLA'S ANANGARANGA

39. The experts of the art of courtship should not consider that these are th~ only postures. They should themselves invent new postures and imagine according to their intellect and imitate like deer, ass, dog, buffalo and other animals. , 40. If woman is not sexually gratified in aforesaid postures, he should adopt the man supine a~d woman's astride position to satisfy her sexually. 41. If woman is not discharged during congress, she will start beating her husband, and thrashing her hands, and she won't allow her husband to leave the bed and in the fit of the passion of dissatisfied sexual union, she rides on her husband and holds the phallus in her vagina and starts puru;fiiyita congress. 42-43 Man should not allow the woman to take active role by riding on man if the woman is of deer type, if she is a maiden, a fat woman, if the woman is in her periods, if she ~ pregnant, if she has lately delivered. But if a woman who is getting extremdy passionate because of her youth, who won't feel tired and who is intimately acquainted with man and nave no element of shame and who loves intensely such woman should be allowed to cohabit in the reversed attitude in which she takes . the lead. This should always be take~ into consideration that if the woman gets tired, man should lie on her bed and start cou her with tirayak posture (the clasping position ).1 . 45. When during congress woman holds her mouth in the mouth of man, and with thighs, the face is sweating and embraces by clasping him violently and starts sound of thrashing, thumping, fisting and breathing heavely, the man should know that is going to discharge her fluid soon. 46. One the eve of her discharging secretions she becomes almost faint. She closes eyes. By knowing these features man should sexually grati~y the, woman and p'rovide maximum pleasure. 1

47. After union her body begins to sweat, and becomes loose, she - starts tieing her dresses herself and needs rest. The man of pleasure should divert his attention during the time of congress, 48. he realises that woman is doing haste in the courtship, it means that her velocity of IS mcreasing. In this case he should gradually move his body, embrace her. and· passion by talking sexually passionate talks. When she starts getting pleasure in she is almost on the verge of discharging her fluid in the end. Discharging "~, UJUI"'''LJ''V'LIII by both will give immense pleasure to them.

49.

The woman getting the pleasure of courtship ( who is sexually gratified) becomes slave of man and will never leave the company of that man even if he looses wealth, and other objects dear to her. . 1. When, during actual congress, the legs of both the lovers are straightened and stretched, it is 'smppu!aka' (the clasping position). The woman should lie on her back. The thighs are apart, and so the abdomen cannot be contracted. Therefore, this posture should not be used elephant type of woman in 'low congress'. In 'equal union' however it is practicable' and quite p

ON DIFFERENT COlTAL POSTURES

63

ON STRIKING maUOlIMHtt~

er thrashing and shrieking are the parts of the sexual com bat. Striking is of cooing is of five types. 1

Striking is of four kinds-

1 ) 1'r4sTlaka-when a man strikes the woman's head, with his fingers bent (like a ), whUe she is protesting, and accompanies this with the 'fu fu' sound, it is named 'Jnsrtaka'. (Tohis it to be done ifshe is not satisfied with the 'apahastaka' way, and desires aDollier form of thrashing. The 'fu fu' sounds tends to increase her passion ). ( 2 ) Haslata4ana-when it is done with the back of the palm and out-streched ( 3) Mw./i-when fingers are folded in the fist.

( 4 ) Samapii1)i-when it is done with the palm in a steady position. The places most suitable for thrashing are shoulder and vagina. It is done with the palm in a steady position. On the back, with the fingers folded in the fist. On the head fJrasTta thrashing and on breasts it is done with the back of the palm and outstretched ingers.

ON DIFFERENT TrPES OF STRIKING ~3.

D':1ring the man supine and woman astride position of congress if the. woman thra. shes the chest of man when her fingers are folded in the fist, it is known as 'santanita' striking. 54. During courtship if woman strikes the man with her palm, it is cailed sapataka striking and if she thrashes with thumb it is termed as 'bindumiila' thrashing. 55. If woman beasts man with middle fingers joined with thum b in a passionate mood it is called pleasure bestowing 'ku1)¢ala' thrashing.

ON THE SOUND OPPOSITE TO THEM

56-59. Cooing is of five kinds:

hirhkrta, stanita, sUkrta, utakrta and Juekrta. 1The sound which is coming out simultaneously from mouth and nose, it is called hirhkrta.2 Stanita is deep 'harp' sound resembles with thf; sound of cloud. The sound coming out as the breathing of the serpen(is sitkrta. 3 J. According.to Viitsyiiyana (Kamasutra, II. 7·1 to 3. 9. 11-12. 14.23-45) a pleaSant courtship pn';suposses a combat-a battle-between the two, the lover and the beloved, which even though apparently painful, is really pleasant in the end. Colin has therefore rightly described courting as a 'refined and delicate form of combat'. {S.C. Upadhyaya, Klimasutra of Vutsyayana, Introduction, p. n]. Ovid writes that force pleases a woman and that she feels grateful to the ravisher against whom she combats. [ Ars Amatofia, lib;' i]. Lucian is of the opinion that a lover who does not heap blows on his beloved is no tover at all [ S. C. Upadhyaya, Supra, p. 22 1. 2. The sound resembling 'hitp'. 3. Which resembles the sound 'su-su'.

64

KALYA~AMALLA'S ANANGARANGA

The sound similar to that of a splitting- bamboo is called 'utakrta'. The sound resembling the fall of ( a berry) drop of rain water in water is known as 'jutkrta' sound. 1 60. During the courtship, either with pleasure or in fatigue woman use to utter words like dove, cuckoo, pigeon, duck, blue bird2 etc.

61. When the man in intense passion bites the lips of woman and she gets a scar on her lips, she owing to pain utter 'sitkrta' and other shrieks. .

.

THE EIGHT TYPES OF HEROINES AND THEIR VARYING MOODS3 62. She whose husband has spent the night away from home ·with his second wife ( another woman) and all the signs of coitus are present in him, whose eyes are red and drowsy due to awake in the whole previous night such husband when co~es in the morning to his first wife and speaks sweet words with request-such woman is called by !he scholars as khar!4iUi nayika. 63. The expectant with nicely dressed lying on a soft bed prepared expects her husband to return from a journey and w:lits with the bed specially prepared is called viisakasajjii. 64. The woman who estranged by a quarrel, repulses her husband when he seeks to soften her pride by bowing in her feet. She reproaches him bitterly. This woman is called kalahiintarita .

65.

Abhisarikii is that forward heroine who goes out to meet her lover with'love, pride or

desire during night at his house and secretly indulges in courtship. The woman who sends her messenger to call her lover from outside but due to 66. excessive passion who herself goes to the appointed place is called as vipralabdhii. After. wards when she sees the messenger without coming with her ]over she becomes more frustrated. 67. She whose husband is abroad and without him the rays of moon, lotus and sandal give her burning sensation is called viyogini. 68. In case where husband though not well versed in !he art of love sport but due to the urge of physical union never leaves his darling, that woman who is blessed with such courtship is called 'purva patikii'. 1. All these sounds are inarticulate sounds. 2. Some words like 'amba' are uttered to prevent the man from further indulgence, to get herself free to convey to him that what is done' is more than enough. Other words are also uttered indl'c aunll.:. pain, sufficiency and so on. Klimastura, ch. VII. sUlra 7. 3. Women have their varying moods or states of mind. Numerous factors . give rise to these v moods in women. disappointment, age, frustration, expectation, anxiety, shyness, and natural being a few of them. Most of the writers have taken notice of these moods which are said to be but the sixteenth century write Kehva Dasa has classified them in his Rasika Priya, and artists of Rajput, Kangra and Pahari Schools have personified them in Nayikas or heroines. See also M. Randhawa. Kangra Paintings on love, National Museum, New Delhi, 1962, ch. v.

ON DlFFERENT COITAL POSTURES

65

The woman who, dressed herself with fine clothes, wears a garland ofdifferent fragrant

and is lost in the anticipation of the pleasure of courtship, is yearning for the beloved promised place. This soft spoken, fickle eyed woman is known as 'utka?Jthita' 1

Vasakasajjii, samu.tka1Jthitii, sUiidhinapatikii, pro;itpatikii heroines have been discussed.

kalahiintaritii, uipralabdhii,

abhisarikii,

The scholar of Kamasastra gets soon the reward of manava (man) life, if he

daily the woman with different sports of love. So long the Ganga will reside in the head of Lord Siva, so long Gauri ( the of Siva) will reside in other half of the body of Siva and Lord ViglU'S love will ':~Iuml" to be towards Lak~mi, and sun and moon exist, this Anmiga Ranga will continue to give pleasure to its readers. Here ends chapter tenth of Ananga Ranga of KalyaI;la 11alla written for the I

pleasure of Sri LaQakhana .

------.---------------------------------------------------------------1. The UtakolJ(hlta naylku is generally represented standing or sitting upon a bed of leaves or flowers . M. S. Randhawa , Kangra Painting on Love, p. 65.

8

APPENDIX A MEDICINAL PLANTS USED INTHE TEXT

Plants

Their Botanical Names

Aquilaria agallocha Agaru Clerodendrum phlomidis Agnitaru Sesbania grandiflora Agasta Catotropis gigantea Arka NIangifera Indica Amra Terminalia Arjuna Arjuna Asvagandha .' Withania Somnifera Abutilon Indicum Balii Sida Cordifolia Balanaga Semecarpus anacardium Bhalliitaka Bhujaftga Betulaceae Kurz fruticosa Billva hati T erminalia belarica Br Linn grandis ChinjiifJhala Linn album Chandan a Dii¢ima Punica granatum Croton tiglium Danti Cedrus Deodara Devadiiru Dhanyaka Coriandrum Sativum Dhatri Accutangula gaertn Elii Cardamomum Maton Gokhura Tribulus Terrestris Gunja Precatorius Linn Haritiila Cynodon dactylon

Hayagandhii } : \Vithania Somnifera Hayiiri Jambu Japii Jati Jira Kadamba Kiikajanghii Kanera

X ylocapra Roxb Hibiscus rosasinensis Grandiflorum bailey Cuminum cyminum Anthocephalus Indicus Peristophie bicalenlata Apocynaceae Indicum

KAt YA~AMAtLA'S ANANGARANG A

68

Kapithya Karanja

Feronica limonia Ponagamia pin nata

Kasira Kesara

Cyperus esculentus Crocus sativus Saussurea lappa Carthamus tinctorius Bertol officinarum Symplocos paniculata Hiptage benghalensis Madhuca Indica Rubia Cordifolia Citrus medica Phaseolus radiatus Amaranthus blitum Crocus Sativus Cryptocarya wightiana Azadirachta Indica Butea monosperma Holarrhena antidysenterica Cinnamomum Obtusifolium Salvadora Indica Trewia nudifiora Piper longum Ficus religiosa Combretum decandrum Yanda roxburghii Berberis lycium Salsola Kali Salmia Malabarica Cassia fistula Asparagus gonocladus Vetiveria zizanioides

Ku;~tha

Kusuma Lakshma1}a Lodhra Madhavi f.1adhuka ManjiJtha Matulunga Masha Meghanada Nagakesara Nila Mma Paltisha Pandara Patra Pilu Pindara Pipara Pippali Punkha RakJo Rasanjana Sajji Salama Samyaka Satapatra Sira Sitakokila } Sitapikasha . Curculigo orchioides Swettia decussata Sila Albizzia lebbeck Sirzsa Bixa orellana Sindura Elaeocarpus ganitrus Sivaksha Snuhi Euphrobia hirta Sontha Zingiber officinale Actiniopteris dichotoma SriPar1}i

APPENDIX A

Sriphala Svetiibja Svetabiila Tagara Tiilisa Tambula Tandula Tila Tumbi Vacha V~ari

Ve1}upatra Vidiirya ruviiti

Aegle marmelos W rightia tinctoria Shorea r hombifolia Eryatamica coronaria Abbis webbiana Piper betle Amaranthus polygamus Sesamum Indicum .Diospyros melanoxylon Acorus calamus Euphorbia neriifolia Dendrocalamus strictus Ipomoea paniculata Aglaia roxburghiana

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APPENDIX B GLOSSARY

Abhiyoga Abhukta AbhJantara-rat a Achar;¢avega Achchhuritaka Adharagrahar;a Adhikarar;a Alingana Amavarya Anata

A way of kissing, a part of sex-play. The nayika who is not yet deflowered. Detumescence. A person with poor sex urge. A nail mark made with the nails of all the fingers. Kiss involving the gripping of the lips. A division of a work. The embrace. The last day of the dark half month. Coital posture with the woman bending and the man standing at her back.

Anchita Angulipravesha Angulirata AnguJfha Antar-bahya Apadravya

Arddhachandraka .Arsha Artha .Asana Aiva Asura Atinicha Atyuchcha Aupanishadika

A slanting kiss. See Angulirata. Titillation with the fingers. The toe. Foreplay. Mechanical aid to congress, such as objects made of metal, wood, bone etc., resembling the phallus. Gentle thumping on the space between the breasts with the palm keeping the fingers apart. A nail mark resembling the crescent. Form of marriage. The material wealth. Posture for congress. Horse. Form of marriage. A poor type of coitus. The most enjoyable form of coitus. Which deals with the recipes for making one's self more

AupariJfaka Avadarita Avamardana

ctive, secret charms, herbal medicines, aphrodisiacs and aids to congress. The oral congress. Coital posture of uttana type. A kind of Upari~ta, wherein rubbing is done.

Apahastaka

APPENDIX B

71

The process through which the nay aka and nayika approach union.

bdfJJditaka ArJfJ,oka Aviddha AJoma AJantrita AJata Baddhamu;ti Bahirbah)'a BiihumiUa Bahya-rata Bandhurita Bhadra Bhadrakart ari Bhaga _ Bhakshya Bhiiryaduti Bhojya Bhramaraka

A kiss indulged in by adult lovers. Downward position of Kamala. The artificial aid to the congress. The size of male sex organ. A congress of unfettered love. Coital posture of the uttana type. Catching and holding tightly a limb of the body. An act of fore play, viz., embrace, kissing etc. The armpit. Tumescence. Sitting coital posture according to KalyaQ.amalla. A kind of nayaka. A blow with the palm, fingers straight and separate. The female sex organ. Food to be masticated. Wife acting as a go-between for her own husband. Food to be chewed. A kind of Purushiiyita wherein the woman makes circular movements.

Bhugnaka Bhujangavalli Bindu Bindumiila

Coital posture of the uttiina type. Entwining the man's fingers in the hair of woman. A teeth mark. Giving encouraging to the lover, blows withh er thumb when the woman is having sex in the inverse position. A form of marriage. A kiss given to the lover when he is not sober, engaged in arguments or sleeping with his face turned away.

Brahma Chalitaka ChalJga ChalJgavega Chandrakala Chatakallilasit a ChitrilJi Chumbana Chumbitaka Chusha1Ja Daiva Dantachchhedya Dantakshata Darduraka

Highest sexual urge. A virile person with strong sexual urge. The passion of love, a nii¢z. A kind of upasripta wherein the sport of a sparrow is imitated. Type of nayika. The Kiss. A kind of oral congress where the male organ is kissed. Sucking. Form of marriage. The teeth marks. The teeth mark. A nail-mark serving as a momento.

KALYA~AMALLA'S ANANGARANGA

72

Datta Dhainuka Dharma Dilta Diltz Ekapada Gandharva G01Jika Garbha Gauri Gauyuthika Graha1Ja Griimya Guhya Hari1J'i ( Mrgi ) Hastakshobhalila Hastashakhavimarda Hastini Hikkrit Hinkrita Hrid Hula Hunkiira Indra1Jz Jaghana Janghii Jiinu Jihviipravesha Kachagraha1Ja Kalii Kiima Kiimaliistra Kiimasthiina Kiimodaya Kiimapitaka Kanaka Kanda Ka1Jtha Kat}thopagrahat}a

A kind of nayaka. Coital posture of the anata type, resembling that of the bull. The prescribed code of conduct, the law. A messenger ( male ). A female messenger. Coital posture of the uttiina type. Form of marriage. A Courtesan who is liberal, pious and devoted. Embryo. A n#i, a type of woman. Coitus of a woman with many men, resembling that of a cow. Catching or holding fast. Coital posture of the uttana type. The female sex organ. Deer ( female ), a type of woman. Sec Angulirata. See anguli rata or karikarakri<;la.

Elephant type of woman. A kiss with a sound like "Hik". A sound produced by the throat and nose. The bosom. A kind of upasripta. A sound resembling "Hun". Coital posture of the uttana type. The upper most part of the thigh. The thigh. The knee. Love-play with the help of the tongue while kissing. Catching the fore-locks on the man's head before raised face. The arts. Sexual pleasure, the third aim of life. The art and science of Love, treatises dealing with sexology. Erogenous Zone. The rise of the passion of love. Rubbing with a quivering hand. Titillation with the second finger with the index finger kept hind it. Bulbous root. The neck. The embrace of the neck. .1

APPENDIX B

73

Kanyliramprayukta

The part of the Kamasutra which deals with the selection of the bride, marriage, etc.

Kapola Karatligana Karikarakrlga

The cheek. Beating with the hand. Keeping three fingers joined and resembling the proposcis of an elephant for manipulating in the female organ. Coital posture of the uttana type. Coital posture of the parshva type, according to KalyaQ.amalla. A kind of blow with palm. Coital posture of the asitaka type according to Kalya~1amalla. Catching the fore-lock. A degrading congress. A blow given with the palm folded into a fist and index and middle fingers out.

Karka/aka Kartata Kartari Kaurmaka Keshakarr ha1Ja Khala Kila

Kirli Jyotirisha thinks that it is a coital posture of the sitting type. Kirti Coital posture of the standing type, according to Kalyal,lamalla. Krsh1J.a-pakrha The dark half of a month. An artificial love. Krtrima An embrace, according to the school of Babhravya. Krhiranira Kshobhana Mantra : Secret incantation for production of sexual excitement. The nipple. Kuchiigra Rubbin.g and twisting the breasts. Kuchamardana Courtesan whose aim is the acquisition of wealth. Kumbhadiisl Giving of blows to the man when the woman is experiencing sex Kuntala in the inverse position, according to Kalyal,lamalla. The low type, coitus in which man discharge8 prematurely. Laghu An embrace. Lalatika An embrace. Latliveshtitaka The male organ. Linga Sexual love. Madana Zone. Erogenous Madanabhumi Clitoris. Madanachchatra Clitoris and adjoining parts. Maf1ana.dika Madanagamanadola : Literally the seat of love, clitoris. Female organ. Madana.laya Female organ. Madanasadana A beverage. Madhu The medium type of man who discharges during coitus sometime Madhya after intromission. The middle finger. Madhyamii Coital posture of the uttiina type. Mahasulachita 9

KALYA~AMALLA'S ANANGARANGA

4

Manda MaT}4ala Mandavega Manmathachhatra Manthana Mardana Markataka Mayurapadaka Moksha Mr du Mudhaduti Mudgaka Mudita Mukhaduti Mukha Mukha Chumbana Mula MUlti Nabhi N#i Na4ikshobhana Naga Nagara Nakhachchhedya Narayita Nasika Naltariiga Niiyaka Niiyika Netra Nzcha Nimita NivivishleshaT}a Oltha o!tha-vimrishta Padmiisana

A man with low passion. A circular nail mark. A man whose sexual urge is low. Clitoris. A kind of upasripta wherein there are "churning" movements. Rubbing with force. Coital posture of asitaka variety according to Kokkoka, Devadiya and KalyaQ.amalla. A nail-Jl}Mk resembling the feet of a peacock. Liberati~n, the ultimate aim of life. A kiss Offthe soft type. Female messenger who befriends the nayaka's wife, makes them quarrel and thus accomplishes her own object. Coital posture of the parSva type. Pleasure. An innocent female messenger who is a young girl and IS often sent to the nayika's house. The mouth. Kiss on the mouth. Root, origin. A blow given with the fist. The navel. Glands secreting odourless mucous in the female organ when sex. uallyaroused. Erection of the clitoris manually or by rubbing it with the male organ. Jyotirisa is of the opinion that it is a coital posture of the piirsva type. Coital posture of the uttana type. Nail marks. A kind of viparita posture. The nose. A person having very little sexual urge or none at all. The male ( lover ). The female ( beloved ). The eyes. Low coitus. Fellatio, the oral union. Untying the knot of the garments, petticoat, panties. The lip. Sucking the tip of the tongue. A sitting posture of coitus.

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APPENDIX B

i'admini PaiSiicha Puncha-bhutas Par adiirikii Parak~yii

Parimrishtaka Parinliha Payodhara Peya Phala Pha~lipiisa

Phenaka Phutkrta

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The first and best type of nayika. A type of marriage. The five elements, viz., earth, water, light, wind and atmosphere. The part of KiimaSiirtra which deals with extra-marital relations of a person. A class of nayikas consisting of widows, recluses, etc. A kind of oral union wherein the male organ is kissed all over. The size and depth of the female ~ex organ. The breasts. Food which is to be drunk. Fruit. Coital posture of the asitaka type. Foam producing and cleansing substance. A sound resembling that which is produced by .a berry falling in water.

Pradeshini

The first or index finger.

Pradipana- uidhi Praha1J.ana Prajiipatya Pramiit1a Pratibodhikii Pravartaka Praveshtita Prema Prenkholita Punarbnu PurlJimii Purushiiyita

The ways and means of exciting the passion of love. Sadistic acts. A form of marriage. , Size. A kiss for awakening the sleeping lover. Manual stimulation and other means as prescribed. Coital posture of the uttana type. Love. A kind of viparita poslure. A woman married and then deserted or widowed. The last day of the bright half of a month. The sex posture in which the woman is on the top with the man lying on his back.

Radana-Kalaha Rakshasa Rasana-rana Ratitithi

Love-quarrel wherein the persons indulges in biting. Form of marriage. See Jihuii-yuddha. Day on which the passion of love rises in a particular part of body.

Rekhii Raishabha Romiincha

A short nail-mark. Lady who is masculine in appearance. Horripilation.

Rudita

A kind of sound like that given out by a woman at the end of sexual relations.

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76 Rupaj'iva

A courtesan who considers her physical charms as the sole means of her livelihood.

Sama

Coitus among equals as regards the size of their sex organs and passions are concerned. According to KalyaJ;lamalla it is a kind of kiss in which woman with her tongue and lips presses the lips of the man. The female sex organ. An inverse posture wherein the woman maintains the grip on the

Samaushtha Sambadha Samdamsha

Smriti Suchi Surata Ta¢ana Tarajanz Tithi

male organ as if with tongs. A kind of oral congress wherein the male organ is taken deep inside the mouth till the man ejaculates. Coitus of mixed type. A kiss given to an image of a person or to a child playing on the lap. Tumescence and Detumescence. Sucking lips of each other. 1. An embrace according to some writers. 2. Shampooing. Giving blows to the man when the woman is experiencing sex relationship in the inverse position. Type of nayika. Hare. A nail mark resembling the feet of a hare. Science, scientific work. Bedroom arts. Prescription for allying heat. The bright of a month. Sound produced by a woman on reaching the climax of sexual pleasure. Cries of joy, pain made in love-play. Sluggish. The odourless muc,ous of vagina secrets when the woman is sexu. ally aroused. The law digest works. Coital posture of the uttana type. Coitus. Beating. The index finger. A day of the month.

Trishula Uchcha

Titillation with the first three fingers. Excellent ( coitus ).

Samgara SamkirtJa Samkrantaka Samprayoga Samputaka Samvahana Santanika Sltankhin'i Shasha Shas haplut aka Shiistra Shayanopacharika Shitopachara Shukla-paks ha Shvasita Sitkrita Slatha Samarajala

APpENDiX B

UpaPlida Upasripta Utkalita Utphullaka Uttlina Utpiditaka Utthita Vadana Vadava Viidavaka Vaishika Valaya Variinga Viirikriditaka Vashikarar;a Vega Vinika Vinoda Vipaseta Vishama Vb'oni Vrirha Vyomapiida rantra-yoga foni fugmapiida

Coital posture of the asitaka type. Movements of the male organ after intromission. Kind of inverse posture. Coital with the woman supine. Coital posture with the woman supine. Coital posture of the ut/ana type. Standing coital posture. The mouth. Mare. Coital pusture of the parshva type. The part of the erotic works which deals with courtesans. An artificial phallus having many holes. Vagina. Sexual act in a pool of water. The art of enticing a person. Force of sexual urge. Coital posture of the parshva type. Grad fication, pleasure. Kind of inverse posture. Coitus of mixed type of persons. Place other than female organs, like as arm-pit. Bull. Coital posture of the uttana type. The sexual union. Vagina. Coital posture of the parshva type .

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BIBLIOGRAPHY Anand, Mulk Raj., Kama Kala: Some Notes on the Philosophical Basis of Hindu Erotic SculPture, Geneva, 1958. . Anand, Mulk Raj and Lance Dane, Kamasutm of Vatsyayana, Delhi, 1982. Archer, W. c., Kangara Painting, London, 1952. Archer, W. C., Indian Painting, London, 1957. Bhattacharyya, N. N., Indian Puberty Rites, Calcutta, 1968. Bhattacharyya, N. N., Anc'ient Indian Rituals., Delhi, 1975. Bhattacharyya, N. N., History of Indian Erotic Literature, Delhi, 1978. Bose, N. K., Canons of Orissan Architecture, Calcutta, 1932. Chandra, Moti., The World of Courtesans, Delhi, 1973. Chakladar, H. C., Social Life in Ancient India, Calcutta, 1954. Chakladar, H. C., Studies in Vatsyayana's Kiimasutra, Calcutta, 1929. Chakravarti, C., Sex Life in Ancient India, Calcutta, 1963. Coomaraswamy, A. K., Rajput Paintings in 2 vols., Oxford, 1916. Coomaraswamy, A. K., The Eight Nayikas, Journal of Indian Art and Industry, Vol. 16, No. 128, 1914. Damodaragupta, Ku{tanimata, Kavyamala ed. Bombay, 1887., ed. with Com. T. M. Tripathi, Bombay, 1924., ed. Madhu Sudan Kaul, Calcutta, 1944. Dandin, Da1akumaracharita, ed. by M. R. Kale, Bombay, 1928. De, S. K., Treatment ~f Love in Sanskrit Literature, Calcutta, 1929. I De. S. K., Erotics and Erotic Literature, Calcutta, 1959. Desai, Devangana, Erotic Sculptures of India, Delhi, 1975. Devaraja, Ratiratnapradipika, ed. with English tr. by K. Rangaswami 1yenger, Mysore, 1923. Ellis, H., Studies in the Psychology of Sex, London, 1948. French, J. C., Himalayan Art, London, 1931. Gangoly, O. c., Masterpieces of Rajput Painting, Calcutta, 1926. Ghosh, M., The Na{yasastra, Calcutta, 1951. Hala, GathasaptJat'i, Kavyamala ed., 1889; ed. J. L. Sastri, Lahore, 1942. Hite, Shere, The Hite Report on Male Sexuality, Delhi, 1982. Jayadeva, Gitagovinda, ed. N. R. Acharya, Bombay, 1949. Jayadeva, Ratimanjari, ed. and pub. in Kavya-saIbgraha Series, Vol. 3, Calcutta, 1886. Journals etc., Bhiiratiya Vidya, Epigraphia Indica, Indian Antiquery, Journals of the American Oriental Society, Journal of Indian History, Asiatic Society of Bengal, Oriental Institute and Royal Asiatic Society. jyotirisvara, Panchasayaka, ed. S. Shastri Ghiladia, Lahore, 1921.

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Kalha1}.a, RiijatarangitJi, Ed. M. A, Stein, london, 1900. Kalidasa, Kiilidiisa Granthiivali, (complete works of Kalidasa) edited by Sitaram Chaturvedi, Varanasi, Samvat 200l. Kalyat;lamalla, Anangaranga, ed. R. Shastri Kusala, Lahore, 1890. See also Chaukhambha edition, Varanasi, 1973; English. tr. R. Burton, London, 1885. Keith, A. B., History oj Sanskrit Literature, Oxford, 1928. Kokkoka, Ratirahasya, ed. D. Parajuli, Lahore, (year of publication is not given) Eng. tr. A. Comfort, London, 1964; S. C. Upadhyaya, Bombay, 1965. Kosambi, D. D., 1vfyth and Reality, Bombay, 1962. Kucimiiratantra, ed. M. P. Dikshit, Lahore, 1942. K~emendra, Samayamiitrkii, Kavyamala, ed. 1888. K~emendra, Kaliiviliisa, Kavyamala, ed. 1888. Majumdar, G. P., Plants in Erotics, Indian Culture, Vol. XV. Meyer, j. j., Sexual Life in Ancient India, London, 1930. Nagarjuna, Ratisiira, ed. Schmidt, WZKM, XXII, 1909. Padmasri, Niigarasarvasva, ed. Tanasukhram Sharma, Bombay, 1921. Prasad, S. N., Kathiisaritsiigara and Indian Culture, Varanasi, 1978. Rajasekhara, Kiivyamimiir(lsii, ed. Dalal and Sastri, G. O. S., Baroda. Riimiiyarra., by Valmiki, ed. S. Kuppuswami Sastri, Madras, 1933. Randhawa, M. S., Kangra Paintings oj the Bhiigavata PuriilJa, National Museum, Delhi, 1960. Randhawa, M. S., Kangra Paintings on Love, National Museum, Delhi, 1962. Stanley, Louis, The Beauty of Woman, London, 1955. Thomas, P., Klima Kalpa, Bombay, year of pub. not listed. Vatsyayana, Klimasutra, Ed. Gosvami Damodar Shastri with the Comm. Jayamangala of Yasodhara, Banaras, 1929.; Eng. tr. K. R. lyenger, Lahore, 1921., S. C. Upadhyaya, Bombay, 1961. Winternitz, M., History of Indian Literature, Calcutta, 1927, reprint, Delhi, 1972 .

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